Henry Moore & Gérald Cramer: 25 Years of Art & Friendship 2014

HENRY MOORE & GÉRALD CRAMER 25 YEARS OF ART & FRIENDSHIP Exhibition 26th November – 16th December 2014

Sims Reed Gallery The Economist Building 30 Bury Street London SW1Y 6AU T +44 (0) 20 7930 5111 F +44 (0) 20 7930 1555 E gallery@simsreed.com www.gallery.simsreed.com

Foreword We are delighted to be showing this exhibition of prints by the beloved sculptor, draftsman and printmaker Henry Moore. This catalogue illustrates a comprehensive group of over a hundred etchings and lithographs, each of which are dedicated by Moore to the Swiss gallerist and publisher Gérald Cramer. This important collection comes directly from Cramer’s estate and has never been exhibited until now. Together, these prints tell the story of 25 years of professional collaboration and personal friendship shared by Moore and Cramer.

Their first meeting was in 1961 and it was at this very first meeting that the two began to discuss the possibility of publishing prints. Although Moore had done very little printmaking up to that point, he was soon persuaded by Cramer’s enthusiasm for the medium. They started slowly, but by the mid 1960’s Moore had made dozens of new graphic editions, both with printers in the UK and with the French master printer Jacques Frélaut, who was periodically brought to Perry Green by Cramer. Moore’s interest in printmaking continued to flourish and in 1970 a small printing press was installed in his studio, again at the suggestion of Cramer. This allowed Moore to have his own print workshop, where they actively continued to pull proofs from new etchings until the 1980s.

Over the 25 years that they worked together, Cramer published an extensive range of individual prints, almost all of which are included here. Cramer also encouraged Moore to make several albums of prints, including the monumental Elephant Skull portfolio (1970), the Sheep Album (1972), and Helmet Head Lithographs (1974). We are delighted to be able to include in this exhibition Cramer’s own copies of each of these seminal portfolios.

Another important and lasting legacy of Moore and Cramer’s relationship is the catalogue raisonné of Moore’s graphic works, which was published by Galerie Cramer. These extensive and meticulous volumes are an invaluable resource to everyone interested in Henry Moore’s prints and indeed his oeuvre as a whole.

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The nature of printmaking is such that it always requires some form of collaboration – between artist, printer and publisher. This exhibition lays out the intimate and fruitful partnership between Henry Moore and Gerald Cramer, which had a seminal and defining impact on all of Moore’s graphic work. In presenting every project that these two worked on together, this show demonstrates both Moore’s ability as an artist as well as Cramer’s infinite vision for directing and encouraging Moore’s incredible talent for printmaking.

– Lyndsey Ingram

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Gérald Cramer and Henry Moore: Recollections on the publisher and the sculptor Henry Moore’s earliest catalogued prints were two woodcuts Figures, Sculptures 1931 (CGM 1) and Reclining Nude 1931 (CGM 2), made as illustrations for the first edition of The Island, a publication intended to become a quarterly series combining original black and white art works with prose and poetry. Of the contributors – who included Blair Hughes-Stanton, Eileen Agar and Gertrude Hermes – the artist and novelist Leon Underwood was the most likely to have invited Moore to participate.

At the time no one thought of making editions of the prints, and although some commentators have suggested that Moore’s efforts in incising the wood were probably an offshoot of his interest in carving, he never returned to the medium.i In 1939 Moore began his first lithograph, Spanish Prisoner (CGM 3), based on a drawing of the same name and year. The idea was that the print should be sold in aid of Spanish republican prisoners-of-war being held in French detention camps. The lithograph was to have been editioned at Camberwell School of Art, London, but the outbreak of the Second World War put an end to the project, and only three proofs are known. The intervention of war, which curtailed print publishing, also precipitated Moore’s move in 1940 from London to Perry Green in Hertfordshire.

Being unable to produce sculpture, he spent much time on war drawings, textile designs and the studies for illustrations to The Rescue, a radio play written by Eddy Sackville-West with a score by Benjamin Britten.ii The move to the country also led indirectly to his first etchings.

Through a mutual friend, Eric Lewis, brother of the painter Morland Lewis, Moore met the painter and graphic artist Merlyn Evans, who had exhibited with the Surrealists in the 1930s and taught at the Central School of Art in London. Lewis had a weekend cottage near Perry Green, from where he, his wife and Evans would walk over to visit Moore and play cards. Evans was the first to encourage Moore to try his hand at etching. In c.1946 he proofed Composition for a Poem by Herbert Read (CGM 4), an etching and aquatint incorporating Read’s poem 1945, and in 1951 he proofed four more plates, Draped Reclining Figure (CGM 33), Standing Leaf Figures (CGM 34), Two Seated Figures I (CGM 35), and Reclining Figure (CGM 55), as well as Seated Mother and Child (CGM 78), one of two etchings used much later in the portfolio

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Henry Moore, Gérald Cramer, Jacques Frélaut. Paris, Atelier Lacourière et Frélaut, 1969.

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Meditations on the Effigy (CGM 66–79), which also contained fifteen lithographs printed by J.E. Wolfensberger, Zurich. This was published by Marlborough Fine Art, London, in 1968.

Gérald Cramer visited Moore for the first time in October 1961 to ask the sculptor for a drawing to illustrate the cover of a Galerie Cramer stock catalogue. Cramer’s Geneva gallery specialised in a mix of watercolours, drawings, etchings, lithographs, illustrated books and small sculptures from late nineteenth and early twentieth century masters who, besides Moore, included Archipenko, Arp, Bonnard, Braque, Chagall, Ernst, Giacometti, Léger, Maillol, Marini, Matisse, Miró, Picasso, Rodin, Rouault, Tapies and Vuillard. For the catalogue cover Moore drew a few sheets of reclining figures loosely based on the letters of his own surname and Cramer picked the one he thought most suitable. It proved to be the start of a friendship which stimulated many thought-provoking etchings and lasted until Moore’s death twenty-five years later. Cramer enthused about his interest in prints, and Moore suggested that he look in a drawer of his studio where the two woodblocks of 1931 and the five partially completed etching plates proofed by Evans had been stored since 1951. Cramer took the blocks and plates to Paris, where the blocks were proofed at Fequet et Baudier and the plates at Imprimerie Lacourière.

Cramer had worked in Paris with these two printing firms since 1950, particularly over the production of the eighty Miró woodcuts that illustrate Paul Éluard’s A toute épreuve published in 1958.iii Imprimerie Lacourière had been founded in 1929 by Roger Lacourière, whose father and grandfather were etchers. A self-professed artisan, Lacourière resisted the temptation of expanding his highly successful printing works, preferring to work directly with the artists concerned, who included Matisse, Dali and Derain, as well as Picasso for whom in 1936 he started making the hundred prints of the Vollard Suite. Supported during the difficult war years by work from Picasso, the Imprimerie then flourished, adding to its clientele artists such as Miró, Chagall and Braque. Jacques Frélaut, who had joined the company briefly just before the war, became master printer in 1947 and ten years later, on Lacourière’s retirement, took over the reins. In 1970 the Imprimerie became the Atelier Lacourière et Frélaut, under which name it continued to produce high-quality intaglio prints until it closed in 2008.

