The Exposition Universelle includes a pavilion dedicated to sculpture - displaying Auguste Rodin’s The Kiss - and a Palace of Electricity.
The Salon d’Automne, Paris, presents an exciting group of new artists including Henri Matisse, Georges Braques, André Derain and Raoul Dufy who become known as the Fauves.
Moore becomes a student teacher at his old school in Castleford where he feels too young to control his students.
Jacob Epstein dismantles his 1913 The Rock Drill leaving just a torso with one arm, tellingly during the First World War.
Returns to teach at Castleford Elementary School.
A programme cover for a play written by and starring Moore, first performed at Castleford Grammar School.
Moore with his friend from Leeds School of Art, Raymond Coxon.
CGM X3 [CC1] Dancing Figures, Linocut, The Henry Moore Foundation: acquired 1985.
An idea for an architectural frieze.
Visits Paris for the first time with his friend Raymond Coxon, and is particularly struck by paintings by Cézanne in the Pellerin Collection.
Discovers Ezra Pound's 1916 memoir on the sculptor Henri Gaudier-Brzeska, which became one of the most influential texts on his work.
HMF 78 Standing Nude Girl, One Arm Raised, Chalk, pen and ink, crayon, wash, the Henry Moore Foundation: gift of the artist 1977.
At this time, Moore begins to use experimental techniques whilst drawing from life; this is one of the earliest instances of his combination of pen, ink, chalk and wash.
Leon Underwood quits from the Royal College of Art but continues to teach Moore and his friends privately at their request.
Charles Rutherston (brother of the principal of the Royal College of Art) buys two of Moore’s carvings becoming his first patron and invites the young artist to see his extensive collection in Bradford.
First group exhibition at the Redfern Gallery, London alongside fellow students at the Royal College of Art Edward Burra, Barbara Hepworth, Percy Horton, Roland Vivian Pitchforth and Charles Tunnicliffe.
HMF 262 Two Seated Figures, Pencil, pen and ink, Art Gallery of Ontario: gift of Henry Moore 1974.
The drawing demonstrates influences of Picasso’s neoclassical period and Cézanne’s bathers.
LH 23 Woman with Upraised Arms, 1924-5, Hopton wood stone, the Henry Moore Foundation: gift of the artist 1977.
The first example of carving through the stone, foreshadowing his later use of the hole to create a formal contrast between the solid and void
LH 24 Recumbent Male Figure, Mansfield stone, destroyed.
Moore’s first reclining figure and a rare representation of a male figure.
LH 58 West Wind Relief, Portland stone, London Regional Transport.
Moore’s first public commission is for the headquarters of the London Underground.
HMF 682 Reclining Figure with Child, Pen and ink, watercolour wash, The Henry Moore Foundation: gift of the artist 1977.
The five different angles and lines incorporating the central figure suggest Moore was considering how this composition would translate to a carved sculpture.
LH 59 Reclining Figure, Brown Hornton stone, Leeds City Art Gallery.
Inspired by the Pre Columbian Chacmool, which will become the most influential piece on Moore’s oeuvre prompting a career-long series of reclining figures.
LH 65 Seated Figure, Cast concrete, The Henry Moore Foundation: gift of Irina Moore 1979.
The pose references Sumerian and Egyptian sculpture whilst the contour down the face indicates Moore’s first influences of Cubism.
HMF 730 Reclining Figure, Brush and ink, charcoal, chalk, collage, The Henry Moore Foundation: gift of the artist 1977.
An unusually colourful collage for Moore, which is possibly inspired by Braque.
The first major critical assessment of Moore’s work is written by R.H. Wilsenki for the highly respected Apollo: the international magazine of art and antiques.
Elected to the 7 and 5 Society, consisting of seven painters and five sculptors.
LH 85 Reclining Figure, Ironstone, Robert and Lisa Sainsbury Collection: University of East Anglia, Norwich.
Carved from a stone found on the beach whilst on holiday to Norfolk with Barbara Hepworth and John Skeaping.
LH 93 Girl with Clasped Hands, Cumberland alabaster, The British Council, London.
Inspired by Sumerian figures which often feature enlarged heads and clasped hands as a means of emphasising their humanity.
HMF 760 Standing Female Figure, Pen and ink, crayon, watercolour wash, gouache, oil paint, The Board of Trustees of the Victoria and Albert Museum, London.
