Graphite, ink, watercolour and gouache on paper
268 x 191 mm
Inscribed by the artist ‘L’armoire à glace’ in grey paint bottom left; ‘red edge’ in black ink bottom centre; ‘Picture Stevenson [sic] collection Southport’ in red ink bottom centre; ‘Sickert. 1922.’ in grey paint bottom right; ‘... of cold shine’ in black ink centre left in margins.
Purchased (Knapping Fund) 1941
Technique and condition
How to citeTomoko Kawamura, 'Technique and Condition', November 2005, in Nicola Moorby, ‘Study for ‘L’Armoire à glace’ 1922 by Walter Richard Sickert’, catalogue entry, April 2005, in Helena Bonett, Ysanne Holt, Jennifer Mundy (eds.), The Camden Town Group in Context, May 2012, https://www
Study for ‘L’Armoire à glace’ is a full compositional colour study which has been first sketched lightly in pencil and then overlaid with pen and ink and washes of watercolour. There are also touches of white gouache in places, for example around the edge of the mirror and the reflected light on the panels of the door. In appearance it is closer to the etched version than the painting, because it includes the view of the edge of the bedroom door and doorknob on the far right of the picture. In addition, some of the drawn pen and ink lines are echoed within areas of line and cross-hatching in the etching. Furthermore, the receding perspective of the mirrored door is more oblique in the painting. Nevertheless, the fact that Sickert troubled to complete the study in watercolour suggests that he was always intending to paint a version in oil.
How to cite
Nicola Moorby, ‘Study for ‘L’Armoire à glace’ 1922 by Walter Richard Sickert’, catalogue entry, April 2005, in Helena Bonett, Ysanne Holt, Jennifer Mundy (eds.), The Camden Town Group in Context, May 2012, https://www