Henry Moore Works in Public
This is a guide to Moore's sculptures on public display throughout the world. We strive to ensure that all information is accurate, however we recommend that you contact each venue before making a visit. Please also contact us if you spot any mistakes. In some instances it has not been possible to source an image of the actual sculpture in-situ, and on such occasions an alternative image has been used.
Hakone
Open Air Museum
- Family Group 1948-49 (LH 269)
- Upright Internal/External Form: Flower 1951 (LH 293b)
- Three Standing Figures 1953 (LH 322)
- Falling Warrior 1956-57 (LH 405)
- Draped Reclining Figure 1957 (LH 412)
- Seated Woman 1957 (LH 435)
- Two Piece Reclining Figure No.1 1959 (LH 457)
- Working Model for Standing Figure: Knife Edge 1961 (LH 481)
- Large Slow Form 1962 (LH 502a)
- Atom Piece (Working Model for Nuclear Energy) 1964-65 (LH 525)
- Spindle Piece 1968-69 (LH 592)
- Large Spindle Piece 1968 (LH 593)
- Two Piece Reclining Figure: Points 1969-70 (LH 606)
- Reclining Figure 1969-70 (LH 608)
- Reclining Figure: Arch Leg 1969-70 (LH 610)
- Working Model for Sheep Piece 1971 (LH 626)
- Maquette for Carving: Points 1974 (LH 643a)
- Reclining Figure: Angles 1979 (LH 675)
- Picture Frame: Mother and Child 1977 (LH 737)
- Picture Frame: Roman Matron 1977 (LH 738)
- Two Piece Reclining Figure: Cut (LH 758)
- Upright Connected Forms 1979 (LH 782)
- Mother and Child: Block Seat 1983-84 (LH 838)
- Mother and Child on Lap 1985 (LH 870)
- Three-Quarter Woman 1983 (LH 882)
- Two Bulb Forms 1983 (LH 887)
Pola Museum of Art
bronze
height 10.5cm
The observation of nature is part of an artist’s life, it enlarges his form-knowledge, keeps him fresh and from working only by formula, and feeds inspiration . . . The human figure is what interests me most deeply, but I have found principles of form and rhythm from the study of natural objects such as pebbles, rocks, bones, trees, plants etc . . . There is in Nature a limitless variety of shapes and rhythms (and the telescope and microscope have enlarged the field) from which the sculptor can enlarge his form-knowledge experience.
Hnery Moore quoted in Unit One: The Modern Movement in English Architecture, Painting and Sculpture, edited by Herbert Read, Cassell, London, Toronto, Melbourne, Sydney 1934, pp.29–30