Henry Moore Artwork Catalogue
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152-172 Henry Moore's Day.
(Adapted from 0006053).
250-271 Afterword: We Have Lived By Our Wits.
(Includes a section on the business arrangements of publishing his original Henry Moore texts, including 0005628).
307-310 Henry Moore.
Review of Royal Academy exhibition (See 0011076) from Evening Standard 29 September 1988 (See 0013114).
Paperback edition also listed in 'Thames and Hudson January-July 2003' London catalogue as a Feb 2003 publication.
Moore's three-page text explains how he retired to a small studio to escape the disturbance being caused by the packing of exhibits for the Florence exhibition. Sheep wandered close to his window and he became interested in their form. Lambs came along "and there in front of me was the mother-and-child theme...the large form related to the small form and protecting it." The last few drawings were undertaken on the return from Florence when the sheep had been shorn revealing the shape underneath the wool.
A laminated paper cover reprint appeared in 1984. For French edition see 0001800."
Paperback edition also listed in 'Thames and Hudson January-July 2003' London catalogue as a Feb 2003 publication.
For book version see 0004652."
2-3 Chronology of Henry Moore's life.
6-9 HEDGECOE John. Introduction.
(Records his first visit to Much Hadham to meet Moore in 1952 his advice to Hedgecoe on the importance of study and hard work and subsequent development of friendship and photography. Comments on Moore's uncompromising dedication to his art and the conception of the two books).
10-184 Henry Moore's ideas inspiration and life as an artist.
(Recalls his early days growing up in Castleford and family life. Outlines influence of Alice Gostick recalls briefly his World War 1 experiences Leeds student life and London student life with brief mention of Hepworth Underwood William Rothenstein Epstein and others. Outlines discovery of Primitive art and importance of masks and asymmetry. Comments on sculpture: carving modelling materials artistic vision titles of art works. Commentary then ranges over teaching drawing the human form space nature and natural forms hands. Comments on Michelangelo Cézanne Religious art and some individual works like King and Queen 1952-1953 bronze. Outlines the technique of drawing producing maquettes and enlarging pieces in plaster and bronze casting. Mentions briefly Shelter drawings and Sheep sketches.)
186-207 Gallery of Sculpture: 50 black and white photographs of sculpture 1928-1979.
208 Selective list of photographs. For Australian edition see 0000067. For U.S.A. edition see 0000068. For Canadian edition see 0000069."
Published by the Henry Moore Foundation is association with Lund Humphries.The third volume to appear in the six-volume catalogue raisonné of Moore's drawings 1916-1983.
Sketchbooks featured include: History of Sculpture: notes (See 0010603) and Sketchbook 1928: The West Wind Relief (See also 0001543).
Title as printed: Henry Moore. Volume 1: Complete Drawings 1916-29.
Introduction by Ann Garrould pp.ix-x:
The publication of Volume 1 of the catalogue raisonne of Henry Moore's drawings anticipates the centenary of his birth by two years. In the space of those hundred years, the arts of painting and sculpture have experienced a wide variety of innovations - Cubism to Conceptual Art, Bourdelle to the bricks in the Tate, Matisse's Snail to Damien Hirst's Sheep. Drawing, on the other hand, does not lend itself to innovations. Rather, it is a measure of an individual's skill in conveying the sense of volume of a three-dimensional object on a two-dimensional surface. Sculptures today can be made of marble, fibreglass, scrap metals or animals preserved in formaldehyde. Paintings can be in tempera, oils or acrylic paints. Leonardo da Vinci and Albrecht Durer drew in pen and.ink, sepia, charcoal: little has changed over the centuries, although Moore did use ballpoint pens when they were invented in the 1950s. Moore believed passionately that good draughtsmanship was the basis of painting and sculpture. He would frequently quote lngres's dictum about drawing being the probity of art, and claimed that it was possible to discern the quality of a sculptor from his drawings.
Moore's earliest extant work on paper was done in a friend's autograph book, a copy in pencil and watercolour of Turner's Ulysses Deriding Polyphemus signed H. S. Moore 19/2/16. Would that Moore had always been so precise in signing and dating his work. Drawings with neither signature nor date are a minefield for the would-be cataloguer. Add to this the fact that in later life Moore adopted a somewhat cavalier approach to dating his earlier drawings, simply hazarding a guess at their date (something he did on more than one occasion in my presence) and the cataloguer's problems are considerably increased. Having had access to the letters Moore wrote to Alice Gostick from 1917 onwards, and to other letters written to members of his family, I have been able to make a close study of his handwriting as it changed over the years. As a consequence I believe it is possible to determine in the majority of cases whether a signature and date are contemporaneous with the drawing or whether Moore added one or both later - sometimes many years - later. Assigning an undated drawing to a particular year on stylistic grounds alone can in Moore's case be rather risky, since he was in the habit of reviewing and occasionally reworking earlier drawings. For example, in the 1950s he reworked drawings he had made in 1937-38, and in 1980 and 1981 he reviewed works of the 1920s and 1930s, producing new drawings based upon them.
