Signed by the artist in pencil.
First exhibited at the Leicester Galleries, London, February, 1923.
Related work: oil on canvas, 1920, dimensions and whereabouts unknown, first exhibited at the Bourgeois Gallery, New York, November 1920.
Art critic Frank Rutter thought works such as Success, “revealed that the artist had in no way allowed his talent for biting satire to atrophy. Indeed, the vividness with which the desiccated monocle-wearing man about town and his puffed-up over-elaborately dressed paramour seated beside him in a theatre box are realised in ‘Success’, strongly suggests that Nevinson was one of the few British artists with the ability to create work of comparable satirical power to the contemporary images produced by Otto Dix, Conrad Felixmüller, Rudolph Schlicter and Georg Grosz of Weimar Republic’s depraved and corrupt ruling classes.”
Quotation from: 'A Dilemma of English Modernism: Visual and Verbal Politics in the Life and Work of C.R.W. Nevinson' edited by Michael Walsh