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, 1986
Private Collection, USA (acquired from the above)
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.

The Artist
Curt Valentin, Buchholz Gallery, New York 
Mrs. Vera List, philanthropist and supporter of contemporary art, Greenwich, Connecticut (purchased from the above in 1951)
Thence by descent
Osborne Samuel, London 

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

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

Curt Valentin, New York
Alma Morgenthau Wertheim, New York
Anne Wertheim Werner, New York
Thence by descent
Osborne Samuel, London

Ann Garrould, ed., Henry Moore Complete Drawings 1950-76, vol. III, Much Hadham, 2001, no. AG 47-49.63, p. 273, illustrated

The two seated figures in Women Winding Wool (c.1948) are engaged in an age-old task: rhythmically transferring yarn from hank to ball. We might imagine the women’s arms in motion – tilting, coiling and pulling the wool taut – as they engage in conversation or reflection. The process is as companionable and soothing as it is mundane.

Moore’s drawing, one of several of the subject made at this date,[1] gives a valuable insight into his working methods. The figures are drawn in pen and ink. Clustered lines indicate shadow or depth; their absence creates highlights. Through colour, a sense of an interior is conveyed, albeit without detail: this plain setting, with its square stools and bare floor, might be anywhere from a miner’s cottage in Yorkshire to ancient Greece. Between the figures is a network of pen marks suggesting a transfer of energy. The squared grid overlaying the image indicates that Moore was contemplating a further transformation of the image, whether through enlargement or translation to another medium.

[1] The Arts Council Collection contains a larger drawing of Women Winding Wool (1948), in watercolour, pencil and chalk, 54.2 x 56.3 cm, AC 24.

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)

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.

Gérald Cramer (ed.) Alistair Grant & David Mitchinson, Henry Moore.
The Graphic Work, 1931-72, vol. I, London, 1973, no.9, illustrated.

Printed in three colours: yellow, blue grey and black. 

Collograph based on several drawings of 1948/49.

A few prints have been dated 1950.

In the late 1940’s and early 1950’s collography was a new printing technique. Collography is a printmaking process in which materials are applied to a rigid substrate (such as cardboard or wood). The word is derived from the Greek word koll or kolla, meaning glue, and graph, meaning the activity of drawing.

The plate once assembled can be intaglio-inked, inked with a roller or paintbrush or some combination of methods. Ink or pigment is applied to the collaged substrate and used to print onto paper using a printing press. (Collograph is sometimes spelt colograph or collagraph). Moore was at the forefront throughout his career of innovative printing techniques.

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

From the Auden Poems Portfolio. 

From the Auden Poems Portfolio.

From the Auden Poems Portfolio.

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

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)

Weintraub Gallery, New York
Private Collection, USA
Osborne Samuel, London

Alan Bowness, Henry Moore: Complete Sculpture Volume 6, 1980-1986, Addendum to Volume, 1921-48, Lund Humphries, London, cat. no. 186d, p. 29 (ill.b&w, another cast)

Much Hadham, Perry Green, UK, Henry Moore: War and Utility, 2001-02 (another cast) 

The terracotta is held in the collection of the Art Gallery of Ontario, Canada

The Henry Moore Foundation have confirmed that this cast is recorded in their archive as cast number 2 from the edition of 7. 

Brook Street Gallery, London
Roland Collection, London
Private Collection London
Thomas Gibson Fine Art, London
Sir Joseph Hotung, London
Osborne Samuel, London

Ionel Jianou, Henry Moore, Arted, Paris, 1968, no. 226, ill. p. 74 (another cast)
Giulio Carlo Argan, Henry Moore, New York, 1971, no. 77, ill. n.p. (another cast)
Giulio Carlo Argan, Le Grandi Monografie Scultori d’Oggi Moore, Fratelli Fabbri editori, Milan, 1971, no. 77, ill. p.37 (another cast)
David Sylvester (ed.), Henry Moore, Sculpture and Drawings 1921-1948, Lund Humphries, London, 1988, Vol I, cat. no. 239, p. 15

