Henry Moore, Henry Moore Untitled, 1941
|Artist:||Henry Moore (1898 - 1986)|
|Title:||Henry Moore Untitled, 1941|
|Reference:||Henry Moore Foundation Cat. no. 1787|
|Medium:||Unique, Mixed Media Henry Moore Drawing with Pencil, Wax Crayon & Wash|
|Image Size:||9 3/10 in x 7 3/5 in (23.8 cm x 19.4 cm)|
|Sheet Size:||approx. 12 in x 10 in (30.5 cm x 25.4 cm)|
|Framed Size:||22 3/8 in x 21 in (56.8 cm x 53.3 cm)|
|Edition:||Unique, original drawing with pencil inscription in the lower right margin: 'To Loriano / Dec 1974 | from Henry Moore.'|
|Signature:||This work is hand signed and dated by Henry Moore (West Yorkshire, 1898 – Hertfordshire, 1986) in black ink the lower left margin: 'Moore 41.'|
|Condition:||This drawing is in very good condition; colors remain bold and bright throughout.|
Item # 3898
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Historical Description of this artwork
This deep and soulful retrospective was part of a number of drawings Moore had created which were inspired by notions of “shelter” and of his subjects in slumber. They are considered one of Moore’s most historically poignant and significant works of his entire œuvre. This drawing in particular reveals Moore’s expressive stroke and movement of line, combining those with color while highlighting his subjects with both subtle and bold tonalities. The shapes here are intertwined, their limbs and bodies reduced to simple strokes of white which are almost inundated and by the enveloping blue-grey that surrounds them. Shadowing is implemented by the mere use of vertical lines in a subtle tone of red with a brownish hue. One character in particular is highlighted with a burst of yellow along its arm and elbow; its positioning in the foreground helps anchor the work, while determining the depth and space of the “shelter” depicted in the piece.
Created in 1941, this drawing was created using graphite pencil and wax crayon, washed to create the silky, smooth effect. It is hand-signed by Henry Moore (West Yorkshire, 1898 – Hertfordshire, 1986)in black ink in the lower left margin and inscribed in pencil, ‘To Loriano / Dec 1974 | from Henry Moore’ in the lower right. It is catalogued and archived with the Henry Moore Foundation as cat. no. HMF 1787. This is one of Moore’s stunning and beautiful works that should be a fine addition to any collection. Examples of these drawings have been sold for as much as $200,000+ at auction.
Catalogue Raisonné & COA for Henry Moore Untitled, 1941:
This unique Henry Moore drawing is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that I will enclose with the sale of the work) :
1. Garrould, Ann, ed. Henry Moore: Complete Drawings, vol. 3 1940 – 1949, Henry Moore Foundation: Burlington, 2001. Listed and illustrated as catalogue raisonné no. AG 41.26 and HMF 1787 on pg. 86.
2. A Certificate of Authenticity will accompany this work.
About the Framing:
This work is framed to museum-grade, conservation standards, presented in a complimentary moulding and finished with silk-wrapped mats and optical grade Plexiglas.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
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Henry Moore infuses small works with the monumental. A signed original Moore drawing or sculpture represents fundamentally human experience through the artist's signature semi-abstract style.
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Henry Moore Biography
British sculptor known for his large, semiabstract sculptures of the human figure. Henry Moore is considered the most prominent British sculptor of the 20th century, and his work had a strong influence on contemporary figural sculpture.
Moore was born in Castleford, Yorkshire, on July 30, 1898. From 1919 to 1925 he studied at the Leeds School of Art and the Royal College of Art in London. His early works, executed in the 1920s, show the influences of pre-Columbian art of the Americas, the massive figures of the Italian Renaissance artists Masaccio and Michelangelo, and the streamlined shapes of the Romanian-born French sculptor Constantin Brancusi. In the 1930s, the work of Pablo Picasso and of contemporary abstract artists were strong influences; many of Moore’s works of that period are highly abstract, consisting of simplified, rounded pieces carved from wood, with numerous indentations and holes often spanned with veils of thin metal wires. The most important and lasting influence on Moore’s work, however, was the world of nature. “The human figure,” he later wrote, “is what interests me most deeply, but I have found principles of form and rhythm from the study of natural objects, such as pebbles, rocks, bones, trees, plants.”
In his mature works, beginning with Reclining Figure (1936, City Art Gallery, Wakefield, England), Moore employed swelling shapes, undulating extensions, and rounded indentations that mirror natural forms. His favored themes include mother-and-child and family groups, fallen warriors, and, most characteristically, the reclining human figure, which he continued to depict throughout his career, working in wood, stone, and—after 1950—in bronze, and later in marble. These works range from the realistic—such as Draped Reclining Figure (1953, Time-Life Building, London), a massive Henry Moore sculpture of a woman reclining on her elbows—to the abstract—such as Internal and External Forms (1954, Albright-Knox Gallery, Buffalo, New York), a large, rounded bronze sculpture pierced by a hollow interior containing a second abstract metal form.
Unlike Moore’s usually preparatory sketches for his sculpture, a series of drawings of Londoners huddled in tube stations during World War II air raids stand on their own as works of art. These so-called shelter drawings (1940 ff.) poignantly express the impact of war on defenseless civilians. One of the largest collections of Henry Moore sculptures, drawings, and prints is owned by the Art Gallery of Ontario, Toronto.
Among his major public commissions are outdoor sculptures for the UNESCO headquarters in Paris (1958); Lincoln Center of the Performing Arts, New York City (1965); the City Hall of Toronto, Ontario (1966); and the East Building of the National Gallery of Art, Washington, D.C. (1978). Moore died in Much Hadham, England, August 31, 1986.