Alex Reid & Lefevre, London, where acquired by Dorothy Elmhirst for 10gns in 1935
Gifted by Dorothy Elmhirst to The Dartington Hall Trust, 25th March 1965

London, Alex Reid & Lefevre, New Paintings and Drawings by William Roberts, February - March 1935;
Dartington Hall, High Cross House, c2000 - 2010.

The sheet is sound and not laid down but is attached to the backing in the corners. The right edge of the sheet is uneven with a small loss in the bottom corner, not visible in the current mount. There are artist's pinholes along the edges. The sheet is slightly discolored but otherwise the work is in good overall condition. Held in a simple wooden frame under glass. Please telephone the department on 0207 293 6242 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."

This finely detailed drawing is characteristic of a number of William Roberts' drawings of the 1930s that move beyond being merely studies for paintings and are given a level of finish that make them totally complete in their own right. Examples of other such drawings are The Masks (1934) and the Victoria and Albert Museum's drawing He Knew Degas (1938). The rounded representation of the figures in the early 1930s differs from Roberts' more angular work of the 1920s and was to become quite  monumental at the end of the decade. The present work is a study for an oil of the same title formerly in The Evill/Frost Collection (sold in these rooms, 16th June 2011, lot 170 for £109,250).

We are grateful to David Cleall for his kind assistance with the cataloguing of the present wor🌳k.