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Foreword by Maxwell Davidson IV: recollection of first seeing sculpture by Henry Moore. 10-page essay on Moore by David Mitchinson.  Brief history of Moore's association with New York, beginning with Alfred Barr's purchase of Two Forms for the Museum of Modern Art in 1936, and ending with the 2008 exhibition of Moore's work in New York Botanical Garden.  Discusses Moore's relationship with Curt Valentin. Mentions Moore's early life in Yorkshire, and the affinity between the landscape there and Moore's later sculpture, particularly the Reclining Figure: Lincoln Center and Adel Crag. Influence of Alice Gostick. Moore's Roll of Honour for Castleford Secondary School. Impact of Moore's experience in the First World War on his later work. Leeds School of Art and the Castleford Peasant Pottery Group. Education at the Royal College of Art and early exposure to London's museums, especially the British Museum. Cycladic and pre-Colombian art. Patronage of Sir William Rothenstein. Marriage to Irina Radetsky. Life in Hampstead, in the "nest of gentle artists". West Wind commission (1928).  Early solo exhibitions at Warren Gallery and Leicester Galleries. Mixed critical reception: Morning Post wrote that "the cult of ugliness triumphs at the hands of Mr Moore."  Teaching at Chelsea School of Art. Founding of Unit One. Politics and Spain: Spanish Prisoner (CGM 1) lithograph. Carving, mostly in native stone and wood. Development of opening out the figure. Reclining figure as the most recognisable of Moore's sculptural themes. Beginning to model and cast, initially in lead. Move to Hoglands. Bomb Shelter Drawings for the War Artists Advisory Committee. Retrospective at Temple Newsam in 1941. Madonna and Child commission for St. Matthew's, Northampton. Awards, and honours: Companion of Honour, Order of Merit, Erasmus Prize, Goslar Prize. Forte de Marmi. UNESCO Reclining Figure. Henry Moore Foundation set up.

Images: pp. 11; 12: biographical images by John Hedgecoe of Moore in Perry Green. p. 17: Reclining Figure 1930 (LH 85); p.19 Reclining Figure 1939 (LH 208); p. 21: Family Groups 1944 (HMF 2231); p.23: Family Group 1945 (LH 259); p.25: Family Group 1946 (LH 265); p.27: Two Women Bathing a Child 1948 (HMF 2501); p.29: Family Group 1949 (HMF 2532); p.31: Standing and Reclining Figures 1950 (CGM 15); p.33: Rocking Chair No. 2 1950 (LH 275); p.35: Rocking Chair No. 3 1950 (LH 276); p.37: Rocking Chair No. 4: Miniature 1950 (LH 277); p.39: Standing Figures 1950 (CGM 14); p.41: Standing Figure 1950 (LH 290); p.43: Working Model for Time/Life Screen 1952 (LH 343); p.45: Seated Figure 1952-53 (LH 347); p.47: Reclining Figure No. 2 1953 (LH 329); p.49: Mother and Child Against Open Wall 1956 (LH 418); p.51: Maquette for Figure on Steps 1956 (LH 426); p.53: Draped Seated Figure Against a Curved Wall 1956-57 (LH 423); p.55: Maquette for Head and Hand 1962 (LH 505) (Maquette for Moon Head); p.57: Divided Head 1963 (LH 506); p.59: Mother and Child: Arms 1976-80 (LH 698); p.61: Reclining Mother and Child I 1979 (LH 778); p.63: Working Model for Draped Reclining Figure 1976-79 (LH 705); p.65: Maquette for Draped Reclining Mother and Baby 1981 (LH 820); p.67: Mother and Child on Lap 1985 (LH 870). p.68: HM in garden at Hoglands, with LH 275: Roloff Beny.

Appendix. pp.70-78: Selected exhibitions of Henry Moore.

