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Christopher Richard Nevinson Auction Price Results

Christopher Richard Nevinson (1889-1934)  Please Register/Login to access your Invaluable Alerts

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C.R.W. Nevinson (1889-1946) Study for Vimy Ridge

Lot 4: C.R.W. Nevinson (1889-1946) Study for Vimy Ridge

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Description: C.R.W. Nevinson (1889-1946) Study for Vimy Ridge from Mount Eloi, 1917 coloured crayons and graphite on paper signed C.R.W. Nevinson in pencil at lower left 7 x 9 in., 17.8 x 22.8 cm Provenance: Private Collection, USA (thence by descent to the current owner). In June 1917, two months after the battle of Vimy Ridge and still by no means a quiet spot, C.R.W. Nevinson sat at the Mount St. Eloi observation post and looked out towards the front lines, sketching the present lot en plein air. From sketches like this one, occasionally used as studies and occasionally as aide memoirs, Nevinson worked up his second 'batch' of war paintings using recollections of the roads and happenings of Flanders. The resultant body of work was exhibited the following year in Nevinson's one-man show at the Leicester Galleries' Pictures of War , which included a painting titled 'Vimy Ridge from Mount Eloi' [cat.38]. A sell-out show, the bulk of the works were purchased by the Imperial War Museum and by Lord Rothermere on behalf of the Canadian War Memorial Trust, as a tribute to the Canadian regiments that fought at Vimy Ridge. Nevinson famously became the only Futurist in England, after publishing a long manifesto in The Observer of 7 June 1914 signed by just Nevinson and Marinetti himself. When war broke out Nevinson was quick to join up ('HURRAH for motors! HURRAH for speed!' blared his Futurist Manifesto), working as an ambulance driver for the Red Cross in France. Within weeks he was amidst pus, gangrene, and disembowelled soldiers in a railway shed near Dunkirk. His own health suffered, and he was discharged in 1915. In 1916 the Leicester Galleries mounted a first exhibition of his war paintings that drew both public and critical acclaim. The next year he was back in France. Whether because of failing a medical exam for the Machine Gun Corps (as he claimed) or through a series of letters of recommendation from various sources to C.F.G. Masterman at the Office of Works (as the records seem to show), he was given leave and a car to travel the front line as an Official War Artist attached to the Bureau of Information. He would make paintings to sell himself, and lithographs for wider distribution as part of his official duties. The present lot appears to be looking East-South-East from Mount St. Eloi, just cutting out of the picture the crossroads of a South-running unnamed road with what is now the D49, and just missing the distant village of Neuville-St-Vaast from the left of the picture. The view, therefore, is almost perpendicular to the D49 towards the village of Écurie, which smokes in Nevinson's drawing in the distance. This broad sweep encompasses the area from which the 1st and 2nd Canadian Divisions would have advanced on the 9th April 1917, together with the 51st Highlanders, up Vimy Ridge. Today, this area also holds two Commonwealth War Graves cemeteries. IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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C.R.W. Nevinson (1889-1946) - Bridge over the Thames, c.1920

Lot 11: C.R.W. Nevinson (1889-1946) - Bridge over the Thames, c.1920

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Description: C.R.W. Nevinson (1889-1946) - Bridge over the Thames, c.1920 oil on canvas signed C.R.W. Nevinson at lower right, and titled Bridge Thames on a label adhered to the top stretcher bar 45.8 x 58.4 cm, 18 x 23 in. Provenance: Mary Smith, London (acquired directly from the artist c. 1922). Thence by descent to the current owner. IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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Christopher Richard Wynne Nevinson (1889-1946) - The Thames from Blackfriars

Lot 12: Christopher Richard Wynne Nevinson (1889-1946) - The Thames from Blackfriars

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Description: Christopher Richard Wynne Nevinson (1889-1946) - The Thames from Blackfriars etching and drypoint, a fine, richly inked impression with good contrasts, ca.1927, signed in pencil, numbered 16/60, on wove paper, with full margins, 377 x 501 mm (14 7/8 x 19 3/4 in) Note: This is almost certainly Nevinson's largest intaglio work. IMPORTANT: This lot is subject to VAT and the buyer must pay VAT on both the hammer and the buyer's premium at a rate of 20% IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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C.R.W. Nevinson (1889-1946)(after) - Column on the March

