This version of the catalogue is arranged chronologically. For a version arranged alphabetically, click here.

This list demonstrates the scope, scale and themes of William Roberts’s work. It does not attempt to be a definite list of all of his paintings and drawings, but it is hoped it will encourage owners, enthusiasts and researchers to come forward with further information.

Since the majority of William Roberts’s work is not dated, much of the exact chronology is speculative. The main sources of information that have been used are exhibition catalogues, sales catalogues and other publications. The details these provide are often vague, however, with some apparently dated works having been post-dated. When no date is available, I have usually assumed that a painting or drawing has been completed within a short time of its first exhibition. Where I have been able to refer to an image, stylistic development of Roberts’s work gives a clue as to the date of the work, and biographic information on the sitter, purchaser or patron is also helpful.

Titles of works are a further problem. Drawings and watercolours used as studies for an oil painting are often given different titles from the oil painting. Works are often exhibited under more than one title, and on many occasions the same subject is revisited at a later date.

Works are listed in the following order: works dated to ‘c.19XX’ and works dated to ‘19XX’ appear in a single alphabetical sequence, followed by works dated to 19XX–Z’ etc. For example, works dated to ‘c.1920’ and works dated to ‘1920’, appear together, followed by those dated to ‘1920–23’. Portraits are listed under the first name of the sitter, so that ‘Ernest Cooper, Esq.’ appears under ‘E’. Where no first name is given, the portrait is listed under the sitter’s title, e.g. ‘Aircraftman Shaw’; otherwise names including titles are inverted. Measurements are given height before width, in centimetres. Full details of exhibitions mentioned appear on a separate page. Full details of publications listed in short-title form can be found in the bibliography.

It would be very helpful if readers would notify me of any inaccuracies that they are aware of. I can be contacted by email

or via the William Roberts Society, c/o Marion Hutton, Lexden House, Tenby, Pembs SA70 7BJ, UK.

David Cleall

*


‘Early in life Roberts discovered the narrow range of subjects he wished to represent.’

John Rothenstein, Modern English Painters, Vol. 2: Nash to Bawden

*

‘If subjects taken from War, Rural Life, Modern Town Life, Greek Mythology, Christian Mythology can be called narrow, I would be interested to know Rothenstein’s definition of a wide range.’

William Roberts, A Reply to My Biographer Sir John Rothenstein

*

Above: William Roberts’s cover design for his own publication of 1976

1908

Back View of a Woman Carrying a Sheaf of Corn, c.1908. (‘This is like a detail from an early sixteenth-century painting by some artist such as Andrea del Sarto’ – Tate Gallery 1965 catalogue.) Pen and ink and wash, 18 x 9. PROVENANCE: W. P. Robins > Victoria & Albert Museum (gift 1921). EXHIBITION HISTORY: Tate Gallery 1965

Calvary, c.1908. (‘Seems to have been done in imitation of Tintoretto’ – Tate Gallery 1965 catalogue.) Wash, 18.75 x 50. PROVENANCE: W. P. Robins > Victoria & Albert Museum (gift 1921). EXHIBITION HISTORY: Tate Gallery 1965

Head of a Girl and Other Studies, c.1908. (The girl’s head is inscribed ‘A Smiling Girl’, and a study for a Crucifixion is inscribed ‘A Pitiful Object’.) Red chalk and pencil, 22.5 x 8.75. PROVENANCE: W. P. Robins > Victoria & Albert Museum (gift 1921). EXHIBITION HISTORY: Tate Gallery 1965



Portrait of a Boy Wearing a Blue Scarf (self-portrait – signed twice), suggested date 1908–10 (also dated c.1909–12 and c.1911–13 National Portrait Gallery). Watercolour, pencil and blue crayon, 27 x 26. PROVENANCE: Graeme Shankland, London > Christie’s 6 Mar. 1987 > National Portrait Gallery (purchased 1991)

1909

Girl with a Red Nose, 1909 (the model was the artist’s sister). Red chalk on paper, 30.5 x 22.9. PROVENANCE: Sir Edward Marsh > Arts Council. EXHIBITION HISTORY: Chenil Galleries 1923? (cf. A Girl’s Head), Whitechapel Gallery 1929, Tate Gallery 1965, Newcastle 2004. REPRODUCED: Heard, William Roberts, p. 17

Studies of the Artist’s Father, Brothers and Sister, 1909 (dated). Red chalk, 35.5 x 22.9. PROVENANCE: Estate of John David Roberts (2001). EXHIBITION HISTORY: Tate Gallery 1965, Anthony d’Offay Gallery 1980, National Portrait Gallery 1984, Cambridge 1985. REPRODUCED: Williams, William Roberts, p. 10



Self-portrait, suggest 1909–10 (also dated as 1911). Red chalk, 24.1 x 19. PROVENANCE: Dora Carrington > Noel Carrington (till 1971) > private collection. EXHIBITION HISTORY: Hayward Gallery 1974, Hayward Gallery 1976, Anthony d’Offay Gallery 1980. REPRODUCED: Williams, William Roberts, p. 12

1910

Head of a Youth, c.1910. Drawing, 35.5 x 25.3. PROVENANCE: Sold 1984? EXHIBITION HISTORY: Chenil Galleries 1923?

Portrait of the Artist’s Brother, 1910. Pen drawing, 21 x 15. PROVENANCE: Jacob Kramer > ? > Sotheby’s 13 Nov. 1985. EXHIBITION HISTORY: Albemarle Gallery 1989



Cyril Butler, Sir, 1910–12. Red chalk, 55 x 37.9. PROVENANCE: With the Mayor Gallery, 1969, from whom acquired by the Fitzwilliam Museum, Cambridge, with the University Purchase Fund, 1969. William Roberts wrote to the Fitzwilliam Museum in July 1969 confirming the attribution and describing the circumstances of the sitting (‘was done about 1911 or 1912 during my student days at the Slade’). EXHIBITION HISTORY: Cambridge 1985

1911

Carpenters at Work – study for wall mural at Bishop Creighton House, c.1911. Pencil and ink on buff paper, 34.1 x 19 (also described as 49.5 x 34.3 – Cork, Art Beyond the Gallery). PROVENANCE: Anthony d’Offay Gallery 1980 > Whitworth Art Gallery, Manchester (Victoria & Albert Museum Purchase Grant). EXHIBITION HISTORY: Anthony d’Offay Gallery 1980. REPRODUCED: Cork, Art Beyond the Gallery

Portrait of the Artist’s Brother, c.1911 Graphite on buff paper, 24 x 19. PROVENANCE: British Museum (purchased 1985). EXHIBITION HISTORY: Newcastle 2004. REPRODUCED: Heard, William Roberts, p. 17

Section of Mural Wall Painting, Fulham Girls’ Club, 1911

1912

David Choosing the Three Days’ Pestilence, 1912. Pencil and ink on paper, 47.8 x 41.8. PROVENANCE: Tate Gallery (T06668), presented by Butchard/Bevis/Tupper 1992. EXHIBITION HISTORY: Hayward Gallery 1974, Newcastle 2004. REPRODUCED: Cork, Bomberg

Legend of Cuchulain, The – design for a wall painting, Crosby Hall, 1912

Portrait of Slade Model (I assume this is Portrait of an Old Man), date unknown – suggest 1912. Oil on canvas, 46 x 35.5. Signed and inscribed ‘A slade model who sat as a young man for Millais Speak! Speak!’ on the reverse. (The subject was ‘an old grey-haired Italian model, who as a young man had posed for Millais’ painting, entitled “Speak, Speak!” [1895]. He was very proud of this, and would tell the students “Me, Speak, Speak”’ – Roberts, Early Years, p. 12.) PROVENANCE: Guy Eccles > Sotheby’s 3 Nov. 1982 > ? > Sotheby’s 18 March 2008 (estimate £4,000–£6,000, unsold)

Portrait of Young Man, c.1912. Pencil. PROVENANCE: James Kirkman

Resurrection, The (Slade School Sketch Club subject), 1912 (dated). Pencil, pen and ink, 30.5 x 30.5. PROVENANCE: St John Hutchinson > Leicester Galleries > Wilfrid Evill > Miss Honor Frost. EXHIBITION HISTORY: Whitechapel Gallery 1914, Grosvenor House 1923, Vienna 1927, Leicester Galleries 1947, Tate Gallery 1952, Brighton Art Gallery 1965, Tate Gallery 1965, Hayward Gallery 1974, Anthony d’Offay Gallery 1980. REPRODUCED: Williams, William Roberts, p. 14

Unidentified Subject (Old Testament or mythical subject, perhaps subject of Slade School Sketch Club?), c.1912? Pen, ink and watercolour with scratching out, squared, 61 x 61. PROVENANCE: Redfern Gallery > Sir Ralph Richardson > Sotheby’s 15 May 1985. EXHIBITION HISTORY: Empire Art Loan Exhibition (further details unknown) 1953, Barbican Art Gallery 1989



Ted Roberts (father of William Roberts), c.1912–13. Pencil drawing used as greetings-card illustration by Ted. Labelled ‘a drawing by Paddy’. PROVENANCE: Tony Baker (William Roberts’s cousin)

Dancers, The – study, 1912–14. EXHIBITION HISTORY: New York 1917 (as The Dance? – cf. Cork, Vorticism and Its Allies), Hayward Gallery 1974 (photograph of). REPRODUCED: The New Age, 16 Apr. 1914

1913

Billingsgate, 1913. Pen, ink and chalk, 45 x 37.5. PROVENANCE: Sir Cyril Butler (commissioned) > Christie’s 26 Apr. 1963 > Valentine Swain. EXHIBITION HISTORY: Leicester Galleries 1964, Tate Gallery 1965, Hayward Gallery 1974. REPRODUCED: Cork, Vorticism and Abstract Art, vol.1

Billingsgate Market – study, 1913 (completed when the artist was still at the Slade). Pen, black ink, grey wash, squared, 33 x 27. Sir Cyril Butler (commissioned) > Christie’s 1986

Leadenhall Market (aka Factory Agitation Redfern Gallery 1963), 1913. Pen and ink, squared, 65 x 49.5. PROVENANCE: Sir Cyril Butler (commissioned) > Richard Tracy > Redfern Gallery > Tate Gallery (T00581, 1963). EXHIBITION HISTORY: Redfern Gallery 1963, Tate Gallery 1965, Hayward Gallery 1974

Loading Barges, 1913. Pencil, 44 x 40. PROVENANCE: Redfern Gallery > Mrs H. S. Mackintosh (1965). EXHIBITION HISTORY: Redfern Gallery 1963, Tate Gallery 1965

Nativity (aka Holy Child) – study, c.1913. (Projected entry for Prix de Rome, 1913.) Pencil, ink and watercolour, 39 x 48 . PROVENANCE: Private collection (London). EXHIBITION HISTORY: Hayward Gallery 1974, Parkin Gallery 1976, Maclean Gallery 1980. REPRODUCED: Cork, Vorticism and Abstract Art, vol. 1

Nativity – study, c.1913. Charcoal and watercolour, 28 x 35.5. PROVENANCE: Vint Trust – Bradford Art Gallery and Museum. EXHIBITION HISTORY: Chenil Galleries 1923, Hayward Gallery 1974, Leeds/Ben Uri Gallery 2003. REPRODUCED: Leeds/Ben Uri Gallery 2003 catalogue, back cover

Prisoner, The? c.1913? LOST

Return of Ulysses, The – study, c.1913. Pen and chalk, 30.5 x 46. PROVENANCE: Tate Gallery (T01561, purchased 1972)

Return of Ulysses, The – study, 1913. Chalk and watercolour, 30.5 x 45.5. PROVENANCE: Purchased from artist c.1913 > Sotheby’s 14 July 1965 > Lord’s Gallery > Tate Gallery (T00878, bought 1966). EXHIBITION HISTORY: Tate Gallery 1965, Hayward Gallery 1974, Venice 1986, Newcastle 2004, REPRODUCED: Futurismo e Futurismi (New York: Abbeville, 1986)

Return of Ulysses, The, c.1913. Oil on canvas, 30 x 45. PROVENANCE: Sir Edward Marsh > Contemporary Art Society > Castle Museum and Art Gallery, Nottingham (1954). EXHIBITION HISTORY: New English Art Club 1913, Chenil Galleries 1923, Whitechapel Gallery 1929, Venice 1932, Tate Gallery 1952, Leicester Galleries (2) 1953, Tate Gallery 1965, Hayward Gallery 1974, Newcastle 2004. REPRODUCED: Williams, William Roberts, p. 21



Dancers, The, 1913–14. Oil on canvas. EXHIBITION HISTORY: Rebel Art Centre 1914, Whitechapel Gallery 1914 (as The Dance (q.v.)?), New York 1917? (as The Dance? – cf. Cork, Vorticism and Its Allies). REPRODUCED: Blast! no. 1 (illust. xiii, p. 96); also Roberts, Some Early Abstract and Cubist Work, p. 5. LOST

Lord of Song, The, 1913–14. (The Sitwells present a laurel wreath to the Russian singer Fyodor Chaliapin.) Pencil sketch. PROVENANCE: British Museum? EXHIBITION HISTORY: National Portrait Gallery 1994

Religion, 1913–14. Watercolour, 75.5 x 56. EXHIBITION HISTORY: Rebel Art Centre 1914, Doré Galleries 1915, New York 1917, Hayward Gallery 1974 (photograph of). REPRODUCED: Blast! no. 1; The New Age, 16 Apr. 1914; Roberts, 8 Cubist Designs

1914

At the Fox-trot Ball, 1914. Pencil, ink and sepia wash, 35 x 25.5. PROVENANCE: W. R. P. George > T. T. Andreae (sold 1985, £1,800?) > Christie’s 13 Nov. 1987. EXHIBITION HISTORY: Hamet Gallery 1971, Parkin Gallery 1976. REPRODUCED: Cork, Vorticism and Abstract Art, vol. 2, p. 377

Boxers, 1914. EXHIBITION HISTORY: New English Art Club 1914 (?), London Group 1915. Cf. Boxers 1919 and The Novices c.1921

Parting, The, 1914. (‘A number of my abstract pictures painted during the period 1913–1915 have been lost or destroyed; The Parting, exhibited at the Twentieth Century Art show at the Whitechapel in 1914, is one of this batch’ – Roberts, Some Early Abstract and Cubist Work, p. 8.) EXHIBITION HISTORY: Whitechapel Gallery 1914. LOST

Toe Dancer, The, 1914. (‘The subject was derived from the dances performed by the wife of Stewart Gray, the hunger marcher, at their home in Ormonde Terrace in the Autumn of 1914’ – Tate Gallery 1965 catalogue.) Ink and gouache, 72 x 54. PROVENANCE: Captain Lionel Guy Baker > Victoria & Albert Museum (1919). EXHIBITION HISTORY: London Group 1915, New York 1917 (Dancer could be Toe Dancer?), Tate Gallery 1965, Hayward Gallery 1974, Newcastle 2004. REPRODUCED: Williams, William Roberts, p. 26

1915

Boatmen, The, 1915. (‘A large abstract composition The Boatmen, shown at the Second London Group exhibition and which Lewis mentions in Blast no. 2, was … lost during the later part of the War’ – Roberts, Some Early Abstract and Cubist Work, p. 8). EXHIBITION HISTORY: London Group 1915. LOST

Bombardment of Scarborough, The, 1915. Rejected New English Art Club

Combat, c.1915. Ink. Published in Blast! no. 2, p. 55. EXHIBITION HISTORY: Hayward Gallery 1974 (photo). REPRODUCED: Cork, A Bitter Truth. Cf. Combat 1967. LOST

(recto) Crowd, The, 1915. Pen and ink, 17.5 x 22.5. Cf. The Crowd c.1925
(verso) A House. (‘On verso there is another drawing entitled A House’ – Parkin Gallery 1976 catalogue.)
EXHIBITION HISTORY: Parkin Gallery 1976.

