Paul Nash (1889-1946), limited edition woodcut on paper, Design 2 (1929), 4.0cm x 10.1cm, mounted, glazed and framed. Published by Garton and Cooke, May 1985. Ed. 12/45. Printed on Japanese Hosho paper by Ian Mortimer from the original woodblocks in the possession of the Victoria and Albert Museum, with blindstamp of the Paul Nash Trust. Provenance – Betty Evans Collection, former President of the Contemporary Art Society for Wales
Paul Nash, British 1889-1946, Die Walkure, the Valkyrie's home; The Hall of the Gibichungs from Gotterdammerung; Another scene from Das Rheingold; and a scene from Siegfried, all from 1925 from the Wagner Ring cycle; four woodcuts in black and white on wove, each image: 7.7 x 9.2 cm, (unframed) (4)
Paul Nash, British 1889-1946, Wood on the Downs; offset lithograph in colours on wove, after the original oil painting of 1929, signed in the plate, image: 40 x 53 cm, (framed)
Paul Nash, British 1889-1946, The Tide, 1920; lithograph on wove, signed, dated, titled and inscribed 'edition 30, 15 white, 15 yellow' in pencil, from the edition of 30, plate: 31.2 x 42cm, (framed) Note: This lithograph depicts a scene of the coast at Dymchurch, where Nash moved in 1921. Nearby Romney Marsh and Iden feature prominently in Nash's work during this period. 'Landscape at Iden', painted in 1929 and now displayed at the Tate Gallery in London, features strong use of symbolism in reference to the artist's experiences of the First World War.
Paul Nash (British, 1889-1946) Early Spring, Fulmer signed and dated 'Paul Nash/1919' (lower right) pencil and watercolour 38 x 28.1 cm. (14 7/8 x 11 in.)
Paul Nash (1889-1946), collotype on paper, Costumes for some of the Characters, from A Midsommer Nights Dreame, 18CMx 14cm, monogrammed in the plate, mounted, glazed and framed. Published by Ernest Benn Ltd., London 1924, and printed under the art-editorship of Albert Rutherston on pure rag paper in an edition of 550, Ed. 135/550
PAUL NASH (BRITISH 1889-1946)STUDY IN PALE TONES: THE POND AT OXENBRIDGE, IDEN IN RYE, SUSSEXPencil, watercolour and coloured crayonSigned and dated 1921 (lower right); further signed, titled and dated 1921 (verso)59 x 40cm (23 x 15½ in.)Provenance:Mrs Paul Nash, OxfordThe Leicester Galleries, LondonPrivate Collection, Geoffrey Jellicoe (acquired at the 1952 exhibition)Sale, Christie's, London, 4 June 1999, lot 2Sale, John Nicholson Auctioneers, Haslemere, 11 October 2014, lot 401Private Collection, Hampshire (acquired frome the above sale)Exhibited:London, New English Art Club, January 1923, no.181London, The Leicester Galleries, New Year Exhibition, January 1952, no.25Literature:Andrew Causey, Paul Nash, Oxford, 1980, no. 373The present work is one of the earliest depictions of Oxenbridge farmhouse in the village of Iden in East Sussex. Paul and his wife Margaret moved to nearby Dymchurch in 1921, the same year as this drawing. Nash's mental health was severely impacted by his wartime experience and this was a period characterised by inner turmoil and subsequent recuperation. Study in Pale Tones, the Pond at Oxenbridge is a break from the desolation of Nash's wartime works and a move towards the romantic depictions of the English landscape that characterised his work between in the decade that followed. Oxenbridge Farm in Iden was owned by close friends of the Nashes, Bertram and Kitty Buchanan. Bertram had also served as a war artist and they were frequent visitors to the farm which became a recurrent subject of many of Nash's 1920s works , including Fig. 1, Oxenbridge Pond, 1927-28 (Birmingham City Museums & Art Gallery). From Dymchurch, the Nashes moved to Oxenbridge Cottage in 1925, staying there until they left for Rye in 1930.
Nash (Paul, 1889-1946). Mansard Gallery, The Friday Club, 1921 * Nash (Paul, 1889-1946). Mansard Gallery, The Friday Club, 1921, colour lithograph poster, published by Vincent Brooks Day & Sons Ltd., London, a fine example, tipped-on to backing board at top corners, two old tape marks to lower margin of sheet verso, sheet size 76 x 50.5 cm (30 x 19/34 ins), framed and glazed (78 x 53 cm) QTY: (1) NOTE: Provenance: Purchased by the present owner from The Fine Art Society, London, approximately 30 years ago. The Friday Club was an avant-garde exhibiting group founded by Vanessa Bell in 1905. Nash was a member from 1913 until 1922 (when it was disbanded).
