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Helmet Head Lithographs (C. 356-360)
Details
Henry Moore (1898-1986)
Helmet Head Lithographs (C. 356-360)
the portfolio, including the complete set of five lithographs in colours, 1974, on T H Saunders paper, with title page, list of contents and a preface by the artist, signed in ink and numbered VI on the justification, from the additional edition of XXII reserved for the artist and collaborators (there was also the edition of 50), published by Gérald Cramer, Geveva, 1975, the full sheets, each lithograph signed in pencil and numbered VI/XXII, in very good condition, presented in the original silk lilac covered portfolio (album)
520 x 665 mm. (portfolio)
Helmet Head Lithographs (C. 356-360)
the portfolio, including the complete set of five lithographs in colours, 1974, on T H Saunders paper, with title page, list of contents and a preface by the artist, signed in ink and numbered VI on the justification, from the additional edition of XXII reserved for the artist and collaborators (there was also the edition of 50), published by Gérald Cramer, Geveva, 1975, the full sheets, each lithograph signed in pencil and numbered VI/XXII, in very good condition, presented in the original silk lilac covered portfolio (album)
520 x 665 mm. (portfolio)
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.
Further details
'The Helmet Head subject of a form enclosed within an outer form mysteriously concealed and protected is one that has fascinated me for over thirty years' (Henry Moore, Introduction of Helmet Head Lithographs, 1975)
Henry Moore first explored this subject in 1939 when he made a lithograph titled 'Spanish Prisoner' (Cramer 3) in aid of the Spanish Republican Army prisoners. One year later he would make The Helmet, his first sculptural form to show the enclosure of one form within another. After that, he wouldn't revisit this subject again until 1975 when he made this portfolio.
The actual idea for this present series arose when Moore was working on some drawings of sculpture ideas for a Helmet Head. He was not happy with the drawings and decided to tear them up. Some of the torn pieces showed a single eye which Moore found more expressive and interesting than the two eyes had revealed.
'Looking at torn pieces I found that each isolated eye had a different expression - one was a wild eye, nearly a mad eye, another a contemplative eye, another expressed wonder, a superiority, and so on.' (Henry Moore, Introduction of Helmet Head Lithographs, Grald Cramer, Geneva, 1975)
This set of lithographs was then based on these torn fragments and as Moore explains in the introduction of the portfolio: 'Whilst working on these new prints I surrounded the head fragment with frames or window openings, to give them the suggestions of soldiers observing the enemy from concealed positions behind battlements'.
Henry Moore first explored this subject in 1939 when he made a lithograph titled 'Spanish Prisoner' (Cramer 3) in aid of the Spanish Republican Army prisoners. One year later he would make The Helmet, his first sculptural form to show the enclosure of one form within another. After that, he wouldn't revisit this subject again until 1975 when he made this portfolio.
The actual idea for this present series arose when Moore was working on some drawings of sculpture ideas for a Helmet Head. He was not happy with the drawings and decided to tear them up. Some of the torn pieces showed a single eye which Moore found more expressive and interesting than the two eyes had revealed.
'Looking at torn pieces I found that each isolated eye had a different expression - one was a wild eye, nearly a mad eye, another a contemplative eye, another expressed wonder, a superiority, and so on.' (Henry Moore, Introduction of Helmet Head Lithographs, Grald Cramer, Geneva, 1975)
This set of lithographs was then based on these torn fragments and as Moore explains in the introduction of the portfolio: 'Whilst working on these new prints I surrounded the head fragment with frames or window openings, to give them the suggestions of soldiers observing the enemy from concealed positions behind battlements'.
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