Timeline

The teachers at Castleford encourage Moore’s early artistic enthusiasm.

CGM X1 Striding Figure, Linocut, The Henry Moore Foundation.

Moore’s first-known print is a book plate mounted onto the half-title page of a biography about Albrecht Dürer.

LH X8 Castleford Secondary School Roll of Honour, Oak, Castleford High School, Castleford.

Moore’s first commission and “first serious wood carving” to commemorate boys from his old school leaving for war.

Listen to Moore’s memories about carving the Roll of Honour

LH X11 Decorated Plate, c.1919-21, Earthenware with enamel glazed decoration, Leeds City Art Galleries: gift of Jocelyn Horner 1973.

This carving in sycamore wood is one of the the earliest known sculptures by Moore, undertaken whilst he was a student at Leeds College of Art. It demonstrates Moore’s interests in African art and early experimentation with carving.

Henry Moore, Head (LH 0d), c.1920, sycamore wood, private collection, UK.

CGM X3 [CC1] Dancing Figures, Linocut, The Henry Moore Foundation: acquired 1985.

An idea for an architectural frieze.

Moore visits Paris for the first time with his friend Raymond Coxon, and is particularly struck by paintings by Cézanne in the Pellerin Collection.

Moore’s family move to Norfolk due to his father’s ill-health; he dies later in the year.

LH 2 Dog, marble, the Henry Moore Foundation: gift of the artist 1977.

Despite being one of Moore’s earliest carvings, the marble is cut with crisp definition depicting tense limbs as if the dog could pounce at any moment.

LH 3 Mother and Child, Portland stone, current whereabouts unknown.

Moore’s first mother and child, a theme that will preoccupy him throughout his career.

HMF 78 Standing Nude Girl, One Arm Raised, Chalk, pen and ink, crayon, wash, the Henry Moore Foundation: gift of the artist 1977.

At this time, Moore begins to use experimental techniques whilst drawing from life; this is one of the earliest instances of his combination of pen, ink, chalk and wash.

Charles Rutherston (brother of the principal of the Royal College of Art) buys two of Moore’s carvings becoming his first patron and invites the young artist to see his extensive collection in Bradford.

LH 6 Head of the Virgin, Marble, The Henry Moore Foundation: acquired 1988.

In opposition to the RCA’s curriculum, Moore carves this copy of a Madonna from the Victoria & Albert Museum directly rather than copying it with a pointing machine.

LH 15 Head of a Girl, White clay (terracotta), The Henry Moore Foundation: gift of the artist 1977.

One of Moore’s few modelled rather than carved sculptures in the 1920s.

First group exhibition at the Redfern Gallery, London alongside fellow students at the Royal College of Art Edward Burra, Barbara Hepworth, Percy Horton, Roland Vivian Pitchforth and Charles Tunnicliffe.

Granted a travelling scholarship after graduating to see the work of the Old Masters in Italy. His trip is delayed until 1925 as he acts as sculpture tutor until a replacement can be found.

HMF 356 View of the Arno, Florence, Pen and ink, chalk, wash, the Henry Moore Foundation: gift of the artist 1977

Moore travels to the river Arno in Tuscany, Italy to experience the Old Masters.

LH 23 Woman with Upraised Arms, 1924-5, Hopton wood stone, the Henry Moore Foundation: gift of the artist 1977.

The first example of carving through the stone, foreshadowing his later use of the hole to create a formal contrast between the solid and void

LH 36 Head of a Woman, Cast concrete, Wakefield Art Galleries and Museums.

Moore begins creating sculpture in concrete, which at the time is largely confined to architecture.

LH 48 Head and Shoulders, Verde di Prato, current whereabouts unknown.

Described as Moore’s first masterpiece by the dealer Dr Heinz Roland.

First solo exhibition at the Warren Gallery, London where works are bought by the illustrious artists Jacob Epstein, Augustus John and Henry Lamb.

LH 58 West Wind Relief, Portland stone, London Regional Transport.

Moore’s first public commission is for the headquarters of the London Underground.

Moore marries Irina Radetzky, a painting student at the Royal College of Art They move together to Hampstead, a hub of the arts.

LH 59 Reclining Figure, Brown Hornton stone, Leeds City Art Gallery.

Inspired by the Pre Columbian Chacmool, which will become the most influential piece on Moore’s oeuvre prompting a career-long series of reclining figures.

