Volume 3 of the six-volume catalogue of Henry Moore's drawings deals with the years of the Second World War, the only period of Moore's working life when he was not actively involved in making sculpture. This decade includes the birth of Moore's daughter Mary in 1946, his one-man exhibition at the Museum of Modern Art, New York in the same year, and his long association with Curt Valentin and the Buchholz Gallery, New York. Moore was appointed an Official War Artist in 1940 and his drawings of figures in the London Underground shelters during the Blitz brought his work before the general public for the first time. At the end of 1941 he visited Wheldale Colliery in Yorkshire, where his father had been a miner thirty years earlier, to record miners working at the coalface. After these commissions, other drawings such as mother and child studies and family groups were made for sculpture projects, while the birth of his daughter led to an outpouring of drawings of his wife Irina and of Mary. In addition to sculptural themes, Moore experimented with textile designs, and in response to literary commissions he illustrated Edward Sackville-West's The Rescue, 1946, and André Gide's Prométhée, 1949. This was a rich period for Moore's drawings in both technique and subject-matter, introducing new ideas that were later to find expression in sculptural form and to bring him worldwide recognition.