richard green Ken Howard

Henry Moore (Castleford, Yorkshire 1898 - Much Hadham, England 1986)

  • Henry Moore - Reclining Figure
    Henry Moore Reclining Figure Signed and numbered on the side of the base: Moore 5/9
    Bronze
    7 long in
    17.8 long cm
    Full details

    BM 163

     

    HENRY MOORE OM CH

     Castleford 1898 - 1986 Much Hadham

     

    Reclining Figure

     

    Signed and numbered on the side of the base: Moore 5/9

    Bronze: 7 in / 17.8 cm length (excluding base)

    Wood base: 7 ¼ x 4 ½ x 1 ⅝ in / 18.4 x 10.2 x 1.3 cm

    Conceived and cast in 1983 in a numbered edition of 9 plus one artist’s copy

    LH 905

     

    Provenance:

    James Kirkman, London

    Rex Irwin, Sydney, acquired from the above

    Private collection, Sydney, acquired from the above

    Private collection, Australia

    Sale, Christie’s London, 1st July 1999, lot 699

    Private collection, UK, purchased at the above sale

    Private collection, gifted from the above in 1999

     

    Exhibited:

    Sydney, Rex Irwin Art Dealer, Henry Moore: A Tribute, 1990, no. 12  

     

    Literature:

    John Hedgecoe, A Monumental Vision, The Sculpture of Henry Moore, Stewart Tabori & Chan, London, 1998, no. 768, another cast illustrated p. 250

    Alan Bowness (ed.), Henry Moore: Complete Sculpture 1980-86, Vol. 6, Lund Humphries, London, revised 1999, no. 905, another cast illustrated p. 60, pl. 131 & 132

     

     

    ‘From the very beginning the reclining figure has been my main theme. The first one I made was around 1924, and probably more than half of my sculptures since then have been reclining figures’ (the artist cited in J. Hedgecoe and H. Moore, Henry Spencer Moore, Simon and Schuster, New York, 1968, p. 151).

     

    Moore’s enthusiasm for the reclining figure continued amidst a sequence of new themes, allowing him to pursue unexpected formal possibilities: ‘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’ (the artist cited in John Russell, Henry Moore, Allen Lane, The Penguin Press, London 1968, p.28).

     

     

    Henry Moore, Reclining Figure, 1983 (cast 0)

    The Henry Moore Foundation

     

     


    HENRY MOORE OM CH

    Castleford, Yorks 1898 - 1986 Much Hadham, Herts

     

    The seventh child of Raymond Spencer and Mary Moore, Henry was born in Castleford, Yorkshire in 1898. His paternal great-grandfather was of Irish origin, but his father and grandfather were born in Yorkshire where, for two or three generations, they worked the land or went down the mines. At the age of twelve Moore obtained a grant to study at the Grammar School in Castleford where he was inspired by his art teacher to pursue a career in the arts. In 1916 he began to teach, but by February 1917 he had joined the army and left to fight in France. After being wounded in action in November 1917 at the battle of Cambrai, Moore was excused from active service. He returned to England, where he became a physical education instructor in the army. At the end of the war, Moore received a veteran’s grant to study at Leeds School of Art and in 1921 he joined a course at the Royal College of Art in London. A further grant enabled him to travel extensively from 1925, visiting Rome, Florence, Venice, Ravenna and Paris, where he met Picasso, Giacometti, Ernst, Eluard and Breton among others.

     

    On returning from his travels Moore was appointed Professor of Sculpture at the Royal College of Art where he worked two days a week until 1931, as well as teaching at the Chelsea School of Art until 1939. He was appointed an Official War Artist during the Second World War from 1940–1942 for which he made a series of drawings of people sheltering in the London Underground, as well as studies of miners at the coal face. In these pictures he frequently used watercolour over wax crayon. After the war Moore enjoyed a great deal of success, with his works receiving critical acclaim all around the world. He executed many major commissions for museums, public institutions, private collectors and municipal buildings and as a result he became one of the most famous British artists of the twentieth century.

