Art Gallery

Art Gallery (pen and ink), 1956
© The Estate of John David Roberts
Reproduced with the permission of the William Roberts Society

Galleries are in London unless otherwise indicated, and the list of works shown in any particular exhibition may not be exhaustive.

1912 Crosby Hall, Chelsea, 'Exhibition of Designs for Mural Painting and for the Decoration of Schools and Other Buildings', 3–29 June 1912 (The Legend of Cuchulain)
1913 New English Art Club, Royal Society of British Artists Galleries, Dec. 1913 (Return of Ulysses)
1914 Alpine Club Gallery, 'Grafton Group, Second Exhibition', Jan. 1914 (Figure Composition)
Liverpool, Sandon Studios' Society, 'Exhibition of Pictures Lent through the Contemporary Art Society', Feb. 1914 (Carpenters at Work)
Whitechapel Gallery, 'Twentieth Century Art – A Review of Modern Movements', 8 May–20 June 1914 (The Resurrection, Lucy's Dream from Richard Feverel, The Dance, Study of Boy's Head, Study for Decorative Panel, Study for Design, The Parting – 'an abstract work' – and 'Drawing')
'Generally there is a banal level of incompetent imitation, and particularly has the youngest generation suffered. Thus the charming and academic (after the manner of the Slade School tradition) "Study of a Boy's Head," by Mr. Roberts, who is a very young man, has already given place to the most ordinary cubistic patterns. If such evolutions were legitimately worked out the evil would not be serious, for it would be seldom. Mr. Roberts has, however, managed to compress the development of a lifetime into six months. Now his only hope is to be born again' – J.M.M. (John Middleton Murray), Westminster Gazette, 21 May 1914
New English Art Club, Royal Society of British Artists Galleries, summer 1914 (Boxers)
Rebel Art Centre (Dancers and Religion)
1915 London Group, 'Second Exhibition', Goupil Gallery, Mar. 1915 (exhibited three works: The Toe Dancer, The Boatman and The Boxers)
Doré Gallery, 'Vorticist Exhibition. The Vorticist Group: The First Exhibition of the Vorticist Group', 10 June–July 1915 (four paintings – Overbacks, Two-step, Jeu and Theatre – and two drawings: Drawing and Theatre. It is likely that the untitled drawing was the study for The Dancers 1913–14 (also known as The Dance), as this was selected by Ezra Pound to be sent to America for John Quinn's Vorticist exhibition in New York in 1917 (Vivien Greene, 'Ezra Pound and John Quinn: The 1917 Penguin Club Exhibition 1917', in The Vorticists (London: Tate, 2011)). In his Some Early Abstract and Cubist Work (1957), William Roberts notes that 'Several paintings, including The Draughts Players and The Party, shown with the Vorticists at the Doré Gallery and afterwards bought by John Quinn of New York, were somehow destroyed in America' (p. 8) . Elsewhere Roberts suggests that The Draughts Players was probably a study for Jeu. No work was exhibited at the Doré Gallery or in New York under the title The Party. It is possible that this is an alternative title used by Roberts for the work known as The Dancers.
1917 New York, Penguin Club, 'Exhibition of the Vorticists', 10 Jan.–1 Feb. 1917 (two paintings – Jen (later corrected by Quinn to Jeu, the title under which it was exhibited at the Doré Gallery in 1915) and Overbacks – and two drawings: Religion and Dancer). All four works were selected by Ezra Pound in London and purchased by John Quinn (two initially and two after the exhibition closed) and became part of Quinn's collection. Quinn died in 1924, and his collection was sold in 1927 (Vivien Greene, 'Ezra Pound and John Quinn: The 1917 Penguin Club Exhibition 1917', in The Vorticists (London: Tate, 2011)).
1919 Royal Academy (1), 'Canadian War Memorial Exhibition', 3 Jan.–1 Mar. 1919 (The 1st German Gas Attack at Ypres)
Washington, DC, Corcoran Gallery of Art, 'War Paintings and Drawings by British Artists Exhibited under the Auspices of the Ministry of Information', 14 Jan.–2 Feb. 1919, and thereafter touring the US (including Detroit Museum of Art, 3–30 June 1919) (Signallers, The Gas Chamber, The Menin Road)
Oxford, Hills and Saunders Gallery, 'Cubist Exhibition', June 1919
New English Art Club, '60th Exhibition of Modern Drawings in Watercolour and Black and White by the New English Art Club', Maddox Street Galleries, summer 1919 (Burying the Dead after Battle 1919, The Wiring Party 1918–19)
Royal Academy (2), 'The Nation's War Paintings and Other Records', 12 Dec. 1919–7 Feb. 1920 (Tommies Filling Their Water Bottles with Rain from a Shell Hole, A Shell Dump, France, Study for A Shell Dump, France, Pack Mules, Rosières Valley, In the Ypres Sector, An Attack – the Capture of Delville Wood, During a Battle, Gunners Turning Out for an SOS. Battery Action at Night, A Group of Generals, Sketch for A Shell Dump, France)
1920 Manchester City Art Gallery, 'The Nation's War Pictures from the Imperial War Museum', 10 Mar.–8 May 1920 (Tommies Filling Their Water Bottles with Rain from a Shell Hole, Study for A Shell Dump, France)
Mansard Gallery (Heal's), 'Group X', 26 Mar.–24 Apr. 1920 (with Jessica Dismorr, Frank Dobson, Frederick Etchells, Charles Ginner, Cuthbert J. Hamilton, Wyndham Lewis, E. McKnight Kauffer, John Turnbull and Edward Wadsworth) (Athletes Exercising in a Gymnasium, The Wedding, The Auction Room, The Cockneys (oil and study))
Derby Art Gallery, 'Exhibition of Advanced Art', 17 Apr.–6 June 1920 (The March of the Guards)
New English Art Club, '62nd Exhibition of the New English Art Club', Royal Society of Painters in Water Colours Galleries, 7 June–3 July 1920 (The Travelling Cradle)
Imperial War Museum and Great Victory Exhibition at Crystal Palace, 'Paintings, Drawings and Sculpture', June–Oct. 1920
Goupil Gallery, Goupil Salon, 1920, Nov.–Dec. 1920 (The Stockbroker's Clerk)
1921 Independent Gallery, 'Paintings, Drawings and Sculpture by Some Independent Painters and Sculptors', 5–20 Feb. 1921 (The Travelling Cradle, The Riot, Boxing Match, study for The Cinema)
Mansard Gallery (Heal's), 'Exhibition by Members of the Friday Club and Others', 2–30 Apr. 1921 (The Rehearsal)
Paris, Galerie Druet, 'Exposition d'un Groupe de Peintres Modernes [Anglais]', 27 June–8 July 1921 (four works on paper: Joueur de guitare, Vie sauvage, Dans les coulisses, Acrobates)
1922 Whitechapel Gallery, 'Modern British Art', 21 Mar.–21 Apr. 1922 (Portrait of a Man)
Goupil Gallery, 'Spring Exhibition', Mar.–Apr. 1922 (The River)
London Group (1), 'Sixteenth Exhibition', Mansard Gallery (Heal's), 8 May–3 June 1922 (The Last 'Bus, Novices)
Leicester Galleries, 'Drawings Old and New', July 1922 (Girl Standing with Arms Folded)
Goupil Gallery, 'Summer Exhibition', July 1922 (The Bridge)
London Group (2), 'Seventeenth Exhibition', Mansard Gallery (Heal's), 16 Oct.–11 Nov. 1922 (At the Hippodrome, Dock Gates)
1923 New English Art Club, Royal Society of Painters in Water Colours Galleries, 1–26 Jan. 1923 (Portrait of a Youth (oil?))
Grosvenor House, 'Contemporary Art Society. Exhibition of Paintings and Drawings', 30 June–8 July 1923 (The Red Turban, The Resurrection 1912, Infantry Fatigue Party: Forage Barn 1919)
Chenil Galleries, 'Paintings and Drawings by William Roberts', Nov. 1923 (The Crucifixion, Dock Gates, Behind the Scenes, The Art Critic P. G. Konody, Gymnasts, The Usurer, Portrait of Miss Tupper-Carey, Fred, Girl in Mauve Hat, Portrait, Elsie, River Scene, Le Patron, Brass Balls, The Banjo, The Box, Her Baby, The Tumbler, Sea Frolic, Captain Robin Buxton, A Girl's Head, Head of a Youth, Sarah, Jewish Melody, The Dance Club, Love Song in a Bar, Country Scene, Sarah, John, Aircraftman Ross (aka Portrait of T. E. Lawrence), Colonel S. F. Newcombe DSO, Colonel Sir Henry McMahon, General Sir Reginald Wingate, Lord Winterton, Camel March, The Joke, The Picture Dealer (aka The Connoisseur), The Toast, The Creole, Kit, study for Bank Holiday in the Park, Waiting in the Café (aka Discussion in a Café), The Poor Family, nine drawings (including Woman Standing?) – catalogue foreword by Muirhead Bone
1924 Edinburgh, 'The Ninety-Eighth Exhibition of the Royal Scottish Academy of Painting, Sculpture and Architecture', Royal Scottish Academy, 19 Apr.–30 Aug. 1924 (Dock Gates, The Picture Dealer, Colonel Sir Henry McMahon, Camel March)
Wembley, Palace of Arts, the British Empire Exhibition, 23 Apr. –31 Oct. 1924 (History of the Omnibus, The Violet Hat)
New English Art Club, Royal Society of Painters in Water Colours Galleries, 2–28 June 1924 (The Bus Stop 1924)
Goupil Gallery, '14th Goupil Gallery Salon', Oct.–Nov. 1924 (Anita)
1925 New English Art Club (1), 'Special Retrospective Exhibition (1886–1924) and 71st Exhibition', Spring Gardens Gallery, 5 Jan.–14 Feb. 1925; Manchester City Art Gallery, 2 Apr.–9 May 1925 (Provence, Decapitations, Shipping)
Mayor Gallery, Mar. 1925, group exhibition by 'younger men and women' (4.5 Howitzer)
New English Art Club (2), '72nd Exhibition of the New English Art Club', Spring Gardens Gallery, 55 Apr.–23 May. 1925 (The Boat Pond, The Dentist)
Wembley, Palace of Arts, the British Empire Exhibition, 9 May–31 Oct. 1925 (Outside the Pawnshop, History of the Omnibus?)
London Group, 'Twenty-second Exhibition', 6–26 June 1925 (Rabbi's Wife, The Judgement of Paris, Bank Holiday in the Park)
New Chenil Galleries (1), 'Inaugural Exhibition of Present-Day British Art', June–July 1925 (The Happy Family, Portrait of a Woman)
New Chenil Galleries (2), 'Tri-National Art Exhibition' (painting and sculpture from England, France and America), Oct. 1925 (The Slum Park and three unidentified drawings)
1926 London Group (1), 'Twenty-third Exhibition', Royal Society of Painters in Water Colours Galleries, 9–30 Jan. 1926 (Esther)
Mayor Gallery, 'Modern English Art', Feb. 1926 (Dock Head)
London Group (2), 'Twenty-fourth Exhibition', Royal Society of Painters in Water Colours Galleries, 5–25 June 1926 (The Shimmey, Regrets)
Manchester City Art Gallery, 'Exhibition of the Rutherston Gift of Modern Works of Art', 15 July–11 Sept. 1926 (Portrait of a Woman: The Artist's Wife, Sarah Kramer, study for The Cinema)
Pittsburgh, Carnegie Institute, 'Twenty-fifth Annual International Exhibition of Paintings', 14 Oct.–5 Dec. 1926 (Brass Balls)
New Chenil Galleries (1), 'First Annual Winter Exhibition', Nov. 1926 (Sarah 1922, A Gypsy Girl, Christ Driving the Money Changers from the Temple, An Argument)
Brook Street Galleries, drawings and watercolours by various artists, Nov. 1926
Savile Gallery, 'Old and Modern Drawings', Nov. 1926 (Female Nude, Male Nude)
New Chenil Galleries (2), 'Multi-national Exhibition of Works by French, British, American, German, Swiss and Mexican Artists', Dec. 1926 (Dogs of the Beni Hillal, Sea Bathers, The Champion's Victory)
1927 Leicester Galleries (1), London, 'Exhibition of Paintings, Pastels, Drawings and Woodcuts Illustrating Col. T. E. Lawrence's Book, Seven Pillars of Wisdom', 5 –21 Feb. 1927 (Camel March 1922, Captain Robin Buxton 1922, Colonel Sir Henry McMahon 1922, General Sir Reginald Wingate 1922 and 13 tailpieces 1925–6)
Paris, Galerie Bernheim-Jeune, 'Groupe de la jeune peinture contemporaine', 11 Apr.–6 May 1927 (unknown work by Roberts)
London Artists' Association (1), 163 New Bond Street, 'First Exhibition of the London Artists' Association', May 1927 (Portrait)
University College, 'Works of Art by Teachers and Students of the Slade School 1871–1927', 25 June–2 July 1927 (David Choosing Punishment of the Three Days' Pestilence, The Resurrection, Head (oil), Heads (drawing))
London Artists' Association (2), 163 New Bond Street, paintings and drawings by William Roberts, July 1927 (including The Garden of Eden c.1926, Newspapers 1926 and 'an admirable sketch of a prize-fight, very bright and gay' – The Nation and Athenaeum, 2 July 1927)
Hamburg, Kunstverein 'Europäische Kunst der Gegenwart', 31 July.–2 Oct. 1927 (The Dance Club)
Vienna Secession, 'Meisterwerke Englischer Malerei aus drei Jahrhunderten', 8 Sept.–13 Nov. 1927 (The Resurrection 1912)
Leicester Galleries (2), London, 'Second Exhibition of the London Artists' Association', Nov. 1927 (Garden of Eden, Newspapers, Trafalgar Square, Susannah, Dogs of the Hillal Ali, Portrait, Surprised)
'As in a theatre a good performer is said sometimes to act his companions off the stage, so Mr. Roberts swept his fellow-exhibitors into secondary consideration. He showed the continuation of the spirit of a Hogarth or a Rowlandson combined with an entirely personal modernity of method. In comparison, the other paintings were mere exercises' – T. W. Earp, New Statesman, 17 December 1927
1928 Southport Art Gallery, 'Exhibition of Works by the London Artists' Association', 14 Jan.–11 Feb. 1928 (Brass Balls, The Garden of Eden, Susannah, The Champion)
St George's Gallery (1), 'Contemporary English Water-colours', Feb. 1928 (Loading Ballast)
Imperial Gallery of Art, Mar.–Apr. 1928 (Portrait of a Lady)
Leeds City Art Gallery, 'Exhibition of the London Artists' Association', 31 Mar.–28 Apr. 1928 (Tommies Filling Their Water Bottles with Rain from a Shell Hole, Jazz, Sarah, A London Park)
Venice, 'Biennale di Venezia 16', 31 Mar.–30 Sept. 1928 (Surprise)
London Group, Retrospective Exhibition 1914–1928, New Burlington Galleries, Apr.–May 1928 (Dock Gates, Love Song in a Bar, Loading Ballast, Peasants)

Embed from Getty Images

'Art Critique'
'30th April 1928: Rupert Lee, President of the London Group Retrospective Exhibition explaining points in a painting to two visitors. The painting is "Love Song in a Bar" by William Roberts.'