In the early 1970s Moore had occasion to review all his drawings with Alan Wilkinson, who had made them the subject of his doctoral thesis. At that time Moore signed many of his early drawings and added dates, partly by guesswork and partly by comparing the drawings with other dated works. Where such dates proved incorrect the drawings concerned have been assigned to the year in which I believe they were actually executed. Where drawings appear to have been misdated when judged on stylistic grounds alone, such drawings (with very few exceptions) have been catalogued under the year to which Moore assigned them.
During the decade 1920-29 Moore was evolving his own approach to drawing. Initially, as a student at the Royal College of Art, he had to attend life classes and draw as instructed by his tutor. Out of college hours he would visit the British Museum and fill small notebooks with rapid pencil sketches of primitive sculptures. In the evenings he and other students paid for tuition in drawing; their tutor was Leon Underwood, to whom Moore was later to pay tribute. Other evenings at home were spent drawing his own ideas for sculptures. Volume 1 of the catalogue raisonne includes eight notebooks. The earliest, dating from 1920, contains mostly Moore's notes and ideas on sculpture, with some sketches. David Mitchinson has had the opportunity of working on the extant pages of this notebook, and has as far as possible reconstructed it.
The last notebook in this volume is Sketchbook 1928:West Wind relief, in which Moore recorded ideas for his first public commission, a carving on the London Under ground headquarters at 55 Broadway, St James's.
At about this time, when Paul Klee was, as he put it, ‘Taking a line for a walk’, Moore began to develop a new way of representing three-dimensional forms on a flat surface. He called this ‘sectional-line drawing’ and continued to use it, on and off, for the next half century. He explained this method of drawing ‘line both down the form as well as around it, without using light and shade’. The earliest use of such a line may be seen in HMF 199a where it describes the curve of the torso. Here Moore used only single lines to describe the swelling form. It was not until 1928 that he returned to the idea, combining sectional-line drawing with the conventional use of chiaroscuro as in HMF 575 and 603.
As the 1920s drew to a close, Moore could look back on an eventful decade. At the end of his three years as a student at the Royal College of Art he had been awarded a travelling scholarship to Italy, to study the Old Masters. He had also been given a seven-year contract as a sculpture assistant at the Royal College so he was able to enjoy the security afforded by a regular income. In 1926 and 1927 he had sent works to group exhibitions in London galleries, and in 1928 he had had his first one-man show at the Warren Gallery in Maddox Street, London. Amongst those who bought drawings included in this exhibition were Jacob Epstein, Augustus John and Henry Lamb. In the autumn term of 1928 Moore met a young Russian girl who was studying painting at the Royal College of Art. In July 1929 he married her. The new decade beckoned.
51-73(16 illus) Henry Moore.
Photographs of Moore, the sculptures, and the grounds at Much Hadham accompany the interview text by Moore. A sculptor has to be a practical workman. Landscape and the Open Air are the main influences, particularly of Yorkshire. Form and shape are the prime concerns of the sculptor, with Natural objects like shells, bones and pebbles as starting points for new ideas. One of the things I would like to think my sculpture has is a force is a strength is a life a vitality from inside it so that you have a sense that the form is pressing from inside trying to burst or trying to give off the strength from inside itself..." Moore prefers carving to modelling because "sculpture should have a hardness". Initially he worked directly in a piece of stone or wood with the material suggesting the idea. Today Moore produces Maquettes "sketches in plaster" as a starting point from which he can visualise the larger finished work a monumental sense of scale can emanate from these small pieces."
7-16 MOORE Henry. Introduction.
(The visits to the British Museum from 1921 onwards, and the escape from the emphasis at art school on Classical art. In my most formative years nine-tenths of my understanding and learning about sculpture came from the British Museum." Moore explains his personal selection of sculpture in the round; the monumentality of Egyptian art and its grandeur. With the paucity of sculptural tradition in Britain in the 1920s friendship with Epstein and the primitive works in the British Museum influenced his own work. The sense of touch; and the Cycladic sculpture with its "pure sense of style of unity of form" led to produce in Moore a strong belief in direct carving. The importance of drawing and the art of photographing sculpture are outlined).
17-20 FINN David. Photographing with Henry Moore.
(Outlines Moore's views on his favourite artists and the anonymous works of the ancients and primitives. Explains how Moore has educated his way of looking and photographing).
21-24 Biographical notes.
