Henry Moore Artwork Catalogue
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0009279
Author/Editor: GASCOYNE David.
Publisher: New English Weekly
Place Published: London
Year: 1934
Date & Collation: (21 June) 5(10) 234.
Description: Review of 0009257, noting that Moore's figures contain the common denominator of all types of humanity" and seeing that "it was a mistake to have called Moore's sculpture degenerate" (See 0009278). Moore's style is seen as difficult to understand but "he may eventually take a high place in the history of British art"."
0009269
Publisher: Apollo
Place Published: London
Year: 1934
Date & Collation: (Aug) 97.Text initialled J.P.
Description: Note on Herbert Read's book (See 0009257), placing Moore amongst contemporary European sculptors, but seeing the works as more powerful as objects in their own right instead of the analogy with natural forms.
0009275
Publisher: Listener
Place Published: London
Year: 1934
Date & Collation: (18 July)..
Description: Short book review of 0009257. It is a tribute to the virility of the modern movement in sculpture in this country that a book devoted entirely to the work of one of the younger sculptors should have been published with every chance of success. Few among them deserve recognition more than Henry Moore.""
0009281
Publisher: Pencil Points
Place Published: New York
Year: 1934
Date & Collation: (Nov) 540(2 illus).
Description: Column which reproduces two photographs, one of which is Reclining Woman, 1930 green Hornton stone: dear old England has gone Bolshy...sculptural thingummy.""
0009268
Author/Editor: WATSON Francis.
Publisher: Yorkshire Post
Place Published: Leeds
Year: 1934
Date & Collation: (29 Aug)..(1 illus).
Description: Short book review of:
GILL Eric. Art and a Changing Civilisation.
READ Herbert. Henry Moore: Sculptor (See 0009257).
Unit One; edited by Herbert Read (See 0009258).Yet perhaps it is this very neglect, this very divorce of the artist from the State and the public, which has made Moore a superlatively good sculptor."
GILL Eric. Art and a Changing Civilisation.
READ Herbert. Henry Moore: Sculptor (See 0009257).
Unit One; edited by Herbert Read (See 0009258).Yet perhaps it is this very neglect, this very divorce of the artist from the State and the public, which has made Moore a superlatively good sculptor."
0009274
Author/Editor: PORTEUS Hugh Gordon.
Publisher: Listener
Place Published: London
Year: 1934
Date & Collation: (4 April) 584-586(5 illus).
Description: Note on Unit 1 (See 0009258), with a brief quotation from the text by Henry Moore, whom some of us believe to be among the most powerful living artists". This text is "scrutinised from a different point of view" by D.S. MacColl in an article entitled Visual and Vocal Art in the Listener 1934 (9 May) 799-800 in which "Mr Moore is interesting" while "the proportion of solemn piffle is no more than might be expected"."
0009280
Publisher: New Statesman and Nation
Place Published: London
Year: 1934
Date & Collation: (15 Sept) 334,336.
Description: Includes short book review of Henry Moore: Sculptor (See 0009257), seeing Moore's work through stages of domination by human form, compromise demanded by the materials, and the concept solved by abstraction. This is not compromise but expression.""
0009270
Author/Editor: RICHARDS J.M.
Publisher: Architectural Review
Place Published: London
Year: 1934
Date & Collation: (Sept) 90-91(2 illus).1 plate.
Description: Review of Herbert Read's Henry Moore (See 0009257). Gaudier-Brzeska and Moore possess the same pragmatic approach: a common sense of the sculptural qualities inherent in organic objects". Reproductions of drawings and photographs of the sculpture are said to combine satisfactorily in the book. There are quotations from the text rationalising the distinction between carving and modelling into the necessity of truth to material.
Extensive extract in 0001454."
Extensive extract in 0001454."
0009267
Publisher: The Times
Place Published: London
Year: 1934
Date & Collation: (9 Aug)..
Description: Book review of 0009257. To a certain extent Mr Moore strikes us as trying to do things for which sculpture is not the right medium.""
0009266
Publisher: Evening Sentinel
Place Published: Hanley
Year: 1934
Date & Collation: (6 Aug)..Text initialled E.N.S.
Description: Review of Unit One at Hanley Museum and Art Gallery, which includes Henry Moore ultra-modern...illogical and meaningless...repulsive"."
0009272
Publisher: Design for Today
Place Published: London
Year: 1934
Date & Collation: (Aug)..
Description: Short book review of 0009257. Not only does he isolate and clarify exactly those qualities which are of major importance in the art of Henry Moore but he supplies the reader with a text for discussing the whole aesthetics of sculpture.""
0009278
Author/Editor: GASCOYNE David.
Publisher: New English Weekly
Place Published: London
Year: 1934
Date & Collation: (26 April) 5(2) 38-40.
Description: Review of exhibition and book (See 0009258), seen as of very limited and relative importance... Of Mr Henry Moore and Miss Barbara Hepworth I have only space here to say they are sincere artists and that their work is as good as it is possible for essentially degenerate sculpture to be."
