Henry Moore, letter to Martin Butlin, 13 April 1961, Tate Artist Catalogue File, Henry Moore, A23942.
See Henry J. Seldis, Henry Moore in America, New York 1973, p.37.
Henry Moore at Perry Green, London 2011, p.34.
Henry Moore, Stringed Figure 1938, Arts Council Collection, http://www
.artscouncilcollection .org .uk /loadWork .do ?id =2566, old URL because new site being constructed. Add new link (and accessed date).
Mary Moore, ‘Stringed Figure’, in Gregor Muir (ed.), Henry Moore: Ideas for Sculpture, exhibition catalogue, Hauser & Wirth, London 2010, p.130.
David Sylvester, Henry Moore, exhibition catalogue, Tate Gallery, London 1968, pp.104–5.
Henry Moore cited in John Hedgecoe (ed.), Henry Moore, London 1968, p.105.
See Sylvester 1968, p.165.
Jane Wess, ‘The History of Mathematical Surface Models’, in Intersections: Henry Moore and Stringed Surfaces, exhibition catalogue, Royal Society and Science Museum, London 2012, p.7.
See Hedgecoe 1968, p.105.
Martin Hammer and Christina Lodder, ‘Hepworth and Gabo: A Constructivist Dialogue’, in David Thistlewood (ed.), Barbara Hepworth Reconsidered, Liverpool 1996, p.116.
Barbara Hepworth, letter to Ben Nicholson, 20 December 1935, Tate Archive TGA 8717/1/1/45–397.
Steven A. Nash, ‘Moore and Surrealism Reconsidered’, in Dorothy Kosinski (ed.), Henry Moore: Sculpting the 20th Century, exhibition catalogue, Dallas Museum of Art, Dallas 2001, p.48.
J. Desmond Bernal, ‘Art and the Scientist’, in Leslie Martin, Ben Nicholson and Naum Gabo (eds.), Circle: International Survey of Constructive Art, London 1937, pp.119–23.
Alfred H. Barr, Cubism and Abstract Art, New York 1936, p.133.
See Jacky Klein, ‘Model for ‘Construction in Space ‘Crystal’’ 1937 by Naum Gabo’, summary, September 2002, http://www
.tate .org .uk /art /artworks /gabo -model -for -construction -in -space -crystal -t02179 /text -summary, accessed 14 January 2013.
Cahiers d’Art, May 1936, no.1–2, pp.21–6.
For an online copy of the exhibition catalogue of the 1936 International Surrealist Exhibition see http://www
.romanianculture .org /downloads /Surrealism%20Catalogue .pdf,accessed 10 September 2012. For installation images of mathematical models on display in the Exposition surréaliste d’objets in 1936 see Dawn Ades (ed.), Dada and Surrealism Reviewed, exhibition catalogue, Hayward Gallery, London 1978, pp.322, 450.
Moore cited in Hedgecoe 1968, p.75.
David Sylvester, ‘The Evolution of Henry Moore’s Sculpture: I’, Burlington Magazine, vol.90, no.543, June 1948, p.164.
David Sylvester, Henry Moore, exhibition catalogue, Tate Gallery, London 1951, p.16, as quoted in Erich Neumann, The Archetypal World of Henry Moore, London 1959, p.69. See also Herbert Read, Henry Moore: A Study of his Life and Work, London 1965, pp.121–2, and John Russell, Henry Moore, London 1973, p.90.
Anita Feldman Bennet, ‘Surrealism, Space and String: Henry Moore’s Bird Basket’, in Henry Moore at Dulwich Picture Gallery, exhibition catalogue, Dulwich Picture Gallery, London 2004, pp.25–33.
[Richard Morphet], ‘Henry Moore: Four-Piece Composition 1934’, The Tate Gallery 1976–8: Illustrated Catalogue of Acquisitions, London 1979, p.120.
Henry Moore, ‘A Sculptor Speaks’, Listener, 18 August 1937, pp.338–40, reprinted in Alan Wilkinson (ed.), Henry Moore: Writings and Conversations, London 2002, p.198.
Henry Moore cited in Carlton Lake, ‘Henry Moore’s World’, Atlantic Monthly, January 1962, p.42, reprinted in Wilkinson 2002, p.256.
Peter Fuller, Henry Moore: An Interpretation, London 1993, p.32.
Henry Moore cited in Gemma Levine, Henry Moore: Wood Sculpture, London 1983, p.102.
Roger Berthoud, The Life of Henry Moore, 1987, 2nd edn, London 2003, p.183.
Tate cannot acquire works of art by artists while they are serving as trustees.
Minutes of Meeting of the Trustees of the Tate Gallery, 16 May 1957, Tate Public Records TG/4/2/742/2.
Jane Lascelles, letter to Henry Moore, 1 June 1961, Tate Public Records TG/20/6/1.
See Mary Moore 2010, p.130, and the Arts Council Collection, http://www
.artscouncilcollection .org .uk /loadWork .do ?id =2566