WHEN Henry Moore met surrealist artists in Paris for the first time in 1931-32 among them Giacometti, Arp and Miro, he was already noted artist and teacher. His early period lay behind him. In London he ranked, beside Hepworth, Skeaping and Lambert, as the most outstanding representative of the younger generation of sculptors imbuing with his own vitality and extending the avant-garde achievements of Gaudier-Brzaska, Epstein, Dobson, Gill and Underwood. 

MOHOLY-NAGY had made three short, exploratory visits to London before setting there on 19th or 20th May 1935, as a refugee from Nazism. The changed German atmosphere, that, in the nineteen twenties, had nurtured his ideas and made him the most influential stimulant at Walter Gropius's Bauhaus school of design, paralysed his development in 1933. He felt the effects even in Holland where he worked as art director for the new International Textiles, launched by a former patron, Ludwig Katz, who had fled from Berlin at Hitler's election. 

THE following description of Sickert and of a lecture he gave to the School of Painting and Drawing, Euston Road, was written by Duncan Grant on 6th and 7th July 1938. William Coldstream and Victor Pasmore, prominent figures in the running of the School (at 317 Euston Road, WC1) on the afternoon of the 6th July. Sickert and his wife, the painter Therese Lessore, came up from London from their house at St Peter's-in-Thanet, and lunched at 8 Fitzroy Street in Vanessa Bell's studio. 

FOLLOWING the publication of the catalogue of the exhibition Stanley Spencer RA, shown recently at the Royal Academy, a hitherto unknown painting of the Crucifixion by Spencer has come to light. The discovery of this painting is especially interesting as no other painting of the Crucifixion was known to have been done by Spencer between 1921 version of the theme (Aberdeen Art Gallery & Museum) and his 1958 version (The Letchmore Trust).

IN about 1916, Sickert made at least three versions of the composition known as Suspense. The best known of these paintings is that in the Ulster Museum. A smaller study, sold at Sotherby's, 14th July 1965, was bought by de Jongh but its location is unknown to the present writer. However, a version larger than that in the Ulster Museum was known to have been painted, but is not recorded after the Spring of 1918, when it is thought to have been sent to Japan.