Paul Nash (1889-1946) Three reproduction prints in colour: 'The Pond' signed with monogram in pencil l.r. and inscribed 'for Oliver's box'; 'Coast Scene' signed with monogram in pencil l.r., and inscribed 'For Ruth/provided it's kept/in The Box'; 'Savernake' signed 'Paul Nash' in pencil l.r., and inscribed with title 21.5 x 24cm and smaller (3) Provenance: The Estate of Stanley Jones MBE RE. Condition Report: A little time staining and light creasing, however all three prints present well overall.
Paul Nash (1889-1946) Illustration for 'Samuel Courtauld' pen and ink 13.5 x 9.5cm, unframed Provenance: The Estate of Stanley Jones MBE RE. An illustration for the wood engraving 'Bookplate for Samuel Courtauld', created c.1930, which later featured in '24 Wood Engravings by Paul Nash', published in 1985. Condition Report: The drawing has been stuck down to a sheet of card measuring 21.5 x 16.5cm overall. A little time staining and light surface dirt, with a small spot of foxing to the lower left corner, however presents well overall.
Paul Nash (1889-1946) Untitled inscribed 'Ruth from Paul' and dated 'Christmas 1938', photographic collage, watercolour and coloured crayon 18 x 25.5cm, unframed Provenance: The Estate of Stanley Jones MBE RE. Condition Report: Time staining with a little light surface dirt. Minor crease marks to right edge and centre of the top edge. A couple of small dots of foxing to the lower edge on the right side.
Paul Nash (1889-1946) 'From Riviera Sketches' inscribed with title and dated 'Cagnes 1926' underneath, pencil and coloured pencil, mounted on a folded sheet inscribed 'A New Year's card/for Ruth & Oliver/with love from/Paul & Margaret/1928' inside 22 x 13cm, unframed Provenance: The Estate of Stanley Jones MBE RE. Condition Report: The card measures 25cm x 18cm (folded) and 25 x 34.5cm overall. A little time staining. The colours appear slightly muted, please refer to illustration, however the drawing presents well overall. The drawing has been stuck down to the card. The card has light brown stains to the inside and back, and the top edge is a little cockled. There is a faint strip of discolouration to the right edge on the front of the card.
Paul Nash (1889-1946) Phoenix pencil and coloured crayon 9 x 13cm, unframed Provenance: The Estate of Stanley Jones MBE RE. Condition Report: Mount: 15.5 x 21.5cm Time staining and foxing. There is an indistinct inscription to the lower right corner which is obscured by the mount. The work appears to be glued to the front mount.
Paul Nash (1889-1946) A rocky landscape signed, inscribed and dated 'For/Oliver/from Paul/Christmas 1938', pencil and watercolour 18 x 26cm, unframed Provenance: The Estate of Stanley Jones MBE RE. Condition Report: Faint thumbprints to the centre of the right edge and lower left corner. Appears to be in otherwise good condition.
Paul Nash, British 1889-1946, Wood on the Downs; offset lithograph in colours on wove, after the original oil painting of 1929, signed in the plate, image: 40 x 53cm, (framed) Provenance: Mahy’s Fine Art Department, The Square, Winchester
Paul Nash, British 1889-1946, The Strange Coast, 1920; lithograph on yellow wove, signed, dated, titled and inscribed 'edition 30' in pencil, from the edition of 30, plate: 31.5 x 40.8cm, (framed) Note: This lithograph depicts a coastal scene at Dymchurch, Kent, where Nash moved in 1921, having visited for the first time two years prior. The seawall shown here became a recurring image in Nash's work of this period. Provenance: The Leicester Galleries, London, 1978.
Paul Nash, British 1889-1946, The Tide, 1920; lithograph on wove, signed, dated, titled and inscribed 'edition 30, 15 white, 15 yellow' in pencil, from the edition of 30, plate: 31.2 x 42cm, (framed) Note: This lithograph depicts a scene of the coast at Dymchurch, where Nash moved in 1921. Nearby Romney Marsh and Iden feature prominently in Nash's work during this period. 'Landscape at Iden', painted in 1929 and now displayed at the Tate Gallery in London, features strong use of symbolism in reference to the artist's experiences of the First World War.