Dominoes (study for Le Jeu), c.1915. Pencil and ink, 17.2 x 10.8. EXHIBITION HISTORY: Anthony d’Offay Gallery (1) 1969, Hamet Gallery 1971, Hayward Gallery 1974. REPRODUCED: Roberts, 8 Cubist Designs

Flying Dutchman, The – study, c.1915. Pencil, pen and ink, 21 x 16. PROVENANCE: ? > Christie’s 13 June 2002 > ? > Sotheby’s 19 May 2004 (£1,800). EXHIBITION HISTORY: Hamet Gallery 1971, Hamet Gallery 1973, Parkin Gallery 1976

German Attacks in France (aka Great German Activity), 1915. Pen and ink, 8.6 x 10. EXHIBITION HISTORY: Parkin Gallery 1976

Jeu (aka The Draughts Players; also titled as Jen in error, New York 1917), 1915. Medium unknown, 156 x 112.5. (‘“Dominoes” could be a rough draft for one of those lost pictures, that was named in the Grosvenor Gallery catalogue as “Le Jeu”’ – Roberts, 8 Cubist Designs. The dimensions of this lost painting and the information about the misspelled title Jen are from Cork, Vorticism and Its Allies, p. 85.) PROVENANCE: John Quinn > sold 1927. EXHIBITION HISTORY: Doré Galleries 1915, New York 1917. LOST

Machine Gunners, 1915. Ink. Published in Blast! no. 2, p. 87. EXHIBITION HISTORY: Hayward Gallery 1974 (photo). REPRODUCED: Williams, William Roberts, p. 29. LOST

Overbacks, 1915. Medium unknown, 133.5 x 108. EXHIBITION HISTORY: Doré Galleries 1915, New York 1917. LOST

Party, The, 1915. (‘Several paintings, including The Draught Players and The Party, shown with the Vorticists at the Doré Gallery and afterwards bought by John Quinn of New York, were somehow destroyed in America’ – Roberts, Some Early Abstract and Cubist Work, p. 8.) EXHIBITION HISTORY: Doré Galleries 1915, New York 1917. PROVENANCE: John Quinn (sold 1927). LOST

St George and the Dragon – study, 1915. Pencil, 24.5 x 19. EXHIBITION HISTORY: Anthony d’Offay Gallery (2) 1969, Hayward Gallery 1974, New York 1977, Anthony d’Offay Gallery 1980, Anthony d’Offay Gallery 1982, New Haven 1983, Anthony d’Offay Gallery 1986, Venice 1986, New York 1988 (no further information). REPRODUCED: William Roberts, 8 Cubist Designs

St George and the Dragon, 1915 (pub. Evening News, 23 Apr. 1915). EXHIBITION HISTORY: Hayward Gallery 1974 (photo ‘facsimile of the lost line drawing (perhaps) by Roberts himself’ – Richard Cork). REPRODUCED: Cork, A Bitter Truth; Williams, William Roberts, p. 29. LOST

Street Games – study (aka Overbacks?), 1915. Pencil and ink, 28 x 16.5. EXHIBITION HISTORY: Anthony d’Offay Gallery (1) 1969, Hamet Gallery 1971, Hayward Gallery 1974, Parkin Gallery 1976. PROVENANCE: Sotheby’s Dec. 1968 > T. T. Andreae. REPRODUCED: Roberts, 8 Cubist Designs

(recto) Theatre I – study, 1915. Pencil on paper, squared, 22.5 x 15.5
(verso) Theatre II. Pencil, ink and watercolour, 22 x 17
PROVENANCE: Sotheby’s Dec. 1968 > Rodney Capstick-Dale Collection. EXHIBITION HISTORY: Anthony d’Offay Gallery (2) 1969, Hayward Gallery 1974, Parkin Gallery 1976, Maclean Gallery 1980. REPRODUCED: Roberts, 8 Cubist Designs (recto and verso)

Theatre III – study, c.1915. Pencil, 22 x 16. PROVENANCE: Handley-Read. EXHIBITION HISTORY: Anthony d’Offay Gallery (2) 1969, Arts Council 1970, Hayward Gallery 1974, Parkin Gallery 1976, Anthony d’Offay Gallery 1980, Albemarle Gallery 1989. REPRODUCED: Roberts, 8 Cubist Designs

Theatre, 1915. Oil on canvas. (This work is referred to in Cork, Vorticism and Its Allies, p. 85; however, its size is unknown.) EXHIBITION HISTORY: Doré Galleries 1915. LOST

Two-step I – study, 1915. Pencil, 30 x 23. PROVENANCE: Tate Gallery (T01100). EXHIBITION HISTORY: Hayward Gallery 1974. REPRODUCED: Roberts, 8 Cubist Designs

Two-step II – study, c.1915. Pencil, watercolour and gouache, 30 x 23. PROVENANCE: Private collection (1997) > British Museum. EXHIBITION HISTORY: Anthony d’Offay Gallery (2) 1969, Hayward Gallery 1974, New York 1977, Anthony d’Offay Gallery 1980, Tate Gallery 1980, Newcastle 2004. REPRODUCED: Williams, William Roberts, p. 28

Two-step, c.1915. Oil on canvas? EXHIBITION HISTORY: Doré Galleries 1915. LOST

1916

German Prisoners (aka Prisoners), c.1916. Pencil, pen, ink and watercolour, portrait format. PROVENANCE: Victoria & Albert Museum

Germans in Constantinople, 1916 (dated). Pencil and wash, 50 x 34. PROVENANCE: Art dealer > Wakefield City Art Gallery (1938). EXHIBITION HISTORY: Tate Gallery 1956, Tate Gallery 1956, Tate Gallery 1965

Germans are Trying To Make Themselves at Home in Constantinople, The, c.1916? Pencil, 22 x 14.5. PROVENANCE: Sotheby’s 21 Nov. 1973

Grooming Horses, suggest 1916 (also dated c.1917 –18). Pencil and watercolour, 35 x 25. PROVENANCE: Mayor Gallery (Dec. 1971) > Government Art Collection

Harem, The (aka The Haven, South London Art Gallery 1974), suggest 1916 (also dated 1913–19). Watercolour and pencil, 25.5 x 20. PROVENANCE: orig. R. Carline > Christie’s 1984. EXHIBITION HISTORY: Tate Gallery 1956, Leicester Galleries 1963, South London Art Gallery 1974

High Wood, c.1916. Signed; title inscribed lower centre. Pen and ink with watercolour wash and pencil, 35.2 x 24.8. PROVENANCE: Hazlitt Holland-Hibbert

(recto) Kaiser Rehearsing the Entry into Nish, The, 1916. Pencil, pen and ink, 13.5 x 9
(verso) – pencil study for same subject reversed
PROVENANCE: Estate of John David Roberts (2001). EXHIBITION HISTORY: Gillian Jason Gallery 1992

Kaiser Rehearsing the Entry into Nish, The, 1916. Pen and ink, 25 x 17.5. PROVENANCE: Private collection (London). EXHIBITION HISTORY: Parkin Gallery 1976, Maclean Gallery 1980

Leave Train, The, 1916 (dated). PROVENANCE: Private collection (‘previously owned by a WW1 veteran who was hugely decorated’ – current owner)

Street Fight, A, c.1916. Pencil, blue chalk and gouache, 56 x 49.5. PROVENANCE: Sir Edward Marsh > Sotheby’s 7 June 1978. EXHIBITION HISTORY: Liverpool 1976, Anthony d’Offay Gallery 1980

Women Drinking, c.1916 (signed and inscribed with title). Pencil, 33 x 24. PROVENANCE: The Reid Gallery > Magdalen College Junior Common Room Art Fund > Peter Nahum / Leicester Galleries > ?

Zonnebeke, c.1916 (signed; title inscribed lower right). Watercolour and pencil, 35.2 x 24.8. PROVENANCE: Hazlitt Holland-Hibbert



Cliff Fighters, 1916–17 (also dated 1913 Maclean Gallery 1980). Pencil, pen and wash, 34.5 x 25. PROVENANCE: Purchased from the artist by Stephen Gordon c.1916–17 > Sotheby’s Nov. 1973 > Stephen Gardabout? EXHIBITION HISTORY: Maclean Gallery 1980. REPRODUCED: Cayzer, William Roberts

Execution in a Canyon, suggest 1916–17 (also dated c.1919). Pen, brush, black ink and brown wash, 35.5 x 25.5. PROVENANCE: Christie’s 20 June 1995. EXHIBITION HISTORY: Leicester Galleries 1958

Figure Studies for Composition (aka Vorticist Composition, dated c.1914, Leeds/Ben Uri Gallery 2003), c.1916–17. Pencil on paper, 12 x 17. PROVENANCE: Private collector. EXHIBITION HISTORY: Artmonsky Arts 2001, Leeds/Ben Uri Gallery 2003. REPRODUCED: William Roberts and Jacob Kramer, p. 9

Ring of Roses, suggest 1916–17 (also dated c.1913). Pencil, ink, watercolour and wash, 35 x 24. PROVENANCE: T. T. Andreae. EXHIBITION HISTORY: Hayward Gallery 1974, Parkin Gallery 1976

Sacrifice in the Rain, A, suggest 1916–17 (dated as 1919; also dated c.1913 Gillian Jason Gallery (2) 1986; Christie’s (1986) dated c.1920, but Gillian Jason Gallery (2) 1986 catalogue states: label on mount written by Michael Gordon ‘bought from Will Roberts when he went to war in1915–17, by my father Stephen Gordon’; dated c.1930 Worthing 1972). Pen, brush, brown wash and pencil, 35 x 22. PROVENANCE: Michael Gordon > Ernest Cooper > Sotheby’s 15 Nov. 1978 (£280) > Mrs Alexander Stevenson 1985 > Christie’s 1986. EXHIBITION HISTORY: Worthing 1972, Cambridge 1985, Gillian Jason Gallery (2) 1986 (priced at £1,400)

Street Scene, 1916–18. Pen, ink and watercolour, 18.8 x 13.2. EXHIBITION HISTORY: Anthony d’Offay Gallery 1980. Cf. Pavement Scene 1919

1917

Crown and Anchor Board, The, c.1917 (six soldiers in uniform gathered around a crown-and-anchor board). Pen, ink and sepia wash, portrait format. PROVENANCE: Charlotte Robinson (purchased c.1985)

E. Sub in Action, 1917. Watercolour, signed and dated (ref. Tate Gallery 1965 catalogue, p. 23). REPRODUCED: Colour 7 (May 1918), p. 92

In the Village of Fampoux (aka Filling in Shell Holes), spring 1917. Pencil and ink, 11.3 x 16.2. PROVENANCE: Graves Art Gallery, Sheffield (purchased Sotheby’s 1978). EXHIBITION HISTORY: Hamet Gallery 1971, Hamet Gallery 1973, Parkin Gallery 1976, Newcastle 2004. REPRODUCED: Williams, William Roberts, p. 44

In the Village of Fampoux, 1917. Pen and pencil, 13 x 19.5. PROVENANCE: Saleroom records, 1983 (£280). REPRODUCED: Roberts, Some Early Abstract and Cubist Work, p. 8

Menin Road c.1917 (inscribed ‘Oct. 1917’). Ink, pencil and watercolour, 17.1 x 26.7. PROVENANCE: Imperial War Museum (1168). EXHIBITION HISTORY: Morley College Gallery 1971. REPRODUCED: Williams, William Roberts, p. 38

Plage, La (inscribed as title), c.1917. (In the winter of 1916–17 William Roberts accompanied a Lieutenant Duthey as a servant for a week’s rest to Paris-Plage near Boulogne. The title may refer to this location.) Pencil, pen, ink and watercolour 15 x 11.2. EXHIBITION HISTORY: Anthony d’Offay Gallery 1980

Walking Wounded, c.1917 (five injured soldiers walk away from a body on a stretcher). Pen, ink and sepia wash, portrait format. PROVENANCE: Charlotte Robinson (purchased c.1985)

Wiring Party, The, c.1917. Red chalk with grey wash, squared, 27.5 x 38. PROVENANCE: Sotheby’s 1992 > Dr and Mrs Jeffrey Sherwin. EXHIBITION HISTORY: New English Art Club 1919, Leeds/Ben Uri Gallery 2003, Estorick Collection 2004. REPRODUCED: Estorick Collection 2004 catalogue, pl. 21

1918

4.5 Howitzer, 1918. Oil on canvas, 43 x 33. PROVENANCE: G. F. Savill > Sotheby’s 1974 > Sotheby’s 1986 > Private collection (London). EXHIBITION HISTORY: Maclean Gallery 1980. REPRODUCED: Williams, William Roberts, p. 46

5.9 Bursting … Down! (aka Shell Burst), suggest 1918. Pencil, ink and watercolour, squared, 12.8 x 14.5. EXHIBITION HISTORY: Exeter 1971, Hamet Gallery 1971, Hamet Gallery 1973. REPRODUCED: Hamet Gallery 1973 catalogue

