Catalogue entry

T02297 MOON HEAD 1964

Inscribed ‘Moore 0/9’ on base
Bronze, 22 3/4 × 17 3/8 × 10 including base (57.8 × 44.2 × 25.5)
Presented by the artist 1978
Exh: Henry Moore Sculptures and Drawings, New Metropole Arts Centre, Folkestone, April–May 1966 and City Art Gallery, Plymouth, June–July 1966 (10); Henry Moore, Arts Council, Tate Gallery, July–September 1968 (132, repr.); Henry Moore, University of York Visual Arts Society, Heslington Hall, March 1969 (35); Henry Moore 1961–1971, Staatsgalerie Moderner Kunst, Munich, October–November 1971 (7, repr.); Mostra di Henry Moore, Forte di Belvedere, Florence, May–September 1972 (130, repr.); Henry Moore - Fem Decennier Skulptur, teckning, grafik 1923–1975, Henie Onstad Kunstsenter, Oslo, June–July 1975 and tour to Stockholm and Ålborg (69); Henry Moore, Expo Zürich, Zürcher Forum, Zurich, June–August 1976 (76); Henry Moore 80th Birthday Exhibition, Bradford Art Galleries and Museums, April–June 1978 (37, repr.); The Henry Moore Gift, Tate Gallery, June–August 1978, repr. p.56
Lit: Herbert Read, Henry Moore, 1965, p.244 (repr. in colour pl.234); John Russell, Henry Moore, 1968, p.209 (repr. pls.218, 19); John Hedgecoe and Henry Moore, Henry Moore, 1968, pp.466–7 (repr., and in colour p.443); David Sylvester in catalogue of Henry Moore, Tate Gallery, 1968, p.119 (repr. pls.108, 9); Alan G. Wilkinson, The Moore Collection in the Art Gallery of Ontario, Toronto, 1979, p.186 (original plaster repr. pl.166)
Repr: Elda Fezzi, Henry Moore, Florence, 1971, pl.41 (repr. in colour); Alan Bowness, ed., Henry Moore Sculpture 1964–73, 1977, pls.14, 15

L.H.521. There is an edition of nine bronzes plus the artist's cast, now the Tate's, and the original plaster is in the Moore Collection, Art Gallery of Ontario. A smaller version in porcelain exists (L.H.522)

Of this work Moore has written: ‘The small version of this piece was originally called “Head in Hand”, the hand being the piece at the back. [See catalogue to The Moore Collection in the Art Gallery of Ontario, op. cit., no.165] When I came to make it in full size, about eighteen inches high, I gave it a pale gold patina so that each piece reflected a strange, almost ghostly, light at the other. This happened quite by accident. It was because the whole effect reminded me so strongly of the light and shape of the full moon that I have since called it “Moon Head”.’ (Hedgecoe, op. cit.)

David Sylvester, op. cit., relates T02297 to Moore's preoccupation with thin, flat, sharp-edged forms, and especially to the ‘knife-edge’ sculptures - for instance, ‘Knife-Edge Two Piece’ 1962, later enlarged. Compare also with ‘Divided Head’ 1963 (L.H.506) and ‘Thin Head’ 1964 (L.H.523).

Published in:
The Tate Gallery 1978-80: Illustrated Catalogue of Acquisitions, London 1981