Nash (Paul, 1889-1946). Set of 24 wood engravings, Garton & Cooke, 1985 AR * Nash (Paul, 1889-1946). A Portfolio of Twenty Four Wood-Engravings by Paul Nash, Garton & Cooke, 1985, twenty-four black and white woodcuts on Japanese Hosho paper, each with Paul Nash Trust blindstamp to lower margin, individually mounted and loosely contained in original patterned paper drop-over bookbox, with separately printed introductory booklet inserted, folio (30.5 x 20 cm) QTY: (24) NOTE: Limited edition of 65 copies, this being number 3 of 45 copies for sale.
After Paul Nash, British 1889-1946, Wood on the Downs; offset lithograph in colours on wove, after the original oil painting of 1929, signed in the plate, image: 40 x 53cm, (framed) Provenance: Mahy’s Fine Art Department, The Square, Winchester
PAUL NASH (BRITISH 1889-1946) STUDIO INTERIOR Oil on canvasSigned (lower right)81 x 39cm (31¾ x 15¼ in.)Painted in 1930.Provenance:Arthur Tooth & Sons Ltd., LondonBarbara Gibbs and thence by descentExhibited:London, Arthur Tooth & Sons Ltd., Recent Developments in British Painting, October 1931, no. 4London, Tate Gallery, Paul Nash, November-December 1975, no. 119Literature:A. Causey, Paul Nash, Oxford, 1980, no. 668, p1. 493The present painting forms part of a rare body of work by Paul Nash that solely depicts an interior, without it being a construct for an external landscape beyond. A tall slender jug holds tentacles of dried grasses and flower heads, perched upon a bookcase filled with casually inserted volumes. Before the bookcase a wooden armchair sits semi shrouded in a white sheet and an architect's T Square rests in the corner, throwing a dark shadow of a cross onto the wall behind.Nash had recently incorporated mathematical instruments into Dead Spring, painted in the previous year following the death of his father, who he was very close to. Writing to his friend Gordon Bottomley he confided that It was a tragic business losing my Dad...As you know I loved him very much...A part of my life goes with him for in so many ways he and I were linked. (A.Causey, Paul Nash, Landscape and the Life of Objects, Farnham, 2013, p.67)In writing about Dead Spring, Causey observes that A ruler and set square add to the sense that design is about geometry, measurement and control, from which the plant is suffering (ibid, p.66) and indeed the tension within the painting is created through the strong linear construction juxtaposed to the withering natural curves of the pot plant. The use of similar subject matter correlates to the present work, however the context in which it is used feels altogether more personal. The dry, formalised technique that Nash started to experiment with in 1929 where the brushstroke is disguised, eliminating the presence of the artist's individual hand and thus giving the work a timelessness and in the case of Dead Spring, a memorialising atmosphere, has been used. However, this artistic objectification is conflicted with the intimate private space in Studio Interior. We the onlooker have stumbled on a quiet overlooked corner of this room. The still life is not formally constructed but seemingly happened upon. These are real objects in a real space acutely positioned to create an emptiness in what appears to be a busy studio. Slightly claustrophobic and nostalgic but with an underlying disquiet that is present in Nash's finest works. This painting is reflective but not sentimental. It does not represent or mark a specific moment but rather the conscious inevitability of time passing for us all. .
Paul Nash, British 1889-1946, Die Walkure, the Valkyrie's home; The Hall of the Gibichungs from Gotterdammerung; Another scene from Das Rheingold; and a scene from Siegfried, all from 1925 from the Wagner Ring cycle; four woodcuts in black and white on wove, each image: 7.7 x 9.2 cm, (unframed) (4)",
Paul Nash (1889-1946) 'Abstract Design', woodcut on leaf-patterned paper, signed 'Paul Nash', inscribed with title and numbered '192' in pencil 9.5 x 14.5cm Provenance: With Christopher Drake Ltd., London. Literature: 'English Print-Making 1900-1940: A Neglected Heritage', Christopher Drake Ltd., London, 1972, p.108. Condition Report: Frame size: 21.5 x 26.5cm Not viewed out of glazed frame. Yellow colour is pattened paper. A few spots of foxing. A black smudge from the printing to lower right.
