HENRY MOORE 1898-1986
Castleford 1898-1986 Perry Green (British)
Title: Reclining Figure VIII, 1977/78
Technique: Original Hand Signed and Numbered Etching and Aquatint in Colours on Richard de Bas Wove Paper
Paper size: 52.1 x 44.5 cm. / 20.5 x 17.5 in.
Image size: 15.2 x 20.3 cm. / 6 x 8 in.
Additional Information: This original etching is hand signed by the artist in pencil “Moore” at the lower right margin.
It is also hand numbered from the edition of 25 at the lower left margin. Our impression is one of 25 inscribed “L” for the Louisiana Museum of Modern Art. The total edition is of 50.
It is also inscribed with the plate number “PL. 8” at the lower left margin. It is the eighth composition of eight published as the “Reclining Figure” portfolio.
It was printed by Atelier Lacourière et Frélaut, Paris and co-published by Ganymed Original Editions Ltd., London and Louisiana Museum of Modern Art, Humblebaek, 1978.
The paper bears the Richard de Bas watermark in the lower right margin.
Literature: Cramer, G., Grant, A., & Mitchinson, D. (1980) Henry Moore: Catalogue of the Graphic Work 1976-1979. Geneva: Gérald Cramer Éditeur
Reference: Cramer 479
Condition: Very good condition. Very pale unobtrusive time-staining around the image.
HENRY MOORE 1898-1986
Castleford 1898-1986 Perry Green (British)
Title: Eight Reclining Figures I, from: Meditations on the Effigy, 1966/67
Technique: Original Hand Signed, Dated and Numbered Lithograph in Colours on Japan Nacre Paper
Paper size: 77 x 57 cm. / 30.3 x 22.4 in.
Image size: 31.1 x 26 cm. / 12.2 x 10.2 in.
Additional Information: This original lithograph in colours is hand signed by the artist in pencil “Moore” at the lower left margin. It is dated “67” [1967] next to the signature.
It is also hand numbered from the edition of 50, at the centre of the lower margin. There were also ten artist’s proofs aside from the standard edition numbered with Roman numerals.
It was printed by J E Wolfensberger, Zurich and published by Marlborough Fine Art Ltd., London in 1968.
This is the second composition of twelve included in the portfolio “Meditations on the Effigy” published in 1968. The portfolio was published on the occasion of the artist’s Seventieth birthday.
Note:
This lithograph is based on an ink and wash drawing held in the collection of the Museum of Fine Arts, Boston. The ink drawing is titled “Eight Reclining Figures No. 1 Grey Background”.
Literature: Cramer, G., Grant, A., & Mitchinson, D. (1973) Henry Moore: Catalogue of the Graphic Work 1931-1972. Geneva: Gérald Cramer Éditeur
Reference: Cramer 67
Condition: Very good condition. Soft creasing at the lower right sheet corner.
HENRY MOORE 1898-1986
Castleford 1898-1986 Perry Green (British)
Title: Two Reclining Figures VIII, 1977/78
Technique: Original Hand Signed and Numbered Etching and Aquatint on Wove Paper
Paper size: 68 x 52 cm. / 26.7 x 20.5 in.
Image size: 30.2 x 22.5 cm. / 11.9 x 8.9 in.
Additional Information: This original etching is hand signed by the artist in pencil “Moore” at the lower right margin.
It is also hand numbered in Roman numerals from the edition of 45, at the lower left margin. The total edition was published with 100 Arabic numerals and 45 Roman numerals. There were also 20 artist’s proofs.
It was printed by Atelier Lacourière et Frélaut, Paris and co-published by Editions Georges Visat, Paris, 1978.
This subject was one of two compositions by the artist included in the multi-artist portfolio “Requiem pour la fin des temps” [Requiem for the End of Time] by Eddy Batache.
Literature: Cramer, G., Grant, A., & Mitchinson, D. (1980) Henry Moore: Catalogue of the Graphic Work 1976-1979. Geneva: Gérald Cramer Éditeur
Reference: Cramer 467
Condition: Very good condition. A moisture mark in the lower left margin. Pale time-staining around the image. Minor areas of skinning along the sheet edges, verso
HENRY MOORE 1898-1986
Castleford 1898-1986 Perry Green (British)
Title: Eight Sculptural Ideas Girl Writing, 1973
Technique: Original Hand Signed, Dated and Numbered Lithograph in Colours on Japan Paper
Paper size: 53.4 x 75.2 cm / 21 x 29.5 in.
Image size: 49.5 x 34.5 cm / 19.4 x 13.5 in.
Additional Information: This original lithograph in colours is hand signed and dated in pencil by the artist “Moore 73” (1973) at the lower right margin.
This work was printed in two editions. Edition A (like ours) which was printed with yellow, and Edition B printed with pink of 65 impressions.
It is also hand numbered in roman numerals from the edition of 35, at the lower left margin. there were also some hors commerce [out of trade] impression is aside from the edition of 35.
There were also four artist’s proofs, which were realised aside from the regular edition.
The edition was co-published by the Galerie Wolfang Ketterer, Stuttgart and Felix H. Man, London in 1974.
The subject was included in the portfolio, Europäische Graphik IX.
The paper bears the blindstamp of the publisher at the lower left corner.
Literature: Cramer, G., Grant, A., & Mitchinson, D. (1976). Henry Moore: Catalogue of the Graphic Work 1973-1975. Geneva: Gérald Cramer Éditeur.
