Seven-panel peepshow, inclusive of image at rear board. A clever and elaborate advertising campaign for Shell Oil, the peepshow has two separate viewing holes: one guides the viewer down a rainy nighttime street in London, and the other through a day's jaunt in the country. Freedman's style can be best described as commercial post-Impressionist modernism, an apt approach both for the watery scene of alleyways and the naturalism of a rural road. This particularly accessible sort of British modern art distinguishes Freedman from his contemporaries, such as Duncan Grant and Walter Sickert. Though he did not attain the highbrow acclaim of those two of the Bloomsbury "peerage," his knack for the vernacular indicates a key element of modern art, i.e., that it permeated advertisements, newspapers, illustrated books, stamps, textiles, and all facets of daily life. Freedman took advantage of that visual ubiquity, designing illustrations for the commemorative postage stamps for King George V's Silver Jubilee, various publications from Faber and Gwyer (later Faber and Faber), Limited Editions Club and Heritage Press editions, film publicity materials, and various pieces for the WWII War Artists' Advisory Committee. The efforts all coalesce here in a dynamic and enjoyable peepshow. Moderate wear to edges of illustrated covers, some foxing at lower panel, else near fine.