PAUL NASH (BRITISH 1889-1946)SEAGULL EYE WIND WAVES Wood Printed with artist's address to Bourlet & Sons Ltd., London label (to underside)52 x 40cm (20¼ x 15½ in.) In the avant-garde English journal Axis no 8 for Early Winter 1937, Paul Nash's object Burnt Offering was reproduced - one of the few images we have of his objects, once quite numerous but now virtually all disappeared. Burnt Offering seems to be a composite object, with what appears to be a turned wooden finial (upside down) or door handle partially destroyed by fire fixed to a concrete or stone base with markings and encrustations that make it look as if it had long been submerged in the sea. Nash's objects were a major presence in the surrealist exhibitions in England in the 1930s. At the 1936 International Surrealist Exhibition at the New Burlington Galleries he showed two objects - untitled, but described as Designed Object, and one Found Object Interpreted whose medium was given as Vegetable Kingdom (Marsh Personage). Burnt Offering was also shown at the London Gallery exhibition Surrealist Objects and Poems (1937). As Michel Remy says, Hardly any exhibit has survived from the exhibition, (so far as we know). True to the complexity of the surrealist interest in the object, fifteen categories of object were listed in the catalogue; in Surrealist objects Nash exhibited Homes without Hands and Forest; in Found Objects Long-gom-pa (a five-branch root named after a Tibetan runner famous at the time (Remy); in Found Objects Interpreted Goodness How Sad, Encounter of Wild Stones, Not Cricket and Nest of Wild Stones; in Objects Collages, Aquarium and Only Egg; in Oneiric Objects Tree Man; in Objects for Everyday Use (with Margaret Nash) Basket for Found Objects; Burnt Offering in Perturbed Objects; Moon Aviary in Constructed Objects.For the Cambridge University Arts Society Exhibition of Surrealism (1937) he showed three: Only Egg, The Nest of Wild Stones and Long-gom-pa. In the same exhibition Eileen Agar showed Le père Ubu. In 1938, following the great success of the London International Surrealist Exhibition, Nash showed several works, including Objets aux champs and Objets balancés (probably photographs rather than actual objects, the latter possibly Poised objects [Causey 1973 pl. 27].)Of the twenty-five or so known and named objects, most were dismantled, scrapped, not made or have simply melted away. Forest from Roland Penrose's collection (trees made from glove stretchers) and Only Egg seem to be the only two objects by Nash to have survived, according to the catalogue raisonné. As the Tate catalogue entry for Nash's important photomontage/drawing Swanage, c. 1936 says, Almost none of these objects survives except as depicted in Nash's work, though he apparently continued to keep and collect objects until his death. It is therefore extraordinarily difficult to place the object in question with any certainty although there is plenty of leeway for the existence of a hitherto unknown found object - or possibly found object interpreted. A typewritten label on the back of the object gives the title Seagull Eye Wind Waves and an address for Paul Nash: Whitecliffe Farm, near Swanage, which is where he lived from October 1934 until he moved to the centre of Swanage in 1935. In March 1936 the Nashes left Swanage. So the object (or its collection) would date from roughly the same period as Marsh personage, his first found object, which in some respects, especially visually, it resembles. Whereas Marsh Personage and Long-gom-pa are clearly found natural objects, (the latter furze-wood, the former driftwood, salvaged from a stream, and the first of the found vegetable objects), Seagull Eye Wind Waves is interpreted and worked on. It is composed of three pieces of wood, each with a strong character: the thickly gnarled outer rim of a hollow tree, which embraces a curved form, perhaps once part of a piece of furniture. This has been carved to enhance its resemblance to outspread seagull wings, and the tip of the top wing becomes a bird head; through a hole in the top of this shape runs a thin, antler-like branch. Perhaps this worn forked stick that has pierced the wooden curve was encountered thus in a curious natural formation, and the curve was then interpreted as wings and the bird's head, crudely carved. Gashes and striations in the side of the wooden base, some circling knots in the wood, some indicating the lines of a torso, must belong to the same intervention. It might have been worked by Nash, or found by him as a piece of rough carving, a kind of primitive interpretation by an unknown hand, with a sense of the phallic and sexual suggestions in the lump of wood and its odd impaling. This would be wholly in line with surrealist taste and there are plenty of examples of such finds. For example the construction made by an aliéné, (a frame filled with broken scissors and other sharp implements) found and exhibited