Robert Medley

Lefevre Gallery, London, 1948
Geoffrey Gorer, by 1954
Sale, Sotheby's, London, 22nd July 1986, lot 364, whence purchased by the present owner

London, Whitechapel Gallery, Robert Medley: Retrospective Exhibition: paintings, drawings and sculpture 1928-1963, November-December 1963, no. 8 (wherein dated 1946)
Newcastle upon Tyne, Hatton Gallery, Robert Medley, 1954, no. 11
Oxford, Museum of Modern Art and tour to The Minories, Colchester, Bolton Museum and Art Gallery, York City Art Gallery and Huddersfield Art Gallery, Robert Medley: Paintings 1928-1984, April 1984 to March 1985, no. 12, illustrated in the exhibition catalogue (wherein dated 1946)

Robert Medley, Drawn from the Life: a Memoir, Faber and Faber, London, 1983, p.202

The canvas is original. The canvas weave is visible in places but this is due to the artist's varied paint application and is intrinsic to the work. There is a tiny chip to the impasto on the right hand figure's shoulder. Overall in good condition. Examination under ultra violet light reveals an uneven opaque varnish throughout which has begun to separate in the upper right quadrant and in places to the foreground. It is possible that this varnish may mask a few light cosmetic retouchings. Held in a simple painted modern wooden frame in fair condition.
"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 The Labyrinth of the Minotaur the setting was the locality, referred to in my poem, Egypt, of

the blue lamps with the thousand moons,
and the dangerous shadows in the arcades,
where love is an alabaster statue...

- the dark street haunted by male prostitutes and soldiers near the red-light district in Cairo. (At the time I could not set down things plain, and in the picture I disguised myself as the 'Fool'; later I tried to get away from disguises)' (ibid., p.202)