Henry Moore 1898-1986

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)

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

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

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, Geffreys 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).

Sir Kenneth Clark, Saltwood (acquired from the artist)
The Honourable Colette Clark, Oxford (gift from the above)
Fischer Fine Art, Ltd., London
Ryda & Robert H Levi (May 1977)
Christie’s, New York, 2016
Private Collection, USA, 2016 (acquired from the above)
Osborne Samuel, London

David Sylvester (ed.) and Herbert Read, Henry Moore, Complete Sculpture, 1921-48, vol. I, London, 1990, no.238. (not illustrated)
J. Hedgecoe and H. Moore, Henry Moore, New York, 1968, p. 176, no. 4 (another cast illustrated; plaster version illustrated, pp. 163 and 269; dated 1944).
A. Bowness, ed., Henry Moore, Sculptures and Drawings 1964-73, London, 1977, vol. 4 (terracotta version illustrated, p. 10, pl. A).
B. von Erich Steingrber, Henry Moore Maquetten, Pantheon, 1978 (terracotta version illustrated, p. 24, fig. 23).
R. Berthoud, The Life of Henry Moore, London, 1987, fig. 88 (terracotta version illustrated).
J. Hedgecoe, A Monumental Vision, The Sculpture of Henry Moore, London, 1998, p. 210, no. 239 (another cast)

Other casts are held in the following  collections: Cleveland Museum of Art, USA  (Hinman B. Hurlbut Collection); The Tate, UK; The Henry Moore Foundation, UK.

The Family Groups are Moore’s most socially-minded sculptures, and considered perhaps the most admired subject in his oeuvre. He conceived this idea for a public commission related to the building of new towns and schools in Britain before the Second World War. It was not until 1944, however, during the height of the war, that it appeared funding for the commission might finally become available. Moore sculpted models of triadic as well as four-figure family groups. The combination of both parents plus two children was capable of generating more varied arrangements and a wider range of emotional expression.
These sculptures celebrated the nation’s anticipated return to peacetime well-being and the pleasures of family life. Moore intended that they should inspire a renewed emphasis on fundamental humanist values, while providing an aesthetic model for community spirit and co-operation, with the promise of progressive social services for all. These sculptures rejoice in the start of new young families. After a half-decade of wartime casualties and a low birth rate, to once again become fruitful and multiply was a crucial requirement for the economic and social revival of Britain during the post-war era.
Moore carried a lifelong dedication to the theme and depiction of family. His very first surviving stone carving, executed in 1922, was entitled Mother and Child (Lund Humphries, no. 3). By 1940, of the more than 150 sculptures he had produced to that date, 22 were versions of the Mother and Child theme. This subject had become something of an obsession for the sculptor; it allowed him to create a formal interaction between two figures—one small, the other much larger—based on their powerful and affecting emotional connection. At the same time, each of the figures contributed their particular weight and volume to form a single, unified, plastic entity.
In 1943, during the early years of the Second World War, Moore was commissioned to carve a Madonna and Child for St. Matthew’s Church in Northampton, England. This project provided the sculptor an opportunity to cast the mother and child theme in a traditional sacred context, in which the figures took on qualities, as Moore described them, “of austerity, and a nobility, and some touch of grandeur (even hieratic aloofness) which is missing in the everyday ‘Mother and Child’ idea” (quoted in A. Wilkinson, Henry Moore: Writings and Conversations, Berkeley, 2002, p. 267).
The Family Group theme materialized when Moore was asked by Henry Morris and Walter Gropius to create a sculpture for a village college at Impington near Cambridge. The college’s ideal of both child and adult education in a single institution appealed to Moore, who was clearly preoccupied with the link between parent and child. The occasion of a commission for a public sculpture, this time on behalf of an educational institution, encouraged the sculptor to consider the importance of the family as the primary human social unit whose close interpersonal relationships provided an exemplary guide for wider communal values.
Will Grohmann discusses the subject of the family group, “In the years between 1944 and 1947 he [Moore] produced a number of larger and smaller variations in stone, bronze and terracotta, differing considerably from one another, being both naturalistic and non-naturalistic, though never as abstract as the ‘reclining figures’. The theme does not hem him in, but it demands a certain readiness to enter into the meaning of a community such as the family” (W. Grohmann, The Art of Henry Moore, London, 1960, p. 141).

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.

