Henry Moore 1898-1986

Mr & Mrs Rowland Howarth; Thence by descent

Ann Garrould, ed., Henry Moore Complete Drawings 1916-29, vol.1, London, 1996, no. AG 19.1, illustrated p. 19

The monogram of initials enclosed in a circle is similar to that Moore used on pottery he produced between 1917 and 1920

Mr & Mrs Rowland Howarth
Thence by descent

Provenance:

Elizabeth Howarth

Mary Shepherd

Private collection, UK

Ann Garrould, ed., Henry Moore Complete Drawings 1916-29, vol. 1, London, 1996, no. AG 22.23, illustrated p. 53

Elizabeth Howarth
Private Collection UK

Ann Garrould, ed., Henry Moore Complete Drawings 1916-29, vol. 1, London, 1996, no. AG 24.3, illustrated p. 85

c.1924

This drawing is from a group of life studies completed by the artist in the mid 1920s. It was gifted by Moore to his sister Elizabeth (Betty) Howarth.

Irina Moore

Henry Moore, The Complete Drawings, volume 2, page 164, number AG 35.91, HMF1180

Curt Valentin, New York
George Gallowhur, USA
Brigitta Bertoia, USA
Private collection, Los Angeles
William Beadleston Gallery, New York
James Kirkman, London
New Art Centre, London
Lillian Heidenberg Gallery, New York
Osborne Samuel, London

Herbert Read, Moore (Vol.1), 1944, pl152a; 1949, pl.152a
Henry Moore Complete Drawings; Volume 2 (1930-39) , edited by Ann Garrould, published by Lund Humphries, no. AG39.19; HMF 1460
Alan Wilkinson (ed.), Henry Moore: Writings and Conversations (Aldershot: Lund Humphries, 2002), illustrated p. 237.

This drawing and Eighteen Ideas for Sculpture AG39.20 originally formed part of a large sheet. Moore gave permission for the two sections to be separated in December 1983.

Around 1937, Moore became fascinated by Fabre de Lagrange’s mathematical models in the Science Museum: beautiful objects, made in 1872 from polished brass, wood and coloured filaments. Their aim was to demonstrate the new discipline of Descriptive Geometry, but for Moore it was the models’ structure and changing viewpoints that proved compelling – ‘the ability to look through the strings as with a bird cage and see one form within the other’. ₁

The precursors to these models, containing fixed elements, were devised by Gaspard Monge (1746–1818), whose pupil, Théodore Olivier (1793–1853), refined the concept by designing versions able to be distorted and rotated into a variety of configurations. It was these models, made by Lagrange, that changed the course of mathematical teaching. Forming the basis of teaching collections, they dictated the tenor of lectures, their delicate construction even requiring technicians to care for them.₂  Moore evidently studied Lagrange’s models carefully, commenting,

I was fascinated by the mathematical models … made to illustrate the difference of the form that is halfway between a square and a circle. One model had a square at one end with 20 holes along each side … Through these holes rings were threaded and lead [sic] to a circle with the same number of holes at the other end. A plane interposed through the middle shows the form that is halfway between a square and a circle ₃

Over a three-year period, between 1937 and 1939, Moore created around fifty sculptures in which space is modified by taut threads. There is a complex relationship between such works, Moore’s drawings and photography, as Andrew Causey has noted. A photograph, showing a cluster of stringed maquettes arranged on a plinth in Moore’s studio, corresponds exactly with the composition of Landscape with Figures (1938), in which Moore has supplied an imagined background. ₄ The implication is that Moore was exploring ideas beyond sculpture, and it is pertinent, as Causey also observes, that Moore’s drawings were included in the series of Penguin Modern Painters. ₅

In the two sets of drawings presented here, originally part of a single sheet, stringed figures predominate: proliferating and mutating serially across the paper, to suggest bones or stones, worn into strange cavities and curvatures. Fourteen Ideas for Sculpture relates most closely to the complexity of Lagrange’s conoid models, albeit exchanging their angularity for organic, rounded forms. In Eighteen Ideas for Sculpture the focus alters, to address – as Moore’s annotation makes clear – the ‘mother & child’. Moore made biomorphic stringed sculptures with this title, predominantly small enough to fit in the palm of the hand, in 1938–9. Also on this page are more familiar depictions of the subject, a mother standing, child in arms, as well as an abstract enclosing figure, similar to Moore’s internal/external forms. Most intriguing, and fitting into Causey’s category of the uncanny, are the two drawings to the lower left of the sheet, in which a bone-white structure is set closely against a quasi-human form. If the yellow of these figures isolates them, their darkly shaded background contributes to a sense of menace. Such ambiguity was captured by Robert Melville’s term ‘object-presences’: figures ready at any moment to ‘break into overt and destructive action’. ₆

₁ Moore, in Henry Moore and John Hedgecoe, Henry Spencer Moore (Thomas Nelson, 1968), p. 105.
₂ Jane Wess, ‘The history of surface mathematical models’, in Intersections: Henry Moore and Stringed Surfaces (London: The Royal Society, 2012), p. 7–8.
₃ Moore, in Moore and Hedgecoe, Henry Spencer Moore, p. 105.
₄ Andrew Causey, ‘Henry Moore and the Uncanny’, in Henry Moore: Critical Essays (Aldershot: Ashgate Publishing Limited, 2003), p. 82–90.
₅ Geoffrey Grigson, Henry Moore, The Penguin Modern Painters (Harmondsworth: Penguin Books Limited, 1943). Plate 20 shows a drawing, Objects – string and wood (1938), illustrating stringed figures in a prison-like setting.
₆ Robert Melville, Henry Moore, Sculpture and Drawings, 1921–1969 (London: Thames and Hudson, 1970), p. 17.