Attack – The Capture of Delville Wood, An, c.1918. Ink and chalk, 15.8 x 25.4. PROVENANCE: Imperial War Museum (1887)

Battery Preparing to Fire a Salvo (aka 4.5 Battery Dug-in), 1918. Pencil and ink, 13.7 x 17.8 PROVENANCE: Sold 1984 (£460). EXHIBITION HISTORY: Anthony d’Offay Gallery (1) 1969, Hamet Gallery 1971, Maclean Gallery 1980

Brigade Headquarters: Signallers and Linesmen, c.1918. Ink and wash, 15.2 x 25.4. PROVENANCE: Imperial War Museum (1888)

British Military Cemetery, 1918 (signed and dated). (It is unclear why this date is not referred to in the 1965 Tate catalogue (p. 23), where 1917 is supported by the comment ‘This may have been done whilst the artist was still on active service and before he became Official War Artist.’ Presumably as a result of this anomaly, Sotheby’s suggest that it may have been signed and dated by the artist at some point after the 1965 exhibition.) Pencil, gouache and watercolour, 17.5 x 26.5. PROVENANCE: A gift from the artist to Bernard Meninsky, c.1918 > Sotheby’s 30 Sept.1999 (£6,325) > Austin Desmond Fine Art . EXHIBITION HISTORY: Tate Gallery 1965, Newcastle 2004. REPRODUCED: Heard, William Roberts, p. 51

Carpets, c.1918. Pencil, 17.8 x 15. EXHIBITION HISTORY: Anthony d’Offay Gallery 1980. Cf. Carpet Cleaning 1927–8

Dance with Tambourines, 1918. Pencil, pen, ink and wash, squared, 12.5 x 10. PROVENANCE: Wyndham Lewis Society. EXHIBITION HISTORY: Anthony d’Offay Gallery 1980. REPRODUCED: Roberts, Some Early Abstract and Cubist Work, pl. 9

Demonstration, c.1918. Pencil, ink and watercolour, squared for transfer, 12.5 x 18.7. EXHIBITION HISTORY: Hamet Gallery 1971 (where dated 1916–18)

During a Battle, c.1918. Pencil and watercolour, 15.8 x 25.4. PROVENANCE: Imperial War Museum (1885)

English Gothic – illustration to a poem, 1916–18, suggest 1918. Pencil and red ink, 14.5 x 18. PROVENANCE: Browse & Darby > Croft Collection > Sotheby’s 4 June 2002 (£3,760). EXHIBITION HISTORY: Hamet Gallery 1971, Hamet Gallery 1973

First German Gas Attack at Ypres – study, 1918 (dated). Pencil and watercolour, 42 x 45. PROVENANCE: Sotheby’s 16 Dec. 1964 > Richard Morphet. EXHIBITION HISTORY: Tate Gallery 1965, Hayward Gallery 1974

First German Gas Attack at Ypres, The – study, 1918 (dated). Watercolour, crayon, pen, brown ink, wash and pencil, squared, 43 x 50.8. PROVENANCE: Rudoph Stulik > Sotheby’s 1921 > ? > Ernest Cooper > Christie’s Nov. 1988 (£12,000–£18,000?) > National Gallery of Canada, Ottawa. EXHIBITION HISTORY: Tate Gallery 1965, Worthing 1972, Hayward Gallery 1974, Maclean Gallery 1980

First German Gas Attack at Ypres, The, 1918 (commissioned by the Canadian War Records Office – finished Nov. 1918.). Oil on canvas, 304.8 x 365.8. PROVENANCE: National Gallery of Canada, Ottawa (transferred from the Canadian War Memorials, 1921). EXHIBITION HISTORY: Royal Academy (1) 1919, Tate Gallery 1965. REPRODUCED: Williams, William Roberts, p. 43

Gas Attack at Ypres – study, 1918. Pencil, pen, ink, red chalk and coloured wash, squared, 43 x 34. PROVENANCE: Sotheby’s 9 Mar. 1921. EXHIBITION HISTORY: Maclean Gallery 1980. REPRODUCED: Cayzer, William Roberts

Gas Chamber, The, 1918 (inscribed ‘Aug. 1918’). Ink, pencil and watercolour, 31.8 x 50.8. PROVENANCE: Commissioned for the Ministry of Information > Imperial War Museum. EXHIBITION HISTORY: Tate Gallery 1956, Tate Gallery 1965. REPRODUCED: Cork, A Bitter Truth

German Dug-out, c.1918. Pencil and watercolour, 34 x 25. PROVENANCE: Private collection, London. EXHIBITION HISTORY: Maclean Gallery 1980. REPRODUCED: Cayzer, William Roberts

Group of Generals, A, c.1918. Inscribed ‘General Staff. Pencil and watercolour, 35 x 30. PROVENANCE: Imperial War Museum (1172)

Gunners Pulling Cannons, Ypres (aka Study in the War and Soldiers Hauling a Howitzer), c.1918. Pen, ink and watercolour over pencil, 28 x 47. PROVENANCE: Sir Michael Sadler > Jane Rendel > Sotheby’s 8 Nov. 1989 > Christie’s 4 June 1999 (estimate £15,000–£25,000) > Samantha Frank. EXHIBITION HISTORY: Leicester Galleries (1) 1944, Newcastle 2004 (where dated 1917). REPRODUCED: Heard, William Roberts, p. 47

Gunners Turning Out for an SOS: Battery Action at Night, c.1918. Pencil and watercolour, 32.3 x 32.3. PROVENANCE: Imperial War Museum (1171). EXHIBITION HISTORY: Royal Academy (2) 1919, Estorick Collection 2004. REPRODUCED: Estorick Collection 2004 catalogue, pl. 20

Howitzer in Action, 1918 (also dated c.1916–17). Inscribed ‘Roberts. Howitzer in action’. Pencil on paper, squared, 15.2 x 20.3. PROVENANCE: Parkin Gallery (1975) > British Council? EXHIBITION HISTORY: Anthony d’Offay Gallery (1) 1969, British Council 1997

In the Ypres Sector. An Infantry Duck-board Track being Shelled by the Germans, Nov. 1918. Pencil and watercolour, 36.8 x 29.8. PROVENANCE: Imperial War Museum (1170)

Ladders, 1916–18, suggest 1918. Pencil, 12.5 x 15. EXHIBITION HISTORY: Hamet Gallery 1971, Hamet Gallery 1973

March of the Young Guards, The, c.1918. Pencil, pen, ink and watercolour, 48.9 x 45.7. EXHIBITION HISTORY: Hamet Gallery 1971, Anthony d’Offay Gallery 1980. REPRODUCED: Anthony d’Offay 1980 catalogue

Pack Mules, c.1918. Inscribed ‘Ration Mules For Front Line’. Ink, pencil, red chalk and wash, 31 x 50.8. PROVENANCE: Imperial War Museum (1165). EXHIBITION HISTORY: Leeds/Ben Uri Gallery 2003. REPRODUCED: William Roberts and Jacob Kramer, p. 12

Plane Spotter, The, 1916–18, suggest 1918. Pencil and pen, 17.5 x 12.5. EXHIBITION HISTORY: Hamet Gallery 1971, Hamet Gallery 1973, Parkin Gallery 1976

Rosières Valley, 1918. Inscribed ‘Signallers Laying a Wire’. Ink and watercolour, 15.8 x 25.4. PROVENANCE: Imperial War Museum (1886)

Second Defence System, c.1918. Pencil and watercolour, squared for transfer, 13.7 x 15. EXHIBITION HISTORY: Hamet Gallery 1971 (where dated 1916–18)

Shell Burst (aka 5.9 Bursting … Down), 1918. Crayon, 7 x 11.1. EXHIBITION HISTORY: Anthony d’Offay Gallery (1) 1969

Signallers, The, 1918 (signed and dated Aug. 1918). Pen, ink and watercolour, 30.5 x 50. PROVENANCE: Commissioned by the Ministry of Information > Imperial War Museum (1167). EXHIBITION HISTORY: Tate Gallery 1965. REPRODUCED: J.Rothenstein, British Artists and the War, pl. 52

Sketch for A Shell Dump, France, 1918. Pen and watercolour, 30.4 x 50.8. PROVENANCE: Commissioned by the Ministry of Information > Imperial War Museum (1889). EXHIBITION HISTORY: Tate Gallery 1965

Soldiers Hanging Camouflage Screens Roclincourt, Arras, Spring 1917 (aka Soldiers Erecting Camouflage at Roclincourt near Arras, 1917–19 – Tate Gallery 1965), suggest 1918 (‘The artist told the Victoria & Albert Museum that it was painted in 1918 but it could equally well have been done early in 1919. He was planning to have an exhibition of drawings of war subjects. Unfortunately, shortage of money obliged him, about June 1919, to sell most of the drawings that he had gathered together and the exhibition never materialised’ – Tate Gallery 1965 catalogue, p. 23). Ink and watercolour, 40 x 34. PROVENANCE: ex- E. M. O’R. Dickey > Victoria & Albert Museum (1962). EXHIBITION HISTORY: Tate Gallery 1965, Leeds/Ben Uri Gallery 2003. REPRODUCED: Williams, William Roberts, p. 37

Soldiers Hanging Up Camouflage Screens (‘Hanging up camouflage screens to trees at night near to the Front Line, Roclincourt, near Arras, Winter 1917’ – inscribed on back of mount (Tate Gallery catalogue 1965)), dated 1917 Anthony d’Offay Gallery 1980; suggest 1918. Pencil, pen, ink and watercolour, 12.5 x 10. PROVENANCE: Croft Collection > Sotheby’s 4 June 2002 (£5,288). EXHIBITION HISTORY: Anthony d’Offay Gallery 1980

Study for A Shell Dump, France, 1918. Pencil, 31.1 x 50.8. PROVENANCE: Commissioned by the Ministry of Information > Imperial War Museum (1164). EXHIBITION HISTORY: Tate Gallery 1965

Tommies Filling Their Water Bottles with Rain from a Shell Hole, (Aug.) 1918. Ink, pencil, chalk and watercolour, 50.8 x 38.1. PROVENANCE: Imperial War Museum (1169)



Shell Dump, France, A, 1918–19. Commissioned by the Ministry of Information in May 1918 while William Roberts was working on the Canadian Commission The First German Gas Attack at Ypres. Work started June 1918, and was completed in Aug. 1919. ‘It was painted in 10 Chelsea Manor Studios, Flood Street, SW3 which was rented specially for the purpose’ – Tate1965. Oil on canvas, 182.8 x 317.8 PROVENANCE: Commissioned by the Ministry of Information > Imperial War Museum (2273). EXHIBITION HISTORY: Tate Gallery 1965, Arts Council 1965. REPRODUCED: Williams, William Roberts, p. 44

1919

Battering Ram, 1919 (‘Title almost certainly incorrect’ – Tate Gallery 1965 catalogue, p. 24). Watercolour, 35 x 35. PROVENANCE: Sotheby’s 9 July 1958 > Cecil Higgins Art Gallery, Bedford. EXHIBITION HISTORY: Tate Gallery 1965

(recto) Boxers – study, c.1919. Pen, watercolour and black chalk, squared, 27.9 x 22.2
(verso) Boxers – study, c.1919. Pencil, 27.9 x 22.2
PROVENANCE: Sotheby’s 1994. EXHIBITION HISTORY: Hamet Gallery 1971, Exeter 1971. REPRODUCED: The Connoisseur, Mar. 1971. Cf. Boxers 1914

Burying the Dead After a Battle, 1919 (signed and dated). Black crayon on paper, 50.2 x 45.7. PROVENANCE: Sir Stephen Gaselee > Christie’s 23 May 1947 > Abbot > Ernest Cooper > Imperial War Museum (15594). EXHIBITION HISTORY: New English Art Club 1919, Bucharest 1935, Vienna 1936, Tate Gallery 1965, Barbican Art Gallery 1994. REPRODUCED: Cork, A Bitter Truth, and Burlington Magazine, Nov.1989

Cockneys, The – study, c.1919. Red chalk, 38 x 38. PROVENANCE: Redfern Gallery July 1966 > Sotheby’s 7 Nov. 1990 (estimate £8,000–£12,000). In the Sotheby catalogue it is described as ‘the only surviving study for a large canvas painted c.1919 and subsequently destroyed’ – but see below.

Cockneys, The – study, c.1919 Pencil, pen and black ink and watercolour, part squared for transfer, 37.5 x 37.5. PROVENANCE: Hazlitt Holland-Hibbert

Cockneys, The, c.1919. Large canvas. PROVENANCE: E. Kennington > returned to William Roberts, who destroyed it. EXHIBITION HISTORY: Mansard Gallery 1920

Coterie No. 3, December 1919. Cover for literary magazine published Dec. 1919 (shows five figures holding the title plate, in black and white on a blue background). Page size 19 x 25.5

Dancers, The – study, 1919. Pencil. REPRODUCED: Cork, Art Beyond the Gallery. LOST.