by André Breton. This rural find by Nash is in line with his profound love of the natural world and its innumerable forms. He wrote in Axis (January 1935) ...I find I still need partially organic features to make my fixed, conceptual image. I discern among natural phenomena a thousand forms which might, with advantage, be dissolved in the crucible of abstract transfiguration; but the hard cold stone, the rasping grass, the intricate architecture of trees and waves, or the brittle sculpture of a dead leaf - I cannot translate altogether beyond their own image, without suffering in spirit. My aim in symbolical representation and abstraction, although governed by a purpose with a formal ideal in view, seeks always to give life to a conception within the formal shell... In my opinion Seagull Eye Wind Waves is a found interpreted object by Paul Nash. Professor Dawn AdesCausey, Andrew and Eates, Margot Paul Nash Paintings and Watercolours Tate 1975Causey, Andrew Paul Nash's Photographs, Document and Image Tate 1973Evans, Myfanwy Paul Nash 1937 Axis no 8 Early Winter 1937Exposition internationale du surréalisme Exb. cat. Galerie Beaux-arts Paris 1938 Exposition surréaliste d'objets Exb. cat. Charles Ratton Paris 1936Jenkins, David Fraser Paul Nash, The Elements Dulwich Picture Gallery 2010Montagu, Jemima (ed.) Paul Nash, Modern Artist, Ancient Landscape Tate 2003Nash, Paul For, but not with Axis 1 January 1935Nash, Paul Swanage or Seaside Surrealism Architectural Review November 1936Nash, Paul The Object, Architectural Review November 1936Nash, Paul Fertile Image Ed Margaret Nash [1951] 1975Nash, Paul Writings on Art ed. Andrew Causey Oxford 2000Paul Nash, Places Exb. cat. South Bank Centre 1989Read, Herbert (ed.) Surrealism 1936Remy, Michel Surrealism in Britain Ashgate 1999Surrealism Exb. Cat. Cambridge University Arts Society 1937Surrealist Objects and Poems London Gallery Ltd. 1937 The International Surrealist Exhibition New Burlington Galleries Exb Cat. 1936 The London Bulletin 1938-1940
Nash (Paul, 1889-1946). The Two Angels, Heaven, and Boredom..., 1927 * Nash (Paul, 1889-1946). The Two Angels, Heaven, and Boredom, from Abd-er-Rahman in Paradise, 1927, three wood engravings, two on pale cream thin japon (likely from the first edition of 12 proofs on white japon, according to Postan), one on very thin japon trimmed to the blockmark (from the second issue as noted by Postan), 'The Two Angels' - large margins, minimally tipped on to mount with tape, image size 7 x 5 cm (2 3/4 x 2 ins), sheet size 25.5 x 19 cm, 'Heaven' - trimmed to image, tipped onto backing board with adhesive, two small creases lower left, two small areas of spotting, image size 13.5 x 9.5 cm (5 1/4 x 3 3/4 ins), 'Boredom' - large margins, minimally tipped on to mount with tape, slightly mount stained, image size 14 x 9.5 cm (5 1/2 3 3/4 ins), sheet size 25.5 x 19 cm, uniformly framed and glazed. QTY: (3) NOTE: Jules Tellier's Les deux paradis d'Abd-er-Rhaman was first published in Paris in 1921; its story concerns a man who must choose between Christian and Muslim heavens. The English version was translated by Brian Rhys, with four illustrations by Paul Nash, and published by The Golden Cockerel Press in 1928. Nash's engravings are fine examples of his work, and are described by Clare Colvin in Paul Nash Book Designs as "the climax of Nash's representational wood engravings". Literature: Postan The Complete Graphic Work of Paul Nash - W80, W81, W83. Postan notes: "Two editions: the first as 12 proofs on white japon; the second on fine japon trimmed to the blockmark and mounted as the first illustration to Abd-er-Rhaman in Paradise, Golden Cockerel Press, 1928, in an edition of 400 copies."
Nash (Paul, 1889-1946). Five Illustrations from Cotswold Characters, 1921 * Nash (Paul, 1889-1946). Five Illustrations from Cotswold Characters, 1921, a complete set of five woodcuts on wove paper from the edition of 9, each signed and dated in pencil to lower right, sheet one and four inscribed 'proof' in pencil, the other three numbered 'No VI of 9' or 'VI of 9' in pencil, in very good condition (Thesiger Crowne with inky fingerprint to lower left portion of sheet), partial 'Danehurst Parchment' watermark to all, each tipped minimally onto backing board with tape, 'William Weston Gallery' label to verso of backing board, each image 7.5 x 7.5 cm (3 x 3 ins), all sheets 18 x 11 cm (7 x 4 1/4 ins), displayed in a multi-aperture mount (42 x 59.5 cm) QTY: (5) NOTE: Illustrations: Thesiger Crowne, The Mason. Simon Rodd, The Fisherman. Rufus Clay, The Foreigner. Pony, The Footballer. Joe Pentifer and Son. John Drinkwater's book Cotswold Characters was first published by Yale University Press in 1923, and included Paul Nash's first ever illustrations for a book. Literature: Postan The Complete Graphic Work of Paul Nash - W14, W15, W16, W17, W18. Dodgson The Print Collector's Quarterly (Volume 15) - 14, 15, 16, 17, 18.