The British Pavilion at the Venice Biennale exhibits Moore’s work alongside fellow British sculptors Jacob Epstein and John Skeaping and painters Augustus John, Wilson Steer and Walter Sickert.

The first major critical assessment of Moore’s work is written by R.H. Wilenski for the highly respected Apollo: the international magazine of art and antiques.

LH 85 Reclining Figure, Ironstone, Robert and Lisa Sainsbury Collection: University of East Anglia, Norwich.

Carved from a stone found on the beach whilst on holiday to Norfolk with Barbara Hepworth and John Skeaping.

LH 93 Girl with Clasped Hands, Cumberland alabaster, The British Council, London.

Inspired by Sumerian figures which often feature enlarged heads and clasped hands as a means of emphasising their humanity.

Second solo exhibition at The Leicester Galleries, London where the Museum für Kunst und Gewerbe, Hamburg acquire the first sculpture for a museum, Head, c.1930, ironstone.

Moore resigns from his teaching post at the Royal College of Art after a vicious press campaign against him backed by colleagues.

LH 99 Composition, blue Hornton stone, The Moore Danowski Trust.
Moore described this venture into abstraction as an important stage in the development of his sculpture

CGM 1 Figures, Sculptures, Woodcut, The Henry Moore Foundation.

Moore makes two woodcuts in 1931, his only works in the medium and he doesn’t explore printmaking again until 1939.

Moore becomes Head of Sculpture at Chelsea School of Art, holding the post until the school relocates at the outbreak of World War II.

Performs as an ancient Greek torso in the staff performance at the Chelsea School of Art Christmas concert.

LH 119 Composition, African wonderstone, wood base, The Trustees of the Tate Gallery, London: presented by the Friends of the Tate Gallery 1960.

The abstraction of this bust indicates the influences of Hans Arp and the Surrealists on Moore during the 1930s.

LH 121 Mother and Child, Green hornton stone, Robert and Lisa Sainsbury Collection, University of East Anglia, Norwich.

Moore polished the green hornton stone, which emphasised the form of the sculpture

Moore meets the influential avant-garde sculptors Giacometti, Zadkine and Lipchitz in Paris.

Moore joins the Artists International Association, which pledges to fight fascism and imperialist war.

HMF 1331 Ideas for Sculpture, Pencil, pen and ink, crayon, The Henry Moore Foundation: gift of the artist 1977.

Moore used drawing as a tool to develop and eliminate ideas for sculptures, often using repetition on single pages.

Moore exhibits and publishes a book with Unit One, co-founded with Paul Nash, Ben Nicholson and Barbara Hepworth the previous year to promote modern art, architecture and design.

The first monograph on Moore by Herbert Read is published by Zwemmer’s book shop.

Henry and Irina make their only trip to Spain. They won’t return to the country after the outbreak of the Spanish Civil War in 1936.

LH 154a Hole and Lump, Elmwood, The Henry Moore Foundation: gift of the artist 1979.

Moore begins making abstract holes in his sculpture in 1933 after admiring his friend Barbara Hepworth’s work.

LH 154b Square Form, Burgundy stone, The Henry Moore Foundation: gift of Mrs Irina Moore 1979.

Square Form indicates Moore’s friendship with Ben Nicholson who at this time was making white reliefs. The geometric shape represents architecture although the incisions refer to the human body.

The Moores move to a house called Burcroft in Kent. A modern bungalow rather than a cottage, the house was much lighter, and Moore described the garden as encouraging his interest in making sculpture for natural landscapes.

Moore starts making sculptures from small-scale models in plaster or clay rather than drawings.

Exhibits in the last 7 and 5 society exhibition at Zwemmer’s Gallery.

LH 161 Sculpture, White marble, Art Institute of Chicago.

A rare purely abstracted sculpture.

LH 153 Two Forms, 1934 is acquired by the Museum of Modern Art, New York after being included in their major exhibition Cubism and Abstract Art.

Moore sits on the committee of the International Surrealist Exhibition at the New Burlington Galleries, London, exhibiting three drawings and four sculptures.

The Leicester Galleries, London holds a solo exhibition of Moore’s work.

LH 162 Reclining Figure, Elmwood, Albright-Knox Art Gallery, Buffalo: Room of Contemporary Art Fund 1939.

The first of six major reclining figures in Elmwood.

Moore visits Picasso’s studio with André Breton, Paul Eluard, Max Ernst and Alberto Giacometti seeing Guernica in progress.