(Photo by London Express/Getty Images)

Manchester, Platt Hall, Rusholme, 'Exhibition of the London Artists' Association', 5 May–16 June 1928 (A London Park, Susannah, The Pawn Shop)
'Mr. Roberts, although he employs a somewhat "Cubist" formula, is at heart an illustrator a Gothic descendant of those old Northern sculptors who covered our cathedrals and churches with animated and grimacing figures and beasts. Let us put aside our prejudices and all ideas of what painters ought to do, and study at length the full-blooded abandon of his Cockneys enjoying themselves in their Bank Holiday haunts, and the quick movements of the small dogs instinct with life. And we have only to look at "The Pawn Shop" to realise how "photographically" Mr. Roberts could draw if he chose. The probable truth of the matter is that Mr. Roberts is afraid of his own realistic gifts and has sought for a pictorial idiom that will baulk them' – Manchester Guardian, 5 May 1928
St George's Gallery (2), 'Sixth Annual Exhibition of the Modern English Water-colour Society', May 1928 (The Canal)
London Artists' Association, 'Recent Paintings by Members of the London Artists' Association', 92 Bond Street, July 1928 (Jockeys, Love Song in a Bar)
Whitechapel Gallery, 'Contemporary British Art', 16 Oct.–1 Dec. 1928 (The Stockbroker's Clerk 1920, La Femme Tragique c.1925, A Gypsy Girl 1925–6 – from the Hugh Blaker collection)
Eastbourne, Towner Gallery, exhibition of the London Artists' Association, 21 Oct.–15 Dec. 1928 (A London Park, Susannah)
Chicago, Marshall Field Galleries, exhibition by the Contemporary Art Society, Dec. 1928 (The Paddock, Pawn Shop)
'William Robert's [sic] mechanistic pictures "The Paddock" and the "Pawn Shop" [are among] the outstanding features of the show' – Art News, 1 Dec. 1928
New York, Marie Sterner Gallery, exhibition by the London Artists' Association, Dec. 1928 (unknown works by Roberts)
'William Roberts contributes canvases filled with mechanistic figures woven into a sort of staccato pattern and executed in bright hard color which stem from no British tradition certainly and but markedly from any other, although they bear indications of having passed through cubism' – Evening Post (NY), 15 Dec. 1928
1929 Plymouth Museum and Art Gallery, exhibition of the London Artists' Association, 20 (?) Jan.–9 Feb. 1929 (Susannah)
St George's Gallery, 'Seventh Annual Exhibition of the Modern English Water-colour Society', Mar. 1929 (Carpet Beaters)
Derby, Derby Corporation Art Gallery, 'Exhibition of the London Artists' Association', 27 Apr.–2 June 1929 (A London Park, Susannah)
Manchester, Platt Hall, Rusholme, 'The Hugh Blaker Collection of Modern Paintings and Drawings', 4 May–5 June 1929 (The Stockbroker's Clerk 1920, La Femme Tragique c.1925, A Gypsy Girl 1925–6)
London Artists' Association (1), 'Paintings by William Roberts', Cooling Galleries, 12–29 June 1929 (including Rhine Boat, Portrait of a Boy, The Prodigal Departs, Thoughts, The Boat Pond, Pawnshop, Antony in Egypt, Deposition, Surprise, Garden of Eden, Susannah, The Swimming Bath, Carpet Beaters, Loading Ballast, Pigeon Fanciers)
Brighton, Brighton Public Art Galleries, 'The Hugh Blaker Collection of Oil Paintings, Watercolours and Drawings', 7 Sept.–5 Oct. 1929 (The Stockbroker's Clerk 1920, La Femme Tragique c.1925, A Gypsy Girl 1925–6)
Birmingham, Ruskin Gallery, 'Exhibition of the London Artists' Association', 1–12 Oct. 1929 (The Swimming Lesson)
Edinburgh, Royal Scottish Academy, 1929 (Armistice Night)
Whitechapel Gallery, 'Exhibition of Contemporary British Art, Including the Collection of Edward Marsh, Esq.', 24 Oct.–1 Dec. 1929 (The Return of Ulysses 1913, The Resurrection 1912, Kit 1923, Pigeon Fanciers 1928, Camel Corps 1929)
Pittsburgh, Carnegie Institute, 'Twenty-eighth Annual International Exhibition of Paintings', 17 Oct.–8 Dec. 1929 (Bank Holiday in the Park, Bohemians, The Prodigal Sets Out)
London Artists' Association (2), 'Recent Paintings by Bernard Adeney . . . William Roberts . . . ', 92 Bond Street, 8–30 Nov. 1929 (Portrait of an American, The Tea Garden)
Sheffield, Mappin Art Gallery, 'British Artists of To-Day' (Museums Association circulating exhibition), 5 Dec. 1929–9 Feb. 1930 (The Rhine Boat)
1930 Mansard Gallery, Heal's, inaugural exhibition, Feb. 1930 (The Pawnshop)
St George's Gallery, 'Eighth Annual Exhibition of the Modern English Water-colour Society', Feb.–Mar. 1930 (Feeding Gulls, study for The Prodigal Son)
M. Knoedler & Co. 1930, Contemporary British Paintings: Loan Exhibition in Aid of the Prince of Wales' General Hospital, 11–31 Mar. 1930 (The Return of Ulysses)
St Louis, City Art Museum, exhibition by English and German artists, Apr. 1930 (Bank Holiday in the Park)
Grafton Galleries, 'First Annual Exhibition of the National Society of Painters, Sculptors, Engravers, and Potters', May 1930
Bradford, Cartwright Memorial Hall, 'Jubilee Exhibition', spring 1930
Venice, 'Biennale di Venezia 18', 4 May–4 Nov. 1930
London Artists' Association, 'Landscapes and Flower Paintings', Cooling Galleries, 4 June–5 July 1930 (Sawing Wood)
Manchester City Art Gallery, Platt Hall, Rusholme, 'Contemporary Art Society: Paintings and Drawings', 21 June–9 Aug. 1930; then at Royal Leamington Spa Art Gallery, late Aug.–15 Oct. 1930 (Armistice Night, The Happy Family, Sarah 1922, At the Hippodrome, The Jockeys, The Creole)
'William Roberts . . . is of the race of "comic artists," though no descriptive jokes are printed with his designs: his "Happy Family" and his "Paddock" and others are irresistible. Whether oil-paint, and on an important scale, is the proper vehicle for such observations is open to question. So fertile a humourist should be doing cartoons for The Daily Herald or posters for the Underground Railway' – Royal Leamington Spa Courier and Warwickshire Standard, 29 Aug. 1930
Savile Gallery, 'Contemporary French and English Paintings' (and nine drawings), July 1930 (Head of a Woman, Study of a Female Nude)
Arthur Tooth & Sons, 'An Exhibition of Contemporary English Drawings', 26 Nov.–Dec. 1930 (Feeding Gulls 1929)
1931 Newcastle upon Tyne, Laing Art Gallery, 'Modern Paintings and Drawings Lent by Edward Marsh, Esq.', 1931 (Camel March 1923)
Whitechapel Gallery, 'Exhibition of the Contemporary Art Society's Paintings and Drawings', 27 Apr.–30 May 1931 (The Paddock)
London Artists' Association (1), 'Paintings of London', Cooling Galleries, 13 May–6 June 1931 (Bank Holiday in the Park, The Tea Garden)
London Artists' Association (2), Watercolours and drawings by members of the London Artists' Association, Cooling Galleries, July 1931
'William Roberts shows some of his clever and amusing compositions of an abstract nature, on the whole the most desirable drawings in the exhibition. I prefer the drawings and water-colours of Roberts to the large paintings he manufactures from them. As paintings his designs lose lightness and charm, and things amusing are better quietly stated than shouted through a megaphone. Moreover, the tyrannous mannerism of Roberts's style, concealed by delicate washes of water-colour, is revealed in all its crudity when his compositions are squared up to a big scale and painted in oils' – The Scotsman, 9 July 1931
'[T]he cubistic figures of William Roberts [are] apparently remote from anything like naturalism, resembling in a heavier mood the glass mannikins of Vienna. Yet, observed with the intention of finding the essential simplicities of nature under the masquerade of cylindrical convention, there is evidence enough that these brilliantly transformed men and women are in every crowd through which we pass; gesture, pose, grimace come to seem, as in all good caricature, more real than the original reality, and the violent attack of the method is seen to cover subtleties that could only have been developed by intimate study of the contemporary scene' – Elisabeth Luther Carey, New York Times, 6 Sept. 1931
Stoke-on-Trent, Hanley Museum and Art Gallery, 'Autumn Loan Exhibition', 10 Oct.–26 Dec. 1931 (Sarah 1927)
London Artists' Association (3), 'Recent Paintings and Drawings by William Roberts', Cooling Galleries, 28 Oct.–28 Nov. 1931 (A Gypsy Girl 1925–6, Going to Swim, Les Routiers, The Chess Players, Sun-bathing, Primrose Hill, Portrait of Artist Wearing a Cap, The Restaurant, The Schoolboy, A Talk about Buddha, etc.)
'A detail that struck a feminine observer – this artist sees the immense decorative possibilities of the knitted pull-over' – The Graphic, 7 Nov. 1931
Dundee, Corporation Art Galleries, 'Oil Paintings by British Artists of To-day' (Museums Association circulating exhibition), 10 Nov. 1931–2 Jan. 1932 (The Rhine Boat 1927)
Abdy Galleries, 'Exhibition of Watercolours and Drawings by John Armstrong . . . William Roberts', 1931–2 (Loading Ballast, study for The Tea Garden)
1932 Ottawa, National Gallery, 'Contemporary British Painting', Mar. 1932 (The Rhine Boat 1927)
Hull, Ferens Gallery, 'Spring Exhibition', 1 Apr.–? 1932 (The Rhine Boat – study 1927–8)
Venice, 'Biennale di Venezia 18', 28 Apr.–28 Oct. 1932 (The Return of Ulysses c.1913, Head of Woman 1920–21, Kit 1923, Beach Fun c.1929, The Chess Players 1929–30, Les Routiers 1931)
London Artists' Association, 'Flower and Figure Paintings', Cooling Galleries, June–July 1932 (John Maynard Keynes and Lydia Lopokova)
Hamburg, Kunstverein, 'Neue Englische Kunst', 26 June–31 July 1932 (Bank Holiday in the Park, A Gypsy Girl 1925–6, The Garden of Eden, Portrait of an American, The Restaurant, The Swimming Lesson? (as Schwimmunterricht), unidentified portrait of a boy, from the collection of Wilfrid Evill (as Knabenkopf))
Arthur Tooth & Sons, 'Exhibition of Pictures Acquired by the Contemporary Art Society', 28 Sept.–15 Oct. 1932 (Armistice Night, The Paddock, The Happy Family)
Eton College, modern British paintings and drawings from the collection of Hugh Blaker, Oct.–Nov. 1932
Manchester, Salon Club, Nov. 1932 (unidentified portrait)
1933 London Artists' Association (1), 'London Artists' Association General Exhibition', Cooling Galleries, Jan. 1933 (The Ballet 1932, The Masks c.1932)
'Roberts is an artist one cannot but admire, no matter how much one deplores his retention of frigid mannerising that prevents the full development of his remarkable gifts. One can hardly open a magazine nowadays without seeing clever plagiarisations of his style. Popular black-and-white men find him, in Fuseli's famous phrase about Blake "D— good to steal from."' – The Scotsman, 13 Jan. 1933
Melbourne and Sydney, Farmer's Blaxland Galleries in association with Redfern Galleries London, 'Exhibition of British Contemporary Art', Apr. 1933 (The Swimming Lesson c.1929)
London Artists' Association (2), 'Water-colours, Drawings and Pastels by the Members of the Association', Cooling Galleries, May–June 1933 (Descent from the Cross, study for The Tea Garden, study for Beach Fun)
London Artists' Association (3), 'Summer Show', Cooling Galleries, June–July 1933 (A Seat in the Park)
R.  E. Wilson's Gallery, exhibition of English drawings, old and modern, July 1933 (Girl Playing a Guitar)
Liverpool, Walker Art Gallery, '59th Autumn Exhibition', 4 Oct.–13 Dec. 1933 (The Paddock, The Chess Players)
Pittsburgh, Carnegie Institute, 'Thirty-first International Exhibition of Paintings', 19 Oct.–10 Dec. 1933 (Beach Fun)
London Artists' Association (4), Cooling Galleries, Nov.(–Dec.?) 1933 (Water-wings, The Judgement of Paris 1933, A Talk about Buddha, study for The Masks)
Anglo-German Club, 'Contemporary British Art', Dec. 1933 (Seat in Park)
1934 London Artists' Association, 'London Artists' Association Retrospective Exhibition', Cooling Galleries, Mar. 1934 (The Judgement of Paris 1933)
Newcastle upon Tyne, Laing Art Gallery, 'Exhibition of Collection of Works Lent by the C.A.S.', 1934 (The Happy Family 1924)
Sunderland, Public Art Gallery, 'Modern Paintings on Loan from the Contemporary Art Society', 26 Sept.–31 Oct. 1934 (Dr Paul de Zoysa c.1931)
Pittsburgh, Carnegie Institute, 'The 1934 International Exhibition of Paintings', 18 Oct.–9 Dec. 1934 (The Masks c.1932)
Bradford, Cartwright Memorial Hall, 'Modern British Drawings Loaned by Wyndham T. Vint', 27 Oct.–end Dec. 1934 (Nativity – study, c.1913)
New Zealand and Australia (Dunedin, Christchurch, Auckland, Wanganui, Sydney, Adelaide, Brisbane, Melbourne), 'Loan Collection of Contemporary British Art', organised by the Empire Art Loan Collections Society, 1934–5 (The Chess Players, The Stockbroker's Clerk)
1935 Canada and USA, 'Contemporary British Painting', National Gallery of Canada, Ottawa, Jan. 1935; then to Toronto, Montreal, Winnipeg, Calgary, Edmonton, Saskatoon, Vancouver, St Louis (Mo.), Providence (RI) till Dec. 1935 (Sun-bathing 1931)
Arthur Tooth & Sons, 'Contemporary British Paintings (Hire-Purchase terms)', 17 Jan.–9 Feb. 1935 (Christ Driving the Money Changers from the Temple 1925)
Lefevre Gallery (1), 'New Paintings and Drawings by William Roberts', Feb.–Mar. 1935 (12 oils and 21 drawings, including The Judgement of Paris 1933, Spanish Beggars 1933, Mediterranean Folk 1934, The Family 1934, Sam Rabin versus Black Eagle 1934, Shuttlecock 1934, Helen)