Dancers, The, 1919. (One of three panels – the third, of unknown subject, now lost – painted for the Hôtel de la Tour Eiffel in autumn 1919.) Oil on canvas, 152 x 116.5. PROVENANCE: Kelvingrove Art Gallery and Museum, Glasgow (bought from Anthony d’Offay Gallery for £19,800). EXHIBITION HISTORY: Hayward Gallery 1974, Royal Academy 1987. REPRODUCED: Williams, William Roberts, p. 47

Dancers, The, dated as c.1925 Anthony d’Offay 1969, but I suggest earlier – c.1919? Pencil and watercolour, 21.6 x 16.5. PROVENANCE: Sotheby’s 23 May 1984. EXHIBITION HISTORY: Anthony d’Offay Gallery (1) 1969

Died of Wounds, 1919. Watercolour, gouache, pen and ink, 44.5 x 53. PROVENANCE: Sold 1985 (£17,500). EXHIBITION HISTORY: Morley College Gallery 1971

Diners, The, 1919. (One of three panels painted for the Hôtel de la Tour Eiffel in autumn 1919.) Oil on canvas, 152.4 x 83.2. PROVENANCE: Rudolph Stulik (commissioned) > sold 1938 > Leicester Galleries > Tate Gallery (T00230). EXHIBITION HISTORY: Leicester Galleries 1958, Leicester Galleries 1959, Arts Council 1965, Tate Gallery 1965, Newcastle 2004. REPRODUCED: Heard, William Roberts, p. 53

Gun Drill, date unknown – 1919? Cf. Wheels 1919

Infantry Fatigue Party: Forage Barn, 1919. Pen, pencil and wash, 40 x 30. PROVENANCE: Edward Wadsworth > Contemporary Art Society (1923) > Manchester City Art Galleries. EXHIBITION HISTORY: Grosvenor House 1923, Arts Council 1955, Arts Council 1965, Tate Gallery 1965

Moonsnatchers, c.1919. Pencil and watercolour, 19 x 11. PROVENANCE: Sotheby’s 1992

Pavement Scene (aka Composition in Water-colour), suggest 1919 (although dated as c.1913–15 in the Maclean Gallery 1980 catalogue, which suggests that it could be a study for Overbacks (1915), but in style it looks more like the 1919–20 period). Pencil and watercolour, 28.5 x 20.5. PROVENANCE: James Hyman Fine Arts. EXHIBITION HISTORY: Parkin Gallery 1976, Maclean Gallery 1980. REPRODUCED: Cayzer, William Roberts

Portrait of a Woman (Sarah) (aka Woman Seated in a Chair), 1919 (dated). Pencil and wash, 33 x 32.5. PROVENANCE: Charles Rutherston > Manchester City Art Galleries (1925). EXHIBITION HISTORY: Tate Gallery 1965. REPRODUCED: Studio 102 (1931), p. 313

Poster for the Exhibition of French Art 1914–1919 (Mansard Gallery, Heal’s), 1919. Poster, 75 x 48. EXHIBITION HISTORY: Tate Gallery 1965

Putting Up Horse-lines, 1919 (also dated 1916–18, Hamet Gallery 1971). Pencil, ink and watercolour, squared, 15.9 x 16.5. EXHIBITION HISTORY: Hamet Gallery 1971. REPRODUCED: Hamet Gallery 1971 catalogue

(recto) River Painting – a study, 1919. Pencil, 13.5 x 8
(verso) Clouds
EXHIBITION HISTORY: Gillian Jason Gallery (2) 1986

River Painting – sketch for, c.1919 Black chalk and red ink, 9 x 13.6 (verso: colour notes). EXHIBITION HISTORY: Cambridge 1985. REPRODUCED: Roberts, Paintings 1917–1958, p. 19

Sarah Pregnant (aka Study (Chenil Galleries 1923) and Woman Standing (Tate Gallery 1965)), pre-June 1919. Pencil and brown ink, 50.5 x 22. EXHIBITION HISTORY: Chenil Galleries 1923, Tate Gallery 1965, Cambridge 1985. PROVENANCE: Diana Gurney

Searching and Sweeping, c.1919. Pencil and ink, squared for transfer, 12.5 x 18.7. EXHIBITION HISTORY: Hamet Gallery 1971 (where dated 1916 –18)

Searching and Sweeping, c.1919. Watercolour over ink on paper, 92.5 x 122.5. PROVENANCE: Private collection. REPRODUCED: Williams, William Roberts, p. 45

Shell Burst (aka 5.9 Bursting … Down), 1919 (signed and dated). Pencil, ink and watercolour, 40 x 44. PROVENANCE: Mervyn Levy > Herbert Art Gallery, Coventry (COVGM:VA.1968.0072, bought 1968)

Shell Dump, A, 1919 (N.B. post-dates the Imperial War Museum Shell Dump and quite different). Watercolour. PROVENANCE: ex O. Sitwell. EXHIBITION HISTORY: National Portrait Gallery 1994

Soldiers Putting Up Wagon-lines, 1919 (signed and dated). Black chalk on beige, 47 x 48.3. PROVENANCE: Mayor Gallery > Rt Hon. David Bathurst > British Museum? EXHIBITION HISTORY: Tate Gallery 1965, Exeter 1971, Morley College Gallery 1971, Hamet Gallery 1973

Sparring Partners, c.1919. Watercolour on paper, 35.5 x 25.5. PROVENANCE: Pauline Vogelpoel (director of the Contemporary Art Society, 2002) > Tate Gallery (T11792, 2004)

Troubadours, c.1919. Pencil, ink and watercolour, 35.4 x 25.3. EXHIBITION HISTORY: Hamet Gallery 1971, Anthony d’Offay Gallery 1980. PROVENANCE: Yale Center for British Art

Unknown subject, 1919. One of three panels for the Hôtel de la Tour Eiffel painted in autumn 1919. ‘Many years later he [William Roberts] stated that the third panel, now lost, was “more abstract” than The Diners. He did not record the subject and Sarah Roberts has no very distinct memory of the painting. But she thought it might possibly have depicted “couples in bed together, because an awful lot of bedding went on upstairs at Tour Eiffel”’ – Cork, Art Beyond the Gallery, p. 245.

Wagon Lines, The, c.1919 (also dated 1916–18, Hamet Gallery 1971). Pencil, 15.2 x 17.1. PROVENANCE: Fischer Fine Art > ? > Bonhams 6 March 2007 (£3,600). EXHIBITION HISTORY: Hamet Gallery 1971, Hamet Gallery 1973, Parkin Gallery 1976. REPRODUCED: Hamet Gallery 1971 catalogue

Walking Delegates, The, 1919. Pen, black ink and watercolour, 35 x 25. PROVENANCE: Sotheby’s 1990 > Sotheby’s 1999. EXHIBITION HISTORY: Redfern Gallery 1940, Hamet Gallery 1971, Entwhistle Gallery 1989

War Celebrations, 1919. Pen, pencil, ink and watercolour, 41 x 35.6. PROVENANCE: Andrew Crispo Gallery, New York > Salander-O’Reilly Galleries, New York > Maclean Gallery, London > Thyssen Foundation, Madrid > Sotheby’s 3 July 2002 (£62,140). EXHIBITION HISTORY: Maclean Gallery 1980. REPRODUCED: Cork, A Bitter Truth

Wheels 1919, cover design (using Gun Drill 1916?) for volume of poetry published by Osbert Sitwell, 1919. REPRODUCED: Williams, William Roberts, p. 53

Wheels 1919, two endpieces for volume of poetry published by Osbert Sitwell, 1919 (shows dart players and targets). REPRODUCED: Williams, William Roberts, p. 53

Women Playing with Cats, c.1919? (Dated as 1913, but stylistically looks later – notice the treatment of the hands, for example.) Ink and watercolour, 27.9 x 19.7. EXHIBITION HISTORY: Tate Gallery 1956, Hamet Gallery 1971. REPRODUCED: Hamet Gallery 1971 catalogue



Interval before Round Ten – study, 1919–20 (signed). Ink and watercolour, 36.2 x 48.4. A placard held aloft shows the number 9. This was changed to 10 in the finished oil.

Interval before Round Ten, 1919 –20. Oil on canvas, 92.1 x 122.5. PROVENANCE: Osbert Sitwell (commissioned) > Christie’s 7 Feb. 1947 > Dr H. Widdup > Contemporary Art Society (1963) > Art Gallery of New South Wales, Sydney (gift of Contemporary Art Society 1965). EXHIBITION HISTORY: Arts Council 1964, Tate Gallery 1965, Melbourne 2007. REPRODUCED: Williams, William Roberts, p. 54

1920

Art Critic, P. G. Konody, The, 1920. Oil on canvas. PROVENANCE: P. G. Konody > now LOST. EXHIBITION HISTORY: Chenil Galleries 1923. REPRODUCED: Williams, William Roberts, p. 50

Artist’s Wife, The, c.1920. Oil on canvas, 36.5 x 34. PROVENANCE: Private collection. EXHIBITION HISTORY: Leeds/Ben Uri Gallery 2003. REPRODUCED: William Roberts and Jacob Kramer, p. 10

At the Hippodrome – study, 1920. Chalk and wash, 48 x 45.2. PROVENANCE: Cecil Higgins Art Gallery, Bedford. EXHIBITION HISTORY: Newcastle 2004. REPRODUCED: Heard, William Roberts, p. 85

At the Hippodrome (aka The Gods), 1920 (also dated 1921). Oil on canvas, 97.8 x 92.7. PROVENANCE: Edward Wadsworth > Contemporary Art Society > New Walk Museum and Art Gallery, Leicester. EXHIBITION HISTORY: London Group (2) 1922 (£90), Chenil Galleries 1923, Grosvenor House 1923, Dudley Public Library 1953, Copenhagen 1956, Arts Council 1977, Royal Academy (1) 1978, Royal Academy 1987, Newcastle 2004, Chichester 2007. REPRODUCED: Heard, William Roberts, p. 85

Athletes Exercising in a Gymnasium (aka Gymnasts), 1920. Pen, watercolour and pencil on paper, 45.1 x 35.9. PROVENANCE: Rudolph Stulik > Louis Golding > Reid Gallery > Tate Gallery (T00322, purchased 1960). EXHIBITION HISTORY: Mansard Gallery 1920, Chenil Galleries 1923, Tate Gallery 1965. REPRODUCED: Estorick Collection 2004 catalogue, pl. 29

Ballet, The, 1920. Pen, ink and wash, 38.5 x 30. EXHIBITION HISTORY: Parkin Gallery 1976

Behind the Scenes, 1920 (signed and dated). Watercolour, pen and ink, pencil, 36 x 52. PROVENANCE: William Roberts (1965) > Mr and Ms Michael Wilsey, San Francisco. EXHIBITION HISTORY: Chenil Galleries 1923, Tate Gallery 1965, Hamet Gallery 1971, Hamet Gallery 1973, New York 1982? REPRODUCED: Hamet Gallery 1973 catalogue

Builder’s Cradle, The, 1920. Pencil, pen, ink and watercoloured, squared, 38 x 28. PROVENANCE: William Roberts > R. L. Keenan > Sotheby’s 19 May1982 (£3,200?)

Builders (aka Gunners Carrying Cases), c.1920? Pastel on paper, 38 x 28. PROVENANCE: Christie’s 1998 > James Hyman Fine Art

Cinema, The – a study, 1920. Pen, pencil and wash. PROVENANCE: Manchester City Art Galleries

Cinema, The – a study, 1920. Pencil and watercolour, 20 x 16.5. PROVENANCE: Bradford Art Gallery. EXHIBITION HISTORY: Newcastle 2004. REPRODUCED: Williams, William Roberts, p. 64

Cinema, The, 1920. Oil on canvas, 91 x 76. PROVENANCE: Sydney Schiff > Mrs Violet Schiff > Lord’s Gallery > Sotheby’s 13 July 1960 > Wilfrid Evill > Miss Honor Frost > Tate Gallery (T00813, 1965). EXHIBITION HISTORY: Institute of Contemporary Arts 1948, Tate Gallery 1956, Brighton 1965, Tate Gallery 1965, Chichester 2007. REPRODUCED: Williams, William Roberts, p. 64

Classical Scene (unidentified subject: ‘perhaps a study for a Return of Odysseus’ – Cambridge 1985 catalogue), c.1920. Red chalk, 17.4 x 22.2 PROVENANCE: The Roberts family (1985). EXHIBITION HISTORY: Cambridge 1985

Dock Gates – study, 1920. Pencil and watercolour, 22.5 x 30. PROVENANCE: Lord Clwyd. EXHIBITION HISTORY: Leicester Galleries 1962 (as The Docks), Tate Gallery 1965, Hamet Gallery 1971.

Dock Gates (aka Disembarkation), 1920. Oil on canvas, 106.7 x 137.2. PROVENANCE: Edward Wadsworth > Captain Desmond Coke > Sotheby’s 23 July 1931 > P. G. Konody > Lord Sieff of Brimpton (1931) > Sotheby’s Apr. 1969. EXHIBITION HISTORY: London Group (2) 1922 (£150), Chenil Galleries 1923, Edinburgh 1924, London Group 1928, Copenhagen/Oslo 1956, Tate Gallery 1965. REPRODUCED: Drawing and Design 2, 7 (Jan. 1927)

Fantastic Ballet, A (aka Drawing – reproduced with this title), undated – suggest 1920. (Cabaret with semi-naked dancers on stage in front of an audience and orchestra, inscribed ‘A Fantastic Ballet’ (unclear).) Pen, ink and wash. PROVENANCE: Brook Street Gallery. REPRODUCED: Drawing and Design 2, 7 (Jan. 1927)

Horsemen, The, 1920 (dated). Black chalk and watercolour, squared, 15.2 x 18.3. PROVENANCE: Estate of John David Roberts (2001). EXHIBITION HISTORY: Cambridge 1985

London Family’s First Visit to the Country, A, 1920. Watercolour?, 20 x 14.2? PROVENANCE: Sold 1984 (£420)

Portrait (self-portrait), c.1920. Drawing. PROVENANCE: ex Cornish Collection, presented to Hampstead Library 1928. EXHIBITION HISTORY: Spink & Son 1978

Portrait of Miss Tupper-Carey, 1920–23: suggest 1920. Oil on canvas. EXHIBITION HISTORY: Chenil Galleries 1923

Portrait Study of a Man (self-portrait), c.1920. Red chalk, 35.5 x 25 (or 29 x23?). PROVENANCE: Sotheby’s 16 June 1976

Rudolph Stulik, Monsieur, 1920. Oil on canvas. REPRODUCED: Williams, William Roberts, p. 50. LOST

Sarah with Guitar (aka The Banjo, Chenil Galleries 1923), 1920. Pencil 52.5 x 30. PROVENANCE: Purchased from the artist by Ernest Cooper > Sotheby’s 2 Apr. 1990. EXHIBITION HISTORY: Chenil Galleries 1923, Tate Gallery 1965, Worthing 1972

Seated Woman [Sarah], 1920. Pencil on paper, 33 x 33. PROVENANCE: Leicester Galleries > Arts Council Collection. EXHIBITION HISTORY: Arts Council 1955, Arts Council 1958, Tate Gallery 1965

Self-portrait, c.1920 Charcoal and sanguine, 35.5 x 25. PROVENANCE: Sotheby’s 16 June 1976

Self-portrait, c.1920. Charcoal and sanguine, 36 x 25.4. PROVENANCE: Museum of Modern Art, New York

