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The Henry Moore Foundation Review H Moore Review 15-P1-15 2007 18 Dec:H Moore Review 14/P1-15 2006 21/12/07 06:39 Page 2 H Moore Review 15-p1-15 2007 18 Dec:H Moore Review 14/p1-15 2006 21/12/07 06:39 Page 1 Issue Number Sixteen Winter 2007 The Henry Moore Foundation Review H Moore Review 15-p1-15 2007 18 Dec:H Moore Review 14/p1-15 2006 21/12/07 06:39 Page 2 Contents 3 Chairman’s Introduction Sir Ewen Fergusson 4 Director’s Report Richard Calvocoressi 6 Financial Statement 2006 – 2007 Charles M Joint 7 Henry Moore, Perry Green David Mitchinson 10 Henry Moore in Public Nick Bullions 11 Henry Moore Institute, Leeds Penelope Curtis 14 Why Sculpture, Why Here? Stephen Feeke 16 Publications 18 Grants Programme 22 Looking Ahead 23 General Information Henry and Irina Moore, Hoglands c.1968. Photo: John Hedgecoe Front cover: Installation view of Rote Girlande (Red Garland) 1980 and Kollektion (Collection) 1980 in Fake/Function Thomas Schütte: Early Work, Henry Moore Institute, Leeds. Photo: Jerry Hardman-Jones Back cover: Detail of Figure in a Shelter cast 1983 (LH 652a) seen beside Bourdelle’s plaster Penelope 1912, Henry Moore et la Mythologie, Musée Bourdelle, Paris. Photo: David Mitchinson H Moore Review 15-p1-15 2007 18 Dec:H Moore Review 14/p1-15 2006 21/12/07 06:39 Page 3 Chairman’s Introduction The Review for Winter 2001 was my first. I had been Chairman for barely a month, after three years learning about the Foundation under Sir Rex Richards. I blush now at reading ‘It is too soon to suggest how I shall want to impose my stamp’. My seventh and last introduction needs a more appropriate modesty – no one but Henry Moore has imposed a stamp on the Foundation. I hope, however, that Moore, whom I never had the good fortune to meet, would wholeheartedly approve of the way in which the Foundation is run, and would feel that his, his family’s and his friends’ early endeavours and aspirations are being fulfilled. If I have ‘imposed’ anything, it may have been to introduce a cut-off age of seventy-five for membership of the Board, with retiring members having the opportunity of moving to the newly-created Advisory Board. Despite the sadness which anyone leaving the Board must experience (I speak feelingly), this decision has allowed us to bring in new faces while main- taining the exceptional quality and dedication that the Board has so consistently shown. It is Sir Ewen Fergusson with very complete confidence that I hand over the Chairmanship of the Foundation to Duncan Robinson. He will have the knowledgeable support of John Lewis, who succeeds me as Chairman of the Finance Committee. Last year I also referred to the major contribution over thirteen years of Tim Llewellyn as Director. He left us at the end of May 2007. His successor, Richard Calvocoressi, started work in June. No one who knew Richard in his previous post in Edinburgh, or has met him since he joined the Foundation, can fail to recognise how fortunate the Foundation has been to recruit someone who combines a formidable expertise in contemporary sculpture and long experience of management with the sensitive personal skills so indispensable to running The Henry Moore Foundation today. I shall touch only briefly on the achievements of the year – the re-opening of Henry Moore’s house, Hoglands, the succession of distinguished exhibitions at home and abroad, the high intellectual calibre of the work of the Institute in Leeds, the extensive programme of grant-giving. Instead, I have a personal point to make. My introduction to the Foundation came through the major exhibition of Henry Moore’s work at the Bagatelle Gardens in Paris in 1992, at the time when I was Ambassador. It gives me very special pleasure that my depar- ture should coincide with another exceptional open-air exhibition, this time at Kew Gardens, of twenty-eight major sculptures by Moore. Since Moore’s death, there has seemed to be a somewhat fallow period in the British public’s feelings for his work, especially at the level of expert opinion. This has been strikingly in contrast to the ever-growing demand in the inter- national community to see all aspects of his work and to learn about him. The exhibition at Note Kew marks the return in the United Kingdom to a genuine appreciation and understanding This Review follows the of a major world artist. pattern of its predecessors What shall I miss most? Certainly the pride of being directly involved in an institution in giving a summary account that makes such an important contribution to sculpture and the arts in Britain today. But the in words and pictures of the correct answer is ‘people’. Within the Foun dation as a whole, I have had most to do with the