It was whilst working in a small room overlooking the fields at his home in Much Hadham in 1972 that Henry Moore first became aware of the sheep grazing there. He began to draw them and, as he sketched, he explored what they were really like the way they moved, the shape of their bodies under the fleece. They also developed strong human and biblical associations, and the sight of a ewe with her lamb evoked the mother-and-child theme a large form sheltering a small one which has been important to Henry Moore in all his work. Solid in form, sudden and vigorous in movement, Moore's sheep are created in a network of swirling and zigzagging lines, made in ball-point pen. The effect is both familiar and monumental. As Lord Clark, (author of Civilisation and Landscape into Art), comments in the text, We expect Henry Moore to give a certain nobility to everything he draws; but more surprising is the way in which these drawings express a feeling of real affection for their subject.'