Moore’s wife Irina is pictured in the artist’s studio surrounded by his works: LH 33 Standing Woman, 1926; LH 62 Mask, 1929 and possibly LH 55 Seated Figure, 1928, which was destroyed by a bomb in the war.
Second solo exhibition at The Leicester Galleries, London where the Museum fur Kunst und Gewerbe, Hamburg acquire the first sculpture for a museum.
Leaves London for Jasmine Cottage in Kent allowing for more space.
Resigns from his teaching post at the Royal College of Art after a vicious press campaign against him backed by colleagues.
LH 101 cast 6 Reclining Figure, Bronze, The Henry Moore Foundation: gift of the artist 1977.
A development in Moore’s art where the human figure is pushed into near abstraction. The three parallel lines cutting across a hollowed out area foreshadow Moore’s stringed sculptures created between 1937 and 1940.
CGM 1 Figures, Sculptures, Woodcut, The Henry Moore Foundation.
Moore makes two woodcuts in 1931, his only works in the medium and he doesn’t explore printmaking again until 1939.
Barbara Hepworth’s Pierced Form inspires Moore’s use of the abstract hole as a formal device between the solid and void.
LH 119 Composition, African wonderstone, wood base, The Trustees of the Tate Gallery, London: presented by the Friends of the Tate Gallery 1960.
The abstraction of the bust indicates the influences of Hans Arp and the Surrealists on Moore during the 1930s.
LH 121 Mother and Child, Green hornton stone, Robert and Lisa Sainsbury Collection, University of East Anglia, Norwich.
Moore polished the green hornton stone, which emphasised the form of the sculpture
Meets the influential avant-garde sculptors Giacometti, Zadkine and Lipchitz in Paris.
Joins the Artists International Association, which pledges to fight fascism and imperialist war.
HMF 1331 Ideas for Sculpture, Pencil, pen and ink, crayon, The Henry Moore Foundation: gift of the artist 1977.
Moore used drawing as a tool to develop and eliminate ideas for sculptures, often using repetition on single pages.
The Surrealist publication Minotaure is launched by André Breton and Pierre Mabille.
Henry and Irina make their only trip to Spain and won’t return after the outbreak of the Spanish Civil War.
LH 154a Hole and Lump, Elmwood, The Henry Moore Foundation: gift of the artist 1979.
Moore begins making abstract holes in his sculpture in 1933 after admiring his friend Barbara Hepworth’s work.
LH 154b Square Form, Burgundy stone, The Henry Moore Foundation: gift of Mrs Irina Moore 1979.
Square Form indicates Moore’s friendship with Ben Nicholson who at this time was making white reliefs. The geometric shape represents architecture although the incisions refer to the human body.
HMF 1103 Studies for Square Forms, Pencil, crayon, The Henry Moore Foundation: gift of the artist 1977.
Demonstrating Moore’s close relationship with Hepworth, Nicholson and European artists such as Mondrian and Miró.
The Isokon Flats, a symbol of modernism designed by Wells Coates, opens in Hampstead, London.
Starts making sculptures from small-scale models in plaster or clay rather than drawings.
Exhibits in the last 7 and 5 society exhibition at Zwemmer's Gallery.
Modernist artists and designers, Naum Gabo, Marcel Breuer and László Moholy-Nagy come to London.
LH 167 Square Form, Green hornton stone, Robert and Lisa Sainsbury Collection, University of East Anglia, Norwich.
Even at its most abstracted, Moore insisted that his work always referred to human emotions if not physical resemblance.
Visits Picasso's studio with André Breton, Paul Eluard, Max Ernst and Alberto Giacometti seeing Guernica in progress.
Circle: International Survey of Constructive Art includes texts by Moore at a time when he was close both to the Constructivists and their opposition, the Surrealists.
The Nazi government holds the 'Degenerate Art' exhibition in Munich.
Moore’s work is included in the International Exhibition of Abstract Art at the Stedelijk Museum, Amsterdam.
LH 186 Mother and Child, Plaster and string.
A maquette that was cast into lead and bronze, here the string connects the figures’ two heads and the infant’s mouth with the mother’s breasts.
LH 191 Recumbent Figure, Green hornton stone, The Trustees of the Tate Gallery, London: presented by the Contemporary Arts Society, 1939.
Made for the terrace of a country house to bridge the passage from the architecture to the landscape.
Moves back to London to No.7 Mall Studios, Hampstead with Irina.