London, Roland, Browse and Delbanco, Henry Moore, 1948 (another cast)
York, York City Art Gallery, The Roland Collection, 1950, no. 35 (another cast)
Leicester, Museum and Art Gallery, The Roland Collection, 1950, no. 35 (another cast)
Bristol, City Art Gallery, Festival of Britain Exhibition, 1951, no. 43 (another cast)
Southampton Art Gallery, The Roland Collection, 1952 (another cast)
London, Geffry Museum, Works by Henry Moore, 1954 (another cast)
Leeds, Leeds City Art Gallery, The Roland Collection, 1962, no. 74 (another cast)
London, Camden Arts Centre, The Roland Collection, 1976, no. 82 (another cast)
Edinburgh, National Gallery of Modern Art, One Man’s Choice, 1985, no. 64 (another cast)

From the edition of 7, plus 1. This bronze is recorded with the Henry Moore Foundation as LH 239, cast f.

A cast is held at the Smart Museum, Chicago USA. The terracotta original and a bronze cast is held by the Henry Moore Foundation, Much Hadham, UK. The larger version of this bronze, the so-called Stevenage Family Group, are held by the Tate, London, MOMA, New York, Hakone Open-Air Museum, Japan, the Norton Simon Museum, Pasadena & the Henry Moore Foundation, Much Hadham. 

Before the war Moore was asked to create a work for a large progessive school in Impington. This lead to the idea of the Family Group and Moore made a series of Family Group maquettes, this cast being one of them. Moore discusses at length why this cast differs from the larger version which was eventually realised for the Barclay School in Stevenage:

The main differences between the two are in the heads, especially in the head of the man. In the small version (this bronze) the split head of the man gives a vitality and interest necessary to the composition, particularly as all three heads have only slight indications for features. When it comes to the life-size version, (the Family Group in Stevenage) the figures each becomes more obviously human and related to each other and the split head of the man became impossible for it was so unlike the woman and child. (There is a different connection between things which are three feet from each other, as the large heads are, and things which one sees in the same field of vision only two or three inches apart).

The Artist

Ann H. Zwinger (purchased from the above)
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.

Dominion Gallery, Canada

Private Collection, USA

Osborne Samuel, London

D. Mitchinson (ed.), Henry Moore: with comments by the artist, London, 1981, pp. 106, 311, no. 203 (another cast illustrated)
A. Bowness (ed.), Henry Moore: Complete Sculpture 1949-54, Vol. 2, London, 1986, p. 31, no. 289a, pls. 34-35 (another cast illustrated)
S. Compton, Henry Moore: Catalogue of the Royal Academy Exhibition, London, Royal Academy of Arts, 1988, p. 226, no. 112 (lead version illustrated)
Exhibition catalogue, Henry Moore: Sculpture from the 40s and 50s, London, Waddington Galleries, 1995, pp. 14-15, no. 5 (lead version illustrated)
Exhibition catalogue, Henry Moore: War and Utility, London, Imperial War Museum, 2006, p. 51, no. 22 (another cast illustrated)

Conceived in 1950 in lead and cast in an edition of 9 in bronze in 1972.

The Artist
Private Collection, London
Osborne Samuel Gallery

Alan Bowness (ed.), Henry Moore, Complete Sculpture, Volume 2, Lund Humphries, London, 1965, p.40, cat. no. 318 (ill.b&w, another cast)
John Hedgecoe, A Monumental Vision: The Sculpture of Henry Moore, Collins & Brown, London, 1998, p. 214, no. 295 (ill.b&w, another cast)

Henry Moore is widely recognised as one of the most celebrated and significant British artists of all time. The artist’s work had a profound effect and impact on the course of art, his influence spanning for generations beyond his longstanding and remarkable career.

Moore grew up in a mining community in Yorkshire, England, and he was surrounded by the physical labour of the miners, as well as the rugged, rocky landscape of the area. As a child, he spent a great deal of time exploring the moors and the surrounding countryside, and he developed a keen eye for the natural shapes and forms of the world around him.

Later, as a student of sculpture, Moore was drawn to the work of ancient civilizations, particularly the art of ancient Egypt and the Aztecs. He was intrigued by the way that these cultures used the human figure as a symbol of power, strength, and spiritual significance.

Moore’s interest in the figure continued throughout his career, and he produced a vast body of work that explored the human form in a variety of ways. His sculptures ranged from highly abstracted figures to more naturalistic depictions, and he was particularly interested in the way that the figure could convey a sense of energy and emotion.

The present work was conceived in the same year as Moore was working on his seminal masterpiece Reclining Figure, which would be later installed at UNESCO headquarters in Paris, France.