Paul Nash, British 1889-1946, Die Walkure, the Valkyrie's home; The Hall of the Gibichungs from Gotterdammerung; Another scene from Das Rheingold; and a scene from Siegfried, all from 1925 from the Wagner Ring cycle; four woodcuts in black and white on wove, each image: 7.7 x 9.2 cm, (unframed) (4)
Paul Nash (1889-1946) Black Poplar Pond signed and dated 'Paul Nash / 1922' (lower right); unnumbered from the edition of 50 woodcut 17.5 x 14cm Framed 41 x 37cm
After Paul Nash (British, 1889-1946) Wood on the Downs Offset lithograph in colours, on wove paper, published by the Fine Art Trade Guild, London, with narrow margins, framed Sheet 410 x 535mm (16 1/8 x 21in)
Paul Nash (British, 1889-1946) The Strange Coast (Postan L10) Lithograph, 1920, on wove paper, signed, titled, dated and dedicated 'with love from Paul Christmas 1920' in pencil, from the edition of 30, with wide margins, framed Image 315 x 403mm (12 3/8 x 15 7/8in) Sheet 503 x 635mm (19 7/8 x 25in)
Paul Nash (1889-1946) Paul Nash (1889-1946) A PRIVATE WORLD, PHOTOGRAPHS BY PAUL NASH. Portfolio of silver gelatin prints (25), 1931-1946, published by Fischer Fine Art, London, 1978. A posthumous portfolio curated by John Piper, each silver gelatin print numbered Roman numerals and editioned 2/45 in pencil on verso, with the blindstamp of the Paul Nash Trustees and The Tate Gallery Archives Department, in the original grey paper-covered solander box, with the printed title plate tipped-in to the cover. With accompanying booklet, which contains descriptions of each subject in the portfolio [note: booklet is numbered 18/42 on last page]. The set contains the following images: I. The White Horse, Uffington, Berkshire, image size 142mm x 302mm II. The White Horse, Uffington, Berkshire, image size 175mm x 302mm III. âMonster Fieldâ, Carswallâs Farm, Newent, Gloucestershire, image size 170mm x 303mm IV. Object Trouve, image size 202mm x 302mm V. Stone Post, image size 303mm x 160mm VI. Ploughed Field and Haystacks, image size 174mm x 303mm. VII. âLaocoonâ, Carswallâs Farm, Newent, Gloucestershire, image size 193mm x 303mm VIII. Cork Drying; France (1933) or Spain(1934), image size 171mm x 302mm IX. The Box Garden, Beckley Park, Oxfordshire, image size 183 x 302mm X. Avebury Sentinel, image size 303mm x 173mm XI. Washing drying on the beach, Nice, image size 175mm x 302mm XII. Boat on the Shore, South of France, image size 201mm x 302mm XIII. âEmpty Market Stalls, Ceuta, Moroccoâ, image size 176mm x 302mm XIV. The Bull Ring, Ronda, Spain, image size 182mm x 302mm XV. Bench Seats, Swanage, image size 173mm x 302mm XVI. Boat, Atlantic, image size 193mm x 302mm XVII. Chain and Net, John Nashâs home, Meadle, Berkshire, image size 302mm x 183mm XVIII. âTotemsâ, old shipyard, Rye harbour, image size 303mm x 203mm XIX. Rock recessed in grass, image size 215mm x 301mm XX. Step Edge; below Nashâs garden at New House, Rye, Sussex, image size 177m x 302mm XXI. Blue Pool, near Wareham, Dorset, image size212mm x 302mm XXII. Seashore and Steps, Swanage, Dorset, image size 175mm x 303mm XXIII. Maiden Castle, Dorset, image size 110mm x 302mm XXIV. Atlantic Voyage, image size 303mm x 181mm XXV. Dead Tree, Romney Marsh, image size 302mm x 183mm
Paul Nash (British, 1889-1946) A Wood - Illustration for King Lear, Act 2 Scene III signed with monogram, dated and dedicated '1926/John from Paul' (lower right), titled and inscribed 'Act 2- Scene III/A Wood -/Edgar. I heard myself proclaimed/etc.' (lower left) pen and ink and pencil on paper 24 x 18.5cm (9 7/16 x 7 5/16in).