Catalogue for the exhibition Liquid Reflections held at the Bern Art Museum. The exhibition displayed the highlights of the collection of the Anne-Marie and Victor Loeb Foundation, which has been housed at the Kunstmuseum Bern since 1980. Two Henry Moore drawings (illus.) shown as part of the exhibition. Commentary (p.43) contrasts Moore's drawings (which "explore the relationship between figure and space") with those of Corneille.

Exhibition catalogue for Fred Sandback: Vertical Constructions at the David Zwirner gallery in New York.  Lisa LE FEUVRE's essay for the catalogue, "Simple Facts", quotes Sandback as mentioning his "early love for the sculpture of Michelangelo, Rodin, and Henry Moore". Le Feuvre contrasts Moore, who frequently worked on the theme of internal and external forms, with Sandback, for whose work "it is impossible to claim a location as either interior or exterior". Illus. of Moore's Reclining Figure: External Form 1953-54.

List of artwork by 96 different artists included in 'Disobedient Bodies', curated by fashion designer Jonathan Anderson. This exhibition was the first in a new series of collaborations between The Hepworth Wakefield and individuals from disciplines outside the visual arts, invited to respond to Wakefield's significant collection of modern British art. As a starting point for the exhibition, Anderson was drawn to early works by Barbara Hepworth and Henry Moore from the 1920s and 1930s that represented the human body in radical new ways. These increasingly abstracted, yet still defiantly figurative, sculptures - 'disobedient bodies', as Anderson described them.

One Moore work is featured in this exhibition, Reclining Figure, 1936 (LH 175).

Catalogue for a pair of exhibitions at Stiftung Insel Hombroich of photographs from the collection of Volker Kahmen. Foreword by Frank Boehm; list of works; images of selected works, including a print of Henry Moore's plaster Warrior with Shield (LH 360) in the studio; Volker Kahmen on photography; installation views.

Text in Spanish and English. In "Western Reception to Sumerian Art", Pedro AZARA discusses the impact of Sumerian art on Henry Moore, with illustrations of Girl 1931, Half Figure No.1 1929, and Seated Figure 1929. Zainab BAHRANI, in "Sumerian Art and the Modernist Avant-Garde" discusses Moore's opinions on Mesopotamian art, particularly noting his essay on the subject published in The Listener in 1935.

Catalogue for exhibition celebrating the centenary of Rodin's death at the Musée Rodin in Paris. Introduction by CHEVILLOT and NORMAND-ROMAIN notes that Rodin's relationship to photography anticipates that of Henry Moore and Constantin Brancusi. p.112: Rodin's theme of the old woman was taken up by later artists, including Moore, who recalled having drawn an old man standing because he was very impressed by a Rodin figure of an old woman. p.166: in a chapter on Rodin's use of photography, Moore is noted as a later sculptor who used photography to record his works, though the photographs were never themselves exhibited as works. Moore's photography includes not only his own works, but the found objects that inspired them. p.212 mentions that Moore worked with full and empty space. pp.260-61: Moore began to model rather than carve his sculptures after 1945; Moore knew Rodin's work as a young man through photographs.

Moore's ownership of two of Rodin's bronzes, Mouvement de danse E and L'Homme qui marches mentioned.

Five Moore works displayed in the exhibition. Four (Cat. 40: Study for Shelter Drawing 1941; Cat. 139: Animal Head 1978; Cat.140: Flint Torso 1978; Cat. 304: Torso 1953) illus.; one (Cat. 166: Maquette for Large Torso: Arch) not.

Catalogue to accompany exhibition of the same name at Salisbury Museum in 2017. Cats. 27-30 are four of Moore's Stonehenge Lithographs. Introduction describes the portfolio as "perhaps the best known suite of prints with a megalithic subject matter by a modern British artist" (p.28). As well as the lithographs, discusses the impact of Stonehenge on Moore's monumental sculpture, especially The Arch (LH 503b), and quotes Moore on the impact of Stonehenge on his works.

Catalogue for the exhibition of the same name at Binghampton University Art Museum. Text on Henry Moore's Reclining Figure on Pedestal (LH 456), including a quote from Moore on the theme of the Reclining Figure, with illus (pp.68-9). Introduction has an illus. of the sculpture in situ.