Private Collection, USA

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

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, 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 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

Private collection, New York
Private collection, Paris

A Bowness (ed), Henry Moore Complete Sculpture Volume 6 1980-86, published by Lund Humphries, 1988, no. 811, p.41

Original plaster and bronze owned by the Henry Moore Foundation.

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

A. Bowness, ed., Henry Moore: Complete Sculpture, 1980-1986, London, 1988, vol. 6, p. 56, no. 901 (another cast illustrated, p. 57 and pl. 115).

Dennis Hotz Fine Art, Johannesburg, 1992.
Whitehouse Gallery, Johannesburg
Private collection (purchased from the above in 2016)
Osborne Samuel, London

I. Jianou, Henry Moore, Paris, 1968, p. 86 no. 491A, pl. 114, another cast illustrated.
R. Melville, Henry Moore, London, 1979, p. 364, no. 637, another cast illustrated, incorrectly recorded as an edition of 9.
A. Bowness (ed.), Henry Moore Complete Sculpture 1955-64, Vol. 3, London, 1986, n.p., no. 477, another cast illustrated.
A.G. Wilkinson, exhibition catalogue, Henry Moore Remembered: The Collection at the Art Gallery of Ontario in Toronto, Toronto, Art Gallery of Ontario, 1987, p. 197, no. 149, plaster version illustrated.
Exhibition catalogue, Henry Moore Sketch Models and Working Models, London, The South Bank Centre, 1990, pp. 17, 29, no. 33, fig. 13, another cast illustrated.
Exhibition catalogue, Moore in China, Beijing, China Art Gallery, 2000, p. 54, no. 52, another cast illustrated.
D. Kosinski, exhibition catalogue, Henry Moore: Sculpting the 20th Century, Dallas, Museum of Art, 2001, pp. 220, 310, no. 75, plaster version illustrated.
Exhibition catalogue, Imaginary Landscapes, Perry Green, The Henry Moore Foundation, 2003, n.p., no. 23, another cast illustrated.
A. Feldman, exhibition catalogue, Moore Rodin, Perry Green, The Henry Moore Foundation, 2013, pp. 44, 138, no. 103, pl. 52, another cast illustrated.
Exhibition catalogue, Henry Moore: Back to a Land, Wakefield, Yorkshire Sculpture Park, 2015, p. 155, exhibition not numbered, another cast illustrated.

Toronto, Art Gallery of
Ontario, Henry Moore Remembered: The Collection at the Art Gallery of
Ontario in Toronto, September 1987 – February 1988, no. 149, plaster
version exhibited.
London, The South Bank Centre, Henry Moore: Sketch Models and Working
Models, 1990, no. 33, another cast exhibited: this exhibition
travelled to Coventry, Mead Gallery, May – June 1990; Huddersfield,
Huddersfield Art Gallery, June – August 1990; Wrexham, Library Arts Centre,
August – October 1990; Bristol, City Museum and Art Gallery, October – November
1990; Eastbourne, Towner Art Gallery, December – January 1991; Exeter, Royal
Albert Memorial Museum, January – March 1991; and Stirling, Smith Art Gallery,
March – April 1991.
Bejing, British Council, China Art Gallery, Moore in China, October
– November 2000, no. 52, another cast exhibited: this exhibition travelled to
Guangzhou, Guangdong Museum of Art, December 2000 – February 2001; and
Shanghai, City Art Museum, March – April 2001.
Dallas, Museum of Art, Henry Moore: Sculpting the 20th Century, February
– May 2001, no. 75, plaster version exhibited: this exhibition travelled to San
Francisco, Fine Arts Museum, June – September 2001; and Washington D.C.,
National Gallery of Art, October 2001 – January 2002.
Perry Green, The Henry Moore Foundation, Imaginary Landscapes, August 2003, no. 23, another cast exhibited.
Perry Green, The Henry Moore Foundation, Moore Rodin, March – October 2013, no. 103, another cast exhibited: this exhibition travelled to Compton Verney, Compton Verney House, February – August 2014.
Wakefield, Yorkshire Sculpture Park, Henry Moore: Back to a Land, March – September 2015, exhibition not numbered, another cast exhibited.
Leeds, Henry Moore Institute, Henry Moore: Configuration, September 2021 – January 2022, another cast exhibited, catalogue not traced.
Perry Green, The Henry Moore Foundation, Henry Moore: The Sixties, April – October 2022, another cast exhibited, catalogue not traced.