'At first you feel that [Roberts's] interest in life is so great that he is going to make a sort of Bateman comic drawing; but always his love of shapes as shapes proves stronger than his love of character, and he remains one of the abstract school. He does things perilously like comic drawings, but he seems to shrink from being classed with the Punch men, whose humour is always completely intelligible. He is half literary and half monumental' – The Scotsman, 7 Feb. 1935
Lefevre Gallery (2), '30 British Painters', Mar. 1935 (Portrait of a Boy c.1932, Portrait of a Girl with Plaits c.1931, Portrait of a Woman Wearing Ear-rings c.1934)
Mayor Gallery, 'Twenty-Five Years of British Painting, 1910–1935', Apr.–May 1935
Bath, Pump Room, 'Second Festival of Contemporary Arts', Apr.–May 1935 (Sam Rabin versus Black Eagle 1934)
Tate Gallery (1), 'Silver Jubilee Exhibition of Some of the Works Acquired by the Contemporary Art Society', 2 July–3 Aug. 1935 (The Picture Dealer, Jockeys, The Creole)
Tate Gallery (2), 'Loan Collection of Paintings, Drawings and Engravings by Contemporary British Artists Recently Exhibited in New Zealand and Australia under the Auspices of the Empire Art Loan Collections Society', 17–31 Oct. 1935 (The Chess Players, The Stockbroker's Clerk)
Bucharest, 'Desenul si Gravura Engleza (Secolele XVIII–XX)', Dec. 1935–Mar. 1936 (Burying the Dead after Battle 1919)
1936 Perth, Perth Art Gallery and Museum, 'Drawings and Water Colours by Modern Artists' (from the collection of Wyndham T. Vint), 20 Mar.–14 May 1936 (study for Nativity, A. E. Coppard, T. F. Powys, H. E. Bates, Rhys Davies, Liam O'Flaherty, Prisoner of War)
Vienna, 'Ausstellung von Britischen Aquarellen, Zeichnungen und Stichen, 1735–1935', 4–26 Apr. 1936 (Burying the Dead after Battle 1919)
Harrogate, Harrogate Art Gallery, Exhibition of contemporary art, 6 Apr.–31 May 1936 (The Creole 1923)
Wakefield, Wakefield City Art Gallery, 'Exhibition of Works by Distinguished Living British Artists', 16 May–13 June 1936 (The Golden Age, Country Scene, Sun-bathing, 'Portrait')
Bradford, Cartwright Memorial Hall, 'Modern Oil Paintings Loaned by Wyndham T. Vint', 4 July–? 1936 (portrait of Sarah Roberts)
Hull, Ferens Gallery, 'Exhibition of Contemporary Art', July 1936 (Sun-bathing 1931, The Golden Age c.1934)
Pittsburgh, Carnegie Institute, 'The 1936 International Exhibition of Painting', 15 Oct.–6 Dec. 1936 (Sun-bathing 1931)
Johannesburg Art Gallery, 'British Council Empire Exhibition', 1936 (Camel March 1923)
1937 Cheltenham, 'Water-colours and Drawings by Modern Artists, Kindly Lent by Wyndham T. Vint, Esq., M.A., of Bradford', Jan.–Feb. 1937; then at Brighton Art Gallery, 8 May–2 June 1937; Northampton Art Gallery, 13(?) Aug.–9 Oct. 1937; Royal Leamington Spa Art Gallery 22(?) Oct.–21 Nov. 1937 (study for Nativity, A. E. Coppard, T. F. Powys, H. E. Bates, Rhys Davies, Liam O'Flaherty, Prisoner of War)
Redfern Gallery, 'Contemporary English Paintings', 4–27 Feb. 1937 (Gun Team)
Leicester Galleries, London, 'Works by Members of the London Group', Mar. 1937 (The Judgement of Paris 1933)
Wolverhampton, Municipal Art Gallery, 'Contemporary Art Society Collection', 13? Mar.–10 Apr. 1937 (The Creole, The Chess Players, The Happy Family)
Whitechapel Gallery, 'Contemporary Art Society Collection', 10 June–17 July 1937 (The Creole, The Chess Players, The Happy Family)
London Group, 'Thirty-sixth Exhibition', New Burlington Galleries, 30 Oct.–20 Nov. 1937 (A Party at Number Four)
1938 Plymouth, City Museum and Art Gallery, 'Water-colours and Drawings by Modern Artists Kindly Lent by Wyndham T. Vint, Esq., M.A., of Bradford', 15 Jan.–13 Feb. 1938; then at Rugby Public Library, 28(?) Mar.–end Apr. (H. E. Bates, Rhys Davies, T. F. Powys)
Leeds City Art Gallery, 'British Artists' Exhibition', Feb.–Apr. 1938 (Sam Rabin versus Black Eagle 1934)
Lefevre Gallery, 'William Roberts', 2–26 Mar. 1938 (15 paintings, 31 drawings – only four drawings were sold; works included Sun-bathing, The Masks, The Gutter, The Palm Foretells, The Orchard, Chamber Music, Bohemians, Spanish Beggars, Shuttlecock, The Tea Room)
'Roberts using a technique which is rigidly conventional and almost geometrically inhuman, gives us a result which is as intensely human as any painting done today. Admitted that Roberts’s humanity is not that of the Christmas supplement, his humour is sardonic, he does not temper the chill of his wit to the lambs that he shears so drastically, nevertheless every one of his compositions is compact with life and living observation’ – Jan Gordon, The Observer, 6 Mar. 1938
Bristol, Royal West of England Academy, 'Annual Exhibition of the New Bristol Art Club', 25 Apr.–7 May 1938 (WR exhibited 'two paintings' as a guest artist)
Whitechapel Gallery, 'An Exhibition of Contemporary British Art', 26 May–16 July 1938
'William Roberts tries to paint subjects of more than purely private interest, but his somewhat tortuous mode of thought – a survival presumably of his Plank-art days – limit [sic] the appeal of his expression' – Anthony Blunt, The Listener, 16 June 1938
Gloucester, The Guildhall, 'Realism and Surrealism: An Exhibition of Several Phases of Contemporary Art', 28 May–25 June 1938 (Whist, Chamber Music)
Leicester Galleries, London, 'The Dance', July 1938 (Folk Dance)
Liverpool, Walker Art Gallery, '64th Autumn Exhibition', 12 Oct. 1938–7 Jan. 1939 (Chamber Music, Pigeons, Self-portrait)
Pittsburgh, Carnegie Institute, 'The 1938 International Exhibition of Painting', 13 Oct.–4 Dec. 1938 (The Gutter 1934)
London Group, 'Thirty-seventh Exhibition', New Burlington Galleries, 14 Nov.–2 Dec. 1938 (Folk Dance – titled The Lambeth Walk (sic) – He Knew Degas 1938)
Gateshead, 'Water-colours and Drawings by Modern Artists, Kindly Lent by Wyndham T. Vint, Esq., M.A., of Bradford', 1938; then at Middlesborough (study for Nativity)
1939 Bradford, Cartwright Memorial Hall, 'Forty-sixth Spring Exhibition of Contemporary British Paintings and Sculpture', 3 Mar.–11 June 1939 (Portrait of an American, Folk Dance, Chamber Music and 12 works on paper)
Dudley Art Gallery, Contemporary Art Society loan exhibition, ? Apr.–6 May 1939 (a portrait)
Whitechapel Gallery, 'Wyndham T. Vint's Collection of Oil Paintings', 13 Apr.–13 May 1939 (The Artist's Wife)
Newcastle upon Tyne, Laing Art Gallery, 'Modern Drawings and Paintings Lent by Arthur Crossland Esquire', 1939 (Sarah 1925 (red chalk) and Sarah 1925 (pencil on red paper))
New York, World's Fair, 'Contemporary British Art', 30 Apr.–31 Oct. 1939; then travelling to Ottawa, Toronto and Montreal (and again in New York 11 May–27 Oct. 1940?) (The Masks c.1932, The Gutter 1934–5)
St Helens, 'English and French Paintings', Apr.–May 1939 (Park Café 1928)
Morecombe and Heysham Art and Technical School, 'A Loan Exhibition of English and French Paintings', 1–28 June 1939 (The Tea Garden, The Recorder Player)
British Council Tour of Northern Capitals, 'Contemporary British Art', 1939 (Pigeon Fanciers 1928, Sawing Wood 1930, The Chess Players, Les Routiers 1931, study for The Palm Foretells 1937)
Leicester Galleries, 'Autumn Exhibitions: Selected Paintings, Drawings and Pottery Lent by the Contemporary Art Society. Paintings and Sculpture for Sale by Modern British Artists', Oct.–Nov. 1939 (Chamber Music, The Chess Players, Shuttlecock)
Oxford, Ashmolean Museum, 'Younger British Painters', Nov. 1939–Jan. 1940 (Errand Boys 1939)
1940 Redfern Gallery (1), 'The Montague Shearman Collection of French and English Paintings', Apr.–May 1940 (The Walking Delegates, Going to Swim, Swimmers Resting)
Redfern Gallery (2), 'French and English Paintings, Drawings and Prints', 25 July–28 Sept. 1940 (The Walking Delegates)
Royal Academy, 'United Artists' Exhibition', 5 Jan.–9 Mar. 1940 (Sun-bathing)
'William Roberts has been painting steadily for twenty years; he early found his individual style and his appropriate subject-matter. He has never become a fashionable painter, nor has he taken part in the formation of any group or school. Some people react strongly against his mannerism, but as mannerism it is quite comparable to the mannerism of a Cosima Tura or a Seurat – it has the same steel-like torsion of the one and the same geometrical orderliness of the other . . . Here, if anywhere, is a proletarian painter; but he is never recognised as such by those ideologists of the left who prefer to go to Mexico for a hero' – Herbert Read, The Listener, 11 Jan 1940
National Gallery, 'British Painting since Whistler', 30 Mar.–31 Aug. 1940 (Camel March 1923, Feeding Gulls 1929)
Oxford, Ashmolean Museum, 'Modern British Paintings', 1940 (The Recorder Player 1935–6, The Toque 1939)
1941 Leicester Galleries (1), London, paintings and drawings by contemporary British artists, 16 Jan.–8 Feb. 1941 (Cricket, Street Scene)
British Institute of Adult Education, First exhibition of war art for smaller provincial centres: Rochdale, Art Gallery and Museum, 20 Jan.–15 Feb. 1941; Colchester, Castle Museum, 20 Feb.–20 Mar. 1941; Mansfield, Museum and Art Gallery, 3–26 Apr. 1941; Blackburn, Lewes Textile Museum, 7–31 May 1941; Wolverhampton, Art Gallery, 5 June–2 July 1941; Wakefield, City Art Gallery, 5–26 July 1941; Harrogate, Public Library and Art Gallery, 2–20 Aug. 1941; Kettering, Art Gallery, 1–27 Sept. 1941; Kidderminster, Art Gallery, 8 Oct.–8 Nov. 1941; Lincoln, Art Gallery, 24 Nov.–27 Dec. 1941; Watford, Central Public Library, 5–18 Feb. 1942; Sutton, School of Art, 28 Feb.–14 Mar. 1942; Birmingham, Royal Birmingham Society of Artists, 11 May–7 June 1942; Chester, Cathedral refectory, 13 June–4 July 1942; Leicester, Museum and Art Gallery, 13 July–23 Aug. 1942; Lowestoft, Messrs Tuttle Waveney Galleries, 31 Aug.–12 Sept. 1942; Hyde, Bayley Hall, 17–31 Oct. 1942; Wallasey, School of Art, 14–22 Nov. 1942; Redditch, Gas Company Showrooms, 25 Jan.–6 Feb. 1943; Woolwich, Town Hall, 31 Mar.–14 Apr. 1943; Merthyr Tydfil, Museum and Art Gallery, 7–21 May 1943; Penzance, School of Art, 4 June–2 July 1943; Barnstaple, Art, Science and Commercial School, 10–21 July 1943; Torquay, School of Art and Crafts, 2–14 Aug. 1943 (Munitions Factory; total attendance c.112,000)
Oxford, Ashmolean Museum, Contemporary Art Society exhibition of work by artists working in or near Oxford, Feb. 1941
Bedford, Bedford Girls' Modern School, 'Contemporary British Art', 21 Apr.–10 May 1941
Newcastle upon Tyne, Laing Art Gallery, 'Exhibition of Watercolour Drawings by Orpen, Sargent, Rothenstein, Muirhead Bone, Steer, etc. Lent by the Imperial War Museum', 1941
Leeds, Temple Newsam, 'Drawings and Watercolours by Augustus John and Other British Artists', Apr.–June 1941 (Feeding Gulls 1929)
New York, Museum of Modern Art, 'Britain at War', 22 May–2 Sept. 1941 (The First German Gas Attack at Ypres 1918)
Leicester Galleries (2), London, 'Modern Paintings', Oct. 1941 (Demolition Squad)
British Institute of Adult Education (2), Second exhibition of war art for smaller provincial centres: Larkhull, Royal Artillery, 3–10 Nov. 1941; Cheltenham, School of Art, 22–29 Nov. 1941; Gloucester, School of Art, 1–6 Dec. 1941; Lydney, School of Art, 8–13 Dec. 1941; Bordon, New Martinique Barracks, 16 Feb.–6 Mar. 1942; Bulford, 'Sunday Times' Library, 15–20 Mar. 1942; Tidworth, Garrison Junior School, 22–27 Mar. 1942; Dorchester, Corn Exchange, 2–4 Apr. 1942; Poole, Parkstone Grammar School, 7–9 Apr. 1942; Salisbury, School of Art, 13–25 Apr. 1942; Bovington, Garrison, 27–30 Apr. 1942; Plymouth, Hyde Park Social Centre, 3–8 May 1942; Shirehampton, Methodist Hall, 11–13 June 1942; Glasgow, City Police Canteen, 1–15 July 1942; Paisley, Art Gallery, 18–31 July 1942; Dundee, Art Gallery, Aug. 1942; Montrose, Town Hall, 22–? Aug. 1942; Aberdeen, Art Gallery, 9–23 Sept. 1942; Coventry, Ministry of Labour Hostel, 17 Oct.–10 Dec. 1942; Coventry, British Thomson Houston, 14–31 Dec. 1942; Coventry, Messrs Mechanization & Aero, 1–14 Jan. 1943; Uttoxeter, Abbotsholme School, 11–25 Feb. 1943; Tamworth, Electricity Showrooms, 26 Apr.–8 May 1943; Donnington, YMCA Education Hut, 27 May–10 June 1943; Brighton, Art Gallery, 26 June–24 July 1943; Hackney, Town Hall, 9–21 Aug. 1943 (The Control Room, Civil Defence Headquarters; total attendance > 7,000)
Birkenhead, Williamson Art Gallery, 'Imperial War Museum: Exhibition of Watercolour Drawings', 14 Dec. 1941–19 Jan. 1942
1942 Victoria & Albert Museum, 'British Water-colours and Drawings 1919–1939', Apr.–? 1942 (Woman and Dog)
Redfern Gallery, 'William Roberts', July–Aug. 1942 (18 oils, 23 drawings – only three paintings and four drawings sold; works included Sun-bathers, Errand Boys, The Toque, The Judgement of Paris 1933, Boy in a Blue Jersey, The River, The Restaurant, Woman with a Red Collar, Demolition Squad, Errand Boys, Cow-men, Pigeons, He Knew Degas, The Recorder Player, Portrait of a Young Man, Folk Dance, Windy Day, study for The Masks c.1932, No, No Roger 1934, Water Polo – watercolour 1938, Cricket 1938)
'Some people complain that Roberts is too bound to his own conventions, but in his case the form is dictated by what seems to be a politico-plastic creed, as suggested by the colour of his tie in the striking "Self-portrait." His human beings, tubular like robots, gambol uncouthly in moulds forced on them by social conditions. His production is limited by what might be called the elaborate growing pains of his method, so that each completed work had [sic] the aspect of being cast in epic form' – Jan Gordon, 'London Commentary', Studio 124 (1942)
Lefevre Gallery. 'Contemporary British Paintings . . . ', 9 Sept.–3 Oct. 1942 (John c.1932?)