Stockbroker’s Clerk, The (aka The Usurer), 1920. (The sitter was the artist’s brother Michael.) Oil on canvas, 77.5 x 63.5. PROVENANCE: Hugh Blaker > Leicester Galleries > E. Brown and Phillips (?) > British Council (Mar. 1948). EXHIBITION HISTORY: Goupil Gallery 1920, Chenil Galleries 1923, Whitechapel Gallery 1928, Manchester 1929, New Zealand and Australia 1934, Tate Gallery (2) 1935, Leicester Galleries (1) 1948, East and Central Africa 1957 (as Self-portrait), British Council 1963, Tate Gallery 1965. REPRODUCED: Williams, William Roberts, p. 51

Taking the Oath, 1920 (Irish political subject). Pencil, ink and wash. PROVENANCE: Victoria & Albert Museum. REPRODUCED: Malvern, Modern Art, Britain and the Great War

Travelling Cradle (aka The Builder’s Cradle), 1920 (also dated as 1918). Pen, ink, pencil and wash, 58.8 x 43. PROVENANCE: Leicester Galleries > Southampton City Art Gallery. EXHIBITION HISTORY: New English Art Club 1920, Independent Gallery 1921, Leicester Galleries 1957, Arts Council 1965, Tate Gallery 1965, Estorick Collection 2004. REPRODUCED: Estorick Collection 2004 catalogue, pl. 28

Wedding, The, 1920. Pen, ink and watercolour, 34 x 41.5. PROVENANCE: J. P. Cochrane > Christie’s 17 Dec. 1948 > Ernest Cooper > Sir Frederick Gibberd > Sotheby’s 3 Nov. 1982 (£6,300) > Museum of Modern Art, New York. EXHIBITION HISTORY: Mansard Gallery 1920, Tate Gallery 1965, Hamet Gallery 1971. REPRODUCED: Roberts, Some Early Abstract and Cubist Work, pl. 10 (dated 1918)



Box, The, 1920–23. Drawing. EXHIBITION HISTORY: Chenil Galleries 1923

Elsie, 1920–23. Oil on canvas. EXHIBITION HISTORY: Chenil Galleries 1923

Fred, 1920–23. Oil on canvas, 62.5 x 51. PROVENANCE: Christie’s Feb. 1956 > J. Holmstrom. EXHIBITION HISTORY: Chenil Galleries 1923

Her Baby, 1920–23. Drawing. EXHIBITION HISTORY: Chenil Galleries 1923

Patron, Le, 1920–23. (Is this Monsieur Rudolph Stulik 1920?) Oil on canvas. EXHIBITION HISTORY: Chenil Galleries 1923

Portrait, 1920–23. Oil on canvas. EXHIBITION HISTORY: Chenil Galleries 1923

Robin Buxton, Captain, 1920–23. Pencil. EXHIBITION HISTORY: Chenil Galleries 1923. REPRODUCED: Lawrence, The Seven Pillars of Wisdom

Sea Frolic, 1920–23. Drawing. EXHIBITION HISTORY: Chenil Galleries 1923

Tumbler, The, 1920–23. Drawing. EXHIBITION HISTORY: Chenil Galleries 1923 . Cf. Street Acrobats 1923

Artist and Model, c.1920s. Pencil on paper, 17.5 x 11.2. EXHIBITION HISTORY: Gillian Jason Gallery 1990

Stretching Man – full-length study of, c.1920s? Charcoal, 47 x 32. PROVENANCE: Ernest Gye > Lt Cdr K. Methley > Bonham’s 21 Feb. 1991

Unknown Woman, 1920–29. PROVENANCE: Glynn Vivian Art Gallery, Swansea

1921

Acrobats, The, c.1921. Pencil and watercolour, 18 x 10.7. EXHIBITION HISTORY: Parkin Gallery 1976

At the House of Mrs Kinfoot (two endpapers for the book of the same title by Osbert Sitwell, published by the Favil Press), 1921. REPRODUCED: National Portrait Gallery 1994 catalogue

Boxers – study for The Boxing Match, c.1921. Ink and crayon on paper, 15 x 10.2. PROVENANCE: Wolseley Fine Art (where dated c.1926). EXHIBITION HISTORY: Austin/Desmond Fine Art 2003

Café Royal Scene (aka Discussion in a Bar and Pimps in a Bar), c.1921. (Andrew Gibbon Williams describes this as a Café Royal scene with Augustus John central, seated, and Jacob Kramer in animated conversation with the two standing figures.) Pencil, ink and watercolour, 40.5 x 51. PROVENANCE: James Kirkman. REPRODUCED: Williams, William Roberts, p. 62 (where titled Discussion in a Café)

Discussion in a Café, 1921. (Cf. Waiting in the Café, Gillian Jason Gallery 1992. Shows animated conversation with group of five round an oval table; a figure leaving could be the artist, overhearing the discussion. Inscribed with the title.) Pen, ink and watercolour, 40.5 x 51. PROVENANCE: John Christopherson > Sotheby’s 15 May 1985. EXHIBITION HISTORY: Chenil Galleries 1923, Tate Gallery 1965

Fanfare, c.1921. Pencil and watercolour, 19.9 x 14.5. PROVENANCE: Victoria & Albert Museum. EXHIBITION HISTORY: Anthony d’Offay Gallery 1980

In the Park, c.1921. Oil on canvas, 30 x 35. EXHIBITION HISTORY: London Artists’ Association (n.d.), Parkin Gallery 1976. Cf. Bank Holiday in the Park 1923

Jewish Melody, 1921. EXHIBITION HISTORY: Chenil Galleries 1923. REPRODUCED: Williams, William Roberts, p. 65. Cf. Cecilia Kramer 1925. LOST (destroyed)

Last ’Bus, The, c.1921. EXHIBITION HISTORY: London Group (1) 1922

Novices (aka The Boxing Match), c.1921. Pencil, pen, ink and watercolour, 50.9 x 35.6. PROVENANCE: P. Bilbie gift to Whitworth Art Gallery, Manchester (1933), where it is dated as 1914. EXHIBITION HISTORY: London Group (1) 1922 (cf. Outclassed 1922), Estorick Collection 2004. REPRODUCED: Estorick Collection 2004 catalogue, pl. 25

Pimps in a Bar (study for Café Royal Scene c.1921), c.1921 Charcoal, 18.8 x 15.2. PROVENANCE: Estate of John David Roberts (2001). EXHIBITION HISTORY: Reading 1983, Cambridge 1985. REPRODUCED: Reading 1983 catalogue

Portrait of Sarah, the Artist’s Wife (aka La Femme Tragique), c.1921. (The sitter wears a red turban, but this is not the Sheffield Red Turban; the pose is taken from Titian’s Man with a Tattered Glove.) Oil on canvas, 76 x 51. PROVENANCE: Leicester Galleries > Hugh Blaker > Gillian Jason Gallery > Private collection > Phillips 2000 (estimate £25,000–£30,000) > ? > Bonhams 26 June 2007 (£27,600). EXHIBITION HISTORY: Leicester Galleries (1) 1948. REPRODUCED: Sir Joseph Duveen, Thirty Years of British Art (London, 1930), p. 150

Red Turban, The (Sarah), 1921. Oil on canvas, 103 x 82.2. PROVENANCE: Contemporary Art Society (1922), Graves Art Gallery, Sheffield (1928). EXHIBITION HISTORY: Grosvenor House 1923, Tate Gallery 1965, Newcastle 2004

Waiting in the Café, c.1921. Pencil, 15.5 x 13. EXHIBITION HISTORY: Gillian Jason Gallery 1992

Wheels 1921, 1921. Pencil and red wash, 19 x 11.5. EXHIBITION HISTORY: Anthony d’Offay Gallery (1) 1969

1922

Aircraftman Shaw (aka Portrait of T. E. Lawrence), 1922. Oil on canvas, 92 x 61. PROVENANCE: Presented by Professor A. W. Lawrence > Ashmolean Museum, Oxford (1946). EXHIBITION HISTORY: Chenil Galleries 1923, National Portrait Gallery 1988, Leeds/Ben Uri Gallery 2003, Newcastle 2004, Imperial War Museum 2005. REPRODUCED: William Roberts and Jacob Kramer, p. 15

Battalion Runner on the Duckboard Track, The, suggest 1922. (Visual style suggests an early 1920s date rather than a 1918–19 date. However, if this and Feeds Round were both 1922, why was neither included in the one-man show in 1923?) Oil on canvas, 60.9 x 50.8. REPRODUCED: Cork, A Bitter Truth. LOST

Boyle (R.N.), 1922. Commissioned by T. E. Lawrence

Brass Balls – a study, c.1922. Pastel, 25 x 19. PROVENANCE: d’Offay Couper Gallery. EXHIBITION HISTORY: Hamet Gallery 1971

Brass Balls (aka Outside the Pawn Shop), 1922. PROVENANCE: Israel M.Sieff. Oil on canvas. EXHIBITION HISTORY: Chenil Galleries 1923

Casualty on the Duckboard (this could be a study for Battalion Runner on the Duckboard Track, and may have been drawn in the 1918–20 period and then developed as a painting later, although the date for the lost Battalion Runner is also unknown), 1922? Drawing, 25 x 15. PROVENANCE: Estate of John David Roberts (2001)

Country Scene (aka The Farm and A Rustic Scene), 1922. (Painted while staying at Pett Level, the Sussex home of John Knewstub, the director of the Chenil Gallery.) Oil on canvas, 48.9 x 59.7. PROVENANCE: Sir Edward Marsh > Contemporary Art Society (1923) > Wakefield City Art Gallery. EXHIBITION HISTORY: Chenil Galleries 1923, Tate Gallery 1965, Newcastle 2004. REPRODUCED: Heard, William Roberts, p. 59

Crucifixion, The – study, c.1922. Pen, pencil and wash, 35.7 x 49. PROVENANCE: Sir Michael Sadler > Contemporary Art Society and National Art Collection Fund > Cooper Art Gallery, Barnsley (1933). EXHIBITION HISTORY: Leeds 1962, Tate Gallery 1965, Leeds/Ben Uri Gallery 2003. REPRODUCED: William Roberts and Jacob Kramer, p. 13

Crucifixion, The – study, c.1922. Pencil and wash, 37.7 x 49. PROVENANCE: Sir Augustus Daniel > Leicester Galleries > E. Le Bas > ? EXHIBITION HISTORY: Chenil Galleries 1923, Leicester Galleries 1951, Royal Academy Diploma Gallery 1963, Tate Gallery 1965

Crucifixion, The, c.1922. Crayon and wash, 18.4 x 27.2. PROVENANCE: Piccadilly Gallery. EXHIBITION HISTORY: Methodist Education Committee 1993, Newcastle 2004. REPRODUCED: Heard, William Roberts, p. 80

Crucifixion, The (aka The Scarlet Robe), c.1922 (dated by Methodist Education Committee as early 1920s; dated in the Tate Gallery 1965 catalogue as 1919). Oil on canvas, 76.2 x 91.4. (‘William Roberts recalls that he painted this shortly after the end of his service as a war artist, at a time when he had some idea of entering the Prix de Rome (for which two paintings were required). However he never got round to the second and so the idea fell through. A little later, Rudolph Stulik … came to his studio and told him he thought he had found a buyer for it. Roberts did not discover until afterwards that it was Augustus John’ – Tate Gallery 1965 catalogue, p. 10. In 1923 the painting was exhibited at the Chenil Gallery under the title of The Scarlet Robe and was priced at £55 – the second most expensive painting in the exhibition. Augustus John would have seen it at this exhibition before buying it.) PROVENANCE: Augustus John (‘The painting remained in the collection of Augustus John from around 1923 until it was sold by his estate in 1963’ – Methodist Education Committee catalogue, p. 28) > Christie’s 26 Apr. 1963 > Mayor Gallery > Methodist Education Committee. EXHIBITION HISTORY: Chenil Galleries 1923, Tate Gallery 1965, Methodist Education Committee 1963 (regular touring). REPRODUCED: Williams, William Roberts, p. 49

Feeds Round: Stable-time in the Wagon-lines, France, 1922. Oil on canvas, 50.8 x 61. PROVENANCE: Sir Muirhead Bone presented to Contemporary Art Society to Imperial War Museum (4218) 1924. EXHIBITION HISTORY: Arts Council 1965, Tate Gallery 1965, Newcastle 2004. REPRODUCED: Williams, William Roberts, p. 35

Henry McMahon, Colonel Sir, 1922. Pencil. Commissioned by T. E. Lawrence. EXHIBITION HISTORY: Chenil Galleries 1923, Edinburgh 1924. REPRODUCED: Lawrence, The Seven Pillars of Wisdom

(recto) Love Song in a Bar (inscribed ‘A Song of Love’), 1922. Black chalk, squared, 25 x 19. REPRODUCED: Whitworth Art Gallery website
(verso) Two figure studies – a man with an umbrella and a female figure with a cat
PROVENANCE: Leon Underwood gift to Whitworth Art Gallery, Manchester (1924). EXHIBITION HISTORY: Tate Gallery 1965

Love Song in a Bar, 1922. Oil on canvas, 101.6 x 76.2. PROVENANCE: E. Beddington Behrens > Sotheby’s 13 July 1960 > Wilfrid Evill > Miss Honor Frost (1965). EXHIBITION HISTORY: Chenil Galleries 1923, London Group 1928, Brighton 1965, Tate Gallery 1965, Chichester 2007. REPRODUCED: Williams, William Roberts, p. 61

Night Alarm, The, c.1922. Pencil, 18 x 21.6. EXHIBITION HISTORY: Anthony d’Offay Gallery (1) 1969

Port of London (aka River Scene?), c.1922. Oil on canvas, 53.3 x 74.8. PROVENANCE: Tate Gallery (T05761, dated c.1920–24). EXHIBITION HISTORY: Chenil Galleries 1923, Newcastle 2004. REPRODUCED: Tate website

Reginald Wingate, General Sir, 1922. Chalk. PROVENANCE: Harry Ramsden Humanities Research Center, University of Texas. EXHIBITION HISTORY: Chenil Galleries 1923. Commissoned by T. E. Lawrence REPRODUCED: Lawrence, The Seven Pillars of Wisdom

River Scene, c.1922? Oil on canvas. EXHIBITION HISTORY: Chenil Galleries 1923. Cf. Port of London c.1922?