     

    At the beginning of the 1970s Moore created a foundation, the aim of which was to promote public awareness of sculpture and to protect his own work for the future. Located in his home village of Much Hadham, Hertfordshire, the foundation houses a library, archives and a collection of drawings, prints, maquettes and sculptures by the artist. Heavily influenced by the work of Michelangelo, Moore created monumental works in marble, stone and bronze and was enthralled by the theme of the family, and in particular the mother and child. His unique oeuvre draws inspiration from prehistoric, archaic, Egyptian, African, Mexican and Roman sculpture. Throughout his career he was noted for his output of graphic art – drawings, watercolours, etchings and lithographs which were not necessarily related to individual sculptures.

     

  • Henry Moore - Maquette for Draped Reclining Figure
    Henry Moore Maquette for Draped Reclining Figure
    Bronze
    6 1/2 long in
    16.5 long cm
    Full details

    SP 5505

     

    HENRY MOORE OM CH

    Castleford 1898 - 1986 Much Hadham

     

    Maquette for Draped Reclining Figure

     

    Bronze with dark green patina: 6 ½ in / 16.5 cm length (excluding base)

    Wood base: 8 x 4 ¾ x 1 ¾ in / 20.3 x 12.1 x 4.4 cm

    Conceived in 1952 and cast in an unnumbered edition of 10 plus one artist’s copy by 1953

    LH 335

     

    Provenance:

    The Artist

    Laing Galleries, Toronto

    H.R. Milner, Vancouver Island, acquired from the above in 1961, then by descent

    Private collection, Canada

     

    Exhibited:

    Antwerp, Henry Moore, 1953, cat. no. 14, as Definite Maquette for Time/Life, lent by the artist

    Edmonton, Canada, The Edmonton Art Gallery, The H.R. Milner Collection, from 28th May 1976, cat. no. 47, as Reclining Woman

     

    Literature:

    Alan Bowness (ed.), Henry Moore: Sculpture and Drawings 1949-54, Vol. 2, Lund Humphries, London, 1986, pp. 44-45, cat. no. 335, another cast illustrated pl. 100

     

     

    The present work is the sculptor’s model for the Draped Reclining Figure, 1952-3 (bronze, length 157.5 cm, LH 336), commissioned for the terrace of the Time-Life building in Bond Street, London. The artist’s copy of the large-scale Draped Reclining Figure was gifted to The Henry Moore Foundation and is on display in the sculpture garden at Perry Green. The other casts are in the Hirshhorn Museum and Sculpture Garden, Washington DC and the Museum Ludwig in Cologne, Germany.

     

    In 1955, the artist gave a talk, recorded by the British Council, entitled Sculpture in the Open Air: A Talk by Henry Moore on his Sculpture and its Placing in Open-Air Sites,[1] in which he recounted the commission for the present work and his concerns in the creation of the Draped Reclining Figure:

     

    ‘I think architecture is the poorer for the absence of sculpture and I also think that the sculptor, by not collaborating with the architect, misses opportunities of his work being used socially and being seen by a wider public. And it was feeling that the time is coming for architects and sculptors to work together again, that brought me to do the double commission for the Time-Life building in Bond Street, of both the Bronze Draped Reclining Figure for the terrace and the carved stone screen at the Bond Street end of the terrace. I was first asked to do only the Reclining Figure, and was glad to, as that fitted in with my idea of free-standing sculpture in relation to architecture. It was at a later stage that the architect of the building approached me about the sculptured screen and I accepted the chance of working simultaneously upon two such entirely different sculptural problems…

     

    I knew that the figure would be seen from the Reception Room and it seemed to me that in cold weather a nude – even an abstractish one – might look incongruous to people looking out at her from a warm room. So I became absorbed by the problems of the draped figure, and for a time I was back in the period of the shelter drawings, whose themes had demanded a concentration on drapery. But gradually I evolved a treatment that exploited the fluidity of plaster. The treatment of drapery in my stone carvings was a matter of large, simple creases and folds but the modelling technique enabled me to build up large forms with a host of small crinklings and rucklings of the fabric.

    This figure was made for a small terrace, but because the terrace is in the open air I made it over life-size; if it stood up it would be a figure about 7 ft. high. A piece of sculpture that looks life-size in the studio always seems a bit under life-size when it’s out in the open, and to look monumental it has to be a little large than life.’

     

    ‘I have tried in this figure to use drapery from what I think is a sculptural point of view.

    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 ever tried to use it in my carved sculpture. And my first visit to Greece in 1951 perhaps helped to strengthen this intention – so when I was commissioned to do a reclining figure to be placed on the terrace of the Time and Life building, New Bond Street, I took the opportunity of making this draped figure in plaster (for bronze).

