150 : 100 mm. The postcard shows Moore's work Weibliche Gewandfigur" from 1957/58. Signed on the picture side.Henry Moore is best known for his semi-abstract monumental bronze sculptures which are located around the world as public works of art. As well as sculpture, Moore produced many drawings, including a series depicting Londoners sheltering from the Blitz during the Second World War, along with other graphic works on paper.
Published by Forte dei Marmi , 14. VIII. 1973., 1973
Manuscript / Paper Collectible
4to. 1 1/2 pp. Printed letterhead. To Italian author and art publisher Gualtieri di San Lazzaro (1904-1974):I hope that by now you are nearly fully recovered from your illness, & that in consequence of your operation you will be in better health than before.My wife & I both send you our warmest regards & all the very best wishes.We are enjoying the good weather in Forte dei marmi, & we are sorry you are not here as well.But this year we are returning to England earlier than usual. (that is, at the end of this month on August 30th) & so I shall then be able to see the portfolios which you have sent to the Curwen Press [] I am of course very interested to see them, & how they look now finished.Please get your assistant to write to me to tell me the latest news about your health []"Italian writer Gualtieri di San Lazzaro established his own publishing house, Editions des Chroniques du Jour, in Paris durin gthe 1920s and published a series of artists' monographs. His illustrated periodical XXe Siècle was known for its high quality reproductions and featured such artists as Hans Arp, Wassily Kandinsky, Girogio de Chirico and Joan Miró. A 1971 issue included an original lithograph by Moore and a special 1972 issue, Homage to Henry Moore", was devoted to the artist.
Published by Hoglands, Perry Green, Much Hadam, Herts., 18 Oct. 1949., 1949
Seller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscript / Paper Collectible
8vo. 2 pp. To Barry Hart: "Dear Barry, Here are [the BASE] measurements for the Madonna & child sculpture I'm doing for Claydon Church [.] & a very poor photograph of my studio which might just give you a faint idea of the Madonna & child, it's half hidden by the white plaster Family group in front [.]". - Slight abrasion with loss of a few words.
Published by Hoglands, Perry Green, Much Hadham, Herts., 15 May 1948., 1948
Seller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscript / Paper Collectible Signed
Two pages, closely typed on two octavo sheets of letterhead. Folded for mailing, otherwise very good or better, with the original typed envelope. Enclosed in a folding half morocco clamshell case. A fine letter from the artist, addressed "Dear Miss [Irene] Rosen", in response to her enthusiastic letter written after a viewing of his sculptures at the Art Institute of Chicago (a carbon of her letter is present). In a substantially better than ordinary response by the sculptor to his public, and after apologizing for the delay in his response, Moore writes: "[.] As to your touching the pieces of sculpture at Chicago, you were right and the guards were wrong. If you can get a better idea of the volume of the mass, of the depth of the space and of the hardness of the material by touching a sculpture as well as looking at it, you must do so. I much enjoyed seeing a work of mine which had been in a museum in a mining town in England for many years and which had become dirtied in places where the miners, dropping into the museum on the way home for work, had run their hands over it". In response to her query about the possibility of reproductions of his sculptures, he writes "As to reproductions, I don't think they are worth making unless they're good; it's the same thing with pictures [.] reproductions of sculptures [.] can't be any good unless each cast is worked on by the artist -- and no artist has time to do that to a large edition of reproductions [.]". He details how his editions of bronzes are produced, comments on their availability and price ("which is, I imagine, more than you can afford to pay"), and responds to her complaints about the inadequacy of the reproductions of photographs in J.J. Sweeney's book: "In feeling the limitations of photographs you are certainly on the right lines [.] a reproduction in a book can never have the same beauty or fidelity as an actual photographic print [.]". He concludes in appreciation of her "genuine and intelligent interest" and notes that he his sending her separately a photograph (not present) of his latest carving. Signed in ink, "Henry Moore".
Published by Hoglands, Perry Green, Much Hadham, Hertfordshire, 25 Oct. 1949., 1949
Seller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscript / Paper Collectible
8vo. 1 p. To his friend and former teacher Barry Heart: "I've had this reply from the Hanton Stone people - & I've just written back to them agreeing with their suggestion of two 11 ½" pieces instead of one 1 ft 11 piece & have asked them to get on with the work as quickly as possible [.]". - With printed address.