Catalogue entry


Inscribed ‘Moore 0/7’ on base and stamped with foundry mark ‘H. NOACK BERLIN’ on foot
Bronze, 25 5/8 × 28 × 29 1/4 (65.2 × 71.2 × 74.3)
Presented by the artist 1978
Exh: Henry Moore, University of York Visual Arts Society, Heslington Hall, March 1969 (36); Henry Moore Drawings and Sculpture, Arts Council, Supplementary Works lent by Henry Moore, Gordon Maynard Gallery, Welwyn Garden City, July 1969 (H.M.7); Henry Moore, Musée Rodin, Paris, 1971 (47, repr.); Henry Moore Sculpture Drawings Graphics, Turnpike Gallery, Leigh, Lancs., November–December 1971 (16); Mostra di Henry Moore, Forte di Belvedere, Florence, May–September 1972 (132, repr.); Henry Moore - Fem Decennier Skulptur, teckning, grafik 1923–1975 Henie Onstad Kunstsenter, Oslo, June–July 1975 and tour to Stockholm and Ålborg (71, repr.); Henry Moore, Expo Zürich, Zürcher Forum, Zurich, June–August 1976 (79); Henry Moore 80th Birthday Exhibition, Bradford Art Galleries and Museums, April–June 1978 (38, repr.); The Henry Moore Gift, Tate Gallery, June–August 1978, repr. p. 56
Lit: John Russell, Henry Moore, 1968, pp.204–9 (repr. pl.215, 16); John Hedgecoe and Henry Moore, Henry Moore, 1968, p.501; Alan G. Wilkinson, The Moore Collection in the Art Gallery of Ontario, Toronto, 1979, pp.192–3 (original plaster repr. fig.152)
Repr: Alan Bowness, (ed), Henry Moore Sculpture 1964–73, 1977, repr. pls.24, 25

This work is no.532 in Lund Humphries; an edition of seven bronzes was made, plus the artist's cast, now the Tate's. The original plaster is in the Moore Collection, Art Gallery of Ontario, but was irreparably damaged in 1974. T02298 was based on a maquette (L.H.531) and was itself enlarged to over six feet high and nearly eight feet long. There are three casts of this final bronze (L.H.533), including one at Columbia University, New York.

Wilkinson, following David Sylvester (in the 1968 Tate Gallery exhibition catalogue), traces the source of the work to a flintstone with three points touching the ground. In Hedgecoe Moore wrote that the sculpture ‘was an attempt to show one work from below as well as from on top and from the side. My idea was to make a new kind of sculpture, less dependent on gravity, which could be seen in at least three positions and be effective in all of them; a sculpture which you could understand more completely because you know it better. This worked in the maquette, but I made the finished bronze sculpture too large and heavy to be turned over by one person.’ Wilkinson notes that the maquette can be placed in at least seven different positions.

Alan Bowness (op. cit., p.11) stresses the ‘remarkable three-dimensional variety’ of the two ‘Three Way Pieces’ - ‘Points’ and ‘Archer’ (T02299) - both of which include a pointing motif.

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