Overall, Moore’s obsession with figures can be seen as a reflection of his deep curiosity about the world around him, as well as his fascination with the human form as a symbol of power, spirituality, and the inherent beauty of nature.

A. Bowness, ed., Henry Moore, Sculpture and Drawings 1955-64, London, 1965, vol. 3, p. 21, no. 384 (another cast illustrated)

Tucson, The University of Arizona Art Gallery; Dallas, Valley House Gallery and Little Rock, Arkansas Arts Center, Henry Moore, A Retrospective Exhibition of Sculpture and Drawings, February-June 1965, p. 37, no. 15 (illustrated).
New Orleans, Orleans Gallery, Henry Moore, July-August 1965, no. 14

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

Private Collection, UK

Alan Bowness and Herbert Read (Ed), Henry Moore, Sculpture and drawings Volume 3, Sculpture 1955-64, London, Lund Humphries, no.495, p.54 

Henry  Moore Animals, Gerhardt Marcks Haus, Bremen, 1997, p.185

Casts of Snake Head  are with the Art Gallery of Ontario, Canada and the Henry Moore Foundation, Much Hadham.

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
David and Laura Finn (acquired from the above in October 1979)
Thence by descent
Osborne Samuel, London

D. Mitchinson (ed.), Henry Moore: Sculpture, London, 1981, p. 297, no. 620, another cast illustrated, as ‘Thin Reclining Figure’.
Exhibition catalogue, Henry Moore: Sculptures, Drawings, Graphics 1921-1981, Madrid, Palacio de Velázquez, 1981, p. 297, no. 147, pl. 620, another cast illustrated.
A. Bowness (ed.), Henry Moore, Sculpture and Drawing: 1974-80, Vol. 5, London, 1983, cat. no. 733, ill.b&w. pp. 36-37, no. 733, pls. 136-7, (another cast illustrated).

Madrid, Palacio de Velázquez, 1981, Henry Moore: Sculptures, Drawings, Graphics 1921-1981, no. 147 (another cast)

Henry Moore was greatly inspired by natural and flowing organic forms of rocks, stones, trees and bones that he encountered during his countless countryside walks near his home in the English countryside. These shapes, combined with his love of nature and the landscape, influenced the forms of many of his sculptures. The hamlet’s verdant nature also led to Moore working with various natural materials during his lifetime.

Moore embraced the concept of abstraction, concentrating on the essential curves of the female form in his work. His Working model for Thin Reclining Woman is typical of the studies Moore created prior to enlarging the work to a monumental scale. Created in 1978, the model was enlarged into a white marble figure between 1979 and 1980.

The true strength of any small sculpture by Moore is being able to imagine it on a large scale. Here we see the female form almost as a rolling landscape, undulating with its natural crests and valleys. The figure’s femininity is implied through these sensuous curves, with accentuations, such as the wide hips and arching torso, producing its voluptuous appeal. The figure’s pose similarly suggests a sense of comfort and confidence within herself.

This is the Working Model for the white marble monumental sculpture, ‘Thin Reclining Figure.’ LH5/734

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

Galerie Patrick Cramer, Geneva (acquired from the artist, 1984)
Private Collection, purchased from the above in April 1984.
Private Collection, London
Osborne Samuel, London

Alan Bowness, ed., Henry Moore: Complete Sculpture, 1980-1986, London, 1988, vol. 6, cat. no. 901, pp. 58-59 (ill b&w p.59 and pl. 126).

Henry Moore Foundation
Berkeley Square Gallery, London 
Private Collection, U.K. (purchased from the above)

Ann Garrould (ed.), Henry Moore, Volume 5, Complete Drawings 1977-81, Lund Humphries, London, 1994, cat. no. AG.80.307, p.149, (ill.b&w.)

Madrid/Lisbon, Henry Moore: Sculptures, Drawings, Graphics 1921-1981, Parque de El Retiro, Palacio de Velazquez and Palacio de Cristal, Madrid; Gulbenkian Foundation, Lisbon, 1981, cat. no. 178 (Madrid), cat. no. 177 (Lisbon)
Scottish Highlands and Islands, Scottish Arts Council Tour, Henry Moore Sculpture, toured the Highlands and Islands of Scotland, 1982 (no cat. no.)