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HENRY SPENCER MOORE (1898-1986)

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HENRY SPENCER MOORE (1898-1986)
A collection of six typed letters, four signed 'Henry Moore', two signed by his secretary, all from Hoglands, Much Hadham, 5 February 1963 to 13 February 1973, 6½pp in all, 4° and 8°, to Graham Carey, regarding present and forthcoming work:
i) 5 February 1963, 1½pp, thanking him for his letter asking if he would supply a copy of the Glenkiln Cross for Malmesbury Abbey, saying that he is starting work on a large sculpture for Lincoln Art Center so can not take on extra commitments, 'and a religious commission needs a very special attitude'. He has already been asked to do a Crucifixion for Chichester but calls Malmesbury, with its Mediaeval sculpture one of the 'finest churches in England'.
ii) 13 February 1963, 1pp, Carey's suggestion of the Glenkiln Cross is a good one as the cast is still available, the last copy going to Moore's dealer in America for £6,000.
iii) 16 March 1963, 1pp, regretting that the church council did not approve his sculpture and says that it may not have been available anyway as the Kroller Museum in Holland may wish to acquire 'the Glenkiln Cross and two other upright motives,...all meant, in my mind, to make a kind of Crucifixion group'.
iv) 13 February 1973, 1pp, signed by secretary, mentioning a sculpture for Bradford, 'I wanted to be patriotic as a Yorkshireman and not seem disinterested'.
With two other letters, dated 4 and 8 March 1963, arranging a visit.
(6)
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Lot Essay

Henry Moore was working on his Reclining Figure for the Lincoln Art Center at this date. The Glenkiln Cross was part of a crucifixion group, Upright Motive, No.7, No.1 and No.2, created 1955-56, the central Glenkiln Cross so named from it's position on the Keswick estate in Scotland. Both Carey and Moore felt that the cross would compliment Malmesbury's mediaeval stonework particularly well. However, the project was not approved by the church council, despite Moore offering them the sculpture at a considerably lower price than usual. The Kroller-Muller Museum in Otterlo did subsequently acquire the piece.

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