Leicester Galleries, London, 'Artists of Fame and Promise', Sept. 1942 (Study of Heads)
CEMA (Council for the Encouragement of Music and the Arts) tour, 'British Paintings 1900–1940' (Sam Rabin versus Black Eagle 1934)
Toledo Museum of Art, USA, 'Contemporary British Art', 1942 (The Gutter 1934)
1943 Leicester Galleries, London, 'Portraits for Collectors', Oct.–Nov. 1943 (The Toque)
Allied Institutes, 1943 (Artist and Wife)
1944 Leicester Galleries (1), London, 'Selected Paintings, Drawings and Sculpture from the Collection of the Late Sir Michael Sadler, KCSI, CB, LL.D', 7 Jan.–10 Feb. 1944 (Gunners Pulling Cannons, The Judgement of Paris)
CEMA (Council for the Encouragement of Music and the Arts) tour (?), 'English Watercolour Paintings', 1944 (study for Sun-bathing 1931)
Leicester Galleries (2), London, 'Artists of Fame and Promise', Aug. 1944 (A Gypsy Girl)
Leicester Galleries (3), London, 1944? (Park Café 1928)
1945 Cairo, Gezira, 'Contemporary British Art', Jan. 1945 (Park Café 1928)
CEMA (Council for the Encouragement of Music and the Arts) tour (1), 'The Tate Gallery's Wartime Acquisitions: Second Exhibition', Birmingham Art Gallery, 20 Jan.–10 Feb.; Walker Art Gallery, Liverpool, 5–26 Mar.; Derby Art Gallery, 7–28 Apr.; Wakefield Art Gallery, 12 May–2 June; Castle Museum, Norwich, 28 July–25 (or 19) Aug. 1945 (Self-portrait Wearing a Cap)
Hull, Ferens Gallery 'Pictures and Picture Making', 15–31 Mar. 1945 (Feeding Gulls 1929)
Leicester Galleries (1), London, 'The Art Collection of the late Sir Hugh Walpole, Part 2', 16 May–9 June 1945 (The Rehearsal c.1937)
CEMA (Council for the Encouragement of Music and the Arts) tour (2), 'A Fourth Exhibition of Contemporary Paintings', 1945 (Sun-bathers)
National Gallery, 'The Tate Gallery's Wartime Acquisitions: Second Exhibition', June–July 1945 (Self-portrait Wearing a Cap)
Sheffield, Graves Art Gallery, 'Exhibition of Contemporary Art', 29 Sept.–31 Oct. 1945 (Crowd, High Woods, three unidentified designs and one unidentified drawing – all from the Sir Osbert Sitwell collection)
Tate Gallery, Contemporary Art Society, 1945 (The Picture Dealer 1923)
Leicester Galleries (2), London, 'Drawings in Colour by William Roberts', 18 Oct.–7 Nov. 1945 (25 drawings – eight sold; works included Aria c.1944, At Daphne's c.1944, The Bathers 1943–4, Fishing c.1944, The Meeting c.1944, Mothers 1944–5, Saloon Bar c.1944, The Tip 1944–5, Tropical Sea 1943–4, Farewell 1943–4, Cyclists 1943–4, News 1941)
Royal Academy, 'National War Pictures', 13 Oct.–25 Nov. 1945 (Munitions Factory, William Bowman)
Arts Council tour, 'Portraits', 1945–6 (Sarah 1922)
1946 Redfern Gallery, English paintings and drawings, Feb. 1946
Arts Council tour of portraits, Leeds University Great Hall, ? Feb.–7 Mar. 1946; Wakefield Art Gallery, May 1946; Chester Cathedral Rectory, 3–22 June 1946; Worcester City Art Gallery, 29 June–13 July; Leicester Art Gallery, July 1946 (portrait of a woman with 'startling and unusual colour scheme' – Cheshire Observer, 8 June 1946)
Northampton Museum and Art Gallery, 'Art Alive', Mar.–Apr. 1946 (The Rhine Boat)
Belfast Museum and Art Gallery, 'Richmond Noble Loan Collection', Apr.–?. 1946 (one painting and several drawings by Roberts)
Leicester Galleries, London, 'Artists of Fame and Promise', July–Aug. 1946 (The Barber's Shop)
Tate Gallery, 'A Selection from the Acquisitions of the Contemporary Art Society', 27 Sept.–31 Oct. 1946 (Jockeys, The Creole)
Paris, 'Exposition Internationale d'Art Moderne', Nov.–Dec. 1946 (The Judgement of Paris 1933)
Arts Council tour, 1946 (The Picture Dealer 1923)
1947 Leicester Galleries, London, 'New Year Exhibition', Jan. 1947 (The Resurrection 1912)
Arts Council tour, 'Water Colours and Drawings from the Rutherston Collection [Manchester City Art Galleries]', inc. Bridgwater Arts Centre, 15–28 Feb. 1947; Grantham Public Library and Museum 15–29 Mar. 1947; Plymouth Art Gallery, 7–31 Nov. 1947 (study for The Cinema)
British Council tour (1): London (Victoria & Albert Museum), Australia (Perth, Adelaide, Melbourne, Hobart, Sydney, Brisbane), New Zealand (Wanganni, Napier, Dannevirke, Takapuna, Waipukurau, Wellington, Auckland, Rotorua, Hamilton), 'Contemporary British Prints and Drawings from the Wakefield Collection', Mar. 1947–Nov. 1950 (Folk Dance)
Cairo, Gezira, 'International Exhibition of Contemporary Art', Mar.–Apr. 1947 (Bohemians 1937, Woman Bathing Child 1939)
London Group, Royal Society of British Artists Galleries, 20 May–7 June 1947 (The Artist and His Wife 1942–3, David c.1942, The Catch)
Colombo, 'The Fifth Exhibition of Paintings, Drawings and Sculpture by the '43 Group', 12–27 July 1947 (Kumari de Zoysa, Girl Playing Guitar c. 1943, study for The Plough)
Toronto, 'Canadian National Exhibition', 22 Aug.–6 Sept. 1947 (The Palm Foretells 1937)
British Council tour (2): South Africa (Bloemfontein, Durban, Cape Town, Pretoria and Pietermaritzburg) and possibly also Southern Rhodesia (Bulawayo, Salisbury, Umtali and Gwelo), though not all the exhibition was shown there, 'Contemporary British Paintings and Drawings', 1 Sept. 1947–30 Oct. 1948 (The Try-on 1931, study for Sunbathing 1936, Woman Bathing Child 1939, Woman and Dog 1939)
Contemporary Art Society, the flat of Wilfrid A. Evill, London, 'Part of a Collection of Oil Paintings, Water Colours, Drawings and Sculpture Belonging to W. A. Evill, Esq.', Dec. 1947–Feb. 1948 (The Judgement of Paris 1933)
1948 Leicester Galleries (1), London, 'Selected Paintings, Drawings and Sculpture from the Collection of the Late Hugh Blaker', Mar. 1948 (The Stockbroker's Clerk, La Femme Tragique)
Institute of Contemporary Arts (Academy Hall, Oxford Street), 'Forty Years of Modern Art 1907–1947', 10 Feb.–6 Mar. 1948 (The Cinema 1920)
London Group, 'Paintings and Drawings by William Roberts', Royal Society of British Artists Galleries, May–June 1948
Royal Academy, Summer Exhibition, 1948 (Portrait of the Artist, The Gypsy)
Leicester Galleries (2), London, 'Artists of Fame and of Promise', Part 1, July 1948 (The Rhododendron)
Arts Council, 'A Selection of Paintings and Drawings acquired by the Contemporary Art Society', 1948 (Feeding Gulls 1929, The Creole)
1949 Leicester Galleries (1), London, 'New Works by Members of the London Group', Jan. 1949 (After the Bath/War Baby 1946)
Royal British Artists Society, spring 1949 (The Tip, Portrait of a Woman)
Royal Academy, Summer Exhibition, 1949 (Ernest Cooper Esq.)
Leicester Galleries (2), London, 'Artists of Fame and of Promise', July 1949 (Cantering to the Post)
Leicester Galleries (3), London, 'New Drawings, Satirical and Otherwise, by William Roberts', Nov. 1949 (27 watercolour drawings and one painting – ten pictures were sold; works included Spanish Rhythm, Channel Crossing 1934–5, Self-portrait 1936–7, Cricket 1938, The Guitarist 1943, The Gypsies 1946–7, Crossing the Minch 1946–7, Les Rapins 1946–9, Homage à Stulik 1948, A Reception at the London Group 1948–9, Bus Stop 1948–9)
'To continue with drawings, William Roberts at the Leicester Gallery has a great display (twenty-eight altogether); for those who can appreciate fine drawing a memorable collection. These things are very different from the work of [Augustus] John, and it may be instructive to compare "Ironing Board" by Roberts with John's Gipsy. For Roberts man is a machine, for John he is a spirit' – Wyndham Lewis, The Listener, 17 Nov. 1949
London Group, 'Contemporary Drawing, Painting, Sculpture', New Burlington Galleries, 20 Dec. 1949–17 Jan. 1950 (The Sailor's Return, La Gitana)
1950 Royal Academy, Summer Exhibition, 1950 (Primrose Hill, Portrait of a Man Lighting a Pipe)
Leicester Galleries, London, 'Artists of Fame and of Promise', July–Aug. 1950 (Donald Wolfitt as King Lear at The Old Bedford, The Guitar Lesson)
1951 Royal Academy, Summer Exhibition, 1951 (The Temptation of St Anthony, Caught)
Southport, Atkinson Art Gallery, 'Festival of Britain Exhibition of Local Art Treasures', 2 June–30 Sept. 1951 (Antony in Egypt)
Leicester Galleries, London, 'The Collection of the Late Sir Augustus Daniel', June 1951 (Burying the Dead after Battle 1919)
Arts Council (1), 'British Painting 1925–1950: First Anthology', 1951 (Sarah 1922, A Gypsy Girl 1925–6, Going to Swim 1930)
Arts Council (2), 'Some Recent Purchases of the CAS', 1951 (Chamber Music 1937)
British Council tour (Germany, Spain, New Zealand, Israel, Canada, Portugal, Belgium, Austria, Finland, Greece, Gibraltar, Malta, Lebanon, Hong Kong, Algeria, Argentina, Chile, Japan, Korea, France, Hungary, Bulgaria, Romania, Germany, Czechoslovakia, Germany), 'British Drawings and Watercolours of the Twentieth Century', 1951–80 (Folk Dance)
1952 Leicester Galleries (1), 'New Year Exhibition', Jan. 1952 (Indolence, The Self-Portrait)
Tate Gallery, 'Seventeen Collectors: An Exhibition of Paintings and Sculpture from the Private Collections of the Executive Committee of the Contemporary Art Society', 21 Mar.–27 Apr. 1952 (The Resurrection 1912, The Return of Ulysses 1913, The Judgement of Paris 1933, Cricket 1938, Windy Day 1941)
Royal Academy, Summer Exhibition, 1952 (The Revolt in the Desert)
Leicester Galleries (2), London, 'Artists of Fame and of Promise', July 1952 (The Temptation of St Anthony)
Whitechapel Gallery, 'Looking Forward: An Exhibition of Realist Pictures by Contemporary British Artists', 23 Sept.–2 Nov. 1952 (Bus Stop 1948–9, Spanish Rhythm, Bohemians, Women Railway Porters in Wartime)
Leicester Galleries (3), London, 'A Selection of Pictures from the Collection of Wilfrid Evill', Oct. 1952 (The Restaurant 1929, The Recorder Player 1935–6, The Grand Chantrey Stakes 1949)
1953 Leicester Galleries (1), London, 'New Year Exhibition', Jan. 1953 (Marking the Pose 1952, Self Portrait 1951)
Eastbourne, Towner Art Gallery, 'Exhibition by Members of the London Artists' Association', 7 Jan.–15 Feb. 1953; also at Chapel Bar Art Gallery, Nottingham; 4 Apr.–2 May 1953; Hull, Ferens Art Gallery, 15 Aug.–12 Sept. 1953; Worcester City Art Gallery, 24 Oct.–21 Nov. 1953 (The Restaurant, John Maynard Keynes and Lydia Lopokova)
Royal Academy, Summer Exhibition, 1953 (Trafalgar Square)
Leicester Galleries (2), London, 'The Collection of the Late Sir Edward Marsh', May 1953 (The Return of Ulysses 1913, Pigeon Fanciers 1928, study for The Palm Foretells 1937)
Football Association, Park Lane House, 'Football and the Fine Arts', 12 Oct.–7 Nov. 1953; then Arts Council tour (as 'Football: An Exhibition of Paintings, Drawings and Sculpture, Organised by the Football Association') to Birkenhead, Blackpool, Bootle, Bradford, Kettering, Leeds, Manchester, Salford, Sheffield, Wolverhampton, Aberdeen, and two other venues (The Lesson)
Dudley Public Library, 'Life in Industry 1900–50' (At the Hippodrome)
1954 Bradford, Cartwright Memorial Hall, 'Jubilee Exhibition Fifty Years of British Art', 19 Mar.–8 June 1954 (study for Nativity, Going to Swim 1930, Trafalgar Square 1952)
Royal Academy, Summer Exhibition, 1954 (Masked Revels)
Australia and New Zealand (including Perth Art Gallery, Mar. 1954; National Gallery of South Australia, Adelaide, 4–23 May 1954; National Gallery of Victoria, Melbourne, June 1954; Queen Victoria Art Galley, Launceston, 14–20 July 1954; National Art Gallery of New South Wales, Sydney, 1–14 Sept. 1954; Queensland National Art Gallery, Brisbane, 25 Oct.–25 Nov. 1954; Robert McDougall Art Gallery, Christchurch, ? Nov.–18 Dec. 1955), 'British Water-colours 1914–1953', organised by the Empire Art Loan Exhibitions Society (Religious Subject (Decapitations) c.1912, The Bus Stop 1924, Palmistry 1937)
Leicester Galleries, London, 'Artists of Fame and Promise', Aug.–Sept. 1954 (The Mother)
Stockport Art Gallery, Exhibition by former members of the London Artists' Association, Sept. 1954 (The Restaurant, John Maynard Keynes and Lydia Lopokova)
1955 Arts Council tour, 'A Selection of Paintings and Drawings from the Rutherston Collection', 1955 (Infantry Fatigue Party: Forage Barn 1919, Seated Woman 1920, Sarah 1922, A Gypsy Girl 1925–6)
Contemporary Art Society, the flat of Wilfrid A. Evill, Hampstead, 'The Greater Portion of a Collection of Modern English Paintings, Water Colours, Drawings and Sculpture Belonging to W. A. Evill', March 1955 (Windy Day, Self-portrait of an Artist)
Royal Academy, Summer Exhibition, 1955 (The Birth of Venus)
Café Royal, 'The Artist at the Café Royal', July 1955 (The Boat Pond 1925)
A.I.A. [Artists International Association] Gallery, 'Fitzroy Street Retrospect: Soho Painters 1910–1920', July 1955 (Standing Woman with Folded Arms)
Leicester Galleries, 'The Twenty-third Annual Exhibition of Paintings, Drawings and Sculpture by Artists of Fame and of Promise', Part 1, July–Aug. 1955 (The Shoes)
1956 Leicester Galleries, London, 'New Year Exhibition of Paintings, Drawings and Sculpture by Ninteenth and Twentieth Century Artists', (The Carpenters 1912)
Copenhagen, 'Britisk Kunst 1900–1955', Apr. 1956; also shown in Oslo, June 1956 (Dock Gates 1920, Jockeys 1928, The Family 1934)
Hull, Ferens Art Gallery, 'Modern Paintings & Drawings from the collection of Wyndham, T. Vint Esq.', Apr.–May 1956 (study for Nativity, Rhys Davies, T. F. Powys)
Royal Academy, Summer Exhibition, 1956 (The Rape of the Sabines)
