約翰·威廉·格維德

J. A. C. Younger中校
售出：倫敦蘇富比，1948年3月3日，拍品編號64
Rayner MacConnel，倫敦
M. Newman Ltd.，倫敦
售出：Bearnes and Waycotts，德文郡托基市，1984年10月31日，品號324
Richard Green，倫敦

倫敦美術協會，1988年10月

韋恩·格羅夫納·斯旺森，《約翰·威廉·格維德，古典主義的消逝》，Suffolk，1997年，第106頁，圖83，載圖；第233頁，品號6，編入圖錄

The following condition report has been provided by Hamish Dewar Ltd, 13 & 14 Mason's Yard, London SW1Y 6BU: UNCONDITIONAL AND WITHOUT PREJUDICE Structural Condition: The canvas is unlined and is securely attached to the artist's original, keyed wooden stretcher. This is providing an even and stable structural support. The painting has a perspex backboard which is screwed to the reverse of the stretcher. The canvas is inscribed by the artist in the upper left corner as viewed from the reverse. Paint Surface: The paint surface has an even varnish layer. There is a small accretion within the purple fabric to the right of the figure which would benefit from localised cleaning. There are slightly raised stretcher-bar lines corresponding to each of the stretcher members. These are entirely stable. Inspection under ultra-violet light shows small intermittent retouchings along the lower horizontal edge and a slightly larger area of retouching in the lower right corner of the composition. There are also some small carefully applied spots and lines within the figure's flesh tones, and some further small spots within the red curtain in the upper left quadrant of the composition. Summary: The painting would therefore appear to be in very good and stable condition and could benefit from the localised cleaning of the small accretion mentioned above.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Undraped nudes are rare in Godward's oeuvre. In this exceptional example, the delicate flesh tones are offset against a virtuoso display of technique in saturated gemstone-like colours. Evidence of his skill as a draftsman is everywhere, notably in the lines of the receding and uneven tesserae. In addition to the unconventional model's nudity, In the Tepidarium is one of the few paintings Godward painted indoors in a thermae, an ancient Roman bath.