Henry Moore Artwork Catalogue
Search
Skip to main content
Refine Results
11 results
for
*
0014809
Publisher: Leeds City Art Galleries
Place Published: Leeds
Year: 1988
Date & Collation: (19 May-3 July).24pp.Illus.Biog.Texts by Tessa SIDEY, Elaine KOWALSKY,Terry FRIEDMAN. Exhibition organised and catalogue edited by Nigel WALSH.
Description: Touring exhibition supported by Canada House, London. Includes a text on page 22 by Terry Friedman entitled Elaine Kowalsky and the Henry Moore Printmaking Fellowship at Leeds Polytechnic. This outlines Moore's printmaking interests in his early years as a student, and the current patronage of the Henry Moore Foundation.
0012470
Publisher: Leeds City Art Galleries
Place Published: Leeds
Year: 1987
Date & Collation: 1pp.
Description: 20 July 1987 press release on a press conference and buffet lunch at Leeds City Art Gallery on 29 July 1987 on broadening of the activities of the Henry Moore Sculpture Trust, set up in 1982.
0011107
Publisher: Leeds City Art Galleries
Place Published: Leeds
Year: 1988
Date & Collation: (21 July-18 Sept).75pp.Illus.Biog.Bibliog.Texts by Dennis FARR, Ruth WALTON, Adam WHITE.
Description: Henry Moore Centre for the Study of Sculpture exhibition also at Mead Gallery, University of Warwick Arts Centre (Coventry) 1-29 Oct 1988. Includes brief quotations from Moore's published statements, and passing mention of Moore and his encouragement of the younger Yorkshire artist.
0011142
Author/Editor: NESBITT Judith.
Publisher: Leeds City Art Galleries
Place Published: Leeds
Year: 1988
Date & Collation: 36pp.Illus.
Description: Published with the support of Yorkshire Rider Ltd. A guide to looking at works of art in Leeds City Art Gallery; includes a Leeds City Art Gallery 1888-1988 badge attached to the front cover by sticky tape.
22-23(1 illus) Henry Moore: Reclining Figure, 1929 brown Hornton stone.the different parts of the body resemble the features of a landscape. "Title page illustration: Charcoal drawing of Henry Moore Mask by Isobel Diamond age 8.""
22-23(1 illus) Henry Moore: Reclining Figure, 1929 brown Hornton stone.the different parts of the body resemble the features of a landscape. "Title page illustration: Charcoal drawing of Henry Moore Mask by Isobel Diamond age 8.""
0014975
Publisher: Leeds City Art Galleries
Place Published: Leeds
Year: 1992
Date & Collation: .88pp.Illus.Biog.Bibliog.Texts.
Description: Henry Moore Centre for the Study of Sculpture exhibition at Leeds City Art Gallery and Yorkshire Sculpture Park, 23 April-13 June 1992; Royal Botanic Gardens (Edinburgh), 27 June-9 Aug 1992; Arnolfini Gallery (Bristol), 29 Aug-4 Oct 1992. Foreword by Terry Friedman, essays by Marina Warner and James Hamilton, Catalogue raisonné by Clive Adams. James Hamilton mentions on page 31 that Randall-Page's works are timeless and would sit as well beside an ancient Aztec or Indian carved snake as beside a Brancusi head or a Moore reclining figure". Acknowledges Henry Moore Foundation and Henry Moore Sculpture Trust."
0015455
Publisher: Leeds City Art Galleries
Place Published: Leeds
Year: 1993
Date & Collation: .182pp.Illus.Bibliog.Texts.
Description: Published in association with the Henry Moore Foundation and Lund Humphries on the occasion of the exhibition 25 Nov 1993-5 Feb 1994.
7 READ Benedict. Preface.
(Acknowledgements, including Henry Moore Foundation).
9 BOWNESS Alan. Herbert Read: a foreword.
(Meeting Moore and Hepworth and Nicholson changed his life").
11-20 (1 Moore illus). READ Benedict. Herbert Read: an overview.
