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Henry Moore Institute

14 September 2017




Our Newsletter always gives unique insights into what's happening behind the scenes here at the Henry Moore Institute, and this issue is no exception. It also marks the dawn of a new era for us, with the departure of Lisa Le Feuvre who did such terrific work to further our mission as a leading centre for sculpture studies, for some six years.


In November we will welcome Laurence Sillars in a new role as Head of Exhibitions. Alongside him, our long-standing colleague Dr Jon Wood is working in a new and expanded role as Head of Research. Together, this new senior team will seek to drive forward our ambitions, with key projects such as Yorkshire Sculpture International and the city of Leeds' bid for European Capital of Culture 2023, making this a very exciting time for both the Henry Moore Foundation and the region.


Godfrey Worsdale

Director, Henry Moore Foundation

New Exhibition


Mary Gillick: Her Art in your Pocket

Mary Gillick: Her Art in your Pocket

Gallery 4, 20 September 2017 – 28 January 2018


In 1952 Mary Gillick (1881–1965) won a competition that would see her sculpture in everyone’s pocket, when her portrait of Queen Elizabeth II was chosen for the obverse of British and Commonwealth coinage.

Her depiction was considered unconventional at the time because the new monarch was shown uncrowned and cropped at the shoulder. It was a commission that she was dedicated to and, with each variation, another mould and cast were made until she had refined the design sixty-three times. First struck in 1953, this image remained in circulation until 1971 and today stands as Mary Gillick’s most well-known sculptural achievement in a career that spanned over half a century.

This display is the first dedicated to Mary Gillick’s sculpture, and presents plaster models, drawings and photographs showing her working processes for the production of coins, medals and plaques, drawn from the Henry Moore Institute Archive of Sculptors’ Papers, Leeds Museums and Galleries, the Gillick Estate and the Royal Mint Museum.


Leeds Sculpture Collections


Bruce Lacey: 'Old Moneybags'

Bruce Lacey: 'Old Moneybags'

As part of the legacy projects associated with our 2016 exhibition The Body Extended: Sculpture and Prosthetics in partnership with 14–18 NOW, WW1 Centenary Art Commissions, we brought Bruce Lacey’s kinetic assemblage ‘Old Money Bags’ (1964) to students and their teachers at two local schools. Through participatory workshops students engaged in object-based learning, critical thinking and cross-curricular activities, all in dialogue with the sculpture in front of them. Displayed at The Farnley Academy and Crawshaw Academy, the context of the work was transformed and took on new resonances outside the gallery environment. The responses produced by the students in words, sculpture and drawing were diverse, inventive and often surprising, and it was a privilege to witness them.

Antonio Canova: 'Venus'

An important work from the Leeds collection has recently returned from loan to the Museo Canova in Possagno. Antonio Canova’s ‘Venus’ (also known as 'The Hope Venus' after its first owner, Thomas Hope) (1817–20) had been on display for almost two years in a dedicated gallery, mirrored on all sides to show the sculpture from every angle. Alongside his former home, the museum houses the Gipsoteca Canoviana, a gallery devoted to Canova’s plaster casts, models and maquettes with an extension designed by the Italian architect Carlo Scarpa added in 1957.

We would like to thank the Director of the Museo Canova, Mario Guderzo, and his team for displaying ‘Venus’ so beautifully and we look forward to including the sculpture in forthcoming collections displays.

Antonio Canova: 'Venus'

Leeds Sculpture Collections: Henry Moore Institute Archive


From April to July Becky Higgins (MA Art Gallery and Museum Studies, University of Manchester) undertook an internship in the Henry Moore Institute Archive of Sculptors’ Papers, working specifically with the extensive collection of papers relating to the sculptor Jacob Epstein (1880–1959):

‘As an MA Art Gallery and Museum Studies student, I was attracted to the project for two reasons: to experience the day-to-day operations of a Collections team working in a world-renowned organisation, and the opportunity to manage a project from start to finish.

