The William Roberts Society
William Roberts:
Exhibitions
Art Gallery (pen and ink), 1956
© The Estate of John David Roberts
Galleries are in London unless otherwise indicated.
The William Roberts SocietyWilliam Roberts:ExhibitionsArt Gallery (pen and ink), 1956 © The Estate of John David Roberts Galleries are in London unless otherwise indicated. |
| 1913 | New English Art Club, Dec. 1913 (Return of Ulysses) |
| 1914 | Fry's Grafton Group, Alpine Club Gallery, Jan. 1914 |
| Whitechapel Gallery, 'Twentieth Century Art – A Review of Modern Movements', 8 May–20 June 1914 (The Resurrection, Lucy's Dream from Richard Feverel, The Dance, Study of Boy's Head, Study for Decorative Panel, The Parting
–
'an abstract work' – and 'Drawing
') | |
| New English Art Club, summer 1914 (Boxers) | |
| Rebel Art Centre (Dancers and Religion) | |
| 1915 | London Group,
'Second Exhibition', Goupil Gallery, Mar. 1915 (exhibited three works: The Toe Dancer, The Boatman
and The Boxers) |
| Doré Galleries, 'Vorticist Exhibition. The Vorticist Group: The First Exhibition of the Vorticist
Group', 10 June–July 1915 (four paintings – Overbacks, Two-step, Jeu and Theatre – and two drawings: Drawing and Theatre. It is likely that the untitled drawing was the study for The Dancers 1913–14 (also known as The Dance), as this was selected by Ezra Pound to be sent to America for John Quinn's Vorticist
exhibition in New York in 1917 (Vivien Greene, 'Ezra Pound and John Quinn: The 1917
Penguin Club Exhibition 1917', in The Vorticists (London: Tate, 2011)). In his Some Early Abstract and Cubist Work (1957), William Roberts notes that 'Several paintings, including The Draught Players and The Party, shown with the Vorticists at the Doré Galleries and afterwards bought by John Quinn
of New York, were somehow destroyed in America' (p. 8) . Elsewhere Roberts suggests
that The Draught Players was probably a study for Jeu. No work was exhibited at the Doré Galleries or in New York under the title The Party. It is possible that this is an alternative title used by Roberts for the work known
as The Dancers. | |
| 1917 | New York, Penguin Club, 'Exhibition of the Vorticists', 10 Jan.–1 Feb. 1917 (two paintings – Jen (later corrected by Quinn to Jeu, the title under which it was exhibited at the Doré Galleries in 1915) and Overbacks – and two drawings: Religion and Dancer). All four works were selected by Ezra Pound in London and purchased by John Quinn
(two initially and two after the exhibition closed) and became part of Quinn's collection.
Quinn died in 1924, and his collection was sold in 1927 (Vivien Greene, 'Ezra Pound and John Quinn: The 1917 Penguin Club Exhibition 1917', in The Vorticists (London: Tate, 2011)). |
| 1919
| Royal Academy (1), 'Canadian War Memorial Exhibition', 3 Jan.–1 Mar. 1919 (The 1st German Gas Attack at Ypres) |
| Washington, DC, Corcoran Gallery of Art, 'War Paintings and Drawings by British Artists Exhibited
under the Auspices of the Ministry of Information', 14 Jan.–2 Feb. 1919, and thereafter touring the US (including Detroit Museum of Art, 3–30 June 1919) (Signallers, The Gas Chamber, The Menin Road) | |
| Oxford, Hills and Saunders Gallery, 'Cubist Exhibition', June 1919 | |
| New English Art Club, '60th Exhibition of Modern Drawings in Watercolour and Black and White by the New
English Art Club', summer 1919 (Burying the Dead after Battle 1919, The Wiring Party 1918) | |
| Royal Academy (2), 'The Nation's War Paintings and Other Records', 12 Dec. 1919–7 Feb. 1920 (A Shell Dump, France) | |
| 1920 | Imperial War Museum at Crystal Palace, 'Paintings, Drawings and Sculpture', 1920 |
| Manchester City Art Gallery, 'The Nation's War Pictures from the Imperial War Museum', 10 Mar.–8 May 1920 | |
| Mansard Gallery (Heal's), 'Group X', 26 Mar.–24 Apr. 1920 (with Frederick Etchells and Edward Wadsworth) (Athletes Exercising in a Gymnasium, The Wedding, The Cockneys) | |
| New English Art Club, '62nd Exhibition of the New English Art Club', Royal Society of Painters in Water
Colours Galleries, 7 June–3 July 1920 (The Travelling Cradle) | |
| Goupil Gallery, Goupil Salon, 1920 (The Stockbroker's Clerk) | |
| 1921 | Independent Gallery, 'Paintings, Drawings and Sculpture by Some Independent Painters and Sculptors',
Feb. 1921 (The Travelling Cradle, 1920) |
| 1922
| Whitechapel Gallery, 'Modern British Art', 21 Mar.–21 Apr. 1922 (Portrait of a Man) |
| London Group (1), 'Sixteenth Exhibition', Mansard Gallery (Heal's), 8 May–3 June 1922 (The Last 'Bus, Novices) | |
| London Group (2), 'Seventeenth Exhibition', Mansard Gallery (Heal's), 16 Oct.–11 Nov. 1922 (At The Hippodrome, Dock Gates) | |
| 1923 | Grosvenor House, 'Contemporary Art Society. Exhibition of Paintings and Drawings', 30 June–8 July 1923 (The Red Turban, The Resurrection
1912, Infantry Fatigue Party: Forage Barn 1919) |
| Chenil Galleries, 'Paintings and Drawings by William Roberts', Nov. 1923 (The Crucifixion, Dock Gates, Behind the Scenes, The Art Critic
– P. G. Konody, Gymnasts, The Usurer, Portrait of Miss Tupper-Carey, Fred, Girl in Mauve Hat, Portrait, Elsie, River Scene, Le Patron, Brass Balls, The Banjo, The Box, Her Baby, The Tumbler, Sea Frolic, Captain Robin Buxton, A Girl's Head, Head of a Youth, Sarah, Jewish Melody, The Dance Club, Love Song in a Bar, Country Scene, Sarah, John, Aircraftman Ross (aka Portrait of T. E. Lawrence), Colonel S. F. Newcombe DSO, Colonel Sir Henry McMahon, General Sir Reginald Wingate, Lord Winterton, Camel March, The Joke, The Picture Dealer (aka The Connoisseur), The Toast, The Creole, Kit, study for Bank Holiday in the Park, Waiting in the Café (aka Discussion in a Café), The Poor Family, nine drawings (including Woman Standing?) – catalogue foreword by Muirhead Bone | |
| 1924 | Edinburgh, 'The Ninety-Eighth Exhibition of the Royal Scottish Academy of Painting, Sculpture
and Architecture', Royal Scottish Academy, 19 Apr.–30 Aug. 1924 (Dock Gates 1920, The Picture Dealer 1923) |
| Wembley, Palace of Arts, the British Empire Exhibition, May 1924–Oct. 1925 (History of the Omnibus, Outside the Pawnshop) | |
| New English Art Club, June 1924 (The Bus Stop 1924) | |
| Goupil Gallery, '14th Goupil Gallery Salon', Oct.–Nov. 1924 (Anita) | |
| 1925 | New English Art Club (1), 'Special Retrospective Exhibition (1886–1924) and 71st Exhibition', Spring Gardens Gallery, 5 Jan.–14 Feb. 1925; Manchester City Art Gallery, 2 Apr.–9 May 1925 (Provence, Decapitations, Shipping) |
| New English Art Club (2), '72nd Exhibition of the New English Art Club', Spring Gardens Gallery, 55 Apr.–23 May. 1925 (The Boat Pond, The Dentist) | |
| London Group, 'Twenty-second Exhibition', 6–26 June 1925 (Rabbi's Wife, The Judgement of Paris, Bank Holiday in the Park) | |
| New Chenil Galleries (1), 'Inaugural Exhibition of Present-Day British Art', June–July 1925 (The Happy Family) | |
| New Chenil Galleries (2), 'Tri-National Art Exhibition' (painting and sculpture from England, France and America),
Oct. 1925 (The Slum Park and three unidentified drawings) | |
| 1926 | London Group, 'Twenty-third Exhibition', Royal Society of Painters in Water Colours Galleries,
9–30 Jan. 1926 (Esther) |
| London Group, 'Twenty-fourth Exhibition', Royal Society of Painters in Water Colours Galleries,
5–25 June 1926 (The Shimmey, Regrets) | |
| New Chenil Galleries (1), 'British, American, German, Swiss and Mexican Artists', 1926 (Dogs of Beni Hillal) | |
| New Chenil Galleries (2), 'First Annual Winter Exhibition', Nov. 1926 (Sarah 1922, A Gipsy Girl, Christ Driving the Money Changers from the Temple) | |
| Savile Gallery, 'Old and Modern Drawings', Nov. 1926 (Female Nude, Male Nude) | |
| 1927 | Leicester Galleries (1), London, 'Exhibition of Paintings, Pastels, Drawings and Woodcuts Illustrating Col.
