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The Henry Moore Foundation Review Contents Issue Number Fifteen Winter 2006 The Henry Moore Foundation Review Contents 3 Chairman’s Introduction Sir Ewen Fergusson 4 Director’s Report Tim Llewellyn 7 Financial Statement 2005 – 2006 8 Henry Moore Collections and Exhibitions Anita Feldman Bennet 11 Restoration of Hoglands David Mitchinson 12 Henry Moore Institute Penelope Curtis 15 Publishing Sculpture Studies at the Henry Moore Institute Martina Droth 16 Grants Programme 20 Publications 23 General Information Front Cover: Sheep Piece 1971–72 (LH 627) at Perry Green. Photo: Michael Phipps Tim Llewellyn in 1994 with Moore’s Large Figure in a Shelter 1985– 86 (LH 652c). Photo: Michel Muller Chairman’s Introduction This year has been rich in achievements and there is much Whatever has been achieved over the past year, I must to excite us for the future, but I start with the bad news. now look ahead to a most significant event. Next May, after While last year’s Review was being printed, thieves succeeded thirteen years of extraordinary activity on behalf of the in stealing a large bronze from Perry Green. No trace has Foundation, Timothy Llewellyn will be retiring from the since been found. It is hard to imagine a motive for this post of Director. audacious crime, which inevitably has influenced the Tim Llewellyn came to the Foundation early in 1994 conditions under which we and others will be able to show after a highly successful career at Sotheby’s. He brought sculpture to the public in the future. with him experience in management, a knowledge of finan- In spite of this discouraging beginning, the year has seen cial affairs and, above all, a genuine feel for works of art, many exciting projects brought to fruition, including the historic and contemporary. During his time at the Foundation, painstaking restoration of the structure and fabric of he has built this up into a commanding knowledge of sculpture Hoglands, the reinstatement of its garden, and preparations in the twentieth and twenty-first centuries. Art depends, of for the re-installation of the contents of the house. There course, on people; Tim Llewellyn’s enthusiasm and his have been innovative and widely ranging exhibitions in capacity for hard work have had a major impact on others Leeds; a magnificent Moore exhibition in Barcelona; very throughout the United Kingdom and in the international successful reworkings of themes first explored in displays arena. His skilful handling of often sensitive situations has in the Sheep Field Barn, Perry Green, at the Imperial War helped make the Henry Moore Foundation more coherent Museum and at the Kunsthal, Rotterdam, and a particularly in its structure, and more focused in its aspirations. rich crop of publications, to which we have given special From the start, Tim Llewellyn commanded the confi- emphasis in this edition. These activities are of course very dence of the Board. My predecessor as Chairman, Sir Rex much in the public eye, but behind the scenes, too, great Richards, and I have relied without hesitation on his good progress has been made in the libraries and archives, espe- judgement, and those on the Board and the staff of the cially in the preparation of Moore research material for Foundation have responded with admiration and gratitude eventual presentation on our website and, in Leeds, provision to all that he has done. of digital material which will eventually replace the slide It is a tribute to the way in which, under Tim Llewellyn’s library. Such a broad range of activities requires manifold direction, the reputation of the Foundation has so steadily skills from our remarkable staff. The trustees commend and grown, that from an exceptional field of aspirants the Board congratulate them for an outstanding year. has been able to choose as his successor Richard Calvocoressi, During the year, we were glad to welcome onto the for the last nineteen years Director of the Scottish National Board, John Lewis, Chairman of the Attingham Trust and Gallery of Modern Art. There, and previously at the Tate former Chairman of the Wallace Collection, and Duncan Gallery, he has been able to develop a formidable expertise Robinson, Director of the Fitzwilliam Museum and Master in the field of contemporary sculpture. He is well equipped of Magdalene College, Cambridge. Henry Wrong retired to meet the challenge of the future. from the Board after a long and active role as a trustee and has agreed to join the Advisory Board, as has Peter Ohrenstein, Ewen Fergusson who played an important part in setting up the Foundation and who, until his recent retirement gave invaluable financial and accounting advice to the trustees. I know that the trustees enjoy their membership of the Board and find it Note: This Review follows the pattern of its predecessors both fascinating and a considerable privilege to be closely in giving a summary account in words and pictures