CRW Nevinson Large Original Rare Oil Painting Signed Vintage Framed.
This is an exceptional investment opportunity to acquire an extraordinary and rare original work of art.
This is a modello early study version of ‘War Profiteers’ by Nevinson.
Oil onto mahogany framed board. There is a barely legible signature/monogram to the lower left.
The artwork measures approximately 72cm x 92cm (28 x 36in) inside the frame.
The work is in excellent condition with some age related wear. This very rare piece would benefit greatly from some minor cleaning.
It is an ORIGINAL WORK and NOT a lithograph or print of any kind. It is certainly a stunning and interestingly different piece.
A rare opportunity to acquire a truly terrific ORIGINAL Nevinson. Private collection UK.
Price On Application.
Christopher Richard Wynne Nevinson 1889–1946
English painter. Son of H. W. Nevinson, the war correspondent and author. His formative years as a student were spent at the Slade School of Art (1909–12) in London. The Futurist Exhibition of March 1912, held at the Sackville Gallery, London, proved decisive for his development. Futurism had by now become a catchword in London for anything new and outrageous, and the British avant-garde grew resentful of its influence. Nevinson continued to make Futurist paintings of machine-age London, celebrating the dynamism of the underground Tube trains, the traffic in the Strand, and a Bank Holiday crowd on Hampstead Heath. The advent of World War I changed his mind. Having gone to France with the Red Cross and been invalided home soon afterwards, he announced that he would be using ‘Futurist technique’ to express the reality of war in his new work. In subsequent paintings Nevinson confirmed that he saw the Great War essentially as a tragic event. Bleak, outspoken and often angry, his paintings of 1915–16 are among the masterpieces of his career, bravely opposing the prevailing jingoistic tendency. By 1919 he had given up Futurism. Retreating instead to a more traditional vision, he painted lively interpretations of New York, which fuse a lingering love of Futurist angularity with a new respect for naturalistic observation. Nevinson was at his best when dealing with the dynamism and vertiginous scale of big-city life. In later years he concentrated more on pastoral scenes and flower pieces, where a gentler mood prevailed.