Roger Fry

Vincent and Louise Kosman, Edinburgh, where acquired by the present owner in 2001

Frances Spalding, Roger Fry Art & Life, University of California Press, 1980, p.228.

The canvas appears to be original and unlined. The canvas undulates slightly. There is a small knock in the upper elft quadrant with a resultant fleck of loss, there is a further small push in the loiwer right corner.There are several areas of craquelure and some very minor resultant paint loss, most apparent in the upper right corner, with a loss that may be in line with an old framing. There is some minor surface detritus and matter and some minor accretions. Subject to the above the work is in overall good condition. Inspection under ultra violet light reveals some fluorescence from an uneven varnish, most noticeable throughout the figure on the left, and above the gentleman in the middle. There also appears to be some old restoration around the neck and shoulders of the figure at the right edge, and in the gentleman's proper right arm. The work is framed by a simple wooden slip and wooden frame. 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."

In October 1919, Fry travelled to Provence with Angela Lavelli and stayed in the Inn at Aramon, conveniently located near a valley which he especially wanted to paint. When the mistral prevented daily painting trips on his bicycle, he settled in the corner of the large kitchen and the present work was the result of numerous sketches made there.