It was my job to effectively tidy up the collection (which includes correspondence, press cuttings and over 1,000 photographs of the artist’s work) by repackaging and labelling each item, sorting them into chronological order, and creating a written summary and over-arching list. Some of my personal highlights from the project include using a lightbox to search through negatives of Epstein’s sculptures, cataloguing photographs he had collected of potential subjects including Winston Churchill, and being shown his certificate of naturalisation and favourite hat!

It is incredibly fulfilling to know that my work has improved both the condition of the collection and access to it by future researchers, and was a really valuable experience for someone wanting to work with museum collections in the future. Thank you to Archivists Claire Mayoh and Errin Hussey for making my experience so positive and informative!’

Keep checking the website for our 2018 internship opportunities.


Publications: Essays on Sculpture


78: Katrina Palmer: The Time Travelling Circus: The Dossier concerning Pablo Fanque and the Electrolier

Written by Katrina Palmer, one of the most significant artists working in Britain today, The Time Travelling Circus tells the story of William Darby (1796-1871), aka Pablo Fanque, the UK’s first black travelling circus proprietor. It is a story of loss and libraries reporting on the fate of Fanque’s first wife Susannah Darby, who died tragically during a performance involving a horse, a tight-rope and a large chandelier. Includes a discussion with the artist on her unique approach to sculpture.


£8.00  40 pages  26 illustrations (12 colour)

78: Katrina Palmer: The Time Travelling Circus: The Dossier concerning Pablo Fanque and the Electrolier

77: Benedict Read's life in sculpture: His father never told him about things like this

77: Benedict Read's life in sculpture: His father never told him about things like this

Benedict Read (1945-2016) was a firm believer in the power of sculpture. Ben, as his many friends knew him, was an art historian, teacher, writer and teller of stories. In 2016 he passed away, leaving a legacy that will long resound in the field of Sculpture Studies. With essays by Rebecca Wade and Mark Westgarth, this issue celebrates Ben's immense contribution to sculpture.


£6.00  40 pages  28 illustrations (14 colour)

Publications: Exhibition Catalogues


Jiro Takamatsu: The Temperature of Sculpture

To accompany the exhibition at the Henry Moore Institute, this catalogue explores Takamatsu’s unique contribution to sculpture. It features essays by Itaru Hirano (The Museum of Modern Art, Saitama) on Takamatsu’s relationship to artists associated with Mono-ha (‘School of Things’) and Lisa Le Feuvre (curator of the exhibition) exploring Takamatsu’s approach to sculpture. Includes high quality images representing Takamatsu’s artworks, exhibition history and his collaboration with the experimental artist collective Hi-Red Center.

£18.00  140 pages  94 illustrations (44 colour)

Jiro Takamatsu: The Temperature of Sculpture

Becoming Henry Moore

Becoming Henry Moore

The essays in this exclusive publication aim to cast light on how Moore travelled the distance from small-town Yorkshire schoolboy to the brink of being a key protagonist in European avant-garde sculpture. Published to coincide with our fortieth anniversary and the Becoming Henry Moore exhibition at Henry Moore Studios & Gardens (to 22 October) and the Henry Moore Institute (30 November–18 February) .

Featuring texts by Sebastiano Barassi, Jon Wood and Tania Moore.

£14.99  128 pages  200 illustrations (110 colour)

Research Library: New Display


Sculpture in the Time of Cholera: William Calder Marshall in Rome 1836–8

Until 24 September

In September 1836 sculptor William Calder Marshall (1813-94) left Edinburgh for Rome to join the international community of artists studying and working in the city. While mingling with fellow sculptors and enjoying the pursuits of the tourist: drinking coffee, viewing the Colosseum by moonlight, and visiting the theatre, the threat of cholera was constant. Our current Library Display draws on Marshall’s papers, housed in the Henry Moore Institute Archive, to provide a glimpse into his trip and to demonstrate both the pleasures and considerable risks of working abroad.

Precautions against cholera considerably delayed Marshall’s journey. He endured two week-long periods of quarantine, first at Livorno and later at Naples before he was finally permitted to travel on to Rome after being examined by a doctor – his passport and Health Certificate are both included in the display.