Lot 13: C.R.W. Nevinson (1889-1946)(after) - Column on the March

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Description: offset lithograph printed in colours, ca.1918, signed in pencil, on wove paper, with full margins, 152 x 182 mm (6 x 7 1/4 in) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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Christopher Richard Wynne Nevinson (1889-1946) - La Guerre Des Trous

Lot 13: Christopher Richard Wynne Nevinson (1889-1946) - La Guerre Des Trous

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Description: Christopher Richard Wynne Nevinson (1889-1946) - La Guerre Des Trous p en and ink and brush and ink with wash on paper, signed lower right in blackish/brown ink, on smooth wove paper, sheet 153 x 183 mm (6 x 7 ¼ in) Provenance: Private Collection, UK La Geurre des Trous (the War of H oles) depicts soldier ' s anticipation, presumably in a moment before they exit the trench; the men contained in pockets, clearly at readiness for action of some description. The ink drawing differs from the oil in a number of subtle areas, most notable i n the oil is the missing rifle in the soldier at far right, quite possibly this element of the current work was suppressed in the finished painting. The present lot shares a similar construction to a pen and ink drawing recently sold of La Mitrailleuse (see Lot 200 Sotheby's London 19.11.2008), the use of cross hatching to depict shading on the wooden beams and the fluid lines making up the barbed wire are almost identical. This approach is reminiscent of the manner in which Nevinson added shading in his drypoints, and is a stylistic approach that does not extend to his oil paintings. Drawn at the same time as La Mitrailleuse (1914/15), La Geurre de Trous again represents French troops behind the lines. Instantly recognisable in their stiff felt Kepi Hats (headwear rapidly replaced in late 1915 by the steel Adrian Helmet in order to provide greater protection) the French soldiers depicted in the work enabled Nevinson to portray the grimmer side of the war thus dodging Government restrictions placed on imagery of active British servicemen. The comparisons between La Mitrailleuse and La Geurre de Trous extend beyond those of just the nationality of the participants. Nevinson was stationed for two and a half months from November 1914, in Woesten, just North-West of Ypres, and this location served as the source material for his earliest war images. Looking at specific elements within both works, it seems quite possible that these works share the same location, albeit drawn from different perspectives. Perhaps most notable is the distinctive wooden shoring that supports the trench in both works, this particular bracing was unusual, and clearly was put in place because of soft ground in a specific area. Both also share the same fluid structure of the barbed wire, which snakes, wave-like across the upper portion of both images, and it seems quite possible that this similarity was intentional, enabling the artist to continue a 'story' across the two works. IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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C.R.W. Nevinson (1889-1946) - Wind

Lot 14: C.R.W. Nevinson (1889-1946) - Wind

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Description: drypoint, signed in pencil, on laid paper, with full margins, sheet 460 x 358 mm (18 1/8 x 14 1/8 in) The present work relates closely to two other works by the artist, an oil of 1917, and a mezzotint of 1918, both with the same title. "The land, trees and sky are linked and controlled in a structure is reminiscent of the marching troops (Returning to the Trenches),. As such, the threats and efforts of war shadow the image" C.R.W.Nevinson The Twentieth Century at the Imperial War Museum London, page 127. IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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C.R.W. Nevinson (1889-1946) - The road from Arras to Bapaume

Lot 16: C.R.W. Nevinson (1889-1946) - The road from Arras to Bapaume

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Description: lithograph, 1918, a fine, richly inked impression, signed and dated in pencil, on Antique de Luxe laid paper, with full margins, 470 x 380 mm (18 1/2 x 15 in) Provenance: Purchased by Captain Samuel Davenport Charles of the Lincolnshire Yeomanry from the Leicester Gallery, 1919, thence by decent. IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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C.R.W. Nevinson (1889-1946)(after) Column on the

Lot 46: C.R.W. Nevinson (1889-1946)(after) Column on the

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Description: C.R.W. Nevinson (1889-1946)(after) Column on the March offset lithograph printed in colours, ca.1918, signed in pencil, on soft wove paper, with full margins, 152 x 183 mm (6 x 7 1/4 in) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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DDS. ** C.R.W. Nevinson (1889-1946) Acetylene

Lot 47: DDS. ** C.R.W. Nevinson (1889-1946) Acetylene

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Description: DDS. ** C.R.W. Nevinson (1889-1946) Acetylene Welders (Building Aircraft) lithograph, 1917, signed and dated in pencil, numbered 5, the edition was 200, as included in the portfolio The Great War: Britain's Efforts and Ideals, published by the Stationary Office, on wove paper, with full margins, 400 x 295mm (15 3/4 x 11 5/8in)