Piccadilly Gallery, London

Marlborough Fine Art, London

M.R. Feheley, Toronto

Christie’s, London 1979

Private Collection

Sotheby’s London, 1996

Berkeley Square Gallery, London

Private Collection, UK

Buchholz Gallery (Curt Valentin), New York (by 1955).
Erna Futter, New York; Estate sale, Christie’s, New York, 15 May 1986, lot 181.
Acquired at the above sale by the late owner
Osborne Samuel, London

Henry Moore Sculpture and Drawings , with an introduction by Herbert Read, published by Lund Humphries, first published 1944, illustrated p. xxxii

A. Garrould, ed., Henry Moore, Complete Drawings 1940-49 , London, 2001, vol. 3, p. 156, no. AG 42.148 (illustrated p.156).

As its title implies this working, energetic sheet is a graphic rehearsal or blueprint for possible sculptures and contains both reclining, seated and figures with internal forms, themes which were to dominate Moore’ s career. Elements hark back to the surrealist tendencies from the late 1930’ s but also formal sculptural resolutions have evolved on the sheet and are familiar in works from the 1940’ s onwards. The energetic application of layers of mixed media echoes the bony, taut surfaces of the sculptures. The memorable drawing ’ Crowd looking at a tied-up object (1942) recalls Yves Tanguy’ s ocean-bed surrealism. Ideas for Sculpture , though a set of un-related studies rather than an independent or cohesive narrative, contains a similarly elusive feeling of mystery and atmospheric flux.

Private Collection, Chicago (acquired before 1950 & thence by descent)
Private Collection, USA

Ann Garrould (ed.), Henry Moore, Complete Drawings, vol.3, 1940-49, Aldershot, 2001, no.AG43.107; HMF 2156, ills.p.196

Stanford, Iris & B Gerald Cantor Centre for Visual Arts, Stanford University, on loan, March 2000

This drawing is reminiscent of a work from the same period Reclining Figures: Ideas for Stone Sculpture, 1944, in which each figure appears in an individual pod in a subterranean setting, recalling the mysterious fascination that caves in hillsides and cliffs held for the artist. Moore’s interest in underground landscapes had previously been expressed in his ‘Shelter Drawings’ series of 1941, depicting figures taking refuge in the London Underground during the Blitz, and in his coal mining drawings of the same year.

The Artist
By whom gifted to Duncan Guthrie, 1952
Private Collection, UK
Osborne Samuel, London

On 23 July 1943, the Reverend Walter Hussey, Sir Kenneth Clark and Sir Jasper Ridley (1887–1951) visited Moore’s studio to see five maquettes for a Madonna and Child commissioned by Hussey for his parish church of St Matthew’s, Northampton. Hussey had approached Moore after seeing his Shelter Drawings in an exhibition at the National Gallery in autumn 1942. As a result, between April and June 1943, Moore compiled his ‘Mother and Child Sketchbook’, from which he modelled twelve different maquettes in clay. The example chosen by Hussey, from the five maquettes Moore presented, was enlarged and carved from Hornton stone, to be installed in early 1944.

Ridley, through his close involvement with the work’s genesis and execution, decided to commission a Madonna and Child from a different maquette, partly as a war memorial for his parish church in Claydon, Suffolk, but also to commemorate his own son, Jasper Ridley (1913–43), who had died in the war. This sketch, in pencil, ink, wax resist and wash, closely reflects the design of the Madonna and Child (1948–9) for Claydon, except in one detail: Moore, who apparently felt that the carving lacked sufficient majesty, added a crown, which he built up over several days using ground stone and fixative.

Asked in 1952 to provide a design to be reproduced on Christmas stamps, as part of a publicity campaign for the newly founded National Fund for Poliomyelitis Research (now Action Medical Research), Moore gave this drawing to the charity’s founder, Duncan Guthrie. The image of a mother and child would hold particular significance for Guthrie, whose young daughter, Janet, was diagnosed with polio in 1949.

Private Collection, UK, 1954
James Kirkman, London
Piccadilly Gallery, London

Osborne Samuel, London

Ann Garrould (ed.), Henry Moore, Complete Drawings, vol.3, 1940-49, Aldershot, 2001, no.AG44.20; HMF 2241a, p.214-215

From the Rescue Sketchbook, page 21. The early part of this sketchbook contains various studies for textile designs and family groups which may date to 1943. The latter part to preliminary sketches for The Rescue, a melodrama by Edward Sackville-West published in 1945 including reproductions of Moore’s drawings.

Christie’s London, 1999
Galerie Rüdiger Schöttle, Munich
Private Collection, UK

Ann Garrould (ed.), Henry Moore, Complete Drawings, vol.3, 1940-49, Aldershot, 2001, no.AG44.75; HMF 2259a, p.228-229

The six reclining figures in this wartime drawing are beautifully drawn ideas for sculpture typical of the artist’s working method. The six figures are isolated in space and float on ledges. These ideas were developed in a drawing from the same period Reclining Figures: Ideas for Stone Sculpture, 1944, in which each figure appears in an individual pod in a subterranean setting. Moore’s interest in underground landscapes had previously been expressed in his ‘Shelter Drawings’ series of 1941, depicting figures taking refuge in the London Underground during the Blitz, and in his coal mining drawings of the same year.