(Art Now with three Moore illustrations (See 0009284). Hampstead in the 1930s and Moore's drawing to Read's poem 1945).
25-33 PARASKOS Michael. Herbert Read and Leeds.
38-52 (1 Moore illus). CAUSEY Andrew. Herbert Read and the North European Tradition 1921-33.
(Read and Max Sauerlandt visited Moore from whose exhibition in April 1931 at the Leicester Galleries (See 0009327) Sauerlandt purchased a sculpture for Hamburg).
59-71 READ Herbert. A nest of gentle artists.
(Reprinted from Apollo September 1962 (See 0006559) with An Event of Some Importance in the History of English Art: postlude by Judith COLLINS.
Read briefly occupied Moore's studio flat in Hampstead in the Summer of 1933 while Henry and Irina were away in Kent. Quotes Read's writings on Moore including his Surrealist association).
76-94 (2 Moore illus). THISTLEWOOD David. Herbert Read's paradigm: a British vision of modernism.
(Read's shared Yorkshire background with Moore and his writing on the sculptor. Moore "appeared to exemplify a synthetic resolution of the polarities" between Abstraction and Surrealism. Organic vitalism in Moore's art).
95-102 THISTLEWOOD David. Herbert Read: a new vision of art and industry.
103-118 (3 Moore illus). FRIEDMAN Terry. Herbert Read on Sculpture.
("In 1928 or 1929 Read's boss at the Victoria and Albert Museum Eric Maclagan had introduced him to Henry Moore...The foundation of Moore's great reputation had begun to be laid in 1928 by other sympathetic critics. "Hampstead in the 1930s "these were the years Rea d most closely identified himself with Moore". Unit 1. The 1934 monograph (See 0009257): "the work of the late 1920s and early 1930s was his most brilliant achievement." Read's subsequent texts which mentioned Moore including The Art of Sculpture (See 0007425).
119-132 (3 Moore illus). BURSTON Robert. The Geometry of Fear: Herbert Read and British Modern Sculpture after the Second World War.
(Passing mentions of Moore in relation to the British Council Arts Council of Great Britain E.C. Gregory Read's texts on Moore comparison with Hepworth The Sculptor in Modern Society (See 0007724) "delivered by Moore but probably largely written by Read.").
133-139 DIAPER Hilary. The Gregory Fellowships.
(Eric Craven Gregory as an early promoter and lifelong friend of Henry Moore. The committee which directed the Fellowship project at the University of Leeds in 1943 consisted of Gregory Moore Read T.S. Eliot and Donamy Bobrée and others. The scheme was accepted in 1943 and got underway in 1949).
140-145 (1 Moore illus). A conversation between Patrick HERON and Benedict READ.
(Mentions the 1944 book on Moore: "I have always thought Herbert in that book alone created Henry Moore. It wasn't Sir Kenneth Clark...").
146-166 Herbert Read 1893-1968: the turbulent years of The Pope of Modern Art: a chronology and select bibliography compiled by Terry Friedman and David Thistlewood.
(Includes several references to Henry Moore).
168-178 Catalogue.
(224 exhibits including Ivon Hitchens' Henry Moore in his Parkhill Road studio and exhibits 139-149 Henry Moore: eight sculptures 1929-1956 two Drawings 1942-1946 one Print 1946).
The illustration pages also include a further Moore photograph on page 75."
7 READ Benedict. Preface.
(Acknowledgements, including Henry Moore Foundation).
9 BOWNESS Alan. Herbert Read: a foreword.
(Meeting Moore and Hepworth and Nicholson changed his life").
11-20 (1 Moore illus). READ Benedict. Herbert Read: an overview.
(Art Now with three Moore illustrations (See 0009284). Hampstead in the 1930s and Moore's drawing to Read's poem 1945).
25-33 PARASKOS Michael. Herbert Read and Leeds.
38-52 (1 Moore illus). CAUSEY Andrew. Herbert Read and the North European Tradition 1921-33.
