Henry Moore Artwork Catalogue
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0000179
Author/Editor: MOORE Henry
Publisher: British Museum
Place Published: London
Year: 1988
Date & Collation: 24pp.67 colour plates.Bibliog.
Description: For American edition see 0011052. For German edition see 0011053. "The
Trustees of the British Museum acknowledge with gratitude the generosity
of the Henry Moore Foundation for the grant which made the publication
of this book possible".
7-13 Introduction in the words of Henry Moore.
Detailed account of life in Kent and Hampstead and working situation at the outbreak of war. Describes discovery of shelterers on Northern Line when travelling from town back to Belsize Park station. "They were a bit like the chorus in a Greek drama telling us about the violence we don't actually witness". His method of producing the two Sketchbooks, the first being the one reproduced here, the second owned by Irina Moore. The move to Much Hadham and the production of drawings for the War Artists' Advisory Committee. Outlines wax resist technique used.
14-20 CAREY Frances. Commentary.
Outlines the bequest to the British Museum of Kenneth Clark's Sketchbook, and the possession by the Henry Moore Foundation of the second Sketchbook. "The Shelter Sketchbooks, 1940-1941, belong to a period of extraordinary fecundity in Moore's career as a draughtsman". Describes their background, and comments on individual drawings, with quotations from the artist and other writers on the subject. Their influence on his subsequent sculpture and career is also noted. The Penguin New Writing text on Moore from 1943 (See 0008984) attributed to Keith Vaughan is reprinted here.
21-22 Bibliography.
The exhibition Henry Moore: the Shelter Drawings was held at the British Museum 10 Nov 1988 to 12 Feb 1989. For a list of Gallery Talks and Slide Lectures related to the exhibition see 0014218.
7-13 Introduction in the words of Henry Moore.
Detailed account of life in Kent and Hampstead and working situation at the outbreak of war. Describes discovery of shelterers on Northern Line when travelling from town back to Belsize Park station. "They were a bit like the chorus in a Greek drama telling us about the violence we don't actually witness". His method of producing the two Sketchbooks, the first being the one reproduced here, the second owned by Irina Moore. The move to Much Hadham and the production of drawings for the War Artists' Advisory Committee. Outlines wax resist technique used.
14-20 CAREY Frances. Commentary.
Outlines the bequest to the British Museum of Kenneth Clark's Sketchbook, and the possession by the Henry Moore Foundation of the second Sketchbook. "The Shelter Sketchbooks, 1940-1941, belong to a period of extraordinary fecundity in Moore's career as a draughtsman". Describes their background, and comments on individual drawings, with quotations from the artist and other writers on the subject. Their influence on his subsequent sculpture and career is also noted. The Penguin New Writing text on Moore from 1943 (See 0008984) attributed to Keith Vaughan is reprinted here.
21-22 Bibliography.
The exhibition Henry Moore: the Shelter Drawings was held at the British Museum 10 Nov 1988 to 12 Feb 1989. For a list of Gallery Talks and Slide Lectures related to the exhibition see 0014218.
0014710
Publisher: British Museum
Place Published: London
Year: 1988
Date & Collation: .1pp.
Description: Press and Public Relations Office press release/Private View notice, 9 Nov 1988.Henry Moore's shelter drawings are among the most haunting visual images to have emerged from the Second World War."
0014662
Publisher: British Museum
Place Published: London
Year: 1988
Date & Collation: 1pp.
Description: Education Service list of lectures and films during November and December relating to the exhibition (See 0000179). Includes two gallery talks:
John Reeve. Images of war: Moore, Brandt, Topolski, Ardizzone.
Ann Garrould. Henry Moore, the shelter drawings: an introduction.
And a slide lecture: Ebrahim Alkazi. Henry Moore: sculptor of the Apocalypse.
John Reeve. Images of war: Moore, Brandt, Topolski, Ardizzone.
Ann Garrould. Henry Moore, the shelter drawings: an introduction.
And a slide lecture: Ebrahim Alkazi. Henry Moore: sculptor of the Apocalypse.
0020378
Publisher: British Museum
Place Published: London.
Year: 2003
Date & Collation: 3pp(1 illus).Bibliog.
