Henry Moore Artwork Catalogue
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(1pp press release dated 27 April 1992 introducing the exhibition and its setting).
Moore à Bagatelle.
(13 page list of 27 bronzes 1948-1984. Also includes an introduction to the exhibition, a short chronology of Moore's career, and a note on the Henry Moore Foundation).
Photographs.
(Five black and white photographs: of Moore and of Family Group, 1948-1949 bronze; Oval with Points, 1968-1970 bronze; Goslar Warrior, 1973-1974 bronze; Reclining Mother and Child, 1975-1976 bronze.
30-31(1 illus) Henry Moore: Goslar Warrior, 1973-1974 bronze.
Title as printed: Important XIX and XX Century Paintings and Drawings.
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.
83,118(1 illus) Henry Moore.
Exhibit 76: Standing Figures, 1951 drawing, 12-line biography, and list-mention by Honisch.
Title as printed: 100 Zeichnungen aus der Nationalgalerie Berlin.
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.
7-8 BOGIANCKINO Massimo. Prefazione.
(Moore saw painting with a sculptor's eyes. Musicality in the harmony of forms. Acknowledgements).
9 MITCHINSON David. Nota.
(Exhibition to represent Moore's development since 1972 Florence exhibition (See 0004285)).
10 MORALES Giorgio. Nota.
(Moore's love of Florence. Tribute to Moore and his links with the city).
11-12 SALVI Sergio. Nel segno di Moore.
(Retracing Moore's footsteps. Recollections of 1972 exhibition, and appreciation of present one: novelty in continuity.").
15-21 CARANDENTE Giovanni. L'ultimo Moore.
(The last of Moore. Selection of work since 1972 exhibition outline of themes. Account of Carandente's last meeting with Moore in 1984. Italy and Moore. Warrior with Shield 1953-1954 bronze donated to Florence. Appreciation of Moore's sculptural form and individual works in the exhibition).
23-55 Sculpture.
(Photographs with brief commentaries of Warrior with Shield 1953-1954 bronze and 15 Sculptures 1972-1984).
57 Opere Grafiche.
(Graphic works. Photographs with brief commentaries of 52 Prints 1976-1982).
The greater part of Carandente's text appeared also in Corriere di Firenze 22 June 1987 (See 0014036)."
5 Letter from Henry MOORE.
(Expresses the artist's pleasure at the exhibition and gratitude to all who have made it possible).
7 Message from H.R.H. The Prince of Wales (Prince CHARLES).
(Note on Britain's cultural links with Japan. Moore's art is tough but centred on nature and humanism and in this respect will be understood by those of different cultural roots". Prince Charles expresses his pleasure at the exhibition and offers it his good wishes).
13 The Organisers. Foreword.
(Moore's standing universal appeal aims and arrangement of the exhibition).
15 BURGH John. Message.
(Acknowledges the organization involved in the exhibition the works in the open surrounding the museums).
18-19 BOWNESS Alan. Introduction.
(The text from the Hong Kong catalogue: see 0000083).
20-27 MITCHINSON David. Life and times.
(The text and substantially the photographs from the Hong Kong catalogue: see 0000083).
32-41 PACKER William. The sculpture of Henry Moore.
(Notes the unity of Moore's work over the years and his growth to pre-eminence in art. His career is discussed from the early influences and the acquisition of technical skills through travel and the confrontation between Primitive and Classical art and the development of his own personal imagery. His emergence in the 1930s is placed within the cultural context of that decade. The war provided a useful pause to consolidate his sculptural thinking in the Shelter drawings before returning to sculpture through commissions in the 1940s and using Hoglands as a base for the production of monumental works of the later years which have their origins in the experiments of his youth. "Henry Moore is without the slightest doubt a very great artist who stands four-square in the great humanist tradition...").
43-130 Catalogue: Sculpture.
(Arranged thematically: Reclining and Standing Figures; Reclining and Standing Figure maquettes; Mother and Child; Mother and Child maquettes; Working Processes; Plaster maquettes; Organic Forms; Animal Forms; Animal Form maquettes; Warriors and Internal/External Forms; Heads Helmets Hands and Warrior maquettes; Stringed Figures; Early Carvings.
Interspersed with statements from Moore's published writings).
132-135 PACKER William. The drawings of Henry Moore.
(Discusses briefly graphic output of sculptors and argues that Moore's drawings by themselves would not "sustain a larger reputation as a draughtsman" although certain phases of his graphic output are praised - the early life drawings the wartime sketch books and the late works: "rich material and masterly results").
137-170 Catalogue: Drawings.
(Arranged thematically: Life Drawings; Mother and Child; Ideas for Sculpture; Heads; Bonfires; Trees; Sheep; Hands; Ideas for Sculpture - working processes)."
5-16 Prefatory texts by Hilton CHEONG-LEEN, William BLOMQUIST, James LI, Manuel DE TOLEDO, Richard WEDEN, Laurence C. S. TAM.
18-19 BOWNESS Alan. Introduction.
(Notes Moore's universality and humanity He is the heir of all sculptors and all sculptures of the past". Outlines the arrangement of the exhibition and the organic and timeless quality of the work).
20 Letter from Henry MOORE.
(Expresses the artist's pleasure at the exhibition and gratitude to all who have made it possible).
21-33 MITCHINSON David. Life and times.
(Describes with photographs Moore's estate and outlines the artist's life from his Yorkshire childhood through World War 1 to life in London. Moore's career as a sculptor and his public and critical reception is outlined from his early exhibitions as a World War 2 artist and through to the commissions and honours worldwide of recent years).