(Read and Max Sauerlandt visited Moore from whose exhibition in April 1931 at the Leicester Galleries (See 0009327) Sauerlandt purchased a sculpture for Hamburg).
59-71 READ Herbert. A nest of gentle artists.
(Reprinted from Apollo September 1962 (See 0006559) with An Event of Some Importance in the History of English Art: postlude by Judith COLLINS.
Read briefly occupied Moore's studio flat in Hampstead in the Summer of 1933 while Henry and Irina were away in Kent. Quotes Read's writings on Moore including his Surrealist association).
76-94 (2 Moore illus). THISTLEWOOD David. Herbert Read's paradigm: a British vision of modernism.
(Read's shared Yorkshire background with Moore and his writing on the sculptor. Moore "appeared to exemplify a synthetic resolution of the polarities" between Abstraction and Surrealism. Organic vitalism in Moore's art).
95-102 THISTLEWOOD David. Herbert Read: a new vision of art and industry.
103-118 (3 Moore illus). FRIEDMAN Terry. Herbert Read on Sculpture.
("In 1928 or 1929 Read's boss at the Victoria and Albert Museum Eric Maclagan had introduced him to Henry Moore...The foundation of Moore's great reputation had begun to be laid in 1928 by other sympathetic critics. "Hampstead in the 1930s "these were the years Rea d most closely identified himself with Moore". Unit 1. The 1934 monograph (See 0009257): "the work of the late 1920s and early 1930s was his most brilliant achievement." Read's subsequent texts which mentioned Moore including The Art of Sculpture (See 0007425).
119-132 (3 Moore illus). BURSTON Robert. The Geometry of Fear: Herbert Read and British Modern Sculpture after the Second World War.
(Passing mentions of Moore in relation to the British Council Arts Council of Great Britain E.C. Gregory Read's texts on Moore comparison with Hepworth The Sculptor in Modern Society (See 0007724) "delivered by Moore but probably largely written by Read.").
133-139 DIAPER Hilary. The Gregory Fellowships.
(Eric Craven Gregory as an early promoter and lifelong friend of Henry Moore. The committee which directed the Fellowship project at the University of Leeds in 1943 consisted of Gregory Moore Read T.S. Eliot and Donamy Bobrée and others. The scheme was accepted in 1943 and got underway in 1949).
140-145 (1 Moore illus). A conversation between Patrick HERON and Benedict READ.
(Mentions the 1944 book on Moore: "I have always thought Herbert in that book alone created Henry Moore. It wasn't Sir Kenneth Clark...").
146-166 Herbert Read 1893-1968: the turbulent years of The Pope of Modern Art: a chronology and select bibliography compiled by Terry Friedman and David Thistlewood.
(Includes several references to Henry Moore).
168-178 Catalogue.
(224 exhibits including Ivon Hitchens' Henry Moore in his Parkhill Road studio and exhibits 139-149 Henry Moore: eight sculptures 1929-1956 two Drawings 1942-1946 one Print 1946).
The illustration pages also include a further Moore photograph on page 75."
0011577
Publisher: Leeds City Art Galleries
Place Published: Leeds
Year: 1987
Date & Collation: (16 April-21 June).xii,291pp.Illus.Bibliog.Texts.
Description: Exhibition organized by the Henry Moore Centre for the Study of Sculpture. Also at Whitechapel Art Gallery, 3 July-13 Sept 1987. Sponsored in Leeds by the Henry Moore Foundation and in London by the Henry Moore Foundation and Midland Bank. Also captioned Arts Council Funded".
viii GILBERT Christopher NASH Elizabeth SEROTA Nicholas KEYNES Stephen. Foreword.
(Mentions Moore and the patronage of the Foundation).
1-3 Epstein in person.
(Quotes from Moore's obituary of Epstein in the Sunday Times 23 August 1959 (See 0007110)).
20-34 CORK Richard. Image from stone: Epstein as carver.
(Cites Moore's obituary and mentions Epstein's patronage of Moore and their common interests. Moore overlooked Epstein's achievement as a carver).