Description: Printed 23 May 2003 from Internet www.thebritishmuseum.ac.uk. Factsheets: Henry Moore. Page headed 'The British Musuem: Prints and Drawings: Henry Moore Factsheet'. Outline of Henry Moore's career, and note on drawings and prints in the collection of the British Museum.
0000728
Publisher: British Museum
Place Published: London
Year: 1984
Date & Collation: .208pp.Illus.Edited by John ROWLANDS.
Description: 207 works by over 150 artists from the Museum's collection.
204-206(3 illus) Henry Moore: three Drawings 1932-1940.
Rowlands mentions briefly in his introduction the importance of the bequest by Lady Clark of the first Shelter Sketchbook.
204-206(3 illus) Henry Moore: three Drawings 1932-1940.
Rowlands mentions briefly in his introduction the importance of the bequest by Lady Clark of the first Shelter Sketchbook.
0019143
Publisher: British Museum
Place Published: London
Year: 2000
Date & Collation: .96pp.Illus.Introduction by Robert ANDERSON.Edited by J.C.H. KING.
Description: 89(1 illus) Henry Moore.
Exhibition book full-page photograph of Two Women: drawing for sculpture combining wood and metal, 1939 drawing.
Exhibition book full-page photograph of Two Women: drawing for sculpture combining wood and metal, 1939 drawing.
0014964
Publisher: British Museum
Place Published: London
Year: 1992
Date & Collation: (11 Sept-25 Oct).288pp.Illus.Biog.Texts.Editor Philip ATTWOOD.
Description: Published by F.I.D.E.M. The 23rd congress of the Federation International de la Médaille, London 16-19 September 1992. Hosted by the British Art Medal Society. FIDEM XXIII. Sponsored by The Royal Mint. Texts in English, French and German.
267 Albert Gumy: Hommage à Henry Moore 1991. Struck bronze 50mm. Huguenin Médailleurs.
Press coverage incorrectly stated that medals by Henry Moore were included in the exhibition. Catalogue of an exhibition of contemporary medals held at the British Museum from 11 September until 25 October 1992 to coincide with the 23rd congress of the Fédération Internationale de la Médaille (FIDEM)"."
267 Albert Gumy: Hommage à Henry Moore 1991. Struck bronze 50mm. Huguenin Médailleurs.
Press coverage incorrectly stated that medals by Henry Moore were included in the exhibition. Catalogue of an exhibition of contemporary medals held at the British Museum from 11 September until 25 October 1992 to coincide with the 23rd congress of the Fédération Internationale de la Médaille (FIDEM)"."
0012770
Publisher: British Museum
Place Published: London
Year: 1991
Date & Collation: .64pp.Illus.Bibliog.Texts.
Description: Booklet of exhibition 3 Oct 1991-16 Feb 1992.
6-10 CAREY Frances. Introduction.
Includes a photograph with caption of Crowd Looking at a Tied-Up Object, 1942 drawing and mention of Moore's visits to the British Museum.
6-10 CAREY Frances. Introduction.
Includes a photograph with caption of Crowd Looking at a Tied-Up Object, 1942 drawing and mention of Moore's visits to the British Museum.
0001453
Publisher: British Museum
Place Published: London
Year: 1982
Date & Collation: .52pp.Illus.112 plates.Bibliog.Prefatory texts by John ROWLANDS, John ELDERFIELD.Introduction by Bernice ROSE.
Description: 190 works by nearly 100 artists.
49,Plate 85(1 illus) Henry Moore: Women Winding Wool, 1949 drawing.
49,Plate 85(1 illus) Henry Moore: Women Winding Wool, 1949 drawing.
0012862
Author/Editor: Department of Prints and Drawings.
Publisher: British Museum
Place Published: London
Year: 1979
Date & Collation: 40pp.
Description: British Museum Occasional Papers, No.8, 1980. Acquisitions volumes edited by N.J.L.TURNER. Lists on page 11, with a brief description, Moore's Shelter Sketch Book bequeathed by Lady Clark 1977.
0011458
Publisher: British Museum
Place Published: London
Year: 1990
Date & Collation: .240pp.Illus.16 plates.Glossary.Biog.Bibliog.Text by Frances CAREY, Anthony GRIFFITHS, with a special contribution by Stephen COPPEL.
Description: 230 exhibits by 65 artists.
Exhibits 78,130-132(4 illus) Henry Moore: four Prints 1931-1950.