    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.

    Also in my mind was to connect the contrast of the contrast of the sizes of folds, here small, fine and delicate, in other places big and heavy, with the form of mountains, which are the crinkled skin of the earth. (This analogy, I think, comes out in close-up photographs take of the drapery alone.)

    Although static, this figure is not meant to be in slack repose but, as it were, alerted.’[2]

     

     

    Henry Moore, Draped Reclining Figure 1952-53 (LH 336)

    Hirshhorn Museum and Sculpture Garden, Washington DC

     

     

    Note on provenance: Horatio Ray Milner

    ‘Over the years, amidst an unusually active career in law and business (from 1932 until his retirement in 1974, he was the president and subsequently chairman of North-western Utilities, Canadian Western Natural Gas Co., Ltd. And Canadian Utilities Ltd.), Mr H.R. Milner compiled one of the most extensive art collections in Western Canada. While these works were obviously purchased for the sake of his own, and his family’s pleasure, it is to his great credit that he collected with such taste and in such a public spirit. His collection spans the history of Canadian art, from Paul Kane through the Group of Seven and David Milne and contains works of considerable historical importance as well as beauty.

    Following his death in 1975, these works were placed on extended loan to The Edmonton Art Gallery by his daughter, Mrs Elizabeth Mewburn.’ Terry Fenton, the H.R. Milner Collection, The Edmonton Art Gallery, Canada, 1976

     

     

     

     


    HENRY MOORE OM CH

    Castleford, Yorkshire 1898 - 1986 Much Hadham, Herts

     

    The seventh child of Raymond Spencer and Mary Moore, Henry was born in Castleford, Yorkshire in 1898. His paternal great-grandfather was of Irish origin, but his father and grandfather were born in Yorkshire where, for two or three generations, they worked the land or went down the mines. At the age of twelve Moore obtained a grant to study at the Grammar School in Castleford where he was inspired by his art teacher to pursue a career in the arts. In 1916 he began to teach, but by February 1917 he had joined the army and left to fight in

    France.

     

    After being wounded in action in November 1917 at the battle of Cambrai, Moore was excused from active service. He returned to England, where he became a physical education instructor in the army. At the end of the war, Moore received a veteran’s grant to study at Leeds School of Art and in 1921 he joined a course at the Royal College of Art in London. A further grant enabled him to travel extensively from 1925, visiting Rome, Florence, Venice, Ravenna and Paris, where he met Picasso, Giacometti, Ernst, Eluard and Breton among others.

     

    On returning from his travels Moore was appointed Professor of Sculpture at the Royal College of Art where he worked two days a week until 1931, as well as teaching at the Chelsea School of Art until 1939. He was appointed an Official War Artist during the Second World War from 1940–1942 for which he made a series of drawings of people sheltering in the London Underground, as well as studies of miners at the coal face. In these pictures he frequently used watercolour over wax crayon.

     

    After the war Moore enjoyed a great deal of success, with his works receiving critical acclaim all around the world. He executed many major commissions for museums, public institutions, private collectors and municipal buildings and as a result he became one of the most famous British artists of the twentieth century.

     

    At the beginning of the 1970s Moore created a foundation, the aim of which was to promote public awareness of sculpture and to protect his own work for the future. Located in his home village of Much Hadham, Hertfordshire, the foundation houses a library, archives and a collection of drawings, prints, maquettes and sculptures by the artist. Heavily influenced by the work of Michelangelo, Moore created monumental works in marble, stone and bronze and was enthralled by the theme of the family, and in particular the mother and child. His unique oeuvre draws inspiration from prehistoric, archaic, Egyptian, African, Mexican and Roman sculpture.

    Throughout his career he was noted for his output of graphic art – drawings, watercolours, etchings and lithographs which were not necessarily related to individual sculptures.

     

    [1] Sculpture in the Open Air: A Talk by Henry Moore on his Sculpture and its Placing in Open-Air Sites 1955, edited by Robert Melville, typescript copy in HMF library cited in Henry Moore: Writings and Conversations, edited by Alan Wilkinson, Lund Humphries, Aldershot, 2002, pp. 278-280.

    [2] The artist cited in Sculpture in the Open Air, exhibition catalogue, Holland Park, London 1954, reprinted in Wilkinson 2002, p.280.