35-43 FRIEDMAN Terry. Epsteinism.
(The ten illustrations to this essay feature works by Henry Moore. Moore met Epstein in 1921 with a letter of introduction from Charles Rutherston. The two sculptors shared common interests and doctrines. The influence of Epstein is seen in some early drawings and carvings by Moore. Epstein recommended Moore to Charles Holden architect of the London Underground Headquarters. The press coverage of the two sculptors is surveyed. Quotes Epstein's introduction to Moore's 1931 catalogue (See 0009327). Moore took over Epstein's role as the most prominent sculptor in Britain. Press attacks against the two artists continued. The career and political and other writings of the artists during the 1930s are outlined).
44-48 BARKER Elizabeth. The primitive within: the question of race in Epstein's career 1917-1929.
(Includes a list-mention of Moore).
79-95 Jacob Epstein: a chronology 1880-1959; compiled by Elsje Prinz and Terry Friedman.
(Includes several mentions of Henry Moore).
208- SILBER Evelyn and FRIEDMAN Terry. Epstein in the public eye 1917-1930.
(Mentions Hawaiian Deity in the British Museum also drawn by Henry Moore. Also lists Moo re as one of the London Underground Headquarters artists).
229-241 SILBER Evelyn and FRIEDMAN Terry. Isolation and defiance 1930-1943.
("Like Moore he aligned himself with the anti-fascist cause").
262- SILBER Evelyn and FRIEDMAN Terry. The burden of fame 1950-1959.
(Mentions Moore as a possible candidate to produce the Cavendish Square Madonna and Child commission).
A reprint edition of 2000 copies of this catalogue was produced in 1989 with the title page crediting W.S. Maney and Son in association with the Henry Moore Centre for the Study of Sculpture."
viii GILBERT Christopher NASH Elizabeth SEROTA Nicholas KEYNES Stephen. Foreword.
(Mentions Moore and the patronage of the Foundation).
1-3 Epstein in person.
(Quotes from Moore's obituary of Epstein in the Sunday Times 23 August 1959 (See 0007110)).
20-34 CORK Richard. Image from stone: Epstein as carver.
(Cites Moore's obituary and mentions Epstein's patronage of Moore and their common interests. Moore overlooked Epstein's achievement as a carver).
35-43 FRIEDMAN Terry. Epsteinism.
(The ten illustrations to this essay feature works by Henry Moore. Moore met Epstein in 1921 with a letter of introduction from Charles Rutherston. The two sculptors shared common interests and doctrines. The influence of Epstein is seen in some early drawings and carvings by Moore. Epstein recommended Moore to Charles Holden architect of the London Underground Headquarters. The press coverage of the two sculptors is surveyed. Quotes Epstein's introduction to Moore's 1931 catalogue (See 0009327). Moore took over Epstein's role as the most prominent sculptor in Britain. Press attacks against the two artists continued. The career and political and other writings of the artists during the 1930s are outlined).
44-48 BARKER Elizabeth. The primitive within: the question of race in Epstein's career 1917-1929.
(Includes a list-mention of Moore).
79-95 Jacob Epstein: a chronology 1880-1959; compiled by Elsje Prinz and Terry Friedman.
(Includes several mentions of Henry Moore).
208- SILBER Evelyn and FRIEDMAN Terry. Epstein in the public eye 1917-1930.
(Mentions Hawaiian Deity in the British Museum also drawn by Henry Moore. Also lists Moo re as one of the London Underground Headquarters artists).
229-241 SILBER Evelyn and FRIEDMAN Terry. Isolation and defiance 1930-1943.
("Like Moore he aligned himself with the anti-fascist cause").
262- SILBER Evelyn and FRIEDMAN Terry. The burden of fame 1950-1959.
(Mentions Moore as a possible candidate to produce the Cavendish Square Madonna and Child commission).
A reprint edition of 2000 copies of this catalogue was produced in 1989 with the title page crediting W.S. Maney and Son in association with the Henry Moore Centre for the Study of Sculpture."