Sarah, 1922. Oil on canvas, 61 x 50.8. PROVENANCE: S. E. Thornton > Contemporary Art Society (1926) > Manchester City Art Galleries (1931). EXHIBITION HISTORY: Chenil Galleries 1923, New Chenil Galleries (2) 1926, Arts Council 1945, Arts Council 1951, Arts Council 1955, Tate Gallery 1965, National Portrait Gallery 1984, Leeds/Ben Uri Gallery 2003. REPRODUCED: William Roberts and Jacob Kramer, p. 15

S. F. Newcombe DSO, Colonel, 1922. Pencil. Commissioned by T. E. Lawrence for The Seven Pillars of Wisdom. EXHIBITION HISTORY: Chenil Galleries 1923. REPRODUCED: Williams, William Roberts, p. 56

Singing the Blues, date uncertain – c.1922? (John David Roberts, Cambridge 1985). Pencil, 12.6 x 10. EXHIBITION HISTORY: Reading 1983, Cambridge 1985

1923

Bank Holiday in the Park – study, 1923. Drawing. EXHIBITION HISTORY: Chenil Galleries 1923. PROVENANCE: Swindon Art Gallery

Bank Holiday in the Park, 1923. Oil on canvas, 152.5 x 120. (A bank-holiday scene on Primrose Hill; cf. In the Park c.1921.) PROVENANCE: E. Kennington £60 > returned to William Roberts, later sold by William Roberts £100 > Ernest Cooper > Sotheby’s 1972 (£8,000) > Simon Sainsbury, London. EXHIBITION HISTORY: London Group 1925, Pittsburgh 1929, London Artists’ Association 1931, Hamburg 1932, Tate Gallery 1964, Tate Gallery 1965, Worthing 1972. REPRODUCED: Williams, William Roberts, p. 63

Camel March (aka Camel Corps), 1923. Ink and watercolour, 33 x 57.8. PROVENANCE: Sir Edward Marsh > Michael Ayrton > Sotheby’s May 1987 > T. T. Andreae. EXHIBITION HISTORY: Chenil Galleries 1923, Edinburgh 1924, Leicester Galleries (1) 1927, Whitechapel Gallery 1929, Newcastle 1931, Johannesburg 1936, National Gallery 1940, Grosvenor Gallery 1965, Tate Gallery 1965, Hamet Gallery 1971, Parkin Gallery 1976, Spink & Son 1988, National Portrait Gallery 1988. REPRODUCED: Williams, William Roberts, p. 58

Connoisseur, The, c.1923? Black chalk and watercolour, 22.4 x 21. PROVENANCE: Sir Desmond Coke > Maynard Keynes (1931) > King’s College, Cambridge. EXHIBITION HISTORY: Cambridge 1983, Cambridge 1985

Creole, The (aka Portrait of a Negress – Helene Yelin), 1923. Oil on canvas, 60.7 x 50.5. EXHIBITION HISTORY: Chenil Galleries 1923, Tate Gallery (1) 1935, Tate Gallery 1946, Arts Council 1948, Tate Gallery 1965, Leeds/Ben Uri Gallery 2003. PROVENANCE: Stoke-on-Trent City Museum and Art Gallery. REPRODUCED: William Roberts and Jacob Kramer, p. 13

Dance Club, The (aka Jazz and The Jazz Party), 1923 (also dated 1921). Oil on canvas, 76 x 106.6. EXHIBITION HISTORY: Chenil Galleries 1923, Tate Gallery 1965, Leicester Museum 1970, Royal Academy 1987, Hayward Gallery 1991, Munich 2001, Museum of London 2003, Chichester 2007. PROVENANCE: Muirhead Bone > Contemporary Art Society (1925) > Leeds City Art Gallery (1927). REPRODUCED: Ross, Twenties London, p. 30

Girl in Mauve Hat, 1923 (also dated as 1925, but a painting was exhibited under this name in 1923). Oil on canvas, 61 x 51. PROVENANCE: Oliver Brown > Scottish National Gallery of Modern Art, Edinburgh (purchased 1976). EXHIBITION HISTORY: Chenil Galleries 1923. REPRODUCED: Williams, William Roberts, p. 72

Interval, The, 1923 (inscribed with the title and dated). Pencil and black chalk, 58 x 41. PROVENANCE: Phillips 12 June 1990

John, c.1923. Oil on canvas. EXHIBITION HISTORY: Chenil Galleries 1923

Joke, The, 1923. (Jacob Kramer and black model Helene Yelin at Harlequin Café, Beak Street, Soho.) Black chalk and watercolour, squared, 25.4 x 20.3. EXHIBITION HISTORY: Chenil Galleries 1923, Hamet Gallery 1971, Parkin Gallery 1976, Anthony d’Offay Gallery 1980. PROVENANCE: Muirhead Bone > ? > Sotheby’s 1990. REPRODUCED: Anthony d’Offay 1980 catalogue

Joke, The, 1923. Oil on canvas, 75 x 62.5. PROVENANCE: Dr Harold Caplan (1965) > Mary Chalot (France). EXHIBITION HISTORY: Leeds/Ben Uri Gallery 2003. REPRODUCED: William Roberts and Jacob Kramer, p. 11

Kit, 1923. (Portrait of Kate Knewstub – niece of John Chenil.) Oil on canvas, 50 x 39. PROVENANCE: Sir Edward Marsh > Contemporary Art Society (1953) > Wolverhampton Art Gallery. EXHIBITION HISTORY: Chenil Galleries 1923, Whitechapel Gallery 1929, Venice 1932, Tate Gallery 1965

Lord Winterton, 1923. Pencil. Commissioned by T. E. Lawrence REPRODUCED: Lawrence, The Seven Pillars of Wisdom

Picture Dealer, The (aka The Connoisseur. Inscribed ‘The Picture Dealer’, signed and dated), 1923 Charcoal, 51 x 40. PROVENANCE: Purchased from the artist by Ernest Cooper > Sotheby’s 1987 > Private collection. EXHIBITION HISTORY: Chenil Galleries 1923, Grosvenor House 1923, Edinburgh 1924, Tate Gallery (1) 1935, Tate Gallery (2) 1945, Arts Council 1948, Tate Gallery 1965, Worthing 1972. REPRODUCED: Williams, William Roberts, p. 67

Poor Family, The (aka Unemployed), 1923. Oil on canvas, 50.8 x 41.9.PROVENANCE: Dr H. Caplan in 1965 > Christie’s 15 Mar. 1985. EXHIBITION HISTORY: Chenil Galleries 1923, Tate Gallery 1965, Parkin Gallery 1976, Paris 1981, Albemarle Gallery 1989. REPRODUCED: Modern Painters, spring 1989; Roberts, Paintings and Drawings 1909–1964, p. 14

Prophet, The, 1923. Pencil, 46 x 33

St Christopher, 1923 (signed and dated in ballpoint). Black and red chalk on buff paper, 24.5 x 15. EXHIBITION HISTORY: Reading 1983, Cambridge 1985

Sarah, 1923 (Sarah standing, smoking). Watercolour, 45 x 33.5. PROVENANCE: Private collection. EXHIBITION HISTORY: Parkin Gallery 1976, Albemarle Gallery 1989, Leeds/Ben Uri Gallery 2003. REPRODUCED: William Roberts and Jacob Kramer, p. 14

Self-portrait, 1923. Oil on canvas, 30.5 x 25.4. PROVENANCE: Private collection. EXHIBITION HISTORY: Leeds/Ben Uri Gallery 2003. REPRODUCED: Williams, William Roberts, p. 66

Street Acrobats, 1923 (signed and dated in black ink). Pencil, ink and watercolour, 50 x 35.5. PROVENANCE: Sir Desmond Coke > Maynard Keynes (1931) > King’s College, Cambridge. EXHIBITION HISTORY: Cambridge 1983, Cambridge 1985. Cf. The Tumbler 1920–23

Toast, The, 1923. EXHIBITION HISTORY: Chenil Galleries 1923, Hamet Gallery 1971. REPRODUCED: Hamet Gallery 1971 catalogue (in black and white on the cover)

1924

Bus-stop, The (aka The Buses) – study for a poster, 1924 (also dated as 1925). Pencil, ink and watercolour, 26 x 75. PROVENANCE: Sydney Schiff > Contemporary Art Society > Whitworth Art Gallery, Manchester (1927). EXHIBITION HISTORY: New English Art Club 1924, Tate Gallery 1965, Museum of London 2003. REPRODUCED: Ross, Twenties London, pp. 142–3

Card Players, The, c.1924. Charcoal, 17.5 x 22. PROVENANCE: Christie’s 13 Nov. 1987. EXHIBITION HISTORY: Anthony d’Offay Gallery 1980.

Char, The – study, 1924. Pencil and watercolour, squared. REPRODUCED: Roberts, Drawing and Design 2, 11 (May 1927), p. 129

Char, The, 1924 (also dated 1923). (Painted in Fitzroy Street.) Oil on canvas, 43.3 x 33. PROVENANCE: William Roberts > Lord Duveen > Tate Gallery (N04148, 1926). EXHIBITION HISTORY: Tate Gallery 1965. REPRODUCED: Roberts, Paintings 1917–1958, p. 31

Figures in the Park, c.1924. Oil on canvas, 75 x 50. PROVENANCE: Christie’s 18 Apr. 1969

Happy Family, The, 1924 (also dated 1925). (Painted in Fitzroy Street.) Oil on canvas, 50 x 40. PROVENANCE: Sir Edward Marsh > Contemporary Art Society (1925) > Russell Cotes Art Gallery, Bournemouth (1944). EXHIBITION HISTORY: New Chenil Galleries 1925, Arthur Tooth & Sons 1930 1932, Newcastle 1934, Tate Gallery 1965, Leeds/Ben Uri Gallery 2003, Newcastle 2004. REPRODUCED: William Roberts and Jacob Kramer, p. 16

Head of a Woman, 1924 (‘The artist doesn’t remember who the sitter was’ – Tate Gallery 1965 catalogue). Oil on canvas, 40 x 30. PROVENANCE: Glynn Vivian Art Gallery, Swansea. EXHIBITION HISTORY: Tate Gallery 1965

History of the Omnibus (aka London Buses and The Bus-stop) – design for poster, 1924. Pencil and watercolour, 12.75 x 37.5. EXHIBITION HISTORY: Anthony d’Offay Gallery (1) 1969, Hamet Gallery 1971, Parkin Gallery 1976, Maclean Gallery 1980. REPRODUCED: Cayzer, William Roberts

History of the Omnibus – poster commissioned by Frank Pick for Underground Railway Co., 1924. 600 x 210. EXHIBITION HISTORY: This huge poster was displayed at the entrance to the British Empire Exhibition, Wembley, London, 1924. REPRODUCED: Artwork 1 (Feb.–Apr. 1925), p. 188

Loading Ballast (aka The Mazeppa – see next entry), 1924? Watercolour and drawing, 30 x 50. PROVENANCE: R. Gatehouse > Sir Arthur Bliss > Professor Robert Holmes > Leeds City Art Gallery (Dec. 1967). EXHIBITION HISTORY: London Group 1928 (£21), London Artists’ Association (1) 1929, London Artists’ Association 1931, Tate Gallery 1965. REPRODUCED: Drawing and Design 4, 28 (Oct. 1928), p. 275

Loading Ballast, 1924 (dated in ballpoint). (The date could have been added by John David Roberts when preparing the Cambridge 1985 exhibition. He states, ‘In 1922 Roberts went to stay near the little port of Cassis in Provence … The boat Mazeppa has docked and is being unloaded.’ The 1924 date is the most often used one for this work and the related watercolour.) Black chalk, with red ink on two pieces of paper, one 17.6 x 28.3, irregularly laid over the other, 19.6 x 33.8. PROVENANCE: Estate of John David Roberts (2001). EXHIBITION HISTORY: Abdy Galleries 1931, Reading 1983, Cambridge 1985

Sarah in a Wicker Chair, 1924 (signed and dated in ballpoint). Red and blue chalk, 31.5 x 23.5. PROVENANCE: Estate of John David Roberts (2001). EXHIBITION HISTORY: Reading 1983, National Portrait Gallery 1984, Cambridge 1985.

Two Mothers with Children on a Street Corner, c.1924? Pencil, squared, 26 x 21. PROVENANCE: Christie’s 12 Nov. 1982 (£1,100)

1925

Bathers – study, 1925 (dated). Pencil on paper, 50 x 37.4. PROVENANCE: Christie’s 13 Nov. 1987 > ? > Ruth Artmonsky. EXHIBITION HISTORY: Leeds/Ben Uri Gallery 2003. REPRODUCED: William Roberts and Jacob Kramer, p. 10

Bathers, c.1925 (perhaps Family Bathing exhibited London Artists’ Association 1931?). Etching, 8.5 x 11. EXHIBITION HISTORY: London Artists’ Association 1931?, Hamet Gallery 1971, Parkin Gallery 1976

Bathers, The, c.1925. Oil on canvas, 50 x 40. PROVENANCE: Mrs Nora Meninsky > Christie’s 6 Mar. 1987

Bedroom, The – study for etching, c.1925. Black chalk and pencil, 12 x 9.5. PROVENANCE: Estate of John David Roberts (2001). EXHIBITION HISTORY: Cambridge 1985

Bedroom, The, 1925 (also dated as c.1927). Etching (edition of three), 11 x 8.3. EXHIBITION HISTORY: Hamet Gallery 1971, Parkin Gallery 1976, Reading 1983, Cambridge 1985, Gillian Jason Gallery 1992. REPRODUCED: The Monthly Chap Book (ed. Harold Monro), 40 (1925)

Boat Pond, The, 1925. Oil on canvas, 120 x 90. PROVENANCE: Mrs Sidney Russell Cooke (c.1927) > Private collection (1970). EXHIBITION HISTORY: New English Art Club 1925, London Artists’ Association (1) 1929, Café Royal 1955, Tate Gallery 1965. REPRODUCED: Williams, William Roberts, p. 75, where dated 1927

Boating Scene, 1925. Drawing, 18.5 x 14. PROVENANCE: Private collection – purchased from Sarah Roberts and John Roberts late 1980s. EXHIBITION HISTORY: Reading 1983, Cambridge 1985

Boating Scene with Swans – study for The Boat Pond, 1925. Drawing, 18 x 13. PROVENANCE: Private collection – purchased from Sarah Roberts and John Roberts late 1980s. EXHIBITION HISTORY: Reading 1983

By the Sea, c.1925? (‘mid-20s’ – John David Roberts in Cambridge 1985 catalogue). Black chalk and pencil, 19.8 x 22.2 (inscribed with colour notes). PROVENANCE: Estate of John David Roberts (2001). EXHIBITION HISTORY: Cambridge 1985

Cecilia Kramer, c.1925? (also dated 1921). Oil on canvas, 49.8 x 40.6. PROVENANCE: E. Marsh > J. Capstick Dale > Estate of John David Roberts (2001). EXHIBITION HISTORY: Parkin Gallery 1976, Reading 1983, National Portrait Gallery 1984.