In September 1837, Rome suffered a major epidemic which killed about 10,000 people in the space of four weeks. Despite the threat of contracting the disease, Marshall produced a number of sculptures during his eighteen-month stay, including ‘Psyche’ (1836-7), ‘Italia’ (1837), and ‘Hero And Leander’ (1837). Photographic evidence of these are preserved in an album of beautiful photographs taken by his son, architect Charles J. Marshall, also displayed.  

Sculpture in the Time of Cholera has been developed by Amy Harris, PhD student at the University of York and Tate Britain.

Research: Academic Open Day and Guest Lecture 20 October 2017


Academic Open Day

Each year we open our doors to celebrate the new academic year with behind-the-scenes tours for the higher education community.

If you are a tutor or a student with an interest in sculpture, this is the ideal introduction to the Institute and an opportunity to find out how our resources and academic events can enhance your work. Our annual Academic Open Day includes bespoke tours of our exhibitions, Library and Archive, as well as an introduction to our forthcoming events programme. The event will begin at 2pm with a schedule of talks and tours from Henry Moore Institute curatorial staff.

To book a place or discuss bringing a group along please contact Kirstie Gregory, Research Co-Ordinator.


Guest Lecture: Hilary Lloyd in Conversation with Jennifer Higgie

To conclude our Open Day, artist Hilary Lloyd will be in conversation with Jennifer Higgie (writer and the Editorial Director of Frieze) at 6pm in the Henry Moore Lecture Theatre in Leeds Art Gallery.

Hilary Lloyd has exhibited internationally, with recent solo exhibitions at Greene Naftali, New York, Dorich House Museum, Kingston-upon-Thames and Temple Bar Gallery + Studios, Dublin. In 2016 she received the Bryan Robertson Trust Award, and in 2011 was nominated for the Turner Prize. Forthcoming solo exhibitions include Focal Point Gallery, Southend-on-Sea and 356 S. Mission Road, Los Angeles.

This event is free of charge and open to all, but booking is advised. For more information please contact Adam Townend, Research Programme Assistant, or book a place via our website.





Research: Dissertation Prize Deadline 13 October 2017


As part of the Institute’s Research Programme, in 2017 two prizes will be awarded for extended pieces of writing on contemporary, modern or historical sculpture. At the Institute we understand the study of sculpture to encompass a wide range of approaches, media, disciplines and theories and we are open to receiving submissions relating to sculpture in the broadest possible sense. The Henry Moore Institute Dissertation Prizes are open to BA and MA students of all disciplines.

- BA Dissertation: £200 cash prize
- MA Dissertation: £300 cash prize

In addition both will receive:

- Henry Moore Institute selected publications to the cover price value of £50

- Free entry to all Henry Moore Institute conferences for one year

- Publication of dissertation abstracts in the Henry Moore Institute Newsletter

- Bound copies of dissertations published and entered into the Henry Moore Institute Research Library

Submissions should be sent by email to Adam Townend, Research Programme Assistant: adam.townend@henry-moore.org by Friday 13 October 2017. For more information see our website.

Research: Call for Papers


Conference: New Directions in the Study of Medieval Sculpture

16–17 March 2018, Henry Moore Institute

Focusing on the materiality of medieval sculpture has proven crucial to its study and has expanded our historical understanding of sculpture itself. Whether monumental relief sculpture in stone, wooden sculptures in the round, sculpted altarpieces, ivory plaques or enamelled reliquaries, the possibilities for research on medieval sculpture now extend far beyond the established canon. Contemporary medieval sculpture studies have opened the field to comparative and inclusive research that embraces the social, performative, gendered and ritual uses of medieval sculpture. These developments have inspired the organisers of the conference New Directions in the Study of Medieval Sculpture to reflect on the field and ask how do we investigate medieval sculpture today and what might come ‘after’ materiality?

This two-day conference, convened by Dr Elisa Foster, 2016–18 Henry Moore Foundation Post-doctoral Fellow, seeks to assess and critique the state of the field on medieval sculpture and to investigate new directions, approaches and technologies for research.

Paper proposals of approximately 300 words and a short biography should be sent via email to elisa.foster@henry-moore.org by 30 September 2017.