0001520
Author/Editor: Leeds City Art Galleries.
Publisher: Leeds City Art Galleries
Place Published: Leeds
Year: 1982
Date & Collation: 16pp.
Description: 9 Henry Moore.
Lists nine Moore works 1920-1982, including typescript and programme for the play Narayana and Bhataryan, c.1920 (See 0009620 and 0009470).
Lists nine Moore works 1920-1982, including typescript and programme for the play Narayana and Bhataryan, c.1920 (See 0009620 and 0009470).
0001471
Publisher: Leeds City Art Galleries
Place Published: Leeds
Year: 1982
Date & Collation: (27 Nov)-1983(29 Jan).87pp(114 illus).Bibliog.
Description: A catalogue with three essays" and "An exhibition to celebrate the re-opening of Leeds City Art Gallery with The Moore Sculpture Gallery and The Henry Moore Centre for the Study of Sculpture".
43 Sculptures Drawings and other works 1917-1940. Supported by 13 historical works from the British Museum and the Victoria and Albert Museum. The pictorial section of the catalogue incorporates two dozen previously published statements by Moore.
NASH Elizabeth and ROWE Robert. Foreword.
(Moore's Yorkshire background; and acknowledgments).
GARROULD Ann. Henry Moore 1898-1922.
(Moore's niece writes on the early childhood incorporating reminiscences from recent conversations. Encouragement of his father and close-knit family life of brothers and sisters. Castleford elementary school and Sunday school teachings and Alice Gostick art mistress at Castleford secondary school who lent Moore her wood carving tools and invited him to her home to see new art journals. Excitement at work of Mestrovic. Moore's teacher-training and recruitment into Civil Service Rifles on his first visit to London in 1917. Gassed at Cambrai on 30 November 1917 and hospitalised in Cardiff and later qualifying as physical training instructor at Aldershot before returning to France until February 1919. Returned to teaching in Castleford before attending Leeds School of Art in September 1919. Studies under Mr. Pearson and Reginald Cotterill. Meeting with Sir Michael Sadler and friendship with Raymond Coxon. Cooperation with Albert Wainwright and Arthur Dalby on Narayana and Bhataryan. Scholarship to R.C.A. in 1921 after reading Roger Fry later influence of Gaudier's writings and importance of drawing. College vacations in Norfolk. William Rothenstein as Principal of R.C.A. who subsequently appointed Moore to the staff).
FRIEDMAN Terry. 1921-1929.
(Quotes from letters reporting the excitement of living in London visit to Bradford collector Charl es Rutherston and life at the R.C.A. Early influences at the time included Pellerin Collection of Cézannes in Paris 1920s Victoria and Albert Museum and the British Museum. The modernism of Gaudier and Epstein was synthesized with primitive works to produce Moore's 1920s carvings. The Mexican influence and Mother and Child motifs developed; while Egyptian art influences are noted. West Wind 1928-1929 Portland stone the Leeds Reclining Figure 1929 brown Hornton stone and watching African carvers at the 1924 Wembley Exhibition were part of 1920s research and exploration which led to 1930s invention).
MITCHINSON David. 1930-1940.
(Moore married Irina Radetzky in 1929 and the couple lived at 11A Parkhill Road Hampstead for the next ten years. During the decade many international art figures lived in the immediate vicinity. Country cottages at Barfreston in 1931 and Kingston in 1934 gave Moore the space he needed for carvings. He exhibited from 1924 with one man shows from 1928 to adverse press criticism. Moore moved from the Royal College of Art to Chelsea School of Art where he taught for two days per week until 1940. Sketchbooks were produced throughout the decade with life drawings studies for sculpture and observations of Natural forms. Carvings of the decade are discussed in some detail. From 1935 the use of maquettes began. Moore's activities within Surrealist movement Unit One Circle are outlined. The outbreak of the Spanish Civil War and World War 2 end the decade and mark the removal to Much Hadham and the continuation of Moore's creativity into the work of the past 40 years)."