LH 205 Bird Basket, Lignum vitae and string, Accepted by HM Government in lieu of Inheritance Tax and allocated to The Henry Moore Foundation in 2002.
The strings emphasise the space around and within the sculpture as much as the carved wood.
CGM 3 Spanish Prisoner, Lithograph, The Henry Moore Foundation: gift of the artist 1977.
Moore’s first lithograph is intended to raise money for Republican soldiers who had fled France and been interned but it was never editioned.
LH 211 Three Points, cast iron, The Henry Moore Foundation: gift of Irina Moore 1977.
The earliest example of a series of abstract sculptures representing the tension of points almost touching.
LH 212 The Helmet, Bronze, The British Council, London.
Moore’s first enclosure of an interior within exterior form, a development of the mother and child sculptures.
HMF 1513a Seated Figures: Ten Studies of Mother and Child, Pencil, wax crayon, watercolour wash, pen and ink, gouache, The Henry Moore Foundation: purchased 1985.
Similar in composition to some of Moore’s 1943 maquettes for a Madonna and Child for a church in Northampton completed in 1944.
Becomes an Official War Artist after showing his shelter drawings to his friend and chairman of the War Artists’ Advisory Committee, Kenneth Clark. Out of sympathy for the shelterers, Moore does not make any direct sketches underground, instead taking descriptive notes on the back of an envelope before returning to his studio to draw from memory.
Becomes a Trustee of the Tate Gallery holding the position until 1948 then again from 1949 to 1956.
HMF 1845 Pink and Green Sleepers, Pencil, wax crayon, coloured crayon, chalk, watercolour wash, pen and ink, The Trustees of the Tate Gallery, London: presented by the War Artists’ Advisory Committee 1946.
The greens and blues of the figures and the close composition evocatively portray the dank, crowded conditions of the underground.
Appointed to the Art Panel of the Council for the Encouragement of Music and the Arts.
HMF 1933 Miners Pushing Tubs, Pencil, wax crayon, coloured crayon, watercolour, wash, pen and ink, The Henry Moore Foundation: gift of the artist 1977.
A page from Moore’s coalmining sketchbook.
HMF 2064 Crowd Looking at a Tied-Up Object, Pencil, wax crayon, charcoal (rubbed), watercolour, wash, pen and ink, The British Museum, London: from the Estate of Lord Clark.
The shrouded object and barren landscape bears similarities to Surrealism and Georgio De Chirico’s metaphysical landscapes.
The mass murder of Jewish people at Auschwitz begins.
The Buchholz Gallery, New York holds Moore’s first solo exhibition outside the UK.
Jill Craigie films Henry Moore in the London Underground for the film Out of Chaos, showing Moore and other war artists at work.
HMF 2139 Textile Design, pencil, wax crayon, coloured crayon, crayon, watercolour, The Henry Moore Foundation: gift of the artist 1977.
Commissioned to create designs for textiles, which were fabricated into head scarves and other fashion items and soft furnishings, Moore initially created a series of 'textile design' drawings.
LH 224 Madonna and Child, Terracotta.
(Sketch model for LH 226)
After a two-year break from making sculpture during the war, this is one of ten maquettes for a commission for a Madonna and Child in a church in Northampton.
Constructivist artist Naum Gabo creates Linear Construction No. 1, a sculpture made from stretched nylon filament and perspex.
LH 226 Madonna and Child, Hornton stone, St. Matthew’s Church, Northampton: gift of Canon J Rowden Hussey.
Commissioned for St Matthew’s church, Northampton, this is the first piece which translates Moore’s mother and child theme to a religious subject.
Nikolaus Pevsner proclaims Moore “the greatest British sculptor now alive.”
LH 258 Three Standing Figures, Plaster with surface colour, The Henry Moore Foundation: gift of the artist 1977.
The maquette for the larger work in Darley Dale stone positioned in Battersea Park in 1948; the drapery and the apprehensive poses refer to Moore’s ‘shelter drawings’.
The New Towns Act plans an ambitious programme for building 11 new towns.
Elected a member of the Royal Fine Art Commission acting until 1971.
HMF 2403 Drawing for Wood Sculpture, Pencil, wax crayon, pen and ink, gouache, watercolour, wash, The Henry Moore Foundation: acquired 1985.
This sketchbook drawing refers to Moore’s combined interests of natural materials such as wood and bone as well as the human form.