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C.R.W. Nevinson (1889-1946)(after) Greenwich Reach

Lot 47: C.R.W. Nevinson (1889-1946)(after) Greenwich Reach

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Description: C.R.W. Nevinson (1889-1946)(after) Greenwich Reach offset lithograph printed in colours, signed in pencil, published by the Fine Art Trade Guild, with their blindstamp, on wove paper, with full margins, 500 x 400 mm (19 3/4 x 15 3/4 in) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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DDS. C.R.W. Nevinson (1889-1946)(after) Banking at

Lot 48: DDS. C.R.W. Nevinson (1889-1946)(after) Banking at

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Description: DDS. C.R.W. Nevinson (1889-1946)(after) Banking at 4000 ft, offset lithograph printed in colours, ca.1918, signed in pencil, on soft wove paper, with full margins, 195 x 155mm (7 358 x 6 1/8in)

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DDS. C.R.W. Nevinson (1889-1946)(after) Column on

Lot 49: DDS. C.R.W. Nevinson (1889-1946)(after) Column on

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Description: DDS. C.R.W. Nevinson (1889-1946)(after) Column on the March, offset lithograph printed in colours, ca.1918, signed in pencil, on soft wove paper, with full margins, 152 x 183mm (6 x 7 1/4in)

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DDS. C.R.W. Nevinson (1889-1946) On the Road to

Lot 51: DDS. C.R.W. Nevinson (1889-1946) On the Road to

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Description: DDS. C.R.W. Nevinson (1889-1946) On the Road to Ypres, pen and ink, 1916, signed in black ink, on laid paper, sheet 110 x 210mm (4 5/16 x 8 1/4in) It seems likely that the present work was the preliminary drawing for the drypoint, also created in 1916. The dimensions are almost exactly that of the print, and the manner in which the shaded areas are scratched into the paper mirrors somewhat the manner in which the drypoint was executed. It also possible that the design was intended for inclusion in the unproduced 3rd issue of Blast Magazine, as with the earlier publication of his pen and ink version of Returning to the Trenches. Provenance: Ruth Bromberg, London. Acquired from the above by the present owner.

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C.R.W. Nevinson (1889-1946) (after) View of the

Lot 81: C.R.W. Nevinson (1889-1946) (after) View of the

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Description: C.R.W. Nevinson (1889-1946) (after) View of the Thames, Waterloo Bridge heliogravure, ca. 1920, signed in pencil, on wove paper, with full margins, 159 x 210mm (6 1/4 x 8 1/4in)

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C.R.W. Nevinson (1889-1946) (after) View of the

Lot 82: C.R.W. Nevinson (1889-1946) (after) View of the

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Description: C.R.W. Nevinson (1889-1946) (after) View of the Thames at Deptford heliogravure, ca. 1920, signed in pencil, on wove paper, with full margins,165 x 210mm (6 1/2 x 8 1/4in)

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C.R.W. Nevinson (1889-1946) (after) View of the

Lot 83: C.R.W. Nevinson (1889-1946) (after) View of the

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Description: C.R.W. Nevinson (1889-1946) (after) View of the Thames looking toward Westminster heliogravure, ca. 1920, signed in pencil, on wove paper, with full margins, 165 x 210mm (6 1/2 x 8 1/2in)

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C.R.W. Nevinson (1889-1946) (after) Column on the

Lot 84: C.R.W. Nevinson (1889-1946) (after) Column on the

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Description: C.R.W. Nevinson (1889-1946) (after) Column on the March offset lithograph printed in colours, ca.1918, signed in pencil, on soft wove paper, with full margins,152 x 182mm (6 x 7 1/4in)

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CHRISTOPHER RICHARD WYNNE NEVINSON (1889-1946). NOW / BACK THE BAYONETS. 1918. 29x18 inches, 73x47 cm.

Lot 85: CHRISTOPHER RICHARD WYNNE NEVINSON (1889-1946). NOW / BACK THE BAYONETS. 1918. 29x18 inches, 73x47 cm.