What's On


Jiro Takamatsu and Three Exhibitions in 1970

Jiro Takamatsu and Three Exhibitions in 1970

Henry Moore Institute

Wednesday, 27 September 2017

Lecture by Yohko Watanabe in the Institute's seminar room, starting at 6pm

Mapping the Henry Moore Studio at Dean Clough

Mapping the Henry Moore Studio at Dean Clough

Henry Moore Institute

Wednesday, 20 September 2017

Symposium in the Institute's seminar room, 10am - 5:30pm

The Presence of Stones: Looking at Jiro Takamatsu in World Art History

The Presence of Stones: Looking at Jiro Takamatsu in World Art History

Henry Moore Institute

Wednesday, 4 October 2017

Lecture by Dr Reiko Tomii in the Institute's seminar room, starting at 6pm

Book launch - 3D Warhol: Andy Warhol and Sculpture

Book launch - 3D Warhol: Andy Warhol and Sculpture

Henry Moore Institute

Wednesday, 27 September 2017

Wine reception from 7:30pm



Brian Wall Foundation Grant for Sculptors

The Brian Wall Foundation was established in 2014 by the British-born, American sculptor Brian Wall (b. 1931), to benefit working artists in financial need. Awards funded by the Foundation are administered by other non-profit organisations that recognise artistic merit and provide assistance for personal or professional financial need, or both.

The Brian Wall Foundation Grant for Sculptors is awarded by the Foundation and administered by the Pollock-Krasner Foundation. The annual grant of $25,000 recognises an outstanding sculptor who qualifies based on the dual criteria of artistic merit and financial need. To apply see www.pkf.org


Scottish Society for Art History Grants

The Scottish Society for Art History promotes scholarship in the history of Scottish art and art located in Scotland. To facilitate this, the SSAH offers research support grants from £50 to £500 to assist with research costs and travel expenses for applicants working at post-graduate level or above, either resident in Scotland or doing research that necessitates travel to Scotland.

Please download the guidance notes for more information.

Applications should be sent to scottishsocietyforarthistory@gmail.com by 31 October.

ARP Fellowships: Application Deadline 30 November 2017

In 2018 the Stiftung Arp e.V. is awarding up to four Fellowships to applicants whose research addresses the work of Hans Arp (1886-1966)  and Sophie Taeuber-Arp (1889-1943). They are intended for junior scholars, established researchers and curators who wish to research the Collection, Archive and Library in person.

Depending on the scope of the project, Fellowships will be awarded for 1-6 months with a monthly stipend ranging from 900 to 1,200 Euros; the amount is determined by the researcher’s qualifications.

For information see the website or contact Dr Maike Steinkamp: steinkamp@stiftungarp.de  


Photo credits: Jiro Takamatsu: The Temperature of Sculpture, installation view of Gallery 1 showing ‘No. 162’ (1966), © Estate of Jiro Takamatsu, courtesy Yumiko Chiba Associates / Fuchu Art Museum, photo: Jerry Hardman-Jones; Mary Gillick, Medallion Portrait of Queen Elizabeth II (1952), Courtesy the Estate of Ernest and Mary Gillick and Leeds Museums and Galleries (Leeds Art Gallery); Bruce Lacey, ‘Old Moneybags’ (1964), courtesy Leeds Museums and Galleries (Leeds Art Gallery); Antonio Canova, ‘Venus’ (1817–20), courtesy Leeds Museums and Galleries (Leeds Art Gallery); Installation view of Sculpture in the Time of Cholera: William Calder Marshall in Rome 1836–8, photo: David Cotton; Hilary Lloyd, ‘Awful Girls’ (2017), courtesy Dorich House Museum (Kingston University London), photo: Ellie Laycock; ‘Pouring the wax’, an artist-facilitator working on the production of Wolfgang Laib’s installation A Scented Journey during his residency at the Henry Moore Studio in 1994, photo: Susan Crowe; Michio Horikawa, installation view, Tokyo Biennial: Between Man and Matter (1970), © Michio Horikawa. Courtesy Keio University Art Center; Documentation of Jiro Takamatsu, ‘Stone and Numeral’ taken at Tama River (1969), © Estate of Jiro Takamatsu, courtesy Yumiko Chiba Associates / Stephen Friedman Gallery / Fergus McCaffrey


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