Alick Schepeler, from whom acquired by Silvia Mason
Private Collection
Maas Gallery, London, where acquired by the present owner

The sheet is sound and not laid down, but is attached to the backboard with adhesive tape in the upper corners. There are artist pinholes to the centre of the upper edge, an old tiny repair to pinholes in the lower left corner, and some discoloration from a previous mount about the edges, although none of this is visible in the current mount. There is a faint area of discoloration running from the woman's chin to the right edge. Otherwise the work is in good overall condition. Held under glass in a gilt composition frame with a blue grey and white 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."

Born in Russia in 1882, Alexandra (Alick) Shepeler was raised in Poland following her father's death. She later settled in London where she worked as a secretary at the Illustrated London News for over fifty years and it was there in 1906 that she met Augustus John. John mentions his fascination with her in his autobiography, Chiaroscuro: 'I was at this time principally occupied in drawing and painting a subject, Alick Schepeler, to whose strange charm I had bowed. I made many drawings of Miss Schepeler who, of Slavonic origin, illustrated in herself the paradox of Polish pride united to Russian abandon. An infinite capacity for laughter was the result - laughter and sometimes tears' (Augustus John, Chiaroscuro: Fragments of Autobiography, 1952, p.52). While Alick only modeled for John over a short period, the 18 drawings of her in existence are amongst the best of his oeuvre, rivalling even those of Dorelia, who was extremely jealous of her at the time. Portraits of Alick can be found in the collection of the Fitzwilliam Museum, Cambridge and Manchester City Art Gallery, and she also sat for paintings such as La Séraphita, which was burnt in one of the artist's cigarette-fires during the 1930s.