  • Henry Moore - Madonna and Child
    Henry Moore Madonna and Child Signed on the back: H Moore
    Bronze
    5 3/4 high in
    14.6 high cm
    Full details

     

    BM 79

     

    HENRY MOORE OM CH

    Castleford 1898 - 1986 Much Hadham

     

    Madonna and Child

     

    Signed on the back: H MOORE

    Bronze with green and brown patina: 5 ¾ in / 14.6 cm height

    (excluding base)

    Wood base: 3 ⅝ x 3 ¼ x 1 ¾ in / 9.2 x 8.2 x 4.4 cm

    Conceived in terracotta in 1943 and cast in bronze in an unnumbered edition of 7

    LH 223

     

    Provenance:

    Jeffrey H. Loria & Co., Inc, New York, acquired from the artist

    Mr & Mrs Harry M. Goldblatt, May 1969, acquired from the above

     

    Literature:

    Robert Melville, Henry Moore, Sculpture and Drawings, 1921-1969, London, 1970, p. 351, no. 308 (another cast illustrated)

    David Mitchinson (ed.), Henry Moore Sculpture, With Comments by the Artist, London, 1981, p. 310, no. 158 (another cast illustrated p. 91)

    David Sylvester (ed.), Henry Moore, Complete Sculpture 1921-48, Vol. 1, Lund Humphries, London, 1988, p. 13, no. 223 (terracotta version illustrated p. 138)

     

     

    The present work was cast from a terracotta model made in 1943 for the Horton stone Madonna and Child at the Parish Church of St Matthew’s, Northampton, which Moore described as ‘one of the most difficult and heart-searching sculptures that I ever tried to do’.[1] Having seen Moore’s Shelter Drawings, the Rev. Walter Hussey (later Dean of Chichester) commissioned the sculpture to commemorate the half-centenary of the church, giving the artist his first opportunity to carve in stone since the start of the war.[2] Despite the clear correspondence of the subject to his preoccupation with the Mother and Child theme, the gravity of the commission made Moore apprehensive and he insisted upon months of preparatory drawing and approximately twelve clay models before being satisfied that his idea could be realised.

     

    ‘I began thinking of the ‘Madonna and Child’ for St Matthew’s considering in what ways a ‘Madonna and Child’ differs from a carving of just a ‘Mother and Child’ – that is, by considering how in my opinion religious art differs from secular art. It’s not easy to describe in words what this difference is, except by saying in general terms that the ‘Madonna and Child’ should have an austerity and a nobility, and some touch of grandeur (even hieratic aloofness) which is missing in the everyday ‘Mother and Child’ idea. Of the sketches and models I have done, the one chosen has I think a quiet dignity and gentleness. I have tried to give a sense of complete easiness and repose, as though the Madonna could stay in that position for ever (as being in stone, she will have to do)’ (the artist cited in D. Sylvester (ed.), op cit., p. XXV).

     

     


    HENRY MOORE OM CH

    Castleford, Yorks 1898 - 1986 Much Hadham, Herts

     

    The seventh child of Raymond Spencer and Mary Moore, Henry was born in Castleford, Yorkshire in 1898. His paternal great-grandfather was of Irish origin, but his father and grandfather were born in Yorkshire where, for two or three generations, they worked the land or went down the mines. At the age of twelve Moore obtained a grant to study at the Grammar School in Castleford where he was inspired by his art teacher to pursue a career in the arts. In 1916 he began to teach, but by February 1917 he had joined the army and left to fight in France.

     

    After being wounded in action in November 1917 at the battle of Cambrai, Moore was excused from active service. He returned to England, where he became a physical education instructor in the army. At the end of the war, Moore received a veteran’s grant to study at Leeds School of Art and in 1921 he joined a course at the Royal College of Art in London. A further grant enabled him to travel extensively from 1925, visiting Rome, Florence, Venice, Ravenna and Paris, where he met Picasso, Giacometti, Ernst, Eluard and Breton among others.

     

    On returning from his travels Moore was appointed Professor of Sculpture at the Royal College of Art where he worked two days a week until 1931, as well as teaching at the Chelsea School of Art until 1939. He was appointed an Official War Artist during the Second World War from 1940–1942 for which he made a series of drawings of people sheltering in the London Underground, as well as studies of miners at the coal face. In these pictures he frequently used watercolour over wax crayon.