Paul Nash, British 1889-1946, Die Walkure, the Valkyrie's home; The Hall of the Gibichungs from Gotterdammerung; Another scene from Das Rheingold; and a scene from Siegfried, all from 1925 from the Wagner Ring cycle; four woodcuts in black and white on wove, each image: 7.7 x 9.2 cm, (unframed) (4)
Paul Nash (1889-1946) Paul Nash (1889-1946) 'The Raider of the Moors' lithograph printed in colours, 1940, signed and inscribed in the plate, image 38.5 x 56.5cm, mounted, glazed and framed 61.5 x 77cm overall Provenance: The Estate of John Graham (1927-2021), Harlow. Condition Report: Not viewed out of the frame. Visible spotting throughout the image and crease marks and a tear to the right central edge into the image. Mounted and framed, no glass.
Paul Nash (1889-1946) Paul Nash (1889-1946) 'Dyke by the Road' (Postan W25) wood engraving, special proof, signed and dated 'Paul Nash/1922' in ink l.r., inscribed with title l.l., inscribed 'Joanlet from Paul/Dymchurch 1922' u.l., and 'special proof' u.r. sheet 15.5 x 20.5cm A note from the vendor: My mother was the youngest daughter of Arthur and Harriet Miles of Sellindge near Romney Marsh in Kent. My grandfather, Arthur Miles, who farmed and bred horses, allowed my mother, then aged sixteen, to drive her pony and trap round the neighbouring countryside. One day in 1921, visiting friends in Dymchurch, my mother met Paul Nash and his wife Margaret (Bunty) who had rented a cottage there. Nash, while still recovering from a serious illness, was designing scenes for two plays by his friend Gordon Bottomley ('King Lear's Wife' and 'Gruach') and he asked my mother to help him build the models. A pin-hole camera was used to take photographs, and Nash gave my mother a small hand-made album decorated and inscribed 'Photographs of Two Scene Models designed and built by Paul Nash with the assistance of Joan Adeline Miles', which I still have. In 1922, Nash gave my mother his pen and wash drawing 'The Shore', 1922, inscribed to her on the mount, and two 'special proofs' of two of his wood engravings, 'Dyke by the Road', 1922' and 'The Bay', 1922, inscribed to her on the margins. Condition Report: Framed: 20 x 25.5cm The paper is discoloured and is a mid to dark brown. There are holes in the sheet in the top left corner and around the edges, please see images. The sheet has been stuck down. Foxing to the margins. Small nicks to the edges.
Paul Nash (1889-1946) Paul Nash (1889-1946) 'The Bay' (Postan W27) wood engraving, special proof, signed and dated 'Paul Nash 1922' in ink l.r., inscribed with title l.l., inscribed 'Joanlet from Paul/Dymchurch 1922' u.l., and 'special proof' u.r. sheet 14.5 x 20.5cm A note from the vendor: My mother was the youngest daughter of Arthur and Harriet Miles of Sellindge near Romney Marsh in Kent. My grandfather, Arthur Miles, who farmed and bred horses, allowed my mother, then aged sixteen, to drive her pony and trap round the neighbouring countryside. One day in 1921, visiting friends in Dymchurch, my mother met Paul Nash and his wife Margaret (Bunty) who had rented a cottage there. Nash, while still recovering from a serious illness, was designing scenes for two plays by his friend Gordon Bottomley ('King Lear's Wife' and 'Gruach') and he asked my mother to help him build the models. A pin-hole camera was used to take photographs, and Nash gave my mother a small hand-made album decorated and inscribed 'Photographs of Two Scene Models designed and built by Paul Nash with the assistance of Joan Adeline Miles', which I still have. In 1922, Nash gave my mother his pen and wash drawing 'The Shore', 1922, inscribed to her on the mount, and two 'special proofs' of two of his wood engravings, 'Dyke by the Road', 1922' and 'The Bay', 1922, inscribed to her on the margins. Condition Report: Framed: 19.5 x 25.5cm The paper is discoloured and is a mid to dark brown. Staining to the upper left corner. The sheet has been stuck down and there is a 3.5cm crease line to the centre of the top margin. Not viewed out of glazed frame.
