Neil Collins
Trust and Respect | 1957 | Moss and Fangio | Artwork
An original watercolour painting
Moss and Fangio 1957
1957 was the last year of racing before Fangio retired with a record five World Championships. His speed was never better nor in doubt and his determination undimmed as was seen in the epic battle he had with Hawthorn and Collins at the German Grand Prix that year when the great man pulled off a stunning win in his trusty 250F.
Fangio and Moss had a healthy respect for each other, they had been team mates at Mercedes in 1955 and it was clear Stirling Moss saw Fangio as his superior and always held him in the highest regard. An understanding of mutual trust and respect developed between them.
Moss must have learnt a great deal chasing him round the circuits of Europe in an equally matched and dominant car.
In 1956/7 Moss, who was determined to drive for British Teams was an independent with his own Maserati, but he signed up with Vanwall. Against the 250F the Vanwall was not an easy car to handle with a heavy gearbox, front suspension, fuel and cooling systems issues giving the car a reputation for unreliability, but it was fast, it was streamlined and in the hands of Moss and Tony Brooks it could be a winner. In 1958 the team won the Constructors' Championship.
Overall size (cm): 54.0 x 44.0 approx.
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Neil Collins
Neil Collins watercolour artist works from old photographs and likes to research period colours to ensure that details are correct. Neil’s first national exhibition was at the RAC Art of Motoring in 2016 where his water colours found a ready market. Since then he has developed both his style and his client base. The clean lines of Neil’s pictures reflect a lifetime in design disciplines. The translucent and free flowing qualities of water colour give an immediacy to Neil’s work.
“I get an enormous amount of pleasure from researching and planning my paintings. Old photographs are fascinating, and I love to translate old black-and-white photographs into colour with my artwork. Every photograph has a narrative – sometimes obvious, sometimes hidden. I like to have this in my paintings".
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