Standing Figures 1950 by Henry Moore, 1898-1986

Henry Moore, 1898-1986
Scroll down for information.
Click here to return to the list.

Standing Figures 1950

Original lithograph in colours. 1950. Rare trial proof (unsigned) before the edition of 50 impressions. Drawn at the studio of W. S. Cowell, 1950. Edition issued by Schools
Prints, 1950.
Ref: Cramer - Moore Graphic Work no 14, working trial proof with the register marks etc. Provenance: The archive of the studio where Moore worked - W.S.Cowell.
Note: The image is derived from a drawing of 1948.

Brilliant proof impression with exceptional brilliant colours. On smooth cream wove paper. Excellent condition. Wide margins, showing the register marks and ink trials. Sheet: 14 1/4 x 10 7/8ins. Image: 10 3/4 x 8 1/2ins (exc register marks) (273x216mm).

This item is sold.
Click here to enquire about this item.

Moore drew some of his most important images in the graphic field during the period from 1949 to 1951. It was at this date that his interest in printmaking as a medium really developed, and especially his interest in lithography. Less overwhelmed with work than in his later years he spent a lot of time in the print studios, at Cowells, at Curwen and in Paris, refining his handling of washes and line so as to fully achieve the sculptural qualities he sought. Most of the lithographs of this period were printed in small editions of 50 impressions only and have become extremely scarce. The impression above is a very rare working proof before the issued edition still showing the print register marks and trial washes in the margin.

It was also at this date that Moore's concentration on the theme of the standing and reclining figure was at a peak. The interrelationship between the shapes of natural landscape and the forms of the figure were a primary concern. In furthering these ideas he combined drapery and stylised hollows and piercing in his figures.

Moore's approach to drawing was that it was a parallel to his sculpture. To bring the two art forms together he developed the idea of repeated linked forms in his drawings, so that as the eye moves from one study to the next it creates a sense of movement around a three-dimensional form. It is this technique which is so effectively demonstrated in this lithograph.