Fequet et Baudier was a family printing firm founded by Emile Fequet at the beginning of the twentieth century. In about 1926 Albert-Pierre Baudier joined

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the company and for the next fifty years he and Fequet’s daughter, Marthe, printed in their tiny Parisian workshop many of the most important deluxe books of the century. Although mainly text printers, Fequet et Baudier occasionally also printed woodcuts and linocuts.

Surprisingly, having just rediscovered them, Cramer seemed in no hurry to have the plates and blocks editioned. In the early 1960s interest in Moore’s graphics was still non-existent and the time lapse of another two to nine years before all the editions were ready for publication caused no concern either to publisher or sculptor. In January 1962 Cramer returned to Perry Green with proofs of the blocks and plates.

Draped Reclining Figure (CGM 33), and Standing Leaf Figures (CGM 34), were published by him later that year, the first of Moore’s etchings to come on the market at a time when he was already sixty-four years old. Also in 1962 Cramer brought a prepared copper plate for what would become Wine Label (CGM 57).

The first illustration for a label of the Château Mouton Rothschild dates from 1924, when Baron Philippe de Rothschild commissioned Jean Carlu to celebrate the then revolutionary idea of château-bottling as a means of quality control. The commissioning of artists was renewed after the Second World War, when the Baron chose to incorporate Churchill’s ‘V for Victory’ sign into the label of the 1945 vintage.

Philippe de Rothschild had approached Cramer to see whether Moore would make a design for one of the labels. In response, Moore produced a proof of the second state of CGM 57 that he had hand-coloured with gold paint.iv The proof was cut into four horizontal sections, the third section being used in facsimile for the label. The lower part is now lost; the remaining three are in the Rothschild collection. Moore wrote to Cramer that he had sent the proofs to the Baron, who had telegrammed that he was ‘delighted and that the 1964 vintage would have a Henry Moore design on its label – also, they have asked to use a second one for a later vintage.’v This never came about, though Cramer published an edition of the whole plate in 1967.

Cramer made further visits to Moore during the early 1960s during which he acquired the edition of Two Reclining Figures with River Background (CGM 52), from a group of eleven lithographs Moore produced in London with Stanley Jones of Curwen Prints Ltd. In January 1966 Cramer returned to Perry Green, bringing Jacques Frélaut with him for the first time – plus three more plates which resulted in Ideas for Sculpture (CGM 54) and Two Seated Figures II (CGM 56), published the following year, and Crowd Looking at a Tied-up Object (CGM 79). He also brought

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Henry Moore c.1971, working in his etching studio at Perry Green.

additional proofs of Composition for a Poem by Herbert Read (CGM 4),vi and further states of Seated Mother and Child (CGM 78) and Reclining Figure (CGM 55). The first state of CGM 55 from 1951 was in aquatint and drypoint; not until 1962 did Moore give the plate further attention when he burnished it, and three proofs were then taken. It lay abandoned again until 1966 when Moore reworked it with drypoint and burnisher before it was eventually editioned by Frélaut and then published

by Cramer. The edition of Seated Mother and Child (CGM 78) joined that of Crowd Looking at a Tied-up Object (CGM 79) in Meditations on the Effigy; and finally Two Seated Figures I (CGM 35), a small plate which had been mislaid in the studio, was published, also by Cramer, in 1970.

Jacques Frélaut’s visit to Perry Green in 1966 was the earliest occasion on which Moore took time away from sculpture to work directly in his studio with a professional printer. The resulting plates were etched and proofed by Frélaut at the Royal College of Art in London, since there was no etching or proofing facility in

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Moore’s studio and the previous arrangement of taking or sending the plates back to Paris for proofing was cumbersome and time-consuming. Cramer turned up with Frélaut without appointment at the Royal College to enquire whether they could use the print department’s printing materials and presses. As Frélaut spoke no English and Cramer’s use of the language, though good, was notoriously idiosyncratic, they were introduced to the head of the printmaking department, Alistair Grant, whose first language was French and who acted as their interpreter and adviser, thus beginning his own long collaboration with Moore.vii Cramer and Frélaut returned to Moore’s studio on a further nine occasions – in 1967, 1969–72, 1974, 1978 and finally in 1979.

Such visits were not impromptu. As they lasted up to a fortnight in length much planning was required. Moore had to agree to a specific period of time when he could concentrate on print-making at the expense of working on sculpture or travelling abroad. Daytime appointments had to be limited, while some alterations to his social schedule were necessary as work might continue late into the evening.

At the Royal College, Grant needed to prepare space and equipment. Cramer booked himself and Frélaut into a hotel in Bishop’s Stortford – the nearest town to Perry Green – and hired a car so that Frélaut could be ferried to and from the studio and the station. Lunch was provided at the local pub, or occasionally by Irina Moore en famille. The fact that it was Cramer who made all the arrangements, supplied the etching plates, paper and other materials, as well as paying all Frélaut’s and Grant’s expenses seemed acceptable during the late 1960s but would have unanticipated consequences for the future.

As it was Harry Fischer of Marlborough Fine Art who had introduced Moore to the Wolfensberger brothers and Cramer who had introduced him to Frélaut, it was not long before the two publishers reached a ‘gentleman’s agreement’ to share, or rather to carve up, publication between themselves, with Fischer taking the lithographs and Cramer the etchings. This had a number of unforeseen results, not least constant bickering between the two of them which often involved Moore as well – sometimes as mediator, more often on his own behalf. Worse were their attempts to prevent any third parties from acquiring a share of the spoils. Fischer, for example, wanted to include etchings in his Meditations on the Effigy portfolio, something Cramer had to concede, though not before there was a disagreement as to which editions these should be.

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From the visit to Perry Green of 1967 Moore produced nine new etchings, all published by Cramer except for one, and including Studies for Sculpture: Two and Three Piece Reclining Figures (CGM 95), a print Cramer thought he had secured for inclusion in a portfolio intended for publication in 1971 entitled Gérald Cramer: Trente ans d’activité. This compilation of prints by Chadwick, Chagall, Dunoyer de Segonzac, Ernst, Marini, Masson, Miró, Picasso, Siqueiros and Zao Wou-ki, artists with whom Cramer had worked during the previous thirty years, also included four reproductions of cover designs from his stock catalogues by Arp, Braque, Matisse and Villon who were already dead. Cramer had to fight hard to retain Studies for Sculpture: Two and Three Piece Reclining Figures, nearly losing it to Fischer for Meditations on the Effigy, as he complained in a letter to Moore: ‘Yesterday I got a letter of Mr H.R. Fischer and as he wrote in German I translate it as well as possible: Dear Mr. Cramer I was Sunday with Henry Moore and he told me about the conversation he had with you. Henry wants to include a second etching in my portfolio and he propose ‘Reclining figure Two and three pieces’. Please send me as soon as possible a trial proof of that etching if you agree with this choice. Please consider my choice as urgent.’viii Cramer, who made it very clear that he did not ‘agree with this choice’ since Moore had already promised the edition to him, went on to say, ‘I am very astonished by this letter’, and left Moore to decide. This he did, in Cramer’s favour, by return of post.

