Henry Moore Artwork Catalogue
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Goslar Warrior
0003019
Publisher: Abrams
Place Published: New York
Year: 1976
Date & Collation: 494pp(495 illus).
Description: Published in London by Thames and Hudson 1977 (See 0003357). Sumptuous book of photographs, 78 of them in colour, of Moore's sculptures in public settings throughout the world, with descriptive captions and observations by Henry Moore.
6 Acknowledgements.
7-12 Contents and Alphabetical List of Sculptures with Locations.
(Lists 60 sculptures on sites in Japan, Australia, Israel, France, Italy, Switzerland, Germany, The Netherlands, Belgium, Denmark, Sweden, England, Scotland, Ireland, Canada, United States of America).
13-21 CLARK Kenneth. Foreword.
(Stresses the importance of the presentation of the finished work of art, praises Finn's photographs, and concludes that Moore's works are seen to best advantage in landscape rather than urban architectural settings).
23-44 FINN David. Introduction: photographing Henry Moore sculptures around the world.
(Outlines initial idea for the book in 1970, and recalls his experiences in locating and photographing the works. Records problems with weather and lighting, selection of photographs for the book, and interviews with Moore. Concludes that "there is no substitute for nature as the ideal environment for a Moore")
45-472 The photographs, with descriptions by David Finn and comments by Henry Moore.
(Selections from the 60 works recorded: Animal Form, 1969-1970 bronze; Animal Head, 1956 bronze; The Arch, 1963-1969 bronze; Large Torso: Arch, 1962-1963 bronze; Three Way Piece No. 2: Archer, 1964-1965 bronze; Double Oval, 1966 bronze; Draped Reclining Figure, 1952-1953 bronze; Draped Reclining Woman, 1957-1958 bronze; Draped Seated Woman, 1957-1958 bronze; Falling Warrior, 1956-1957 bronze; Family Group, 1948-1949 bronze; Harlow Family Group, 1954-1955 Hadene stone; Hill Arches, 1973 bronze; King and Queen, 1952-1953 bronze; Knife Edge Two Piece, 1962-1965 bronze; Large Two Forms, 1966 and 1969 bronze ; Locking Piece, 1963-1964 bronze; Working Model for Locking Piece, 1962 bronze; Memorial Figure, 1945-1946 Hornton stone; Nuclear Energy, 1964-1966 bronze; Oval with Points, 1968-1970 bronze; Reclining Connected Forms, 1969 bronze; Reclining Figure: Festival, 1951 bronze; Reclining Figure, 1956 bronze; U.N.E.S.C.O. Reclining Figure, 1957-1958 travertine marble; Working Model for U.N.E.S.C.O. Reclining Figure, 1957 bronze; Reclining Figure, 1963-1965 bronze; Reclining Figure, 1969-1970 bronze; Reclining Figure: Arch Leg, 1969-1970 bronze; Reclining Figure: External Form, 1953-1954 bronze; Reclining Mother and Child, 1960-1961 bronze; Relief No. 1, 1959 bronze; Seated Man, 1964 bronze; Square Form with Cut, 1969-1970 Rio Serra marble; Standing Figure, 1950 bronze; Standing Figure: Knife-Edge, 1961 bronze; Three Piece Sculpture: Vertebrae, 1968-1969 bronze; Three Piece Reclining Figure No. 1, 1961-1962 bronze; Three Piece Reclining Figure No. 2: Bridge Prop, 1963 bronze; Three Standing Figures, 1947-1948 Darley Dale stone; Three Way Piece No. 1: Points, 1964-1965 bronze; Time-Life Screen, 1952-1953 Portland stone; Two Piece Reclining Figure No. 1, 1959 bronze; Two Piece Reclining Figure No. 2, 1960 bronze; Two Piece Reclining Figure No. 3, 1961 bronze; Two Piece Reclining Figure No. 5, 1963-1964 bronze; Two Piece Reclining Figure No. 9, 1968 bronze; Upright Motive No. 1: Glenkiln Cross, 1955-1956 bronze; Upright Motive No.2, 1955-1956 bronze; Upright Motive No.5, 1955-1956 bronze; Upright Motive No.7, 1955-1956 bronze; Upright Motive No.8, 1955-1956 bronze; Wall Relief, 1955 brick; Warrior with Shield, 1953-1954 bronze.
473-484 The Florence Exhibition 1972.
(For catalogue see 0004285. Eleven photographs, commentary by David Finn and reprint of Moore's letter from the catalogue).
485-494 Henry Moore's home at Much Hadham.
(Nine photographs with commentary by David Finn).
This book is frequently cited under the title A Henry Moore Odyssey.
6 Acknowledgements.
7-12 Contents and Alphabetical List of Sculptures with Locations.
(Lists 60 sculptures on sites in Japan, Australia, Israel, France, Italy, Switzerland, Germany, The Netherlands, Belgium, Denmark, Sweden, England, Scotland, Ireland, Canada, United States of America).
13-21 CLARK Kenneth. Foreword.
