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Henry MooreHenry Moore, Red and Blue Standing Figures, from XXe Siecle, 19511951
1951
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About the Item
This exquisite lithograph by Henry Moore (1898–1986), titled Red and Blue Standing Figures, from the album XXe Siecle, Nouvelle serie, No. 1, 1951, originates from the 1951 edition published by Societe Internationale d'Art XXe Siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris, and printed by Atelier Edmond et Jacques Desjobert, Paris, 1951. Red and Blue Standing Figures reflects Moore’s exploration of the human form through abstracted, rhythmic shapes that embody his signature dialogue between mass, space, and organic structure.
Executed as a lithograph on velin paper, this work measures 12.5 x 9.75 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the superb craftsmanship of Atelier Edmond et Jacques Desjobert, Paris.
Artwork Details:
Artist: Henry Moore (1898–1986)
Title: Red and Blue Standing Figures
Medium: Lithograph on velin paper
Dimensions: 12.5 x 9.75 inches (31.75 x 24.77 cm)
Inscription: Signed in the plate and unnumbered as issued
Date: 1951
Publisher: Societe Internationale d'Art XXe Siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris
Printer: Atelier Edmond et Jacques Desjobert, Paris
Catalogue raisonne reference: Moore, Henry, et al. Henry Moore: Catalogue of Graphic Work, 1931 1972. Gerald Cramer, 1973, illustration 36.
Condition: Well preserved, consistent with age and medium
Provenance: From the album XXe Siecle, Nouvelle serie, No. 1, 1951, published by Societe Internationale d'Art XXe Siecle, Paris; printed by Atelier Edmond et Jacques Desjobert, Paris, 1951
About the Publication:
Gualtieri di San Lazzaro's XXe Siecle (Twentieth Century) was one of the most influential art journals of the modern era, founded in Paris in 1938 as a platform for the greatest painters, sculptors, and writers of the 20th century. San Lazzaro, a visionary editor, critic, and champion of modernism, believed that art and literature should coexist as expressions of a shared human imagination. Under his direction, XXe Siecle became a cultural bridge between Europe and the wider world, publishing special issues devoted to leading figures such as Picasso, Matisse, Chagall, Braque, Calder, Miro, Kandinsky, and Leger. Each edition combined essays by renowned critics and poets with original lithographs and woodcuts printed by the foremost ateliers of Paris, Milan, and New York, including Mourlot, Curwen, and Amilcare Pizzi, creating a uniquely rich dialogue between text and image. The 1960 issue, XXe Siecle, Nouvelle serie, No. 14, showcased Daphnis et Chloe, one of Chagall’s most celebrated lithographic subjects, coinciding with his work on the monumental suite of lithographs inspired by the same pastoral tale, published by Teriade. Through this publication, San Lazzaro further cemented Chagall’s reputation as the modern poet of color and love, uniting myth, nature, and emotion in visual form. Today, XXe Siecle remains an essential record of 20th century modernism, celebrated for its seamless integration of fine art, literature, and design.
About the Artist:
Henry Moore (1898–1986) was a British sculptor, draftsman, and modernist pioneer whose monumental bronzes and organic abstractions revolutionized 20th century sculpture and made him one of the most influential artists of his time. Renowned for his reclining figures, mother and child compositions, and pierced biomorphic forms inspired by nature, Moore transformed traditional carving into a universal language of rhythm, balance, and humanity. Born in Castleford, Yorkshire, he studied at the Leeds School of Art and the Royal College of Art in London, absorbing the influences of classical sculpture, African and Pre Columbian art, and the radical innovations of the European avant garde. Inspired by Pablo Picasso’s Cubist fragmentation of form, Joan Miro’s lyrical biomorphism, Wassily Kandinsky’s spiritual abstraction, and Constantin Brancusi’s purity of shape, Moore developed a style rooted in the harmony between mass and void, structure and space. During the interwar years, he became part of an international circle that included Alexander Calder, Alberto Giacometti, Salvador Dali, Marcel Duchamp, and Man Ray, artists who, like Moore, expanded art’s boundaries through abstraction, surrealism, and conceptual experimentation. Like Calder, Moore explored balance and movement; like Giacometti, he sought the spiritual essence of humanity; and like Dali and Duchamp, he challenged perception and redefined modern form. His sculptures, carved in stone or cast in bronze, evoke both ancient and modern sensibilities, forms that appear to breathe with natural vitality while engaging directly with their surrounding landscapes. Moore’s “Shelter Drawings” (1940–41), created during the London Blitz, revealed his deep empathy for the human condition, marking a pivotal moment in his exploration of resilience and vulnerability. By the mid 20th century, Moore’s monumental bronzes had become landmarks around the world, from the Lincoln Center in New York to the UNESCO headquarters in Paris, embodying timeless symbols of endurance, renewal, and unity. His synthesis of organic abstraction and humanism influenced generations of sculptors including Barbara Hepworth, Isamu Noguchi, Eduardo Paolozzi, Antony Gormley, Anish Kapoor, and Rachel Whiteread. Like Kandinsky and Miro, he believed abstraction could transcend culture and time, while like Duchamp and Man Ray, he embraced experimentation as a pathway to new truths. Moore’s works, housed in major collections including the Museum of Modern Art in New York, the Tate in London, the Guggenheim Museum, and the Art Institute of Chicago, continue to define the landscape of modern sculpture for their elegance, power, and emotional depth. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Henry Moore remains a cornerstone of modern art—a sculptor whose vision united nature, form, and spirit into a universal language of beauty and meaning. His highest auction record was achieved by Reclining Figure: Festival (1951), which sold for 33100000 USD at Christies London on June 30, 2016, reaffirming Henry Moore’s enduring legacy as one of the most visionary, influential, and collectible sculptors in the history of modern art.
Henry Moore Red and Blue Standing Figures, Moore XXe Siecle 1951, Moore Desjobert lithograph, Moore velin paper, Moore collectible print.
- Creator:Henry Moore (1898 - 1986, British)
- Creation Year:1951
- Dimensions:Height: 12.4 in (31.5 cm)Width: 9.65 in (24.52 cm)
- Medium:
- Movement Style:
- Period:
- Condition:
- Gallery Location:Southampton, NY
- Reference Number:1stDibs: LU1465217507412
Henry Moore
Henry Spencer Moore OM CH FBA was an English artist. He is best known for his semi-abstract monumental bronze sculptures, which are located around the world as public works of art. As well as sculpture, Moore produced many drawings, including a series depicting Londoners sheltering from the Blitz during the Second World War, along with other prints and graphic works on paper.
His forms are usually abstractions of the human figure, typically depicting mother-and-child or reclining figures. Moore's works are usually suggestive of the female body, apart from a phase in the 1950s when he sculpted family groups. His forms are generally pierced or contain hollow spaces. Many interpreters liken the undulating form of his reclining figures to the landscape and hills of his Yorkshire birthplace.
Moore became well known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of modernism to the United Kingdom. His ability in later life to fulfil large-scale commissions made him exceptionally wealthy. Despite this, he lived frugally; most of the money he earned went toward endowing the Henry Moore Foundation, which continues to support education and promotion of the arts.
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