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Description: CHRISTOPHER RICHARD WYNNE NEVINSON (1889-1946) NOW / BACK THE BAYONETS. 1918. 29x18 3/4 inches, 73 3/4x47 1/2 cm. Condition B+ / B: losses, abrasions and restoration along vertical and horizontal folds; repaired tears at edges; faded. Framed. "This poster, one of the few designed by Nevinson . . . reflects a Vorticist obsession with guns, short harsh words and thrusting angular shapes, together with Nevinson's own fondness for silhouettes against the sky" (IWM p. 44). This poster first appeared with lettering advertising an exhibition of Nevison's front-line pictures of the war and was later reissued by the government in this form as a fundraising incentive. It is considered one of the most progressively designed British posters of the First World War, noted for its Vorticist design elements and "futurist lettering" (IWM p. 69). IWM p. 44 (variation), Darracott p. 61 (var), War Posters 86.

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DDS. C.R.W. Nevinson (1889-1946) A Picnic,

Lot 89: DDS. C.R.W. Nevinson (1889-1946) A Picnic,

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Description: DDS. C.R.W. Nevinson (1889-1946) A Picnic, etching, 1921, a good impression, signed in pencil, on Whatman laid paper, with full margins, 250 x 350mm (9 7/8 x 13 3/4in)

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DDS. C.R.W. Nevinson (1889-1946) Le Louvre,

Lot 90: DDS. C.R.W. Nevinson (1889-1946) Le Louvre,

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Description: DDS. C.R.W. Nevinson (1889-1946) Le Louvre, etching, 1921, a very good impression, signed in pencil, on Whatman laid paper, with full margins, 273 x 171mm (10 3/4 x 6 3/4in)

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DDS. C.R.W. Nevinson (1889-1946) Statue etching

Lot 91: DDS. C.R.W. Nevinson (1889-1946) Statue etching

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Description: DDS. C.R.W. Nevinson (1889-1946) Statue etching with drypoint, 1920, a very strong impression, aside from the original edition, on laid paper, with full margins, 171 x 136mm (6 3/4 x 5 3/8in)

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DDS. C.R.W. Nevinson (1889-1946)(after) A View of

Lot 93: DDS. C.R.W. Nevinson (1889-1946)(after) A View of

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Description: DDS. C.R.W. Nevinson (1889-1946)(after) A View of the Thames, Waterloo Bridge, heliogravure, ca.1920, signed in pencil, on wove paper, with full margins, 159 x 210mm (6 1/4 x 8 1/4in)

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*Christopher Richard Wynne Nevinson ARA

Lot 100: *Christopher Richard Wynne Nevinson ARA

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Description: *Christopher Richard Wynne Nevinson ARA (1889-1946), 'LE LOUVRE' Etching, 1921, signed in pencil, with personal inscription 'To Frank Moran from...' plate 27.5 x 17.5cm, unframed *Artist's Resale Right may apply to this lot.

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*Christopher Richard Wynne Nevinson ARA

Lot 101: *Christopher Richard Wynne Nevinson ARA

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Description: *Christopher Richard Wynne Nevinson ARA (1889-1946), 'LA CITE, PARIS' (Guichard 85) Etching, signed in pencil plate 17.5 x 27.5cm *Artist's Resale Right may apply to this lot.

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*Christopher Richard Wynne Nevinson ARA

Lot 102: *Christopher Richard Wynne Nevinson ARA

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Description: *Christopher Richard Wynne Nevinson ARA (1889-1946), 'METROPOLIS OR 2AM, NEW YORK' (from the American set, 1921) Drypoint, signed in pencil plate 25.3 x 17.7cm Nevinson first visited New York in 1919 and made a second trip in 1920, producing a striking series of prints and paintings that captured his fascination with the architectural high-rise of the world's most ultra-modern metropolis. This print comes from a set of ten drypoints commissioned by the American print dealer and publisher, Frederick Keppel, who gave Nevinson his first exhibition in October 1919 and a second the following year. *Artist's Resale Right may apply to this lot.

