HENRY MOORE 1898-1986
Castleford 1898-1986 Perry Green (British)
Title: Woman’s Head, 1981
Technique: Original Lithograph in Colour on TH Saunders Wove Paper
Paper size: 40 x 44.5 cm. / 15.7 x 17.5 in.
Image size: 22.2 x 25.1 cm. / 8.7 x 9.1 in.
Additional Information: This is an original lithograph in colour by Henry Moore titled “Woman’s Head”.
Our impression is a rare printer’s proof that was printed aside the regular edition of 50 signed and numbered impressions plus 15 artist’s proofs.
It was printed by Curwen Studio, London, in 1981 and published by Raymond Spencer Ltd for the Henry Moore Foundation in 1983.
The paper bears the blindstamp of the publisher in the lower right corner.
Provenance: Acquired from Curwen Chilford Prints Ltd.
Literature: Cramer, G., Grant, A., & Mitchinson, D. (1986) Henry Moore: Catalogue of the Graphic Work 1980-1984. Geneva: Gérald Cramer Éditeur.
Reference: Cramer 630
Condition: Excellent condition.
HENRY MOORE 1898-1986
Castleford 1898-1986 Perry Green (British)
Title: Seated Figure, 1980
Technique: Original Lithograph in Colours on TH Saunders Wove Paper
Paper size: 46.5 x 56.5 cm. / 18.3 x 22.2 in.
Additional Information: This is an original lithograph by Henry Moore titled “Seated Figure”.
Our impression is a rare printer’s proof that was printed aside the regular edition of 50 signed and numbered impressions plus 15 artist’s proofs.
It was printed by Curwen Studio, London in 1980 and published by Raymond Spencer Ltd for the Henry Moore Foundation Much Hadham in 1981
The paper bears the inkstamp and the blindstamp of the publisher at the lower right margin.
Provenance: Acquired from Curwen Chilford Prints Ltd.
Literature: Cramer, G., Grant, A., & Mitchinson, D. (1986) Henry Moore: Catalogue of the Graphic Work 1980-1984. Geneva: Gérald Cramer Éditeur.
Reference: Cramer 578
Condition: Very good condition. A soft crease along the upper sheet.
HENRY MOORE 1898-1986
Castleford 1898-1986 Perry Green (British)
Title: Nativity, 1981
Technique: Original Lithograph in colours on TH Saunders paper
Paper Size: 40 x 44.5 cm / 15.7 x 17.5 in
Image Size: 22.3 x 25 cm / 8.7 x 9.8 in
Additional Information: This is an original lithograph by Henry Moore titled “Nativity”.
Our impression is a rare printer’s proof that was printed aside the regular edition of 50 signed and numbered impressions plus 15 artist’s proofs. .It was printed by Curwen Studio, London, in 1981 and published by Raymond Spencer Ltd for the Henry Moore Foundation in 1983.
Provenance: Acquired from Curwen Chilford Prints ltd
Literature: Henry Moore: Catalogue of the Graphic Work 1980-1984, by Gerald Cramer and Alistair Grant, David Mitchinson, Geneva, 1984.
Reference: Cramer 623
Condition: Very Good Condition. One light creamy stain at the lower edge.
HENRY MOORE 1898-1986
Castleford 1898-1986 Perry Green (British)
Title: Four Silhouette Figures, 1973
Technique: Original Lithograph on Wove Paper
Paper size: 33 x 45 cm. / 12.9 x 17.7 in.
Image size: 13.5 x 22.3 cm. / 5.3 x 8.7 in.
Additional Information: This is an original lithograph by Henry Moore titled “Four Silhouette Figures”. It was printed in three colours: Black, Grey and light Grey.
Our impression is a rare printer’s proof that was printed aside the regular signed edition of 50 impressions. There were a further 15 numbrered artist proofs.
The lithograph was printed in 1973 by Curwen Prints, London and published in 1974 by Gerald Cramer, Geneva.
It is also inscribed in pencil “Curwen Studio Proof” at the lower left corner.
The paper bears the watermark of Henry Moore and the dry stamp of the printer “Curwen Chilford”.
Provenance: Acquired from Curwen Chilford Prints ltd .
Literature: Cramer, G., Grant, A., & Mitchinson, D. (1976) Henry Moore: Catalogue of the Graphic Work 1973-1975. Geneva: Gérald Cramer Éditeur.
Reference: Cramer 283.
Condition: The lower left corner is folded twice other good condition.
Henry Moore is generally acknowledged as one of the greatest sculptors of the 20th century and from the late 1940s until his death was recognised as the most celebrated British artist of his time. The son of a Yorkshire miner, he served in the First World War, after which he trained at Leeds School of Art before gaining a scholarship to the Royal College of Art. In the 1930s he taught in London but in 1940, after the bombing of his studio, he moved to Much Hadham in Hertfordshire where he lived for the rest of his life. By the 1930s Moore was already recognized as the leading avant-garde sculptor in England but it was his war drawings of people sheltering from air raids that brought him to the attention of the British public. His wider reputation became assured in 1948 when he won the International Sculpture Prize at the Venice Biennale and from then on came public commissions from all over the world. Moore started printmaking in 1931, and in 1958 met the master lithographer Stanley Jones at the Curwen Press with whom he continued to make prints until the end of his life. The reclining female form and the mother and child were the two themes that preoccupied Moore, both in his sculpture and printmaking
Henry Moore is generally acknowledged as one of the greatest sculptors of the 20th century and from the late 1940s until his death was recognised as the most celebrated British artist of his time. The son of a Yorkshire miner, he served in the First World War, after which he trained at Leeds School of Art before gaining a scholarship to the Royal College of Art. In the 1930s he taught in London but in 1940, after the bombing of his studio, he moved to Much Hadham in Hertfordshire where he lived for the rest of his life. By the 1930s Moore was already recognized as the leading avant-garde sculptor in England but it was his war drawings of people sheltering from air raids that brought him to the attention of the British public. His wider reputation became assured in 1948 when he won the International Sculpture Prize at the Venice Biennale and from then on came public commissions from all over the world. Moore started printmaking in 1931, and in 1958 met the master lithographer Stanley Jones at the Curwen Press with whom he continued to make prints until the end of his life. The reclining female form and the mother and child were the two themes that preoccupied Moore, both in his sculpture and printmaking