Sir William Nicholson

J.E.A. Low Esq.
Acquired from the above by the previous owner

Plymouth, Plymouth City Art Gallery, temporary loan during the 1950s.

Lilian Browse, William Nicholson, Hart-Davies, London, 1956, no.432, p.101.

The canvas is unlined and is in good overall condition. There is an area of small abrasions to the paint surface near the left edge in the upper left quadrant. Otherwise the paint surface is in good overall condition. There is no sign of retouching under ultra-violet light. Held in a gilded frame.
"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."

William Nicholson knew Margaret and Diana Low well by the date of the present work, having previously painted a portrait for the family. Nicholson would go on to paint a portrait of their brother, Oliver Low, and another portrait of Diana in 1933. Diana subsequently became a pupil of Nicholson at the Slade and later exhibited at the Royal Academy and New English Art Club. A portrait of Nicholson lying on a grey sofa by Diana Low was painted in 1932 (Wolverhampton City Art Gallery).   

Nicholson depicts Margaret and Diana Low in the drawing room of their father, Warren Low's, house in Harley Street. Despite knowing them well, the artist refrains from sentimentalising the sisters, and instead uses composition and colour to portray their individuality and the sibling unity between them. Slouching on their chairs in identical dresses and with their feet crossed towards one another, the bond between the sisters is unmistakeable. And yet their variant hairstyles, complexions and facial expressions hint at the idiosyncracies that will distinguish them as women. Painted in the year that William Nicholson refused Sir Alfred Munnings' second invitation to be a Royal Academician, the present work represents the artist at the height of his career.