Working with Harry Fischer was never easy; on some occasions a degree of bartering took place, as Cramer explained to Moore in February 1968: ‘The meeting with Messrs. Fischer was a good thing. I think that we have come together now to definitive agreements. I got the lithograph ‘Ideas for Sculpture’ [CGM 60] from them in exchange of [sic] the print ‘Seated Mother and Child’ [CGM 78].’ix Cramer’s attitude to those he considered outsiders was summed up in a letter to Moore in which he was unable to conceal his disappointment that Moore had agreed to produce etchings (CGM 103–105) for Ionel Jianou’s Henry Moore monograph.

He noted a little glumly, ‘I am sorry for you that you agreed to make three different

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etchings for Jianou. Anyhow I can say he is a lucky man.’x Moore, who had promised Jianou the etchings in 1968 for a deluxe edition of his monograph, had so many commitments that year surrounding his seventieth birthday that it wasn’t until Cramer and Frélaut arrived in February 1969 that he could produce them. For the first time Moore became totally immersed in etching. After fulfilling his obligation to Jianou, prompted by Irina he soon started the first plates based on his observations of the largest natural object in his studio, an elephant’s skull. This had been given to him in 1966 by Juliette Huxley, wife of his friend the biologist Sir Julian. Moore had first seen it in the Huxleys’ Hampstead garden in 1965, shortly after it had arrived there from Kenya. Concerned that it was deteriorating in the open air, he had it cleaned and it arrived in his studio in 1968.

There were still no etching facilities at Perry Green, but for a period of eleven days of intense activity the small maquette studio was transformed into a print atelier, and Moore drew thirty-six plates, thirty of the elephant skull. This activity was not quite as spontaneous as has sometimes been suggested, not least by Moore himself. His biographer Roger Berthoud, after a conversation with the artist in 1984, wrote: ‘One day Gérald Cramer arrived from Geneva and asked if Moore had done the etchings he had promised. Henry had done nothing, and Irina, who had come to love the skull while cleaning it up, suggested he should tackle it as a theme.’xi However, leaving aside the idea that it was Irina who cleaned the skull, weeks prior to Cramer’s visit, Moore had photographed it thoroughly from every angle, and many of the etchings were closely based on these photographs.

Writing in 1970, Moore described the pleasure that producing the plates had given him: ‘The first day I drew the whole skull to find out its general construction; gradually I became amazed at the complexity of it, and my interest and excitement grew greater each day I worked. By bringing the skull very close to me and drawing various details I found so many contrasts of form and shape that I could begin to see in it great deserts and rocky landscapes, big caves in the sides of hills, great pieces of architecture, columns and dungeons, and so this series of etchings is really a mixture of observation and imagination.’xii Anxious to speed things along, Cramer and Frélaut had brought from Paris all the necessary supply of paper and prepared copper plates and, as in 1967, Frélaut made

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a daily pilgrimage to the Royal College of Art, while Cramer stood by as Moore retouched the proofs and reworked the plates in second, third and fourth states where he thought necessary.

While visiting Perry Green in 1969 Cramer met Henry J. Seldis, the American art critic from the Los Angeles Times who had first visited Moore in 1962 and was beginning his research as a guest curator for a Moore exhibition to be held in 1973 at the Los Angeles County Museum of Art. It was during this period that Moore agreed to Cramer’s suggestion that he be allowed to publish the elephant skull prints as an album, for which Moore would make more plates the following year, and for which Seldis was invited to write the preface. Cramer asked Moore to design a watermark for the Rives paper, and the artist made a number of trial designs before selecting a small reclining figure that worked perfectly when incorporated into the dandy roll – the watermark appeared twice per sheet, lower left and in reverse upper right.

The pattern of production for the additional plates in 1970 followed that of the preceding year. During the last week of April and the first of May twenty-four plates were started under Frélaut’s guidance, including twelve for the proposed album, and one plate from the previous year, Elephant Skull Plate E (CGM 146), was reworked in the second state. Of the forty-two plates drawn of the elephant skull, Moore and Cramer selected twenty-nine for the main body of the album, giving twenty-eight full-page images (CGM 114–141), as a pair of small plates was printed side by side to create Elephant Skull Plate XIII (CGM 126). Of those remaining, four and half of another were chosen as the five prints to form a deluxe edition (CGM 142–146); two were incorporated into the preface (one small plate CGM 110 and another which was cut into three to become CGM 111–113); and one large plate (CGM 109), was used for the album cover. Half the remainder of the half plate used in the deluxe edition as Elephant Skull Plate B (CGM 143) was given a separate identity as Elephant Skull: Arch Form (CGM 147), and tipped-in to become the frontispiece of a deluxe version of the album’s exhibition catalogue Henry Moore: Elephant Skull. The remaining six plates (CGM 148–153), including two trials for the cover, were never editioned.

Moore gave each of the main plates a descriptive title, some of which Cramer thought too long and cumbersome. As he preferred simple plate numbers for ­reference purposes Moore’s titles were reduced to a secondary role by being printed on to the leaves of Rives paper containing each individual etching.

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The etching studio at Perry Green c.1970, with Henry Moore at work on an etching plate and GĂŠrald Cramer in the background inspecting proofs.

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The seriousness with which Moore dedicated himself to printmaking became clear when, at Cramer’s suggestion, Grant found a small star-wheel Hughes & Kimber etching press which was installed in Moore’s maquette studio in November 1970.

The maquettes were subsequently moved to a new purpose-built studio elsewhere in the grounds, thus enabling Grant and Frélaut to create an etching workshop at Perry Green and eliminate the necessity of finding other venues for proofing. Grant introduced Moore to the etching printer at the Royal College, Michael Rand, who helped equip the studio and who was able to deal with the technical side of plate preparation and proofing. Unfortunately, for Moore speed often outweighed exactitude. Both Rand and Frélaut had trouble teaching him how to incise a copper plate correctly. Not only did he have a tendency to heavy-handedness, for some reason he disliked conventional etching tools, preferring to use defunct dental implements which at each visit to his dentist he managed to scrounge from the staff. Problems occurred because some of these tools had flat or angled ends rather than sharp points, resulting in Moore taking away too much ground from the plate.

This caused the acid to bite unevenly into the surface area of the copper and left the printer having to carry out remedial work on the plate. Nevertheless, despite these difficulties and Moore’s sometimes dismissive attitude to technical issues – as in his comment, ‘Graphic work to me is exactly the same as drawing. If you can draw well you can etch well because it is only using a finer point. The technical side is relatively simple’xiii – the creation of an etching studio was a great success and once set up remained in use to the end of Moore’s life.

Alistair Grant wrote the introduction to the Henry Moore: Elephant Skull exhibition catalogue used first for the Elephant Skull exhibition held in Geneva in November 1970. Shortly after the opening Cramer asked Grant to collaborate with him in producing the documentation for a catalogue raisonné of Moore’s prints, a project he had previously discussed with Moore in 1967 when less than a hundred works could have been included. As Cramer was in Geneva and Moore’s assistant, David Mitchinson, already had a rudimentary archive on the graphics at Perry Green, it seemed logical for Grant and Mitchinson to work together. All the existing prints to the end of 1971 were documented, and when Frélaut returned to Paris after his visit to Moore in November 1972 the plates drawn during his visit were added.

These included the original six plates of sheep etchings (CGM 196–201), which were later incorporated in the Sheep album, two etchings of Stonehenge (CGM 202 and 203), and Glenkiln Cross Plate II (CGM 188) which was to accompany the deluxe edition of the catalogue raisonné, Henry Moore: Catalogue of Graphic Work 1931–72.

