Christopher Richard Wynne Nevinson, A.R.A.

Leicester Galleries, London
David Singer Esq., from whom acquired by the previous owner
His sale, Philips London, 25th November 1997, lot 31, where acquired by the present owner

New York, Bourgeois Galleries, Exhibition of Paintings, Etchings, Lithographs and Woodcuts by C.R.W. Nevinson of London, England, 10th November - 4th December 1920, cat. no.3;
London, Leicester Galleries, Exhibition of Paintings and Watercolours by C.R.W. Nevinson, October 1928, cat. no.67.

The canvas is fully laid down on to the board. There are signs of abrasion to the extreme edge of the work where the canvas has been cut tightly to the board. There are further framing marks to the extreme edge, including, but not limited to two spots to the centre of the right hand edge. There are flecks of very minor surface dirt and matter to the canvas, most noticeable in the lower half of the composition. This excepting the work appears to be in very good overall condition. Ultraviolet light reveals no obvious signs of retouching or fluorescence. Housed behind glass in a thick gilt frame and mounted within a narrow black wooden border. Please telephone the department on +44 (0) 207 293 6424 if you have any questions regarding the present work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The popular and commercial success of Nevinson’s prints of First World War subjects led to an invitation to New York by the print publishers Frederick Keppel & Co. His first visit to the city, which took place in 1919, opened his eyes to a completely new environment, and Nevinson was to find great inspiration there. The dynamic and soaring architecture of the city was a particular source of excitement. It is perhaps easy to forget how futuristic these buildings must have appeared to Europeans of this period, and in the light of Nevinson’s pre-war enthusiasms for the doctrines of Futurism it is hardly surprising that he seems to have felt he had found a perfect encapsulation of the modern city.

The works that were produced as a result of this trip, and a further visit the following year, all share an incredible dynamism, and in both paint and print we see Nevinson experimenting constantly. He seems to have been captivated by the cheek by jowl nature of many of the New York neighbourhoods, especially in the lower reaches of Manhattan, and also of the opportunities afforded by the proximity to the waterside. In The Statue of Liberty From The Railroad Club we see this brought powerfully to bear. From a high viewpoint we look out over the dense huddle of roof and spire that clusters along the waterfront, the smoky tones of the foreground giving way to the sparkling sunlight waters of the bay beyond. Standing amidst a knot of shipping coming and going we see The Statue of Liberty. Known across the world as a symbol of freedom and the sight by which those arriving in New York were welcomed, Nevinson dramatizes it nicely, appearing to rise from the shimmering waters like the rising Excalibur without overplaying the form of the sculpture itself. The majority of the shipping surrounding Liberty is heading inbound, perhaps part of  the great renewal of international connections after the hiatus of World War I. The great terminus of New York, Ellis Island stood away to the right of Nevinson’s view, and thus it is not unreasonable to imagine that the two larger ships might be heading there, bringing passengers and ideas from across the globe.

Nevinson seems to have adapted this view for a slightly later drypoint of this subject, Statue of Liberty, but by adopting a lower viewpoint and placing the viewer much more in amongst the buildings it loses much of the breath-taking excitement of The Statue of Liberty From The Railroad Club.