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Henry Moore

United Kingdom (Castleford 1898 -  Munch Hadham 1986 ) Wikipedia® : Henry Moore
MOORE Henry Two Women And Child

Christie's
May 13, 2019
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Variants on Artist's name :

Henry Moore O.M.

Henry Spencer Moore

 

Artworks in Arcadja
5765

Some works of Henry Moore

Extracted between 5,765 works in the catalog of Arcadja
Henry Moore - Upright Internal/external Form: Flower

Henry Moore - Upright Internal/external Form: Flower

Original 1951
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Lot number: 202
Other WORKS AT AUCTION
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UPRIGHT INTERNAL/EXTERNAL FORM: FLOWER Henry Moore 1898 - 1986 InscribedMooreand numbered4/6 Bronze Height (including base): 30 1/8 in. 76.5 cm Conceived in 1951 and cast in 1965 in an edition of 6 plus one artist's proof. Provenance Sale: Christie's, New York, May 13, 1998, lot 416 Acquired at the above sale Literature Robert Melville, Henry Moore, Sculpture and Drawings 1921-1969, New York, 1971, no. 422, illustration of another cast n.p. Alan Bowness, ed., Henry Moore, Complete Sculpture, 1949-54,vol. 2, London, 1986, no. 293b, illustration of another cast pp.34-35 Catalogue Note "The sculpture which moves me most is full blooded and self-supporting, fully in the round, that is, its component forms are completely realised and work as masses in opposition, not being merely indicated by surface cutting in relief; it is not perfectly symmetrical, it is static and it is strong and vital, giving out something of the energy and power of great mountains. It has a life of its own, independent of the object it represents.\” —Henry Moore in Henry Moore, On Being a Sculptor (Artist\’s Writings), London, 2010, n.p.
Henry Moore - Shelter Drawing

Henry Moore - Shelter Drawing

Original 1941
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Lot number: 19
Other WORKS AT AUCTION
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SHELTER DRAWING Henry Moore 1898 - 1986 Pen and ink, ink wash and crayon on paper 19 by 17 3/8 in. 48.3 by 44.1 cm Executed in 1941. William Ohly (Berkeley Gallery), London (acquired from the artist) Roderick Cameron (acquired from the above) Rosamond Arts, New York Acquired from the above in 1979 Literature Ann Garrould, ed.,Henry Moore Complete Drawings 1940-49,vol. 3, London, 2001, no. AG 41.43, illustratedp.90 "The scenes of the shelter world, static figures asleep—reclining figures—remained vivid in my mind, I felt somehow drawn to it all. Here was something I couldn't help doing." Henry Moore Executed in 1940 and 1941, Moore\’s series of Shelter Drawings rank among the most poignant works created in Britain during World War II. The siege-like nature of the war, and the German bombing raids in particular, meant that the effects of the war were acutely felt by the general populace, away from battlefields. Much of the most successful art produced during this period dealt with the effect of the conflict on ordinary Britons; the present Shelter Drawing is not only a moving example of such art but also a powerful document of this turbulent era. Unlike his friends Ben Nicholson and Barbara Hepworth, who had moved from London to St Ives shortly after the outbreak of the war, Moore had kept his studio in Hampstead and like most Londoners tried to retain the semblance of as normal a life as possible. However, during the summer of 1940 the Luftwaffe air attacks across the country, but especially London, became increasingly intense. While there was official provision made for shelters, many Londoners preferred the impromptu shelter offered by the deeper stations of the underground network. On September 11, 1940, Moore and his wife Irina were returning from supper with friends in the center of town, traveling on an underground train. The sirens sounded during their journey and when they got to their station, Moorewas fascinated by the large numbers of people sheltering on the platforms. The artist made his first drawing of the subject the following day and would return many times to study the people gathered there. Initially this was a very private exercise for Moore, and for the next few months he observed his subject anonymously. As the artist later recalled: "Instead of drawing, I would wander casually past a group of people half a dozen times or so, pretending to be unaware of them. Sometimes I climbed a staircase so that I could write down a note on the back of an envelope without being seen. A note like 'two people sleeping under one blanket' would be enough of a reminder to enable me to make a sketch next day" (quoted in Henry Moore. Shelter-Sketch-Book (exhibition catalogue), Marlborough Fine Art, London, 1967, n.p.). Moore showed some of the sketchbooks to Kenneth Clark in December 1940. "Lord Clark described the notebooks in which Moore did drawings of people sheltering in London\’s Underground system: 'the two notebooks that are, to my mind, among the most precious works of art of the present century. In these shelter drawings,' Clark continued, '(Moore) showed not only insight and compassion but marvellous graphic skill. Since circumstances kept him from his sculpture, he became, in effect, a painter. His watercolour sketches of the darkened caves render space and atmosphere like a picture by Goya, but, as was to be expected, his renderings of the human body are given weight and substance and related to each other like great sculpture'" (A. Garrould, Henry Moore Drawings, London, 1988, pp. 18 & 20). Clark's immediate excitement resulted in Moore making enlarged versions of some of the drawings which would then be acquired by the War Artists' Advisory Committee, and this marked the point at which the drawings began to be exhibited publicly. While Moore was already well known and highly regarded within the art circles, the public exposure of the Shelter Drawings secured his popular appeal. Although after 1941 Moore quickly moved to other subjects, the Shelter Drawings hold a crucially important position in his oeuvre (see fig. 1). In artistic terms, the echoes of the draped figures would resonate through many of his great sculptures of the following decade. It was while working on his Shelter Drawings that Moore became increasingly absorbed in the manner in which drapery could denote sculptural volume. The three-dimensional effect achieved by the folds in the figures\’ garments is in part inspired by the sculpture and reliefs from ancient Egypt and the Classical antiquity, particularly some of the Parthenon figures which Moore had admired during his frequent visits to the British Museum. Furthermore, their superb ability to express a very real sense of human existence in adversity gave them extraordinary public appeal, and thus when Moore's first New York exhibition at Curt Valentin's gallery took place in 1943, the combination of their subject and the context of the progression of the war ensured that they were among the first pieces of Moore's work to enter several important American collections.
Henry Moore - Upright Motive: Maquette No. 12

