- Object: 2457 x 1340 x 1257 mm
- Presented by the artist 1978
From plaster to bronze
T02290) from a small sculpture made in 1962. Moore felt justified to enlarge smaller works because he believed that ‘A small sculpture only three or four inches big can have a monumental scale ... When the work has this monumentality about it, then you can enlarge it almost to any size you like, and it will be alright; it will be correct’.1
Sources and contexts
The Henry Moore Gift
Henry Moore cited in Warren Forma, Five British Sculptors: Work and Talk, New York 1964, pp.67, 73, reprinted in Alan Wilkinson (ed.), Henry Moore: Writings and Conversations, Aldershot 2002, p.207.
Henry Moore cited in Gemma Levine, With Henry Moore: The Artist at Work, London 1978, p.123.
John Read in Henry Moore: One Yorkshireman Looks at His World, dir. by John Read, television programme, broadcast BBC 2, 11 November 1967, http://www
.bbc, accessed 3 November 2013. .co .uk /archive /henrymoore /8807 .shtml
Henry Moore in ‘Henry Moore Talking to David Sylvester’, 7 June 1963, transcript of Third Programme, broadcast BBC Radio, 14 July 1963, p.18, Tate Archive TGA 200816. (An edited version of this interview was published in the Listener, 29 August 1963, pp.305–7.)
Julie Summers, ‘Fragment of Maquette for King and Queen’, in Claude Allemand-Cosneau, Manfred Fath and David Mitchinson (eds.), Henry Moore From the Inside Out: Plasters, Carvings and Drawings, Munich 1996, p.126. Between 1967 and 1968, when the enlargement process was probably undertaken, Moore’s assistants included Colin Barker, John Farnham, Ramy Shuklinsky, Richard Wentworth and Yeheskiel Yardini.
Henry Moore, letter to Heinz Ohff, 8 March 1967, Henry Moore Foundation Archive.
‘Henry Moore Talking to David Sylvester’, 7 June 1963, pp.3–4, Tate Archive TGA 200816.
Robert Melville, Henry Moore: Sculpture and Drawings 1921–69, London 1970, p.19.
Moore was an avid reader of surrealist periodicals and during the 1930s his work was reproduced in Minotaure and the International Surrealist Bulletin. See Julia Kelly, ‘The Unfamiliar Figure: Henry Moore in French Periodicals of the 1930s’, in Jane Beckett and Fiona Russell (eds.), Henry Moore: Critical Essays, Aldershot 2003, pp.43–65.
Christa Lichtenstern, ‘Henry Moore and Surrealism’, Burlington Magazine, vol.123, no. 944, November 1981, p.657.
Henry Moore, ‘On Carving’, New English Weekly, 5 May 1932, pp.65–6, reprinted in Wilkinson 2002, p.190.
Christa Lichtenstern, ‘Large Totem Head’, in David Mitchinson (ed.), Celebrating Moore: Works from the Collection of the Henry Moore Foundation, London 2006, p.287.
Richard Calvocoressi, ‘T.2302 Large Totem Head’ in The Tate Gallery 1978–80: Illustrated Catalogue of Acquisitions, London 1981, p.141.
See ‘Note on the Henry Moore Gift’, 1978, Tate Public Records TG 4/6/10/4.
These figures are based on those listed in a memo in the exhibition’s records; see Tate Public Records TG 92/344/2.
Norman Reid, letter to Mary Danowski, 31 August 1978, Tate Public Records TG 4/6/10/4.
See Judith Jeffries, letter to Joanna Drew, 3 October 1978, Tate Public Records TG 4/9/400/1.
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