     

    After the war Moore enjoyed a great deal of success, with his works receiving critical acclaim all around the world. He executed many major commissions for museums, public institutions, private collectors and municipal buildings and as a result he became one of the most famous British artists of the twentieth century.

     

    At the beginning of the 1970s Moore created a foundation, the aim of which was to promote public awareness of sculpture and to protect his own work for the future. Located in his home village of Much Hadham, Hertfordshire, the foundation houses a library, archives and a collection of drawings, prints, maquettes and sculptures by the artist. Heavily influenced by the work of Michelangelo, Moore created monumental works in marble, stone and bronze and was enthralled by the theme of the family, and in particular the mother and child. His unique oeuvre draws inspiration from prehistoric, archaic, Egyptian, African, Mexican and Roman sculpture. Throughout his career he was noted for his output of graphic art – drawings, watercolours, etchings and lithographs which were not necessarily related to individual sculptures.

     

     

    [1] The artist cited in J. Hedgecoe and H. Moore, Henry Spencer Moore, Simon and Schuster, New York, 1968, p. 159.

    [2] He also commissioned Benjamin Britten to compose a cantata for the celebration.

  • Henry Moore - Three Women in a Shelter
    Henry Moore Three Women in a Shelter Signed, dated and inscribed on the reverse: Henry Moore / Three Women in Shelter /(one knitting & one with a child). 1941
    Wax crayon on paper
    6 7/8 x 10 in
    17.5 x 25.4 cm
    Full details

    SP 5189

     

    HENRY MOORE OM, CH

     Castleford, Yorkshire 1898 - 1986 Much Hadham, Herts

     

    Three Women in a Shelter

     

    Signed, dated and inscribed on the reverse: Henry Moore / Three Women in Shelter /(one knitting & one with a child). 1941

    Wax crayon, watercolour wash and pencil on paper:

    6 ⅞ x 10 in / 17.5 x 25.4 cm

    Frame size: 16 ¾ x 19 ½ in / 42.5 x 49.5 cm

     

    Recorded in the Henry Moore Foundation archives as HMF 1759

     

    Provenance:

    Redfern Gallery, London

    Private collection, USA

    Sale, Doyle, New York, 13th November 2001, lot 47

    Private collection, UK

     

    Literature:

    Ann Garrould (ed.), Henry Moore, Complete Drawings 1940–1949, Vol. 3, The Henry Moore Foundation in association with Lund Humphries, Aldershot, 2001, no. AG 41.1, illustrated p. 81

     

     

    Henry Moore was living in Burcroft cottage in Kingston, Kent, when war was declared on 3rd September 1939, driving up to London a few days a week to teach at the Chelsea School of Art. With the fall of France and the threat of invasion, by June 1940 he and his wife Irina had returned to their studio at 11a Parkhill Road, Hampstead. Shortly after Hepworth and Nicholson’s move to Cornwall with the triplets, the Moores accepted the offer of their less expensive space at No. 7 The Mall Studios (just off Parkhill Road) by early September. A month later, after a weekend at the home of their friend Leonard Matters in Hertfordshire, they came back to find the studio badly damaged by bomb blast. The Moores returned to Much Hadham that night and within a few months were renting an old farmhouse called Hoglands in the nearby hamlet of Perry Green which would remain home for the rest of their lives.[1]

     

    Moore initially refused the honour of becoming an Official War Artist, but was drawn to the subject of Londoners seeking refuge from the Blitz (which started on 7th September 1940) from his first sight of the shelterers at Belsize Park tube station: ‘I had never seen so many rows of reclining figures and even the holes out of which the trains were coming seemed to me to be like the holes in my sculpture…People who were obviously strangers to one another forming tight

    little intimate groups. They were cut off from what was happening up above, but they were aware of it. There was tension in the air. They were a bit like the chorus in a Greek drama telling us about the violence we don’t actually witness’ (Henry Moore: A Shelter Sketchbook, British Museum Publications, London, 1988, p. 9).