The Artist

Curt Valentin, Buchholz Gallery, New York 

Mrs. Vera List, philanthropist and supporter of contemporary art, Greenwich, Connecticut

Thence by descent

Osborne Samuel Ltd 

Henry Moore, Volume Two: Sculpture and Drawings Since 1948, (London: Lund Humphries, 1955)

Robert Melville, Henry Moore: Sculpture and Drawings 1921-1969, (London: Thames and Hudson, 1970) 

Ann Garrould, ed., Henry Moore: Complete Drawings, Volume 3, 1940-49; (London and Much Hadham: Lund Humphries, 2001, p.288, ref AG48.43; HMF 2515

New York, New York, Buchholz Gallery, Henry Moore, March 6-31, 1951, illustrated cat no. 66 (in this catalogue the drawing is incorrectly dated 1949)

This work is registered in the Henry Moore Foundation archives as HMF 2515 and research file number 2020.38. 

Rocking Chairs was purchased at Buchholz Gallery in 1951. The drawing was executed in 1948, four years before the bronze, Mother and Child on Ladderback Rocking Chair. In this drawing, Moore depicts five figure groups on rocking bases, with the
mother figure holding the child in various positions. Each group is three-dimensional, indicating that Moore conceived of the figure group as a sculpture from the beginning.

Moore’s series of sculptural rocking chairs was begun in 1950, when his daughter Mary, a much-loved and long-awaited child, was four years old. Although Moore had explored the theme of the mother and child since the 1920s, these new works showed a joy and tenderness born of experience. Will Grohman described them as ‘enchanting impromptus, the offspring of a lighter muse.’ 1 Their creation offers a glimpse both into Moore’s domestic life and the extent to which his personal and creative identity intertwined. Just as he experimented with how to balance the sculptures, so that they rocked perfectly, he would encourage Mary to think practically through play. For her eighth birthday party he produced a set of scales and invented a game to guess the weight of each guest. Moore’s estimates, perhaps unsurprisingly for a sculptor, proved accurate to within a few pounds. 2

Moore’s drawings provide a different insight. In the Rocking Chair Notebook (1947–8) he experimented with radically varied designs for the chair as well as the figures seated within them. The drawing, Rocking Chairs (1948), shows Moore adjusting the postures of mother and child so that each suggests an altered dynamic: from a protective embrace, to the joyous wriggling of the child held aloft, to an independent stepping forward, away from the mother’s arms. While mass is weighed through the technique Moore described as ‘sectional drawing’, dividing surfaces into jigsaw grids to highlight curves and planes, relatively little attention is paid to the chairs’ potential for movement: certain of the rockers seem implausibly flat. Instead, Moore lavishes his imagination on the figures. Grohmann noted how such variation developed across the span of the rocking chair series, although his words apply equally to this sheet of drawings: ‘heads became archaic knots, the bodies clothed skeletons, but the expression remains elated.’ 3

Rocking Chairs was bought in 1951 by the American philanthropist and collector, Vera List (1908–2002), from the Buchholz Gallery in New York. List, who a year later bought Moore’s Mother and Child on Ladderback Rocking Chair (1952), was an early and dedicated patron. In 1961 she and her husband sponsored the commission of Moore’s large-scale Reclining Figure (1963–5), in bronze, for New York’s Lincoln Center.

1.    Will Grohmann, The Art of Henry Moore, new enlarged edition (London: Thames and Hudson Ltd, 1960), p. 142.

2.       Mary Moore, in Elizabeth Day, ‘The Moore Legacy’, The Observer (27 July 2008).

3.       Grohmann, The Art of Henry Moore, p. 143

Gifted by the artist to his nephew as a wedding present (Albert Spencer Speight)
Thence by descent

Private collection UK

Recorded in the Henry Moore Foundation Archives as HMF2440a

The Henry Moore Foundation has suggested a date of 1948 for the drawing and that it originally was part of the 1947-49 sketchbook.

“My drawings are done mainly as a help towards making sculpture – as a means of generating ideas for sculpture, tapping oneself for the initial idea: as a way of sorting out ideas and developing them.

Also sculpture compared with drawings is a slow means of expression, and I find drawing a useful outlet for ideas which there is not time enough to realise as a sculpture. And I use drawing as a method of study and observation of natural forms (drawing from life, drawings of bones, shells etc.)”

Notes on sculpture, (1937) reprinted in ‘Henry Moore Complete Sculpture, vol 1, published by Lund Humphries, 1988, p.xxxv

Henry Moore, The Complete Drawings, volume 4, , number AG69-77.16, HMF3197

From Sketchbook 3, Page 34A

The artist’s daughter

Henry Moore, The Complete Drawings, volume 4, page 207, number HMF3227; AG69-77.58

Rear end paper from the Red Notebook, containing drawings made between 1969-1977, some of which are studies of the artist’s daughter Mary.

Henry Moore, The Complete Drawings, volume 4, page 270, number AG72-74.37, HMF 73/74 (77)

From The Red Notebook, p.68 verso

Henry Moore, The Complete Drawings, volume 4 , number  AG72-74.45; HMF73/74.84

From Sketchbook 4, Page 44

Henry Moore, The Complete Drawings, volume 4, number AG 73-79.30; HMF74/6.30

Verso: Seated Mother and Child. Charcoal, chinagraph. Signed in biro. From Sketchbook 2, p. 30.