(Stresses the importance of the presentation of the finished work of art, praises Finn's photographs, and concludes that Moore's works are seen to best advantage in landscape rather than urban architectural settings).
23-44 FINN David. Introduction: photographing Henry Moore sculptures around the world.
(Outlines initial idea for the book in 1970, and recalls his experiences in locating and photographing the works. Records problems with weather and lighting, selection of photographs for the book, and interviews with Moore. Concludes that "there is no substitute for nature as the ideal environment for a Moore")
45-472 The photographs, with descriptions by David Finn and comments by Henry Moore.
(Selections from the 60 works recorded: Animal Form, 1969-1970 bronze; Animal Head, 1956 bronze; The Arch, 1963-1969 bronze; Large Torso: Arch, 1962-1963 bronze; Three Way Piece No. 2: Archer, 1964-1965 bronze; Double Oval, 1966 bronze; Draped Reclining Figure, 1952-1953 bronze; Draped Reclining Woman, 1957-1958 bronze; Draped Seated Woman, 1957-1958 bronze; Falling Warrior, 1956-1957 bronze; Family Group, 1948-1949 bronze; Harlow Family Group, 1954-1955 Hadene stone; Hill Arches, 1973 bronze; King and Queen, 1952-1953 bronze; Knife Edge Two Piece, 1962-1965 bronze; Large Two Forms, 1966 and 1969 bronze ; Locking Piece, 1963-1964 bronze; Working Model for Locking Piece, 1962 bronze; Memorial Figure, 1945-1946 Hornton stone; Nuclear Energy, 1964-1966 bronze; Oval with Points, 1968-1970 bronze; Reclining Connected Forms, 1969 bronze; Reclining Figure: Festival, 1951 bronze; Reclining Figure, 1956 bronze; U.N.E.S.C.O. Reclining Figure, 1957-1958 travertine marble; Working Model for U.N.E.S.C.O. Reclining Figure, 1957 bronze; Reclining Figure, 1963-1965 bronze; Reclining Figure, 1969-1970 bronze; Reclining Figure: Arch Leg, 1969-1970 bronze; Reclining Figure: External Form, 1953-1954 bronze; Reclining Mother and Child, 1960-1961 bronze; Relief No. 1, 1959 bronze; Seated Man, 1964 bronze; Square Form with Cut, 1969-1970 Rio Serra marble; Standing Figure, 1950 bronze; Standing Figure: Knife-Edge, 1961 bronze; Three Piece Sculpture: Vertebrae, 1968-1969 bronze; Three Piece Reclining Figure No. 1, 1961-1962 bronze; Three Piece Reclining Figure No. 2: Bridge Prop, 1963 bronze; Three Standing Figures, 1947-1948 Darley Dale stone; Three Way Piece No. 1: Points, 1964-1965 bronze; Time-Life Screen, 1952-1953 Portland stone; Two Piece Reclining Figure No. 1, 1959 bronze; Two Piece Reclining Figure No. 2, 1960 bronze; Two Piece Reclining Figure No. 3, 1961 bronze; Two Piece Reclining Figure No. 5, 1963-1964 bronze; Two Piece Reclining Figure No. 9, 1968 bronze; Upright Motive No. 1: Glenkiln Cross, 1955-1956 bronze; Upright Motive No.2, 1955-1956 bronze; Upright Motive No.5, 1955-1956 bronze; Upright Motive No.7, 1955-1956 bronze; Upright Motive No.8, 1955-1956 bronze; Wall Relief, 1955 brick; Warrior with Shield, 1953-1954 bronze.
473-484 The Florence Exhibition 1972.
(For catalogue see 0004285. Eleven photographs, commentary by David Finn and reprint of Moore's letter from the catalogue).
485-494 Henry Moore's home at Much Hadham.
(Nine photographs with commentary by David Finn).
This book is frequently cited under the title A Henry Moore Odyssey.
0006852
Author/Editor: GROHMANN Will.
Publisher: Abrams
Place Published: New York
Year: 1960
Date & Collation: 279pp(Over 222 illus).Biog.Bibliog.
Description: Originally published by Rembrandt Verlag under the title Henry Moore (See 0006853). For Thames and Hudson edition see 0006851. For Readers Union edition see 0005608. Published in Italy by Saggiatore. Important and heavily-illustrated study which incorporates twelve colour plates of drawings.
Meeting with Henry Moore.
(Outlines Moore's working life-style. There is no luxury anywhere. He receives his guests with the ease of a man who owes his freedom to his work").
Youth and Education.
(Biographical outline 1898-1920s. "An inner necessity directed and guided Moore on his visits to the British Museum to the ancient and mythological." Importance of Roger Fry's Vision and Design).
Early Impressions. Thoughts on Sculpture.
(Summarises Moore's early writings with quotations. Primitive art in the British Museum Natural objects and the artist's vision).
The First Ten Years 1922-1932.
("The astonishing thing is the monumental effect of these early works in relation to their real size..." Individual works Mother and Child theme. "He was overflowing with sculptural ideas and struggling to realize them").
The Reclining Figure 1929-1958.