T. E. Lawrence's Book, Seven Pillars of Wisdom
', 5 –21 Feb. 1927 (Camel March 1922, Captain Robin Buxton
1922, Colonel Sir Henry McMahon 1922, General Sir Reginald Wingate 1922 and 13 tailpieces 1925–6) |
| London Artists' Association (1), 163 New Bond Street, 'First Exhibition of the London Artists' Association', May
1927 (Portrait (Cecilia Kramer?)) | |
| University College, 'Works of Art by Teachers and Students of the Slade School 1871–1927', 25 June–2 July 1927 (David Choosing Punishment of the Three Days' Pestilence, The Resurrection, Head (oil), Heads (drawing)) | |
| London Artists' Association (2), 163 New Bond Street, oil paintings by William Roberts, July 1927 (Garden of Eden) | |
| Vienna Secession, 'Meisterwerke Englischer Malerei aus drei Jahrhunderten', 8 Sept.–13 Nov. 1927 (The Resurrection 1912) | |
| Leicester Galleries (2), London, 'Second Exhibition of the London Artists' Association', Nov. 1927 (Trafalgar Square, Susanna on the Beach, Dogs of Beni Hillal, Garden of Eden, Newspapers) | |
| 1928 | Imperial Gallery of Art, Mar.–Apr. 1928 (Portrait of a Lady) |
| Leeds City Art Gallery, 'Exhibition of the London Artists' Association', 31 Mar.–28 Apr. 1928 | |
| London Group, Retrospective Exhibition 1914–1928, New Burlington Galleries, Apr.–May 1928 (Dock Gates, Love-song in a Bar, Loading Ballast and Peasants) | |
| St George's Gallery, 'Sixth Annual Exhibition of the Modern English Water-colour Society', May 1928 (The Canal) | |
| London Artists' Association, 'Recent Paintings by Members of the London Artists' Association', 92 Bond Street,
July 1928 (Jockeys, Love Song in a Bar) | |
| Venice Biennale, 1928 | |
| Whitechapel Gallery, 'Contemporary British Art', 16 Oct.–1 Dec. 1928 | |
| 1929 | St George's Gallery, 'Seventh Annual Exhibition of the Modern English Water-colour Society', Mar. 1929
(Carpet Beaters) |
| Manchester, Platt Hall, Rusholme, 'The Hugh Blaker Collection of Modern Paintings and Drawings',
4 May–5 June 1929 (The Stockbroker's Clerk 1920, A Gypsy Girl 1925–6, La Femme Tragique c.1921) | |
| London Artists' Association (1), 'Paintings by William Roberts', Cooling Galleries, 29 June–12 July 1929 (including Rhine Boat, Portrait of a Boy, The Prodigal Departs, Thoughts, The Boat Pond, Pawnshop, Antony in Egypt, Deposition, Surprise, Garden of Eden, Susanna on the Beach, The Swimming Bath, Carpet Cleaning, Loading Ballast, Pigeon Fanciers) | |
| Brighton, Brighton Public Art Galleries, 'The Hugh Blaker Collection of Oil Paintings, Watercolours
and Drawings', 7 Sept.–5 Oct. 1929 (The Stockbroker's Clerk 1920) | |
| Edinburgh, Royal Scottish Academy, 1929 (Armistice Night) | |
| Whitechapel Gallery, 'Exhibition of Contemporary British Art, Including the Collection of Edward Marsh,
Esq.', 24 Oct.–1 Dec. 1929 (The Return of Ulysses
1913, The Resurrection
1912, Kit
1923, Pigeon Fanciers 1928, Camel Corps 1929) | |
| Pittsburgh, Carnegie Institute, 'International Exhibition', Oct.–Dec. 1929 (Bank Holiday in the Park)
| |
| London Artists' Association (2), 'Recent Paintings by Bernard Adeney . . . William Roberts . . . ', 92 Bond Street, 8–30 Nov. 1929 (Portrait of an American, The Tea Garden) | |
| Sheffield, Mappin Art Gallery, 'British Artists of To-Day' (Museums Association circulating
exhibition), 5 Dec. 1929–9 Feb. 1930 (The Rhine Boat) | |
| 1930 | Mansard Gallery, Heal's, inaugural exhibition, Feb. 1930 (The Pawnshop) |
| St George's Gallery, 'Eighth Annual Exhibition of the Modern English Water-colour Society', Feb. 1930 | |
| Grafton Galleries, 'First Annual Exhibition of the National Society of Painters, Sculptors, Engravers,
and Potters', May 1930 | |
| Bradford, Cartwright Memorial Hall, 'Jubilee Exhibition', spring 1930 | |
| Venice Biennale, 1930 | |
| London Artists' Association, 'Landscapes and Flower Paintings', Cooling Galleries, 4 June–5 July 1930 (Sawing Wood) | |
| Savile Gallery, contemporary French and English paintings and nine drawings, July 1930 | |
| Arthur Tooth & Sons, 'An Exhibition of Contemporary English Drawings', 26 Nov.–Dec. 1930 (Feeding Gulls 1929) | |
| 1931 | Newcastle upon Tyne, Laing Art Gallery, 'Modern Paintings and Drawings Lent by Edward Marsh, Esq.', 1931
(Camel March 1923) |
| Whitechapel Gallery, 'Exhibition of the Contemporary Art Society's Paintings and Drawings', 27 Apr.–30 May 1931 | |
| London Artists' Association (1), 'Paintings of London', Cooling Galleries, 13 May–6 June 1931 (Bank Holiday in the Park) | |
| London Artists' Association (2), 'Recent Paintings and Drawings by William Roberts', Cooling Galleries, Oct.–Nov. 1931 (A Gipsy Girl 1925–6, Going to Swim, Les Routiers, The Chess Players, Sun-bathing, Primrose Hill, Portrait of Artist Wearing a Cap, The Restaurant, The Schoolboy, A Talk about Buddha, Bank Holiday in the Park 1923, etc.) | |
| Abdy Galleries, 'Exhibition of Watercolours and Drawings by John Armstrong . . . William Roberts', 1931–2 (Loading Ballast, study for The Tea Garden) | |
| 1932
| Ottawa, National Gallery, 'Contemporary British Painting', Mar. 1932 (The Rhine Boat) |
| Venice Biennale, 28 April–autumn 1932 (The Return of Ulysses, Kit
1923, The Chess Players, Les Routiers 1931) | |
| London Artists' Association, 'Flower and Figure Paintings', 29 June 1932 (Lord and Lady Keynes) One day only? | |
| Hamburg, 'Neue Englische Kunst', June–July 1932 (A Gipsy Girl 1925–6, The Restaurant, Portrait of an American) | |
| Arthur Tooth & Sons, 'Exhibition of Pictures Acquired by the Contemporary Art Society', 28 Sept.–15 Oct. 1932 (Jockeys, The Happy Family) | |
| Eton College, modern British paintings and drawings from the collection of Hugh Blaker, Oct.–Nov. 1932 | |
| 1933
| London Artists' Association (1), 'London Artists' Association General Exhibition', Cooling Galleries, Jan. 1933 (The Ballet 1932, The Masks c.1932) |
| Melbourne and Sydney, Farmer's Blaxland Galleries in association with Redfern Galleries London, 'Exhibition
of British Contemporary Art', Apr. 1933 (The Swimming Lesson c.1929) | |
| London Artists' Association (2), general exhibition of watercolours, drawings and pastels, Cooling Galleries, June
1933 (study for The Tea Garden) | |
| R.
E. Wilson's Gallery, exhibition of English drawings, old and modern, July 1933 (Girl Playing a Guitar) | |
| Anglo-German Club, 'Contemporary British Art', Dec. 1933 (Seat in Park) | |
| 1934
| London Artists' Association, 'London Artists' Association Retrospective Exhibition', Cooling Galleries, Mar.