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xiv To go with this Cramer wanted a lithograph as well as an etching but as Moore had made no lithographs during 1972 and none of the earlier ones still available were suitable, Cramer asked for a new work especially for the book. This was Seated Mother and Child 1973 (CGM 294), drawn by Moore on transfer paper early in 1973 and printed at the Royal College, but too late to be catalogued within the volume although it was used in reproduction as the frontispiece.

Unlike many publishers who pushed for large editions, Cramer was usually happy to go along with Moore’s preference for small numbers. He liked fifty with the addition of a few artist proofs, identical in every way to the edition prints but for the artist rather than the publisher to sell. As extra copies were needed for exhibitions and as dedicated gifts for publisher, printers, museums, archives, family, staff and a few personal friends, the number actually printed increased at times to seventy or seventy-five. For albums or deluxe books, such as Henry Moore: Catalogue of Graphic Work 1931–72, the total number was often higher. In addition to the prints for the deluxe edition of the book Cramer acquired the lithograph Two Black Forms: Metal Figures 1973 (CGM 307), which he used in reproduction as a poster for the exhibitions held in connection with the book’s publication in Geneva, Florence, Paris and Zurich.

The ramifications of Cramer’s arrangement with Fischer continued to rumble on during the 1970s. Bernhard Baer of Ganymed Original Editions had a battle to retain control of Stonehenge 1974 (CGM 202, 203, 207–223), and having been told he could participate in the publication of the Sheep album (CGM 196–201, 225–235), was eventually pushed out of the project by a combination of the other two. Rebuking Fischer, Baer wrote: ‘I was most disappointed to hear that we were ousted from this project by your gentlemen’s agreement with Cramer. You had previously offered us a share in this publication . . . which we at once accepted and we feel we are as gentlemanly as Monsieur Cramer.’xv In his response Fischer did not budge on the issue of publication, though he conceded: ‘At any rate, be assured, I consider all three of us, B.B., G.C. and H.R.F. gentlemen.’xvi Other publishers, less aware than Baer of these behind-the-scenes machinations, also had difficulties. Gualtieri di San Lazzaro, for example, editor of the review XXe siecle, originally requested etchings for his portfolio Reclining Figures 1973 (CGM 236–242). This was a sensible proposal, not least because both he and Frélaut were in Paris, but when he realised that working with Frélaut would involve him with Cramer

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Henry Moore, Gérald Cramer, Paris, Atelier Lacourière et Frélaut, 1969.

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as well he settled for lithographs instead. An amusing aside to this confused affair of the so-called ‘gentleman’s agreement’ involved a heated discussion between Cramer and Fischer, both speaking English rather than their native French and German, in which the number ‘75’ was exchanged – the former believing that he was discussing edition numbers, the latter prices.

Less easy to patch up was the disagreement between Cramer and Pierre Lecuire over the plates Moore drew as homage to Hercules Seghers for Lecuire’s publication Le Livre des Livres 1974. As both etchings, Hommage à Seghers: Plate I & II (CGM 171, 172), had been proofed by Frélaut under the supervision of Cramer during their 1971 visit to Perry Green, it was not unreasonable that Cramer included them in the first volume of the catalogue raisonné which appeared in 1973. This decision, however, infuriated Lecuire as neither his name nor a description of the album for which they were intended was included. On 16 July 1974 Cramer wrote to Lecuire requesting printing details to pass on to Frélaut and publication details for inclusion in the addenda to volume I being prepared for the second volume of the catalogue raisonné. Writing to Moore some days later, Lecuire gave vent to his anger: ‘I am very shocked by the Cramer’s letter herewith, that I am just receiving. This letter is perfectly incorrect and inadmissible. Mr Moore, you are an artist. I am a poet. You are free, I am free. I want to talk only with you, not with Mr Cramer. And if I am a publisher, I am an independent publisher. You show regard for me, as I think highly of you. Our confidence is mutual . . . Mr Cramer fancies he is the ‘Fuhrer’ of your work. I hate ‘fuhrers’. Mr Cramer will get the information he asked for only when my book is finished.’

Mr Jacques Frélaut will print your two etchings at the beginning of September. He promised it to me. He has understood that, for “Le Livre des Livres”, it’s I who order, not Mr Cramer. Dear Mr Moore, to create a book is difficult. The “Le Livre des Livres” is a book particularly difficult. Fifteen artists collaborate to it. It will be a “beau livre”.

But how many difficulties! I am very shocked by these really unnecessary complications.’xvii Frélaut, who always took his instructions from Moore both written and verbally via Cramer, was placed in a difficult position; it was after all Cramer who paid the bills, but eventually the etchings were printed to everyone’s satisfaction and Cramer received the information he required for inclusion in the second volume of the

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catalogue raisonné. As Moore remained a free agent and could produce prints with and for whom he chose, the controlling duopoly of Cramer and Fischer was never absolute and for many outsiders tenacity paid off.

During Cramer’s visit with Frélaut in 1971 Moore drew second plates for three images started the previous year (CGM 177–179), and began those for ten more (CGM 169–176, 186, 205). Cramer proposed that Moore make a series of etchings for an album of architectural prints. Knowing Moore’s general antipathy towards architects and architectural ideas he should have known better. The request seems rather surprising but may have been prompted by the architectural backgrounds to the lithographs of 1963, in particular Two Reclining Figures with River Background (CGM 52), of which Cramer was the publisher. Moore took up the idea with no great enthusiasm, producing only two etchings in 1971, Architecture (CGM 169) and Tunnel, Arch and Window (CGM 174). One more followed a year later, Architecture Doorway (CGM 185), but after this the project was abandoned.

When Frélaut returned in 1972, among the plates Moore produced were six etchings of sheep (CGM 196–201), drawn from sketchbook pages based on creatures grazing in the fields behind one of his studios. Cramer, realising Moore’s enthusiasm for the subject, immediately suggested they should form the theme of a new album. This time Moore agreed.

Due to Moore’s attack of pleurisy in early 1973 a projected visit by Frélaut that year was cancelled; another twelve months passed before the Sheep project could recommence. In the meantime proofs of these etchings were shown at the exhibition organised by Fischer Fine Art in London in July 1973 to coincide with the publication of Henry Moore: Catalogue of Graphic Work 1931–72.xviii Wanting the exhibition to be as complete as possible Fischer included proofs of everything he could, even those of works not yet editioned. In placing the sheep proofs in a highly visible position over the stairwell in the gallery, they attracted much attention. Orders for them were taken – somewhat prematurely, for no decisions had yet been made as to the size of the edition, or the format of the publication.