Circle: International Survey of Constructive Art includes texts by Moore at a time when he was close both to the Constructivists and their opposition, the Surrealists.

LH 178 Reclining Figure, Hopton wood stone, Fogg Art Museum, Harvard University Art Museum, gift of Lois Orswell.

One of Moore’s most abstracted reclining figures demonstrating influence from the European Surrealists.

LH 182 Stringed Relief, Beechwood and string, Private collection, USA.

The first of a series of stringed sculptures inspired by mathematical models in the Science Museum and exhibiting constructivist tendencies.

The Nazi government holds the ‘Degenerate Art’ exhibition in Munich.

Moore’s work is included in the International Exhibition of Abstract Art at the Stedelijk Museum, Amsterdam.

LH 186 Mother and Child, Plaster and string.

A maquette that was cast into lead and bronze, here the string connects the figures’ two heads and the infant’s mouth with the mother’s breasts.

LH 191 Recumbent Figure, Green hornton stone, The Trustees of the Tate Gallery, London: presented by the Contemporary Arts Society, 1939.

Made for the terrace of a country house to bridge the passage from the architecture to the landscape.

Moore moves back to London to No.7 Mall Studios, Hampstead with Irina.

CGM 3 Spanish Prisoner, Lithograph, The Henry Moore Foundation: gift of the artist 1977.

Moore’s first lithograph is intended to raise money for Republican soldiers who had fled France and been interned but it was never editioned.

Irina and Henry leave London for Hertfordshire after Mall Studios is damaged during The Blitz. At first they rent half of Hoglands, before buying the whole house.

LH 212 The Helmet, Bronze, The British Council, London.

Moore’s first enclosure of an interior within exterior form, a development of the mother and child sculptures.

LH 211 Three Points, cast iron, The Henry Moore Foundation: gift of Irina Moore 1977.

The earliest example of a series of abstract sculptures representing the tension of points almost touching.

HMF 1513a Seated Figures: Ten Studies of Mother and Child, Pencil, wax crayon, watercolour wash, pen and ink, gouache, The Henry Moore Foundation: purchased 1985.

Similar in composition to some of Moore’s 1943 maquettes for a Madonna and Child for a church in Northampton completed in 1944.

Moore becomes an Official War Artist after showing his shelter drawings to his friend and chairman of the War Artists’ Advisory Committee, Kenneth Clark. Out of sympathy for the shelterers, Moore does not make any direct sketches underground, instead taking descriptive notes on the back of an envelope before returning to his studio to draw from memory.

Moore’s first retrospective opens at Temple Newsam, Leeds.

Moore becomes a Trustee of the Tate Gallery holding the position until 1948 then again from 1949 to 1956.

HMF 1845 Pink and Green Sleepers, Pencil, wax crayon, coloured crayon, chalk, watercolour wash, pen and ink, The Trustees of the Tate Gallery, London: presented by the War Artists’ Advisory Committee 1946.

The greens and blues of the figures and the close composition evocatively portray the dank, crowded conditions of the underground.

HMF 1933 Miners Pushing Tubs, Pencil, wax crayon, coloured crayon, watercolour, wash, pen and ink, The Henry Moore Foundation: gift of the artist 1977.

A page from Moore’s coalmining sketchbook.

Moore is commissioned by the War Artists’ Advisory Committee to draw the coalminers near Castleford, where he can draw in situ.

Moore is appointed to the Art Panel of the Council for the Encouragement of Music and the Arts.

HMF 2064 Crowd Looking at a Tied-Up Object, Pencil, wax crayon, charcoal (rubbed), watercolour, wash, pen and ink, The British Museum, London: from the Estate of Lord Clark.

The shrouded object and barren landscape bears similarities to Surrealism and Georgio De Chirico’s metaphysical landscapes.

The Buchholz Gallery, New York holds Moore’s first solo exhibition outside the UK.

Jill Craigie films Henry Moore in the London Underground for the film Out of Chaos, showing Moore and other war artists at work.

HMF 2139 Textile Design, pencil, wax crayon, coloured crayon, crayon, watercolour, The Henry Moore Foundation: gift of the artist 1977.

Commissioned to create designs for textiles, which were fabricated into head scarves and other fashion items and soft furnishings, Moore initially created a series of ‘textile design’ drawings.

LH 224 Madonna and Child, Terracotta. (Sketch model for LH 226)

After a two-year break from making sculpture during the war, this is one of ten maquettes for a commission for a Madonna and Child in a church in Northampton.

