Photographing Sculpture: How the Image Moves the Object 20 March – 22 June 2014 Photography has made sculpture mobile since the birth of the medium. Presenting vintage prints from the late-nineteenth to the late-twentieth century, Photographing Sculpture looks at the ways in which photographs ‘move’ objects, whether activating them visually, transporting them by proxy or documenting their travels across space and time. The selection is drawn entirely from the Henry Moore Institute Archive, a part of the sculpture collections of Leeds Museums and Galleries, which are developed in a unique partnership with the Henry Moore Institute. Some photographs in the exhibition chart the physical movement of objects, showing monumental statues on their journey from the studio to the pedestal, installations in various configurations and performance pieces in progress, as body and object are repositioned over a period of time. Others create the illusion of movement, by presenting a work from all angles or by staging it to emphasise a dynamic arrangement or to bring a figurative work to life. Groups and pairs of photographs record the same sculpture in different locations and contrasting environments. In some cases they might represent a deliberate experiment by the artist, in others a later gathering together of images that record a work’s history, potentially charting its progress from studio to foundry to diverse sites of display and storage. The exhibition includes informal snaps taken by artists or technicians that record fleeting and private moments in the life of the work. It also displays many carefully choreographed studio and gallery shots, which were intended specifically for publication and exhibition and have allowed the objects represented to be disseminated all over the world. List of works: 1 ‘Captain Cook’ (1878) by Thomas Woolner (1825-1892) in Pall Mall, London 1878 2 ‘Captain Cook’ (1878) by Thomas Woolner (1825-1892) in Hyde Park, Sydney, Australia c.1879 Woolner’s statue commemorating Cook’s discovery of the east coast of Australia was briefly displayed opposite the Athenaeum Club in Waterloo Place, Pall Mall, London, before being shipped to its final destination on the opposite side of the world. 3 Marble torso of a man by Ivan Meštrovic (1883-1925) 1915 This photograph was commissioned by the Victoria and Albert Museum at the time of their Meštrovic exhibition in June – August 1915, which toured to Leeds Art Gallery later that year. A selection of works from the original exhibition travelled to Leeds, to be supplemented with photographs of the absent sculptures, including this image. 4 & 5 Two postcards of the statue of Samuel de Champlain (1896-1898) by Paul-Romain Chevré (1867-1914) in Quebec City, Canada n.d. From a collection of postcards representing international sculptures and monuments, compiled by the British sculptor Ernest Gillick (1874-1951). Some record works in countries that Gillick himself visited, whilst others were sent to him by friends from their travels. Together, they constitute a virtual gallery of public sculpture from around the world, which Gillick used as source material and a reference tool for his work. 6-10 ‘King Alfred the Great’ (1901) by Hamo Thornycroft (1850-1925) being transported and installed in Winchester High Street 1901 This statue was commissioned by Alfred Bowker, Mayor of Winchester, to commemorate the millenary of King Alfred. One of the largest single bronze figures to be produced in England at this time, it is 17 ft tall from base to tip and weighs 5 tons. It was raised successfully onto its pedestal on the second attempt. On the first, the guide ropes snapped and the statue fell, cracking its nose. 11-16 ‘Gazebo’ (1971) by Wendy Taylor (b.1945) being transported from the artist’s studio in Stepney Green, London, to the Old Rectory in Orford, Suffolk c.1971 From an edition of four made from 1970-72 for destinations in Oxford, London, Suffolk and New York. This article has been downloaded from the Henry Moore Institute: www.henry-moore.org/hmi 17-20 Studio portrait of ‘Love’ (1858) by Thomas Woolner (1825-1892) c.1858 21 & 22 Unidentified figure sculpture by Edward Bainbridge Copnall (1903-1973) n.d. The figure was turned during photography to achieve specific lighting effects. 23 Unidentified portrait sculpture by Oscar Nemon (1906-1985) with its reflection captured in a mirror c. 1930 Photo: Duquenne 24-26 Studio portrait of the bust of Cecil Rhodes (c. 1930) by Alfred Hardiman (1891-1949), commissioned by Sir Herbert Baker for Rhodes House, Oxford c.1930 27-28 ‘The Rower’ (1912) by Eric Gill (1882-1940), in two possible display positions c. 1912 29 Contact sheet of photographs of the performance work ‘In the Kitchen’ (1977) by Helen Chadwick (1953-1996) 1977 This series of documentary photographs is more extensive than the final series through which the work is now exhibited, and shows full range of movement it contained. 