David Gascoyne retracted this statement in the 21 June 1934 issue of New English Weekly (See 0009279)."
David Gascoyne retracted this statement in the 21 June 1934 issue of New English Weekly (See 0009279)."
0009265
Publisher: The Scotsman
Place Published: Edinburgh
Year: 1934
Date & Collation: (26 June)..
Description: Cold book review of 0009257: it is doubtful if it can be regarded as art.""
0009271
Author/Editor: ZANDER Alleyne.
Publisher: Art in Australia
Place Published: Sydney
Year: 1934
Date & Collation: (15 Aug)..(illus).
Description: The Sark Group at the Cooling Gallery, and Unit One at the Mayor Gallery (See 0009258). Mr Moore's Freudian symbols are now simplified still further... That further simplification is impossible seems evident."
Sydney Ure SMITH in a feature entitled Impressions of Contemporary Art in London on pages 17-21 of this issue of Art in Australia devotes four lines to Moore at the Leicester Galleries (See 0009293). "His sculptured figures looked as if some prehistoric dog had licked most of them away and his drawings resembled animated shorthand notes far too embryonic.""
Sydney Ure SMITH in a feature entitled Impressions of Contemporary Art in London on pages 17-21 of this issue of Art in Australia devotes four lines to Moore at the Leicester Galleries (See 0009293). "His sculptured figures looked as if some prehistoric dog had licked most of them away and his drawings resembled animated shorthand notes far too embryonic.""
0009277
Publisher: Heaton Review
Place Published: Bradford
Year: 1934
Date & Collation: 7 Facing page 33(1 illus).
Description: Full-page photograph of Mother and Child, 1931 sycamore wood, in serial produced by Lund Humphries and edited by George G. HOPKINSON. Subtitled A Northern Miscellany of Art and Literature.
0009283
Author/Editor: BOUCHE Louis.
Publisher: Town and Country
Place Published: New York
Year: 1934
Date & Collation: (15 Aug) 36-37.
Description: Society gossip-type article, with drawings by the author, on a London visit. His studio was a veritable maze of pedestals supporting the most modern sculpture in plaster marble bronze and wood.""
0009276
Author/Editor: NEVINSON C.R.W.
Publisher: Nash's Magazine
Place Published: London
Year: 1934
Date & Collation: (Jan) 62-67,104(1 Moore illus).
Description: Article on the vitality of contemporary art, with a passing mention of Henry Moore and a small illustration of Mother and Child, 1932 green Hornton stone.
0009282
Publisher: Studio
Place Published: London
Year: 1934
Date & Collation: (Sept) 162.
Description: Brief book review of 0009257, which is merely a discussion on sculpture as a communal art. At present it seems an unhappy relation.""
0022492
Author/Editor: HOUNSELL Mr. F.W.
Publisher: Derby Evening Telegraph
Place Published: Derby
Year: 1934
Date & Collation: 1934 (30 November) 7 (no illus)
Description: Article written by the Principal of the Derby School of Art on the occasion of an exhibition by the Unit One group at the Derby Art Gallery.
0009258
Author/Editor: Edited by READ Herbert
Publisher: Cassell
Place Published: London
Year: 1934
Date & Collation: 124pp(67 plates).
Description: Includes an introduction by Herbert Read which reprints Paul Nash's letter to The Times 12 June 1933 (See 0009298), announcing the formation of the group. It also reprints the Questionnaire sent by Read to each member of Unit One. The bulk of the book consists of photographs and statements by the members, guided by the questionnaire. The Headquarters of the Unit was the Mayor Gallery, and membership was: Barbara Hepworth, Henry Moore, John Armstrong, John Bigge, Edward Burra, Tristram Hillier (replacing Frances Hodgkins), Paul Nash, Ben Nicholson, Edward Wadsworth, Wells Coates, Colin Lucas.
27-35(7 illus) Henry Moore.
In common with the other sections there are photographs of the artist and of his hands. The other illustrations are of the Hampstead studio, and four Carvings 1930-1933. In an important text, widely reprinted under the title The Sculptor's Aims, Moore sets out the qualities in sculpture which are of fundamental importance to him:
Truth to Material. Every material has its own individual qualities. It is only when the sculptor works direct when there is an active relationship with his material that the material can take its part in the shaping of an idea. Stone for example is hard and concentrated and should not be falsified to look like soft flesh..."
Full three-dimensional realisation. Argues for "full spatial reality" as "only to make relief shapes on the surface of the block is to forego the full power of expression of sculpture". Asymmetry is important "sculpture fully in the round has no two points of view alike."