LH 268 Three Standing Figures, Darley Dale stone, Borough of Wandsworth, London (gift of the Contemporary Art Society 1948).
Commissioned for the first open air exhibition in Battersea Park, where Moore sits on the organising committee.
HMF 2504 Family Group, Pencil, wax crayon, watercolour wash, pen and ink, brush and ink, Art Gallery of Ontario, Toronto.
Amongst the largest of Moore’s drawings, this work refers to Moore’s sculptural output with lines in what he called ‘sectional line drawing’, which emphasises the three-dimensional forms of the figures.
Re-elected as a Trustee of the Tate Gallery, holding the post until 1956.
LH 269 cast 1 Family Group, Bronze, The Barclay School, Stevenage.
Scaled-up from a maquette for an unrealised commission for a school in Impington, the first cast of Family Group was created for Barclay Secondary School at Stevenage, a town created under the New Towns Act.
LH 279 Helmet Head No. 1, Lead, The Henry Moore Foundation: gift of Irina Moore 1977.
Moore’s ‘Helmet Head’ sculptures continue his explorations of an internal form enclosed by an external form.
CGM 22 Head of Prometheus (Tête de Prométhée), Lithograph, The Henry Moore Foundation.
From a portfolio of lithographs exploring the Promethean myth which includes echoes of his draped sculptural figures of the period.
Moore is the subject of a BBC documentary titled Henry Moore, the first ever film on a living artist, to coincide with his commission for the Festival of Britain.
Tate Gallery holds their first retrospective of Moore’s work to coincide with the Festival of Britain.
LH 293, Reclining Figure: Festival, Bronze, Scottish National Gallery of Modern Art, Edinburgh: presented by the Arts Council of Great Britain through the Scottish Arts Council 1969.
The Festival of Britain Committee requests a family group but Moore provides a reclining figure, which he describes as “the first sculpture in which I succeeded in making form and space sculpturally inseparable.”
Reclining Figure: Festival in situ at the Festival of Britain, 1951.
HMF 2714 Wrapped Madonna and Child: Night Time, c.1951. Pencil, wax crayon, watercolour wash, pen and ink. Israel Museum, Jerusalem, gift of Charlotte Bergman to the American Friends of the Israel Museum.
Accompanying a day-time version and reflecting earlier influences of Surrealism with parallels with a 1942 drawing, Crowd Looking at a Tied Up Object.
LH 344 Time/Life screen, Portland stone, Pearl Assurance, Time/Life Building, London.
Moore is first commissioned to create a reclining figure for the Time/Life building on Bond Street, London before being approached to create this screen which was integrated into the façade of the building.
Double Standing Figure is displayed at the entrance to the British Pavilion at the Venice Biennale, which houses works by eight younger sculptors. In the catalogue essay Moore is described as “in some sense the parent of them all.”
LH 350 cast 00 King and Queen, Bronze, The Henry Moore Foundation: acquired 1991.
The idea for King and Queen comes when Moore is playing with wax which transforms into the ‘pan-like’ head of the king.
LH 297a Large Upright Internal/External Form, Bronze, The Henry Moore Foundation: acquired 1986.
The external form protects an internal form as developed in Moore’s mother and child then helmet sculptures.
Elected a Trustee of the National Gallery, holding the post until 1974.
LH 364 Harlow Family Group, Hadene stone, Harlow Art Trust, Harlow.
The first commission for Harlow New Town, the family group was chosen to represent the young families living in the town.
Appointed a Member of the Order of the Companions of Honour in the Queen's Birthday Honours List, a significant accolade only awarded to 50 people at one time.
LH 377 Upright Motive No.1: Glenkiln Cross, Bronze, The Trustees of the Tate Gallery: gift of the artist 1978.
Moore created 13 upright motive maquettes and this was the first of five to be enlarged. The name comes from Sir William Keswick’s estate near Dumfries, Scotland, where the first bronze cast is for many years sited on a hillside high above the reservoir.
Upright Motive No.1: Glenkiln Cross (centre) with Upright Motive No.2 (left) and Upright Motive No.7 (right), in their current setting at Yorkshire Sculpture Park, where they are all on loan from Tate.
photo: Sarah Mercer
Modern Art in the United States at the Tate Gallery brought a large exhibition of modern painting, sculpture and prints from America to the UK for the first time.
Touring exhibition of Moore’s work from Canada and New Zealand reaches South Africa drawing 21,500 visitors.