Owing to Fischer’s involvement in the promotion of the first sheep etchings Cramer agreed to divide the portfolio with him, even though Fischer had previously promised Bernhard Baer that he should be the co-publisher. Baer gave his account of the transaction:

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‘During tentative discussions on Stonehenge Fischer offered me verbally a half share of the suite ‘SHEEP’ which Moore had started at the time, to soften our hesitant attitude about the sharing of STONEHENGE . . . I accepted at once, as ‘The Sheep’ while of no comparable importance with the Stonehenge suite, would be popular and easily saleable. A few weeks later Fischer informed me that he had a ‘gentleman’s’ agreement with Cramer which committed him to share ‘The Sheep’ with him. When I protested Fischer replied ‘It is entirely up to Henry Moore to whom he gives the ‘Sheep’. There does not even exist a letter on this, he only said verbally ‘You can have it.’ This was the end of the Sheep sharing.’xix When Cramer and Frélaut visited Perry Green in March 1974 Moore produced eleven more plates to complete the life-cycle of the sheep. Following Frélaut’s return to Paris, Grant visited Perry Green during July to work with Moore on the proofs for the Album Cover (CGM 225), which was to be editioned on vellum and two of the prints for the deluxe edition, Sheep in Landscape (CGM 234) and Sheep in Snow Scene (CGM 235). Moore wanted to make dramatic atmospheric landscape backgrounds for these prints and Grant brought Michael Rand, the etching printer at the Royal College, with him to Perry Green to assist. Frélaut had made a primitive aquatint box out of cardboard and this was used by Grant to produce the required tonal effects. Working in the etching studio at Perry Green Rand proofed all the plates, which were then sent to Paris for editioning.

For Cramer, the Sheep project was a triumph; not only had Moore himself written a text for the preface but when the album appeared in 1975 it became apparent that he had managed to keep Fischer’s name off the publication details. However, with the etching studio now fully operational it slowly became clear to everyone that Moore was no longer dependent on Cramer and Frèlaut for etching. Grant – and other printers – could be on hand to visit Perry Green for a day or two whenever Moore had time.

The first volume of the graphics catalogue raisonné contained 206 prints drawn between 1931 and 1972. Such was the increase in Moore’s printmaking activity during the early 1970s that within eighteen months of its publication Cramer was already thinking about a second volume. This was compiled by the same trio, using the formula adopted in 1971 but now with the work catalogued as it was being produced. Published in deluxe and standard editions, this second volume of Henry Moore: Catalogue of Graphic Work contained 164 entries numbered 207 to 370, with

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addenda and corrigenda to volume I. It catalogued all the editions after CGM 206 completed by September 1975, including twenty-three partially catalogued in volume I. In addition, two Stonehenge etchings (CGM 202, 203) and six sheep etchings (CGM 196–201) of 1972 were re-catalogued to allow for their having been included in their respective albums. The deluxe edition contained the etching Reclining Figures: Man and Woman II 1975 (CGM 362) and the lithograph Seated Mother and Child 1975 (CGM 367), both produced for Cramer in London with the help of Alistair Grant.xx As well as completing the Sheep series, the visit of Cramer and Frélaut in 1974 resulted in the six Girl Doing Homework etchings, which Moore based on drawings of his daughter, Mary. Cramer published all of them individually in 1975, their subject matter not being considered suitable for an album. However, Grant’s ability to work with lithography in addition to etching gave Cramer the opportunity to publish an album of Moore’s lithographs that year. This was an unusually colourful group entitled Helmet Head Lithographs (CGM 356–360), based on drawings which Moore had torn-up and then rescued when he noticed the impact the fragments created.

After 1974, four years passed before Cramer and Frélaut returned for another session of etching. Sadly, it turned out to be a disaster. Moore, with other matters on his mind, was unable to concentrate on print-making. After hanging around for several days, publisher and printer realised they were wasting their time and departed. Later that year, and independently of Cramer, Frélaut editioned plates proofed at Perry Green by Grant and Rand, while Cramer himself brought out the two etchings left over from the abandoned ‘architecture’ album, Tunnel, Arch and Window (CGM 174) and Architecture: Doorway (CGM 185), which had remained unpublished since 1972 and 73 – but that was all for 1978.xxi With the creation of the Henry Moore Foundation in 1977 its trading subsidiary, Raymond Spencer Company Ltd, took over Moore’s publishing activities and after fulfilling existing agreements with outside agents assumed control of all Moore’s graphic output from October 1978. This policy decision, though beneficial to the Foundation in terms of revenue, and to Moore who could blame the Foundation when refusing a request, had unforeseen side effects. It meant Moore’s later graphic publications became somewhat introspective as editions were seldom made available for books and portfolios that included work by other artists – or indeed for

22

Henry Moore, Gérald Cramer, Paris, Atelier Lacourière et Frélaut, 1969.

other publishers. Nevertheless, Cramer persevered, returning with Frélaut to Perry Green in 1979. One final burst of activity from Moore produced twenty-five etchings (CGM 498–522), but all were published by Raymond Spencer Company Ltd on behalf of the Henry Moore Foundation. This brought to an end the direct collaboration between Cramer and Moore, and the visits of Jacques Frélaut.

Other matters, not relating directly to etching retained the importance they had always held. Cramer was the catalyst who enabled the Musée d’Art et d’Histoire, Geneva, to acquire a bronze cast in 1975 of the large Reclining Figure: Arch Leg 1969– 70.xxii Over the years he made numerous visits to Perry Green without Frélaut, many of which involved typography, book design and album construction; some were social – often with his wife, Ines, who became a friend of Irina’s. Others were more connected with the business of running a gallery such as buying work for stock or exhibition, acquiring maquettes and artist proofs, or, if possible, a complete edition.

For example, the lithographs Ideas for Wood Sculpture 1973 (CGM 286) and Mother

23

and Child 1973 (CGM 288), both printed at Curwen Prints Ltd, were published by him in 1974.

Being a generous man, Cramer happily entertained and looked after Moore in Geneva and in Paris, while Moore never left him off his personal guest list. There were excursions too to the Moore’s Italian holiday home in Forte dei Marmi and the gradual introduction of his son, Patrick, who took over his gallery and much of his business in the early 1980s. A final portfolio, Gérald Cramer: Quarante-deux ans d’activité: 1942–83, describing Cramer’s full career was published in 1984, the restriction on outside publishers somehow bypassed to allow its deluxe edition to contain Moore’s etching Head of Girl: Section Line 1981 (CGM 602), printed in London by Michael Rand.

A postscript to the story of Gérald Cramer and Henry Moore occurred in 1991 when, after Cramer’s death, it was revealed that he had bequeathed to the Henry Moore Foundation one of Moore’s most important pre-war works on paper, Drawing for Stone Sculpture 1937.xxiii David Mitchinson, London 2014 Melville, Robert, ‘A Note on Henry Moore’s Graphics’, Henry Moore: The Complete Graphic Work 1931-1972, Fischer Fine Art, London 1973, p.5. i

ii Sackville-West, Edward, The Rescue, Martin Secker and Warburg, London 1945; first broadcast by the BBC 25/26 November 1943.

During the early 1960s Cramer gave Moore woodblock 29, which was always displayed in the large sitting room of his home, Hoglands. iii

iv Ann Baer recalls Moore telling her at the time that part of his fee – or a present – was a crate of a dozen bottles of the vintage wine, which was so good that he and Irina drank a bottle at lunch and another at dinner, and having acquired a taste for what he later admitted was ‘too much’, he ordered another crate for himself and was appalled at the cost; Ann Baer to Mitchinson, 28 September 2008. v

Moore to Cramer, 2 March 1966.

vi Composition for a Poem by Herbert Read, Moore’s first etching, though editioned by Frélaut in 1966, remained unpublished until 2010, when it joined Moore’s last lithograph Two Women Seated on Bench 1984 (CGM 719) to form the deluxe edition of David Mitchinson, Henry Moore: Prints and Portfolios, published by Patrick Cramer, Geneva.