     

    Following this affecting experience, Moore began to travel by tube visiting the underground

    stations where people sought shelter, making notes to recall subjects and poses which he would sketch from memory the following day.[2] He would then execute larger, more finished drawings based on his notebook sketches. Three Women in a Shelter, which is squared in pencil ready for transfer, is the preparatory sketch for Shelter Drawing: Three Fates, 1941 [HMF 1830, AG p. 100] in the collection of Brighton Museum and Art Gallery, gifted from the Contemporary Art Society in 1942. The figures in both works refer to The Fates of Greek mythology otherwise known as The Moirai: Lachesis, Clotho and Atropos, whose winding, measuring and cutting of the metaphorical thread of life determined mortal destinies.[3] Moore’s own life-thread connects the figures to the three important women in his own family and his frequent models, his mother, his sister and his wife. The strange triumvirate, one holding a child, one knitting, one with hands clasped in her lap, brilliantly portray the tension of enforced intimacy, the fragility of life and the threat of violence unseen by combining shelter scenes remembered with imagined sculptural forms. The naturalistic bodies engaged in acts of domesticity combined with abstracted heads signifying psychological disquiet.

     

    Trapped within the shadowy confines of an air-raid shelter, the artist emphasizes the sense of claustrophobia with the dramatic perspective of the corrugated walls, ruled first with pencil then black crayon and covered with a dark wash broken with narrow patches of white. Moore strengthened the shading between and around the seated women to add depth to the enclosed space and project further the bright monumentality of the figures seemingly too large for their subterranean surroundings. Moore’s use of drapery plays a significant part in describing the three-dimensional, naturalistic bodies of the women, curving around their shoulders and falling in tight, linear ripples to their calves. Its undulating articulation seems to tie them closer together. Their arms, individuating their actions, demonstrate Moore’s two-way sectional technique, which he described as the use of line to define ‘both down the form as well as around it, without the use of light and shade modelling’ (cited in Alan G. Wilkinson, The Drawings of Henry Moore, exh cat, The Tate Gallery, London 1977, p. 16). In contrast to the depiction of limbs, the figures’ torsos are empty as if hollowed or carved out, their heads highly abstracted in a sculptural manner characteristic of Moore’s drawings of the late 1920s and 30s. Their skeletal aspect closely corresponds with his transformation drawings inspired by found natural objects such as pebbles, shells and bones, which were then metamorphosed into sculptural forms. The luminous, rough textured appearance of the white, wax crayon extends the organic correlation, the effect of his palette as Geoffrey Grigson stated, like ‘the lichen on the grey rock, the coloured texture of weather-worn stone’ (cited in C. Stephens (ed.), Henry Moore, exh cat, Tate Publishing, London, 2010, p. 165). Moore has also introduced two shades of green into lines and

    areas of each figure, perhaps a further suggestion of nature outside the shelter or the unnatural phosphorescence of electric light.

     

    Three Women in a Shelter was executed on a page of Moore’s horizontal notebook in 1941. There are twelve known drawings attributed to the notebook,[4] which was subsequently disbound, most likely in preparation for the artist’s first solo exhibition in American at the Bucholtz Gallery, New York, in May 1943. Though no list of the forty exhibited drawings exists, the majority of pages from the notebook are now in private and public collections in the USA, including the Santa Barbara Museum of Art, California and The Art Institute of Chicago.

     


    HENRY MOORE OM, CH

     Castleford, Yorkshire 1898 - 1986 Much Hadham, Herts

     

     

    The seventh child of Raymond Spencer and Mary Moore, Henry was born in Castleford, Yorkshire in 1898. His paternal great-grandfather was of Irish origin, but his father and grandfather were born in Yorkshire where, for two or three generations, they worked the land or went down the mines. At the age of twelve Moore obtained a grant to study at the Grammar School in Castleford where he was inspired by his art teacher to pursue a career in the arts. In 1916 he began to teach, but by February 1917 he had joined the army and left to fight in

    France.

     

    After being wounded in action in November 1917 at the battle of Cambrai, Moore was excused from active service. He returned to England, where he became a physical education instructor in the army. At the end of the war, Moore received a veteran’s grant to study at Leeds School of Art and in 1921 he joined a course at the Royal College of Art in London. A further grant enabled him to travel extensively from 1925, visiting Rome, Florence, Venice, Ravenna and Paris, where he met Picasso, Giacometti, Ernst, Eluard and Breton among others.