Henry Moore, The Complete Drawings, volume 4, number HMF75.77; AG75.8

From Sketchbook 1, Page 8

Deluxe edition contains 2 original prints signed and numbered by the artist, the first etchings CGM `Composition for a Poem by Herbert Read’, 1946 (34.9 x 27.6 cm) and the last lithograph illustrated here, CGM 719, `Two Seated Women on Beach’ from 1984 (31.4 x 46.4 cm)

Private Collection, UK

Henry Moore and the Challenge of Architecture , published by the Henry Moore Foundation, 2005, catalogue no.3, page 6

David Mitchinson, Henry Moore: Prints and Portfolios, published by Patrick Cramer, Geneva, 2010, p.11, illustrated fig, 3

Henry Moore Foundation, Henry Moore and the Challenge of Artchitecture, Perry Green Much Hadham, 2005

c.1920

One of only 3 recorded impressions. (the Henry Moore Foundation acquired one of the three copies in 1985)

Dancing Figures is a rare and early linocut from c.1920, created as an idea for an architectural frieze and conveys a sense of movement and dynamism among the stylized figures, giving a clear insight into Moore’s creative process at a time when he started his earliest explorations of architectural concepts.

On returning to Castleford, his Yorkshire home town, in February 1919 after demobilisation at the end of the First World War, Moore joined the pottery classes of his former art teacher Alice Gostick, before going in September that year to Leeds School of Art as a sculpture student. Though studying in Leeds Moore continued to live in Castleford and to spend some evenings at Alice Gostick’s classes. Dancing Figures c.1920, a linoleum print on olive-green wove paper measuring 165 x 344mm, dates from this period.

William Weston purchased print from a member of staff at WS Cowell Ltd, where the trial proofs had been printed.

Gérald Cramer (ed.) Alistair Grant & David Mitchinson, Henry Moore. The Graphic Work, 1931-72, vol. I, London, 1973, no.8, illustrated.

This exceptionally rare trial proof was Moore’s earliest experiment in lithography. When he agreed to make a print for Brenda Rawnsley’s ‘School Print’ project, the printers sent the artist two plates to draw on. A very small number of trial proofs of the two resulting images (CGM 6 and 8) were printed by Cowells and no edition was made. The subjects in this print are typical of Moore’s work at the time, exploring the seated figure, the family group and the mother and child theme. The texts adjacent to the images (in reverse) are Moore’s notes on the technical aspects of this new medium.

Private Collection, UK

Gérald Cramer (ed.) Alistair Grant & David Mitchinson, Henry Moore. The Graphic Work, 1931-72, vol. I, London, 1973, no.14, illustrated.

Based on a drawing Standing Figures 1948.

From the album `Meditations on the Effigy’

Signed and numbered from the edition of X, one of ten artist’s proofs aside from the edition of 50

From the album `Meditations on the Effigy’

Signed and numbered from the edition of X, one of ten artist’s proofs aside from the edition of 50

A Printer’s proof aside from the edition of 100

From the Auden Poems Portfolio. 

From the Auden Poems Portfolio.

Printer’s proof aside from the edition of 80

From the `Reclining Figures’ Portfolio, a set of 6 lithographs. 

A printer’s proof aside from the edition of 200. 

Henry Moore: Catalogue of Graphic Work Volume III 1976-1979, published by Gerald Cramer, CGM/422

From the ‘Reclining Figure’ Portfolio (Deluxe Edition)

Mr & Mrs Rowland Howarth
Thence by descent

David Sylvester (ed.) and Herbert Read, ‘Henry Moore Complete Sculpture 1921-48 vol.I,’ London 1990, no.35, illustrated p.7

David Mitchinson with intro. by Peter Osborne, ‘Henry Moore,’ published by Osborne Samuel, 2015, p.21

Unseen for decades this is Moore’s first cast sculpture, depicting his sister Elizabeth Howarth’s new born daughter Mary. It has remained in the Howarth family ever since.

Acquired by Philippe Dotremont, Brussels, circa 1950, subsequent to the exhibition in Bern, 1950 but before the publication of the Tate Galley exhibition catalogue in 1951.

Carlo Ponti & Sophia Loren

Private European Collection

Berkeley Square Gallery, London

Private Collection, UK

Sculpture & drawings by Henry Moore, exh. cat. Tate Gallery, London, arranged by the Arts Council of Great Britain on the occasion of The Festival of Britain, 1951, fig.22

Herbert Read, Henry Moore, Munich, 1967, ill.pl.88

Robert Melville (ed) Henry Moore Carvings, Marlborough Fine Art, London, 1967, illustrated.

Robert Melville, Henry Moore, Sculpture & drawings 1921-1969, New York, 1970, no.91 illustrated.

Elda Fezzi, Henry Moore, 1977, ill.p.11

Charles Harrison (ed), Unit 1, Portsmouth, May 1978, ill.p.37

Franco Russoli & David Mitchinson, Henry Moore, Escultura, Barcelona, 1981, no.84, ill. p.59

Alex Robertson et al (ed) Surrealism in Britain in the Thirties, Leeds, 1986, ill.pp.210-211.

