"Everything I do, I intend to make on a large scale . . . Size itself has its own impact, and physically we can relate ourselves more strongly to a big sculpture than to a small one." —Henry Moore It was Moore’s intention that these large-scale forms be interacted with, viewed close-up, and even touched. In order that their heft and mass be perceived in a myriad of settings, they were most commonly placed outdoors, subject to the effects of changing light, seasons, and terrain. Within the controlled white environment of the gallery space, the sheer volume and mammoth proportions of the sculptures are more keenly felt. Brimming with latent energy, their richly textured surfaces and sensual, rippling arcs and concavities can be seen to new effect.

Lucian Freud is widely regarded as one of the greatest living artists, and drawing is fundamental to his development as an artist and to how he sees. Speaking recently about his early years he claimed, "I would have thought I did 200 drawings to every painting in those early days. I very much prided myself on my drawing." Drawing became an important part of Freud’s life from the start and a famous sketchbook, The Freud-Schuster Book, has survived dating back to January 1940, when Freud was in Snowdonia with Stephen Spender, as do sketches from Freud’s life as a merchant seaman on a cargo vessel in the Atlantic in 1941. His then surreal style lent itself to illustrations and his fascination with animals, birds, and fish was revealed in the famous line drawings he produced for Nicholas Moore’s book of poems, The Glass Tower (1944). This volume charts Freud’s work on paper, including the etchings, over his entire career. It includes the formative early work, the sketches in preparation for painting his masterpiece, Large Interior W11 (after Watteau) (1983), the sketches of the completed painting in the studio and the astonishing later studies of his mother. The book ends with the etchings of recent years. The works on paper are an extraordinary achievement, providing even deeper insights into the work of perhaps the greatest figurative artist of our time.

In the late 1920s, Lee Miller, already a legendary fashion model, left the United States to study photography in Paris. Here she became the disciple and lover of Man Ray, and rapidly developed into a witty surrealist photographer. She was soon taking on both portrait and fashion assignments for Vogue and running her own studio, first in Paris and later in New York. The Second World War saw her as Vogue's war correspondent: she covered not only the siege of St Malo and the liberation of Paris, but was also present with her camera when the US Army entered Dachau concentration camp. Her later years were spent in London with her husband, the painter, writer and collector, Roland Penrose, and at their Sussex home, Farley Farm.
During her extraordinary life, Lee Miller came into contact with an astonishing range of people including painters, sculptors, actors, writers, musicians, fashion designers and socialites. Many of these became her friends and also the subject of her penetrating portraits. The finest of these photographs, two-thirds of which are either unpublished or have not been seen in print for over fifty years, are collected together here for the first time. They include not only highly perceptive and sympathetic studies of Pablo Picasso, Max Ernst, Dora Maar, Igor Stravinsky, Henry Moore, Colette, Marlene Dietrich, Fred Astaire and others, but also pictures of unsung individuals engaged in war work. Most memorable of all are Miller's pictures of victims and perpetrators of Nazi oppression - some of the most powerful images from the last century.