     

    On returning from his travels Moore was appointed Professor of Sculpture at the Royal College of Art where he worked two days a week until 1931, as well as teaching at the Chelsea School of Art until 1939. He was appointed an Official War Artist during the Second World War from 1940–1942 for which he made a series of drawings of people sheltering in the London Underground, as well as studies of miners at the coal face. In these pictures he frequently used

    watercolour over wax crayon.

     

    After the war Moore enjoyed a great deal of success, with his works receiving critical acclaim all around the world. He executed many major commissions for museums, public institutions, private collectors and municipal buildings and as a result he became one of the most famous British artists of the twentieth century.

     

    At the beginning of the 1970s Moore created a foundation, the aim of which was to promote public awareness of sculpture and to protect his own work for the future. Located in his home village of Much Hadham, Hertfordshire, the foundation houses a library, archives and a collection of drawings, prints, maquettes and sculptures by the artist. Heavily influenced by the work of Michelangelo, Moore created monumental works in marble, stone and bronze and was enthralled by the theme of the family, and in particular the mother and child. His unique oeuvre draws inspiration from prehistoric, archaic, Egyptian, African, Mexican and Roman sculpture.

    Throughout his career he was noted for his output of graphic art – drawings, watercolours, etchings and lithographs which were not necessarily related to individual sculptures.

    [1] The Henry Moore Foundation acquired Hoglands in 2004 and opened it to the public in 2007.

    [2] David Mellor suggests that Moore also used news reportage photography as a source for his imagery. David Alan Mellor, “And Oh! The Stench’: Spain, The Blitz, Abjection and the Shelter Drawings’, Henry Moore, exh cat, Tate Publishing, 2010, pp. 52–63.

    [3] Moore executed several drawings representing The Fates winding wool, one of which would later be translated into tapestry [AG 48.27]. See Ann Garrould (ed.), Henry Moore, Complete Drawings 1940–1949, vol. 3, Lund Humphries, Aldershot, 2001, p. 284.

    [4] See Ann Garrould (ed.), Henry Moore, The Complete Drawings 1940–1949, vol. 3, London, 2001, pp. 81–83.

The seventh child of Raymond Spencer Moore and Mary Moore, Henry Moore was born in Castleford, Yorkshire in 1898. His paternal great grandfather was of Irish origin but his father and grandfather were born in Yorkshire where, for two or three generations, they worked the land or went down the mines. At the age of twelve Moore obtained a grant to study at the Grammar School in Castleford where he was inspired by his art teacher to pursue a career in the arts. In 1916 he began to teach but by February 1917 he had joined the army and left to fight in France.


After being wounded in action in November 1917 at the battle of Cambrai, Moore was excused from active service. He returned to England where he became a physical education instructor in the army. At the end of the war he received a veteran's grant to study at the Leeds School of Art and in 1921 he joined a course at the Royal College of Art in London. A further grant enabled Henry Moore to travel extensively from 1925 and he visited Rome, Florence, Venice, Ravenna and Paris where he met Picasso, Giacometti, Ernst, Eluard and Breton.


On returning from his travels Henry Moore was appointed Professor of Sculpture at the Royal College of Art where he worked two days a week until 1931, also working at the Chelsea School of Art until 1939. Moore was appointed an official war artist for the Second World War from 1940-1942 and during this period he made a series of drawings of people sheltering in the London Underground, as sell as studies of miners at the coal face. In these pictures he frequently used watercolour over wax crayon.


After the war he enjoyed a great deal of success with his works receiving critical acclaim all around the world. Henry Moore executed many major commissions for Museums, Public Institutions, private collectors and municipal buildings and as a result he became one of the most famous British artists of the twentieth century.


At the beginning of the 1970s Henry Moore created a foundation, the aim of which was to promote public awareness in sculpture and protect his own work for the future. Located at Much Haddam, the village where the artist lived, the foundation houses a library, archives and a collection of drawings, prints, maquettes and sculptures by the artist.


Heavily influenced by the work of Michelangelo, Moore created monumental works in marble, stone and bronze and was enthralled by the theme of the family, and in particular the mother and child. Henry Moore’s unique oeuvre draws inspiration from prehistoric, archaic, Egyptian, African, Mexican and roman sculpture and throughout his career he was also noted for his output of graphic art - drawings, watercolours, etchings and lithographs which were not necessarily closely related to individual sculptures.


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    33 New Bond Street, London, W1S 2RS

    147 New Bond Street London, W1S 2TS

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