("To Henry Moore the Reclining Figures are no mere external objects he identifies himself with them as well as the earth and the whole realm of motherhood...the composition grows increasingly mature." Discusses individual works and styles: Chacmool abstraction "The hole is the intended form and the stone contains it". Works in wood and bronze Classical images U.N.E.S.C.O. Reclining Figure 1957-1958 travertine marble).
The Abstract Compositions and the String Figures.
("Moore is not an abstract artist; he is abstract in some of his works only by comparison with the more representational and symbolic ones").
Figures Heads and Helmets.
(Discusses individual works within the context of war-time imagery and as Internal and External forms).
Shelter Drawings. Northampton Madonna. Family Groups. Mother and Child.
(War Drawings Madonna and Child 1943-1944 Hornton stone other individual works).
The Three Standing Figures in Battersea Park.
(Three Standing Figures 1947-1948 Darley Dale stone as Clotho Lachesis and Atropos the three Fates but with Celtic overtones).
King and Queen.
(King and Queen 1952-1953 bronze as a mythological couple with origins in fairy stories and Egyptian art. "This is the highwater mark in Moore's creative work").
Sculpture on Buildings.
(Description of Time-Life Screen 1952-1953 Portland stone commission also Wall Relief 1955 brick.
Standing Figures and Glenkiln Crosses.
(Late classical theme in Standing Figure 1950 bronze Upright Motive No. 1: Glenkiln Cross 1955-1956 bronze which "stands beside a loch in the Highlands as if it had stood there through the ages and was not the work of human hands; or if of human origin at all then made so long ago it had been forgotten". It dominates the landscape "in the way in which a Christian cross stands watch...").
The Warrior.
("This is how the chroniclers of the Trojan War saw heroes").
The Seated Figure as a Subject.
("The relaxed figures tend toward the classical the tense ones toward the demonic")
Latest Works 1959.
("The shapes change but the relationship between man and eternity remains and demands expression in new and modern forms").
The Sculptor Henry Moore.
("The pattern that underlies his work the formative energy that permeates everything has remained the same; each of his carvings and models is a Moore and he has been fortified against influences of all kinds by his original attachment to nature and time")."
Meeting with Henry Moore.
(Outlines Moore's working life-style. There is no luxury anywhere. He receives his guests with the ease of a man who owes his freedom to his work").
Youth and Education.
(Biographical outline 1898-1920s. "An inner necessity directed and guided Moore on his visits to the British Museum to the ancient and mythological." Importance of Roger Fry's Vision and Design).
Early Impressions. Thoughts on Sculpture.
(Summarises Moore's early writings with quotations. Primitive art in the British Museum Natural objects and the artist's vision).
The First Ten Years 1922-1932.
("The astonishing thing is the monumental effect of these early works in relation to their real size..." Individual works Mother and Child theme. "He was overflowing with sculptural ideas and struggling to realize them").
The Reclining Figure 1929-1958.
("To Henry Moore the Reclining Figures are no mere external objects he identifies himself with them as well as the earth and the whole realm of motherhood...the composition grows increasingly mature." Discusses individual works and styles: Chacmool abstraction "The hole is the intended form and the stone contains it". Works in wood and bronze Classical images U.N.E.S.C.O. Reclining Figure 1957-1958 travertine marble).
The Abstract Compositions and the String Figures.
("Moore is not an abstract artist; he is abstract in some of his works only by comparison with the more representational and symbolic ones").
Figures Heads and Helmets.
(Discusses individual works within the context of war-time imagery and as Internal and External forms).
Shelter Drawings. Northampton Madonna. Family Groups. Mother and Child.
(War Drawings Madonna and Child 1943-1944 Hornton stone other individual works).
The Three Standing Figures in Battersea Park.
(Three Standing Figures 1947-1948 Darley Dale stone as Clotho Lachesis and Atropos the three Fates but with Celtic overtones).
King and Queen.
(King and Queen 1952-1953 bronze as a mythological couple with origins in fairy stories and Egyptian art. "This is the highwater mark in Moore's creative work").
Sculpture on Buildings.
(Description of Time-Life Screen 1952-1953 Portland stone commission also Wall Relief 1955 brick.
Standing Figures and Glenkiln Crosses.
(Late classical theme in Standing Figure 1950 bronze Upright Motive No. 1: Glenkiln Cross 1955-1956 bronze which "stands beside a loch in the Highlands as if it had stood there through the ages and was not the work of human hands; or if of human origin at all then made so long ago it had been forgotten". It dominates the landscape "in the way in which a Christian cross stands watch...").
The Warrior.
("This is how the chroniclers of the Trojan War saw heroes").
The Seated Figure as a Subject.
("The relaxed figures tend toward the classical the tense ones toward the demonic")
Latest Works 1959.
("The shapes change but the relationship between man and eternity remains and demands expression in new and modern forms").
The Sculptor Henry Moore.
("The pattern that underlies his work the formative energy that permeates everything has remained the same; each of his carvings and models is a Moore and he has been fortified against influences of all kinds by his original attachment to nature and time")."