Tate Gallery, 'Wyndham Lewis and Vorticism', 6 July–19 Aug. 1956; then Arts Council tour to Manchester City Art Gallery, 1–22 Sept. 1956; Glasgow Art Gallery, 29 Sept.–20 Oct. 1956; Bristol City Art Gallery, 27 Oct. –17 Nov. 1956; Leeds City Art Gallery, 24 Nov.–15 Dec. 1956 (study for Nativity, Germans in Constantinople, The Gas Chamber, The Harem, Peasants, Troubadours, The Cinema)
1957 Leicester Galleries (1), London, 'New Year Exhibition of Paintings, Drawings and Sculpture by Ninteenth and Twentieth Century Artists', Jan. 1957 (The Travelling Cradle, 1919)
Royal Academy, Summer Exhibition, 1957 (The Canal Fishers)
Geneva, Musée d'Art et d'Histoire, 'Art et Travail', 14 June–22 Sept. 1957 (Sawing Wood 1930)
Leicester Galleries (2), London, 'Artists of Fame and of Promise', Part 2, Aug.–Sept. 1957 (The Carpenters 1912)
British Council tour (Kenya, South Africa, Mauritius, Tanganyika, Rhodesia, Nyasaland, Zanzibar, Uganda), 'Contemporary British Painting', 1957–58 (The Stockbroker's Clerk 1920)
1958 Arts Council tour, 'The Arts Council Collection: After Impressionism', Jan.–Nov. 1958 (Seated Woman, A Gypsy Girl 1925–6)
Leicester Galleries (1), London, 'Paintings and Drawings by William Roberts', Feb. 1958 (The Acrobats c.1957, 1943 A.D., The Beach c.1957, Bed-time Story 1943, The Ballet 1944, The Boat Pond 1956, Calypso Lullaby c.1957, The Canal Fishers 1957, The Ferry 1944, The Hat c.1958, The Hungry Birds 1957–8, The Jewess, The Lilac-bush, c.1957, Setting the Pose c.1957, Mixed Bathing c.1957, Powder-puff Referee 1957–8, The Rape of the Sabines 1955–6, Rufus c.1944, La Russe c.1958, The Sailor's Return 1948, Self-portrait, The Shoe Shop 1957, The Spring Board 1956–7, Summer Night 1956–7, Under the Trees, The War Baby 1946, Window Dressing 1956–7)
Royal Academy, Summer Exhibition, 1958 (The Cockatoos)
Leicester Galleries (2), London, 'Artists of Fame and of Promise', Part 2, Aug.–Sept. 1958 (A Sacrifice in the Rain 1916–17, Execution in a Canyon 1916–17)
1959 Leicester Galleries, London, 'New Year Exhibition of Paintings, Drawings and Sculpture by Ninteenth and Twentieth Century Artists', Jan. 1959 (The Diners 1919)
Kettering Art Gallery, Works from the collection of Sir David Scott, Apr.–May 1959 (The Schoolboy 1930)
Royal Academy, Summer Exhibition, 1959 (Trooping the Colour, The Shoe-shop, The Hungry Birds)
1960 Leicester Galleries, London, 'New Year's Exhibition', January 1960 (Newspapers 1926)
Darlington, Works from the Arts Council collection, Mar. 1960
Tate Gallery, 'The Contemporary Art Society: The First Fifty Years 1910–1960', 1 Apr.–8 May 1960 (Jockeys 1928)
Royal Academy, Summer Exhibition, 1960 (The Guitarist /Flamenco, TV)
Nuneaton, Museum and Art Gallery, 'Pictures from the Private Collection of Sir David Scott', 3–17 Sept. 1960 (Indolence 1945)
1961 Contemporary Art Society, the flat of Wilfrid A. Evill, London, 'Pictures, Drawings, Water Colours and Sculpture', Apr.–May 1961 (Dogs of the Beni Hillal, The Restuarant, The Masks, The Judgement of Paris 1933, Spanish Rhythm, Woman Bathing Child, Canoeing, The Self-portrait 1947, Summer Night)
Royal Academy, Summer Exhibition, 1961 (Portrait of the Artist, The Dove, Sunflowers)
Leicester Galleries, 'Artists of Fame and of Promise, Part 2, 22 Aug.–23 Sept. 1961 (Marking the Pose 1952)
1962 Leicester Galleries (1), London, 'New Year Exhibition . . . by 19th and 20th Century Artists', Jan. 1962 (The Fishermen)
Portugal, 'Arte Britanica no Seculo XX', Lisbon, Calouste Gulbenkian Foundation, 13 Feb.–3 Mar. 1962; Coimbra, British Council Office, 17–31 Mar. 1962; Porto, British Council Office, 10–28 Apr. 1962 (Jockeys 1928, Sawing Wood 1930)
Wakefield, Contemporary Art Society gifts to Yorkshire Galleries, Apr. 1962; then touring to Doncaster, Sheffield, Scarborough, Bradford, Scunthorpe, Leeds (Swarthmore Institute) and (Jan. 1963) Batley (Carpet Beaters, The Palm Foretells)
Royal Academy, Summer Exhibition, 1962 (The Vorticists, L'Algerienne)
Leicester Galleries (2), London, 'Artists of Fame and of Promise', Part 1, 25 July–18 Aug. 1962 (The Docks, Shipping)
Leicester Galleries (3), London, 'Artists of Fame and of Promise', Part 2, 30 Aug–22 Sept. 1962 (The Ex-serviceman)
Texas, University of Texas, 'T. E. Lawrence 1920–35', 1962 (George Ambrose Lloyd 1925)
Thos. Agnew & Sons, 'Watercolours and Drawings from the Cecil Higgins Art Gallery, Bedford', 23 Oct.–17 Nov. 1962 (The Boat Pond)
Leeds City Art Gallery, 'A Commemorative Exhibition of Paintings and Sculptures from the Collection of Sir Michael Ernest Sadler', Dec. 1962–Jan. 1963 (study for The Crucifixion 1919)
1963 Redfern Gallery, '20th Century French and English Drawings and Watercolours', 26 Feb.–22 Mar. 1963 (Leadenhall Market 1913, Loading Barges 1913, Trafalgar Square 1926)
Royal Academy Diploma Gallery, 'A Painter's Collection: an Exhibition of Paintings, Drawings and Sculpture from the Collection of Edward Le Bas, R.A.', 19 Mar.–28 Apr. 1963; then at the Scottish National Gallery of Modern Art, Edinburgh, 8 June–7 July, 1963 (Woman with a Mandolin, The Crucifixion, Cricket, Checkmate, plus (London only) Going to Swim, Feeding the Pigeons, Les Rapins, Intellectuals)
Royal Academy, Summer Exhibition, 1963 (The Common Market, The Salute)
Leicester Galleries, 'Artists as Collectors', July–Aug. 1963 (The Harem 1916)
Methodist Education Committee touring exhibition, 1963–5 (The Crucifixion 1919)
British Council tour (Iasi, Bucharest, Brastislava, Prague, Budapest), 'British Painting 1900–60', 1963–4 (The Stockbroker's Clerk)
1964 Leicester Galleries, London, 'New Year Exhibition', Jan.–Feb. 1964 (Billingsgate 1913)
Royal Academy, Summer Exhibition, 1964 (Guarding the Masterpiece, The Bicycle Lesson, Italian Peasants The Lake, Self-portrait with Knotted Handkerchief)
Redfern Gallery, 'Summer Exhibition', June–Sept. 1964 (Trafalgar Square 1926)
Arts Council, 'Recent Acquisitions of the Contemporary Art Society', 18 July–8 Aug. 1964 (Interval before Round Ten)
Tate Gallery, 'London Group 1914–64: Jubilee Exhibition', 15 July–16 Aug. 1964 (Bank Holiday in the Park 1923, The Artist and His Wife dated as 1943, The Sailor's Return 1948)
Manchester City Art Gallery, 'Paintings and Drawings of the First World War', 18 Sept.–11 Oct. 1964 (The Menin Road)
1965 Manchester, Whitworth Art Gallery, 'Loan Exhibition of Modern Pictures from the Bernstein and Granada Collections', 29 Mar.–8 May 1965 (The Interval 1923)
Royal Academy, Summer Exhibition, 1965 (Teaching the Crawl, Woman Reading, The Shower, Distinguished Guest to the Tate)
Arts Council tour, 'Decade 1910–20', Leeds City Art Gallery, 1–22 May 1965; Reading Museum and Art Gallery, 29 May 29–26 June 1965; Manchester City Art Gallery, 3–24 July 1965; Glasgow Art Gallery and Museum, 31 July–29 Aug. 1965; Leicester Museum and Art Gallery, 7–23 Sept. 1965 (The Diners 1919, The Travelling Cradle, A Shell Dump, France, Feeds Round, Infantry Fatigue Party: Forage Barn)
Brighton Art Gallery, 'The Wilfrid Evill Collection', July–Aug. 1965 (The Resurrection 1912, The Cinema 1920, The Restaurant 1929, Love Song in a Bar 1921, Dogs of Beni Hallal 1925, Park Café 1928, The Judgement of Paris 1933, The Masks c.1932, Hanging a Masterpiece 1934, The Recorder Player listed as The Artist's Son Playing the Flute 1935–6, Bohemians 1937, Artist and Wife 1940, Windy Day 1941, The Grand Chantrey Stakes 1949, The Self-portrait 1947, Summer Night (Lovers) 1956–7)
Grosvenor Gallery, 'Cubism and Its Influence', 26 Oct.–12 Nov. 1965 (Camel March 1923 not in catalogue)
Tate Gallery, ' William Roberts ARA Retrospective Exhibition', 20 Nov.–19 Dec. 1965 (major retrospective – 107 oils on canvas; 98 watercolours, drawings and studies; 10 life drawings, and 1 poster); then travelling to Laing Art Gallery, Newcastle upon Tyne, 1–22 Jan. 1966, and Whitworth Art Gallery, Manchester, 29 Jan.–19 Feb. 1966
'As an experimenter [Roberts] was outshone by Wadsworth as well as Lewis, but Roberts had other qualities which, I think, make him one of the key figures of English painting between the wars. He was, for instance, one of the few painters to combine the intellectual inventiveness offered by Cubism and its offshoots with a compassionate human awareness . . . There is, on the other hand, nothing sentimental about his work. There is, rather, a sardonic humour freely at play in his studies of people in cinemas, indulging in Bank Holidays or watching television . . . But, above all, Roberts has a remarkable organizational ability in that he can crowd a canvas or a drawing . . . with a multitude of people, without evert losing the sense of form or space, so that what could be a jumble is turned into a carefully articulated and cohesive whole' – T. G. Rosenthal, The Listener, 2 Dec. 1965
1966 Royal Academy, Summer Exhibition, 1966 (The Artist in a Paper Hat, The Kites?, The Ball, The Lizard, Heatwave)
1967 William Ware Gallery, 'The Camden Town Group and English Painting 1900–1930s', 3–31 Mar. 1967
Southampton Art Gallery, 1967 (study for The Temptation of St Anthony, Mediterranean Folk 1934, Ritual Bath, London Group Gives a Reception, Graveyard at Barra, Portrait of Millie Kramer)
Royal Academy, Summer Exhibition, 1967 (The Goats, The Washing Day, Autumn, The News, The Seaside)

Embed from Getty Images

In front of WR's six entries for that year's Summer Exhibition, British politician Lady Violet Bonham Carter, Baroness Asquith, addresses the Royal Academy of Arts annual dinner in London on 27 April 1967 – the first time that women had been allowed to attend the event. (Click to enlarge.)
(Photo by Keystone/Hulton Archive/Getty Images)

Folkstone, New Metropole Arts Centre, 'The War Artists, Memorial Exhibition', 4 Aug.–18 Sept. 1967
Imperial War Museum, 'An Age of Conflict', from Dec. 1967
Whitechapel Gallery, 'British Sculpture and Painting from the Collection of the Leicestershire Education Authority ', Dec. 1967–Feb. 1968 (The Dentist 1925)
1968 Norwich, University of East Anglia, 'Art and the Machine', 1968
Royal Academy, Summer Exhibition, 1968 (Mahomet's Ride, The Playground, The Fountain, The Necklace, The Card Trick, The Goal)
1969 Royal Academy, Summer Exhibition, 1969 (Gossips, Punting, Moving Day, The Diners, Snooker, The Towpath)
British Museum, 'Royal Academy Draughtsmen 1769–1969', 13 June–28 Sept. 1969 (Armistice Night, Nude Female Study)
Anthony d'Offay Couper Gallery (1), 'William Roberts R.A. Drawings and Watercolours, 1915–1968', 23 Sept.–10 Oct. 1969 (32 paintings and drawings; many of the dates are not consistent with those usually given)
Anthony d'Offay Couper Gallery (2), 'Abstract Art in England 1913–1915', 11 Nov.–5 Dec. 1969 (Two Step II, Theatre, St George and the Dragon)
1970 Arts Council, 'Decade 1920–30', Leicester Museum and Art Gallery, 21 Feb.–15 Mar.; Laing Art Gallery, Newcastle upon Tyne, 21 Mar.–12 Apr.; Doncaster Museum and Art Gallery, 18 Apr.–10 May; Manchester City Art Gallery, 16 May–7 June; Bristol City Art Gallery, 13 June–19 July; Camden Arts Centre, London, 1–30 Aug. 1970 (study for At the Hippodrome 1920–21, The Dance Club 1923)
Strasbourg, Musées de Strasbourg, 'Europe 1925', 14 May–15 Sept. 1970 (Newspapers)
Royal Academy, Summer Exhibition, 1970 (Saturday Night, Tree Felling, The Laundry-mat, The Climbers, The Horsemen)
Hamet Gallery, 'Summer Exhibition 1970', 3 Aug.–28 Aug. 1970
1971 Leicester Galleries, 'Paintings, Drawings and Sculpture by 19th and 20th Century Artists', 5 Jan.–6 Feb. 1971 (Mediterranean Folk)
Ohio, Columbus Gallery of Fine Art, 'British Art 1890–1928', 5 Feb.–7 Mar. 1971 (The Chess Players)
Hamet Gallery, 'William Roberts RA: A Retrospective Exhibition', 16 Feb.–13 Mar. 1971
'The paintings are composed and articulated with the thoroughness of old-fashioned machinery. Their seriousness, and their rather ponderous passing light-heartedness, partakes of the dignity of the larger mammals. For myself, I read our species more often in its monkeyish habit. Roberts is linked to the Russian Revolutionaries by an apprehension of the dignity of the life and work of ordinary men. He gives us bread – I fear we want cake' – Peter Campbell, The Listener, 3 Mar. 1971
Royal Academy, Summer Exhibition, from 1 May 1971 (The Dancing Bear, The Promenade, The Love song, Orange Picking, The Accused, The Reed-pipe)
Morley College Gallery, 'The Art of War 1914–18', 18 May–12 June 1971 (Soldiers Putting up Wagon Lines, Menin Road)
Manchester, Tib Lane Gallery, mixed show, May–June 1971 (Good Old Days, Goal and three others)
Fine Art Society, 'British Drawings and Watercolours of the 20th Century', 7 June–25 June 1971
Northampton, Gallery 27, 'William Roberts R.A.' 3–24 July 1971 (18 works on paper from the Hamet Gallery show above).
Exeter Museum and Art Gallery, 'William Roberts, Paintings and Watercolours', 27 Nov.–18 Dec. 1971
1972 Manchester (1), Tib Lane Gallery, 'Watercolours by William Roberts RA', 4–29 Jan. 1972
Worthing Art Gallery, 'Paintings and Drawings by William Roberts from the Ernest Cooper Collection', 29 Apr.–3 June 1972 (22 oils on canvas; 8 pencil, chalk and/or ink drawings; 36 watercolour drawings and original artwork for London Health Centre (LHC) publications, including 4 designs for a 'Four Seasons Callendare' and 7 designs for tailpieces for use in LHC catalogues. It is unclear whether the 5 cover designs for LHC publications listed in the exhibition catalogue were original artwork or final printed publications. Various books, magazines, exhibition catalogues, posters and publications with William Roberts designs were also on display.)
