T00385 COMPOSITION 1932
African Wonderstone, 17 1/2×18×11 3/4 (44·5×46×29·75).
Presented by the Friends of the Tate Gallery 1960.
Coll: Michael Ventris, sold November 1955 to Mrs Irina Moore, from whom purchased by the Friends of the Tate Gallery 1960.
Exh: Leicester Galleries, November 1933 (7 or 8); New York, Chicago and San Francisco, 1946–7 (19); British Council tour, Australia, 1947–8 (2, repr. p.15); Wakefield and Manchester, April–July 1949 (27); British Council, Brussels, Paris (repr.), Amsterdam, Hamburg, Düsseldorf and Berne (repr.), 1949–50 (19); British Council, Athens, March 1951 (6); Arts Council, Tate Gallery, May–July 1951 (87); British Council tour, Sweden, 1952 (6); British Council, Rotterdam, May–July 1953 (7); Jeunesse des Maîtres du XX Siècle, Musée Rodin, October–November 1959 (not included in catalogue).
Lit: Sylvester in Burlington Magazine, XC, 1948, p.159; Sylvester, exh. cat., Tate Gallery, 1951, p.12; Digby, 1955, p.72, repr. pl.29; Read and Sylvester, I, 1957, p.8, No.119, repr. p.79; Russell, 1961, p.16.
Repr: Read, 1934, pl.31; Read, 1944, pls.33a and b.
Moore's development of a more nearly abstract style in 1931–2 reflected the influence of Picasso's works of 1927–9; this example also shows affinities with Arp and Tanguy. Other examples of this development in the Tate Gallery are the beechwood ‘Figure’ of 1931, T00240, and the ‘Drawing’ of 1935, T00270.
Mary Chamot, Dennis Farr and Martin Butlin, The Modern British Paintings, Drawings and Sculpture, London 1964, II