43 Sculptures Drawings and other works 1917-1940. Supported by 13 historical works from the British Museum and the Victoria and Albert Museum. The pictorial section of the catalogue incorporates two dozen previously published statements by Moore.
NASH Elizabeth and ROWE Robert. Foreword.
(Moore's Yorkshire background; and acknowledgments).
GARROULD Ann. Henry Moore 1898-1922.
(Moore's niece writes on the early childhood incorporating reminiscences from recent conversations. Encouragement of his father and close-knit family life of brothers and sisters. Castleford elementary school and Sunday school teachings and Alice Gostick art mistress at Castleford secondary school who lent Moore her wood carving tools and invited him to her home to see new art journals. Excitement at work of Mestrovic. Moore's teacher-training and recruitment into Civil Service Rifles on his first visit to London in 1917. Gassed at Cambrai on 30 November 1917 and hospitalised in Cardiff and later qualifying as physical training instructor at Aldershot before returning to France until February 1919. Returned to teaching in Castleford before attending Leeds School of Art in September 1919. Studies under Mr. Pearson and Reginald Cotterill. Meeting with Sir Michael Sadler and friendship with Raymond Coxon. Cooperation with Albert Wainwright and Arthur Dalby on Narayana and Bhataryan. Scholarship to R.C.A. in 1921 after reading Roger Fry later influence of Gaudier's writings and importance of drawing. College vacations in Norfolk. William Rothenstein as Principal of R.C.A. who subsequently appointed Moore to the staff).
FRIEDMAN Terry. 1921-1929.
(Quotes from letters reporting the excitement of living in London visit to Bradford collector Charl es Rutherston and life at the R.C.A. Early influences at the time included Pellerin Collection of Cézannes in Paris 1920s Victoria and Albert Museum and the British Museum. The modernism of Gaudier and Epstein was synthesized with primitive works to produce Moore's 1920s carvings. The Mexican influence and Mother and Child motifs developed; while Egyptian art influences are noted. West Wind 1928-1929 Portland stone the Leeds Reclining Figure 1929 brown Hornton stone and watching African carvers at the 1924 Wembley Exhibition were part of 1920s research and exploration which led to 1930s invention).
MITCHINSON David. 1930-1940.
(Moore married Irina Radetzky in 1929 and the couple lived at 11A Parkhill Road Hampstead for the next ten years. During the decade many international art figures lived in the immediate vicinity. Country cottages at Barfreston in 1931 and Kingston in 1934 gave Moore the space he needed for carvings. He exhibited from 1924 with one man shows from 1928 to adverse press criticism. Moore moved from the Royal College of Art to Chelsea School of Art where he taught for two days per week until 1940. Sketchbooks were produced throughout the decade with life drawings studies for sculpture and observations of Natural forms. Carvings of the decade are discussed in some detail. From 1935 the use of maquettes began. Moore's activities within Surrealist movement Unit One Circle are outlined. The outbreak of the Spanish Civil War and World War 2 end the decade and mark the removal to Much Hadham and the continuation of Moore's creativity into the work of the past 40 years)."
0011612
Author/Editor: MILLER Corinne, NEAD Lynda, and POLLOCK Griselda
Publisher: Leeds City Art Galleries
Place Published: Leeds
Year: 1989
Date & Collation: 1989. 68pp.Illus.Bibliog.Prefatory texts.
Description:
Exhibition sponsored by Hammond Suddards solicitors. 66 exhibits in six categories. Exhibits 62 and 65 (both illus.) Henry Moore carvings.
In the Woman and Power section, Mother and Child, 1936 green Hornton stone (LH 171) "a single cylindrical solid is enwrapped by a few rudimentary yet universal signs for the human body". Reclining Figure 1929 brown Hornton stone (LH 59) "is both human and geological...an icon of almost indestructible power".
0000199
Publisher: Leeds City Art Galleries
Place Published: Leeds
Year: 1986
Date & Collation: (10 Oct-7 Dec).216pp.Illus.Bibliog.Chronology.Texts.Catalogue by A. ROBERTSON and Terry FRIEDMAN.