Royal Academy, Summer Exhibition, 1972 (Rush Hour, The Boat Pond, Strippers and Scrubbers, Dog Lovers, On the Wire, The Guitar Lesson)
Nottingham, University Art Gallery, Nottingham Festival 'Base Details: British Artists of the First World War', 8–23 July 1972 (The Gas Chamber, A Group of Generals, Sketch for A Shell Dump, France)
Hamet Gallery, joint exhibition with Edward Burra (and others?), Aug. 1972
Parkin Gallery, 'The Café Royalists', 20 Sept.–14 Oct. 1972; then at the Café Royal, 18 Oct.–8 Nov. 1972 (Dog-lovers 1971)
Whitechapel Gallery, 'Decade 40s: Painting, Sculpture and Drawing in Britain 1940–49', 1–26 Nov. 1972; then at City Art Gallery, Southampton, 16 Dec. 1972–13 Jan. 1973; Carlisle Public Library, Museum and Art Gallery, 20 Jan.–11 Feb. 1973; D.L.I. Museum and Arts Centre, Durham, 17 Feb.–11 Mar. 1973; Manchester City Art Gallery, 17 Mar.–8 Apr. 1973; Bradford City Art Gallery, 14 Apr.–6 May 1973; Aberdeen Museum and Art Gallery, 12 May–3 June 1973 (The Control Room, Civil Defence Headquarters, Munitions Factory)
Manchester (2), Tib Lane Gallery, Christmas exhibition, 29 Nov.–30 Dec. 1972
1973 Manchester (1), Tib Lane Gallery, mixed show, Mar. 1973
Hamet Gallery, 'William Roberts R.A.', 3–28 Apr. 1973
'[Roberts's] figures often seem automatons, and yet there is something touching, poignant, paradoxical about them. There is usually a curious flatness about his figures, which nevertheless seem mountains of flesh. His painting and drawings are pervaded by rhythms, as people disport on swings in the playground, prune trees, fly kites, and so on. Roberts thinks seriously about the "art of making a picture tell a story," and even at his most abstract, those vivid dynamic lines told of men and machines, of combat and human conflict. When a Roberts picture "takes off," when he combines his wit, which he often covers with a cloak of deliberate banality, his underlying melancholy, his humour and his affection for his human creatures into one dazzlingly rhythmic composition, the results have a fresh vitality that nudges the spectator' – Marina Vaizey, Financial Times, 21 Apr. 1973
Tate Gallery, 'Modernism in England, 1910–20: The Vorticists and Their Circle', Apr.–June 1973
Royal Academy, Summer Exhibition, 1973 (Ennui, Tiddler Fishing, Bath Night, The Grandchild, The Swans, The Soldier's Dream)
Manchester (2), Tib Lane Gallery, summer exhibition, 6 June–7 July 1973 (The Powder-Puff Referee, Arab Horsemen, The Dove, Making Beds)
Michael Parkin Fine Art, 'The Appalling Loss. An Exhibition of 1914–18 War Artists', 8 June–14 July 1973
Milan, Galleria d'Arte Sant'Ambrogio, 'Aspects of Modern Art in Britain', 20 Oct.–18 Nov. 1973 (Towards Better Health)
1974 Hayward Gallery, 'Vorticism and Its Allies', 27 Mar.–2 June 1974 (Toe-dancer, Street Games, Dominoes, Theatre I, Theatre II, Theatre III, Machine Gunners (photo), Combat (photo), St George and the Dragon, Sketches for Gas Attack, Dancers, The Vorticists at the Restaurant de la Tour Eiffel: Spring 1951 1961, study for The Vorticists)
Royal Academy, Summer Exhibition, 1974 (Los Borrachos, The Seagulls, The Tiddlers, The Portrait, Reflections)
South London Art Gallery, 'Paintings 1914–24', 31 May–26 June 1974
Edinburgh, Scottish National Gallery of Modern Art, 'We are Making a New World: Artists in the 1914–18 War: Paintings, Sculpture, Prints and Photographs from the Imperial War Museum', 12 Oct.–10 Nov. 1974; thereafter at Aberdeen Art Gallery and Museum, 16 Nov.–7 Dec. 1974, and Dundee City Museum and Art Gallery, 14 Dec. 1974–4 Jan. 1975 (Feeds Round, The Gas Chamber, Rosières Valley)
Manchester, Tib Lane Gallery, Christmas exhibition, 27 Nov.–28 Dec. 1974 (portrait of John Roberts)
1975 New Grafton Gallery (1), 'English Drawing 1900–1940', 16 Jan.–6 Feb. 1975 (The Toast 1965 (sic))
Royal Academy, Summer Exhibition, 1975 (The Siesta, The Vigilantes, The Vaulting Horse, The Pet, The Art Gallery)
New Grafton Gallery (2), 'A Miscellany of English Painting and Drawing 1900–1940', 23 Oct.–19 Nov. 1975 (Acrobats)
Sheffield, Mappin Art Gallery, 'British Painting, 1900–1960', Nov. 1975–Jan. 1976; then at Aberdeen Art Gallery, Jan.–Feb. 1976 (The Return of Ulysses, The Cinema)
1976 Liverpool, Bluecoat Gallery, 'An Honest Patron. A Tribute to Sir Edward Marsh', 5 May–5 June 1976 (The Return of Ulysses, A Street Fight c.1916, Pigeon Fanciers, Palmistry)
Royal Academy, Summer Exhibition, 1976 (The Guitarists, The Wimpy Bar, The Life Class, Pleasure Cruise, Checkmate, The Clothes Line)
New Grafton Gallery, 'A Miscellany of English Painting and Drawing 1900–1940', 21 Oct.–17 Nov. 1976 (Fight on the Beach, Canal, Family Group, Shoe-shop, Bath-night)
Hayward Gallery, 'The Human Clay: An Exhibition Selected by R. B. Kitaj', 5–30 Aug. 1976; then at Ikon Gallery, Birmingham, 16 July–6 Aug. 1977 (Self Portrait 1911, The Flower Arrangement 1944)
Michael Parkin, 'William Roberts. An Exhibition of Paintings and Drawings', 17 Nov.–4 Dec. 1976 (22 paintings, 44 drawings and watercolours, and 6 etchings, including Sun-bathing, Rush Hour, The Joke 1923, Self-portrait 1933–7, study for The Common Market 1963)
'[Roberts] has often been accused of outright misanthropy, but the pictures are there to disprove such an extreme diagnosis. For they survey, with inexhaustible avidity, the most banal incidents of urban life and turn them into compositions which imply that an unexceptional group of figures standing on a pavement deserves to be invested with the rounded solidity usually associated with monumental sculpture' – Richard Cork, Evening Standard, 2 Dec. 1976
Manchester, Tib Lane Gallery, mixed show, 24 Nov.–31 Dec. 1976
1977 Farnham, West Surrey College of Art and Design, 'Artists at War', 7–26 Jan. 1977
Belgrave Gallery, 'Watercolours, Drawings and Pastels (1890–1960)', 4–25 Feb. 1977 (Cyclists 1943–4)
New York, Davis & Long, 'Vorticism and Abstract Art in the First Machine Age', 5–30 Apr. 1977 (study for The Vorticists, study for St George and the Dragon)
Rotterdam, Museum Boijmans Van Beuningen, 'De Fiets', 7 Apr.–12 June 1977 (Errand Boys)
Royal Academy (1), Summer Exhibition, 1977 (Etretat, The Huntsman, Don't 'e know Jarge, tha be no Resurrection, By the Seaside, Fixing the Creeper, The See Saw, The Gypsies)
Arts Council tour, 'Cityscape 1910–39: Urban Themes in American, German and British Art', Cartwright Memorial Hall, Bradford, 2 July–14 Aug. 1977; Portsmouth City Museum and Art Gallery, 27 Aug.–9 Oct. 1977; Laing Art Gallery, Newcastle upon Tyne, 22 Oct.–4 Dec. 1977; Royal Academy, London, 19 Jan.–19 Mar. 1978 (study for At the Hippodrome 1920–21, Park Café (study for The Tea Garden) 1928)
Berlin, Akademie der Künste, 'Tendenzen der Zwanziger Jahre' ('Trends of the Twenties'), 14 Aug.–16 Oct. 1977 (The Dance Club)
Royal Academy (2), 'British Painting, 1952–1977', 24 Sept.–20 Nov. 1977 (Trooping the Colour, The Vorticists at the Restaurant de la Tour Eiffel: Spring 1951, The Common Market)
Commonwealth Institute, 'British Paintings of 1952–1977: "Faces" and "Flowers" from Private Collections in the Royal Borough [of Kensington and Chelsea]', 19 Oct.–13 Nov. 1977 (Christ Driving the Money Changers from the Temple 1925, Sun-bathing 1931, The Canal 1964–5)
Manchester, Tib Lane Gallery, Christmas exhibition, 23 Nov.–24 Dec. 1977
Nottingham, Castle Museum and Art Gallery, 'Towards Another Picture', 10 Dec. 1977–25 Jan. 1978 (The Common Market)
1978 Royal Academy, Summer Exhibition, 1978 (The Boating Lake, The Zoo, They Walked on the Sea)
Whitechapel Gallery, 'Art for Society: Contemporary British Art with a Social or Political Purpose', 10 May–18 June 1978 (The Common Market)
Manchester, Tib Lane Gallery, mixed show, ? June–15 July 1978
1979 New Grafton Gallery, 'A Miscellany of English Painting and Drawing 1900–1940', 1–23 Feb. 1979 (Fight on the Beach, A London Family's First Visit to the Country)
Royal Academy, Summer Exhibition, 1979 (Frolicking, The Music Lovers, Guarding the Masterpiece, The Hairdressers, Pussy-cats, The Truth and Nothing But the Truth)
Hayward Gallery, 'Thirties: British Art and Design before the War', 25 Oct. 1979–13 Jan. 1980 (Sawing Wood c.1930, Sunbathing, He Knew Degas, No! No! Roger, Cezanne Did Not Use It 1934)
Brighton Polytechnic Gallery, 'Made at the Slade. A Survey of Mature Works by Ex-Students of the Slade School of Art, 1892 –1960', 1–29 Nov. 1979; Royal Museum, Canterbury, 8 Dec. 1979–5 Jan. 1980; Reading Museum and Art Gallery, 12 Jan.–2 Feb. 1980 (Sketch for A Shell Dump, France 1918, In the Ypres Sector 1918, The Happy Family 1924)
1980 Edinburgh, Royal Scottish Academy Galleries, 'Centenary Exhibition: The Royal Scottish Society of Painters in Watercolour', 19 Jan.–14 Feb. 1980
Anthony d'Offay Gallery (1), 'British Paintings and Drawings', 29 Jan.–23 Feb. 1980 (Carpenters at Work)
Tate Gallery, 'Abstraction: Towards A New Art: Painting 1910–20', 6 Feb.–13 Apr. 1980 (study for Two-step II c.1915)
Arts Council tour (1), 'Leeds' Paintings: 20th Century British Art from Leeds City Art Gallery', Victoria Art Gallery, Bath (23 May–28 June 1980), Huddersfield Art Gallery (5 July–2 Aug. 1980), Herbert Museum and Art Gallery, Coventry (9 Aug.–7 Sept. 1980), Harris Museum and Art Gallery, Preston (13 Sept.–4 Oct. 1980), ? (25 Oct.–30 Nov. 1980), Cooper Gallery, Barnsley (6 Dec. 1980–11 Jan. 1981), Usher Gallery, Lincoln (17 Jan.–15 Feb. 1981), Bolton Museum and Art Gallery (21 Feb.–21 Mar. 1981) (The Dance Club 1923)
Royal Academy, Summer Exhibition, 1980 – a mini-retrospective of seven works from various periods to mark Roberts's death earlier in the year (The Pipers, The Artist Looks Ahead, The Swan, Which is the Way to Barcelona, Parson's Pleasure, Combat, Robin Brook)
Maclean Gallery, 'William Roberts R.A 1895–80', 24 Sept.–31 Oct. 1980 (33 works)
Arts Council tour (2), 'More Than a Glance', Graves Art Gallery, Sheffield 4 Oct.–2 Nov. 1980; Cheltenham Art Gallery and Museum, 8 Nov.–6 Dec. 1980; Glynn Vivian Art Gallery and Museum, Swansea, 13 Dec. 1980–24 Jan. 1981; Southampton Art Gallery, 7 Feb.–8 Mar. 1981; the Elizabethan Exhibition Gallery, Wakefield, 14 Mar.–19 Apr. 1981 (Soldiers Hanging Camouflage Screens Roclincourt, Arras, Spring 1917, Brigade Headquarters: Signallers and Linesmen, The Travelling Cradle, study for The Cinema, Love Song in a Bar, The Discussion)
Anthony d'Offay Gallery (2), 'William Roberts 1895–1980. Drawings and Watercolours', 28 Nov.–19 Dec. 1980
Paris, Pompidou Centre, 'Les Réalismes, 1919–1939', 17 Dec. 1980–20 Apr. 1981; then at Staatliche Kunsthalle, Berlin, as 'Realismus: zwischen Revolution und Reaktion 1919–1939', 16 May–28 June 1981 (Self-portrait Wearing a Cap 1931)
British Museum, 'British Figure Drawings', 1980 (Armistice Night)
1981 British Council tour (Edinburgh, Hong Kong, Shenyang and Beijing), 'British Drawings and Watercolours from Rowlandson to Riley', 1981–2 (Folk Dance)
New York, 'British Paintings and Drawings: 1900–1930', Salander–O'Reilly Galleries, Apr. 1981
Maclean Gallery, 'Summer Portfolio', July–? 1981 (The Toast 1923)
Alsager Art Gallery, 'Exhibition of First World War Artists', 11 Nov.–8 Dec. 1981
1982 Mayor Gallery, recent acquisitions by the Ferens Art Gallery, Hull, Jan. 1982 (Christ Driving the Money Changers from the Temple)
Anthony d'Offay Gallery (1), 'British Drawings and Watercolours', 20 Jan.–6 Mar. 1982 (Good Old Days, study for St George and the Dragon)
Anthony d'Offay Gallery (2), 'British Paintings 1895–1965', 17 Mar.–12 Apr. 1982 (Dock Gates)
New York, Salander–O'Reilly Galleries, Apr. 1982
Brighton Polytechnic Gallery, 'The Eye of the Storm', 5–27 May 1982; Graves Art Gallery, Sheffield, 26 June–25 July 1982 (Sketch for A Shell Dump, France 1918, Study for A Shell Dump, France 1918, Gunners Turning Out for an SOS. Battery Action at Night, c.1918)
British Council in China, 'British Drawings and Watercolours', 1982 (Hay Rick)
1983 Reading Museum and Art Gallery, 'William Roberts', 5 Mar.–9 Apr. 1983 (large exhibition: numbers are approximate since some media are not specified in the catalogue: 31 canvases, 40 watercolours, 47 drawings, 66 vignettes, 1 etching, 2 posters. Paintings are mainly from the 1960s and '70s with some earlier portraits; drawings run from the 1920s to the 1970s. Some works are undated.)
