14th Jun, 2023 12:00

Fine Paintings and Works on Paper

 
Lot 37
 

37

CHRISTOPHER RICHARD WYNNE NEVINSON ARA (BRITISH 1889-1946)

PUSSYWILLOW
signed and dated C.R.W. NEVINSON / 1936 lower right
oil on canvas
46 x 35cm; 18 x 13 3/4in
57 x 46.5cm; 22 1/2 x 18 1/4in (framed)

Property from Deceased Estate

Exhibited:
London, Barbizon House, Flower Paintings by C.R.W Nevinson, 1936

Rare amongst Nevinson’s oeuvre, flower studies such as this began to appear in the artist’s exhibitions from 1926 onwards. The present painting appeared among 20 other such works in a 1936 solo exhibition at Barbizon House, London titled Flower Paintings by C. R. W. Nevinson. According to notes from a previous owner, the exhibition featured in a write-up in The Times, which highlighted two works Catkins and Pussywillows (the present work) as of 'exceptional quality.' Much of Nevinson’s inspiration was from his wife, Kathleen, who was a professional gardener and Fellow of the Royal Horticultural Society. In fact, she was the author of the preface to the 1936 exhibition catalogue and stated that 'many of the arrangements in nature were designed with my co-operation.'

Sold for £3,200


 

PUSSYWILLOW
signed and dated C.R.W. NEVINSON / 1936 lower right
oil on canvas
46 x 35cm; 18 x 13 3/4in
57 x 46.5cm; 22 1/2 x 18 1/4in (framed)

Property from Deceased Estate

Exhibited:
London, Barbizon House, Flower Paintings by C.R.W Nevinson, 1936

Rare amongst Nevinson’s oeuvre, flower studies such as this began to appear in the artist’s exhibitions from 1926 onwards. The present painting appeared among 20 other such works in a 1936 solo exhibition at Barbizon House, London titled Flower Paintings by C. R. W. Nevinson. According to notes from a previous owner, the exhibition featured in a write-up in The Times, which highlighted two works Catkins and Pussywillows (the present work) as of 'exceptional quality.' Much of Nevinson’s inspiration was from his wife, Kathleen, who was a professional gardener and Fellow of the Royal Horticultural Society. In fact, she was the author of the preface to the 1936 exhibition catalogue and stated that 'many of the arrangements in nature were designed with my co-operation.'