LH 231 Family Group, Terracotta, The Henry Moore Foundation: gift of the artist 1977.

One of a series of maquettes for Henry Moore’s commission for Harlow New Town (Harlow Family Group 1954-55, Hadene stone (LH 364)).

Leeds University gives Moore an honorary degree, the first of over 20 he will receive from universities internationally.

Nikolaus Pevsner proclaims Moore “the greatest British sculptor now alive.”

LH 258 Three Standing Figures, Plaster with surface colour, The Henry Moore Foundation: gift of the artist 1977.

The maquette for the larger work in Darley Dale stone positioned in Battersea Park in 1948; the drapery and the apprehensive poses refer to Moore’s ‘shelter drawings’.

The New Towns Act plans an ambitious programme for building 11 new towns in the UK.

LH 263 Reclining Figure, elmwood.

Moore felt this piece had a richer three-dimensional sense than any of his previous large wood carvings.

HMF 2359 Studies of the Artist’s Child, Pencil, Arts Council Collection, South Bank Centre, London.

Moore created a number of drawings with repeated studies of his daughter throughout her childhood.

Moore is elected a member of the Royal Fine Art Commission, acting until 1971.

HMF 2403 Drawing for Wood Sculpture, Pencil, wax crayon, pen and ink, gouache, watercolour, wash, The Henry Moore Foundation: acquired 1985.

This sketchbook drawing refers to Moore’s combined interests of natural materials such as wood and bone as well as the human form.

LH 268 Three Standing Figures, Darley Dale stone, Borough of Wandsworth, London (gift of the Contemporary Art Society 1948).

Commissioned for the first open air exhibition in Battersea Park, where Moore sits on the organising committee.

HMF 2504 Family Group, Pencil, wax crayon, watercolour wash, pen and ink, brush and ink, Art Gallery of Ontario, Toronto.

Amongst the largest of Moore’s drawings, this work refers to Moore’s sculptural output with lines in what he called ‘sectional line drawing’, which emphasises the three-dimensional forms of the figures.

Moore is re-elected as a Trustee of the Tate Gallery, holding the post until 1956

LH 269 cast 1 Family Group, Bronze, The Barclay School, Stevenage.

Scaled-up from a maquette for an unrealised commission for a school in Impington, the first cast of Family Group was created for Barclay Secondary School at Stevenage, a town created under the New Towns Act.

Moore’s secretary helps in his experimental garden foundry at Perry Green

LH 279 Helmet Head No. 1, Lead, The Henry Moore Foundation: gift of Irina Moore 1977.

Moore’s ‘Helmet Head’ sculptures continue his explorations of an internal form enclosed by an external form.

LH 290 cast b Standing Figure, Bronze, Private collection.

Moore is overjoyed with the positioning of this piece in the wild surroundings of the Keswick Estate, Glenkiln, Scotland where it is later joined by his King and Queen and Upright Motive No. 1: Glenkiln Cross.

CGM 22 Head of Prometheus (Tête de Prométhée), Lithograph, The Henry Moore Foundation.

From a portfolio of lithographs exploring the Promethean myth which includes echoes of his draped sculptural figures of the period.

Moore is the subject of a BBC documentary titled Henry Moore, the first ever film on a living artist, to coincide with his commission for the Festival of Britain.

Visit the BBC website to view a selection of clips from the programme

Tate Gallery holds their first retrospective of Moore’s work to coincide with the Festival of Britain.

Henry and Irina visit Greece where Moore is struck by the light and influenced by the drapery of Classical sculptures.

LH 293, Reclining Figure: Festival, Bronze, Scottish National Gallery of Modern Art, Edinburgh: presented by the Arts Council of Great Britain through the Scottish Arts Council 1969.

The Festival of Britain Committee requests a family group but Moore provides a reclining figure, which he describes as “the first sculpture in which I succeeded in making form and space sculpturally inseparable.”

HMF 2714 Wrapped Madonna and Child: Night Time, c.1951. Pencil, wax crayon, watercolour wash, pen and ink. Israel Museum, Jerusalem, gift of Charlotte Bergman to the American Friends of the Israel Museum.

Accompanying a day-time version and reflecting earlier influences of Surrealism with parallels with a 1942 drawing, Crowd Looking at a Tied Up Object.

LH 344 Time/Life screen, Portland stone, Pearl Assurance, Time/Life Building, London.