1934 (The Judgement of Paris 1933) |
| Newcastle upon Tyne, Laing Art Gallery, 'Exhibition of Collection of Works Lent by the C.A.S.', 1934 (The Happy Family 1924) | |
| Pittsburgh, Carnegie Institute, 'International Exhibition', Oct.–Dec. 1934 (The Masks c.1932) | |
| New Zealand and Australia (Dunedin, Christchurch, Auckland, Wanganui, Sydney, Adelaide, Brisbane, Melbourne), 'Loan Collection of Contemporary British Art', organised by the Empire Art Loan Collections Society, 1934–5 (Chess Players, The Stockbroker's Clerk) | |
| 1935
| Lefevre Gallery, 'New Paintings and Drawings by William Roberts', Feb.–Mar. 1935 (The Judgement of Paris
1933, Spanish Beggars 1933, Mediterranean Folk 1934, The Family 1934, Sam Rabin versus Black Eagle
1934, Shuttlecock 1934, Helen) |
| Mayor Gallery, 'Twenty-Five Years of British Painting, 1910–1935', Apr.–May 1935 | |
| Bath, Pump Room, 'Second Festival of Contemporary Arts', Apr.–May 1935 (Sam Rabin versus Black Eagle
1934) | |
| Tate Gallery (1), 'Silver Jubilee Exhibition of Some of the Works Acquired by the Contemporary Art
Society', 2 July–3 Aug. 1935 (The Picture Dealer, Jockeys, The Creole) | |
| Tate Gallery (2), 'Loan Collection of Paintings, Drawings and Engravings by Contemporary British Artists Recently Exhibited in New Zealand and Australia under the Auspices
of the Empire Art Loan Collections Society', 17–31 Oct. 1935 (The Chess Players, The Stockbroker's Clerk) | |
| Bucharest, 'Desenul si Gravura Engleza (Secolele XVIII–XX)', Dec. 1935–Mar. 1936 (Burying the Dead after Battle 1919) | |
| 1936 | Vienna, 'Ausstellung von Britischen Aguarellen, Zeichnungen und Stichen, 1735–1935', Apr. 1936 (Burying the Dead after Battle 1919) |
| Johannesburg Art Gallery, 'British Council Empire Exhibition', 1936 (Camel March 1923) | |
| Pittsburgh, Carnegie Institute, 'International Exhibition', Oct.–Dec. 1936 (Sun-bathing) | |
| 1937 | Redfern Gallery, 'Contemporary English Painters', 4–27 Feb. 1937 |
| Leicester Galleries, London, 'Works by Members of the London Group', Mar. 1937 (The Judgement of Paris 1933) | |
| Wolverhampton, Municipal Art Gallery, 'Contemporary Art Society Collection', 13? March–10 April 1937 (The Creole, The Chess Players, The Happy Family) | |
| Whitechapel Gallery, 'Contemporary Art Society Collection', 10 June–17 July 1937 (The Creole, The Chess Players, The Happy Family) | |
| London Group, 'Thirty-sixth Exhibition', New Burlington Galleries, 30 Oct.–20 Nov. 1937 (A Party at Number Four) | |
| 1938
| Plymouth, City of Plymouth Museum and Art Gallery, 'Watercolours and Drawings by Modern Artists',
Jan.–Feb. 1938 (H. E. Bates, Rhys Davies, T. F. Powys) |
| Leeds City Art Gallery, 'British Artists' Exhibition', Feb.–Apr. 1938 (Sam Rabin versus Black Eagle
1934) | |
| Lefevre Gallery, 'William Roberts', Mar. 1938 (15 paintings, 31 drawings – only four drawings were sold; works included Sun-bathing, The Masks, The Gutter, The Palm Foretells, The Orchard, Chamber Music, Bohemians, Spanish Beggars, Shuttlecock, The Tea Room) | |
| Leicester Galleries, London, 'The Dance', July 1938 (Folk Dance) | |
| Pittsburgh, Carnegie Institute, 'International Exhibition', Oct.–Dec. 1938 (The Gutter 1934) | |
| London Group, 'Thirty-seventh Exhibition', New Burlington Galleries, 14 Nov.–2 Dec. 1938 (Folk-dance – titled The Lambeth Walk
(sic) – He Knew Degas 1938) | |
| 1939 | Newcastle upon Tyne, Laing Art Gallery, 'Modern Drawings and Paintings Lent by Arthur Crossland Esquire',
1939 (Sarah 1925 (red chalk) and Sarah 1925 (pencil on red paper)) |
| Oxford, Ashmolean Museum, 'Younger British Painters', 1939 (Errand Boys, The Toque) | |
| St Helens, 'English and French Paintings', Apr.–May 1939 (Park Café 1928) | |
| Morecombe and Heysham, 'English and French Paintings', June 1939 (Park Café 1928) | |
| British Council Tour of Northern Capitals, 'Contemporary British Art', 1939 (Pigeon Fanciers 1928, Sawing Wood
1930, The Chess Players, Les Routiers 1931, study for The Palm Foretells
1937) | |
| Leicester Galleries, London, 'Selected Works lent by the Contemporary Art Society', Oct.–Nov. 1939 (The Chess Players) | |
| New York, World's Fair, 'Contemporary British Art', 1939 ; then travelling to Ottawa, Toronto
and Montreal (The Masks c.1932, The Gutter 1934–5) | |
| 1940 | Redfern Gallery (1), 'The Montague Shearman Collection of French and English Paintings', Apr.–May 1940 (The Walking Delegates, Going to Swim, Swimmers Resting) |
| Redfern Gallery (2), 'French and English Paintings, Drawings and Prints', 25 July–28 Sept. 1940 (The Walking Delegates) | |
| Royal Academy, 'United Artists' Exhibition', 5 Jan.–9 Mar. 1940 (Sun-bathing) | |
| National Gallery, 'British Painting since Whistler', 30 Mar.–31 Aug. 1940 (Camel March 1923, Feeding Gulls 1929) | |
| Oxford, Ashmolean Museum, 'Modern British Paintings', 1940 (The Recorder Player 1935–6, The Toque
1939) | |
| 1941 | Leicester Galleries, London, paintings and drawings by contemporary British artists, 16 Jan.–8 Feb. 1941 |
| Oxford, Ashmolean Museum, Contemporary Art Society exhibition of work by artists working
in or near Oxford, Feb. 1941 | |
| Newcastle upon Tyne, Laing Art Gallery, 'Exhibition of Watercolour Drawings by Orpen, Sargent, Rothenstein,
Muirhead Bone, Steer, etc. Lent by the Imperial War Museum', 1941 | |
| Leeds, Temple Newsam, 'Drawings and Watercolours by Augustus John and Other British Artists',
Apr.–June 1941 (Feeding Gulls 1929) | |
| New York, Museum of Modern Art, 'Britain at War', 22 May–2 Sept. 1941 | |
| Leicester Galleries, London, 'Modern Paintings', Oct. 1941 | |
| Birkenhead, Williamson Art Gallery, 'Imperial War Museum: Exhibition of Watercolour Drawings',
14 Dec. 1941–19 Jan. 1942 | |
| 1942 | Redfern Gallery, 'William Roberts', July–Aug. 1942 (18 oils, 23 drawings – only three paintings and four drawings sold; works included Sun-bathers, Errand Boys, The Toque, The Judgement of Paris 1933, Boy in a Blue Jersey, The River, Café-bar, Woman with a Red Collar, Demolition Squad, Errand Boys, Cow-men, Pigeons, He Knew Degas, The Recorder Player, Portrait of a Young Man, Folk Dance, Windy Day, study for The Masks c.1932, No, No Roger 1934, Water Polo – watercolour 1938, Cricket
1938) |
| Leicester Galleries, London, 'Artists of Fame and Promise', Sept. 1942 (Study of Heads) | |
| CEMA (Council for the Encouragement of Music and the Arts) tour, 'British Paintings 1900–1940' (Sam Rabin versus Black Eagle
1934) | |
| Toledo Museum of Art, USA, 'Contemporary British Art', 1942 (The Gutter 1934) | |
| 1943 | Leicester Galleries, London, 'Portraits for Collectors', Oct.–Nov. 1943 (The Toque) |
| Allied Institutes, 1943 (Artist and Wife) | |
| 1944
| Leicester Galleries (1), London, 'Selected Paintings, Drawings and Sculpture from the Collection of the Late
Sir Michael Sadler, KCSI, CB, LL.D', 7 Jan.–10 Feb. 1944 (Gunners Pulling Cannons, The Judgement of Paris) |
| CEMA (Council for the Encouragement of Music and the Arts) tour (?), 'English Watercolour Paintings', 1944 (study for Sun-bathing 1931(?)) | |
| Leicester Galleries (2), London, 'Artists of Fame and Promise', Aug. 1944 (A Gypsy Girl) | |
| Leicester Galleries (3), London, 1944? (Park Café 1928) | |
| 1945 | Cairo, Gezira, 'Contemporary British Art', Jan. 1945 (Park Café 1928) |
| CEMA (Council for the Encouragement of Music and the Arts) tour , 'The Tate Gallery's Wartime Acquisitions: Second Exhibition', Birmingham Art Gallery,
20 Jan.–10 Feb.; Walker Art Gallery, Liverpool, 5–26 Mar.; Derby Art Gallery, 7–28 Apr.; Wakefield Art Gallery, 12 May–2 June; Castle Museum, Norwich, 28 July–25 (or 19) Aug. 1945 (Self-portrait Wearing a Cap) | |
| Leicester Galleries (1), London, 'The Art Collection of the late Sir Hugh Walpole, Part 2', 16 May–9 June 1945 (The Rehearsal c.1937) | |
| National Gallery, 'The Tate Gallery's Wartime Acquisitions: Second Exhibition', June–July 1945 (Self-portrait Wearing a Cap) | |