Unesco Reclining Figure, Roman travertine marble, Unesco, Paris.
Moore spends almost a year traveling to Italy to create this monumental work for the UNESCO headquarters in Paris, his largest work to date.
LH 428 cast 2 Draped Seated Woman, Bronze, London Borough of Tower Hamlets.
After a trip to Greece in 1951, Moore adopted the use of drapery to emphasise the form of his figures as inspired by ancient Greek art.
Draped Seated Woman in situ at the Clifford Estate, Tower Hamlets, London. The sculpture is currently on loan to Yorkshire Sculpture Park, and another cast is in the Tate's collection at Tate Britain.
CGM 41 Thirteen Standing Figures, Lithograph, The Henry Moore Foundation.
Thirteen Standing Figures relates to Moore’s sculptural output such as Three Standing Figures from 1953 and his textile designs from the 1940s.
TEX 20:S1 Two Standing Figures, 1948, seriagraphy in five colours on artificial silk.
Time magazine runs an article appraising what they consider an international renaissance of sculpture including Moore, Alexander Calder, Alberto Giacometti, Jacques Lipchitz, Giacomo Manzù and Pablo Picasso.
LH 457 Two Piece Reclining Figure No.1, Bronze, Chelsea College of Art and Design, London.
Two Piece Reclining Figure No.1 epitomises Moore’s interest in the body-as-landscape metaphor.
The Guggenheim Museum, New York opens in Frank Lloyd Wright’s striking building.
Brasilia, designed by Oscar Niemeyer, becomes the capital of Brazil.
Alistair Gordon writes for the Connoisseur magazine “it is difficult for us in Britain to understand … just how much Moore is revered abroad: he is considered quite simply as the greatest living sculptor.”
Exhibition at the Scottish National Gallery of Modern Art, Edinburgh.
LH 482a Large Standing Figure: Knife Edge, Bronze, The Henry Moore Foundation: acquired 1986.
The thin, sharp forms represent a stylistic change, which was inspired by a bone which, along with plasticine additions for the head and base, formed the maquette.
LH 499 Three Piece Reclining Figure: Maquette No. 1, plaster, The Henry Moore Foundation: gift of the artist 1977.
A maquette for a larger piece and also cast into bronze itself.
LH 502a Large Slow Form, Bronze, The Henry Moore Foundation: gift of the artist 1977.
A single right angle is repeated five times, reminding Moore of the slow movement of a tortoise.
Awarded the Order of Merit, reserved for only 24 people of outstanding distinction.
Henry Moore seated with Her Majesty the Queen and the Duke of Edinburgh after receiving his Order of Merit, 1963. Other notable members include artist Graham Sutherland, author JB Priestly and pianist Dorothy Hodgkin (third from left, bottom row) who later became the subject of a series of Moore's drawings.
LH 515 Locking Piece, Bronze, The Henry Moore Foundation: acquired 1987.
Inspired by two interlocked stones Moore found, and also refers to his interest in joints and bones.
Nelson Mandela is sentenced to life imprisonment, South Africa.
LH 516 cast 2 Knife Edge Two Piece, Bronze, City of Westminster.
Sited outside the Houses of Parliament, London since its creation.
The Whitechapel Gallery’s New Generation Sculpture exhibition includes the work of David Annesley, Michael Bolus, Tim Scott, William Tucker and Isaac Witkin, who had all been taught by Anthony Caro.
LH 560 Double Oval, Bronze, The Henry Moore Foundation: acquired 1992.
Double Oval takes Moore’s abstract hole to a monumental scale.
LH 573 Mother and Child, Rosa Aurora Marble, The Henry Moore Foundation: gift of Mrs Irina Moore 1977.
Unlike other abstracted two-part mother and child sculptures, here the maternal and infant elements touch indicating their interdependency.
LH 577 Large Totem Head, Bronze, The Henry Moore Foundation: acquired 1987.
The title and the form refer to Western Sudanese Dogon masks that were included in the Surrealist magazine, Minotaure that Moore contributed to in 1933 and which continued to impact on his work throughout his career.
LH 586a Upright Motive No.9, Bronze, The Henry Moore Foundation: acquired 1986.
The totemic form appears ancient and is reminiscent of prehistoric fertility goddesses such as the Venus of Willendorf.
Awarded the Erasmus Prize for achievements in subjects not covered by the Nobel Prize.
Installs a printing press in his studio at Perry Green.