34-363 Catalogue.
(Map and photographs of the exhibits in thematic groupings incorporating published statements by Moore).
Hong Kong Museum of Art.
(Early Carvings; Stringed Figures; Heads Helmets and Warrior Maquettes; Hands; Mother and Child Maquettes; Reclining and Standing Figure Maquettes; Animal Form Maquettes; Working Process for Bronze Sculpture; Plasters and Found Objects; Late Carvings; Life Drawings; Mother and Child; Ideas for Sculpture; Heads; Bonfires; Trees; Sheep; Hands; Ideas for Sculpture: working processes).
City Hall Memorial Garden.
(Over life-size sculpture).
Edinburgh Place: Queen's Pier.
(Monumental Sculpture).
Hong Kong Academy for Performing Arts.
(Over life-size sculpture).
Hong Kong Arts Centre.
(Figurative bronzes; Organic Forms; Wood Engravings; Selection from Shelter Sketchbook lithographs; Selection from Elephant Skull album (See 0004721); Sculptural Ideas (See 0001886); Reclining Women Lithographs).
American Express Travel Service Office: Central.
(Figurative bronze).
Tsim Sha Tsui Promenade.
(Monumental Sculpture).
364-392 List of Exhibits. (165 Sculptures 1922-1983 60 Drawings 1921-1982 32 Prints 1931-1982).
393 Quotation List.
394 Bibliography.
In addition to this catalogue other publications included a letter-head jig-saw puzzles envelope poster invitation card timetable publicity brochure badge bookmark etc and the following six pamphlet publications plus Press Conference folder. Short Catalogue (See 0000086) Exhibition Guide (See 0000088) Lost-Wax Casting (See 0000085) Henry Moore Express (See 0000108) My Impression (See 0000084) Appreciation of Sculpture (See 0000087)."
A collection of essays on Stephen Spender, interspersed with Spender's poems and artworks in his collection. Published on the occasion of the special presentation by Hauser & Wirth at Frieze Masters, London, 03-07 October 2018. Olive green Slip case.
Moore works illustrated include two of Moore's portraits of Spender, the cover design for Encounter 100, Maquette for Warrior without Shield, Maquette for Three Standing Figures, and Women Winding Wool.
pp.66-73 discusses Moore's relationship with Spender, and comments on Maquette for Warrior without Shield, Maquette for Three Standing Figures, Women Winding Wool, and Moore's portraits of Spender.
193 works by many artists.
21,Plates 23-24,26(3 illus) Henry Moore: six sculptures. Draped Reclining Figure (LH 336) plaster, Draped Torso (LH 338) bronze, Working Model for Time/Life Screen (LH 343) bronze, Reclining Figure: External Form (LH 299) bronze, Warrior with Shield (LH 360) bronze, and Maquette for Warrior with Shield (LH 357) bronze.
A 32 page pamphlet with the same title was also available at the exhibition. The text is also by Elain Harwood, but it is of a more general and architectural content, without any sculpture references.
Exhibits 59-60 Henry Moore: two bronzes. Plate 1 is a photograph of Falling Warrior, 1956-1957 bronze.
Title also printed variously as International Exhibition: Sculpture; International Exhibiton of Sculpture; and Sixth Exhibition of Sculpture.
17,Plate 23: Henry Moore: Warrior with Shield, 1953-1954 bronze.
Brief biographical note, incorporating Moore's statement: The sculpture is intended to express a battered but heroic resistance to physical misfortune. The head has a blunted and bull-like power but also a sort of dumb animal acceptance and forebearance of pain.""
16-17(1 illus) Henry Moore.
Warrior with Shield, 1953-1954 bronze, with a short quotation from Moore on the work.
Front cover,14(1 illus) Henry Moore: Warrior with Shield, 1953-1954 bronze. Includes a short statement by Henry Moore on the work (to be found in more detail in Henry Moore on Sculpture (See 0005627)). The foreword refers to Moore as the outstanding sculptor of our time.
54 Henry Moore: Warrior with Shield, 1953-1954 bronze.
Biographical details of Moore. The exhibition travelled to other museums throughout the U.S.A., but this work, owned by Minneapolis Institute of Arts, was only exhibited in the Walker Art Center.
182(1 illus) Henry Moore.
Full-page photograph of Study for Head of Warrior, 1953 bronze, Sammlung Best, Cologne.
25,102,104,120,228,etc(3 illus) Henry Moore.
Exhibits 144-146: three Bronzes 1956-1970.
Moore is discussed briefly in the following texts:
BEYELER Ernst, HOHL Reinhold and SCHWANDER Martin. Skulptur im 20. Jahrhundert.
(List-mention in Preface by organisers).
TURR Karina. Tradition und Moderne im Menschenbild des 20. Jahrhunderts.
(Proportion, Surrealism, visits to Italy and Greece, Falling Warrior, 1956-1957 bronze).
WILKINSON Alan G. Der Primitivism in der modernen Skulptur.
(Primitive influences).
HEUSINGER VON WALDEGG Joachim. Von der Assoziation zur Kreation.
(Includes a section Natur als Thema: Arp-Moore". Nature landscape subconscious element. Influence of Picasso)."
62-63,70-71(2 illus) Henry Moore: Working Model for Reclining Figure: Bone Skirt, 1977-1979 bronze; Maquette for Fallen Warrior, 1956 bronze.