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DDS. C.R.W. Nevinson (1889-1946)(after) Banking at

Lot 112: DDS. C.R.W. Nevinson (1889-1946)(after) Banking at

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Description: DDS. C.R.W. Nevinson (1889-1946)(after) Banking at 4000 ft offset lithograph printed in colours, ca.1918, signed in pencil, on soft wove paper, with full margins, 195 x 155 mm (7 3/4 x 6 1/8 in)

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DDS. C.R.W. Nevinson (1889-1946)(after) Column on

Lot 113: DDS. C.R.W. Nevinson (1889-1946)(after) Column on

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Description: DDS. C.R.W. Nevinson (1889-1946)(after) Column on the March offset lithograph printed in colours, ca.1918, signed in pencil, on soft wove paper, with full margins, 152 x 183 mm (6 x 7 1/4 in)

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DDS. C.R.W. Nevinson (1889-1946)(after) View of

Lot 114: DDS. C.R.W. Nevinson (1889-1946)(after) View of

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Description: DDS. C.R.W. Nevinson (1889-1946)(after) View of the Thames, Waterloo Bridge, heliogravure, circa 1920, signed in pencil, on wove paper, with full margins, 159 x 210 mm (6 1/4 x 8 1/4 in)

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Christopher Richard Wynne Nevinson (1889-1946)

Lot 115: Christopher Richard Wynne Nevinson (1889-1946)

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Description: Christopher Richard Wynne Nevinson (1889-1946) Column on the March offset lithograph printed in colours, ca.1918, signed in pencil, on soft wove paper, with full margins, 152 x 183 mm (6 x 7 1/4 in) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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DDS. C.R.W. Nevinson (1889-1946)(after) View of

Lot 115: DDS. C.R.W. Nevinson (1889-1946)(after) View of

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Description: DDS. C.R.W. Nevinson (1889-1946)(after) View of the Thames at Deptford, heliogravure, circa 1920, signed in pencil, on wove paper, with full margins, 165 x 210 mm (6 1/2 x 8 1/4 in)

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DDS. C.R.W. Nevinson (1889-1946)(after) View of

Lot 116: DDS. C.R.W. Nevinson (1889-1946)(after) View of

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Description: DDS. C.R.W. Nevinson (1889-1946)(after) View of the Thames looking toward Westminster, heliogravure, circa 1920, signed in pencil, on wove paper, with full margins, 165 x 210 mm (6 1/2 x 8 1/2 in)

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Christopher Richard Wynne Nevinson (1889-1946), CANAL AND FIELDS, Oil on canvas; signed and dated 1918 lower left, 24

Lot 127: Christopher Richard Wynne Nevinson (1889-1946), CANAL AND FIELDS, Oil on canvas; signed and dated 1918 lower left, 24" x 17.5" - 61 x 44.5 cm.

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Description: Christopher Richard Wynne Nevinson (1889-1946), BritishCANAL AND FIELDS; Oil on canvas; signed and dated 1918 lower left24" x 17.5" - 61 x 44.5 cm.

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DDS. C.R.W. Nevinson (1889-1946) Walkers,

Lot 127: DDS. C.R.W. Nevinson (1889-1946) Walkers,

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Description: DDS. C.R.W. Nevinson (1889-1946) Walkers, lithographic poster printed in colours, 1921, on wove paper, with full margins, sheet 1025 x 635mm (40 3/8 x 25in)

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CHRISTOPHER RICHARD WYNNE NEVINSON (1889-1946). PICNICS. 1921. 39x24 inches, 100x62 cm. Avenue Press Ltd., London.

Lot 128: CHRISTOPHER RICHARD WYNNE NEVINSON (1889-1946). PICNICS. 1921. 39x24 inches, 100x62 cm. Avenue Press Ltd., London.

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Description: CHRISTOPHER RICHARD WYNNE NEVINSON (1889-1946) PICNICS. 1921. 39 1/4x24 1/2 inches, 100x62 cm. Avenue Press Ltd., London. Condition A / A-: minor abrasions, creases and repaired tears at edges. Nevinson studied art at the Academie Julian in Paris where he shared a studio with Modigliani. He was also involved in the Italian Futurist movement through his friendship and collaboration with Marinetti. This image is one of a series of four he designed for the London Transport in 1921 touting leisure activities that could be reached by motor-bus. The series shares the common design element of the red border.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

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DDS. C.R.W. Nevinson (1889-1946) Pleasure,

Lot 128: DDS. C.R.W. Nevinson (1889-1946) Pleasure,

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Description: DDS. C.R.W. Nevinson (1889-1946) Pleasure, lithographic poster printed in colours, 1921, on wove paper, with full margins, sheet 1025 x 635mm (40 3/8 x 25in)

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C.R.W. NEVINSON. of WWI Lithograph