Moore is first commissioned to create a reclining figure for the Time/Life building on Bond Street, London before being approached to create this screen which was integrated into the façade of the building.

Double Standing Figure is displayed at the entrance to the British Pavilion at the Venice Biennale, which houses works by eight younger sculptors. In the catalogue essay Moore is described as “in some sense the parent of them all.”

Moore is awarded the International Sculpture Prize at the São Paulo Biennial, Brazil.

LH 350 cast 00 King and Queen, Bronze, The Henry Moore Foundation: acquired 1991.

The idea for King and Queen comes when Moore is playing with wax which transforms into the ‘pan-like’ head of the king.

Moore travels to Querceta in the Carrara mountains, Italy, for the dealer, Curt Valentin’s funeral. He visits the Henraux marble quarry for the first time, which prompts a new working relationship

LH 360 cast 00 Warrior with Shield, Bronze, The British Institute, Florence: on loan to the Commune di Firenze.

Moore’s first single male figure in sculpture since a student is inspired by a stone found in his garden reminding him of the stump of a leg.

LH 297a Large Upright Internal/External Form, Bronze, The Henry Moore Foundation: acquired 1986.

The external form protects an internal form as developed in Moore’s mother and child then helmet sculptures.

Moore is elected as a Trustee of the National Gallery, holding the post until 1974.

LH 364 Harlow Family Group, Hadene stone, Harlow Art Trust, Harlow.

The first commission for Harlow New Town, the family group was chosen to represent the young families living in the town.

Appointed a Member of the Order of the Companions of Honour in the Queen’s Birthday Honours List, a significant accolade only awarded to 50 people at one time.

LH 375 Wall Relief, Brick, Bouwcentrum, Rotterdam.

Moore’s only work in brick is commissioned for an extension to the Bouwcentrum, Rotterdam’s Building Centre.

Moore begins working on ideas for a sculpture for the UNESCO headquarters in Paris, the final work is unveiled in 1958.

LH 377 Upright Motive No.1: Glenkiln Cross, Bronze, The Trustees of the Tate Gallery: gift of the artist 1978.

Moore created 13 upright motive maquettes and this was the first of five to be enlarged. The name comes from Sir William Keswick’s estate near Dumfries, Scotland, where the first bronze cast is for many years sited on a hillside high above the reservoir.

LH 422 Seated Figure against Curved Wall, Arts Council Collection, South Bank Centre, London.

An early example of Moore placing figures on steps or against walls.

Unesco Reclining Figure, Roman travertine marble, Unesco, Paris.

Moore spends almost a year traveling to Italy to create this monumental work for the UNESCO headquarters in Paris, his largest work to date.

LH 428 cast 2 Draped Seated Woman, Bronze, London Borough of Tower Hamlets.

After a trip to Greece in 1951, Moore adopted the use of drapery to emphasise the form of his figures as inspired by ancient Greek art.

Originally installed in the Clifford Estate in Tower Hamlets, London, this cast of Draped Seated Woman is now on display at Canary Wharf, London.

CGM 41 Thirteen Standing Figures, Lithograph, The Henry Moore Foundation.

Thirteen Standing Figures relates to Moore’s sculptural output such as Three Standing Figures from 1953 and his textile designs from the 1940s.

LH 457 Two Piece Reclining Figure No.1, Bronze, Chelsea College of Art and Design, London.

Two Piece Reclining Figure No.1 epitomises Moore’s interest in the body-as-landscape metaphor.

LH 467 Helmet Head No. 3, Bronze, The Henry Moore Foundation: gift of the artist 1977.

Created 20 years after the first helmet, the angles in this sculpture demonstrate Moore’s interests in both organic and geometric forms.

“it is difficult for us in Britain to understand … just how much Moore is revered abroad: he is considered quite simply as the greatest living sculptor.”

LH 482a Large Standing Figure: Knife Edge, Bronze, The Henry Moore Foundation: acquired 1986.

The thin, sharp forms represent a stylistic change, which was inspired by a bone which, along with plasticine additions for the head and base, formed the maquette.

Travels to New York to look at the site of a possible commission at the Lincoln Center for a sculpture within a large pool; decides on a two-part reclining figure, which is unveiled in 1965.

LH 502a Large Slow Form, Bronze, The Henry Moore Foundation: gift of the artist 1977.

A single right angle is repeated five times, reminding Moore of the slow movement of a tortoise.