| Tate Gallery, Contemporary Art Society, 1945 (The Picture Dealer 1923) | |
| Leicester Galleries (2), London, 'Drawings in Colour by William Roberts', 18 Oct.–7 Nov. 1945 (25 drawings – eight sold; works included Aria c.1944, At Daphne's c.1944, The Bathers 1943–4, Fishing c.1944, The Meeting c.1944, Mothers 1944–5, Saloon Bar c.1944, The Tip
1944–5, Tropical Sea
1943–4, Farewell
1943–4, Cyclists
1943–4, News 1941) | |
| Royal Academy, 'National War Pictures', 13 Oct.–25 Nov. 1945 (Munitions Factory) | |
| Arts Council tour, 'Portraits', 1945–6 (Sarah
1922) | |
| 1946 | Redfern Gallery, English paintings and drawings, Feb. 1946 |
| Northampton, 'Art Alive', Mar.–Apr. 1946 (The Rhine Boat) | |
| Leicester Galleries, London, 'Artists of Fame and Promise', July–Aug. 1946 (The Barber's Shop) | |
| Tate Gallery, 'A Selection from the Acquisitions of the Contemporary Art Society', 27 Sept.–31 Oct. 1946 (Jockeys, The Creole) | |
| Paris, 'Exposition Internationale d'Art Moderne', Nov.–Dec. 1946 (The Judgement of Paris 1933) | |
| Arts Council tour, 1946 (The Picture Dealer
1923) | |
| 1947
| South Africa, 'Contemporary British Paintings and Drawings', 1 Jan. 1947–30 Oct. 1948 (The Family 1934, Woman Bathing Child 1939, The Try-on 1931, study for Sunbathing 1931(?)) |
| Leicester Galleries, London, 'New Year Exhibition', Jan. 1947 (The Resurrection 1912) | |
| London Group, Royal Society of British Artists Galleries, 20 May–7 June 1947 (The Artist and His Wife 1946–7) | |
| Contemporary Art Society, the flat of Wilfrid A. Evill, London, 'Part of a Collection of Oil Paintings, Water
Colours, Drawings and Sculpture Belonging to W. A. Evill, Esq.', Dec. 1947–Feb. 1948 (The Judgement of Paris 1933) | |
| Cairo, 'International Exhibition of Contemporary Art', 1947 (Bohemians 1937, Woman Bathing Child 1939) | |
| Toronto, 'Canadian National Exhibition', 1947 (The Palm Foretells 1937) | |
| British Council tour (London (Victoria & Albert Museum), Australia, New Zealand, Fiji), 'Contemporary
British Prints and Drawings from the Wakefield Collection', 1947–50 (Folk Dance) | |
| 1948 | Leicester Galleries (1), London, 'Selected Paintings, Drawings and Sculpture from the Collection of the Late
Hugh Blaker', Mar. 1948 (The Stockbroker's Clerk, La Femme Tragique) |
| Institute of Contemporary Arts, London, 'Forty Years of Modern Art 1907–1947', 10 Feb.–6 Mar. 1948 (The Cinema 1920) | |
| London Group, 'Paintings and Drawings by William Roberts', Royal Society of British Artists Galleries,
May–June 1948 | |
| Royal Academy, Summer Exhibition, 1948 (Portrait of the Artist, The Gipsy) | |
| Leicester Galleries (2), London, 'Artists of Fame and of Promise', July 1948 (The Rhododendron) | |
| Arts Council, 'A Selection of Paintings and Drawings acquired by the Contemporary Art Society',
1948 (Feeding Gulls 1929, The Creole) | |
| 1949
| Leicester Galleries (1), London, 'New Works by Members of the London Group', Jan. 1949 (After the Bath/War Baby 1946) |
| Royal British Artists Society, spring 1949 (The Tip, Portrait of a Woman) | |
| Royal Academy, Summer Exhibition, 1949 (Ernest Cooper Esq.) | |
| Leicester Galleries (2), London, 'Artists of Fame and of Promise', July 1949 (Cantering to the Post) | |
| Leicester Galleries (3), London, 'New Drawings, Satirical and Otherwise, by William Roberts', Nov. 1949 (29
watercolour drawings – ten were sold; works included Spanish Rhythm, Channel Crossing
1934–5, Self-portrait 1936–7, Cricket
1938, The Guitarist 1943, The Gipsies 1946–7, Crossing the Minch 1946–7, Les Rapins 1946–9, Homage à Stulik 1948, A Reception at the London Group 1948–9, Bus-stop 1948–9) | |
| London Group, 'Contemporary Drawing, Painting, Sculpture', New Burlington Galleries, 20 Dec. 1949–17 Jan. 1950 (The Sailor's Return, La Gitana) | |
| 1950
| Royal Academy, Summer Exhibition, 1950 (Primrose Hill, Portrait of a Man Lighting a Pipe) |
| Leicester Galleries, London, 'Artists of Fame and of Promise', July–Aug. 1950 (Donald Wolfitt as King Lear at The Old Bedford, The Guitar Lesson) | |
| 1951 | Royal Academy, Summer Exhibition,
1951 (The Temptation of St Anthony, Caught) |
| Southport, Atkinson Art Gallery, 'Festival of Britain Exhibition of Local Art Treasures', 2
June–30 Sept. 1951 (Antony in Egypt) | |
| Leicester Galleries, London, 'The Collection of the Late Sir Augustus Daniel', June 1951 (Burying the Dead after Battle 1919) | |
| Arts Council (1), 'British Painting 1925–1950: First Anthology', 1951 (Sarah 1922, A Gipsy Girl 1925–6, Going to Swim
1930) | |
| Arts Council (2), 'Some Recent Purchases of the CAS', 1951 (Chamber Music 1937) | |
| British Council tour (Germany, Spain, New Zealand, Israel, Canada, Portugal, Belgium, Austria, Finland,
Greece, Gibraltar, Malta, Lebanon, Hong Kong, Algeria, Argentina, Chile, Japan, Korea,
France, Hungary, Bulgaria, Romania, Germany, Czechoslovakia, Germany),
'British Drawings and Watercolours of the Twentieth Century', 1951–80 (Folk Dance) | |
| 1952 | Leicester Galleries (1), 'New Year Exhibition', Jan. 1952 (Indolence, The Self-Portrait) |
| Tate Gallery, 'Seventeen Collectors: An Exhibition of Paintings and Sculpture from the Private
Collections of the Executive Committee of the Contemporary Art Society', 21 Mar.–27 Apr. 1952 (The Resurrection 1912, The Return of Ulysses 1913, The Judgement of Paris
1933, Cricket 1938, Windy Day 1941) | |
| Royal Academy, Summer Exhibition, 1952 (The Revolt in the Desert) | |
| Leicester Galleries (2), London, 'Artists of Fame and of Promise', July 1952 (The Temptation of St Anthony) | |
| Leicester Galleries (3), London, 'A Selection of Pictures from the Collection of Wilfrid Evill', Oct. 1952
(The Restaurant
1929, The Recorder Player 1935–6, The Grand Chantrey Stakes 1949) | |
| 1953 | Leicester Galleries (1), London, 'New Year Exhibition', Jan. 1953 (Marking the Pose 1952, Self Portrait 1951) |
| Royal Academy, Summer Exhibition, 1953 (Trafalgar Square) | |
| Leicester Galleries (2), London, 'The Collection of the Late Sir Edward Marsh', May 1953 (The Return of Ulysses
1913, Pigeon Fanciers
1928, study for The Palm Foretells 1937) | |
| Hull, 'London Artists' Association Retrospective Exhibition', 15 Aug.–12 Sept. 1953 (The Restaurant, Lord and Lady Keynes) | |
| Football Association,
'Exhibition at Football Association', Arts Council exhibition, 1953 (The Lesson) | |
| Dudley Public Library, 'Life in Industry 1900–50' (At the Hippodrome) | |
| Empire Art Loan Exhibition (Unidentified subject c.1912) | |
| 1954
| Bradford, Cartwright Memorial Hall, 'Jubilee Exhibition Fifty Years of British Art' 19 Mar.–8 June 1954 (Going to Swim 1930, Trafalgar Square 1952) |
| Royal Academy, Summer Exhibition, 1954 (Masked Revels) | |
| 1955 | Arts Council tour, 'A Selection of Paintings and Drawings from the Rutherston Collection', 1955 (Infantry Fatigue Party: Forage Barn 1919, Seated Woman 1920, Sarah 1922, A Gipsy Girl 1925–6) |
| Contemporary Art Society, the flat of Wilfrid A. Evill, Hampstead, 'The Greater Portion of a Collection of Modern
English Paintings, Water Colours, Drawings and Sculpture Belonging to W. A. Evill',
March 1955 (Windy Day, Self-portrait of an Artist) | |
| Royal Academy, Summer Exhibition, 1955 (The Birth of Venus) | |
| Café Royal, 'The Artist at the Café Royal', July 1955 (The Boat Pond 1925) | |
| Leicester Galleries, London, 'Artists of Fame and of Promise', Aug. 1955 | |
| 1956 | Leicester Galleries, London, 'Artists of Fame and of Promise', Jan. 1956 (Carpenters at Work c.1911) |
| Copenhagen, 'Britisk Kunst 1900–1955', Apr. 1956; also shown in Oslo, June 1956 (Dock Gates 1920, Jockeys
1928, The Family 1934) | |
| Hull, City of Kingston upon Hull Art Gallery, 'Modern Paintings and Drawings', Apr.–May 1956 (Rhys Davies, T. F. Powys) | |
| Royal Academy, Summer Exhibition, 1956 (The Rape of the Sabines) | |