Susan Compton, Henry Moore, London, 1988, ill.p.64

David Sylvester (ed) & Herbert Read, Henry Moore, Complete Sculpture, 1921-48, vol.1, London, 1990, no.138, ill.p.84

Cercle d’Art (ed), Moore 1898-1986, Paris, 1996, ill. pl.28

Henry Moore, Sculpture of the 20th Century, exh. cat. Dallas Museum of Art, 2001, illustrated in photographs pp.67, 213

Henry Moore, edited by Christopher Stephens, published by Tate Publishing, 2010, no 49, illustrated, p.132

London, Mayor Gallery. Unit 1, April 1934, no 30 as Composition (Corsehill stone)

London, New Burlington Galleries, International Surrealist Exhibition, 1936

New York, Museum of Modern Art, Henry Moore, 1946

Bern, Kunsthalle Bern, Henry Moore, 1950, no.23 (illustrated in the catalogue)

London, Marlborough Fine Arts, Henry Moore: Stone & Wood Carvings, 1961, no.16

London, Marlborough Fine Arts, Art in Britain 1930-1940 centred around Axis Circle Unit One, March-April 1965, no 83 (illustrated in the catalogue)

London, The Tate Gallery, Henry Moore, July-September 1968, no.29 (illustrated in the catalogue)

Florence, Forte Belvedere, Moore e Firenze, 1972, no.19

London, Royal Academy, Henry Moore, September-December 1988, no 19 (illustrated in the catalogue)

London, Tate Modern, Surrealism: Desire Unbound, 2001-2002, no.39 with tour to Metropolitan Museum of Art, New York.

Saint-Paul de Vence, Foundation Maeght, Henry Moore – Retrospective, 2002, no.39

Henry Moore, Tate Gallery, London, February-August 2010, no 49

Private Collection, purchased at the November 1972 exhibition 

Thence by descent

Osborne Samuel, London

Exhibition catalogue, Small Bronzes and Drawings by Henry Moore, London, Lefevre Gallery, 1972, pp. 8-9, no. 1, illustrated.
A. Bowness (ed.), Henry Moore: Complete Sculpture 1980-86, Vol 6, London, 1999, p. 28, no. 175a, another cast illustrated.

London, Lefevre Gallery, Small Bronzes and Drawings by Henry Moore, November – December 1972, no. 1. (this cast)

Collection of the artist. Collection of Ann H. Zwinger.
By descent, Ann H. Zwinger Trust.

Orebro, Sweden, 1952

Dimensions include the artist’s base Height 2cm; 3/4 in

The recent, spectacular exhibition of Moore’s Helmet Heads at the Wallace Collection in 2019 demonstrates their enduring fascination. Moore had visited the Wallace Collection in the 1920s and made drawings of armour, recording details that found their way into his sculptures – most intensely during the 1930s to 1950s, but sporadically throughout the course of his life.

Early intimations of Moore’s Helmet series appear in his drawings in the mid-1930s. Helmets morph into heads, skulls contain blanched structures, branching within them. From these seedling ideas developed Moore’s first metal sculpture. The Helmet (1939–40), originally in lead, is a slender vertical structure. Two holes, piercing its top, appear as eyes. Most importantly, however, it encloses a separately cast inner form suggesting a figure, planted on two stubby legs. The upright form of this figure, in combination with the womb-like enclosure of the outer shell, suggests a mother and child.

Moore, in fact, cited multiple sources for the series that unfolded from this startling composition. In addition to the Wallace Collection, he recalled that his early interest in armour had been informed by the Victoria and Albert Museum, where he wandered at lunchtimes as a student. ₁ He also linked The Helmet’s origin to Wyndham Lewis ‘talking about the shell of a lobster covering the soft flesh inside’. The carapace protects a vulnerable interior, just as a mother shields her child:

The helmet … became a recording of things inside other things. The mystery of semiobscurity where one can only half distinguish something. In the helmet you do not quite know what is inside. ₂

It is an intriguing line of thought, and one that Andrew Causey probed by juxtaposing Moore’s The Helmet with Epstein’s Rock Drill, which likewise shelters an embryo inside its mechanistic ribcage. ₃

Moore’s use of lead for the early versions of the Helmet series was a practical solution to casting his own work. Lead could be melted at a relatively low temperature, from sections of piping, and cast outdoors. Later, Moore cast these same sculptures in bronze to make them less vulnerable to damage. But again, there was an alternative reading. Moore described the original versions as ‘more expressive because lead has a kind of poisonous quality; you feel that if you licked it you might die’. ₄

Helmet (1950) is a maquette for the first numbered sculpture in the series. It has a more open, simplified form from the front, while the back has two pointed apertures and a series of slits, suggesting vents. Echoing this, the inner form is both pointed and curved, containing its own sharp slit. To the top are two circular holes. The catalogue for the Wallace Collection exhibition related the overall shape of this sculpture, with its prominent circular air vents, to the German ‘coalscuttle’ helmet – the M1916 Stahlhelm, which was a sought-after souvenir for British troops in World War I. Moore would have seen such helmets during combat in 1917. ₅

Yet, unlike the larger version of Helmet Head No. 1, the maquette is unique and possesses a distinct history. Cast in 1950, it was chosen in 1952 by Moore and Fritz Eriksson (Head of the Swedish Arts Council) as part of a touring exhibition destined for a year-long tour of Sweden, Denmark, Norway, the Netherlands and Germany. An installation photograph shows the two maquettes for Helmet Head No. I and Helmet Head No. 2, side by side on a plinth. To the left is Moore’s stone Composition (1932), subsequently bought by the Tate, and to the right, Half-Figure (1929) in cast concrete, purchased by the British Council in 1948. On the walls, enlarged photographs of further works by Moore indicate the breadth of his practice as a sculptor. Sold to its only owner, Ann Zwinger, in the early 1950s, the maquette for Helmet Head No. 1 was in fact a substitution for a different lead sculpture, which was damaged in transit. The maquette’s base touchingly records this provenance, bearing both the British Council’s exhibition label and the handwritten dedication ‘To Ann Zwinger, from Henry Moore’.