Reference: Cramer 280
Condition: Very good condition. Soft creasing along the lower and right sheet edge.
HENRY MOORE 1898-1986
Castleford 1898-1986 Perry Green (British)
Title: Reclining Figure Point, 1976/79
Technique: Original Hand Signed and Numbered Etching and Aquatint in Colours on Wove Paper
Paper size: 64.7 x 46 cm. / 25.51 x 18 in.
Image size: 16.8 x 24.5 cm. / 6.6 x 9.6 in.
Additional Information: This original etching and aquatint in colours is hand signed in pencil by the artist “Moore” at the lower right margin.
It is also hand numbered in pencil from the edition of 100, at the lower left margin.
There were also 20 signed impressions numbered with Roman numerals.
It was printed in 1976 and published by Il Bisonte, Florence in 1979
The paper bears the watermark of the publisher in the upper and lower left corners.
Literature: Cramer, G., Grant, A., & Mitchinson, D. (1980). Henry Moore: Catalogue of the Graphic Work 1976-1979. Geneva: Gérald Cramer Éditeur
Reference: Cramer 425
Condition: Excellent condition.
HENRY MOORE 1898-1986
Castleford 1898-1986 Perry Green (British)
Title: Three Seated Figures with Children, 1973
Technique: Original Hand Signed and Numbered Lithograph in Colours on T H Saunders Wove Paper
Paper size: 59.9 x 71.1 cm. / 23.6 x 28 in.
Image size: 32.4 x 45.7 cm. / 12.7 x 18 in.
Additional Information: This original lithograph is hand signed by the artist in pencil “Moore” at the lower right margin.
It is also hand-numbered from the edition of 25 in Roman numerals. Our impression is one of 25 artist’s proofs aside from the standard edition of 75.
It was printed by Curwen Studio, London and published by the artist in 1973.
Literature: Cramer, G., Grant, A., & Mitchinson, D. (1976) Henry Moore: Catalogue of the Graphic Work 1973-1975. Geneva: Gérald Cramer Éditeur
Reference: Cramer 305
HENRY MOORE 1898-1986
Castleford 1898-1986 Perry Green (British)
Title: Seated Figure, 1973/75
Technique: Original Hand Signed and Numbered Lithograph in Colours on T H Saunders Wove Paper
Paper size: 64.8 x 54.9 cm. / 25.5 x 21.6 in.
Image size: 33.7 x 27.9 cm. / 13.3 x 11 in.
Additional Information: This original lithograph in colours is hand signed by the artist in pencil “Moore” at the lower right margin.
It is also hand numbered from the edition of 75, at the lower left margin. There were also 20 artist’s proofs aside from the standard edition.
It was printed by Curwen Prints Ltd., London and published by the artist in 1975.
Literature: Cramer, G., Grant, A., & Mitchinson, D. (1976) Henry Moore: Catalogue of the Graphic Work 1973-1975. Geneva: Gérald Cramer Éditeur
Reference: Cramer 292
HENRY MOORE 1898-1986
Castleford 1898-1986 Perry Green (British)
Title: Group of Figures, 1974
Technique: Original Hand Signed and Inscribed Lithograph in Colours on BFK Rives Wove Paper
Paper size: 45.5 x 56.2 cm. / 17.9 x 22 in.
Image size: 28.2 x 33 cm. / 11.1 x 13 in.
Additional Information: This original lithograph in colours is hand signed in pencil by the artist “Moore” at the lower right margin.
It is also inscribed in pencil “H.C.”, hors commerce [out of trade], at the lower left margin. Our impression is one of 15 hors commerce impressions aside from the total edition of 100. There were 65 numbered in Arabic numerals and 35 numbered in Roman numerals.
There were also a ten artist’s proofs that were realised aside from the regular edition.
The edition was printed by J. E. Wolfensberger, Zurich and published by the artist in 1975.
The paper bears the blindstamp of the publisher at the lower left corner and the BFK Rives watermark in the lower left margin.
Literature: Cramer, G., Grant, A., & Mitchinson, D. (1976). Henry Moore: Catalogue of the Graphic Work 1973-1975. Geneva: Gérald Cramer Éditeur.
Reference: Cramer 341
Condition: Excellent condition.
HENRY MOORE 1898-1986
Castleford 1898-1986 Perry Green (British)
Title: Reclining Figure Architectural Background I, 1977/80
Technique: Original Hand Signed and Numbered Lithograph in Colours on T H Saunders Wove Paper
Paper size: 56 x 64.2 cm. / 22 x 25.2 in.
Image size: 31.7 x 40.7 cm. / 12.5 x 16 in.
Additional Information: This original lithograph in colours is hand signed by the artist in pencil “Moore” at the lower right margin.
It is also hand numbered from the edition of 50, at the lower left margin. There were also ten artist’s proofs aside from the standard edition.
It was printed by Curwen Prints Ltd., London and published by Raymond Spencer Company Ltd., from the Henry Moore Foundation, Much Hadham in 1980.
Literature: Cramer, G., Grant, A., & Mitchinson, D. (1980) Henry Moore: Catalogue of the Graphic Work 1976-1979. Geneva: Gérald Cramer Éditeur
Reference: Cramer 454
Condition: Very good condition. Time-staining in the margins. Soft creasing in the upper right corner. Remnants of hinging along the upper sheet edge, verso.
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