The Plates; with commentary by Henry Moore:
26-41 Egyptian sculpture.
42-63 Greek sculpture.
64-75 Aztec sculpture.
76-91 Oceanic sculpture.
92-109 African sculpture.
110-125 American and Caribbean sculpture.
126-128 List of illustrations.
For Abrams (New York) edition see 0001424."
23-31 Reptiles.
(From Snake 1924 marble through to Large Slow Form 1962-1968 bronze).
33-55 Birds and Insect Forms.
(More than four decades of bird forms from the near-geometric Bird 1927 bronze to the black marble Bird Form I-II 1973 marble the Butterfly pieces and drawings of crows).
57-99 Domestic Animals.
(Sections on: Horses (ranging from drawings and bronzes of the 1920s to tapestries of the 1970s and the ponies in the Coal Mine Drawings).
Goats and Sheep (Goats drawing from the 1921 Sketchbook through the bronze Sheep Piece 1971-1972 bronze and the Sheep Sketchbook 1972).
Other Domestic Animals include portrayals of cows pigs dogs and cats.
101-113 Animal Forms.
(Bone forms are at the heart of many sculptural objects transformation drawings and animal carvings).
115-123 Elephant and Rhinoceros Skulls .
(Drawings prints and sculpture stimulated by Moore's possession of animal skulls. "The elephant is the most remarkable living link we have with the prehistoric world").
125-149 Fantastic and Fabulous Animals.
(A range of animal heads lynx drawings and "shut-eye" drawings executed with closed eyes).
151-167 Wild Animals.
(Recent graphic portrayals of tigers bison rhinoceroses and elephants).
The deluxe edition of this work contained two 1982 etchings."
148-149(2 illus) Henry Moore.
Photographs of Sheep Grazing in Long Grass No. 1 1981 drawing and Henry Moore with Sheep Piece 1971-1972 bronze. The drawing is also used for the dust jacket design. There is a brief biography on pages 230-231 noting Moore's love of landscape. An exhibition related to this book was held at Newlyn Orion Penzance 27 Oct-20 Nov 1984."
1. Sculptor of our times.
Family Group, 1948-9 Bronze (LH 269)
2. Childhood.
Castleford, parents, illustration of Castleford Secondary School Roll of Honour carving, Alice Gostick, pottery class.
3. War and peace.
Joining the Civil Service Rifles, return to teaching, Leeds College of Art, Sir Michael Sadler, Roger Fry, London's museums, Moore and modernists, Mother and Child, 1922 Portland Stone (LH 3).
4. Shock of the old.
The Challenge of Italy, Head and Shoulders, 1927 verdi di prato (LH 0048),Reclining Figure, 1929 brown hornton stone (LH 0059), london Transport Headquarters at St. James Park.
5. The struggle to establish British Abstract art.
First one man show at the Warren Gallery, marriage to Irina Radetzky, Hampstead, West Wind 1928-1929 portland stone (LH 0058), Reclining Figure, 1931 lead (LH 101), RCA, Chelsea School of Art, Reclining figure, 1937 hornton-wood stone (LH 178),
6. World War II
Shelter Drawings, Grey Tube Shelter (HMF 1724), Northalmpton Madonna and Child, 1943-44 hornton stone (LH 226) for Walter Hussey.
7. Fame and family
Acedemic honours, Trustee of Tate Gallery, birth of Mary Moore, King and Queen, 1952-53 bronze (LH 350), Helmet Head No. 2, 1950 lead (LH 281), Warrior with Shield, 1953-1954 bronze (LH 360), Time Life building, sculpture and screen.
8. 1955-1960
Commissions, reliefs, Three Upright Motives: Upright Motive No. 1: Glenkiln Cross, 1955-6 bronze (LH 377); Upright motive No. 2, 1955-6 bronze(LH 379); Upright Motive NO. 7, 1955-6 bronze (LH 386), UNESCO Reclining Figure, 1958 roman travertine marble (LH 416).
9. 1960's
Fame and fortune, casting, Knife Edge TWo Piece, 1962-65 bronze (LH 516) outside the Houses of Parliament, photograph of a full-scale model of The Arch, 1963/69 bronze (LH 503b) prior to casting, Three Piece Sculpture: Vertebrae, 1968-69 bronze (LH 580), lithographs, Hoglands.
10. 1970's and 1980's
The Henry Moore Foundation and Hoglands estate, Leeds Institute, Sheep Piece, 1972 bronze (LH 627), maquette studio, graphics.
11. The legacy of Henry Moore
'For the future of sculpture... Henry Moore is vitally important.' Jacob Epstein, sculptor, 1929', mention of the shelter drawings and Madonna and Child.
12. Timeline
13. Key artists of Moore's time