Lot 231: C.R.W. NEVINSON. of WWI Lithograph

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Description: C.R.W. NEVINSON. "THE WAR IN THE AIR" of WW I air battle. Four-color offset lithograph after an etching by C.R.W. Nevinson: printed in England. Canadian War Memorials Picture-No. 9. Signed on original cover matt C.R.W. Nevinson. Sheet is hinged not laid down. Copyright by the Canadian War Memorials Fund. Sheet measures 20" x 15". Image measures 16 ½" x 13 ¼". From Askart: "Christopher Richard Wynne Nevinson (13 August 1889 - October 1946) was an English painter. He is often referred to by his initials C. R. W. Nevinson, and was known as Richard. Richard Nevinson is one of the most famous war artists and was the son of the war correspondent and journalist Henry Nevinson and the suffrage campaigner and writer Margaret Nevinson. Educated at Uppingham School, which he hated, Nevinson went on to study at the St John's Wood School of Art. Inspired by seeing the work of Augustus John, he decided to attend the Slade School of Art, part of University College London. There his contemporaries included Mark Gertler, Stanley Spencer, Paul Nash and Dora Carrington. "

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§ Christopher Richard Wynne Nevinson, ARA (British, 1889-1946 Manette Street, Soho, London signed in pencil to lower margin

Lot 242: § Christopher Richard Wynne Nevinson, ARA (British, 1889-1946 Manette Street, Soho, London signed in pencil to lower margin

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Description: § Christopher Richard Wynne Nevinson, ARA (British, 1889-1946 Manette Street, Soho, London signed in pencil to lower margin etching h:17.50 w:14 cm Exhibited: The Leicester Galleries, London

Condition Report: Condition appears to be good. Sheet is hinge mounted at top corners. Slight discolouration at all 4 corners of the sheet (see photos). Now removed from frame.

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§ Christopher Richard Wynne Nevinson, ARA (British, 1889-1946) London Rooftops with The Houses of Parliament in the Background signe...

Lot 282: § Christopher Richard Wynne Nevinson, ARA (British, 1889-1946) London Rooftops with The Houses of Parliament in the Background signe...

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Description: § Christopher Richard Wynne Nevinson, ARA (British, 1889-1946) London Rooftops with The Houses of Parliament in the Background signed lower left "C R W Nevinson" oil on canvas h:44 w:34 cm Provenance: Private collection, Jersey Bought directly from the Royal Academy by the vendor's father (Royal Academy, London (possibly) - London Winter, 1941 (No. 282 in 1942) Remnants of a Royal Academy exhibition label verso. Also a label for Helen de Borchgrave, fine art restorer and note surface cleaned and varnished April 1988

Condition Report: Would benefit from a light clean, in a swept frame. Old Royal Academy label to reverse.

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CHRISTOPHER RICHARD WYNNE NEVINSON - 16cm x 21cm

Lot 345: CHRISTOPHER RICHARD WYNNE NEVINSON - 16cm x 21cm

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Description: CHRISTOPHER RICHARD WYNNE NEVINSON - 16cm x 21cm photogravure - "St Pauls from the Thames" - signed in pencil by the artist to the mount

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CHRISTOPHER R. W. NEVINSON The Roof Gardens.

Lot 370: CHRISTOPHER R. W. NEVINSON The Roof Gardens.

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Description: CHRISTOPHER R. W. NEVINSON The Roof Gardens. Mezzotint, 1919. 212x116 mm; 8 3/8x4 1/2 inches, full margins. Signed in pencil, lower right. A superb impression of this extremely scarce print.

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Christopher Richard Wynne Nevinson (1889-1946) The Thames at Waterloo Bridge, 6.25 x 8.25in., unframed

Lot 1519: Christopher Richard Wynne Nevinson (1889-1946) The Thames at Waterloo Bridge, 6.25 x 8.25in., unframed

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Description: Christopher Richard Wynne Nevinson (1889-1946) heliogravure, The Thames at Waterloo Bridge, signed in pencil, 6.25 x 8.25in., unframed

Condition Report: A gentle diagonal crease mark running from just to the right at 12 o'clock and down to just above 3 o'clock, this runs through the plate mark but does not quite enter the image, further light creasing to the top right corner and the lower right corner, slight discolouration of paper most notably across the top and right margins which appear to be full ranging from 2 - 3 inches, not laid down, signed in pencil, not framed or mounted. Please submit your absentee bids on www.gorringes.co.uk or e-mail clientservices@gorringes.co.uk FURTHER IMAGES ALREADY AVAILABLE AT WWW.GORRINGES.CO.UK Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.

