Julian Trevelyan, R.A.

The sheet is attached to the mount with tabs in a number of places, but is not laid down. The sheet undulates slightly but otherwise appears sound. The left, right and upper edges of the sheet are deckled. There are pinholes at each of the upper corners, thought to be in keeping with the artist's working method. There is a small crease in the sheet towards the centre of upper edge. One or two edges of the collaged elements are lifting slightly, and there are some extremely tiny tears and creases to one or two of the collaged elements which may be in keeping with the artist's technique, but otherwise they appear sound and securely attached. There are some spots of foxing and discolouration in places to the work, including discolouration towards the edges of the sheet. There are one or two spots of light surface dirt and studio detritus. Subject to the above, the work appears to be in good and original overall condition. The work is float mounted and presented in a simple painted wooden frame, held under glass. Please telephone the department on +44 (0) 207 293 6424 if you have any questions regarding the present work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

'I cruised around and settled on the outskirts of the town near to some cotton mills and reservoirs. At this time I was making collages; I carried a large suitcase full of newspapers, copies of Picture Post, seed catalogues, old bills, coloured  papers and other scraps, together with a pair of scissors, a pot of gum and a bottle of indian ink. It was awkward sometimes in the wind, when my little pieces would fly about and I was shy of being watched at it; but it was a legitimate way I think, of inviting the god of chance to lend a hand in painting a picture.'

(Julian Trevelyan, Indigo Days, Macgibbon & Kee, London, 1957, p.84)