Sculptural Objects, 1949 lithograph is reproduced as a full-page colour plate. There is a short biography of Moore, outlining his printmaking activities and the main publications involved. There is detailed documentation on the prints exhibited:
Figures: Sculptures, 1931 wood engraving.
(One of two Moore wood engravings in The Island (See 0009388). Notes Moore's association with Leon Underwood).
Sculptural Objects, 1949 lithograph.
(Part of the European series of School Prints commissioned by Brenda Rawnsley. Quotes from the tape recording by Mrs. Rawnsley, and correspondence (See 0011383)).
Figures in Settings and Sculptural Ideas, c.1949-1950 collograph.
Three Female Figures, c.1950 collograph.
(Describes the collograph process of Ganymed Press).
Moore is mentioned in entries for Merlyn Evans and Eduardo Paolozzi.
Exhibits 78,130-132(4 illus) Henry Moore: four Prints 1931-1950.
Sculptural Objects, 1949 lithograph is reproduced as a full-page colour plate. There is a short biography of Moore, outlining his printmaking activities and the main publications involved. There is detailed documentation on the prints exhibited:
Figures: Sculptures, 1931 wood engraving.
(One of two Moore wood engravings in The Island (See 0009388). Notes Moore's association with Leon Underwood).
Sculptural Objects, 1949 lithograph.
(Part of the European series of School Prints commissioned by Brenda Rawnsley. Quotes from the tape recording by Mrs. Rawnsley, and correspondence (See 0011383)).
Figures in Settings and Sculptural Ideas, c.1949-1950 collograph.
Three Female Figures, c.1950 collograph.
(Describes the collograph process of Ganymed Press).
Moore is mentioned in entries for Merlyn Evans and Eduardo Paolozzi.
0014218
Publisher: British Museum
Place Published: London
Year: 1989
Date & Collation: 1pp card.
Description: List of Gallery Talks and Slide lectures in association with the exhibition (See 0000179):
6 Jan 1989 VANAGS Patsy. Henry Moore and Greek Sculpture.
13 Jan 1989 REEVE John. Henry Moore: the shelter drawings.
20 Jan 1989 REEVE John. Henry Moore and the war artists.
27 Jan 1989 REEVE John. Henry Moore: the shelter drawings.
3 Feb 1989 GARROULD Ann. Henry Moore: the shelter drawings.
10 Feb 1989 VANAGS Patsy: Henry Moore and Greek Sculpture.
6 Jan 1989 ANDREWS Julian. Henry Moore: the shelter drawings.
13 Jan 1989 HARRIES Susie. Henry Moore and the war artists in World War Two.
20 Jan 1989 DARRACOTT Joseph. Henry Moore and his contemporaries.
27 Jan 1989 GREEN Oliver. London Transport at war.
3 Feb 1989 GARROULD Ann. Henry Moore and his environment.
No recordings or transcripts of these talks are available.
6 Jan 1989 VANAGS Patsy. Henry Moore and Greek Sculpture.
13 Jan 1989 REEVE John. Henry Moore: the shelter drawings.
20 Jan 1989 REEVE John. Henry Moore and the war artists.
27 Jan 1989 REEVE John. Henry Moore: the shelter drawings.
3 Feb 1989 GARROULD Ann. Henry Moore: the shelter drawings.
10 Feb 1989 VANAGS Patsy: Henry Moore and Greek Sculpture.
6 Jan 1989 ANDREWS Julian. Henry Moore: the shelter drawings.
13 Jan 1989 HARRIES Susie. Henry Moore and the war artists in World War Two.
20 Jan 1989 DARRACOTT Joseph. Henry Moore and his contemporaries.
27 Jan 1989 GREEN Oliver. London Transport at war.
3 Feb 1989 GARROULD Ann. Henry Moore and his environment.
No recordings or transcripts of these talks are available.
0001519
Publisher: British Museum
Place Published: London
Year: 1982
Date & Collation: 296pp.Illus.
Description: First published 1976 under title British Museum Guide; reprinted with revisions and new title 1982.
209(1 illus) Henry Moore.
Illustration and passing mention of Moore in Prints and Drawings section.
209(1 illus) Henry Moore.
Illustration and passing mention of Moore in Prints and Drawings section.
0017750
Publisher: British Museum
Place Published: London
Year: 1998
Date & Collation: 1pp.