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Lot 1: CHRISTOPHER RICHARD WYNNE NEVINSON, A.R.A. (british 1889-1946) "THE TEMPLES OF NEW YORK" 1921, edition of 50. Pencil signed in the margin. Drypoint. 7.875 x 5.875 in. (20 x 14.9cm) [Guichard 26; Leicester 44] Unframed provenance: Private Collection,

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Description: CHRISTOPHER RICHARD WYNNE NEVINSON, A.R.A. (british 1889-1946) "THE TEMPLES OF NEW YORK" 1921, edition of 50. Pencil signed in the margin. Drypoint. 7.875 x 5.875 in. (20 x 14.9cm) [Guichard 26; Leicester 44] Unframed provenance: Private Collection, Pennsylvania.

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Christopher Richard Wynne Nevinson, A.R.A. (1889-1946)

Lot 2: Christopher Richard Wynne Nevinson, A.R.A. (1889-1946)

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Description: La plageblack ink, watercolour and bodycolour11 1/4 x 17 1/4 in. (28.5 x 43.8 cm.)

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Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946) The Road from Arras to Bapaume Lithograph, 1918, on Antique de Luxe paper, signed and dated in pencil, with margins, 465 x 385mm (18 1/4 x 14in)(I)

Lot 2: Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946) The Road from Arras to Bapaume Lithograph, 1918, on Antique de Luxe paper, signed and dated in pencil, with margins, 465 x 385mm (18 1/4 x 14in)(I)

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Description: The Road from Arras to Bapaume (Leicester Galleries 37) Lithograph, 1918, on Antique de Luxe paper, signed and dated in pencil, with margins, 465 x 385mm (18 1/4 x 14in)(I)

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CHRISTOPHER RICHARD WYNNE NEVINSON, A.R.A.

Lot 3: CHRISTOPHER RICHARD WYNNE NEVINSON, A.R.A.

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Description: CHRISTOPHER RICHARD WYNNE NEVINSON, A.R.A. 1889-1946 VIEW OF PERONNE signed and dated 1917. pencil and coloured pencil 16.5 by 23cm.; 6½ by 9in.

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Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946) That Cursed Wood The rare drypoint, 1918, on laid Antique de luxe paper, signed and dated in pencil, with margins, 250 x 349mm (9 7/8 x 13 3/4in) (PL)(unframed)

Lot 3: Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946) That Cursed Wood The rare drypoint, 1918, on laid Antique de luxe paper, signed and dated in pencil, with margins, 250 x 349mm (9 7/8 x 13 3/4in) (PL)(unframed)

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Description: That Cursed Wood (Leicester Galleries 8) The rare drypoint, 1918, on laid Antique de luxe paper, signed and dated in pencil, with margins, 250 x 349mm (9 7/8 x 13 3/4in) (PL)(unframed)

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Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946) Chelsea Reach Power Stations The rare drypoint, 1921, a good impression, on laid, signed in pencil, with margins, 275 x 353mm (10 7/8 x 14in)(PL)

Lot 4: Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946) Chelsea Reach Power Stations The rare drypoint, 1921, a good impression, on laid, signed in pencil, with margins, 275 x 353mm (10 7/8 x 14in)(PL)

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Description: Chelsea Reach Power Stations The rare drypoint, 1921, a good impression, on laid, signed in pencil, with margins, 275 x 353mm (10 7/8 x 14in)(PL)

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Christopher Richard Wynne Nevinson (1889-1946) Destroyed Canal, Ytres oil on canvas, 1918, signed and dated in black lower left,

Lot 5: Christopher Richard Wynne Nevinson (1889-1946) Destroyed Canal, Ytres oil on canvas, 1918, signed and dated in black lower left,

