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Christopher Richard Wynne Nevinson, A.R.A. (1889-1946)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more THE PROPERTY OF A GENTLEMAN
Christopher Richard Wynne Nevinson, A.R.A. (1889-1946)

Rough Sea

Details
Christopher Richard Wynne Nevinson, A.R.A. (1889-1946)
Rough Sea
signed 'C.R.W. NEVINSON' (lower right)
oil on canvas
18 x 24 in. (45.8 x 61 cm.)
Painted in 1916-7.
Provenance
Godfrey and Eve Pilkington.
with Piccadilly Gallery, London, 1967.
Mr and Mrs Peyton Skipwith.
Anonymous sale; Sotheby's, London, 13 March 1974, lot 91A.
E. Wood.
Edgar Astaire; Christie's, London, 8 June 1979, lot 56.
with Maclean Gallery, London, 1980.
Major F. Yates.
with Peter Nahum at the Leicester Galleries, London, where purchased by the present owner, circa 1994.
Literature
R. Ingleby, exhibition catalogue, C.R.W. Nevinson, The Twentieth Century, London, Imperial War Museum, 1999, p. 107, no. 48, illustrated.

Exhibited
London, Piccadilly Gallery, English Paintings and Drawings 1911-1938, March - April 1967, no. 20.
London, Morley College, The Art of War, May - June 1971, no. 31.
Sheffield, Graves Art Gallery, C.R.W. Nevinson, War Paintings 1914-1918, September - October 1972, no. 3.
London, Maclean Gallery, C.R.W. Nevinson - The Great War and After, February - March 1980, no. 5.
London, Imperial War Museum, C.R.W. Nevinson The Twentieth Century, October 1999 - January 2000, no. 48: this exhibition travelled to New Haven, Yale Centre for British Art, February - May 2000.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

Brought to you by

Anne Haasjes
Anne Haasjes

Lot Essay

Nevinson produced a small number of seascapes in addition to Rough Sea during the first half of the First World War, including The Wave, A Cornish Sea, and Patrols, each produced around 1915-17. However, bouts of rheumatic fever and shell-shock caused by working as a Red Cross volunteer, as an ambulance man and motor mechanic in Flanders, shortened his time at the front. After a period invalided out of the fighting zone, Nevinson was able to include his new pictures from his war time experiences in a one-man exhibition at the Leicester Galleries in 1916. These pictures received critical acclaim and a contemporary reviewer heralded Nevinson as the first British artist to give 'really profound and pictorial expression to the emotions aroused by war'. In turn, this acclaim led to his appointment by the Department of Information as one of only three 'young' Official War Artists, alongside Eric Kennington and Paul Nash in May 1917.

In July 1917, he left London for a tour of France. He was able to visit artillery batteries, flew over enemy territories and was fired at by German anti-aircraft guns, as well as sketching in 'no-man's-land', still experiencing the horrors of war in all its ferocity.

In 1918, Nevinson exhibited again at the Leciester Galleries where he asked in the foreword of the exhibition to be 'thoroughly disassociated from every "new" or "advanced" movement; every form of "ist", "ism", "post", "neo", "academic" or "un academic"', an attitude that he continued to hold true throughout his long career (see R. Ingleby (ed.), exhibition catalogue, C.R.W. Nevinson The Twentieth Century, London, Imperial War Museum, 1999, pp.27-37).

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