30 Contact sheet of photographs of the model for ‘Model Institution’ (1978), an architectural sound sculpture by Helen Chadwick (1953-1996) c.1978 In the final installation, the model structure functioned as a series of booths in which visitors could listen to audio recordings. It could not have been seen from above, as shown here. 31 & 32 ‘St. George’ (c. 1927-29) by Alfred Hardiman (1891-1949), in the artist’s studio and in its niche at Carlos Place, London, before it was moved to its present location at Eltham Palace, London. n.d. The studio portrait shows the back view of the statue which was not intended to be seen following installation. This article has been downloaded from the Henry Moore Institute: www.henry-moore.org/hmi 33-36 Montage of photographs of a sculpture by Andy Goldsworthy (b.1956) at Holbeck Triangle, Leeds. May 1986 Goldsworthy was the first artist-in-residence for the Holbeck Triangle Project. The montage documents one of the experimental sculptures he made for the Triangle site, using plants and stalks he found in the surrounding area. The work is staged here to emphasise its dynamic form and to create a symbiotic relationship between the sculpture and the site, which he described as ‘a place of movement, growth, trains [and] wind’. 37 & 38 Sculpture groups, awaiting casting, in the grounds of the foundry at John Galizia & Sons Ltd. Mid-20th century 39 An arrangement of ‘Worshipping Quakers’ by Peter (Laszlo) Peri (1899-1967), in the garden outside the artist’s studio in Camden, London c.1960 40 ‘Exuberant Figures’ (late 1950s) by Laurence Josephs (1913-1998), photographed outside the artist’s studio in London. n.d. 41 Contact sheet of photographs of an installation by Neville Boden (1929-1996) staged with a human model. c.1970 42 Albert Toft (1862-1949) posing with his sculpture ‘Mother and Child’ (c. 1912) n.d. 43 George Fullard (1923-1973) and the artist and painter Derek Greaves, posing irreverently with Fullard’s sculpture ‘Dwarf Clown’ (1953) 1953 Copy print ‘Dwarf Clown’ was described by one critic as ‘a little plaster figure which should be horrible and is actually moving and almost beautiful. It is as though amongst a bunch of garden gnomes you come across a real midget - tough, bony, dignified, suffering’. 44 John Bridgeman (1916-2004) posing in his garden at Glebe House, Ufton, with his portrait busts, including one of his daughter, Jane (third from right) c.1970 Courtesy of the Estate of the Artist This article has been downloaded from the Henry Moore Institute: www.henry-moore.org/hmi 45 Bust of Winston Churchill (after 1950) by Oscar Nemon (1906-1985), with foundry workers at John Galizia & Son Ltd. n.d. 46 Plaster model of Samuel Crompton (1862) by William Calder Marshall (1813-1894), shown in an arrangement with other works in the artist’s studio. c. 1894 From an album compiled by William Calder Marshall’s son, Charles J. Marshall, showing plaster models for sculpture in Marshall's home and studio in Ebury Street, London. Probably photographed to accompany the catalogue published for Marshall’s posthumous exhibition in 1894. 47 Clay model for the statue of ‘Churchill’ (c.1970) by Franta Belsky (1921-2000) c.1970 48 Statue of Winston Churchill (c.1970) by Franta Belsky (1921-2000) with plaster maquettes and other works, including a portrait of bust of Elizabeth, the Queen Mother, in the artist’s studio. c.1970 49 ‘Peace’ (c.1937) by Gilbert Bayes (1872-1953) in the artist’s studio 1937 Bayes was commissioned by Selfridge’s of London to create this large plaster figure for its Oxford Street store, as part of its temporary decorations to commemorate the Coronation of George VI. None of the decorations survive. Photo: Basil 50 ‘Night’ (1946) by Alfred Hardiman (1891-1949) in the artist’s studio c. 1946 51 ‘Night’ (1946) by Alfred Hardiman (1891-1949) in the Battersea Park Open Air Exhibition, London 1951 52 ‘Night’ (1946) by Alfred Hardiman (1891-1949) on display at Aberdeen Art Gallery. July 1955 ‘Night’ was commissioned as a fountain figure for the New Council House, Bristol, but was never installed in this location and was subsequently shown in several group exhibitions, before being acquired by Aberdeen Art Gallery in 1955. This article has been downloaded from the Henry Moore Institute: www.henry-moore.org/hmi 53 ‘The Swimmer’ (c. 1960s) by Edward Bainbridge Copnall (1903-1973), probably photographed in the studio c. 1960s 54 ‘The Swimmer’ (c. 1960s) by Edward Bainbridge Copnall (1903-1973), displayed experimentally on a roof top at Leigh Priory in Canterbury c. 1960s 55 ‘The Swimmer’ (c. 1960s) by Edward Bainbridge Copnall (1903-1973), displayed informally, probably in the grounds of Leigh Priory, Canterbury c.