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Description: Christopher Richard Wynne Nevinson (1889-1946) Destroyed Canal, Ytres oil on canvas, 1918, signed and dated in black lower left, 612 x 460 mm (24 x 18 1/8 in) Exhibited in Nevinson's second one-man show 'An Exhibition of Pictures of War by C.R.W. Nevinson', Ernest Brown and Phillips, the Leicester Galleries, London, March 1918. No.11 in the catalogue. Purchased by J. Baird, 37 Queens Court, London SW. Illustrated: 'The Great War Fourth Year', Paintings by C.R.W. Nevinson with an essay by J.E. Crawford Fitch, Grant Richards Ltd, London, 1918, plate 5. Literature: Discussed in Nevinson's 1937 war memoir 'Paint and Prejudice', 'However, I was working at last, and from here I did such paintings as 'Road from Arras to Bapaume,' the 'Survivors at Arras,' the 'Very Lights at Monchy,' the 'Roads of France,' the 'Destroyed Canal at Ytres,' the 'Hindenburg Line' and 'Brigade Headquarters'. The Battle of Canal du Nord was part of a general Allied offensive against German positions on the Western Front during the Hundred Days Offensive of World War I. This critical battle took place in the Nord-Pas-de-Calais region of France, along an incomplete portion of the Canal du Nord and on the outskirts of Cambrai between the 27th of September and the 1st of October 1918. The construction of the Canal du Nord began in 1913 and was intended to link the Oise River to the Dunkirk-Scheldt Canal. However, with the outbreak of the First World War construction was halted and the work was left in varying stages of completion. The canal was approximately 40 yards (37 m) wide, with a western bank that was between 10 and 15 feet (3.0 and 4.6 m) high and an eastern bank that was approximately 5 feet (1.5 m) high. During their retreat, the Germans made the area along the canal north of Sains-lès-Marquion virtually impassable by taking advantage of the naturally swampy ground and deliberately damming and flooding the entire area. The only passable ground was to the south where a small 4,000-yard (3,700 m) section of the canal between Sains-lès-Marquion and Maeuvres remained largely dry on account of its incomplete state. Even in a partially excavated state the dry section of the canal was still a significant obstacle. This painting shows the destroyed bridges which blocked the Allies path across to German territory until they successfully managed to cross in the now infamous Battle of Canal du Nord. The composition of 'Destroyed Canal, Ytres' has strong similarities to 'Road from Arras to Bapaume', painted just one year before in 1917. The two paintings were both exhibited in Nevinson's 1918 exhibition at the Leicester Galleries. The perspective of road and canal are treated almost identically with the immediate foreground dropping away and leading the onlooker's eye towards a vanishing point at the top of the canvas. In both cases the image is broken by several parallel lines in the upper part of the subject. Nevinson was appointed as an official war artist in 1917 and in July of that year was sent to France. In 'Paint and Prejudice' Nevinson described how he was initially posted to the Chateau d'Harcourt from where he travelled to Etaples, Montreuil, Calais, Abbeville and Paris. After this he was attached to the 4th Division at St. Nicolas, between the old Hindenburg line and Arras. He wrote 'I was working at last, and from here i did such paintings as the 'Road from Arras to Baupaume', the 'Roads of France', the 'Destroyed Canal at Ytres', the 'Hindenburg Line' and 'Brigade Headquarters', pictures which were destined to be distrubuted throughout the world'. Nevinson was invited to do a second exhibition at the Leicester Galleries in March 1918 of war paintings produced during this period when he was working as an official war artist. Other works exhibited in the 1918 exhibition were: 'A Group of Soldiers', 'Over the Lines', 'After a Push', 'The Road from Arras to Bapaume', 'Swooping down on a Hostile Plane', 'Reliefs at Dawn', 'Gun in Elevation' and 'Paths of Glory' (all are now in the Imperial War Museum, London).

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Christopher Richard Wynne Nevinson A.R.A.

Lot 6: Christopher Richard Wynne Nevinson A.R.A.

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Description: Christopher Richard Wynne Nevinson A.R.A. (1889-1946), Rural views, signed, double sided, oil on canvas, 63 x 47.5cm.; 25 x 18.75in.

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CHRISTOPHER RICHARD WYNNE NEVINSON, A.R.A., 1889-1946

Lot 7: CHRISTOPHER RICHARD WYNNE NEVINSON, A.R.A., 1889-1946

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Description: RELIEFS AT DAWN30.5x38cm.; 12x15in.signed and dated 1918 in pencillithographLITERATUREExhibition Catalogue, The Leicester Galleries, Ernest Brown & Phillips Ltd, Nash and Nevinson in War and Peace, The Graphic Work 1914-1920, 1977, no. 30 (illustration of another example)NOTEThis work is from an unknown edition. Another example of this rare print sold in these rooms on 19th April 1990, lot 239.

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