Gore moved to 31 Mornington Crescent in 1909, from where he began a series of paintings of the view from the window of this address, as well as the view from his friend Sickert's studio window at No.6. The present work depicts the right-hand side of the Crescent as seen from his window at No.31. The central communal gardens no longer exist and were occupied in 1926 by a building originally erected to house the Carreras cigarette factory.
Unusually for Gore, who normally migrated to the countryside, he spent the whole summer of 1911 in London, painting from the windows in Mornington Crescent and from Rowlandson House, the school where Sickert taught a children's painting class. In his tribute to his friend, A Perfect Modern, written after Gore's untimely death from tuberculosis in 1914, Sickert recalled: 'there was a few years ago a month in June which Gore verily seems to have used as if he had known that it was to be for him the last of its particularly fresh and sumptuous kind. He used to look down on the garden of Mornington Crescent. The trained trees rise and droop in fringes, like fountains, over the little well of greenness and shadow where parties of young people are playing tennis. The backcloth is formed by the tops of the brown houses of the Hampstead Road, and the liver-coloured tiles of the Tube Station'.
(see W. Baron, The Camden Town Group, London, 1979, pp.26, 27, 239).
The New York collector and connoisseur, John Quinn, amassed a very large collection of works by British and French artists during the early part of this century. Augustus John who helped him to form his collection of British paintings, purchased four works by Gore for Quinn: the present work, The Avenue, Frosty Morning, and A Garden Square in Camden Town.