Alfred William & Katherine Finch, Belgium (the sitter's parents, acquired directly from the artist)
Private Collection (by descent from the above)
Acquired by the present owners in 2014

Executed on buff wove paper, not laid down and t-hinged to the mount at the upper corners with tape. The sheet is time-stained, and there are some glue remnants along all four edges. There are some paper remnants from previous mounting, and some gilding from the previous frame, not visible when framed. This work is in overall good condition.
"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."

The sitter of the present tender and delicately observed work, Dorothy Finch, was the daughter of the British ceramicist and artist Alfred William Finch. Finch was active in Belgium and was one of the founding members of the group Les XX in 1883, alongside Théo van Rysselberghe. Finch moved to Finland at the end of the 1890s where he introduced French and Belgian Neo-Impressionism and became a pioneer of the Arts & Crafts movement. His daughter, Dorothy, later became a celebrated dancer.