Catalogue entry


Inscribed ‘Moore 8/9’ and stamped with foundry mark ‘H. NOACK BERLIN’ on base
Bronze, 49 3/4 × 28 1/4 × 24 1/8 including base (126.4 × 71.8 × 61.3)
Presented by the artist 1978
Exh: Henry Moore: an exhibition of sculpture from 1950–1960, Whitechapel Art Gallery, December 1960–January 1961 (67, repr.); Henry Moore: an exhibition of sculpture and drawings, Arts Council, Cambridge, York, Nottingham and Southampton, 1962 (46, repr.); Henry Moore: an exhibition of sculpture and drawings, Ferens Art Gallery, Kingston upon Hull, October–November 1963 (36); Henry Moore Sculptures and Drawings, New Metropole Arts Centre, Folkestone, April–May 1966 and City Art Gallery, Plymouth, June–July 1966 (41); Henry Moore, Rijksmuseum Kröller-Müller, Otterlo, May–July 1968, Museum Boymans-Van Beuningen, Rotterdam, September–November 1968 and Mathildenhöhe Darmstadt, Spring 1969 (106, repr.); Henry Moore, Arts Council, Tate Gallery, July–September 1968 (113); Henry Moore, University of York Visual Arts Society, Heslington Hall, March 1969 (25); Henry Moore Drawings and Sculpture, Arts Council, Supplementary Works lent by Henry Moore, Gordon Maynard Gallery, Welwyn Garden City, July 1969 (HM4); Henry Moore Exhibition in Japan, National Museum of Modern Art, Tokyo, August–October 1969 (46, repr.); Henry Moore: Sculpture, Drawings, Graphics, Turnpike Gallery, Leigh, Lancs., November–December 1971 (8); Henry Moore, Playhouse Gallery, Harlow, March–April 1972 (2); Mostra di Henry Moore, Forte di Belvedere, Florence, May–September 1972 (112, repr.); The Henry Moore Gift, Tate Gallery, June–August 1978, repr. p.43
Lit: Herbert Read, Henry Moore, 1965, p.240 (repr. pl.231); John Russell, Henry Moore, 1968, pp.159–161 (repr. pl.171); John Hedgecoe and Henry Moore, Henry Moore, 1968, p.351 (repr.); Alan Bowness, Introduction to Henry Moore Sculpture 1964–73, 1977, p.13
Repr: Alan Bowness (ed.), Henry Moore Sculpture 1955–64, 1965, pl.102, 103

This work is no.470 in the Lund Humphries catalogue of Moore's sculpture; it was cast in an edition of nine bronzes.

In Hedgecoe, op. cit., Moore wrote that ‘“Three-Part Object” is a strange work, even for me. Three similar forms are balanced at angles to each other. In my mind it has a connection with insect life, possibly centipedes. Each segment has a leg, and there is an element in the sculpture nearer to an animal organism than a human one.’ In conversation with the compiler (12 December 1980), the artist pointed to the free invention of forms in this work and thought that they combined to produce a convincing organic whole with a life of its own. Bowness describes the sculpture as ugly and its forms as ‘snout-like’ and sees it as a reminder that ‘Moore has always preferred vitality to beauty.’ (op. cit., 1977, p.13)

Published in:
The Tate Gallery 1978-80: Illustrated Catalogue of Acquisitions, London 1981