LH 596 cast 0 Oval with Points, Bronze, The Henry Moore Foundation: gift of the artist 1977.
The largest of a number of works that feature points almost touching, creating a dynamic tension.
Bruce Nauman’s Henry Moore Bound to Fail, responds to contemporary artists’ criticism of Moore.
Elected Honorary Fellow of the Royal Institute of British Architects.
LH 599 Large Square Form with Cut, Rio Serra Marble, City of Prato, Italy.
At over five metres high this sculpture was constructed in pieces at the Henraux marble works, Querceta, which Moore described as like building a cathedral.
LH 627 Sheep Piece, Bronze, The Henry Moore Foundation: gift of the artist 1977.
Named after Moore placed the sculpture in a field in his estate he leased to a farmer, becoming a favoured shelter of the sheep.
Moore becomes the first living artist to be awarded an exhibition at the Forte di Belvedere, Florence, which is opened by Princess Margaret.
The Henry Moore Trust is set up to allow for Moore’s estate at Perry Green to become a sculpture park after Moore’s death. Much of the land and the sculptures on it are transferred to the Trust.
LH 641 cast 1 Goslar Warrior, Bronze, City of Goslar
Moore was commissioned to produce a work for Goslar, Germany after being nominated for a prestigious art prize by the town; he selected this work, previously titled The Falling Warrior and changed its name for the location in the Imperial Palace Garden.
The Henry Moore Centre opens at the Art Gallery of Ontario following Moore’s gift of 101 sculptures, 57 drawings and 200 prints.
LH 643 Reclining Figure: Bone, Travertine Marble, The Henry Moore Foundation: gift of the artist 1977.
Bone and other found materials often inspired Moore’s sculptures and sometimes formed the basis of the maquettes, here bone inspires both the form and the choice of white, porous marble.
The Spanish Civil War ends and democracy is restored after the Death of Franco.
LH 649 Reclining Mother and Child, Plaster, The Henry Moore Foundation: gift of the artist 1977, on long loan to the Dallas Museum of Art.
A rare combination of Moore’s favoured themes: the mother and child and the reclining figure.
The installation of Carl André’s Equivalent VIII at Tate causes controversy.
Exhibitions are held at Tate, the Serpentine Gallery and City Art Gallery Bradford to celebrate Moore's eightieth birthday.
Margaret Thatcher is elected the UK’s first female Prime Minister.
LH 503c The Arch, Travertine marble, The Department of the Environment, London: gift of the Henry Moore Foundation 1980, for permanent siting in Kensington Gardens.
After the success of the display of sculptures in Kensington Gardens for Moore’s eightieth birthday exhibition, this work was donated for permanent display.
LH 797 Three-Quarter Figure: Lines, Bronze, The Henry Moore Foundation: acquired 1986.
Moore first used protruding lines on sculpture created from attaching string to the model in his 1951 work Reclining Figure: Festival, he has revisited the device here to add geometric lines to an organic form creating a contrast more usually reserved for his drawings.
Richard Serra’s Tilted Arc is installed in Federal Plaza, New York immediately prompting resistance causing it to be removed in 1989 after a legal battle.
LH 571b Large Divided Oval: Butterfly, Bronze, Kongnesshale, City of Berlin.
Like many of Moore’s abstract works, this piece subtly refers to the subject indicated by the title, with large bronze forms managing to refer to lightness and flight.
HMF 82(248) Mountains and Sky, Charcoal, pastel, watercolour wash, pencil, The Henry Moore Foundation: acquired 1987.
From Moore’s ‘black period’ inspired by his coalmining drawings and two drawings he owns by Seurat.
The Falklands War lasts for ten weeks between Argentina and the UK.
Nominated Commandeur de l’Ordre national de la Légion d’honneur; French President Franҫois Mitterand visits Perry Green for the occasion
LH 192b Large Reclining Figure, Bronze, The Henry Moore Foundation: acquired 1986.
At nine metres long this is Moore’s largest ever sculpture; commissioned for the Overseas Banking Corporation, Singapore, a second edition is sited on a man-made mound in Moore’s estate at Perry Green.
The Miners' strikes begin across the country protesting the closures of mines and restrictions in pay.
LH 870 Mother and Child on Lap, Bronze, The Henry Moore Foundation: acquired 1986.
The anonymity of the figures are enhanced by the smooth surface, which is achieved by the cast being taken from a polystyrene model rather than plaster which allows for more surface texture.
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