Christ Driving the Money Changers from the Temple – study, 1925. Charcoal, 20 x 23 (?). PROVENANCE: Estate of John David Roberts (2001)

Christ Driving the Money Changers from the Temple – study, 1925. Watercolour and pencil, 20 x 23.5. PROVENANCE: Bonham’s Dec. 2002

Christ Driving the Money Changers from the Temple, 1925. (Also dated 1922 in Reading 1983 catalogue; ‘Painted in Fitzroy Street about the same time as Dogs of the Beni Hillal’ – Tate Gallery 1965 catalogue; dated 1924 in Roberts, Paintings 1917–1958, p. 32.) Oil on canvas, 48 x 52.5. PROVENANCE: Sir Desmond Coke > Sotheby’s 23 July 1931 > Tritton (?) > Sotheby’s 21 Nov. 1962 > Jackman (?) > Thomas Jones > Sotheby’s 1974 > Private collection > Ferens Art Gallery, Hull. EXHIBITION HISTORY: New Chenil Galleries (2) 1926, Tate Gallery 1965, Parkin Gallery 1976, Maclean Gallery 1980, Reading 1983, Newcastle 2004. REPRODUCED: Williams, William Roberts, p. 70

Crowd, The, c.1925. Etching. (‘ … other titles for Roberts’ etchings are Bathers, Boozers, Opera, Tarts, The Crowd and Portrait of John. Very few impressions of any of these were made: a group appeared at Sotheby’s 5th December 1984, lots 364–369, where dated c.1920’ – Cambridge 1985 catalogue.) Cf. The Crowd 1915

Dentist, The, 1925. Oil on canvas, 50 x 40. PROVENANCE: ‘County Collection’ – no further details. EXHIBITION HISTORY: Whitechapel Gallery 1967

Dogs of the Beni Hillal – an Arabian Legend (aka Wolves and Men), 1925. Oil on canvas, 40 x 35. (Painted in Fitzroy Street at a time when William Roberts was working on illustrations for the de-luxe edition of The Seven Pillars of Wisdom.) PROVENANCE: Wilfrid Evill > Miss Honor Frost. EXHIBITION HISTORY: New Chenil Galleries (1) 1926, Leicester Galleries 1927, Brighton 1965, Tate Gallery 1965

Esther Lahr, 1925. Oil on canvas, 50.8 x 40.6. Esther Lahr was the wife of Charles Lahr, owner of the Progressive Bookshop in Red Lion Street, Holborn, and publisher of the New Coterie, for which William Roberts designed covers. To avoid anti-German prejudice, Lahr also published books under his wife’s maiden name, E. Archer, for which WR contributed illustrations. PROVENANCE: Tate Gallery (T01184, presented in 1970). EXHIBITION HISTORY: London Group (1) 1926

George Ambrose Lloyd (1st Baron Lloyd), 1925. Oil on canvas, 50.8 x 43.3. Commissioned by T. E. Lawrence. PROVENANCE: ex Eric Kennington > University of Texas. EXHIBITION HISTORY: Texas 1962, National Portrait Gallery 1988. REPRODUCED: Lawrence, The Seven Pillars of Wisdom

Group Drinking at a Bar (aka Boozers), c.1925. Etching (ref. Cambridge 1985 catalogue), 10 x 10. EXHIBITION HISTORY: Hamet Gallery 1971, Parkin Gallery 1976

Interruption, The – study for etching not carried out, c.1925. Black chalk and pencil, 15.6 x 13. PROVENANCE: Estate of John David Roberts (2001). EXHIBITION HISTORY: Cambridge 1985, Gillian Jason Gallery 1992

John – study for etching, c.1925 (date queried in National Portrait Gallery 1984 catalogue: ‘John may actually have been a year or two older than this dating would allow’). Pencil, 11.7 x 7. PROVENANCE: Estate of John David Roberts (2001). EXHIBITION HISTORY: Hamet Gallery 1971, National Portrait Gallery 1984

John, c.1925 (date queried in National Portrait Gallery 1984 catalogue). Etching, 13.5 x 8. PROVENANCE: Estate of John David Roberts (2001). EXHIBITION HISTORY: Hamet Gallery 1971

Judgement of Paris, The, c.1925. Drawing, 20 x 20. This sketch could be a study for the later versions of this subject (c.1931 and 1933)

Judgement of Paris, The, c.1925. Oil on canvas, 43 x 33. PROVENANCE: Sir Michael Sadler > Leicester Galleries, London > Private collection, UK > Sotheby’s 3 Dec. 2003 (£12,000) > ? > Offer Waterman Gallery (2006). EXHIBITION HISTORY: London Group 1925, Leicester Galleries (1) 1944

Millie Kramer (aka Portrait of a Woman), date unknown – suggest 1925 from guessed age of Sarah Roberts’s sister. Oil on canvas, 51 x 41. PROVENANCE: Sotheby’s 26 Nov. 1997 > Robert Devereux. EXHIBITION HISTORY: Southampton 1967, Worthing 1972, Leeds/Ben Uri Gallery 2003. REPRODUCED: William Roberts and Jacob Kramer, p. 11

New Coterie, 1925 (Nov.) – design for relaunch of literary magazine. Page size 19 x 25.5. Black line drawing of six figures appearing to be workers or artists, with arms in the air, on a strong red background. This design was also used with different colour backgrounds for nos. 2 (red background, spring 1926), 3 (green background, summer 1926) and 4. REPRODUCED: William Roberts and Jacob Kramer, p. 30

Opera, c.1925 (also dated c.1920, Sotheby’s 1984). Etching, 9.5 x 10. PROVENANCE: Sotheby’s Dec. 1984 > ? > R. Artmonsky (1999). EXHIBITION HISTORY: Hamet Gallery 1971, Parkin Gallery 1976, Cambridge 1985

Outclassed – study for etching (boxing subject), c.1925. Black chalk and pencil, 12.8 x 12. PROVENANCE: British Museum. EXHIBITION HISTORY: Cambridge 1985

Outclassed, c.1925. Etching. PROVENANCE: Victoria & Albert Museum

People Swimming, c.1925? Black chalk and pencil, 16 x 13. EXHIBITION HISTORY: Cambridge 1985

Rabbi’s Wife, c.1925. EXHIBITION HISTORY: London Group 1925 (£30)

Sarah, 1925. Pencil on red paper, 31.3 x 23.8. PROVENANCE: Arthur Crossland > Estate of John David Roberts (2001). EXHIBITION HISTORY: Newcastle 1939, Tate Gallery 1965, Reading 1983, National Portrait Gallery 1984. REPRODUCED: National Portrait Gallery 1984 catalogue

Sarah, c.1925. Red chalk, 29.5 x 23.2. PROVENANCE: Arthur Crossland > Christie’s 3 Feb. 1956 > Estate of John David Roberts (2001). EXHIBITION HISTORY: Newcastle 1939, Anthony d’Offay Gallery 1980, National Portrait Gallery 1984, Cambridge 1985

Self-portrait – study for etching, c.1925. Pencil and pink wash, 12.7 x 9.8. PROVENANCE: Maynard Keynes (1932) > King’s College. EXHIBITION HISTORY: Cambridge 1983, Cambridge 1985

Self-portrait, c.1925. Etching, third. state, 12.4 x 9.8. PROVENANCE: Estate of John David Roberts (2001)? EXHIBITION HISTORY: Hamet Gallery 1971, National Portrait Gallery 1984, Cambridge 1985, Gillian Jason Gallery 1991. REPRODUCED: National Portrait Gallery 1984

Shipping, 1925. Watercolour, 20.6 x 34. PROVENANCE: Leicester Galleries > Tib Lane Gallery, Manchester > John H. Lister. EXHIBITION HISTORY: New English Art Club 1925, Leicester Galleries 1962, Tate Gallery 1965

Swan Upping, c.1925. Watercolour and pencil. PROVENANCE: Christie’s 4 Mar. 1983 (£1,200)

Tarts, c.1925. Etching, 11 x 8.7 (ref. Cambridge 1985 catalogue). EXHIBITION HISTORY: Parkin Gallery 1976



Camel Ambulance, A, 1925–6. Line drawing from Lawrence, The Seven Pillars of Wisdom, subscriber’s edition of 1926, p. 91

Dhaif Allah – study for tailpiece drawing for The Seven Pillars of Wisdom, 1925–6. Pencil, 28.4 x 19.7. PROVENANCE: Houghton Library, Harvard University. EXHIBITION HISTORY: National Portrait Gallery 1988

Dhaif Allah – tailpiece drawing for Lawrence, The Seven Pillars of Wisdom, 1925–6. Ink, 38.1 x 28. PROVENANCE: Houghton Library, Harvard University. EXHIBITION HISTORY: Leicester Galleries 1927, National Portrait Gallery 1988. REPRODUCED: Lawrence, The Seven Pillars of Wisdom, 1926, p. 509

Dignity – tailpiece drawing for Lawrence, The Seven Pillars of Wisdom, 1925–6. Ink, 37 x 28.6. PROVENANCE: Houghton Library, Harvard University. EXHIBITION HISTORY: Leicester Galleries 1927, National Portrait Gallery 1988, Imperial War Museum 2005. REPRODUCED: Lawrence, The Seven Pillars of Wisdom, 1926, p. 23

Dogs of Harith, The – study for tailpiece drawing, 1925–6. Red chalk, 28.2 x 23.5. PROVENANCE: Houghton Library, Harvard University. EXHIBITION HISTORY: National Portrait Gallery 1988

Dogs of Harith, The – tailpiece drawing for Lawrence, The Seven Pillars of Wisdom, 1925–6. Ink, 36.5 x 28.3. PROVENANCE: Houghton Library, Harvard University. EXHIBITION HISTORY: Leicester Galleries 1927, National Portrait Gallery 1988, Imperial War Museum 2005. REPRODUCED: Lawrence, The Seven Pillars of Wisdom, 1926, p. 192

Drawing of Party, undated, suggest 1925–6 (in style of the endpieces for Lawrence, The Seven Pillars of Wisdom – party scene with musicians, naked dancers and drinking). PROVENANCE: ex Captain Desmond Coke. REPRODUCED: Drawing and Design 2, 7 (Jan. 1927), p. 49

Flashing Sword – tailpiece drawing for Lawrence, The Seven Pillars of Wisdom, 1925–6. Ink, 28.4 x 19.7. PROVENANCE: Houghton Library, Harvard University. EXHIBITION HISTORY: Leicester Galleries 1927, National Portrait Gallery 1988, Imperial War Museum 2005. REPRODUCED: Lawrence, The Seven Pillars of Wisdom, 1926, p. 6

Gypsy Girl, A, 1925 –6 (Sarah. painted in Fitzroy Street). Oil on canvas, 41.5 x 31.2. PROVENANCE: Sotheby’s 23 June 1948 > R. H. Spurr > Leicester Galleries > Arts Council (1950). EXHIBITION HISTORY: New Chenil Galleries (2) 1926, London Artists’ Association 1931, Hamburg 1932, Leicester Galleries 1950, Arts Council 1951, Arts Council 1955, Arts Council 1958, Tate Gallery 1965

Ibrahim Pasha – tailpiece drawing for Lawrence, The Seven Pillars of Wisdom, 1925–6. Ink, 30.6 x 24.7. PROVENANCE: Houghton Library, Harvard University. EXHIBITION HISTORY: Leicester Galleries 1927, National Portrait Gallery 1988. REPRODUCED: Lawrence, The Seven Pillars of Wisdom, 1926, p. 59

Luxury – study for tailpiece drawing, 1925–6. Charcoal, 28.4 x 19.7. PROVENANCE: Houghton Library, Harvard University. EXHIBITION HISTORY: National Portrait Gallery 1988

Luxury – tailpiece drawing for Lawrence, The Seven Pillars of Wisdom, 1925–6. Ink, 28.5 x 19.5. PROVENANCE: Houghton Library, Harvard University. EXHIBITION HISTORY: Leicester Galleries 1927, National Portrait Gallery 1988. REPRODUCED: Lawrence, The Seven Pillars of Wisdom, 1926, p. 161

Male and Female – study for tailpiece drawing, 1925–6. Charcoal, 28.4 x 19.7. PROVENANCE: Houghton Library, Harvard University. EXHIBITION HISTORY: National Portrait Gallery 1988

Male and Female – tailpiece drawing for Lawrence, The Seven Pillars of Wisdom, 1925–6. Ink, 28.4 x 19.7. PROVENANCE: Houghton Library, Harvard University. EXHIBITION HISTORY: Leicester Galleries 1927, National Portrait Gallery 1988. REPRODUCED: Lawrence, The Seven Pillars of Wisdom, 1926, p. 119

Night Bombing, 1925–6. Line drawing from Lawrence, The Seven Pillars of Wisdom

Object Lesson – tailpiece drawing for Lawrence, The Seven Pillars of Wisdom, 1925–6. Ink, 30.6 x 24.6. PROVENANCE: Houghton Library. EXHIBITION HISTORY: Leicester Galleries 1927, National Portrait Gallery 1988. REPRODUCED: Lawrence, The Seven Pillars of Wisdom, 1926, p. 29

Reluctant Shepherd, A, 1925–6. Line drawing from Lawrence, The Seven Pillars of Wisdom, subscriber’s edition of 1926, p. 110

Revolt – tailpiece drawing for Lawrence, The Seven Pillars of Wisdom (not used), 1925–6. Ink and pencil, 30.7 x 24.8. PROVENANCE: Houghton Library, Harvard University. EXHIBITION HISTORY: National Portrait Gallery 1988

Sleeping, Waking, 1925–6. Line drawing from Lawrence, The Seven Pillars of Wisdom, subscriber’s edition of 1926, p. 36

Spine Drill, 1925–6. Line drawing from Lawrence, The Seven Pillars of Wisdom, subscriber’s edition of 1926, p. 65

Supplicants, 1925–6. Line drawing from Lawrence, The Seven Pillars of Wisdom, subscriber’s edition of 1926, p. 115