₁ Moore, in Alan Wilkinson (ed.), Henry Moore: Writings and Conversations (Aldershot: Lund Humphries, 2002), p. 214.
₂ Ibid.
₃ Andrew Causey, The Drawings of Henry Moore (Lund Humphries, 2010), p. 99.
₄ Moore, in Moore: Head-Helmet: An Exhibition to Celebrate the 150^th Anniversary of the Foundation of the University of Durham (Durham: DLI Museum and Arts Centre, 1982), p. 1
₅ Tobias Capwell & Hannah Higham, Henry Moore: The Helmet Heads (London: The Wallace Collection, 2019), p. 86.

Lefevre Gallery, London

Private Collection, purchased at the November 1972 exhibition 

Thence by descent

Osborne Samuel, London

Exhibition catalogue, Mostra di Henry Moore, Florence, Forte di Belvedere, 1972, n.p., no. 75, another cast illustrated.
Exhibition catalogue, Small Bronzes and Drawings by Henry Moore, London, Lefevre Gallery, 1972, pp. 54-55, no. 24, illustrated. (this cast)
A. Bowness (ed.), Henry Moore: Complete Sculpture 1949-54, Vol. 2, London, 1986, p. 43, no. 331a, another cast illustrated.
Exhibition catalogue, Henry Moore: Sketch Models and Working Models, London, Southbank Centre, 1990, p. 31, no. 13, fig. 25, another cast illustrated.
Exhibition catalogue, Henry Moore In the Light of Greece, Andros, Museum of Contemporary Art, Basil & Elise Goulandris Foundation, 2000, p. 157, no. 17, another cast illustrated.
J. Hedgecoe, Henry Moore: A Monumental Vision, Cologne, 2005, p. 217, no. 304, another cast illustrated, not traced.

Florence, Forte di Belvedere, Mostra di Henry Moore, May – September 1972, no. 75, another cast exhibited.
London, Lefevre Gallery, Small Bronzes and Drawings by Henry Moore, November – December 1972, no. 24. (this cast)
Madrid, British Council, Palacio de Velázquez, Henry Moore: Sculptures, Drawings and Graphics 1921-1981, May – August 1981, no. 135, another cast exhibited.
London, Southbank Centre, Henry Moore: Sketch Models and Working Models, 1990, no. 13, another cast exhibited: this exhibition travelled to Coventry, Mead Gallery, May – June 1990; Huddersfield, Art Gallery, June – August 1990; Wrexham, Library Arts Centre, August – October 1990; Bristol, Museum and Art Gallery, October – November 1990; Eastbourne, Towner Art Gallery, December 1990 – January 1991; Exeter, Royal Albert Memorial Museum, January – March 1991; Stirling, Smith Art Gallery, March – April 1991.
Andros, Museum of Contemporary Art, Basil & Elise Goulandris Foundation, Henry Moore In the Light of Greece, June – September 2000, no. 17, another cast exhibited.

The Artist

Marina & Willy Staehelin-Peyer Collection, USA (Acquired directly from the artist) 

 Private Collection, UK

Alan Bowness, ed.’ Henry Moore, Complete Sculpture, 1955-64, Vol.3, London, 1965, no:412, ill. of another example p.30. pls 38 & 39

Hakone Open-Air Museum, Japan (permanent collection)

In a letter to Dr. Staehelin, Moore describes the casting of his recently finished piece, ‘Draped Reclining Woman’.‘ I am going to have it cast in Berlin, as I have been given the name of a very good bronze foundary which can cast it without delay … Of course I shall have to go to Berlin myself to see the cast as it gets near completion, so that I am sure that it is well done and entirely satisfactory’ (Henry Moore, unpublished letter to Dr. Staehelin, December 5, 1958)

Henry Moore Archive: Drapery played a very important part in the shelter drawings I made in 1940 and 1941 and what I began to learn then about its function as form gave me the intention, sometime or other, to use drapery in sculpture in a more realistic way than I had ever tried to use it in my carved sculpture. And my first visit to Greece in 1951 perhaps helped to strengthen this intention . . . Drapery can emphasise the tension in a figure, for where the form pushes outwards, such as on the shoulders, the thighs, the breasts, etc., it can be pulled tight across the form (almost like a bandage), and by contrast with the crumpled slackness of the drapery which lies between the salient points, the pressure from inside is intensified . . . Drapery can also, by its direction over the form, make more obvious the section, that is, show shape. It need not be just a decorative addition, but can serve to stress the sculptural idea of the figure.

