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Lot 105
Christopher Richard Wynne Nevinson (1889-1946)
From an Office Window
Closed7 December 2011
Price Realised
GBP 51,650
More Information
Christopher Richard Wynne Nevinson (1889-1946)
From an Office Window
mezzotint, 1918, on partial watermarked laid paper, unsigned, titled by another hand in pencil, faint mount staining in the margins, otherwise in good condition
P. 252 x 176 mm., S. 290 x 230 mm.
From an Office Window
mezzotint, 1918, on partial watermarked laid paper, unsigned, titled by another hand in pencil, faint mount staining in the margins, otherwise in good condition
P. 252 x 176 mm., S. 290 x 230 mm.
Christopher Richard Wynne Nevinson (1889-1946)
From an Office Window
mezzotint, 1918, on partial watermarked laid paper, unsigned, titled by another hand in pencil, faint mount staining in the margins, otherwise in good condition
P. 252 x 176 mm., S. 290 x 230 mm.
From an Office Window
mezzotint, 1918, on partial watermarked laid paper, unsigned, titled by another hand in pencil, faint mount staining in the margins, otherwise in good condition
P. 252 x 176 mm., S. 290 x 230 mm.
The son of a war correspondent and suffrage campaigner, Nevinson was educated at St John's Wood School of Art and The Slade School of Art. At the Slade he was a contemporary of Mark Gertler, Stanley Spencer and Paul Nash.
After being invalided out of the First World War, Nevinson served as an official war artist producing stark pictures of trench warfare, after his experiances with the Ambulance Unit and on the Western Front.
Following the war, like many of his disillusioned contemporaries, he began to view with suspicion the emergence of the expanding modern city. This haunting view of London is one of three mezzotints he did of the city. Derived from a painting of the same subject, which has a very hazy blue palet, this image is executed in the unfashionable and labour intensive medium of mezzotint. The work demonstrates the power of the mezzotint process, with the soft tones of mezzotint allowing Nevinson to capture the smog and movement of the modern city.
As yet there is no catalolgue rasionee for Nevinson's printed works, so very little information on artist's proofs, edition sizes, dates and publication details are available. What is known is that there is only a small group of works done just after the Great War. David Strang editioned most of the intaglio prints in small runs of between 40-75 impressions. It is therefore not surprising that images such as this are so rare.
After being invalided out of the First World War, Nevinson served as an official war artist producing stark pictures of trench warfare, after his experiances with the Ambulance Unit and on the Western Front.
Following the war, like many of his disillusioned contemporaries, he began to view with suspicion the emergence of the expanding modern city. This haunting view of London is one of three mezzotints he did of the city. Derived from a painting of the same subject, which has a very hazy blue palet, this image is executed in the unfashionable and labour intensive medium of mezzotint. The work demonstrates the power of the mezzotint process, with the soft tones of mezzotint allowing Nevinson to capture the smog and movement of the modern city.
As yet there is no catalolgue rasionee for Nevinson's printed works, so very little information on artist's proofs, edition sizes, dates and publication details are available. What is known is that there is only a small group of works done just after the Great War. David Strang editioned most of the intaglio prints in small runs of between 40-75 impressions. It is therefore not surprising that images such as this are so rare.