Frederick Edward McWilliam, A.R.A.

The Artist's Estate;
The Mayor Gallery, London, where acquired by the present owner

London, Tate Gallery, F.E.McWilliam, Sculpture 1932 - 1989, 10th May - 9th July 1989, cat. no.70, illustrated in the catalogue.

The plaster itself is in fair condition. There are some abrasions, scratches, and lines of craquelure to various spots on the surface. There are a few losses to the paint surface, including three flecks of paint loss to one side of the sculpture. There are a few losses to the surface of the base, especially in one corner, which reveals some underlying rust. There are remnants of an old adhesive label on the base. The sculpture is dirty with a few small spots of staining and may benefit well from a light clean.
"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."

Following his widely acclaimed series of Women of Belfast and Banners which carried overt political overtones especially within the context of the artist's birthplace, McWilliam began a more light-hearted group of works in the late 1970s on the theme of Legs.  After the representational quality of the Women of Belfast, the Legs took on a more surreal and humorous nature and in focusing on an exclusive part of the body, recalled his early surrealist inspired sculptures such as The Long Arm (1939) and Eyes, Noes and Cheek (1939, Tate Collection, London).

In Pas de Quatre, four pairs of dancer's legs are grouped together in exuberant 'can-can' like poses. The alternate monochromatic tones evoke the vibrant music-hall atmosphere of the 1920s and 30s and also create a sense of movement throughout the sculpture; indeed, when the work was originally situated in the artist's sitting room, McWilliam had placed it on a revolving base so that it could be rotated to suit his mood.  The title also references the short ballet choreographed by Jules Perrot in 1845 for the four greatest ballerinas at the time; Lucile Grahn, Carlotta Grisi, Fanny Cerrito and Marie Taglioni. Although the original quartet only danced together in four performances, in the present Pas de Quatre, the four ballerinas are literally reunited in the spirit of dance.