Two of my Moore lithographs, both printed by W. S. Cowell on machine-made wove paper, were published in the Penrose Annual in 1950 to illustrate an essay by Noel Carrington on this new process, "Autolithography of plastic plates". The two Moore lithographs are described in the contents as "Plastic plate experimental lithographs". The first, untitled in Penrose, is described rather obliquely below the image as "Drawing by Henry Moore. First proof from a plate prepared experimentally." It is now known as Upper half of Standing Figures diptych (CGM 14), as Moore subsequently added a second panel below this image, with a group of five standing figures, and the resulting diptych was published in an edition of 50 copies by School Prints. Cramer et. al. seem to have been unaware of the separate publication of the upper half in the Penrose Annual. A printed note on the back tells us that this and the second lithograph, Seated Figure, were each drawn on four Plasticowell plates. For some reason, despite the fact this print is several times explicitly described as an autolithograph, that it was printed by W. S. Cowell specifically to show off the Plasticowell technique, and that it was issued as an illustration to Carrington's essay on this subject, I have seen this print described as a collograph (for instance by Stephen Laird in the catalogue to the exhibition Twentieth Century British Lithographs at Keynes College, University of Kent, in 2009), but I don't understand why.
Seated Figure (CGM 13) was also issued in an edition of 50 by School Prints, on a slightly larger sheet. Once again, the catalogue raisonné does not mention the separate publication in the Penrose Annual. Perhaps the most extraordinary thing about this monumental study is that when you turn over the sheet, you find, on the reverse, a second original lithograph - a charming study by Kathleen Hale from her autolithographed book Orlando Keeps a Dog.
For sheer incongruity, this must be one of the most surreal aesthetic linkages of all time. Luckily the paper is opaque with no show-through, so you are free to admire either the Moore or the Hale, as the fancy takes you.
My third and last lithograph by Henry Moore comes from the rare first issue of the re-launched Nouvelle Serie of the art revue XXe Siècle, edited by G. di San Lazzaro, which appeared in 1951. Later issues of XXe Siècle had a substantial print-run estimated at 2,000 copies, but the run for the early issues must have been much more modest, as they are extremely scarce. Entitled Red and Blue Standing Figures (CGM 36), it was also published in a signed and numbered edition of 30 copies. It is printed by Edmond and Jacques Desjobert on cream wove paper. Three of the figures also appear in Henry Moore's first tapestry, Three Standing Figures, which was woven in 1950.