Henry Moore Works in Public
This is a guide to Moore's sculptures on public display throughout the world. We strive to ensure that all information is accurate, however we recommend that you contact each venue before making a visit. Please also contact us if you spot any mistakes. In some instances it has not been possible to source an image of the actual sculpture in-situ, and on such occasions an alternative image has been used.
Los Angeles
County Museum of Art
- Reclining Figure: Circle 1983 (LH 903)
- Half Figure 1932 (LH 124)
- Three Piece Reclining Figure No.1 1961-62 (LH 500)
- Armless Seated Figure against Round Wall 1957 (LH 438)
- Maquette for Reclining Figure 1957 (LH 413a)
- Maquette for Reclining Figure 1955 (LH 401)
- Object: Bird Form 1955 (LH 394)
- Upright Motive: Maquette No.6 1955 (LH 384)
- Upright Motive: Maquette No.4 1955 (LH 381)
- Warrior's Head 1953 (LH 359)
- Standing Figure No.2 1952 (LH 318)
- Working Model for Reclining Figure: Festival 1950 (LH 292)
- Maquette for Standing Figure 1950 (LH 290a)
Franklin D. Murphy Sculpture Garden
J. Paul Getty Museum
bronze
length 10cm
Object: Bird Form 1955, finds its origins in flintstone, one of the many natural objects that Henry Moore used to form new ideas for his sculpture. Commonly found upon his estate, having been churned up by ploughing farmers or by the Bourne stream that runs the length of the grounds at Perry Green, his assistants, and often other visitors, would bring Moore stones they thought suitable for him to study, hold and model into plaster maquettes. Moore’s extensive collection of Found Objects dates back to the very beginning of his career as a sculptor.
Nobody is sure how flintstones came about. I think some were formed by a natural casting process, since their strange shapes could not possibly be caused by wind erosion or constant wearing and fretting by the sea. The shapes of flintstones vary in character in different parts of the country. Having collected them for over fifty years on the beaches of at Broadstairs and in Norfolk and Dorset, I find a tremendous difference in the type of flintstone in various localities.
Moore quoted in Henry Moore: Writings and Conversations; edited by Alan Wilkinson, Lund Humphries, Aldershot, 2002, page 221.