Catalogue entry


Inscribed ‘Moore 0/7’ on side of base and stamped with foundry mark ‘H. NOACK BERLIN’ on foot
Bronze, 30 1/2 × 31 × 25 5/8 (77.6 × 78.8 × 65.2)
Presented by the artist 1978
Exh: Henry Moore, British Council, Salla Dalles, Bucharest, February–March 1966 and tour to Bratislava, Prague and Jerusalem, ending up at Tel-Aviv Museum, November–December 1966 (32, repr.); Henry Moore Exhibition in Japan, National Museum of Modern Art, Tokyo, August–October 1969 (59, repr.); Mostra di Henry Moore, Forte di Belvedere, Florence, May–September 1972 (133, repr.); Henry Moore-Fem Decennier Skulptur, teckning, grafik 1923–1975, Henie-Onstad Kunstsenter, Oslo, June–July 1975 and tour to Stockholm and Ålborg (72, repr.); Henry Moore, Expo Zürich, Zürcher Forum, Zurich, June–August 1976 (80); Henry Moore 80th Birthday Exhibition, Bradford Art Galleries and Museums, April–June 1978 (39, repr. in colour); The Henry Moore Gift, Tate Gallery, June–August 1978, repr. p.57
Lit: Herbert Read, Henry Moore, 1965, p.235 (repr. pl.227; plaster in progressive stages of modelling repr. pls.223–6); John Russell, Henry Moore, 1968, pp.204–9; Paul Waldo Schwartz, The Hand and Eye of the Sculptor, 1969, pp.199–200; Alan G. Wilkinson, The Moore Collection in the Art Gallery of Ontario, Toronto, 1979, pp.190–3 (original plaster repr. pl.170)
Repr: Alan Bowness (ed.), Henry Moore Sculpture 1964–73, 1977, no.534

Lund Humphries 534. There are eight bronze casts (including the artist's, now the Tate's); another is in the Hirshhorn Museum, Washington. The original plaster is in the Moore Collection, Art Gallery of Ontario. The large version of this sculpture (L.H.535) was unveiled in 1966 in Nathan Phillips Square, Toronto, in front of Toronto City Hall. A second cast is in the National Gallery, Berlin.

The history of Toronto's commission and the subsequent gift by Moore to the city of a large number of his sculptures and drawings can be found in Wilkinson, op. cit., who compares ‘Archer’ to the immediately preceding work ‘Three Way Piece No.1: Points’ (T02298) and concludes that both ‘attest to Moore's interest in full, three-dimensional realisation in sculpture.’ (p.192). As Wilkinson notes, both sculptures were probably meant to be seen in more than one position. For Moore's interest in making sculpture which can be turned and shown from different angles, see the note on T02281.

As with ‘Pipe’ (T02300), the sub-titles ‘Archer’ and ‘Points’ were given after the pieces were made as a means of identification. The word ‘Archer’ is particularly appropriate, however, since the forms of the sculpture suggest tension and that quality of ‘pent-up energy’ which Moore as early as 1934 (in his famous declaration ‘The Sculptor's Aims’ published in Unit One) had announced as being of fundamental importance to his work.

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