| Tate Gallery and Arts Council tour, 'Wyndham Lewis and Vorticism', 6 July–19 Aug. 1956 (Germans in Constantinople 1916, The Gas Chamber, preparatory sketch for Gas Attack) | |
| 1957 | Leicester Galleries, London, 'New Year Exhibition of Paintings, Drawings and Sculpture by Ninteenth and
Twentieth Century Artists', Jan. 1957 (The Travelling Cradle, 1919) |
| Royal Academy, Summer Exhibition, 1957 (The Canal Fishers) | |
| Geneva, 'Art et Travail', June–Sept. 1957 (Sawing Wood 1930) | |
| British Council tour (Kenya, South Africa, Mauritius, Tanganyika, Rhodesia, Nyasaland, Zanzibar, Uganda),
'Contemporary British Painting', 1957–58 (The Stockbroker's Clerk 1920) | |
| 1958
| Arts Council tour, 'The Arts Council Collection: After Impressionism', Jan.–Nov. 1958 (Seated Woman, A Gipsy Girl
1925–6) |
| Leicester Galleries, London, 'Paintings and Drawings by William Roberts', Feb. 1958 (The Acrobats c.1957,
A.D. 1943, The Beach c.1957, Bed-time Story 1943, The Ballet 1944, The Boat Pond 1956, Calypso Lullaby c.1957, The Canal Fishers 1957, The Ferry 1944, The Hat c.1958, The Hungry Birds 1957–8, The Jewess, The Lilac-bush, c.1957, Marking the Pose 1952, Mixed Bathing c.1957, Powder-puff Referee 1957–8, The Rape of the Sabines 1955–6, Rufus c.1944, La Russe c.1958, The Sailor's Return
1948, Self-portrait, The Shoe Shop 1957, The Spring Board 1956–7, Summer Night 1956–7, Under the Trees, The War Baby 1946, Window Dressing 1956–7) | |
| Royal Academy, Summer Exhibition, 1958 (The Cockatoos) | |
| 1959 | Leicester Galleries, London, Jan. 1959 (The Diners 1919) |
| Kettering Art Gallery, works from the collection of Sir David Scott, Apr.–May 1959 (The Schoolboy 1930) | |
| Royal Academy, Summer Exhibition, 1959 (Trooping the Colour, The Shoe-shop, The Hungry Birds) | |
| 1960
| Leicester Galleries, London, 'New Year's Exhibition', January 1960 (Newspapers 1926) |
| Tate Gallery, 'The Contemporary Art Society: The First Fifty Years 1910–1960', 1 Apr.–8 May 1960 (Jockeys
1928) | |
| Royal Academy, Summer Exhibition, 1960 (The Guitarist
/Flamenco, TV) | |
| 1961
| Contemporary Art Society, the flat of Wilfrid A. Evill, London, 'Pictures, Drawings, Water Colours and Sculpture',
Apr.–May 1961 (Dogs of the Beni Hillal, The Restuarant, The Masks, The Judgement of Paris 1933, Spanish Rhythm, Woman Bathing Child, Canoeing, The Self-portrait 1947, Summer Night) |
| Royal Academy, Summer Exhibition, 1961 (Portrait of the Artist, The Dove, Sunflowers) | |
| Leicester Galleries, 'Artists of Fame and of Promise Pt 2', July–Sept. 1961 (Marking the Pose 1952) | |
| 1962 | Portugal, 'Arte Britanica no Seculo XX', 1962 (Jockeys 1928, Sawing Wood 1930) |
| Royal Academy, Summer Exhibition, 1962 (The Vorticists, L'Algerienne) | |
| Leicester Galleries, London, 'Artists of Fame and of Promise', July–Aug. 1962 (Dock Gates 1920) | |
| Texas, University of Texas, 'T. E. Lawrence 1920–35', 1962 (George Ambrose Lloyd 1925) | |
| Bedford, Cecil Higgins Gallery, 'Watercolours from the Cecil Higgins Collection', Oct.–Nov. 1962 (The Boat Pond) | |
| Leeds City Art Gallery, 'A Commemorative Exhibition of Paintings and Sculptures from the Collection of Sir
Michael Ernest Sadler', Dec. 1962–Jan. 1963 (study for The Crucifixion 1919) | |
| 1963 | Redfern Gallery, '20th Century French and English Drawings and Watercolours', Jan.–Feb. 1963 (Leadenhall Market 1913, Loading Barges 1913, Trafalgar Square 1926) |
| Royal Academy Diploma Gallery, 'A Painter's Collection', Mar.–Apr. 1963 (Burying the Dead after Battle 1919, Going to Swim 1930, Cricket 1938, Intellectuals 1942) | |
| Royal Academy, Summer Exhibition, 1963 (The Common Market, The Salute) | |
| Leicester Galleries, 'Artists as Collectors', 1963 | |
| Methodist Education Committee touring exhibition, 1963–5 (The Crucifixion 1919) | |
| British Council tour (Iasi, Bucharest, Brastislava, Prague, Budapest), 'British Painting 1900–60', 1963–4 (The Stockbroker's Clerk) | |
| 1964
| Leicester Galleries, London, 'New Year Exhibition', Jan.–Feb. 1964 (Billingsgate 1913) |
| Royal Academy, Summer Exhibition, 1964 (Guarding the Masterpiece, The Bicycle Lesson, Italian Peasants The Lake, Self-portrait with Knotted Handkerchief) | |
| Redfern Gallery, 'Summer Exhibition', June–Sept. 1964 (Trafalgar Square 1926) | |
| Arts Council, 'Recent Acquisitions of the Contemporary Art Society', 18 July–8 Aug. 1964 (Interval before Round Ten) | |
| Tate Gallery, 'London Group 1914–64: Jubilee Exhibition', 15 July–16 Aug. 1964 (Bank Holiday in the Park 1923, The Artist and His Wife dated as 1943, The Sailor's Return 1948) | |
| Manchester City Art Gallery, 'Paintings and Drawings of the First World War', 18 Sept.–11 Oct. 1964 | |
| 1965
| Royal Academy, Summer Exhibition, 1965 (Teaching the Crawl, Woman Reading, The Shower, Distinguished Guest to the Tate) |
| Arts Council tour, 'Decade 1910–20', Leeds City Art Galley 1–22 May, then travelling to Sept. 1965 (Feeds Round, A Shell Dump, Infantry Fatigue Party: Forage Barn 1919, The Travelling Cradle 1920) | |
| Brighton Art Gallery, 'The Wilfrid Evill Collection', July–Aug. 1965 (The Resurrection 1912, The Cinema 1920, The Restaurant 1929, Love Song in a Bar 1921, Dogs of Beni Hallal 1925, Park Café 1928, The Judgement of Paris 1933, The Masks c.1932, Hanging a Masterpiece 1934, The Recorder Player listed as The Artist's Son Playing the Flute
1935–6, Bohemians 1937, Artist and Wife 1940, Windy Day 1941, The Grand Chantrey Stakes 1949, The Self-portrait 1947, Summer Night (Lovers) 1956–7) | |
| Grosvenor Gallery, 'Cubism and Its Influence', 26 Oct.–12 Nov. 1965 (Camel March 1923 not in catalogue) | |
| Tate Gallery, 'William Roberts ARA Retrospective Exhibition', 20 Nov.–19 Dec. 1965 (major retrospective – 107 oils on canvas; 98 watercolours, drawings and studies; 10 life drawings, and
1 poster); then travelling to Laing Art Gallery, Newcastle upon Tyne, 1–22 Jan. 1966, and Whitworth Art Gallery, Manchester, 29 Jan.–19 Feb. 1966 | |
| 1966 | Royal Academy, Summer Exhibition, 1966 (The Artist in a Paper Hat, The Kites?, The Ball, The Lizard, Heatwave) |
| 1967 | William Ware Gallery, 'The Camden Town Group and English Painting 1900–1930s', 3–31 Mar. 1967 |
| Southampton Art Gallery, 1967 (study for The Temptation of St Anthony, Mediterranean Folk 1934, Ritual Bath, London Group Gives a Reception, Graveyard at Barra, Portrait of Millie Kramer) | |
| Royal Academy, Summer Exhibition, 1967 (The Goats, The Washing Day, Autumn, The News, The Seaside) | |
| Folkstone, New Metropole Arts Centre, 'The War Artists, Memorial Exhibition', 4 Aug.–18 Sept. 1967 | |
| Imperial War Museum, 'An Age of Conflict', from Dec. 1967 | |
| Whitechapel Gallery, 'British Sculpture and Painting', Dec. 1967–Jan. 1968 (The Dentist 1925) | |
| 1968 | Norwich,
University of East Anglia, 'Art and the Machine', 1968 |
| Royal Academy, Summer Exhibition, 1968 (Mahomet's Ride, The Playground, The Fountain, The Necklace, The Card Trick, The Goal) | |
| 1969 | Royal Academy, Summer Exhibition, 1969 (Gossips, Punting, Moving Day, The Diners, Snooker, The Towpath) |
| British Museum, 'Royal Academy Draughtsmen 1769–1969', 13 June–28 Sep. 1969 (Armistice Night, Nude Female Study) | |
| Anthony d'Offay Couper Gallery (1), 'William Roberts R.A. Drawings and Watercolours, 1915–1968', 23 Sept.–10 Oct. 1969 (32 paintings and drawings; many of the dates are not consistent with
those usually given) | |
| Anthony d'Offay Couper Gallery (2), 'Abstract Art in England 1913–1915', 11 Nov.–5 Dec. 1969 (Two Step II, Theatre, St George and the Dragon) | |
| 1970 | Arts Council, 'Decade 1920–30', Leicester Museum and Art Gallery, 21 Feb.–15 Mar.; Laing Art Gallery, Newcastle upon Tyne, 21 Mar.–12 Apr.; Doncaster Museum and Art Gallery, 18 Apr.–10 May; Manchester City Art Gallery, 16 May–7 June; Bristol City Art Gallery, 13 June–19 July; Camden Arts Centre, London, 1–30 Aug. 1970 (The Dance Club 1923) |