Henry Moore quoted from Sculpture in the Open Air: A Talk by Henry Moore on his Sculpture and its Placing in Open-Air Sites, edited by Robert Melville and recorded by the British Council 1955; typescript, copy in HMF library

Walther Stürmer (former technical director at Rosenthal)

Thence by descent

Osborne Samuel, London 

Alan Bowness (ed.), Henry Moore Sculpture and Drawings Volume 4 Sculpture 1964-73, London, 1977, p.45, no.550
‘Walther Stürmer: Begegnungen, Zeitgenössiche Porzellanplastik,’ published by the German Porcelain Museum, 1999, illustrated p.146

Gagosian Gallery, London, Henry Moore: Wunderkammer – Origins of Form, Feb 9 – April 4, 2015  

Edition of 6 plus 2 

Walther Stürmer was the former technical director at Rosenthal and advised various artists within the ‘Rosenthal Relief Series’ on how to translate their designs into the new material porcelain. In July 1968 Walther Stürmer, together with Arnold Bode, visited Henry Moore in Much Hadham. Stürmer presented Moore with several material samples, whereupon the full sculpture MOON HEAD (based on his bronze objects) was created by a Rosenthal modeller, which finally inspired Moore. Moon Head was not shown at the first exhibition of the Rosenthal Relief series, only later were the works presented and sold. As Henry Moore was taken with the work in porcelain, he gave Philip Rosenthal a second model (Three Way Ring) during his visit to Much Hadham in 1968.

Marlborough Fine Art, Ltd., London.
Private Collection USA, 1971, acquired from the above
Private Collection, UK

A. Bowness, ed., Henry Moore, Sculpture and Drawings, 1964-73, London, 1977, p. 56, no. 604 (another cast illustrated, p. 57).

Monumental versions of Two Piece Reclining Figure: Points are in Kew Gardens, London; The Hofgarten, Dusseldorf; and Hirshhorn Museum, Washington D.C. 

The plaster model is at the Art Gallery of Ontario.

I found that form and space are one and the same thing. You can’t understand space without understanding form.

For example, in order to understand form in its complete three-dimensional reality you must understand the space that it would displace if it were taken away. You can’t measure a space without measuring from one point to another. The heavens have space that we can understand because there are points – the stars and sun – that are different distances away from each other. In the same way we can only see space in a landscape by relating the foreground and middle distance to the far distance. To understand the distance from my thumb to my forefinger needs exactly the same understanding as distances in landscape.

Alan Wilkinson (ed), ‘Henry Moore, Writings and Conversations,’ published by Lund Humphries, 2002, p.206

Private Collection, London

Alan Bowness, ed., Henry Moore Complete Sculpture 1980-1986, vol. 5, London, 1986, no. 723, p. 34-35 & pls. 124 & 125.

The classic sculpture Reclining Figure – Bone Skirt, is one of Moore’ s most recognisable and iconic figures. This is the working model for a marble sculpture which was owned by his daughter Mary and was subsequently reworked as a monumental carving in travertine marble dating from 1978. At the time Moore was spending the summers at a villa he had built near the Carrara quarries in Italy. Moore observed in 1931: “The human figure is what interests me deeply, but I have found principles of form and rhythm from the study of natural objects such as pebbles, rocks, bones, trees, plants … bones have marvellous structural strength and hard tenseness of form, subtle transition of one shape into the next…”

Moore returned again and again to the reclining figure, initially inspired by the early Mexican Chacmool sculptures he saw at the British Museum in the 1920s. The subject re-occurs throughout his career with infinite variations of form and line, here the use of drapery to accentuate the shape and continuous line of the body.

I want to be quite free of having to find a ‘ reason’ for doing the Reclining Figures, and freer still of having to find a ‘ meaning’ for them. The vital thing for an artist is to have a subject that allows to try out all kinds of formal ideas – things that he doesn’ t yet know about for certain but wants to experiment with, as Cézanne did in his ‘ Bathers’ series. In my case the reclining figure provides chances of that sort. The subject-matter is given. It’ s settled for you, and you know it and like it, so that within it, within the subject that you’ ve done a dozen times before, you are free to invent a completely new form-idea.

Henry Moore quoted in John Russell, Henry Moore , Allen Lane, The Penguin Press, London 1968, p.28

The Artist, May 1981, from whom acquired by
Private Collection, New Zealand
Private Collection, U.K.
With Berkeley Square Gallery, London, 2003, where purchased by
Private Collection, U.K. by whom gifted to the present owner
Private Collection, U.K.
Osborne Samuel, London (Formerly Berkeley Square Gallery)

Alan Bowness, Henry Moore: Volume 6, Complete Sculpture, 1980-86, London, 1999, p.37, cat.no.790 (ill.b&w., another cast)

Rome, Vigna Antoniana, Henry Moore, 1981
Ravenna, Moore, Sculture, disegni e grafica, 1986 no.13 (illustrated)

Height excludes base.

A cast is owned by the Henry Moore Foundation, Perry Green, UK

Though a pervasive theme throughout Moore’s oeuvre, the artist created more images of the Mother and Child in the final decade of his life than in any other period of his career.  Moore wrote in 1979: “The ‘Mother and Child’ is one of my two or three obsessions, one of my inexhaustible subjects. This may have something to do with the fact that the ‘Madonna and Child’ was so important in the art of the past and that one loves the old masters and has learned so much from them. But the subject itself is eternal and unending, with so many sculptural possibilities in it—a small form in relation to a big form, the big form protecting the small one, and so on. It is such a rich subject, both humanly and compositionally, that I will always go on using it” (quoted in A. Wilkinson, ed., Henry Moore: Writings and Conversations, Berkeley, 2002, p. 213). 