Foundation’s activities during Management Committee – with the Director, with David Mitchinson, with Penelope Curtis the past year. All material in Leeds, with the indefatigable Charles Joint. But for their skills – and their patience – the published here relates to a Chairman’s task would be impossible. It is not just their talents, which can be seen mirrored much more extensive body throughout the staff of the Foundation, but the sheer pleasure, indeed the fun, of working of information on The Henry with them all. That is what they have ‘imposed’ on me. I want to say thank you to everyone. Moore Foundation website And I want to wish my successor, Duncan Robinson, and all who will be working with him, and associated links. For continuing good fortune for The Henry Moore Foundation. further coverage and images, please follow the relevant Ewen Fergusson weblinks appended to each article in the Review. 3 H Moore Review 15-p1-15 2007 18 Dec:H Moore Review 14/p1-15 2006 21/12/07 06:39 Page 4 sculptor and his family, and shows to what extent art and Director’s Report the creative imagination permeated their lives. Kew, by contrast, provides an ideal natural setting for the twenty- The 2006 Review was Timothy Llewellyn’s last, although eight large-scale sculptures from the last three decades of he continued as Director until the end of May 2007. I took the artist’s career installed there (until March 2008) – up the post in mid-June, inheriting from Tim an organisa- twenty-six of them from the Foundation’s collection. The tion that I soon realised was in unusually good health, dialogue which the sculptures seem to engage in with some structurally as well as financially. It also became clear that of the extraordinary tree and plant forms in the Royal Botanic he had nurtured and led a dedicated, talented and friendly Garden has been a revelation. The exhibition will travel in staff, at both Perry Green and Leeds. I arrived at one of an abbreviated form to the USA in May. Other Moore the busiest and most exciting moments in the Foundation’s exhibitions curated by the Foundation during 2006–07 are recent history: when Hoglands, the sculptor’s home at Perry covered in David Mitchinson’s report (see pp. 7–9). Green, opened its front door to the public for the first time, This year marks the thirtieth anniversary of The Henry and just as preparations for the installation of the big out- Moore Foundation. When Moore established it, he gifted door exhibition at Kew began – the first such show in to it a large body of his own work, in addition to property, London for nearly thirty years. Both events, initiated by my investments and other assets. Income from the investments predecessor, have contributed substantially to the promotion is used to further the aims of the Foundation. From Perry and understanding of Henry Moore’s work – one of the Green issues forth a constant flow of loans to exhibitions stated aims of the Foundation. In the first month of the of Moore’s work all over the world, publications, guided exhibition, visitor figures at Kew were up by over 50% on tours, conservation and cataloguing work. Two hundred the same period in 2006; and at Perry Green, our figures miles to the north in Leeds, where Moore was at art college also saw a 40% increase over the 2006 season. from 1919–21, the Henry Moore Institute, through its The restoration of Hoglands, carried out in close innovative series of exhibitions, conferences, publications consultation with Mary Moore, the artist’s daughter, gives and fellowships, studies sculpture from a broader perspective, a deep and intimate insight into the domestic life of the not confined to any one culture or historical period. Last Two Piece Reclining Figure: Points 1969–70 (LH 606) on exhibition in Kew Gardens. Photo: Malcolm Woodward 4 H Moore Review 15-p1-15 2007 18 Dec:H Moore Review 14/p1-15 2006 21/12/07 06:39 Page 5 Draped Reclining Woman 1957–58 (LH 431), on loan from Tate, in Kew Gardens. Photo: Malcolm Woodward year the programme ranged from an examination of the at is how we communicate to the outside world the activities impact of the Laocoon of antiquity on succeeding genera- of a geographically split organisation, and whether there tions of artists to the early work of German artist Thomas are aspects of our work that need clarification: for example, Schütte. The third and final ‘arm’ of the Foundation is the relationship between the Henry Moore Institute and Grants, so ably administered for the last two decades by neighbouring Leeds Art Gallery, whose sculpture collection Anne Unthank, who retires in March 2008, having worked the Institute’s curators look after and actively develop.
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