Description: Programme for British Museum Education Service Study Day on 3 June 1998. This included three talks:
PUTNAM James Henry Moore Inspired by the British Museum.
COLLINS Judy. Moore's Working Process.
WILLIAMS Hilary. Sculptors' Drawings and Moore's Shelter Sketchbook.
For leaflet on 30 May-27 Sept 1998 Henry Moore display see 0017749.
PUTNAM James Henry Moore Inspired by the British Museum.
COLLINS Judy. Moore's Working Process.
WILLIAMS Hilary. Sculptors' Drawings and Moore's Shelter Sketchbook.
For leaflet on 30 May-27 Sept 1998 Henry Moore display see 0017749.
0016354
Publisher: British Museum
Place Published: London
Year: 1994
Date & Collation: (1 Dec)-1995(26 Feb).ii,62pp.Illus.Artists' Statements.Edited by James PUTNAM and W.Vivian DAVIES.
Description: Published with Institute of International Visual Arts. Opens and closes with quotations from Moore on the British Museum, including one photograph. The Henry Moore Foundation appears in the acknowledgements. There is a passing mention of Moore in a prefatory text by Gilane Tawadros.
0017749
Publisher: British Museum
Place Published: London
Year: 1998
Date & Collation: (30 May-27 Sept).2pp(1 illus).Bibliog.
Description: Leaflet outlining Moore's career. For Henry Moore Centenary 1898-1998 display of small objects, and King and Queen, 1952-1953 bronze on loan from the Tate Gallery.
A gallery talk by James Putnam entitled Henry Moore at the British Museum took place on 1 June 1998, and a Study Day was held on 3 June 1998 (See 0017750).
See also 0017828 for A Sense of Form: Henry Moore at the British Museum, received August 1998.
A gallery talk by James Putnam entitled Henry Moore at the British Museum took place on 1 June 1998, and a Study Day was held on 3 June 1998 (See 0017750).
See also 0017828 for A Sense of Form: Henry Moore at the British Museum, received August 1998.
0017828
Publisher: British Museum
Place Published: London
Year: 1998
Date & Collation: (30 May-27 Sept).6pp folded leaflet(13 illus).
Description: Centenary Tribute display leaflet, with illustrations of work by Moore and historical items from the British Museum. Incoprporates published statements by the sculptor. Received August 1998. See also 0017749.
0003805
Publisher: British Museum
Place Published: London
Year: 1974
Date & Collation: (24 April-30 June).48pp(26 illus).
Description: An exhibition of a book dedicated by Henry Moore to W.H. Auden with related drawings. The nucleus of this exhibition is an advance copy presented to the Department of Prints and Drawings by the artist of the selection of poems by W.H. Auden illustrated or it would perhaps be truer to say interpreted with lithographs by Henry Moore..." (See 0003835).
GERE John. Preface.
(Explains as in the quotation above how the exhibition evolved lays emphasis on the black drawings and claims that "if by some unimaginable disaster his sculptures were totally obliterated his drawings etchings and lithographs would still establish him as one of the major artists of the time").
RUSSELL John. Auden/Moore.
(Discusses Auden and Moore as people and outlines Moore's approaches to the poems and the work; stressing the Coal Mine Drawings and the influence of Seurat as important background sources).
MOORE Henry. Introduction.
(Outlines the importance to his work of the British Museum and the concept of using works by Rembrandt Seurat Seghers and others as relevant influences. "In this exhibition I have tried to show some of the steps that preceded the Auden illustrations steps that go back over nearly half a century.").
MOORE Henry. Section one: Life drawing.
("For me life drawing has been a continual struggle to understand the complete three-dimensional form of the model and to express it on the flat surface of the paper." The two main kinds of drawing are based on outline and perspective on one hand and light and shade on the other. The black drawings are founded "on solid three-dimensional light-and-shade drawing... People so often think that in drawing one uses only one's intellect and intelligence leaving out emotion and sympathy. This is not so because one cannot observe clearly without understanding and feeling").
MOORE Henry. Section two: Spatial and pictorial drawing.