| Strasbourg, Musées de Strasbourg, 'Europe 1925', 14 May–15 Sept. 1970 (Newspapers) | |
| Royal Academy, Summer Exhibition, 1970 (Saturday Night, Tree Felling, The Laundry-mat, The Climbers, The Horsemen) | |
| Hamet Gallery, 'Summer Exhibition 1970', 3 Aug.–28 Aug. 1970 | |
| 1971 | Hamet Gallery, 'William Roberts RA: A Retrospective Exhibition', 16 Feb.–13 Mar. 1971 |
| Royal Academy, Summer Exhibition, from 1 May 1971 (The Dancing Bear, The Promemade, The Love song, Orange Picking, The Accused, The Reed-pipe) | |
| Morley College Gallery, 'The Art of War 1914–18', 18 May–12 June 1971 (Soldiers Putting up Wagon-lines, Menin Road) | |
| Fine Art Society, 'British Drawings and Watercolours of the 20th Century', 7 June–25 June 1971 | |
| Ohio, Columbus Gallery of Fine Art, 'British Art 1890–1928', 1971 (Chess Players) | |
| Exeter Museum and Art Gallery, 'William Roberts, Paintings and Watercolours', 27 Nov.–18 Dec. 1971 | |
| 1972 | Manchester, The Tib Lane Gallery, 'Watercolours by William Roberts RA', 4–29 Jan. 1972 |
| Worthing Art Gallery, 'Paintings and Drawings by William Roberts from the Ernest Cooper Collection', 29
Apr.–3 June 1972 (study for First German Gas Attack at Ypres 1918, study for Errand Boys, Bank Holiday in the Park 1923, The Punt c.1943, Woman and Her Cat c.1943–4? Self-portrait
1948, Masked Revels 1953, The Recital c.1968, Man and Woman Reclining by the Thames, The Drums, The Tea Party, The Tramp, Gypsy Flower Seller, Millie Kramer, Card Game, Under the Trees, Sun-bathing, Sarah with Guitar, Flower Arrangement, Sacrifice in the Rain, I'll Put a Tuck in 'Em, The Family, Boys Fishing, Hedgecutting) | |
| Royal Academy, Summer Exhibition, 1972 (Rush Hour, The Boat Pond, Strippers and Scrubbers, Dog Lovers, On the Wire, The Guitar Lesson) | |
| Nottingham University Art Gallery, Nottingham Festival 'British Artists of the First World War', 8–23 July 1972 | |
| Hamet Gallery, joint exhibition with Edward Burra (and others?), Aug. 1972 | |
| Parkin Gallery, 'The Café Royalists', 20 Sept.–14 Oct. 1972 (Dog-lovers 1971) | |
| Café Royal, 18 Oct.–8 Nov. 1972 (Dog-lovers 1971) | |
| Whitechapel Gallery, 'Decade 1940–50', Nov. 1972 | |
| 1973
| Hamet Gallery, 'William Roberts R.A.', 3–28 Apr. 1973 |
| Tate Gallery, 'Modernism in England, 1910–20: The Vorticists and Their Circle', Apr.–June 1973 | |
| Royal Academy, Summer Exhibition, 1973 (Ennui, Tiddler Fishing, Bath Night, The Grandchild, The Swans, The Soldier's Dream) | |
| Michael Parkin Fine Art, 'The Appalling Loss. An Exhibition of 1914–18 War Artists', 8 June–14 July 1973 | |
| 1974 | Hayward Gallery, 'Vorticism and Its Allies', 27 Mar.–2 June 1974 (Toe-dancer, Street Games, Dominoes, Theatre I, Theatre II, Theatre III, Machine Gunners (photo), Combat (photo), St George and the Dragon, Sketches for Gas Attack, Dancers, The Vorticists at the Restaurant de la Tour Eiffel: Spring 1951
1961, study for The Vorticists) |
| Royal Academy, Summer Exhibition, 1974 (Los Borrachos, The Seagulls, The Tiddlers, The Portrait, Reflections)
| |
| South London Art Gallery, 'Paintings 1914–24', 31 May–26 June 1974 | |
| Edinburgh, Scottish National Gallery of Modern Art, 'We are Making a New World: Artists in
the 1914–18 War: Paintings, Sculpture, Prints and Photographs from the Imperial War Museum',
12 Oct.–10 Nov. 1974; thereafter at Aberdeen Art Gallery and Museum, 16 Nov.–7 Dec. 1974, and Dundee City Museum and Art Gallery, 14 Dec. 1974–4 Jan. 1975 (Feeds Round, The Gas Chamber, Rosières Valley) | |
| 1975 | New Grafton Gallery, 'English Drawing 1900–1940', 16 Jan.–6 Feb. 1975 (The Toast 1965 (sic)) |
| Royal Academy, Summer Exhibition, 1975
(The Siesta, The Vigilantes, The Vaulting Horse, The Pet, The Art Gallery) | |
| 1976
| Liverpool, Bluecoat Gallery, 'An Honest Patron. A Tribute to Sir Edward Marsh', 5 May–5 June 1976 (The Return of Ulysses, A Street Fight c.1916, Pigeon Fanciers, Palmistry) |
| Royal Academy, Summer Exhibition,
1976 (The Guitarists, The Wimpy Bar, The Life Class, Pleasure Cruise, Checkmate, The Clothes Line) | |
| Hayward Gallery, 'The Human Clay: An Exhibition Selected by R. B. Kitaj', 5–30 Aug. 1976 (Self Portrait 1911, The Flower Arrangement 1944) | |
| Michael Parkin, 'William Roberts. An Exhibition of Paintings and Drawings', 17 Nov.–4 Dec. 1976 (22 paintings, 44 drawings and watercolours, and 6 etchings, including
Sun-bathing, Rush Hour, The Joke
1923, Self-portrait
1933–7, study for The Common Market 1963) | |
| 1977 | Farnham, West Surrey College of Art and Design, 'Artists at War', 7 Jan.–26 Jan. 1977 |
| New York, Davis & Long, 'Vorticism and Abstract Art in the First Machine Age', 5–30 Apr. 1977 (study for The Vorticists, study for St George and the Dragon) | |
| Rotterdam, Museum Boijmans Van Beuningen, 'La Bicyclette', Apr. 1977 (Errand Boys) | |
| Royal Academy, Summer Exhibition, 1977 (Etretat, The Huntsman, Don't 'e know Jarge, tha be no Resurrection, By the Seaside, Fixing the Creeper, The See Saw, The Gypsies) | |
| Arts Council tour: Bradford (July–Aug.), Portsmouth (Aug.–Oct.), Newcastle upon Tyne, Laing Art Gallery (Oct.–Dec.) 1977 (At The Hippodrome 1920) | |
| Nottingham, Castle Museum and Art Gallery, 'Towards Another Picture', 10 Dec. 1977–25 Jan. 1978 (The Common Market) | |
| 1978
| Royal Academy, 'Cityscape – Urban Themes in American, German and British Art', 19 Jan.–19 Mar. 1978 (At the Hippodrome 1920, Park Bench) |
| Royal Academy, Summer Exhibition, 1978 (The Boating Lake, The Zoo, They Walked on the Sea) | |
| 1979 | Royal Academy, Summer Exhibition, 1979 (Frolicking, The Music Lovers, Guarding the Masterpiece, The Hairdressers, Pussy-cats, The Truth and Nothing But the Truth) |
| Hayward Gallery, 'Thirties: British Art and Design before the War', 25 Oct. 1979–13 Jan. 1980 (Sawing Wood c.1930, Sunbathing, He Knew Degas, No! No! Roger, Cezanne Did Not Use It 1934) | |
| Brighton Polytechnic Gallery, 'Made at the Slade. A Survey of Mature Works by Ex-Students of the Slade School
of Art, 1892 –1960', 1–29 Nov. 1979 | |
| 1980 | Edinburgh, Royal Scottish Academy Galleries, 'Centenary Exhibition: The Royal Scottish Society
of Painters in Watercolour', 19 Jan.–14 Feb. 1980 |
| Arts Council tour, 'Leeds' Paintings: 20th Century British Art from Leeds City Art Gallery', Victoria
Art Gallery, Bath (23 May–28 June 1980), Huddersfield Art Gallery (5 July–2 Aug. 1980), Herbert Museum and Art Gallery, Coventry (9 Aug.–7 Sept. 1980), Harris Museum and Art Gallery, Preston (13 Sept.–4 Oct. 1980), ? (25 Oct.–30 Nov. 1980), Cooper Gallery, Barnsley (6 Dec. 1980–11 Jan. 1981), Usher Gallery, Lincoln (17 Jan.–15 Feb. 1981), Bolton Museum and Art Gallery (21 Feb.–21 Mar. 1981) (The Dance Club 1923) | |
| Royal Academy, Summer Exhibition, 1980 – a mini-retrospective of seven works from various periods to mark Roberts's death
earlier in the year (The Pipers, The Artist Looks Ahead, The Swan, Which is the Way to Barcelona, Parson's Pleasure, Combat, Robin Brook) | |
| Maclean Gallery, 'William Roberts R.A 1895–80', 24 Sept.–31 Oct. 1980 (thirty-three works) | |
| Sheffield, Arts Council at Graves Art Gallery, 'More Than a Glance', 4 Oct.–2 Nov. 1980 | |
| Anthony d'Offay Gallery, 'William Roberts 1895–1980. Drawings and Watercolours', 28 Nov.–19 Dec. 1980 | |
| British Museum, 'British Figure Drawings', 1980 (Armistice Night) | |
| Tate Gallery, 'Abstraction: Towards A New Art: Painting 1910–20', 6 Feb.–13 Apr. 1980 (study for Two-step II c.1915) | |
| 1981 | British Council tour ( Edinburgh, Hong Kong, Shenyang and Beijing),
'British Drawings and Watercolours from Rowlandson to Riley', 1981–2 (Folk Dance) |
| Alsager Art Gallery, 'Exhibition of First World War Artists', 11 Nov.–8 Dec. 1981 | |
