Popular interest in Moore's work was perceived by some to have declined for a while in the UK but has been revived in recent times by exhibitions including at Kew Gardens in 2007, Tate Britain in 2010, and Hatfield House in 2011. The Foundation he endowed continues to play an essential role in promoting contemporary art in the United Kingdom and abroad through its grants and exhibitions programme. Collections England The world's largest collection of Moore's work is open to the public and is housed in the house and grounds of the 70-acre estate that was Moore's home for 40 years in Perry Green in Hertfordshire. The site and the collection are now owned by the Henry Moore Foundation. In December 2005, thieves entered a courtyard at the Henry Moore Foundation and stole a cast of Moore's Reclining Figure 1969–70 (LH 608) – a 3.6 metre-long, 2.1-tonne bronze sculpture. Closed-circuit-television footage showed that they used a crane to lower the piece onto a stolen flatbed truck. A substantial reward was offered by the Foundation for information leading to its recovery. By May 2009, after a thorough investigation, British officials said they believe the work, once valued at £3 million was probably sold for scrap metal, fetching about £5,000. In July 2012 the bronze Sundial 1965, valued at £500,000, was stolen from the Moore Foundation. Later that year, following the details of the theft being publicised on the BBC Crimewatch television programme, the work was recovered, and the thieves were sentenced to twelve months' custody. Moore presented 36 sculptures, as well as drawings, maquettes and other works to the Tate Gallery in 1978. Toronto The Henry Moore Sculpture Centre in the Art Gallery of Ontario, Toronto, opened in 1974. It comprises the world's largest public collection of Moore's work, most of it donated by him between 1971 and 1974. Moore's Three Way Piece No. 2 (The Archer) has also been on display in Nathan Phillips Square at Toronto City Hall since 1966. Recognition In 1948, Moore won the International Sculpture Prize at the Venice Biennale. He turned down a knighthood in 1951 because he felt that the bestowal would lead to a perception of him as an establishment figure and that "such a title might tend to cut me off from fellow artists whose work has aims similar to mine". He was, however, awarded the Companion of Honour in 1955, the