Guildhall Art Gallery, 'A Summer Show for the City', 24 May–3 June 1983 (Rush Hour)
Cambridge, Fitzwilliam Museum, 'Maynard Keynes – Collector of Pictures, Books and Manuscripts', 5 July–29 Aug. 1983 (Labourers, Apple Pickers, Spanish Beggars, Shuttlecock, Boy Wearing a Sun-hat, John Maynard Keynes and Lydia Lopokova, Self-portrait, The Connoisseur, Street Acrobats, French Sailors on the Deck of a Ship, Family and Dog, Family at the Seaside, Male Nude, Lydia Keynes)
New Haven, Conn., Yale Center for British Art, 'Blast: The British Answer to Futurism', 20 Apr.–26 June 1983 (study for St George and the Dragon)
Stow-on-the-Wold, Fosse Gallery, 'Ten Royal Academicians', 26 Sept.–15 Oct. 1983
Anthony d'Offay Gallery, 'British Drawings and Watercolours', Dec. 1983 (Setting the Pose, The Rhine Boat, The Park Bench, Going to Swim)
1984 Anthony d'Offay Gallery, 'The Omega Workshops: Alliance and Enmity in English Art 1911–1920', 18 Jan.–6 Mar. 1984 (Two-step II, The Dancers 1919)
Barbican Art Gallery, 'Capital Painting: Pictures from Corporate Collections in the City of London', 19 Apr.–10 June 1984 (Punting on the Cherwell)
Sheffield /Norwich/Coventry/Camden Arts Centre, 'The Forgotten Fifties', Graves Art Gallery, Sheffield, 31 Mar.–13 May 1984; Norwich Castle Museum, 26 May–24 June 1984; Herbert Art Gallery, Coventry, 7 July–5 Aug. 1984; Camden Arts Centre, London, 15 Aug.–23 Sept. 1984 (Hampstead Fair)
National Portrait Gallery, 'William Roberts 1895–1980. An Artist and His Family', 27 July–7 Oct. 1984 (22 self-portraits, 14 of Sarah, 5 of John, and 2 others)
Paris, Artcurial, 'English contrasts: peintres et sculpteurs englais, 1950–1960', Sept.–Nov. 1984 (The Temptation of St Anthony, La Nature Morte)
New York, Davis & Langdale, 'British Drawings and Watercolors 1889–1947', 2 Nov.–1 Dec. 1984 (La Plage, The Builder's Cradle)
1985 Serpentine Gallery, 'Recalling the Fifties: British Painting and Sculpture 1950–60', 2 Feb.–3 Mar. 1985 (The Temptation of St Anthony, La Nature Morte)
Belgrave Gallery, 'British Post-Impressionists and Moderns', 21 Feb.–29 Mar. 1985 (The Rape of the Sabines)
Cambridge, Fitzwilliam Museum, 'William Roberts, R.A.: Watercolours, Drawings and Etchings', 9 July–29 Sept. 1985 (98 works, mainly chalk, pencil and ink drawings, owned by the Roberts family)
Dulwich Picture Gallery, 'Introducing Sam Rabin', 21 Nov. 1985–2 Feb. 1986; then at Southampton City Art Gallery, 8 Feb.–23 Mar. 1986; Salford City Art Gallery, 17 Apr.–25 May 1986
Stuttgart, Staatsgalerie, 'Vom Klang der Bilder: Die Musik in der Kunst des 20 Jahrhunderts', 6 July–22 Sept. 1985 (Two-step II)
Manchester, Cornerhouse, 'Human Interest: Fifty Years of British Art about People', 30 Oct.–17 Nov. 1985 (The Flower Arrangement, The Hostesses, The Seaside, The Wash)
1986 Gillian Jason Gallery (1), 'Pencil, Pen and Brush – Modern British Drawing', 10 Jan.–14 Feb. 1986 (Leah Kramer, The Grandmother)
Anthony d'Offay Gallery, 'Important English Drawings Relating to Cubism and Vorticism', 27 Feb.–26 Mar. 1986 (study for St George and the Dragon, study for The Vorticists at the Restaurant de la Tour Eiffel, Spring 1915)
Gillian Jason Gallery (2), 'William Roberts 1895–1980: Double Sided Drawings', 26 Mar.–26 Apr. 1986 (42 works on paper, 7 oils, and 1 book-jacket design)
Venice, Palazzo Grassi, 'Futurismo e Futurismi', 2 May–13 Oct. 1986 (Return of Ulysses watercolour, study for St George and the Dragon)
New English Art Club, 'Centenary Exhibition ', Christie's, King Street, 27 Aug–17 Sept. 1986 (The Boxing Match c.1925–7?)
National Portrait Gallery, 'Elizabeth II; Portraits of 60 Years', 14 Nov. 1986–22 Mar. 1987 (Trooping the Colour)
Arts Council tour, 'Human Relation', venues including Loughborough Town Hall, 8 Dec. 1986–2 Jan. 1987; Hertford Museum, 4–25 Apr. 1987; Atkinson Gallery, Southport, ?–30 May 1987; Welholme Galleries, Grimsby, ?–24 Apr. 1988 (The Guitar Lesson c.1949, The Shoe-black 1955, The Seaside c.1965–6)
1987 Royal Academy, 'British Art in the 20th Century: The Modern Movement', 15 Jan.–5 Apr. 1987 (The Return of Ulysses c.1913, Two-step II c.1915, The Dancers 1919, The Cinema 1920, At the Hippodrome 1920–21, The Dance Club 1921, The Red Turban 1921, Bank Holiday in the Park 1923, Sarah 1927, Les Routiers 1931)
Nottingham, Castle Museum and Art Gallery, 'Art in Performance, Performance in Art: A Celebration of Visual and Live Arts', 24 May–9 Aug. 1987 (Acrobats 1916–17)
Stuttgart, Staatsgalerie, 'Englische Kunst im 20. Jahrhundert: Malerei und Plastik', 9 May.–9 Aug. 1987 (works shown as for the Royal Academy exhibition above)
Arts Council tour (1), 'Looking into Paintings – Narrative', Castle Museum, Nottingham, 10 Jan.–8 Feb. 1987; Shipley Art Gallery, Gateshead, 14 Feb.–15 Mar. 1987; Cartwright Memorial Hall, Bradford, 21 Mar.–26 Apr. 1987; City Museum and Art Gallery, Plymouth, 2 May–1 June 1987 (The Vengeance of Odysseus 1974)
New York, Hirschl & Adler, 'British Modernist Art 1905–1930, 14 Nov. 1987–9 Jan. 1988 (Self-portrait 1909–10, study for St George and the Dragon, La Plage, Behind the Scenes, The Builder's Cradle)
Arts Council tour (2), 'Introducing with Pleasure: Star Choices from the Arts Council Collection', Gardner Centre Gallery, University of Sussex, Brighton, 29 Apr.–27 May 1987; City Museum and Art Gallery, Plymouth, 6 June–12 July 1987; Medway Adult Education Centre, Rochester, 22 July–? 1987; Royal Festival Hall, London, 22 Sept.–18 Oct. 1987; Maclaurin Art Gallery, Alloway, 11 Jan.–13 Feb. 1988; Durham Light Infantry Museum, Aykley Heads, 20 Feb.–27 Mar. 1988; Victoria Art Gallery, Bath, 24 Sept.–29 Oct. 1988; Royal Albert Memorial Museum, Exeter, 18 Feb.–? 1989; Southampton Art Gallery, 8 Apr.–? 1989 (The Flower Arrangement)
1988 Sheffield, Graves Art Gallery, 'British Art c.1900–1920', ? Jan.–22 May 1988 (In the Village of Fampoux, The Tea Garden, No! No! Roger, Cézanne Did Not Use It)
Spink & Son, 'Annual Exhibition of 20th Century British Paintings and Drawings', 10 June–8 July 1988 (Camel March 1923)
National Portrait Gallery, 'T. E. Lawrence', 9 Dec. 1988–12 Mar. 1989
1989 Tate Gallery, 'Portrait of the Artist: Artists' Portraits Published by "Art News and Review" 1949–1960', 31 Jan.–16 Apr. 1989 (Self-portrait 1949)
Barbican Art Gallery, 'The Last Romantics', 9 Feb.–9 Apr. 1989 (Unidentified Subject c.1912?)
Albemarle Gallery, 'Paintings, Drawings and Watercolours 1910–1978', 5–28 Apr. 1989 (22 drawings, 13 watercolours, 8 canvases)
Entwistle Fine Art, 'British Artists, Works on Paper, 1900–1950', Apr. 1989 (Soldiers Putting Up Wagon Lines, The Walking Delegates)
Sheffield, Graves Art Gallery, 'Within These Shores: A Selection of Works from the Chantrey Bequest 1883–1985', 10 June–2 Sept. 1989 (The Vorticists at the Restaurant de la Tour Eiffel: Spring 1951 1961)
Kuala Lumpur, National Art Gallery, 'Picturing People: British Figurative Art since 1945', British Council tour, 2–31 Dec. 1989; then at Hong Kong Museum of Art, 19 Jan.–25 Mar. 1990; The Empress Place, Singapore, 20 Apr.–5 May 1990 (Rush Hour 1971)
Edinburgh, Scottish National Gallery of Modern Art, 'English Art 1920–60: Paintings of the Watt Bequest', Dec. 1989–Jan. 1990 (The Rhine Boat, The Ballet, Woman Reading)
1990 Mayor Gallery, recent acquisitions of modern British art by York City Art Gallery, Jan. 1990 (Elsie, aka Portrait of a Young Woman)
Gillian Jason Gallery, 'William Roberts: An Artist's View', 21 Mar.–27 Apr. 1990 (59 drawings and watercolours on the art world, including illustrations from pamphlets)
British Council tour, 'For a Wider World', Kiev, Ukrainian Museum of Fine Arts, 8 June–31 July 1990; Luxembourg, Musée National d'Histoire et d'Art, 19 Apr.–2 June 1991; Sofia, SS Cyril and Methodius International Foundation, 19 July–25 Aug. 1991; Buenos Aires, Museo Nacional De Bellas Artes, 7 Nov.–4 Dec. 1991 (Folk Dance)
British Museum, 'Avant-Garde British Printmaking 1914–1960', Sept. 1990–Jan. 1991; then at Middlesborough Art Gallery, Nov. 1991–Jan. 1992; City Museum and Art Gallery, Plymouth, Feb.–Apr. 1992; Hunterian Art Gallery, Glasgow, May–June 1992; Whitworth Art Gallery, Manchester, Oct.–Dec. 1992 (Boozers, Self-portrait c.1925)
1991 Gillian Jason Gallery,'William Roberts 1895–1980: 40 Self Portraits', 20 Jan.–16 Feb. 1991 (many from the 1984 National Portrait Gallery exhibition)
Bristol Museum and Art Gallery, 'The Primacy of Drawing: An Artist's [Deanna Petherbridge's] View', 21 Sep.–3 Nov. 1991; then at Stoke-on-Trent, City Museum and Art Gallery, 9 Nov. 1991–5 Jan. 1992; Graves Art Gallery, Sheffield, 11 Jan.–23 Feb.1992 (study for The Return of Ulysses)
Hayward Gallery, 'British Contemporary Art 1910–90, Contemporary Art Society', 3 Dec. 1991–19 Jan. 1992 (The Dance Club 1923, Jockeys)
1992 Gillian Jason Gallery, 'William Roberts 1895–1980: Humour and Satire', 29 Apr.–23 May 1992 (61 works – mainly drawings and watercolours from the 1960s and '70s)
Christopher Hull Gallery, 'Modern British Pictures and Work by Gallery Artists', 17 June–7 Aug. 1992 (Dancing to Music)
British Council tour (Sotheby's, London, 1–8 Oct. 1992; The Israel Museum, Jerusalem, 10 Nov. 1992–10 Feb. 1993) 'Life into Paint: British Figurative Painting of the Twentieth Century', 1992 (The Stockbroker's Clerk)
1993 Northampton, Museum and Art Gallery and St Matthew's Church, 'Images of Christ: Religious Iconography in Twentieth Century British Art', 19 Mar.–16 May 1993; then at St Paul's Cathedral, London, 1 June–31 July 1993 (study for The Crucifixion 1922)
Spink & Son, 'Annual Exhibition of Modern British Art', 23 June–23 July 1993 (Swan Upping, study for Going to Swim, The Park Bench, The Rape of the Sabines 1977, The Tip)
Gillian Jason Gallery, 'William Roberts 1895–1980: Pictures Pure and Pagan', 15 Sept.–8 Oct. 1993
San Francisco, Museum of Modern Art, 'The Great English Vortex: Modern Drawings from the Collection of Mr and Mrs Michael W. Wilsey', 11 Nov. 1993–16 Jan. 1994
Preston, 'Harris Museum and Art Gallery, 'Drawing on These Shores: A View of British Drawing and its Affinities', 27 Nov. 1993–8 Jan. 1994; then at Wolsey Art Gallery, Ipswich, 22 Jan.–20 Mar. 1994; Holborne Museum, Bath, 14 Apr.–8 June 1994; Brighton Art Gallery and Museum, 18 June–31 July 1994 (study for The Cinema, Burying the Dead After a Battle)
1994 Stoke-on-Trent, City Museum and Art Gallery, an exhibition of portaits, Jan. 1994
Barbican Art Gallery, 'A Bitter Truth: Avant-Garde Art and the Great War', 29 Sept.–11 Dec. 1994
National Portrait Gallery, 'The Sitwells and the Arts of the 1920s and 1930s', 14 Oct. 1994–22 Jan. 1995 (A Shell Dump 1919, To the Lord of Song 1913–14, endpapers)
1995 Venice, 'Identity and Alterity, Figures of the Body, 1895/1995', 11 June–15 Oct. 1995 (The Vorticists at the Restaurant de la Tour Eiffel: Spring 1951)
1996 Parkin Gallery, 'The Friday Club 1905–1922', 24 Apr.–17 May 1996 (Figure Studies for Composition c.1914, La Plage c.1917, Swan Upping c.1925)
Hanover, Sprengel Museum, 'Blast. Vortizimus – Die erste Avantgarde in England 1914–1918', 18 Aug.–3 Nov. 1996; then Haus de Kunst, Munich, 15 Nov. 1996–26 Jan. 1997 (Two-step II, War Scene)
1997 British Council tour (USA, Malaysia, Canada, Russia, UK and Poland), 'Drawing Distinctions – Twentieth Century Drawings and Watercolours of the British Artists', 1997–2003 (Howitzer in Action, Folk Dance)
1998 Renishaw Hall, Derbyshire, 'Osbert Sitwell's 20th Century Collection', May–Sept. 1998 (English Gothic c.1918, A Shell Dump 1919, Dock Gates 1920)
Gallery 27, 'Muddied Oafs: An Exhibition of Football', 22–27 June 1998
1999 Kendal, Abbot Hall Art Gallery, 'Portrait of the Artist: Self-Portraits and Portraits of Artists in Print', 12 Feb.–11 Apr. 1999 ; then at Wolseley Fine Arts, London, 21 Apr.–22 May 1999; Pallant House Gallery, Chichester, 5 June–28 Aug. 1999; Victoria Art Gallery, Bath, 9 Oct.–21 Nov. 1999 (Self-portrait c.1925, second state)
Abbot & Holder, 'Selected Six (Twelve)', June 1999 (12 pen-and-ink drawings on the theme of healthy nutrition, c.1945)
Tate Gallery, 'The Art of Bloomsbury', 4 Nov. 1999–30 Jan. 2000; then San Marino, 4 Mar.–30 Apr. 2000; then New Haven, Yale Center for British Art, 20 May–2 Sept. 2000 (No! No! Roger, Lydia Keynes)
2000 National Gallery of Canada, 'The Great War at Home and Abroad', 4 Feb.–4 June 2000 (The First German Gas Attack at Ypres)
National Portrait Gallery, 'Painting the Century: 101 Portrait Masterpieces 1900–2000', 26 Oct. 2000–4 Feb. 2001 (Maynard and Lydia Keynes)
2001 Munich, 'The Cool Gaze – Realism in the 1920s', 1 June–2 Sept. 2001 (Les Routiers, The Dance Club)
Liverpool, Tate Liverpool, 'Modern British Art – Art and Lifestyle 1910–20', collection display 2001 (The Playground 1934, The Diners 1919)
Artmonsky Arts, 'Slade Alumni 1900–1914', 11 Nov.–16 Dec. 2001 (watercolours and drawings including The Ballet, Vorticist Composition, Dancers, Trooping the Colour, Girl Playing Guitar)
Newcastle upon Tyne, Hatton Gallery, 'Artists of the London Group', 2001 (Nude Study, Nude with Flute, 1928)
2002 Lowell Libson, 'British Master Drawings', 2–12 July 2002 (study for Masks, The Dressing Room)
