Henry Moore Artwork Catalogue
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sheep
0002811
Author/Editor: HOGG James.
Publisher: Letchworth and Baldock Citizen
Place Published: Letchworth
Year: 1978
Date & Collation: (27 July)..(1 illus).
Description: Chatty note by television personality on figurative aspects of Sheep Piece, 1971-1972 bronze.
0002720
Publisher: Serpentine Gallery and Kensington Gardens
Place Published: London
Year: 1978
Date & Collation: (1 July-8 Oct).4pp(2 illus).
Description: Exhibition list with the map of the sites in Kensington Gardens, and page 34 from Sheep Sketchbook: Sheep at Edge of Field, 1972 drawing.
For catalogues see 0002718-0002719.
For catalogues see 0002718-0002719.
0002994
Publisher: Blackwood Productions
Place Published: New York
Year: 1978
Date & Collation: 58 mins. Colour.Sound.Produced and directed by Michael BLACKWOOD.
Description: Includes a six-minute section on Barbara Hepworth and Henry Moore. Views of Stonehenge and Moore's works at Much Hadham and Toronto. Moore comments briefly on Adel Rock, preference for carving, expression of energy, sheep, placing of sculpture in nature rather than architecture. Elsewhere in the film Surrealism is cited as shaping Moore's early career; and Anthony Caro mentions briefly his time as assistant to Moore.
0002958
Publisher: M.S.F. News
Place Published: Basingstoke
Year: 1978
Date & Collation: 4pp(3 Moore illus).
Description: Morris Singer Foundry serial publication with illustrations and brief comment on Sheep Piece, 1971-1972 bronze and Mirror Knife Edge, 1977 bronze, and good wishes to Moore on his 80th birthday.
0002992
Author/Editor: READ John
Publisher: British Broadcasting Corporation
Place Published: London
Year: 1978
Date & Collation: 52 mins.Colour.Sound.Written, produced and narrated by John READ.
Description: Produced in association with R.M. Productions (Munich). Moore is interviewed at Much Hadham by John Read who introduces the artist and outlines his career. Sources of inspiration surrounding Moore's desk are explained and discussed, including Cézanne's Bathers and Moore's sculptural versions of the figures (Three Bathers: After Cézanne, 1978 bronze), Dürer's Portrait of Conrad Verkell; and works by Seurat and Rembrandt. Moore shows pages from a sketchbook influenced by Rembrandt's drawing techniques. Moore's pre-war drawings are shown, with comments by the artist on the science of drawing. The War Drawings are explained by Moore: his notes, sketchbooks and larger drawings as a war artist. The initial discovery of the Reclining Figures and perspective of tunnels developed into an interest in specific figures and attitudes and the use of drapery. These are related to works by Masaccio and Mantegna. Coal Mine Drawings are shown with male figures in action in darkness. Post-war works are outlined: Figures in Settings, influence of country in hedgerow and tree sketches and sheep. Moore's printmaking activities are seen, with the appearance of Alistair Grant on etchings and Stanley Jones describing lithographic processes. Brief general views of Moore's studios and his drawings of his grandson complete the film.
0002806
Author/Editor: GOSLING Nigel.
Publisher: Observer
Place Published: London
Year: 1978
Date & Collation: (23 July) 17,20(1 illus).
Description: A large photograph by Jane Bown of Henry Moore with Sheep Piece, 1971-1972 bronze accompanies this report of a visit to Much Hadham on the eve of Moore's 80th birthday. Describes the estate, Moore's art collection and his own sculpture in the grounds and his love of nature. Extracted in Atlas World Press Review, October 1978 (See 0002918). See also 0010463.
0013840
Publisher: The Press
Place Published: New Zealand
Year: 1978
Date & Collation: (21 Dec)..(1 illus).
Description: The offer to Christchurch of Sheep Piece, 1971-1972 bronze is still open, despite its rejection in 1974. The acquisition of the work is supported by T.L. Rodney Wilson, new director of the Robert McDougall Art Gallery. Discusses various sites as possibilities. Concept also supported by David Finn.
0010042
Publisher: La Mart
Place Published: Italy
Year: 1978
Date & Collation: 19 mins.Colour.Sound.In Italian.
Description: Maestri Contemporanei series edited by Giuliano MONTALDO. Produced and edited by Mario GALLO. Artistic advice: Alberto PIVI. Music: Egisto Macchi. To very brief commentary noting Moore's fame, influences and humanity, the artist is seen in his studios and in his home and estate at Much Hadham. Working on a plaster, supervising a crane lifting The Arch, 1963-1969 fibreglass. Views of bronzes at Much Hadham and at Serpentine exhibition (See 0002718 and 0002719). Henry Moore at Carrara, and walking on a beach. Good views of King and Queen, 1952-1953 bronze; Sheep Piece, 1971-1972 bronze; Hill Arches, 1973 bronze; Large Spindle Piece, 1968 and 1974 bronze; Three Piece Reclining Figure: Draped, 1975 bronze.
0002744
Publisher: Flint Journal
Place Published: Flint, Mich.
Year: 1978
Date & Collation: (24 Feb)..(2 illus).
Description: Working Model for Sheep Piece, 1971 bronze is installed in the DeWaters Art Center of the Flint Institute of Arts. The work was purchased by an anonymous source and donated in honour of F.I.A.'s 50th anniversary.
0002796
Author/Editor: FEAVER William.
Publisher: Observer
Place Published: London
Year: 1978
Date & Collation: (16 July) 25.
Description: Review of the Tate (See 0003064 and 0002830) and Serpentine (See 0002718 and 0002719) exhibitions revealing Feaver's cool approach to some aspects of Moore's output (John Houston's plastic stand in for Moby Dick looms to mind") and his liking for the small bronzes and sheep drawings."
0003120
Publisher: Radio France
Place Published: Paris
Year: 1978
Date & Collation: 90 mins.Sound recording.Music.In French, with English.
Description: L'Après-midi de France-Culture radio broadcast 28 August 1978 as a contribution to the world-wide 80th birthday celebrations. Produced by André MATHIEU and others. Most of the programme was dedicated to Henry Moore and consisted of an edited version of the 9 May 1977 programme (See 0003119) with a new introduction; the omission of Moore being questioned on music; and extracts from the multiplex discussion between Giulio Carlo ARGAN, Dominique BOZO, Jean LEYMARIE, Pierre DESCARGUES, Pierre ROUVE and James Johnson SWEENEY, omitting mainly the opening sequence.