24

Grant had been a student at the Royal College from 1947 to 1951, and in 1955 was appointed to the staff of the printmaking department under Edwin La Dell and Julian Trevelyan. vii

viii

Cramer to Moore, 19 May 1967.

ix

Ibid. 22 February 1968.

x

Cramer to Moore, 2 December 1968.

xi

Berthoud, Roger, The Life of Henry Moore, Faber and Faber, London 1987, p.347.

xii Wilkinson, Alan, Henry Moore: Writings and Conversations, Lund Humphries, Aldershot 2002, pp.297, 298. xiii

Henry Moore: 80th Anniversary Portfolio, catalogue, p.30.

The collaboration on the catalogue between Cramer, Grant and Mitchinson resulted in the CGM numbering system which became the standard reference for Moore’s graphic work. xiv

xv

Baer to Fischer, 27 September 1973.

xvi

Fischer to Baer, 3 October 1973.

xvii

Lecuire to Moore, 27 July 1974.

xviii

By this time Harry Fischer had left Marlborough Fine Art to set up his own London gallery.

xix

Memorandum from Baer, 11 April 1974.

Two more volumes of the catalogue raisonné Henry Moore: Catalogue of Graphic Work were to follow in 1980 and 1988 with Patrick Cramer taking over his father’s role both as co-compiler and publisher.

xx

The remaining print in the group, Architecture (CGM 169), was chosen by Moore in 1973 for inclusion in Bryan Robertson’s Rothko Memorial Portfolio. xxi

xxii Mitchinson, David, Henry Moore, ‘Henry Moore en Suisse’, Fondation Pierre Gianadda/ Electa Martigny 1989, pp.62, 63.

Summers, Julie, in Mitchinson, David, Celebrating Moore: Works from the Collection of The Henry Moore Foundation, Lund Humphries, Aldershot 2006, cat.88, pp.157, 158.

xxiii

25

Three Reclining Figures Felt-tipped pen, pen and ink, 1962.

Signed in pen and inscribed ‘For Gérald Cramer from Henry Moore, 1962.’

(Henry Moore. Volume 4. Complete Drawings. 1950-76. AG. 62/9) 29.2 x 24.2 cm

26

27

Figures Sculptures Woodcut, 1931.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed in 1966 on Japon nacré paper by Fequet and Baudier, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 1) 25 x 35.5 cm

28

Reclining Nude Woodcut, 1931.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed in 1966 on Japon teinté paper by Fequet and Baudier, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 2) 23 x 32.5 cm

29

Reclining Figures Man and Woman I Etching and aquatint printed in colour, 1975.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 75.

Printed on Rives paper by Michael Rand, London.

Published by Gérald Cramer, Geneva.

(Cramer 361) 38.4 x 50.8 cm

30

Three Reclining Figures Lithograph printed in colours, 1971.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 75.

Printed on Rives paper by Curwen Prints Ltd, London.

Published by Gérald Cramer, Geneva.

(Cramer 184) 52.2 x 39.3 cm

31

Two Reclining Figures Etching, 1971/72.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Lacourière et Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 205) 35 x 29.2 cm

32

Reclining Figures Etching, 1969.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 106) 49.9 x 38.1 cm

33

Four Silhouette Figures Lithograph, 1973.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Curwen Prints Ltd, London.

Published by Gérald Cramer, Geneva.

(Cramer 283) 33 x 45.1 cm

34

Four Draped Reclining Figures Etching, 1967.

Signed in pencil and inscribed, ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Auvergne paper by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 90) 28.2 x 38.4 cm

35

Three Sculptural Objects Lithograph, 1973.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Curwen Prints Ltd, London.

Published by Gérald Cramer, Geneva.

(Cramer 304) 56.5 x 43.5 cm

36

Two Black Forms Metal Figures Lithograph, 1973.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 80.

Printed on T H Saunders paper by Curwen Prints Ltd, London.

Published by Gérald Cramer, Geneva.

(Cramer 307) 58.5 x 44.5 cm

37

Reclining Figure III Etching, 1970 and 1972.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Atelier Lacourière et Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 194) 29 x 44.9 cm

38

Draped Reclining Figure Etching and aquatint, 1951.

Signed in pencil and inscribed, ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Japan teinté paper by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 33) 28.1 x 37.6 cm

39

Eight Draped Reclining Figures Etching, 1967.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 88) 49.1 x 38 cm

40

Three Sculpture Motives Etching, 1970.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Lacourière et Frélaut, Paris.

Published by Henry Moore.

(Cramer 158) 50 x 37.6 cm

41

Two Reclining Figures Linear Etching, 1969.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 100.

Printed on Arches paper by Frélaut and Lacourière, Paris.

Published by Marlborough Fine Art Ltd, London.

(Cramer 107) 66.1 x 50.4 cm

42

Two Seated Figures Etching and aquatint printed in colours, 1970/71.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed by Atelier Lacourière et Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 177) 37.9 x 51.6 cm

43

Reclining Figure II Etching and aquatint, 1970 and 1972.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Atelier Lacourière et Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 193) 28.4 x 44.5 cm

44

Reclining Figure III Etching and aquatint, 1970 and 1972.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Atelier Lacourière et Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 194) 29 x 44.9 cm

45

Reclining Figure, Interior Setting I Lithograph printed in colours, 1977.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition 75.

Printed on T H Saunders paper by Curwen Prints Ltd, London.

Published by Société Internationale d’Art XX Siècle, Paris.

(Cramer 458) 43.2 x 57.8 cm

46

Reclining Figure, Architectural Background III Lithograph printed in colours, 1977.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on T H Saunders paper by Curwen Prints Ltd, London.

Published by Galerie Patrick Cramer, Geneva and Galleri Haaken, Oslo.

(Cramer 456) 47 x 52.7 cm

47

Reclining Figures on Beach Etching, 1975.

Signed in pencil and inscribed ‘For Gérald’.

A proof of the edition of 50.

Printed on Rives paper by Michael Rand, London.

Published by Gérald Cramer, Geneva.

(Cramer 363) 30.5 x 38.7 cm

48

Two Seated Figures 1 Etching, 1951.

Signed in pencil and inscribed ‘For Inez and Gérald’.

A proof aside from the edition of 50.

Printed on Canson by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 35) 19 x 28.9 cm

49

Storm At Sea Etching and drypoint, 1970.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Atelier Lacourière et Frélaut, Paris.

Published by Henry Moore.

(Cramer 156) 28.2 x 37.7 cm

50

Wreck Etching, 1970.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Atelier Lacourière et Frélaut, Paris.

Published by Henry Moore.

(Cramer 162) 28.6 x 37.7 cm

51

Girl Doing Homework I Etching, 1974.

Signed in pencil and inscribed ‘For Gérald’ A proof aside from the edition of 50.