Description: An exhibition subtitled Angels of Anarchy and Machines for Making Clouds" and "Dedicated to the Memory of Sir Roland Penrose 1900-1984". "The Henry Moore Foundation and the Henry Moore Centre for the Study of Sculpture (Leeds City Art Galleries) have contributed generously towards the publication..."
196 works by 60 artists.
92,93,146,147,151,152,161,168,178,185,206 etc(10 illus) Henry Moore: one Drawing 1932 six Sculptures 1931-1940 one Print 1939.
The catalogue entries 106-108,110,140,186-188 provide commentary on these works mostly by quotations from published sources including statements by Henry MOORE.
6 NASH Elizabeth and GILBERT Christopher. Foreword.
(Acknowledges financial assistance and notes Moore as a leading figure).
9-18 ROBERTSON Alexander. The heroic years of Surrealism in France 1924-1936.
(Mentions impact on Moore).
19-55 REMY Michel. Surrealism's vertiginous descent on Britain.
(Surveys critical reception of Surrealism in Britain notes Moore's annual visits to Paris and describes 1936 ISE exhibition and publications Artists International Association and London Gallery activity and subsequent writing with passing mentions of Moore.
Page 51-52 comments on Moore and McWilliam noting Moore's four-year membership of the Group and participation in political activity. Influences of Picasso and Giacometti are noted and Moore's "Innovative spirit...based on the deformation and the disproportion of forms" is discussed briefly).
56-84 GOODING Mel. A Selection of British Texts on Surrealism 1930-1943.
(Page 64-65 is extracted from Notes on Sculpture from The Painter's Object (See 0009196). Page 76 reprints the Declaration on Spain distributed with Contemporary Poetry and Prose number 7 November 1936 (See 0009217) and signed by Moore and ten others of the Surrealist Group in England).
85-100 Colour Plates.
101-188 Catalogue.
189-199 Michel REMY. British Surrealism: a chronology.
(Includes half-a-dozen mentions of Moore).
200-212 Catalogue of the International Surrealist Exhibition of 1936.
(Lists the seven Moore exhibits 230-236 (See 0009213) and includes installation photographs)."
196 works by 60 artists.
92,93,146,147,151,152,161,168,178,185,206 etc(10 illus) Henry Moore: one Drawing 1932 six Sculptures 1931-1940 one Print 1939.
The catalogue entries 106-108,110,140,186-188 provide commentary on these works mostly by quotations from published sources including statements by Henry MOORE.
6 NASH Elizabeth and GILBERT Christopher. Foreword.
(Acknowledges financial assistance and notes Moore as a leading figure).
9-18 ROBERTSON Alexander. The heroic years of Surrealism in France 1924-1936.
(Mentions impact on Moore).
19-55 REMY Michel. Surrealism's vertiginous descent on Britain.
(Surveys critical reception of Surrealism in Britain notes Moore's annual visits to Paris and describes 1936 ISE exhibition and publications Artists International Association and London Gallery activity and subsequent writing with passing mentions of Moore.
Page 51-52 comments on Moore and McWilliam noting Moore's four-year membership of the Group and participation in political activity. Influences of Picasso and Giacometti are noted and Moore's "Innovative spirit...based on the deformation and the disproportion of forms" is discussed briefly).
56-84 GOODING Mel. A Selection of British Texts on Surrealism 1930-1943.
(Page 64-65 is extracted from Notes on Sculpture from The Painter's Object (See 0009196). Page 76 reprints the Declaration on Spain distributed with Contemporary Poetry and Prose number 7 November 1936 (See 0009217) and signed by Moore and ten others of the Surrealist Group in England).
85-100 Colour Plates.
101-188 Catalogue.
189-199 Michel REMY. British Surrealism: a chronology.
(Includes half-a-dozen mentions of Moore).
200-212 Catalogue of the International Surrealist Exhibition of 1936.
(Lists the seven Moore exhibits 230-236 (See 0009213) and includes installation photographs)."