The Artist
Private Collection, New York (acquired directly from the artist)
Private Collection, New York (and sold: Sotheby’s, New York, November 13, 1996, lot 314)
Private Collection, London (acquired at the above sale)
Jeanne Frank Gallery, New York
Private Collection (Acquired from the above on March 17, 1997)
Private Collection, London

Alan Bowness, ed., Henry Moore, Complete Sculpture, 1980-1986, vol. 6, London, 1988, p. 51, no. 789, illustration of another cast pl. 38

Dimensions include the artist’s bronze base

A cast from the edition is owned by the The Yale Center for British Art, USA

Reviewing Moore’s eightieth-birthday exhibition at Fischer Fine Art, which juxtaposed recent sculptures with those from the 1920s and ’30s, John Glaves-Smith drew attention to the persistence of the rounded female figures. Even in the interwar period, when women – deprived of calories, then taking up tennis and hockey – strove for the boyishly svelte silhouette of the ‘flapper’, Moore’s figures remained ample, replete with curves. ₁ The most salient exception would be his post-war Mother and Child (1953), a tense pairing in which the child appears to peck, ravenously, at its mother’s breast. In this composition, the mother strains away from the child, her waist attenuated, her head serrated in defence.

Mother and Child Round Form (1980) demonstrates the persistence of Moore’s monumental vision. The female figure is non-sexualised, seeming to exist only in relation to the child, whom she regards intently. The composition centres on the child, its mother arguably providing little more than a context: a support. To this end, the female figure is largely devoid of non-essential detail. There is the merest indication of breasts, and hands to clasp. Legs, lacking purpose, are truncated, while weight sediments towards the cushion of the mother’s lap. The effect is far from stolid, however. As almost invariably with the subject of mother and child, Moore imbues the composition with timelessness and universality.

₁ John Glaves-Smith, ‘Exhibitions: Henry Moore’, Art Monthly (September 1978), p. 19.

The Goodman Gallery, South Africa 

Private Collection, London (acquired from the above in 1981) Thence by descent

Osborne Samuel, London

Alan Bowness (ed.), Henry Moore, Complete Sculpture: 1980-86, Vol. 6, London, 1988, no. 788, another cast illustrated, p. 36-37

Collegeville, Pennsylvania, Ursinus College, Philip and Muriel Berman Museum of Art, Henry Moore Relationships, Drawings, Prints & Sculpture from the Muriel and Philip Berman Collection, 1993-1994 (another cast).
Philadelphia Museum of Art, Henry Moore, A Centennial Salute, An Exhibition in Celebration of Philip I. Berman, July-November 1998, no. 18 (illustrated, p. 30) (another cast).

A cast from the edition is owned by the Henry Moore Foundation.

In John Hedgecoe’s seminal book on the artist, Moore states, “from the very beginning the reclining figure has been my main theme.’₁  This subject is central to Moore’s creativity throughout his career. In his own words, “the reclining figure gives the most freedom, compositionally and spatially… A reclining figure can recline on any surface. It is free and stable at the same time. It fits in with my belief that sculpture should be permanent, should last for eternity.” ₂

Reclining Nude: Crossed Feet is an iconic sculpture. The initial impetus for the posture of the woman was inspired by the Chacmool figures which the artist first saw at the British Museum in the 1920s; the arms perpendicular to the ground, the knees raised and the twisting contours of the body. However in Moore’s Reclining Figures, the masculine rain god of the Chacmool has been, in William Packer’s words,  ‘transformed into an image more general, unhieratic and benign, as a simple function of the softer, rounded forms that came with the change of sex, and the humanising informality of the relaxed and turning body.’ ₃

The crossed feet and hands are abbreviations of the limbs, an extension of the contradictory, relaxed  torsion in the body. The contours of the sculpture evoke, as Moore noted, the disparate and enigmatic contours of the landscape, opening up voids beneath the shoulders and under the arms, echoed in the arching of the legs.  The sculpture can thus be seen in the round, each angle stimulates a new and perhaps surprising interpretation.

₁ John Hedgecoe, Henry Moore, published by Nelson, New York, 1968, p. 151

₂ Henry Moore cited in J.D. Morse, ‘Henry Moore Comes to America’, Magazine of Art, vol.40, no.3, March 1947, pp.97–101, reprinted in Philip James (ed.), Henry Moore on Sculpture, London 1966, p.264.

₃ Celebrating Moore, selected by David Mitchinson, published by Lund Humphries, 1998, p.125, extract written by William Packer

Marlborough Gallery, New York
Acquired from the above in June 1983
Private collection

Henry Moore, 85th Birthday Exhibition: stone carvings, bronze sculptures, drawings (exhibition catalogue), Marlborough Fine Art, London, 1986, illustration of another cast p. 66
Alan Bowness, ed., Henry Moore Complete Sculpture 1980-1986, vol. 6, London, 1986, no. 873, illustrations of another cast p. 54 & pl. 114

Dimensions include artist’s bronze base

A cast from the edition is in the collection of the Yale Center for British Art, gifted by Jeffrey Loria

The original plaster for this work is in the collection of the Henry Moore Foundation and visible in the Bourne maquette studio. One child is shown with the mother. 

Moore made several drawings for and of this sculpture, using the device of two children to emphasise the interaction between the children and the mother. This is the only recorded sculpture with this theme