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Henry Moore

United Kingdom (Castleford 1898 -  Munch Hadham 1986 ) Wikipedia® : Henry Moore
MOORE Henry  Dark Interiors

Mossgreen /Nov 21, 2016
940.82 - 1,881.64
1,203.57

Find artworks, auction results, sale prices and pictures of Henry Moore at auctions worldwide.
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Variants on Artist's name :

Henry Moore O.M.

Henry Spencer Moore

 

Artworks in Arcadja
4768

Some works of Henry Moore

Extracted between 4,768 works in the catalog of Arcadja
Henry Moore - Black Seated Figure On Orange Ground

Henry Moore - Black Seated Figure On Orange Ground

Original 1966
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Net Price
Lot number: 800
Other WORKS AT AUCTION
Description:
Henry Moore OM, CH, FBA, RBS (1898-1986) ''Black Seated Figure on Orange Ground'', 1966 Signed in pencil, inscribed and dated (19)66, artist's proof, lithograph, together with the Shelter sketchbook portfolio, signed and numbered 169/180 with 77 facsimile colour lithograph collotypes, 66cm by 56cm and 40cm by 33.5cm
Henry Moore - Studies For Sculpture

Henry Moore - Studies For Sculpture

Original 1936
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Lot number: 26
Other WORKS AT AUCTION
Description:
Henry Moore O.M., C.H. (British, 1898-1986) Studies for Sculpture signed and dated 'Moore/36' (lower right) pencil, chalk and wash 37.5 x 55.8 cm. (14 3/4 x 22 in.) This work is recorded with the Henry Moore Foundation as HMF 1248a Footnotes Provenance Sale; Sotheby's, London, 1 April 1981, lot 279 Sale; Sotheby's, London, 24 March 1999, lot 267 Private Collection, Australia Literature Ann Garrould (ed.), Henry Moore, Complete Drawings 1984-86, Volume 7, Addenda and Index 1916-86, The Henry Moore Foundation and Lund Humphries, Much Hadham and Hampshire, pp.20-21 (ill.b&w)
Henry Moore - Seated Woman: One Arm