Catalogue for the exhibition Bacon to Doig: Modern Masterpieces from a Private Collection. The exhibition was made up of works from the British modern art collection of Ian and Mercedes Stoutzker. One Moore bronze, Pointed Torso 1969, included in the exhibition (illus.).

p.77: influence of Rodin on Moore, with one illus. of Moore's Reclining Form 1934 (HMF 1083).

Introduction by Alessandro ROSADA describes Moore as "grande scultore inglese" ("the great English sculptor") and mentions the Shelter Drawings. Four Moore drawings illustrated.

The exhibition catalogue to accompany Becoming Henry Moore, presented at Henry Moore Studios and Gardens, Perry Green 14 April - 22 October 2017 and at the Henry Moore Institute, Leeds 30 November 2017 - 18 February 2018. The exhibition contains 110 works with loans from 20 institutions, as well as from private lenders. There are 201 images in the catalogue not including the front cover. The Foreword by the Director of the Henry Moore Foundation, Godfrey Worsdale is followed by three substantial essays: 'A master in the making' by Sebastiano Barassi, Head of Collections and Exhibitions at the Henry Moore Foundation; 'The nation’s collections: Moore's personal wealth of influence' by Tania Moore, Curatorial Assistant at the Royal Academy of Arts; and 'Inner experience - Gudea, Sumerian sculpture and Henry Moore' by Dr Jon Wood, Research Curator at the Henry Moore Institute, Leeds.

Sebastiano Barassi's essay sets the context of Moore's formative years: his childhood and schooling in Castleford; the First World War; Leeds Art School; the Royal College of Art, and his early work. The essay begins with a quote from Moore taken from an interview by John Freeman in Hugh Barnett's Face to Face, 1964, where Moore tells of how, at about the age of 11, he was inspired to want to be a sculpture as a result of a Sunday School lesson on Michelangelo. The essay then goes on to reference subsequent key influencers and experiences including: his parents; the headmaster of Castleford Secondary School, T.R. Dawes and art teacher Alice Gostick; signing up to the Civil Service Rifles; being gassed at the battle of Cambrai in France in the First World War in February 1917; his time at Leeds Art School from 1919 to 1921 were he met Raymond Coxon and Barbara Hepworth; his scholarship to the Royal College of Art in London; his appreciation of Henri Gaudier-Brzeska; his visits to the British Museum; the influence of the pre-Columbian figure Chacmool; and the creation of his first masterpiece, the 1929 brown Hornton stone Reclining Figure (LH 59) - the centre piece of the exhibition Becoming Henry Moore; and his marriage in the same year to Irena Radetzski. Baressi's essay concludes in 1930, the year that Moore was selected to represent Great Britain at the Venice Biennale alongside Epstein and Skeaping.

Tania Moore's essay picks up the story focusing on the collections, artists and academics that influenced Moore, including: The Leeds Art College; Leeds Library; Roger Fry's Vision and Design; The National Gallery; The British Museum; The Tate; Leon Underwood; the Louvre; Museé Trocadéro and the National History Museum.

Jon Wood's essay starts with a quote taken from an article published in the Listener 5 June 1935 in which Moore expresses his appreciation of Sumerian art. This leads to an in-depth exploration of the interest that Moore and others had in Sumerian art and in particular, the figure of Gudea, Ruler of the City-State of Lagash II c 2120 BC. a 20th century cast of which, on loan from the British Museum, is a major feature of the Becoming Henry Moore exhibition. There is speculation as to where Moore first saw Gudea. There are detailed references to: The Development of Sumerian Art, 1935 and The Sumerians, 1928, by C. Leonard Woolley; The Meaning of Modern Sculpture, R.H. Wilenski, 1932; and Henry Moore: Sculpture, Herbert Read, 1934. Reference is made to: Moore's first exhibition at the Warren Gallery, London; to his membership of the Seven and Five Society and to Unit One, founded by Paul Nash; and to the artistic millieu, that included Ben Nicholson, Barbara Hepworth and Ivon Hitchens, that Moore and his wife Irena were part of, in Hampstead, where they lived and worked at 11a Park Hill Road. 