| Paris, Pompidou Centre, 'Le Realisme Anglais entre les Deux Guerres', 1981 (The Poor Family, Self-portrait Wearing A Cap) | |
| 1982 | Anthony d'Offay Gallery, 'British Drawings and Watercolours', 20 Jan.–6 Mar. 1982 (Good Old Days, study for St George and the Dragon) |
| Brighton Polytechnic Gallery, 'The Eye of the Storm', 5–27 May 1982 | |
| New York, Salander–O'Reilly Galleries, Inc., 1982 | |
| British Council in China, 'British Drawings and Watercolours', 1982 (Hay Rick) | |
| 1983
| Reading Art Gallery, 'William Roberts', 5 Mar.–9 Apr. 1983 (large exhibition: numbers are approximate since some media are not specified
in the catalogue: 31 canvases, 40 watercolours, 47 drawings, 66 vignettes, 1 etching,
2 posters. Paintings are mainly from the 1960s and '70s with some earlier portraits; drawings run from the 1920s to the 1970s. Some works are undated.) |
| Guildhall Art Gallery, 'A Summer Show for the City', 24 May–3 June 1983 (Rush Hour) | |
| Cambridge, Fitzwilliam Museum, 'Maynard Keynes – Collector of Pictures, Books and Manuscripts', 5 July–29 Aug. 1983 (Labourers, Apple Pickers, Spanish Beggars, Shuttlecock, Boy Wearing a Sun-hat, Lord and Lady Keynes, Self-portrait, The Connoisseur, Street Acrobats, French Sailors on the Deck of a Ship, Family and Dog, Family at the Seaside, Male Nude, Lydia Keynes) | |
| National Portrait Gallery, 'Elizabeth II; Portraits of 60 Years', 14 Nov. 1983–22 Mar. 1984 | |
| New Haven, Conn., Yale Center, 'Blast: The British Answer to Futurism', 20 Apr.–26 June 1983 (study for St George and the Dragon) | |
| Stow-on-the-Wold, Fosse Gallery, 'Ten Royal Acadamicians', 26 Sept.–15 Oct. 1983 | |
| 1984
| Anthony d'Offay Gallery, 'The Omega Workshops: Alliance and Enmity in English Art 1911–1920', 18 Jan.–6 Mar. 1984 (Two-step II) |
| Barbican Art Gallery, 'Capital Painting: Pictures from Corporate Collections in the City of London', 19 Apr.–10 June 1984 (Punting on the Cherwell) | |
| National Portrait Gallery, 'William Roberts 1895–1980. An Artist and His Family', 27 July–7 Oct. 1984 (22 self-portraits, 14 of Sarah, 5 of John, and 2 others) | |
| Paris, Artcurial, 'English Contrasts', Sept. 1984 (La Nature Morte) | |
| Sheffield /Norwich/Coventry/Camden Arts Centre, 'The Forgotten Fifties', Graves Art Gallery, Sheffield, 31 Mar.–13 May 1984; Norwich; Coventry; Camden Arts Centre, London, 15 Aug.–23 Sept. 1984 (Hampstead Fair) | |
| New York, Davis & Langdale, 'British Drawings and Watercolors 1889–1947', 2 Nov.–1 Dec. 1984 (La Plage, The Builder's Cradle) | |
| 1985 | Cambridge, Fitzwilliam Museum, 'Watercolours, Drawings and Etchings', 1985 (98 artefacts, mainly
chalk, pencil and ink drawings, owned by the Roberts family) |
| Dulwich Picture Gallery, 'Introducing Sam Rabin', 21 Nov. 1985–2 Feb. 1986 | |
| Stuttgart, Staatsgalerie , 'Vom Klang der Bilder: Die Musik in der Kunst des 20 Jahrhunderts',
6 July–22 Sept. 1985 (Two-step II) | |
| 1986
| Gillian Jason Gallery (1), 'Pencil, Pen and Brush – Modern British Drawing', 10 Jan.–14 Feb. 1986 (Leah Kramer, The Grandmother) |
| Anthony d'Offay Gallery, 'Important English Drawings Relating to Cubism and Vorticism', 27 Feb.–26 Mar. 1986 (study for St George and the Dragon) | |
| Gillian Jason Gallery (2), 'Double Sided Drawings', 26 Mar.–26 Apr. 1986 | |
| Venice, Palazzo Grassi, 'Futurismo e Futurismi', 2 May–13 Oct. 1986 (Return of Ulysses watercolour, study for St George and the Dragon) | |
| New English Art Club, 'Centenary Exhibition ', Christie's, King Street, 27 Aug–17 Sept. 1986 (The Boxing Match c.1925–7?) | |
| 1987
| Royal Academy, 'British Art in the Twentieth Century', 15 Jan.–5 Apr. 1987 (Two-step II, Red Turban 1921, Sarah 1927, Bank Holiday in the Park 1923, At The Hippodrome
1920, The Cinema, The Dance Club 1923, Les Routiers 1931) |
| Stuttgart, Staatsgalerie, 'British Art in the Twentieth Century', May.–Aug. 1987 (Two-step II (and other works from the above Royal Academy exhibition?)) | |
| Arts Council, 'Looking into Paintings – Narrative', Castle Museum, Nottingham, 10 Jan.–8 Feb. 1987; Shipley Art Gallery, Gateshead, 14 Feb.–15 Mar. 1987; Cartwright Hall, Bradford, 21 Mar.–26 Apr. 1987; Plymouth Museum and Art Gallery, 2 May–1 June 1987 (The Vengeance of Odysseus 1974) | |
| New York, Hirschl & Adler, 'British Modernist Art 1905–1930, 14 Nov. 1987–9 Jan. 1988 (Self-portrait 1909–10, study for St George and the Dragon, La Plage, Behind the Scenes, The Builder's Cradle) | |
| 1988 | Spink & Son, 'Annual Exhibition of 20th Century British Paintings and Drawings', 10 June–8 July 1988 (Camel March 1923) |
| National Portrait Gallery, 'T. E. Lawrence', 9 Dec. 1988–12 Mar. 1989 | |
| 1989
| Tate Gallery, 'Portrait of the Artist: Artists' Portraits Published by "Art News and Review" 1949–1960', 31 Jan.–16 Apr. 1989 (Self-portrait 1949) |
| Barbican Art Gallery, 'The Last Romantics', 9 Feb.–9 Apr. 1989 (Unidentified Subject c.1912?) | |
| Albemarle Gallery, 'Paintings, Drawings and Watercolours 1910–1978', 5–28 Apr. 1989 (22 drawings, 13 watercolours, 8 canvases) | |
| Entwistle Fine Art, 'British Artists, Works on Paper, 1900–1950', Apr. 1989 (Soldiers Putting Up Wagon-lines, The Walking Delegates) | |
| Sheffield, Graves Art Gallery, 'Within These Shores: A Selection of Works from the Chantrey
Bequest 1883–1985', 10 June–2 Sept. 1989 (The Vorticists at the Restaurant de la Tour Eiffel: Spring 1951
1961) | |
| Hong Kong, Arts Council tour, 'Picturing People: British Figurative Art since 1945', 1989–90 (Rush Hour) | |
| Edinburgh, Scottish National Gallery of Modern Art, 'English Art 1920–60: Paintings of the Watt Bequest', Dec. 1989–Jan. 1990 (The Rhine Boat, The Ballet, Woman Reading) | |
| 1990 | Gillian Jason Gallery, 'William Roberts – An Artist's View', 21 Mar.–27 Apr. 1990 (59 drawings and watercolours on the art world, including illustrations
from pamphlets) |
| British Council tour
(USSR, Luxembourg, Bulgaria and Argentina), 'For a Wider World', 1990–91 (Folk Dance) | |
| British Museum, 'Avant-Garde British Printmaking 1914–1960', Sept. 1990–Jan. 1991; then at Middlesborough Art Gallery, Nov. 1991–Jan. 1992; Plymouth City Museum & Art Gallery, Feb.–Apr. 1992; Hunterian Art Gallery, Glasgow, May–June 1992; Whitworth Art Gallery, Manchester, Oct.–Dec. 1992 (Boozers, Self-portrait c.1925) | |
| 1991 | Gillian Jason Gallery, '
40 Self Portraits', 20 Jan.–16 Feb. 1991 (many from the 1984 National Portrait Gallery exhibition) |
| Hayward Gallery, 'British Contemporary Art 1910–90, Contemporary Art Society', 3 Dec. 1991–19 Jan. 1992 (The Dance Club 1923, Jockeys) | |
| 1992 | Gillian Jason Gallery, 'Humour and Satire', 29 Apr. –23May 1992 (61 works – mainly drawings and watercolours from the 1960s and '70s) |
| Christopher Hull Gallery, 'Modern British Pictures and Work by Gallery Artists', 17 June–7 Aug. 1992 (Dancing to Music) | |
| British Council tour (Sotheby's, London, 1–8 Oct. 1992; The Israel Museum, Jerusalem, 10 Nov. 1992–10 Feb. 1993) 'Life into Paint: British Figurative Painting of the Twentieth Century',
1992 (The Stockbroker's Clerk) | |
| 1993
| Methodist Education Committee touring exhibition, Northampton and St Paul's, London, 'Images of Christ', Jan.–July 1993 (study for The Crucifixion) |
| Gillian Jason Gallery, '
Pictures Pure and Pagan', 15 Sept.–8 Oct. 1993 | |
| San Francisco, Museum of Modern Art, 'The Great English Vortex: Modern Drawings from the Collection
of Mr and Mrs Michael W. Wilsey', 11 Nov. 1993–16 Jan. 1994 | |
| 1994 | Barbican Art Gallery, 'A Bitter Truth: Avant-Garde Art and the Great War', 29 Sept.–11 Dec. 1994 |
| National Portrait Gallery, 'The Sitwells and the Arts of the 1920s and 1930s', 14 Oct. 1994–22 Jan. 1995 (A Shell Dump 1919, To the Lord of Song 1913–14, endpapers) | |
| 1996 | Parkin Gallery, 'The Friday Club 1905–1922', 24 Apr.–17 May 1996 (Figure Studies for Composition c.1914, La Plage c.1917, Swan Upping c.1925) |
