Alex Reid & Lefevre, London, where acquired by Leonard Elmhirst, 15th March 1944 for £16.16.0
Gifted by Dorothy Elmhirst to The Dartington Hall Trust, 25th March 1965

London, Alex Reid & Lefevre, Cecil Collins, February 1944, cat. no.40;
London, Whitechapel Art Gallery, Cecil Collins: A Retrospective Exhibition of Paintings, Drawings and Tapestries 1928-1959, November - December 1959, cat. no.164;
Plymouth, Plymouth Arts Centre, Tribute to Cecil Collins, 6th November - 3rd December 1983, cat. no.25;
Aldeburgh, Festival Gallery, Cecil Collins, June 1984;
London, The Tate Gallery, Cecil Collins, 10th May - 19th July 1989, cat. no.86;
Plymouth, City Museum & Art Gallery, Drake Circus, Cecil Collins Full Circle (1908-1989), 8th November - 5th January 1991, cat. no.16.

John Lane, 'Cecil Collins in Retrospect', The Screen Book, vol.III, no.2, (undated) illustrated p.9;
Alex Comfort, Cecil Collins: Paintings and Drawings 1935-45, Oxford, 1946, p.34;
Cecil Collins, The Vision of the Fool, London, 1947, illustrated pl.26;
William Anderson, Cecil Collins: the Quest for the Great Happiness, London, 1988, illustrated pl.85;
Cecil Collins (introduction), The Dartington Years 1936-1943, High Cross House, Dartington Hall Trust, 1997, illustrated p.22.

The sheet is not laid down but is attached to the backing in two places along the top edge. There are four small patches in the corners, three which are not visible in the current mount. There is a repaired vertical tear measuring 17cm in length along the right edge, which includes a patched loss measuring 7.5cm in length, visible in the catalogue illustration. There are two additional small repaired tears, one in the upper left corner measuring approximately 1.5cm and one along the centre of the bottom edge measuring 2cm. There is a minor surface indentations in the upper right quadrant. The sheet has discoloured slightly, visible about the edges, and there are a few tiny isolated specks of staining to the background. Held under glass in a stained wooden frame with a cream mount. Please telephone the department on 020 7293 6424 if you have any questions regarding the present work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

On the 23rd Feℱbruary 1944 the St James area of London was badly bombed and the present work was one of several blown off the walls during Collins' exhibition at the Lefevre Gallery.

In a letter, 20th March 1944, Dorothy wrote to Cecil:
'I am afraid you have been suffering great anxiety over your pictures, but it is good to know, isn't it, that have all escaped and that my own four treasures are here at Dartington? I called for them ten days ago at M🌌r. McDonald's [Lefevre Director] new gall🎉ery and brought them back by hand.'