Exhibition catalogue for 2017 exhibition at the Museum for Nordic Art in Tønder, Denmark. A substantial selection of Moore's work (sculpture, drawings, graphic works, tapestries and textiles) exhibited, along with a selection of Burberry's designs from their collaboration with the Henry Moore Foundation. Two of the chapters are Danish translations of those in 0023574, one by Hannah Higham and Sebastiano Barassi from the Henry Moore Foundation, the other by Astrid Becker from the Nolde Foundation. Additional chapters not found in Emil Nolde Meets Henry Moore are "Henry Moore: at the Border to the North" by Ove Mogensen; "Form, Shape, and Pictures: Meanings in Henry Moore's Sculpture" by Juhani Pallasmaa; "The Elephant's Imprint" by Anne Blond; and an excerpt from Mit Louisiana-liv (My Louisiana Life) by Knud Jensen (0010402).

Exhibition catalogue of British watercolour landscapes from 1850-1950 featuring six images of works by Henry Moore on pages:106,110,113,167,168 and169. Page 106 Ideas for Sculpture 1935 (HMF 1160) with text quoting Moore on how the landscape near his home on the Kent Downs in 1930s became important as an enironment for his sculpture with reference to bio-morphism and other new theories that had an influence on him and other artists.
P109 refers to Wentworth Thompson's On Growth and Form as a source book for Moore and a quote from Gordon Onslow Ford on Elmwood Reclining Figure 1939 (LH 210). Page 109 mentions Moore's first visit to Stonehenge in 1921 and discusses its influence on him, leading to a full page image on page 110 of Moore's Two Upright Forms 1936 (HMF 1254).
Page 111 compares Dali's paitings to Moore's Reclining Figure and Red Rocks 1942 (HMF 2067), as presented in full page on page 113.
Page 116 mentions Moore encouraging John Tunnard to collect nautical detritus and reference to morphology, Barbara Hepworth, Paul Nash and others.
Full page image of Crowd Looking at a Tied-up Object 1942 (HMF 2064) on page 167, with discussion on page 166 of Moore's concern with landscape and pictorial settings and the Shelter drawings with quote from Moore on the chorus in Greek drama. Full page image on page 168 of London Skyline 1940-41 (HMF 1574) and on page 169 of Head Made up of Devasted House 1940-41 (HMF 1611).                                               
Page 170 mentions Moore supplying some drawings for Jacquetta Hawkes' Festival of Britain related book A Land 1951 (see 0008129).

Exhibition catalogue to accompany Henry Moore: Vision.Creation.Obsession. Curated by: Sebastiano Barassi, Head of Collections and Exhibitions of the Henry Moore Foundation; Susanne Blocker, curator of the Kunstkammer Rau; Oliver Kornhoff, Director of the Arp Museum Bahnhof Rolandseck and Sarah-Lena Schuster, Curator of the Arp Collection. There is a joint introduction by Oliver Kornhoff and Godfrey Worsdale, Director Henry Moore Foundation that starts with a celebration of two birthdays: the Henry Moore Foundation's 40th and the Arp Musuem Bahnhof Rolandseck 10th. It is noted that the two artists were first presented together in 1936 and that from the mid 1970s there were a number of exchange visits and collaborations between Rolandseck and Much Hadham. As well as displaying works by Moore and Arp, the exhibition includes works by other artists that influenced Moore, from the Middle Ages through to the Renaissance, to 19th and 20th century French painters, including Corbet, Cezanne and Roualt. Moore's Large Two Forms 1969 (LH 556) is allusively referenced as being a signature piece of art for the German Federal Republic. The introduction is further structured around three sections, 'Vision: Freed from Moss and Weeds', 'Creation: Not Reproducing. Producing.', and 'Obsession: ''Everything I do I intend to make on a large scale.'' '. The museum's dimensions 'make it possible for the Henry Moore Foundation to experience some of his monumental large sculptures for the first time indoors'.