Awarded the Order of Merit, reserved for only 24 people of outstanding distinction.

LH 515 Locking Piece, Bronze, The Henry Moore Foundation: acquired 1987.

Inspired by two interlocked stones Moore found, and also refers to his interest in joints and bones.

Moore buys a house near the Carrara marble quarries in Forte dei Marmi, Italy prompting a resurgence in carved works in marble.

LH 529 Two Forms, White marble, Private collection, USA.

Using the traditional marble of Carrara, Two Forms refers to classicism.

LH 519 cast 1 Reclining Figure, Bronze, Lincoln Center, New York: gift of Mr and Mrs Albert List.

Visits New York to install Reclining Figure at the Lincoln Center

LH 516 cast 2 Knife Edge Two Piece, Bronze, City of Westminster.

Sited outside the Houses of Parliament, London since its creation.

LH 528 cast 1 Sundial, Bronze, Würth Collection, Rorschach, Switzerland.

Commissioned for the Times offices in London.

LH 526 Nuclear Energy, Bronze, University of Chicago, Chicago.

Commissioned to commemorate the 25^th anniversary of the first controlled nuclear chain reaction.

LH 560 Double Oval, Bronze, The Henry Moore Foundation: acquired 1992.

Double Oval takes Moore’s abstract hole to a monumental scale.

LH 573 Mother and Child, Rosa Aurora Marble, The Henry Moore Foundation: gift of Mrs Irina Moore 1977.

Unlike other abstracted two-part mother and child sculptures, here the maternal and infant elements touch indicating their interdependency.

LH 577 Large Totem Head, Bronze, The Henry Moore Foundation: acquired 1987.

The title and the form refer to Western Sudanese Dogon masks that were included in the Surrealist magazine, Minotaure that Moore contributed to in 1933 and which continued to impact on his work throughout his career.

Awarded the Erasmus Prize for achievements in subjects not covered by the Nobel Prize

HMF 3187 Elephant Skull, Ballpoint pen, charcoal, chinagraph, Private collection, UK.

From Moore’s elephant skull album, a series of drawings based on a skull in his studio, which was also the subject of a series of etchings.

LH 596 cast 0 Oval with Points, Bronze, The Henry Moore Foundation: gift of the artist 1977.

The largest of a number of works that feature points almost touching, creating a dynamic tension.

LH 599 Large Square For with Cut, Rio Serra Marble, City of Prato, Italy.

At over five metres high this sculpture was constructed in pieces at the Henraux marble works, Querceta, which Moore described as like building a cathedral.

LH 627 Sheep Piece, Bronze, The Henry Moore Foundation: gift of the artist 1977.

Named after Moore placed the sculpture in a field in his estate he leased to a farmer, becoming a favoured shelter of the sheep.

HMF 3336 Sheep with Lambs at the Edge of a Wood, Ballpoint pen, Waddington Galleries, London.

From Moore’s sheep sketchbook.

Moore becomes the first living artist to be awarded an exhibition at the Forte di Belvedere, Florence, which is opened by Princess Margaret.

The Henry Moore Trust is set up to allow for Moore’s estate at Perry Green to become a sculpture park after Moore’s death. Much of the land and the sculptures on it are transferred to the Trust.

LH 636 cast 0 Hill Arches, Bronze, The Henry Moore Foundation: gift of the artist 1977.

Originally conceived to be placed on a hill in Perry Green, a position later occupied by Large Reclining Figure, which was bigger and could be seen better from afar.

CGM 256 Divided Landscape, Lithograph in black, The Henry Moore Foundation: gift of the artist 1977.

From a series of lithographs inspired by the poems of W.H. Auden for an exhibition at the British Museum.

LH 641 cast 1 Goslar Warrior, Bronze, City of Goslar

Moore was commissioned to produce a work for Goslar, Germany after being nominated for a prestigious art prize by the town; he selected this work, previously titled The Falling Warrior and changed its name for the location in the Imperial Palace Garden.

The Henry Moore Centre opens at the Art Gallery of Ontario following Moore’s gift of 101 sculptures, 57 drawings and 200 prints.

LH 643 Reclining Figure: Bone, Travertine Marble, The Henry Moore Foundation: gift of the artist 1977.

Bone and other found materials often inspired Moore’s sculptures and sometimes formed the basis of the maquettes, here bone inspires both the form and the choice of white, porous marble.