Henry Moore - Upright Motive: Maquette No. 12

Original 1955
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Lot number: 334
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Henry Moore (1898-1986) Upright Motive: Maquette No. 12 signed, numbered and stamped with foundry mark 'Moore 4/9 H. NOACK BERLIN' (on the right side) bronze with golden brown patina Height: 12 5/8 in. (32 cm.) Conceived in 1955 Provenance Nathan Cummings, Chicago (acquired from the artist, 1968). Acquired from the estate of the above by the present owner, May 1985.
Henry Moore - Ideas For Sculpture

Henry Moore - Ideas For Sculpture

Original 1937
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Lot number: 164
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Henry Moore (1898-1986) Ideas for Sculpture signed and dated 'Moore. 37' (lower right) watercolor, colored wax crayons, inkwash and pen and India ink on paper 11 x 7 ½ in. (28 x 19 cm.) Executed in 1937 Provenance Private collection, United States (acquired from the artist). Private collection, Germany (by descent from the above); sale, Christie's, London, 26 June 1990, lot 167. R.S. Johnson Fine Art, Chicago (acquired at the above sale). Acquired from the above by the present owner, April 1991.
Henry Moore - Two Women And Child

Henry Moore - Two Women And Child

Original 1948
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Lot number: 2A
Other WORKS AT AUCTION
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Henry Moore (1898-1986) Two Women and Child signed 'Moore' (lower right) gouache, watercolor, colored wax crayons, colored pencils, pen and India ink and pencil on paper 19 x 24 5/8 in. (48.4 x 62.5 cm.) Executed in 1948 Provenance The Leicester Galleries, London (probably acquired from the artist). Private collection, Great Britain. The Lefevre Gallery (Alex. Reid & Lefevre, Ltd.), London (by 1972). Fischer Fine Art, London. Private collection, South Africa. Marlborough Fine Art Ltd., London. Private collection (acquired from the above, 1978) Private collection (by descent from the above); sale, Sotheby's, London, 24 June 2015, lot 32. Acquired at the above sale by the present owner.
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