In his essay 'Two Large Forms as Suggestions of Power', Oliver Kornhoff presents the history and context of Large Two Forms, that has stood in front of the former Federal Chancellory in Bonn since 1979, and he asserts that 'No other work of art is so deeply etched into the Germans' pictorial memory.' There is an image of Moore with Chancellor Helmut Schmidt standing in front of the piece taken at the unveiling on 19 September 1979 and one of British Prime Minister, Margaret Thatcher with Federal Chancellor Helmut Kohl taken in front of the piece during a state visit on 16 September 1986.

In his essay 'Physical Size and Mental Scale: Henry Moore and the Monumental', Sebastiano Barassi presents Moore's keynote address at the International Conference of Artists organised by UNESCO in Venice in September 1952 as a framework for discussing Moore's approach and development as an artist in the context, not least, of his experience in, and response to, two world wars, primarily the Second World War. Moore's address focused on two main themes: 'the changing nature of patronage in the socio-political order that had been taking shape after the war; and the need for artists to develop languages to align their practice with the expectations of the new world.' Barassi discusses Moore's consideration of scale, open-air setting and landscape, his desire to create publicly accessible work and his success in creating sculpture with 'immediate universal appeal.'

Susanne Blocker's essay 'Vision. On Humanity in Art' begins with a quote from Moore 'It's only a great humanist like Giovanni Pisano, or Masaccio or Rembrandt or Cézanne who can express the tremendous power of goodness that exists somewhere in human nature.' The essay then proceeds to discuss some of Moore's influences including his childhood environs in Yorkshire, Chartres cathedral, Mexican art, the Italian renaissance, Michelangelo and Rodin. Blocker tells how Moore surrounded himself with the art and natural forms that inspired him whether in his student flat in Sydney Street, London or at his home Hoglands in Perry Green.

Sarah-Lena Schuster's essay 'Creation. Henry Moore and Hans Arp' focuses on the parallels between the two artists regarding their interest in and influence by existing forms in nature and the resultant biomorphic works. Schuster notes that in all of Moore's estimated 10,000 published expressions it is astonishing that there is no mention of Arp and that the only reference that can be found to Arp is in a letter dated 1966 in which Moore expresses his appreciation of Arp's work, an extract from which is quoted on page 121. They met only two or three times; in the 1930s and in 1958. As well as similarities, Schuster points to differences 'The one a dreamy poet, the other a purposeful artisan.'

Starting on page 126 and finishing on page 163 there is an exhibition view titled 'Rendez-vous des amis' showing images of Moore and Arp's works side by side, inviting comparisons and contrasts.

On page 188 there is short article by Helga Kuhn dedicated to Gustav Rau who bequeathed his wealth and most of his art collection to UNICEF; the core of his collection being exhibited at The Arp Museum Bahnhof Rolandseck. 

Exhibition catalogue for the Pompidou Centre's "Ross Lovegrove: Convergence". Moore's "figures with their large gaps" cited as an inspiration for Lovegrove (pp.34-5).  Moore's drawingThree Reclining Figures 1976 (HMF 76(8)) and sculptures Two Piece Reclining Figure No.4 1961 (LH 479) and the plaster for Reclining Figure: Festival 1951 (LH 293) are all illustrated.

See also 0023522 for the French edition of the catalogue.

Volume to accompany the exhibition of 4 Moore works at the Nolde Foundation in Seebüll, Germany in 2017. Foreword by Christian Ring and Godfrey Worsdale, directors of the Nolde and Henry Moore Foundations respectively, followed by four chapters on Moore and his work. 