of the associated with Henry Moore and what, through the Foundation’s activities during the current year. The only Foundation, he sought to achieve. Nevertheless, the significant change in presentation from previous editions is Foundation and all those who benefit from its activities the formal recording of all grants made during the financial should remember that this participation is entirely voluntary: year 2005–6 in addition to those made up to the end of this trustees, new and old, give the Foundation not just the calendar year. As in the past, we have presented the annual benefit of their wide experience but also their capacity for accounts in summary form with categories which comple- hard work. I should like everyone who reads this Review to ment the sections of the Review. As always, full audited recognise the value of that contribution. financial statements are freely available on request. 3 Director’s Report Studio at Dean Clough, Halifax), and the Grants Programme through which support is given to a wide range of projects. To the Henry Moore collection we have added a small As I approach the end of my time as Director, I have been number of works specifically chosen to strengthen areas reflecting on the Foundation’s aims and what has been important for exhibition making. At Perry Green we have achieved. Henry Moore himself defined our objectives. He built a versatile and beautiful gallery, new storage space, a wanted a body of his own work kept together to be available temporary library and archive, new offices and better facilities for exhibition; he wished that the studios, archives and for visitors, including residential accommodation. We have grounds at Perry Green be preserved to give an insight into planted wild flowers, bulbs, shrubs and trees, and revived his working methods, and he hoped that his Foundation orchards. Most recently, we have acquired the Moores’ home could help develop better understanding of sculpture in of more than forty years, Hoglands, and with the generous general and wider opportunities for those who make it, see support of Mary Moore and her family we shall soon have it or study its history. In particular, he remembered how completed the restoration of the ground floor and garden difficult it had been both for him to see works of sculpture to something like their appearance in the 1960s and 1970s. while he was a student in Leeds, and to have his work shown More needs to be done; we must improve our storage facil- as a young avant-garde artist. Our strategy for realising these ities (following the distressing and costly theft, still aims was laid down by Moore, the trustees and my prede- unsolved, of an important work), build a new library and cessor as Director, Sir Alan Bowness. That fundamental archive with appropriate environmental and security strategy has altered little and focuses on Henry Moore at controls and, perhaps, a new visitor centre. Perry Green, the Henry Moore Institute in Leeds (building Responding to confusion among the public about our on the work of the Study Centre begun in Moore’s time and the activities, we simplified the corporate structure of the Henry Moore: Sculptuur en architectuur, Kunsthal Rotterdam; installation designer: Herman Postma. Photo: Anita Feldman Bennet 4 Foundation, and began to publish this annual Review, together with a quarterly Calendar, now distributed elec- tronically. A little later, we launched our interactive website, which provides a dynamic interface for students of Moore and all sculpture. Preparing for the digital age has been a heavy investment. The paper archive has been scanned and digitised, together with a good number of photographic images, and a massive effort has been put into creating an oeuvre database, which it will be possible to consult on line. For a small organisation these are taxing undertakings, all done in-house, costly and labour-intensive. We have also published a wide range of books on Moore for specialised as well as general audiences, including the very successful Cover Design for Contemporary Poetry and Prose c.1937 (HMF centenary publication Celebrating Moore, a full catalogue of 1346). One of forty-four previously unexhibited drawings included in Moore’s drawings in seven volumes, a number of updated Moore: Unseen at Wakefield Art Gallery. Photo: Menor Creative Imaging volumes of the sculpture catalogue and of course many exhibition catalogues. There can be few British visual arts organisations with a prices, but no doubt they deceive many innocent buyers. wider geographical reach than the Henry Moore Foundation There is little that we on our own can do to prevent this, in its exhibitions programme. Within the last year colleagues but we hope we can influence regulators to take action to have been active in Brazil, Central Asia and Siberia, as well provide buyers on the web the same protection they would as locations nearer home.
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