In February 1972 Henry Moore's sculpture studios in the English countryside at Much Hadham were filled with the preparations for his retrospective exhibition in Florence. The work was enlarged again in 1971-72 to create a full size bronze on a monumental scale, 570 centimetres (220 in) high, in edition of 3+1. The time Moore spent watching sheep from his window gave him an insight into the nature and temperament of the sheep. This permeable position between the maker and the made is perhaps what attracted the sculptor to the animal, leading him to produce a range of sketches in pen and ink that would eventually make up his 1980 publication Henry Moore’s Sheep Sketchbook.

Glazing is 2mm continuous cast acrylic for safety, optical clarity, UV protection and is recyclable. The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. Since the time of the Moore exhibition in Zurich in 1976 this abstract bronze sculpture "Sheep Piece" has been admired as a public work of art. They may have moved out of the position that provided Moore with this initial inspiration but the artist essentially links their textures to the landscape that they inhabit; the woolly cacophony of the animals being part of the momentary process of place. His photographs of Moore formed the basis of four books, which incorporated Hedgecoe’s photographs alongside Moore’s words.The effect is both familiar and monumental; as Lord Clark comments, ‘We expect Henry Moore to give a certain nobility to everything he draws; but more surprising is the way in which these drawings express a feeling of real affection for their subject’.

A cast was loaned for the public exhibition in Battersea Park for Elizabeth II's Silver Jubilee in 1977, and a cast was included in an exhibition organised by the Musée de l'Orangerie in Paris, and displayed in the Tuileries the same year. In the book Makers of Modern Culture, Patrick Conner describes the "power" of Sheep Piece as not only lying in the "physical confirmation of two massive structures but also in the psychological overtones of warmth and protectiveness that their relationship suggests".All written material, logo, videos and photography are copyright © 2009-2021 Celluloid Wicker Man and Adam Scovell. Moore and Hedgecoe remained friends from their first meeting in 1956 until Moore’s death in 1986 and during this time, Hedgecoe took around 6,000 photographs of Moore.

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in) maquette (LH 625) modelled in plaster and then cast in bronze, enlarged in 1971 to a 142 centimetres (56 in) working model (LH 626) in plaster and then cast in bronze, and finally a full size bronze (LH 627) on a monumental scale, 570 centimetres (220 in) high, cast in 1971-72. Initially he saw them as four-legged balls of wool, but his vision changed as he explored what they were really like - the way they moved, the shape of their bodies under the fleece. Other leading British artists represented in the collection include Eileen Agar, David Bomberg, Roger Fry, Harold Gilman, Ben Nicholson, Patrick Heron, Lucie Rie and William Scott. It was whilst working in a small room overlooking the fields at his home in Much Hadham that Henry Moore first became aware of the sheep grazing there.

I want to be inspired by these lovely drawings to let go of my fear of getting it wrong and allow spontaneity, energy and fluidity into my drawings. By the 1930s Moore was already recognized as the leading avant-garde sculptor in England but it was his war drawings that brought him to the attention of the British public. In the present photography, being behind the sculpture, Moore seems to recede behind the small void. Moore has been acknowledged as one of the greatest sculptors of the 20th century and as the most celebrated British artist of his time.Octavo (oblong); 1st paperback edition; VG-; Paperback; Spine, white with brown print; Cover has slight edgewear, else clean and bright; Text block clean and tight; Unpaged, "With 96 illustrations, 4 in color" on unnumbered leaves. His forms are usually abstract human figures, often depicting mother-and-child or reclining figures, but some of the drawings depict animals, for example, sheep. in 1972 Henry Morre’s studio looked out over fields from where he drew these sheep- that would come right up to his window.