Printed on Rives paper by Atelier Lacourière et Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 326) 38.2 x 46.8 cm

52

Girl Doing Homework II Etching and aquatint, 1974.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Atelier Lacourière et Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 327) 37.5 x 47 cm

53

Girl Doing Homework IV Etching and aquatint, 1974.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Atelier Lacourière et Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 329) 37.5 x 47 cm

54

Girl Doing Homework VI Etching, drypoint and aquatint, 1974.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Atelier Lacourière et Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 331) 39.5 x 46.5 cm

55

Girl Doing Homework III Etching and aquatint, 1974.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Atelier Lacourière et Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 328) 47 x 37 cm

56

Girl Doing Homework V Etching and aquatint, 1974.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Atelier Lacourière et Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 330) 29.5 x 35 cm

57

Wine Label Etching and drypoint, 1966.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from an edition of 20.

Printed on Japon nacré paper by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 57) 26.1 x 20 cm

58

Concerto Etching and aquatint, 1967.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Auvergne paper by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 87) 32.7 x 25.5 cm

59

Sheep Album The complete portfolio of 16 etchings, 1974.

Printed on Rives paper with a watermark designed by the artist.

Each signed in pencil and inscribed A/P. One of 15 deluxe portfolios with the additional 4 etchings, printed for Gérald Cramer.

Twelve etchings printed on Rives paper.

Four etchings printed on Japon ancien paper.

Printed by Atelier Lacourière et Frélaut, Paris.

Published by Gérald Cramer, Geneva, 1975.

(Cramer 225 – 235) Standard portfolio: 30.5 x 38.7 cm Additional etchings: 41.9 x 48.3 cm

60

61

Head (Plate VII from the Sheep Album)

Sheep with Lamb II (Plate III from the Sheep Album)

62

Sheep in Field (Plate I from the Sheep Album)

Fat Lambs (Plate V from the Sheep Album)

63

Sheep with Lamb IV (Plate IV from the Sheep Album)

Ready for Shearing (Plate IX from the Sheep Album)

64

Shorn Sheep with Lamb (Plate XII from the Sheep Album)

Shorn Sheep (Plate XI from the Sheep Album)

65

Sheep (Plate VI from the Sheep Album)

Sheep with Lamb I (Plate II from the Sheep Album)

66

The Show Sheep (Plate VIII from the Sheep Album)

Sheep Back View (Plate X from the Sheep Album)

67

Sheep with Lamb III (Plate A from the deluxe Sheep Album)

Family (Plate B from the deluxe Sheep Album)

68

Sheep in Landscape (Plate C from the deluxe Sheep Album)

Sheep in Snow Scene (Plate D from the deluxe Sheep Album)

69

Sheep with Lamb IV Etching and drypoint, 1972.

Signed in ink.

One of three impressions on vellum aside from the edition of 80 on Rives paper.

Printed by Lacourière and Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 199) 28.9 x 32.9 cm

70

The Show Sheep Etching, 1974.

Signed in ink.

One of three impressions on vellum aside from the edition of 80 on Rives paper.

Printed by Lacourière and Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 229) 32.6 x 40.9 cm

71

Sheep in Landscape Etching and aquatint, 1974.

Signed in ink.

One of three impressions on vellum aside from the edition of 15 on Rives paper.

Printed by Lacourière and Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 234) 42.5 x 48.5 cm

72

73

Composition for a Poem by Herbert Read Etching and aquatint, circa 1946.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed in 1966 on Arches paper by Frélaut and Lacourière, Paris.

Published by Patrick Cramer, Geneva.

(Cramer 4) 55.5 x 37.5 cm

74

Trapeze Artists Lithograph, 1975.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Japon ancien paper by Royal College of Art, London.

Published by Gérald Cramer, Geneva.

(Cramer 369) 47.7 x 35.5 cm

75

Two Women Etching and lithograph printed in colours, 1970.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Italian handmade paper by II Bisonte, Florence.

Published by II Bisonte, Florence.

(Cramer 166) 64.9 x 45.7 cm

76

Two Standing Figures No XII Etching, aquatint and drypoint printed in colours, 1970/71.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 187) 51.2 x 37.6 cm

77

Two Standing Figures No XI Etching, 1970.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 90.

Printed on Rives paper by Frélaut and Lacourière, Paris.

Published by Bijutsu Shuppan-Shan, Tokyo.

(Cramer 161) 24.2 x 20.4 cm

78

Two Tall Figures Man and Woman Etching, 1970/71.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Atelier Lacourière et Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 179) 50.5 x 27.1 cm

79

Turning Figure No 1 Etching printed in colours, 1971.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Atelier Lacourière et Frélaut, Paris.

Published by Fischer Fine Art Ltd, London.

(Cramer 175) 43.9 x 30.4 cm

80

Two Standing Figures Etching, 1970.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 200.

Printed on Japon nacré paper by Frélaut and Lacourière, Paris.

Published by Editions O Lazar-Vernet, Paris.

(Cramer 159) 56.5 x 37.7 cm

81

Two Standing Figures No V Etching, 1970.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Lacourière et Frélaut, Paris.

Published by Henry Moore.

(Cramer 160) 48.6 x 37.5 cm

82

Turning Figure No 2 Etching printed in colours, 1971.

Signed in pencil and inscribed ‘For Cramer’.

A proof aside from the edition of 50.

Printed by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 176) 43.5 x 30.8 cm

83

Tunnel Arch and Window Etching, aquatint and drypoint, 1971.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Atelier Lacourière et Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 174) 33.5 x 29.3 cm

84

Architecture Soft ground etching and drypoint, 1971.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 75.

Printed on Rives paper by Frélaut and Lacourière, Paris.

Published by the Mark Rothko Memorial Trust.

(Cramer 169) 37.9 x 32.8 cm

85

Architecture, Doorway Etching, aquatint, drypoint and soft ground etching, 1972.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Atelier Lacourière et Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 185) 38.3 x 45.4 cm

86

Elephant Skull, Arch Form Etching, 1970.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 150.

Printed on Japon ancien paper by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 147) 29.2 x 24 cm

87

Elephant Skull Album The complete portfolio of 28 etchings, 1969 and 1970.

One of 15 deluxe albums with an additional 5 etchings contained in a parchment folder, printed for Gérald Cramer.

Each etching is signed in pencil.

Printed by Jean-Paul Berger on the hand presses of Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 109-146) Each sheet: 49.5 x 36.5 cm

88

Plate III From the Elephant Skull Album

Plate VI From the Elephant Skull Album

Plate XXV From the Elephant Skull Album

Plate A From the deluxe Elephant Skull Album

89

Seated Woman Etching and aquatint, 1967.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Japon nacré by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 93) 34 x 25.4 cm

90

Mother and Child Lithograph printed in colours, 1973.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Curwen Prints Ltd, London.

Published by Gérald Cramer, Geneva.

(Cramer 288) 48.9 x 36.2 cm

91

Seated Mother and Child Etching and drypoint, 1951 and 1966.

Signed in pencil and inscribed ‘For Gérald Cramer’.

A proof aside from the edition of 50.

Printed on Auvergne paper by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 78) 46.5 x 55.3 cm

92

Picture Book Etching, 1967.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Japon ancien paper by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 91) 25.3 x 33.4 cm

93

Helmet Head Lithographs The complete portfolio of 5 lithographs printed in colours, 1974.

Inscribed ‘To Gérald from Henry M’ on the title page.

Each lithograph is signed in pencil and numbered XIII. From the edition of 22 numbered in Roman Numerals, aside from the regular edition of 50.

Printed on T H Saunders waterleaf paper by the Royal College of Art, London.