Torture – tailpiece drawing for Lawrence, The Seven Pillars of Wisdom (not used), 1925–6. Ink, 28.4 x 19.7. PROVENANCE: Houghton Library, Harvard University. EXHIBITION HISTORY: Leicester Galleries 1927, National Portrait Gallery 1988

Turks, The, 1925–6. Line drawing from Lawrence, The Seven Pillars of Wisdom, subscriber’s edition of 1926, p. 460

Victory, 1925–6. Line drawing from Lawrence, The Seven Pillars of Wisdom, subscriber’s edition of 1926, p. 75

1926

Adam and Eve – two studies for Garden of Eden, c.1926 (signed and dated 1923 in ballpoint – the use of ballpoint suggests the dating was done much later – perhaps the work of John for the 1985 Cambridge exhibition. Stylistically the Tate date of 1926 seems more likely). Black chalk, 18 x 27 and black chalk squared with red ink, 12 x 14 – Cambridge catalogue makes them sound like two sides of the same paper. PROVENANCE: Estate of John David Roberts (2001). EXHIBITION HISTORY: Reading 1983, Cambridge 1985, Albemarle Gallery 1989

Deposition from the Cross (aka Deposition), c.1926. Oil on canvas, 49.5 x 59.1. PROVENANCE: Tate Gallery (T07740). EXHIBITION HISTORY: London Artists’ Association (1) 1929

Descent from the Cross, c.1926. Pencil, 20.7 x 23.7. EXHIBITION HISTORY: London Artists’ Association 1931, Parkin Gallery 1976

Descent from the Cross – colour study, c.1926. EXHIBITION HISTORY: London Artists’ Association 1931

Family and Dog, c.1926. Pencil and watercolour, 38.3 x 25.4. PROVENANCE: Sir Desmond Coke > Maynard Keynes (1931) > King’s College, Cambridge. EXHIBITION HISTORY: Cambridge 1983, Cambridge 1985

Family at the Seaside, c.1926. Pencil and watercolour, 50.1 x 25.7. PROVENANCE: Sir Desmond Coke > Maynard Keynes (1931) > King’s College, Cambridge. EXHIBITION HISTORY: Cambridge 1983, Cambridge 1985

Female Nude (aka Drawing), c.1926. REPRODUCED: Drawing and Design 2, 7 (Jan. 1927), p. 1

French Sailors on the Deck of a Ship c.1926. Drawing. PROVENANCE: Estate of John David Roberts (2001)

French Sailors on the Deck of a Ship c.1926? (dating from the 1920s: ‘Roberts rejects the sharp forms of his early style in favour of a more rounded classicism’ – John David Roberts, Cambridge 1985). Pencil and watercolour, 37.5 x 30. PROVENANCE: Sir Desmond Coke > Maynard Keynes (1931) > King’s College, Cambridge. EXHIBITION HISTORY: Cambridge 1985

Garden of Eden, c.1926. Oil on canvas, 39 x 50 (‘rejected from the Carnegie Institute, Pittsburgh, in 1929, on the grounds that American taste was not yet ready for such pictures, and was also taken out of a provincial exhibition in England by the mayor, newspaper articles and interviews resulting’ – Tate Gallery 1965 catalogue). PROVENANCE: Mrs Isobel Powys Marks (1965) > Christie’s 7 June 2002 > Chris Ingram Collection. EXHIBITION HISTORY: Leicester Galleries (2) 1927, London Artists’ Association (1) 1929, Hamburg 1932, Tate Gallery 1965, Newcastle 2004 (where dated 1923). REPRODUCED: Heard, William Roberts, p. 80

Liam O’Flaherty, 1926. Drawing. Published in New Coterie No. 3, summer 1926.

Male Nude – study, c.1926? Black chalk and pink wash, 37.2 x 23.8. PROVENANCE: Savile Gallery > Sir Desmond Coke > Maynard Keynes (1931) > King’s College, Cambridge. EXHIBITION HISTORY: Cambridge 1983, Cambridge 1985

Newspapers (aka The News), 1926 (also dated as 1924). Oil on canvas, 50 x 60. PROVENANCE: Wilfrid Evill > Miss Honor Frost. EXHIBITION HISTORY: London Artists’ Association 1927, Leicester Galleries 1960, Brighton 1965, Tate Gallery 1965, Chichester 2007

Prodigal Sets Out, The (aka The Prodigal Returns), 1926 (also dated c.1932, Anthony d’Offay Gallery 1969). Pencil and black chalk, squared, 25.4 x 22. EXHIBITION HISTORY: Anthony d’Offay Gallery (1) 1969, Hamet Gallery 1971, Parkin Gallery 1976, Maclean Gallery 1980, Leeds/Ben Uri Gallery 2003. REPRODUCED: William Roberts and Jacob Kramer, p. 13

Prodigal Sets Out, The, 1926. Watercolour, 19 x 15. PROVENANCE: Art Gallery of New South Wales, Sydney (gift of Mrs H. V. Evatt). EXHIBITION HISTORY: London Artists’ Association (1) 1929, Reading 1983, Melbourne 2007

Prodigal Sets Out, The (aka The Prodigal Departs), 1926. Oil on canvas. (Inspired by a visit to Germany.) EXHIBITION HISTORY: London Artists’ Association (1) 1929. REPRODUCED: Roberts, Paintings 1917–1958, p. 34. DESTROYED by William Roberts

Regrets, c.1926. EXHIBITION HISTORY: London Group 1926 (£50)

Self-portrait, c.1926? Pencil on paper, 24.3 x 20.9. PROVENANCE: Stephen Gaselee > Fitzwilliam Museum, Cambridge (1929). EXHIBITION HISTORY: Cambridge 1985

Shimmey, The, c.1926. EXHIBITION HISTORY: London Group 1926 (£50)

Susanna and the Elders – study, c.1926 (signed and dated 1923 in ballpoint – cf. the comment re Adam and Eve c.1926). Black chalk, and traces of red chalk, 18.2 x 13.7. PROVENANCE: Estate of John David Roberts (2001). EXHIBITION HISTORY: Cambridge 1985

Susanna on the Beach (aka Susanna and the Elders and Susannah), c.1926. Oil on canvas, 42.5 x 32.5. PROVENANCE: William Roberts > Mr and Mrs Neville Burston (1965). EXHIBITION HISTORY: Leicester Galleries (2) 1927, London Artists’ Association (1) 1929, Tate Gallery 1965

Trafalgar Square, 1926. Oil on canvas, 76 x 91.5. PROVENANCE: R. H. Spurr > Dr H. Widdup > Redfern Gallery > John Christopherson > Sotheby’s 14 Nov. 1984 (estimate £28,000). EXHIBITION HISTORY: Leicester Galleries (2) 1927, Redfern Gallery 1963, Redfern Gallery 1964, Tate Gallery 1965

1927

Bowling Alley, The, c.1927. Oil on canvas, 50 x 41.3. (Inspired by a visit to Germany.) EXHIBITION HISTORY: Hamet Gallery 1973

H. E. Bates, 1927. Drawing of the author in H. E. Bates, The Spring Song and In View of the Fact That (London: E. Archer, 1927; San Francisco: Lantern Press, 1927)

John, c.1927. Oil on canvas. PROVENANCE: London Artists Association. REPRODUCED: Drawing and Design 4, 28 (Oct. 1928), p. 273

New Coterie No. 5, 1927 (spring). Magazine size, 19 x 25.5. Features seven naked Olympic runners printed in black and red

New Coterie No. 6, 1927 (summer and autumn). Magazine size 19 x 25.5. Features seven naked Olympic runners printed in blue and brown

Sarah (aka A Woman), 1927. Oil on canvas, 61 x 50.8. PROVENANCE: Mrs C. Rutherston > Manchester City Art Galleries (gift, 1928). EXHIBITION HISTORY: Tate Gallery 1965

Skittle Alley, c.1927. (Is this a study for The Bowling Alley c.1927?) Pencil and watercolour, 14 x 11.4. EXHIBITION HISTORY: Anthony d’Offay Gallery (1) 1969

Song of Songs, The – book-jacket design for Rhys Davies novel published E. Archer, London, 1927, with frontispiece portrait of Davies by William Roberts. Limited edition of 100 – some signed by William Roberts

Withered Root, The – book-jacket design for Rhys Davies novel published Robert Holden & Co., London, 1927 (book in National Art Library, Victoria & Albert Museum), 1927. Drawing, 18.5 x 16.5 PROVENANCE: Estate of John David Roberts (2001). EXHIBITION HISTORY: Reading 1983, Gillian Jason Gallery (2) 1986, Gillian Jason Gallery 1992. REPRODUCED: Reading 1983 catalogue



Carpet Beaters – study, 1927–8. Watercolour and pencil, 37.5 x 30. PROVENANCE: Harrogate Art Gallery. EXHIBITION HISTORY: Newcastle 2004. REPRODUCED: Heard, William Roberts, p. 65

Carpet Cleaning – study, 1927–8. Drawing, 17.5 x 15. PROVENANCE: Estate of John David Roberts (2001). EXHIBITION HISTORY: Albemarle Gallery 1989

Carpet Cleaning (aka Carpet Beaters), 1927–8. Oil on canvas. EXHIBITION HISTORY: London Artists’ Association (1) 1929. REPRODUCED: Cover of Drawing and Design 4, 28 (Oct. 1928)

1928

Armistice Night (aka Armistice Day), 1928? Pen, black ink, graphite and watercolour, 40.8 x 37.8. PROVENANCE: British Museum. EXHIBITION HISTORY: Royal Scottish Academy (lent by Contemporary Art Society) Edinburgh 1929, Maclean Gallery 1980

Bullfight, 1928. Watercolour and black chalk on paper, 19.6 x 11.8. PROVENANCE: Pallant House Gallery (Charles Kearley bequest, through the National Art Collections Fund, 1989)

Jockeys (aka The Paddock), 1928. Oil on canvas, 123.1 x 92.2 PROVENANCE: Samuel Courtauld > Contemporary Art Society > Bradford Art Gallery (1935). EXHIBITION HISTORY: London Artists’ Association 1928, Arthur Tooth & Sons 1930 1932, Tate Gallery (1) 1935, Tate Gallery 1946, Copenhagen 1956, Tate Gallery 1960, Portugal 1962, Tate Gallery 1965, Hayward Gallery 1991, Newcastle 2004, Chichester 2007. REPRODUCED: Rothenstein, Modern English Painters, vol. 2, pl. 10

Nude with Flute – study, c.1928. Pencil and wash, 38.8 x 28.2. PROVENANCE: Sotheby’s (1962) > Hatton Gallery. EXHIBITION HISTORY: Newcastle 2003, Newcastle 2004. REPRODUCED: Heard, William Roberts, p. 64

Nude Study – c.1928. Pencil and wash, 38.1 x 28. PROVENANCE: Sotheby’s (1962) > Hatton Gallery. EXHIBITION HISTORY: Newcastle 2003, Newcastle 2004. REPRODUCED: Heard, William Roberts, p. 64

Paddock, The – study for Jockeys, 1928. (In the Paddock, same dimensions, is dated as c.1935 in Anthony d’Offay (1) 1969 catalogue.) Pencil, 20.3 x 15.2. EXHIBITION HISTORY: Anthony d’Offay Gallery (1) 1969, Hamet Gallery 1971

Park Café – study for The Tea Garden 1928. Pencil drawing. PROVENANCE: Castle Museum and Art Gallery, Nottingham

Park Café – study for The Tea Garden 1928. Crayon and watercolour, 25.4 x 30.5. PROVENANCE: Wilfrid Evill > Miss Honor Frost > Graves Art Gallery, Sheffield (bought Evill Collection, 1966). EXHIBITION HISTORY: London Artists’ Association 1931, St Helens 1939, Morecombe and Heysham1939, Leicester Galleries 1944, Cairo 1945, Brighton 1965

Pigeon Carriers (aka Pigeon Fanciers), 1928. Watercolour and drawing, 65 x 58. PROVENANCE: Sir Edward Marsh > Contemporary Art Society > Wakefield City Art Gallery (1954). EXHIBITION HISTORY: London Artists’ Association (1) 1929, Whitechapel Gallery 1929, British Council 1939, Leicester Galleries (2) 1953, Tate Gallery 1965, Newcastle 2004. REPRODUCED: Heard, William Roberts, p. 71

Portrait of a Young Woman, 1928. Oil on canvas, 50 x 40. PROVENANCE: Stolen from York City Art Gallery 1999, but since recovered. REPRODUCED: Burlington Magazine early 1980s

Rhine Boat, The – study, 1928 (dated c.1930 in Anthony d’Offay exhibitions). Pencil and watercolour, 25.4 x 20.3. EXHIBITION HISTORY: London Artists’ Association 1931, Anthony d’Offay Gallery (1) 1969, Anthony d’Offay Gallery 1980

Rhine Boat, The, 1928. Oil on canvas, 50 x 40. (Inspired by a visit to Germany.) PROVENANCE: Miss Elizabeth Watt from London Artists’ Association (31 gns) > Scottish National Gallery of Modern Art, Edinburgh (1961). EXHIBITION HISTORY: London Artists’ Association (1) 1929, Ottawa 1932, London Artists’ Association 1933, Northampton 1946, Tate Gallery 1965, Edinburgh 1989. REPRODUCED: Williams, William Roberts, p. 71

Tea Garden, The (aka Park Café), 1928. Oil on canvas. EXHIBITION HISTORY: London Artists’ Association (1) 1929



Before the Race, 1928–30 (This is a quite different composition to The Paddock). Pencil, squared, 18.5 x 13.5. PROVENANCE: Fosse Gallery, Stow-on-the-Wold > Derek Williams > Derek Williams Collection, National Museum of Wales, Cardiff (1983). EXHIBITION HISTORY: Stow-on-the-Wold 1983

1929

Anthony and Cleopatra, c.1929 (also dated 1930, Reading 1983). Drawing, 20 x 24. PROVENANCE: Estate of John David Roberts (2001). EXHIBITION HISTORY: Reading 1983. REPRODUCED: Roberts, Paintings and Drawings 1909–1964

Anthony in Egypt (aka Anthony and Cleopatra), c.1929. Oil on canvas, 50.8 x 61. PROVENANCE: Art Gallery of South Australia, Adelaide. EXHIBITION HISTORY: London Artists’ Association (1) 1929

Bath-night, c.1929? Drawing. PROVENANCE: John David Roberts (1993) (N.B. in the estate of John David Roberts (2001) there are two drawings of a boy standing in a tub being washed by two women. These are