("By pictorial drawing I m ean setting the subject in space." The distinction between a painter's drawing and a sculptor's drawing is disliked: "In many of my drawings for sculpture I have placed objects in space sometimes indoors and sometimes in a landscape. I think my attempt to draw spatially is parallel to my early tendency to make holes in carvings: a hole in a piece of stone gives it thickness and depth by connecting the back to the front... The sculptor is or should be no less concerned with space than the painter" in order to "break the tyranny of the flat plane of the paper and open up the suggestion of space. Mystery plays a large and enlivening part in our lives... We are perpetually intrigued and fascinated by the unknown").
MOORE Henry. Section three: The Coalmine drawings.
(Explains how he came to undertake the drawings and his feelings and intentions below ground "at first like some terrible man-made inferno" and later problems like "expressing the gritty grubby smears of black coal-dust on the miners' bodies and faces at the same time as the anatomy underneath". Along with Seurat the Coal Mine Drawings have influenced his later work).
MOORE Henry. Section four: Black and white graphics.
(Short note on the connection between the Stonehenge Elephant Skull and Auden illustrations).
MOORE Henry. Section five: The book.
(Explains briefly his approach to the illustration of the poems via his Stonehenge series. "I decided not so much to illustrate as to complement or even contrast").
Section six: Auden memorabilia.
(This part of the exhibition included notebooks photographs together with Moore's drawings for the masks in the first Group Theatre production of The Dance of Death)."
GERE John. Preface.
(Explains as in the quotation above how the exhibition evolved lays emphasis on the black drawings and claims that "if by some unimaginable disaster his sculptures were totally obliterated his drawings etchings and lithographs would still establish him as one of the major artists of the time").
RUSSELL John. Auden/Moore.
(Discusses Auden and Moore as people and outlines Moore's approaches to the poems and the work; stressing the Coal Mine Drawings and the influence of Seurat as important background sources).
MOORE Henry. Introduction.
(Outlines the importance to his work of the British Museum and the concept of using works by Rembrandt Seurat Seghers and others as relevant influences. "In this exhibition I have tried to show some of the steps that preceded the Auden illustrations steps that go back over nearly half a century.").
MOORE Henry. Section one: Life drawing.
("For me life drawing has been a continual struggle to understand the complete three-dimensional form of the model and to express it on the flat surface of the paper." The two main kinds of drawing are based on outline and perspective on one hand and light and shade on the other. The black drawings are founded "on solid three-dimensional light-and-shade drawing... People so often think that in drawing one uses only one's intellect and intelligence leaving out emotion and sympathy. This is not so because one cannot observe clearly without understanding and feeling").
MOORE Henry. Section two: Spatial and pictorial drawing.
("By pictorial drawing I m ean setting the subject in space." The distinction between a painter's drawing and a sculptor's drawing is disliked: "In many of my drawings for sculpture I have placed objects in space sometimes indoors and sometimes in a landscape. I think my attempt to draw spatially is parallel to my early tendency to make holes in carvings: a hole in a piece of stone gives it thickness and depth by connecting the back to the front... The sculptor is or should be no less concerned with space than the painter" in order to "break the tyranny of the flat plane of the paper and open up the suggestion of space. Mystery plays a large and enlivening part in our lives... We are perpetually intrigued and fascinated by the unknown").
MOORE Henry. Section three: The Coalmine drawings.
(Explains how he came to undertake the drawings and his feelings and intentions below ground "at first like some terrible man-made inferno" and later problems like "expressing the gritty grubby smears of black coal-dust on the miners' bodies and faces at the same time as the anatomy underneath". Along with Seurat the Coal Mine Drawings have influenced his later work).
MOORE Henry. Section four: Black and white graphics.
(Short note on the connection between the Stonehenge Elephant Skull and Auden illustrations).
MOORE Henry. Section five: The book.
(Explains briefly his approach to the illustration of the poems via his Stonehenge series. "I decided not so much to illustrate as to complement or even contrast").
Section six: Auden memorabilia.
(This part of the exhibition included notebooks photographs together with Moore's drawings for the masks in the first Group Theatre production of The Dance of Death)."
0004271
Publisher: British Museum
Place Published: London
Year: 1972
Date & Collation: (28 April-31 Aug).28pp.
Description: Department of Prints and Drawings list of works by over 100 historical and contemporary artists, preceded by short unsigned Preface.
15-16 Henry Moore: eight Drawings 1924-1957 and eight Elephant Skull etchings 1970.
15-16 Henry Moore: eight Drawings 1924-1957 and eight Elephant Skull etchings 1970.