Observation of Natural Object. Spells out the importance of nature as a source of primary inspiration with seminal statements on each topic: "The human figure is what interests me most deeply... Pebbles and rocks show Nature's way of working stone... Bones have marvellous structural strength and hard tenseness of form... Trees (tree trunks) show principles of growth and strength of joints... Shells show Nature's hard but hollow form (metal sculpture) and have a wonderful completeness of single shape... There is in Nature a limitless variety of shapes and rhythms (and the telescope and microscope have enlarged the field)..." Moore also writes on "Vision and expression" and "Vitality and power of expression" in which he speaks of combining both abstract and human elements to achieve a fuller deeper meaning. Sculpture must have a vitality or pent-up energy of its own independent of the object it may represent. "Beauty in the later Greek or Renaissance sense is not the aim in my sculpture. Between beauty of expression and power of expression there is a difference of function. The first aims at pleasing the senses the second has a spiritual vitality which for me is more moving and goes deeper than the senses. Because a work does not aim at reproducing natural appearances it is not therefore an escape from life."
Title as printed: Unit 1."
27-35(7 illus) Henry Moore.
In common with the other sections there are photographs of the artist and of his hands. The other illustrations are of the Hampstead studio, and four Carvings 1930-1933. In an important text, widely reprinted under the title The Sculptor's Aims, Moore sets out the qualities in sculpture which are of fundamental importance to him:
Truth to Material. Every material has its own individual qualities. It is only when the sculptor works direct when there is an active relationship with his material that the material can take its part in the shaping of an idea. Stone for example is hard and concentrated and should not be falsified to look like soft flesh..."
Full three-dimensional realisation. Argues for "full spatial reality" as "only to make relief shapes on the surface of the block is to forego the full power of expression of sculpture". Asymmetry is important "sculpture fully in the round has no two points of view alike."
Observation of Natural Object. Spells out the importance of nature as a source of primary inspiration with seminal statements on each topic: "The human figure is what interests me most deeply... Pebbles and rocks show Nature's way of working stone... Bones have marvellous structural strength and hard tenseness of form... Trees (tree trunks) show principles of growth and strength of joints... Shells show Nature's hard but hollow form (metal sculpture) and have a wonderful completeness of single shape... There is in Nature a limitless variety of shapes and rhythms (and the telescope and microscope have enlarged the field)..." Moore also writes on "Vision and expression" and "Vitality and power of expression" in which he speaks of combining both abstract and human elements to achieve a fuller deeper meaning. Sculpture must have a vitality or pent-up energy of its own independent of the object it may represent. "Beauty in the later Greek or Renaissance sense is not the aim in my sculpture. Between beauty of expression and power of expression there is a difference of function. The first aims at pleasing the senses the second has a spiritual vitality which for me is more moving and goes deeper than the senses. Because a work does not aim at reproducing natural appearances it is not therefore an escape from life."
Title as printed: Unit 1."
0016018
Publisher: Amalgamated Press
Place Published: London
Year: 1934
Date & Collation: c.1934. 2 vols. 1456pp.Illus.Bibliog.
Description: Volume 1 not seen.
Volume 2 955-957 (9 illus) Universal Forms in Sculpture.
(Art & Architecture Lesson 24. The new British Sculptors of the 1920s, and their use of forms from nature. Moore's compositions are seen as symbols of life". Includes a photograph of Girl 1931 Ancaster stone courtesy of A. Zwemmer. Also photographs of works by Jacob Epstein Eric Kennington Maurice Lambert Barbara Hepworth. "Carvings on buildings form a characteristic part of modern sculpture"."
Volume 2 955-957 (9 illus) Universal Forms in Sculpture.
(Art & Architecture Lesson 24. The new British Sculptors of the 1920s, and their use of forms from nature. Moore's compositions are seen as symbols of life". Includes a photograph of Girl 1931 Ancaster stone courtesy of A. Zwemmer. Also photographs of works by Jacob Epstein Eric Kennington Maurice Lambert Barbara Hepworth. "Carvings on buildings form a characteristic part of modern sculpture"."
0017408
Publisher: HMF library copy
Place Published: Much Hadham
Year: 1934
Date & Collation: .8pp.Texts R.H. WILENSKI, Sydney BURNEY.
Description: Photocopy of manuscript catalogue for installation at Children Throughout the Ages exhibition (See 0009273). 34 exhibits.
Item 31 Henry Moore: Reclining Figure, African Wonderstone.
Title as written: The 34 Gallery.
See also 0017672.
Item 31 Henry Moore: Reclining Figure, African Wonderstone.
Title as written: The 34 Gallery.
See also 0017672.
0009263
Publisher: Mayor Gallery
Place Published: London
Year: 1934
Date & Collation: (April)..pp.
Description: Henry Moore: three carvings.
Title as printed: Unit 1.
Title as printed: Unit 1.
0009273
Publisher: Illustrated London News
Place Published: London
Year: 1934
Date & Collation: (28 April) 662(2 illus).
Description: Two installation photographs of Children Throughout the Ages exhibition at Chesterfield House in aid of the Greater London Fund for the Blind. Art works on a scale of an inch and a half to the foot; gifts from the artists. Reclining Figure, 1934 African wonderstone (LH 161b) can be seen in one of the photographs.