2003 Leeds, University Gallery, 'William Roberts and Jacob Kramer: The Tortoise and the Hare', 30 Apr.–20 June 2003; then at Ben Uri Gallery, London, 7 July–7 Sept. 2003 (16 oils on canvas, 8 watercolours, 6 drawings and 10 printed artefacts)
Austin/Desmond Fine Art, 'Modern British Art', July–Aug. 2003
Museum of London, 'Twenties London', 16 Oct. 2003–20 July 2004 (The Bus Stop, Jazz Party)
Newcastle upon Tyne, Hatton Gallery, 'Artists of the London Group', 2003
2004 Estorick Collection of Modern Italian Art, 'Blasting the Future! Vorticism in Britain 1910–1920', 4 Feb.–18 Apr. 2004; also at the Whitworth Art Gallery, University of Manchester, 7 May–25 July 2004 (Gunners Turning out for an SOS, The Wiring Party, The Travelling Cradle, Athletes Exercising in a Gymnasium, Novices)
Newcastle upon Tyne, Hatton Gallery, 'William Roberts (1895–1980)', 20 Mar.–29 May 2004; also at Graves Art Gallery, Sheffield, 12 June–4 Sept. 2004 (67 exhibits from 1909 to 1975, including 33 oil paintings, many from the Tate and regional galleries; the Sheffield exhibition was slightly smaller)
Hazlitt Holland-Hibbert, 'Modern British Art', Grosvenor House Art and Antiques Fair, 9–15 June 2004, and 20/21 British Art Fair, 15–19 Sept. 2004 (Gunners Pulling Cannons, Ypres)
British Museum, 'Matisse to Freud: A Critic's Choice – The Alexander Walker Bequest', 15 June 2004–9 Jan. 2005; then at Usher Gallery, Lincoln, 21 Oct.–18 Mar. 2006; New Walk Museum and Art Gallery, Leicester, 27 Jan.–18 Mar. 2007; Harewood House, Yorkshire, 24 Mar.–13 May 2007; Shipley Art Gallery, Gateshead, 21 Jul.–2 Sept. 2007 (The Park Bench)
2005 Ottawa, National Gallery of Canada, 'British Drawings from the National Gallery of Canada', 15 July–20 Nov. 2005; then at Kamloops Art Gallery, BC, 14 Jan.–25 Mar. 2006; Mendel Art Gallery, Saskatoon, 9 June–27 Aug. 2006; Beaverbrook Art Gallery, Fredericton, 25 Nov. 2007–6 Jan. 2008 (study for The First German Gas Attack at Ypres)
Imperial War Museum, 'Lawrence of Arabia: The Life, the Legend', 14 Oct. 2005–17 Apr. 2006 (Aircraftman Ross, Dignity, The Dogs of Harith, Flashing Sword, Revolt in the Desert)
2006 Nottingham, Djanogly Art Gallery, University of Nottingham, 'A Day in the Sun – Outdoor Pursuits in Art in the 1930s', 18 Feb.–9 Apr. 2006; also at The Lowry, Salford Quays, 29 Apr.–25 June 2006 (Going to Swim, Sun-bathing 1931, Les Routiers, Parson's Pleasure)
Manchester, Whitworth Art Gallery, 'Now You See It: The Trevor Dannatt Collection', 18 Feb.–7 May 2006 (Orange Picking 1970)
2007 Chichester, Pallant Gallery, 'William Roberts: England at Play', 20 Jan.–18 Mar. 2007
Birmingham, The Barber Institute of Fine Arts, University of Birmingham, 'The Parrot in Art', 26 Jan.–29 Apr. 2007 (The Cockatoos)
Geffrye Museum, 'Home and Garden, Part 3: 1914–1960', 20 Feb.–24 June 2007 (The Flower Arrangement)
Ghent, Museum voor Schone Kunsten, 'British Vision: Observation and Imagination in British Art, 1750–1950', 6 Oct. 2007–13 Jan. 2008 (The Return of Ulysses, The Cinema, John Maynard Keynes and Lydia Lopokova)
Melbourne, National Gallery of Victoria, 'In a Strange Land: Modern Britain 1900–1960, Masterworks from Australian and New Zealand Collections', 15 Nov. 2007–24 Feb. 2008 (Interval before Round Ten, The Prodigal Sets Out, Sam Rabin versus Black Eagle, Trafalgar Square 1952, The Salute, The Model c.1956, The Something Road Group)
2008 Bexhill, De La Warr Pavilion, '"Unpopular Culture" – Grayson Perry selects from the Arts Council Collection', 10 May–6 July 2008, then touring to the Harris Museum, Preston, 19 July–14 Sept. 2008; Royal Museum and Art Gallery, Canterbury, 27 Sept.–8 Nov. 2008; DLI Museum and Art Gallery, Durham, 15 Nov. 2008–4 Jan. 2009; Southampton City Art Gallery, 17 Jan.–15 Mar. 2009; Aberystwyth Arts Centre, 21 Mar.–10 May  2009; Scarborough Art Gallery, 16 May–5 July 2009; Longside Gallery, Wakefield, 18 July–25 Oct. 2009; Victoria Art Gallery, Bath, 7 Nov. 2009–3 Jan. 2010; Mead Gallery, Coventry, 22 Jan.–13 Mar. 2010 (The Seaside, c.1965–6)
Ballarat, Australia, Art Gallery of Ballarat, 'The Naked and the Nude', 3 Sept.– 7 Dec. 2008 (The Model c.1956)
Madrid, Museo Thyssen-Bornemisza, '1914! The Avant-Garde and the War', 7 Oct. 2008–11 Jan. 2009 (Rosières Valley; During a Battle; An Attack, The Capture of Delville Wood; Brigade Headquarters: Signallers and Linesmen; In the Ypres Sector. An Infantry Duck-board Track being Shelled by the Germans; Soldiers Hauling a Howitzer; Soldiers Erecting Camouflage at Roclincourt, near Arras, 1918)
2009 Whitechapel Gallery, 'Passports: Great Early Buys from the British Council Collection', 5 Apr.–14 June 2009 (Folk Dance)
New York, Metropolitan Museum of Art, 'The Lens and the Mirror: Modern Self Portraits from the Collection', 7 Apr.–12 July 2009 (Self-portrait 1909–10)
The Fleming Collection, 'Sir Muirhead Bone: Artist and Patron', 6 July–5 Sept. 2009 (Mythical Subject (Decapitations) c.1912, The Interval 1923)
Leeds, Leeds Art Gallery, 'British Surrealism in Context: The Collector's Eye', 10 July–1 Nov. 2009 (The Wiring Party)
Fine Art Society, 'War', Nov. 2009 (Gunners Pulling Cannons, Ypres)
2010 York, York Art Gallery, '100 Years of Gifts' (works acquired by Yorkshire galleries with the support of the Contemporary Art Society), 6 Feb.–3 May 2010 (The Red Turban)
Whitechapel Gallery, 'Fall Out: War and Conflict in the British Council Collection', 26 Mar.–30 May 2010; then at Sidney Cooper Gallery, Canterbury, 2 Oct.–20 Nov. 2010 (Howitzer in Action)
Renishaw Hall, Derbyshire, 'Osbert Sitwell's 20th Century Collection', Apr.–Sept. 2010 (English Gothic c.1918, A Shell Dump 1919, Dock Gates 1920)
Durham, NC, Nasher Museum of Art, Duke University, 'The Vorticists: Rebel Artists in London and New York, 1914–1918', 30 Sept. 2010 –2 Jan. 2011; then at the Peggy Guggenheim Collection, Venice, 29 Jan.–15 May 2011, and Tate Britain, London, 14 June–18 Sept. 2011 (study for St George and the Dragon, Two-step II)
Edinburgh, Talbot Rice Gallery, University of Edinburgh, 'The £40 Art Collection' (works from the Tom Arthur collection of British art), 23 Oct.–11 Dec. 2010 (The Flower Sellers c.1941)
Sheffield, Millennium Gallery, 'Restless Times: Art in Britain 1914–1945', 6 Oct. 2010 –30 Jan. 2011 (In the Village of Fampoux, The Cinema, No! No! Roger, Cézanne Did Not Use It)
Newcastle upon Tyne, Hatton Gallery, 'Another Face: Works from the Arts Council Collection', 3 Dec. 2010–19 Feb. 2011 (Girl with a Red Nose)
2011 Florida, Museum of Fine Arts, St Petersburg, 'Romantics to Moderns: A Survey of British Watercolors and Drawings', 22 Jan.–1 May 2011 (study for The Rhine Boat 1927–8, Channel Crossing 1934–5)
Rotterdam, Kunsthal, 'Sir Stanley Spencer: Between Heaven and Earth', 17 Sept. 2011–15 Jan. 2012 (Boy Wearing a Blue Scarf, The Return of Ulysses, The Toe Dancer, Deposition from the Cross, The Flower Arrangement)
Woking, The Lightbox, 'The Ingram Collection: The Art of William Roberts', 24 Sept.–18 Dec. 2011
2012 Auckland Art Gallery, 'Degas to Dalí: from the National Galleries of Scotland', 3 Mar.–10 June 2012 (The Rhine Boat)
Chatsworth, 'The Frank and Cherryl Cohen Collection of Modern British Art', 19 Mar.–10 June 2012 (The Restaurant 1929, Primrose Hill c.1930, The Masks c.1932)
Tate Britain, 'Focus: William Roberts', 21 May 2012–10 Mar. 2013 (about 40 works from the Tate collection, with an emphasis on drawings acquired from the estate of John David Roberts)
Rovereto, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, 'Un altro tempo: Tra Decadentismo e Modern Style' ('Another Time: Between the Decadent Movement and Modern Style'), 22 Sept. 2012–13 Jan. 2013 (The Vorticists at the Restaurant de la Tour Eiffel, Spring 1915)
Madrid, Fundación Juan March, 'Treasure Island: British Art from Holbein to Hockney', 5 Oct. 2012–20 Jan 2013 (At the Hippodrome)
Beijing, World Art Museum, 'Toward Modernity: Three Centuries of British Art', 15 Nov.–21 Dec. 2012; then at Shenyang, Liaoning Provincial Museum, 29 Dec. 2012–3 Mar. 2013; Nanchang City, Jiangxi Provincial Museum, 14 Mar.–21 Apr. 2013; Guangzhou, Guangdong Museum of Art, 30 Apr.–14 June 2013; Zhengzhou, Henan Provincial Museum, 25 June–9 Aug. 2013; Changsha, Hunan Provincial Museum, 20 Aug.–13 Oct. 2013 (Bath-night 1929)
2013 Ben Uri Gallery, '"Uproar!": The First 50 Years of the London Group', 31 Oct. 2013–2 Mar. 2014 (At the Hippodrome).
2014 Tate Britain, 'Spaces of Black Modernism: London 1919–39', 13 Oct. 2014–29 Mar. 2015 (The Creole)
Osborne Samuel, '20th Century British Art from Private Collections', 23 Oct.–15 Nov. 2014 (Theatre I, II, III; Soldiers Hauling a Howitzer)
Woking (1), The Lightbox, 'The Impact of War', 15 Oct. 2014–4 Jan. 2015 (The Railway Station)
Woking (2), The Lightbox, 'The Horse at War: 1914–1918', 25 Nov. 2104–1 Mar. 2015 (Grooming Horses, Pack Mules)
2015 Leeds, Leeds Art Gallery , 'One Day, Something Happens: Paintings of People' (from the Arts Council Collection), 6 Mar.–4 May 2015, then touring to Nottingham Castle, 20 June–6 Sept. 2015; Highlanes, Drogheda, 17 Oct. 2015–7 Feb. 2016; The Atkinson, Southport, 20 Feb.–22 May 2016; Towner, Eastbourne, 15 Oct. 2016–8 Jan. 2017 (The Seaside, c.1965–6)
Bristol, Royal West of England Academy, 'Drawing On', 21 Mar.–7 June 2015 (Masks – study, Spanish Dancers)
Cambridge, Kettle's Yard Gallery , 'Gaudier-Brzeska: New Rhythms. Art, Dance and Movement in London 1911–1915', 17 Mar.–21 June 2015 (The Toe Dancer, Two-step I, Two-step II)
Woking, The Lightbox, 'Bodies!', 21 Nov. 2015–31 Jan. 2016 Beauty Queens)
2016 Aberystwyth, Aberystwyth Arts Centre, 'The Human Face', 27 Jan.–12 Mar. 2016 (The Recorder Player, The Rhododendron)
Lincoln, The Collection, 'Drawn from Life: People on Paper' (from the Arts Council Collection), 27 Feb.–17 Apr. 2016; Winchester Gallery, The Discover Centre, 25 June–21 Aug. 2016; Kirkby Gallery, 27 Aug.–23 Oct. 2016; Abbot Hall, Kendal, 29 Oct.–17 Dec. 2106; the F. E. McWilliam Studio, Banbridge, Co. Down, 4 Feb.–2 Apr. 2017; Leamington Spa Art Gallery, 8 July–17 Sept. 2017 (The Flower Arrangement c.1944)
Chichester (1), Otter Gallery, University of Chichester, 'Circles of Influence: British Art 1915–50 – A Diarist's Perspective', 6 Feb.–19 Apr. 2016 (The Ballet – study c.1932)
Royal College of General Practictioners, 'Health and the Body: The Ingram Collection at the RCGP', 3 Mar.–29 May 2016 (The Swimming Bath c.1959, Saturday Night c.1970)
Fortnum & Mason, 'Fortnum's X Frank' (works from the Frank Cohen collection), 13 Sept.–16 Oct. 2016 (The Boxing Match c.1925–7, The Restaurant 1929, Snooker 1968–9)
Chichester (2), Pallant House Gallery, 'The Mythic Method: Classicism in British Art 1920 50', 22 Oct. 2016–19 Feb. 2017 (The Judgement of Paris 1933, Sun-bathing 1931, Parson's Pleasure c.1944)
Hastings, Jerwood Gallery, 'Century: 100 Modern British Artists', 23 Oct. 2016–6 Jan. 2017 (The Garden of Eden c.1926, Artist and Wife 1940, The News 1941, Saturday Night c.1970)
Sydney, Art Gallery of New South Wales, 'Nude: Art from the Tate Collection', 5 Nov. 2016–5 Feb. 2017; then at Auckland Art Gallery (as 'The Body Laid Bare: Masterpieces from Tate'), 18 Mar.–16 July 2017, Seoul, Olympic Museum of Art, 11 Aug. 2017–4 Feb. 2018, Yokohama Museum of Art, 24 Mar.–24 June 2018 (Athletes Exercising in a Gymnasium 1920)
2017 Manchester, Imperial War Museum North, 'Wyndham Lewis: Life, Art, War' , 23 June 2017–1 Jan. 2018 (The Vorticists at the Restaurant de la Tour Eiffel, Spring 1915 1961–2)
2018 Two Temple Place, London, 'Rhythm and Reaction: The Age of Jazz in Britain', 27 Jan.–22 Apr. 2018 (At the Hippodrome 1920–21, The Dance Club 1921)
Katoomba, Blue Mountains Cultural Centre, 'Mary Alice Evatt: Art for the People', 12 May–24 June 2018 (The Prodigal Sets Out)
Tate Britain, 'Aftermath; Art in the Wake of World War One', 5 June–23 Sept. 2018 (A Shell Dump, France 1918–19, The Dance Club 1921)
Newcastle, Laing Art Gallery, 'The Enchanted Garden', 23 June–7 Oct. 2018 (The Garden of Eden c.1926)
Liverpool, Walker Art Gallery, 'Leo Fitzmaurice: Between You and Me and Everything Else', 29 Sept. 2018–17 Mar. 2019 (A Gypsy Girl 1925–6)
Sheffield, Millenium Gallery, 'Darkness into Light: The Emotional Power of Art', 20 Oct. 2018–13 Jan. 2019 (The Garden of Eden c.1926)
Cambridge, Fitzwilliam Museum, 'Collecting and Giving: Highlights from the Sir Ivor and Lady Batchelor Bequest', 4 Dec. 2018–3 Mar. 2019 (Her Baby c.1920)
2019 Milton Keynes, MK Gallery, 'The Lie of the Land', 16 Mar.–26 May 2019 (At the Hippodrome 1920–21)
Cookham, Stanley Spencer Gallery, 'Counterpoint: Stanley Spencer and His Contempories', 28 Mar.–3 Nov. 2019 (The Garden of Eden c.1926, Artist and Wife 1940, The Swimming Bath c.1959)
Gorssel, The Netherlands, Museum MORE, 'For Real: British Realists in the 1920s and 1930s', 15 Sept. 2019–5 Jan. 2010 (The Red Turban 1921, The Rhine Boat 1929)
2022 Bedford, The Higgins, 'Changing Times: A Century of Modern British Art', 15 Oct. 2022–16 Apr. 2023 (The Garden of Eden c.1926, study for Masks c.1932, Artist and Wife 1940, The News 1941, The Swimming Bath c.1959)

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