The first chapter is an essay by Sebastiano Barassi and Hannah Higham from the Henry Moore Foundation on "Ein naturverbundener Mensch: Henry Moore und die Natur" ("A natural person: Henry Moore and nature"). It discusses the influence of nature and the landscape on Moore's art. Moore's drawings explore nature, especially later on when Moore stopped using them as a way of developing ideas for sculpture; his later drawings include landscapes, animals, and trees. Moore's sculpture also influenced by nature. The reclining figure, one of his three great themes, often echoes the hills and valleys of the English landscape. Moore frequently used natural objects (his "library of natural forms") as the starting point for his maquettes, which might then have been worked up into large-scale works. One of Moore's most impressive natural objects that he collected was the elephant skull, which was the inspiration for a series of lithographs, along with sculptures and drawings. Also printed in Danish in 0023576.

Second chapter by Astrid Becker is called "Versuche tiefer Griffe ins übervolle All der Natur: Emil Nolde und Henry Moore". Discusses relationship between Moore and Nolde as two of the great figures in 20th century art; Moore as a groundbreaking sculptor and Nolde as an expressive painter. An expanded version of Becker's comments in 0023574. Sections on "Emil Nolde meets Henry Moore", "Mental landscapes", "Ideal values", "Dialogue of works", and "Timeless validity of essence". Also printed in Danish in 0023576.

Third chapter, "Henry Moore in Seebüll", discusses in turn each of the four works on display at the Nolde Foundation. It begins with a summary of Moore's work, which it divides into four phases: his early career, up to the 1929 Reclining Figure (LH 59), where Moore was influenced especially by the ancient Mexican Chacmool figures; the next two decades, influenced by the Surrealist movement and marked by a willingness to experiment; the 1940s and 1950s; and Moore's later work, from 1960 onwards. The next section is on the Reclining Figure as a recurring motif of Moore's work, making up around a quarter of the sculpture in the catalogue raisonné, and three of the four works displayed at Seebüll. Then each of Moore's four works displayed at Seebüll are treated individually: Working Model for Three Piece Reclining Figure: Draped, Working Model for Reclining Figure: Angles, Working Model for Draped Reclining Figure, and Working Model for Oval with Points.

Fourth chapter, "Henry Moore und Deutschland", by Hans-Joachim Throl, is about Moore's links with Germany more generally. Discusses the development of Moore's reputation as a sculptor of the world ("Bildhauer von Weltgeltung") following his first American retrospective at MoMA in 1946 and his winning the grand prize at the 1948 Venice Biennale. Discusses Moore's first German solo exhibition in 1950, which first showed at the Hamburg Kunsthalle and then at the Stadtischen Kunstsammlungen in Dusseldorf. Quotes Herbert Read's discussion of Moore's artistic career in the catalogue for the 1950 German exhibition. Moore's contributions to the documenta exhibitions, including documenta I (where King and Queen) was shown, discussed. Moore's major works on public display in Germany, including the Goslar Warrior and Large Two Forms treated briefly. Important exhibitions from 1971 (Henry Moore 1961-1971 in Hamburg) to 2017 (Henry Moore: Impuls für Europa in Münster) mentioned.

Finally, there is a timeline of Moore's life, from his birth in 1898 up to his death in 1986, discussing key points in Moore's life.

Exhibition catalogue for the Nolde Foundation's 61st annual exhibition, also published in German as Emil Nolde: 150 Jahre Emil Nolde Mesterwerke. For the first time in the Nolde Foundation's history, that exhibition included works by another artist - four bronzes by Henry Moore, displayed in the gardens of the foundation. Moore's and Nolde's work are similar, according to Ring's preface, in their treatment of "landscape, nature and human character". pp.68-9 is a section by Astrid BECKER entitled "Emil Nolde meets Henry Moore", discussing the similarities between Moore's and Nolde's work. Influence of the landscape where they grew up on their later work,human figure as "the ultimate means of expression", and the relationship between the human - particularly female - figure and the landscape unite the artists. Photograph of Working Model for Draped Reclining Figure 1976-79 (LH 705) on p.69 and on back cover.