Henry Moore - Seated Woman: One Arm

Original 1956
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Gross Price
Lot number: 2
Other WORKS AT AUCTION
Description:
Henry Moore, O.M., C.H. SEATED WOMAN: ONE ARM 1898-1986 signed and numbered 6/9 bronze length: 18cm.; 7in. Conceived in 1956 and cast in 1964, the present work is number 6 from the edition of 9. Provenance Redfern Gallery, London, where acquired by Lord & Lady Attenborough, 9th January 1970 Literature Alan Bowness (ed.), Henry Moore Sculpture and Drawings 1955-64, Vol.3, Lund Humphries, London, 1965, cat. no.410, illustrated p.23 (another cast); Henry Moore & Ian Barker, Henry Moore, Sculptures, Drawings, Graphics, 1921-1981, Madrid, 1981, illustrated p.130 (another cast); John Hedgecoe, A Monumental Vision, The Sculpture of Henry Moore, London, 1998, no.378, illustrated p.221 (another cast). Catalogue Note The theme of the reclining figure held Moore’’’’’’’’s attention from the late 1920s onwards, developed through a series of sketches and both small and large scale sculptures, culminating in such works as Recumbent Figure, 1938 (Tate, London) and subsequently becoming recognised as a ‘signature theme’’’’’’’’ within his work (Ian Dejardin et.al., Henry Moore at Dulwich Picture Gallery, Scala Publishers Ltd, London, 2004, p.67). Lord Clark, whose definitive essays on Michelangelo and the Italian Renaissance have become legendary in the field of art history, recognized Moore as the great visionary of European sculpture, writing: ‘the popular conception of Moore as the master of the reclining figure is correct. His vertical motifs, the internal/external forms and agonized columns, marvellous as they are, have been episodes. The reclining figure had reappeared at every phase of his work, and in the last few years has been the basis of his greatest sculpture’’’’’’’’ (Kenneth Clark, quoted in F. S. Wight (ed.), Henry Moore: The Reclining Figure (exh. cat.), The Columbus Museum, 1984, p.4).Moore's seated and reclining figures are among his most celebrated and spatially sophisticated works: the human figure provided for him a motif that he continually reworked, repositioning, dividing and in some cases abstracting the body so that only its elemental nature remained intact. In this focus on the figure, he took inspiration in part from Cézanne’’’’’’’’s Bathers, at one point owning a small sketch by the artist, and the work served as a stimulus to explore the figure and all its poses. Moore was later to reference the work more closely in The Bathers (after Cézanne) (1978), which drew directly from the positioning of the figures. As Moore commented, 'Cézanne’’’’’’’’s bathers compositions were a subject that freed him to try out all sorts of things that he didn’’’’’’’’t quite know. With me, I think the reclining figure gave me a chance, a kind of subject matter, to create new forms within it' (Moore, quoted in Dorothy Kosinski (ed.), Henry Moore: Sculpting the Twentieth Century, Yale University Press, London, 2001, p.59). The present work is a wonderful example of Moore’’’’’’’’s ability to create endlessly original figural forms. Moore takes the figure and manages to strip it of the particular and superfluous, capturing the essence of the figure, lending Seated Woman: One Arm a sense of universality and timelessness. Moore himself described the progression of his sculpture as ‘becoming less representational, less outwardly a visual copy, and so what some people would call more abstract; but only because in this way I can present the human psychological context of my work with the greatest clearness and intensity’’’’’’’’ (the Artist, quoted in F. S. Wight, op. cit, p.131). After experimenting with a variety of modelling and casting techniques, including modelling in materials such as clay, wax and plasticine, and casting many sculptures himself in lead and bronze, Moore began to move in the mid-1950s, when this work was conceived, to model all works intended to be cast in bronze in plaster. The present work has a tactility which comes from both the modelling process – the Artist’’’’’’’’s hand is evident in the undulating forms of the figure’’’’’’’’s legs particularly – but also from the fluidity of the bronze itself, a material which, in Moore’’’’’’’’s sculptures especially, seeks to be touched. In the present work we thus see Moore’’’’’’’’s unparalleled ability to capture the figure in repose: the delicate forms of the work and its smooth, sweeping lines are balanced by a firmness in both the modelling and the bronze medium, all contained within a pose which combines a careful balance of weight and tension.
Henry Moore -  Dark Interiors

Henry Moore - Dark Interiors

Original 1973
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Lot number: 24
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Description:
Description: HENRY MOORE (BRITISH, 1898-1986) Sculptures, Dark Interiors, 1973 lithograph edition 74/75 editioned and signed to margin 25.5 x 34 cm PROVENANCE Old Master though Modern Prints, Swann Galleries, New York, 28 April 2011, lot no. 341 Modern & Contemporary Works of Art, Freeman's, Philadelphia, 3 November 2013, lot no. 106 The Eric & Jacquie Selwood Collection, Sydney LITERATURE Gerald Cramer, Henry Moore Catalogue of Graphic Work, Cramer, Genevia, 1931-1972, 1973-1975, cat. no. 373 GST: Quantity: Symbol: Grade: Categories:
Henry Moore - Ideas For Stone Carving

Henry Moore - Ideas For Stone Carving

Original -
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Lot number: 1007
Other WORKS AT AUCTION
Description:
Henry Moore (1898-1986) Ideas for Stone Carving signed and dated 'Moore 35.' (lower right) charcoal, black Conté crayon, brush and gray wash and pencil on paper laid down on card 14 7/8 x 21 7/8 in. (38 x 55.5 cm.) Executed in 1935 Provenance Hanover Gallery, London. Acquired from the above by the present owner, July 1966. Pre-Lot Text PROPERTY FROM THE HOLDINGS OF THE FORD FOUNDATION Literature A. Bowness, Henry Moore, Complete Sculpture, Catalogue Raisonné, London, 1944, vol. 1 (illustrated, pl. 127a). R. Melville, Henry Moore, Sculpture and Drawings, 1921-1969, London, 1970, p. 344 (illustrated, pl. 133). K. Clark, Henry Moore Drawings, London, 1974 (illustrated in color, pl. 88). A. Garrould, ed., Henry Moore, Complete Drawings, 1930-1939, Much Hadham, 1998, vol. 2, p. 161, no. AG 35.76 (illustrated).
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