| Hanover,
Sprengel Museum, '
Blast. Vortizimus – Die erste Avantgarde in England 1914–1918', 18 Aug.–3 Nov. 1996; then Haus de Kunst, Munich, 15 Nov. 1996–26 Jan. 1997 (Two-step II, War Scene) | |
| 1997
| British Council tour
(USA, Malaysia, Canada, Russia, UK and Poland), 'Drawing Distinctions – Twentieth Century Drawings and Watercolours of the British Artists', 1997–2003 (Howitzer in Action, Folk Dance) |
| 1998 | Renishaw Hall, Derbyshire, 'Osbert Sitwell's 20th Century Collection', May–Sept. 1998 (English Gothic c.1918, A Shell Dump 1919, Dock Gates 1920) |
| Gallery 27, 'Muddied Oafs: An Exhibition of Football', 22–27 June 1998 | |
| 1999 | Abbot & Holder, 'Selected Six (Twelve)', June 1999 (12 pen-and-ink drawings on the theme of healthy
nutrition, c.1945) |
| Tate Gallery, 'The Art of Bloomsbury', 4 Nov. 1999–30 Jan. 2000; then San Marino, 4 Mar.–30 Apr. 2000; then New Haven, Yale Center, 20 May–2 Sept. 2000 (No! No! Roger, Lydia Keynes) | |
| 2000 | National Portrait Gallery, 'Painting the Century: 101 Portrait Masterpieces 1900–2000', 26 Oct. 2000–4 Feb. 2001 (Maynard and Lydia Keynes) |
| 2001
| Munich, 'The Cool Gaze – Realism in the 1920s', 1 June–2 Sept. 2001 (Les Routiers, The Dance Club) |
| Liverpool, Tate Liverpool, 'Modern British Art – Art and Lifestyle 1910–20', collection display 2001 (The Playground 1934, The Diners 1919) | |
| Artmonsky Arts, 'Slade Alumni 1900–1914', 11 Nov.–16 Dec. 2001 (watercolours and drawings including The Ballet, Vorticist Composition, Dancers, Trooping the Colour, Girl Playing Guitar) | |
| Newcastle upon Tyne, Hatton Gallery, 'Artists of the London Group', 2001 (Nude Study, Nude with Flute, 1928) | |
| 2002
| Lowell Libson, 'British Master Drawings', 2–12 July 2002 (study for Masks, The Dressing Room) |
| 2003
| Leeds, University Gallery, 'The Tortoise and the Hare', 30 Apr.–20 June 2003; then at Ben Uri Gallery, London, 7 July–7 Sept. 2003 (16 oils on canvas, 8 watercolours, 6 drawings and 10 printed artefacts) |
| Austin/Desmond Fine Art, 'Modern British Art', July–Aug. 2003 | |
| Museum of London, 'Twenties London', 16 Oct. 2003–20 July 2004 (The Bus Stop, Jazz Party) | |
| Newcastle upon Tyne, Hatton Gallery, 'Artists of the London Group', 2003 | |
| 2004
| Estorick Collection of Modern Italian Art, 'Blasting the Future! Vorticism in Britain 1910–1920', 4 Feb.–18 Apr. 2004; also at the Whitworth Art Gallery, University of Manchester, 7 May–25 July 2004 (Gunners Turning out for an SOS, The Wiring Party, The Travelling Cradle, Athletes Exercising in a Gymnasium, Novices) |
| Newcastle upon Tyne, Hatton Gallery, 'William Roberts (1895 –1980)', 20 Mar.–29 May 2004; also at Graves Art Gallery, Sheffield, 12 June–4 Sept. 2004 (67 exhibits from 1909 to 1975, including 33 oil paintings, many from
the Tate and regional galleries; the Sheffield exhibition was slightly smaller) | |
| Hazlitt Holland-Hibbert, 'Modern British Art', Grosvenor House Art and Antiques Fair, 9–15 June 2004, and 20/21 British Art Fair, 15–19 Sept. 2004 (Gunners Pulling Cannons, Ypres) | |
| British Museum, 'Matisse to Freud: A Critic's Choice – The Alexander Walker Bequest', 15 June 2004–9 Jan. 2005; them at Usher Gallery, Lincoln, 21 Oct.–18 Mar. 2006; New Walk Museum and Art Gallery, Leicester, 27 Jan.–18 Mar. 2007; Harewood House, Yorkshire, 24 Mar.–13 May 2007; Shipley Art Gallery, Gateshead, 21 Jul.–2 Sept. 2007 (The Park Bench) | |
| 2005 | Imperial War Museum, 'Lawrence of Arabia: The Life, the Legend', 14 Oct. 2005–17 Apr. 2006 (Aircraftman Ross, Dignity, The Dogs of Harith, Flashing Sword, Revolt in the Desert) |
| 2006 | Nottingham,
Djanogly Art Gallery, University of Nottingham, 'A Day in the Sun – Outdoor Pursuits in Art in the 1930s', 18 Feb.–9 Apr. 2006; also at The Lowry, Salford Quays, 29 Apr.–25 June 2006 (Going to Swim, Sun-bathing 1936, Les Routiers, Parson's Pleasure) |
| 2007 | Chichester, Pallant Gallery, 'William Roberts: England at Play', 20 Jan.–18 Mar. 2007 |
| Birmingham, The Barber Institute of Fine Arts, University of Birmingham, 'The Parrot in Art',
26 Jan.–29 Apr. 2007 (The Cockatoos) | |
| Geffrye Museum, 'Home and Garden, Part 3: 1914–1960', 20 Feb.–24 June 2007 (The Flower Arrangement) | |
| Melbourne, National Gallery of Victoria, 'In a Strange Land: Modern Britain 1900–1960, Masterworks from Australian and New Zealand Collections', 15 Nov. 2007–24 Feb. 2008 (Interval before Round Ten, The Prodigal Sets Out, Sam Rabin versus Black Eagle, Trafalgar Square 1952, The Salute, The Model c.1956, The Something Road Group) | |
| 2008 | Bexhill, De La Warr Pavilion, '"Unpopular Culture" – Grayson Perry selects from the Arts Council Collection', 10 May–6 July 2008, then touring to the Harris Museum, Preston, 19 July–14 Sept. 2008; Royal Museum and Art Gallery, Canterbury, 27 Sept.–8 Nov. 2008; DLI Museum and Art Gallery, Durham, 15 Nov. 2008–4 Jan. 2009; Southampton City Art Gallery, 17 Jan.–15 Mar. 2009; Aberystwyth Arts Centre, 21 Mar.–10 May 2009; Scarborough Art Gallery, 16 May–5 July 2009; Longside Gallery, Wakefield, 18 July–25 Oct. 2009; Victoria Art Gallery, Bath, 7 Nov. 2009–3 Jan. 2010; Mead Gallery, Coventry, 22 Jan.–13 Mar. 2010 (The Seaside, c.1965–6) |
| Madrid, Museo Thyssen-Bornemisza, '1914! The Avant-Garde and the War', 7 Oct. 2008–11 Jan. 2009 (Rosières Valley; During a Battle; An Attack, The Capture of Delville Wood; Brigade Headquarters: Signallers and Linesmen; In the Ypres Sector. An Infantry Duck-board Track being Shelled by the Germans; Soldiers Hauling a Howitzer; Soldiers Erecting Camouflage at Roclincourt, near Arras, 1918) | |
| 2009 | Whitechapel Gallery, 'Passports: Great Early Buys from the British Council Collection', 5 April–14 June 2009 (Folk Dance) |
| Fine Art Society, 'War', Nov. 2009 (Gunners Pulling Cannons, Ypres) | |
| 2010 | York, York Art Gallery, '100 Years of Gifts' (works acquired by Yorkshire galleries with the support of the Contemporary Art Society),
6 Feb.–3 May 2010 (The Red Turban) |
| Whitechapel Gallery, 'Fall Out: War and Conflict in the British Council Collection', 26 Mar.–30 May 2010 (Howitzer in Action) | |
| Renishaw Hall, Derbyshire, 'Osbert Sitwell's 20th Century Collection', Apr.–Sept. 2010 (English Gothic c.1918, A Shell Dump 1919, Dock Gates 1920) | |
| Durham, NC, Nasher Museum of Art, Duke University, 'The Vorticists: Rebel Artists in London and New York, 1914–1918', 30 Sept. 2010 –2 Jan. 2011; then at the Peggy Guggenheim Collection, Venice, 29 Jan.–15 May 2011, and Tate Britain, London, 14 June–18 Sept. 2011 (study for St George and the Dragon, Two-step II) | |
| Edinburgh, Talbot Rice Gallery, University of Edinburgh, 'The £40 Art Collection' (works from the Tom Arthur collection of British art), 23 Oct.–11 Dec. 2010 (The Flower Sellers c.1941) | |
| Sheffield, Millennium Gallery, 'Restless Times: Art in Britain 1914–1945', 6 Oct. 2010 –30 Jan. 2011 (In the Village of Fampoux, The Cinema, No! No! Roger, Cézanne Did Not Use It) | |
| Newcastle upon Tyne, Hatton Gallery, 'Another Face: Works from the Arts Council Collection', 3 Dec. 2010–19 Feb. 2011 (Girl with a Red Nose) | |
| 2011 | Florida, Museum of Fine Arts, St Petersburg, 'Romantics to Moderns: A Survey of British Watercolors
and Drawings', 22 Jan.–1 May 2011 (study for The Rhine Boat 1927–8, Channel Crossing 1934–5) |
| Rotterdam, Kunsthal, 'Sir Stanley Spencer: Between Heaven and Earth', 17 Sept. 2011–15 Jan. 2012 (Boy Wearing a Blue Scarf, The Return of Ulysses, The Toe Dancer, Deposition from the Cross, The Flower Arrangement) | |
| Woking, The Lightbox, 'The Ingram Collection: The Art of William Roberts ', 24 Sept.–18 Dec. 2011 | |
| 2012 | Chatsworth, 'The Frank and Cherryl Cohen Collection of Modern British Art', 19 Mar.–10 June 2012 (The Restaurant 1929, Primrose Hill c.1930, The Masks c.1932) |
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