Henry Moore Artwork Catalogue
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NASH S.A. Introduction and acknowledgements.
NASH S.A. Naum Gabo: sculptures of purity and possibility.
(Includes a photograph of Moore's Stringed Figure, 1937 bronze and mention of Moore in a section on Gabo in England).
LODDER Christina. Gabo in Russia and Germany 1890-1922.
MERKERT J. Conceptions of sculpture: Gabo and Paris in 1937.
LEE Natalie H. and NASH S.A. Chronology.
Catalogue.
SANDERSON Colin and LODDER C. Catalogue raisonné of the constructions and sculptures.
82-83(4 illus) NETTA Irene. Henry Moore: Reclining Figure.
(Reclining Figure, 1929 brown Horton stone.
For 1997 and other editions see 0017485.
234-301(3 Moore illus) 20. Jahrhundert.^Three small photographs of two Henry Moore sculptures, and passing mentions: on pages 235, 254, 258, and 278.
(Moore as the most important British sculptor of the twentieth century. Outline of his career, which divided into early carvings and late bronzes, with the human figure as central subject. The pioneers of modern sculpture. Contacts with Epstein. Gaudier-Brzeska. Moore and Primitve Art and Greek Art. Abstraction and Surrealism in the 1930s. Post-war bronzes).
32-45 ALLEMAND-COSNEAU Claude and FERBOS-NAKOV Catherine. Form: the seeing eye: Henry Moore, London to Paris and back.
(Indifference to Moore in France. Moore's interest in Rodin, and particularly Cézanne. Cahiers d'Art, Minotaure and other journals. Abstraction and Surrealism in London. Unesco Reclining Figure, 1957-1958 travertine marble.
46-53 HINDRY Ann. Moore, Moore's children: being there.
(Moore exerted no direct influence, although some young landscape and figure artits have been able to develop their own freedom on the basis of Moore's work).
59 MITCHINSON David. A note on plasters.
(Moore's use of maquettes, from which bronzes were produced by fifty assistants over the years. Collection at the Henry Moore Foundation and Art Gallery of Ontario).
60-183 Plates.
(120 sculptures and drawings 1921-1982, with commentaries mainly by Julie SUMMERS, and quotations mostly from published sources).
185-196 HOUDART Célia. Chronology.
(Illustrated chronology 1898-1995).
198-200 Selected Bibliography).
For German language edition see 0017149.
For French language catalogue see 0016895.
82-83(4 illus) NETTA Irene. Henry Moore: Reclining Figure, 1929.
(Reclining Figure, 1929 brown Horton stone.
For German edition see 0017495. For Danish version see 18100. For 2003 edition see 0020506.
82-83 NETTE Irene. Henry Moore.
See 0017485 for description.
For Danish version see 0018100.
233-234 (2 illus) Henry Moore.
Entry initialled A.K.(Alexandra Knapp).
96(1 illus) Henry Moore.
Photograph of Upright Internal-External Form, 1951 plaster under '1945: Abstract Expressionism, Sculpture'. There is also brief mention of Henry Moore, and a three-line biography on page 18.
234,235(1 illus) Henry Moore.
Photograph of Woman, 1957-1958 bronze and brief mention in section Examples of Images in Contemporary Works: displays the powerful expression of movement of the formative processes of pressing stroking hands that created the work that so successfully conveys the contrasts of mountain-like swellings within the cavities of the body.""
7 LLEWELLYN Tim, AUBERT Jean, MARK Lothar. Foreword.
8-31 FATH Manfred. Henry Moore: the path to maturity.
(Moore as the most important British sculptor of the twentieth century. Outline of his career, which divided into early carvings and late bronzes, with the human figure as central subject. The pioneers of modern sculpture. Contacts with Epstein. Gaudier-Brzeska. Moore and Primitive Art and Greek Art. Abstraction and Surrealism in the 1930s. Post-war bronzes).
32-45 ALLEMAND-COSNEAU Claude and FERBOS-NAKOV Catherine. Form: the seeing eye: Henry Moore, London to Paris and back.
(Indifference to Moore in France. Moore's interest in Rodin, and particularly Cézanne. Cahiers d'Art, Minotaure and other journals. Abstraction and Surrealism in London. Unesco Reclining Figure, 1957-1958 travertine marble.
46-53 HINDRY Ann. Moore, Moore's children: being there.
(Moore exerted no direct influence, although some young landscape and figure artits have been able to develop their own freedom on the basis of Moore's work).
59 MITCHINSON David. A note on plasters.
(Moore's use of maquettes, from which bronzes were produced by fifty assistants over the years. Collection at the Henry Moore Foundation and Art Gallery of Ontario).
60-183 Plates.
(120 sculptures and drawings 1921-1982, with commentaries mainly by Julie SUMMERS, and quotations mostly from published sources).
185-196 HOUDART Célia. Chronology.
(Illustrated chronology 1898-1995).
198-200 Selected Bibliography).
For German language edition see 0017149.
For French language catalogue see 0016895.
550-551(2 illus) Henry Moore; texts by Georg SYAMKEN. In the 20th Century Sculpture section: Three Standing Figures, 1953 bronze; Upright Internal-External Form, 1952-1953 bronze.
162-165 Der Mythos vom Ursprung. Reprinted from F.A.Z., 18 June 1977. See 0003173 for summary.
From Die Kunst und das schöne Heim, Nov 1949 (See 0008427). There are two or three passing mentions of Moore in other texts in this volume.
76(1 illus) Henry Moore.
Photograph showing Draped Reclining Figure, 1952-1953 bronze outside Kunstgewerbe Museum (Museum of Applied Art).
146,147,329-330(3 illus) Henry Moore.
For annotation see 0000107. The biography/bibliography on pages 329-330 has been restructured, but the catalogue entry remains the same as in the French edition.
p.50: mention of Moore sculpture outside the headquarters of the Banque Lambert in Brussels (Locking Piece). pp.97-98: Moore as successful self-marketer. illus. of Sheep Piece.
50 artists are presented, each with brief biography and thumbnail portrait together with representational image/s of their work. Moore's biography is presented on page 94, it includes reference to some of his influences, contemporaries and his works: reclining figures sited at UNESCO in Paris, Lincoln Center in New York and his Transformation Drawings and Shelter Drawings. On page 95 there is a full page image of King and Queen 1952-53 (LH 350) sited at Glenkiln, Scotland and a double page image of Reclining Figure No.7 1980 plaster with surface colour (LH 752) on pages 96 and 97.