![](https://images.squarespace-cdn.com/content/v1/63a53c2939f9fd6cb4fcf597/1676965825226-GR0SIMBRD1ZX7MIV3B4Y/moore+porthgainj.pg+copy.jpg)
Raymond Moore loved traffic mirrors, empty streets, lonely beaches and soft light. He would wander, pointing his lens, breathing-in what he saw, unconcerned about finding an image and then, easily sensing a bit of poetry in the moment, he would press the shutter. Though he admired the work of many other artists his personal vision was unique and rarely influenced by any tradition. He was restrained with what he photographed and often said that for each image he created there were many others seen only in his mind that he still vividly remembered. Of those photographs he made, he felt that each offered a journey of its own.
Raymond Moore
Boy on Bicycle, Porthgain, 1964-65. Gelatin silver print, 6 3/8 x 9 on mount 14 x 17, signed mount verso. Printed ca 1968. Exhibited: George Eastman House 1970. and Tate Britain, 2010. SOLD
Alderny, 1966. Gelatin silver print, 7½ x 11¼ on mount 14 5/8 x 12½. Signed twice on mount verso. Printed prior to 1970. Exhibited: George Eastman House 1970.
Sussex, near Bognor, 1968. Gelatin silver print, 7 7/8 x 11½" on mount 13¾ x 16¾ Signed twice on mount verso. Printed prior to 1970. Exhibited: George Eastman House 1970, Art Institute of Chicago 1971.
Wales, 1964-65. Gelatin silver print, 7 5/8 x 4 3/8" on mount 12 ½ x 14" Unsigned, Printed prior to 1970
Pembrokeshire, 1964. Gelatin silver print, 13 ¼ x 9 3/8" on mount 19 ½ x 14 ½" Signed twice on mount verso. Printed prior to 1970. SOLD
Slate Fence, Wales, 1975, Gelatin silver print, 6 1/2 x 9 3/4" Signed mount recto. Printed 1975 SOLD