Mother and Child
Etching printed in sepia on pale blue wove paper with deckled edges
signed and numbered IX/ XXV in pencil by the artist
one of 25 artist's proofs aside from the numbered edition of 75
printed by Collyer and Crossley and published by Raymond Spencer
95mm x 120mm (3 3/4in x 4 3/4in) (Plate)
270 x 216mm. (sheet).
1984.

Reference: Gerald Cramer. Henry Moore: Catalogue of the Graphic Work 1931-1972, Vol. 4, no. 712.

The full sheet in fine condition, framed in gilt

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An uncommon artist's proof of a hauntingly beautiful and serene subject from Moore's renowned Mother and Child series.

Reclining Mother and Child II
1979-1980.
Etching and drypoint printed on Barcham Green cream wove paper
signed and numbered from the edition of 50 (+ 10 artist's proofs) in pencil by the artist
222 x 279mm. (plate).
419 x 470mm. (sheet)

Reference: Gerald Cramer. Henry Moore: Catalogue of the Graphic Work 1931-1972, Vol. 3, no. 515.

The full sheet in fine condition, framed

£2,200

Homage to Sacheverell Sitwell
Lithograph printed in 4 colours on Saunders wove paper
1980
signed and numbered IV/XX by Henry Moore
Total edition of 40 (+ 30 proofs)
273 x 194mm. (plate)
442 x 302mm. (sheet)
Framed in English oak

Reference: Gerald Cramer. Henry Moore: Catalogue of the Graphic Work 1931-1972, Vol. 3, no. 537.

To accompany the deluxe edition of:
Sitwell, Sacheverell.
Valse Des Fleurs: a Day in St Petersburg and a Ball at the Winter Palace in 1868.
York: The Fairfax Press, 1980.
4to - over 9¾" - 12" tall.
EDITION LIMITED TO 400 COPIES, THIS ONE OF 20 COPIES BOUND IN QUARTER LEATHER WITH AN ORIGINAL SIGNED LITHOGRAPH BY HENRY MOORE, printed on Zerkall mould-made paper, 2 wood engravings by Reynolds Stone, photogravure view of St. Petersburg, cream calf-backed blue cloth, slipcase, endpapers and slipcase sides by Henry Moore, top edge gilt, others untrimmed.

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Sculptural Objects
Lithograph printed in six colours on English cartridge paper
signed and dated in the plate
1949.
49.5 x 76.2 cm; 191/2 x 30" (image)

Reference: Cramer 7.

The full sheet in very good condition, apart from very minor surface creasing.

£1,000 (framed in light birch)

A striking and vibrant lithograph from 1949 by Moore based on several drawings of 1949 on the theme of sculptural objects, published by School Prints from the edition of approximately 3,000.

Doric Column and Underground Dungeons, Elephant Skull Album, Plate XX.
Etching on Rives handmade paper (watermark of reclining figure at lower right of sheet),
signed in pencil and numbered 54/100 by the artist
Printed by Jean-Pierre Berger in Paris
1969
28 x 24 cm (platemark); 49.5 x 36.5 (sheet)

References: Gerald Cramer. Henry Moore: Catalogue of the Graphic Work 1931-1972, Vol. 1, no. 133.

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Henry Moore studied at Leeds Art College and the Royal College of Art, London. Whilst a student in London, he made frequent visits to the antiquities galleries at the British Museum, studying the artefacts of early Egyptian, Greek and Etruscan civilisations, and developing an interest in the art of so-called `primitive' early societies, which later extended to the vernacular art of his native Yorkshire and pre-columbian South American societies. The zoomorphic characteristics of many of these artefacts stimulated him to explore both animal and human anatomy throughout his life. As Moore's early hero Henri Gaudier-Brzeska had sketched and re-sketched zoological exhibits in Cardiff Museum between 1907 and 1909, so the present image, from Moore's Elephant Skull Album, depicts a form that continued to fascinate him over a long period of time. In an interview, he recalled: "The elephant skull was given to my old friend, the late Sir Julian Huxley, on one of his visits to Africa. He kept it in his garden in Hampstead, where it was deteriorating in the weather. He knew that I was interested in the shape of bones, so he made a gift of it to me. I gladly accepted it, for I don't know of another single bone unit with such a variety of forms within it - it is, for instance, much more complex than a human skull. I have made many drawings of the skull, and an album of more than thirty etchings showing different views and sections of it [...] Sir Julian gave me the rhinoceros skull at the same time as the elephant skull. Its form has great interest, but it does not appeal to me as much as the elephant skull. It has a ferocious, aggressive character, whereas the elephant skull, although powerful, gives an impression of gentleness and serenity" (quoted in Levine, Gemma. With Henry Moore, 1984, pp. 50-1, illustrating the actual skull).