Published by Gérald Cramer, Geneva.

(Cramer 356-360) Each sheet: 49.5 x 63 cm

94

95

Log Pile III Etching, 1972.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Atelier Lacourière et Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 191) 42.2 x 35.8 cm

96

Log Pile II Etching, 1972.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Atelier Lacourière et Frélaut, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 190) 42.9 x 35.6 cm

97

Hommage a Seghers Plate I Soft ground etching and drypoint, 1971.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 25.

Printed on Chine paper by Atelier Lacourière et Frélaut, Paris.

Published by the Editions des Livres Pierre Lecuire, Paris.

(Cramer 171) 23.5 x 33 cm

98

Hommage a Segher Plate II Soft ground etching and drypoint, 1971.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 25.

Printed on Chine paper by Atelier Lacourière et Frélaut, Paris.

Published by Editions des Livres Pierre Lecuire, Paris.

(Cramer 172) 23.8 x 33.2 cm

99

Log Pile I Etching and drypoint, 1972.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Lacourière et Frélaut, Paris.

Published by Fischer Fine Art Ltd, London.

(Cramer 189) 42.2 x 35.4 cm

100

Ideas for Sculpture 3 Etching, 1969.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 100.

Printed on Arches paper by Frélaut and Lacourière, Paris.

Published by Arted Editions d’Art, Paris.

(Cramer 103) 66.2 x 50.3 cm

101

Ideas for Wood Sculpture Lithograph printed in colours, 1973.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Curwen Prints Ltd, London.

Published by Gérald Cramer, Geneva.

(Cramer 286) 56.5 x 41.3 cm

102

Ideas for Sculpture Lithograph printed in colours, 1966.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Japon nacré paper by J E Wolfensberger, Zurich.

Published by Gérald Cramer, Geneva.

(Cramer 60) 76.9 x 56.9 cm

103

Studies for Head and Shoulders Sculpture Etching, 1967.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 94) 50.2 x 38 cm

104

Six Sculpture Motives Etching, 1970.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 200.

Printed on Rives paper by Frélaut and Lacourière, Paris.

Published by Cercle Graphique Européen, Utrecht.

(Cramer 154) 50 x 37.6 cm

105

Three Motives Etching, 1970.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 200.

Printed on Rives paper by Lacourière and Frélaut, Paris.

Published by Cercle Graphique Européen, Utrecht.

(Cramer 157) 50 x 37.5 cm

106

Ideas for Sculpture Etching, 1966.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Arches paper by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 54) 49 x 38.5 cm

107

Standing Leaf Figures Etching, 1951.

Signed in pencil and inscribed ‘For Gérald Cramer’.

A proof aside from the edition of 50.

Printed on Rives paper by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 34) 22 x 32.3 cm

108

Glenkiln Cross Plate I Etching, 1972.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Rives paper by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 187) 41.6 x 30.9 cm

109

Fantasy Etching, 1967.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Japon ancien paper by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 89) 32.8 x 40 cm

110

Crowd Looking At Tied-Up Object Etching, 1966.

Signed in pencil and inscribed ‘For Gérald’.

A proof aside from the edition of 50.

Printed on Auvergne paper by Frélaut and Lacourière, Paris.

Published by Marlborough Fine Art Ltd, London.

(Cramer 79) 39 x 47.1 cm

111

Henry Moore ‘The Graphic Work 1931-1972’ (Volume I)

By Gérald Cramer, Alistair Grant & David Mitchinson.

The first volume of the Catalogue Raisonné of Moore’s graphic work.

Signed in ink and inscribed ‘For Gérald’ Numbered XIV, from the deluxe edition of 25 issued with two prints (opposite).

Published in 1973.

Seated Mother and Child Lithograph printed in colours, 1973.

Signed in pencil and inscribed ‘XIV/XXV’.

A proof aside from the edition of 100.

Printed on Barcham Green paper by Royal College of Art, London.

Published by Gérald Cramer, Geneva.

(Cramer 294) 30.8 x 23.5 cm Glenkiln Cross Plate II Etching, drypoint and aquatint, 1972.

Signed in pencil and inscribed ‘XIV/XXV’.

A proof aside from the edition of 50.

Printed on Rives paper by Frélaut and Lacourière, Paris.

Published by Gérald Cramer, Geneva.

(Cramer 188) 30.9 x 23.8 cm

112

113

Henry Moore ‘The Graphic Work 1973-1975’ (Volume II)

By Gérald Cramer, Alistair Grant & David Mitchinson.

The second volume of the Catalogue Raisonné of Moore’s graphic work.

Signed in ink and inscribed ‘For Gérald’ Numbered XIV, from the deluxe edition of 25 issued with two prints (opposite).

Published in 1976.

Reclining Figures Man and Woman II Etching and aquatint printed in colour, 1975.

Signed in pencil and inscribed ‘XIV/XXV’.

A proof aside from the edition of 100.

Printed on Japon ancien paper by Michael Rand, London.

Published by Gérald Cramer, Geneva.

(Cramer 362) 30.8 x 23.5 cm Seated Mother and Child Lithograph printed in colours, 1975.

Signed in pencil and inscribed ‘XIV/XXV.’ A proof aside from the edition of 100.

Printed on Rives paper by Royal College of Art, London.

Published by Gérald Cramer, Geneva.

(Cramer 367) 30.8 x 23.5 cm

114

115

Henry Moore ‘The Graphic Work 1976-1979’ (Volume III)

By Patrick Cramer, Alistair Grant & David Mitchinson.

The third volume of the Catalogue Raisonné of Moore’s graphic work.

Signed in ink and inscribed ‘For Gérald’ Numbered XIV, from the deluxe edition of 25 issued with two prints (opposite).

Published in 1980.

Two Reclining Mother and Child Studies Lithograph printed in colours, 1979.

Signed in pencil and inscribed ‘XIV/XXV’.

A proof aside from the edition of 100.

Printed on T H Saunders paper by Curwen Prints Ltd, London.

Published by Galerie Patrick Cramer, Geneva and Raymond Spencer Company Ltd for the Henry Moore Foundation, Much Hadham.

(Cramer 546) 30.5 x 22.5 cm Seated Mother and Child Etching, 1979.

Signed in pencil and inscribed ‘XIV/XXV’.

A proof aside from the edition of 100.

Printed on Rives paper by Michael Rand, London.

Published by Galerie Patrick Cramer, Geneva and Raymond Spencer Company Ltd for the Henry Moore Foundation, Much Hadham.

(Cramer 518) 31 x 23.5 cm

116

117

118

Left: Moore with GÊrald Cramer in the rue Foyatier outside Imprimerie Lacourière, Paris 1969.

Above: Verso of photograph, inscribed by Moore.

119

Published by Sims Reed Gallery on the occasion of the exhibition ‘Henry Moore & Gérald Cramer: 25 Years of Art & Friendship’ 25th November – 16th December 2014. © All rights reserved. No part of the contents of this catalogue may be reproduced in whole or in part, without the permission from the publisher Sims Reed Gallery.

Designed by Lucy Harbut.

Printed by Dayfold.

Sims Reed Gallery The Economist Building 30 Bury Street London SW1Y 6AU T +44 (0)20 7930 5111 F +44 (0)20 7930 1555 E gallery@simsreed.com www.gallery.simsreed.com