LH 649 Reclining Mother and Child, Plaster, The Henry Moore Foundation: gift of the artist 1977, on long loan to the Dallas Museum of Art.

A rare combination of Moore’s favoured themes: the mother and child and the reclining figure.

The Henry Moore Foundation is set up to administer the sale and exhibition of Moore’s works, based in Moore’s estate in Perry Green.

LH 714 cast 1 Mirror Knife Edge, Bronze, NGA: Gift of the Morris and Gwendolyn Cafritz Foundation.

An enlarged version of Knife Edge Two Piece reconfigured in a mirror image for the extension to the National Gallery in Washington

Moore donates 36 sculptures and a complete set of his graphics to Tate after first discussing the gift in 1967.

Exhibitions are held at Tate, the Serpentine Gallery and City Art Gallery Bradford to celebrate Moore’s 80th birthday.

LH 754 Mother and Child, Stalactite, The Henry Moore Foundation: acquired 1986.

Moore’s only work in the rare, crystalline material, stalactite, is a focus on the leg area of his 1972-3 work Four Piece Reclining Figure.

HMF 78(21) Reclining Figure: Sunset, Charcoal, watercolour, ballpoint pen, gouache, collaged drawing, The Henry Moore Foundation: acquired 1987.

This drawing reflects Moore’s desire to have his sculptures displayed outside, preferably in natural landscapes.

LH 586a Upright Motive No.9, Bronze, The Henry Moore Foundation: acquired 1986.

The totemic form appears ancient and is reminiscent of prehistoric fertility goddesses such as the Venus of Willendorf.

LH 580a Three Forms Vertebrae, Bronze, City Centre Plaza, Dallas.

This enlarged and rearranged version of Three Piece Sculpture: Vertebrae is commissioned for the Dallas City Hall.

Eight tapestries created from Moore’s recent drawings are exhibited at the Victoria & Albert Museum, London.

LH 503c The Arch, Travertine marble, The Department of the Environment, London: gift of the Henry Moore Foundation 1980, for permanent siting in Kensington Gardens.

After the success of the display of sculptures in Kensington Gardens for Moore’s eightieth birthday exhibition, this work was donated for permanent display.

The British Council stages the largest ever exhibition of Moore’s work with almost 600 works touring to Madrid, Lisbon and Barcelona, drawing over 250,000 visitors.

LH 593a Large Spindle Piece, Travertine marble, Hotel Intercontinental, Miami.

Inspired by a piece of flint in Moore’s studio, the maquette is scaled up to over three metres high with the outward points creating a dynamic energy.

LH 571b Large Divided Oval: Butterfly, Bronze, Kongnesshale, City of Berlin.

Like many of Moore’s abstract works, this piece subtly refers to the subject indicated by the title, with large bronze forms managing to refer to lightness and flight.

The Falklands War lasts for ten weeks between Argentina and the UK

A major exhibition at the Metropolitan Museum of Art, New York shows Moore’s early carvings addressing his reputation for only making monumental outdoor works.

CGM 671 Mother and Child I, Etching and aquatint in four colours, The Henry Moore Foundation: gift of the artist 1977.

One of thirty etchings from Moore’s last major graphic album and the largest of any of his print projects, the ‘Mother and Child’ album.

LH 851 Mother and Child: Hood, Travertine marble, The Henry Moore Foundation: acquired 1986.

Moore’s last commission, for St Paul’s Cathedral, London, abstracts the Madonna and Child theme.

Nominated Commandeur de l’Ordre national de la Légion d’honneur; French President Franҫois Mitterand visits Perry Green for the occasion

LH 192b Large Reclining Figure, Bronze, The Henry Moore Foundation: acquired 1986.

At nine metres long this is Moore’s largest ever sculpture; commissioned for the Overseas Banking Corporation, Singapore, a second edition is sited on a man-made mound in Moore’s estate at Perry Green.

LH 870 Mother and Child on Lap, Bronze, The Henry Moore Foundation: acquired 1986.

The anonymity of the figures are enhanced by the smooth surface, which is achieved by the cast being taken from a polystyrene model rather than plaster which allows for more surface texture.

The Henry Moore Foundation and the British Council stage an ambitious exhibition spanning seven venues in Hong Kong.

LH 652c Large Figure in a Shelter, 1985-86 bronze, City of Guernica, Spain.

Moore’s last sculptural work is presented to Guernica, Spain as a tribute to those who died in the Spanish Civil War.