PAUL NASH (BRITISH 1889-1946) SILBURY HILL Watercolour and pencil Signed (lower right)38.5 x 57cm (15 x 22¼ in.)Executed in 1938.Provenance:Private Collection, C. Allsopp, by whom sold Christie's, London, Modern British Drawings, Paintings and Sculpture, 20 March 1970, lot 180 Agnews, London (by 1971)Private Collection, Harold RileyChristie's, London, 20th Century British Art & Irish Art, 19 November 2004, lot 97, where purchased by Robert KimeExhibited:Newcastle-upon-Tyne, Northern Arts Gallery, Paul Nash 1889-1946, September-October, 1971, no. 34London, Tate Gallery, Arts Council of Great Britain, Paul Nash Paintings and Watercolours, November-December 1975, no. 175 (loaned by Harold Riley)Literature:Andrew Causey, Exhibition Catalogue, Paul Nash 1889-1946, Newcastle, Northern Arts Gallery, 1971, p. 15, no. 34 pl. 12 Andrew Causey, Paul Nash, Oxford, 1980, pp. 265-6, cat no. 952, pl. 312Silbury Hill, located near Avebury in Wiltshire is the largest artificial mound of its kind in Europe. It is believed to have been completed around 2400BC and is similar in scale to the pyramids in Egypt. The purpose and significance of the mound are unknown and remain the subject of much speculation. Given Nash's fascination with pre-historic sites and the spiritual qualities of the English landscape, it is unsurprising that Silbury Hill was of interest to him. Nash first visited Silbury Hill and the nearby stones at Avebury in July 1933 whilst on holiday in Marlborough. According to Ruth Clarke, who travelled with him, Nash was 'excited and fascinated' by the landscape which appealed to his 'sensitiveness to magic and the sinister beauty of monsters' (cited in Andrew Causey, Paul Nash Landscape and the Life of Objects, 2013). The ladder laid against the hill in the present work was a figment of Nash's imagination which derived from his interest in the idea of something rising out of the earth or up from the water and creating a new form above ground. A postcard found in Nash's collection depicts a ladder inside a pit at the excavation of Maiden Castle leading upwards from the ground beneath. This postcard alongside the watercolour of Silbury Hill, is discussed by Andrew Causey in his 1980 publication on the artist:.:'Silbury, as might be expected, intrigued Nash: its clear, plain, and - to Nash - symbolic shape was both palpable and inscrutable. In the oil painting Silbury Hill [Causey no. 880] he hinted at its symbolical meaning, its special, reserved ambience, with the closed gate and the pyramidal tumulus beyond, while constructing at the same time elaborate formal congruences of triangles within the over-all design. In the slightly later watercolour [the present work] he revealed a little more of his reaction to the hill's shape by adding a ladder leaning against the mound in front of it. This was no more than a now familiar Nash image, but there could be special interest in this if the idea was suggested by a postcard he had of Maiden Castle [Causey pl. 313]. It is not just that both are sites of ancient occupation, but that the postcard and watercolour are complementary images: in one the ladder comes up out of a dark pit, in the other it seems to continue its journey up the side of the hill; the sequence seems a characteristic product of Nash's mind' (see A. Causey, Paul Nash, Oxford, 1980, p. 265).
Paul Nash (1889-1946), Landscape of the Megaliths, lithograph, 20" x 30" (50 x 76cm), signed in pencil by the artist lower right, Provenance - the vendor's family were given this lithograph personally by Paul Nash.
After Paul Nash (British, 1889-1946) Wood on the Downs Offset lithograph in colours, on wove paper, published by the Fine Art Trade Guild, with narrow margins, framed Sheet 415 x 535mm (16 3/8 x 21in)
Paul Nash (British, 1889-1946) Empire Marketing Board Lithographic poster in colours, circa 1930, on thin wove paper, printed for H.M.Stationery Office by Waterlow & Sons Ltd., London, published by the Empire Marketing Board, the full sheet, framed Sheet 505 x 762mm (21 1/2 x 30 3/8in)
Paul Nash, British 1889-1946, Die Walkure, the Valkyrie's home; The Hall of the Gibichungs from Gotterdammerung; Another scene from Das Rheingold; and a scene from Siegfried, all from 1925 from the Wagner Ring cycle; four woodcuts in black and white on wove, each image: 7.7 x 9.2 cm, (unframed) (4)
PAUL NASH (1889-1946, British) Winter Wood 1922 woodcut 14.5 x 11.5 cm (image); 28.0 x 17.5 cm (sheet) edition of 50 signed and dated lower right: Paul Nash/ 1922 numbered upper left: from edition 50 titled lower left: Winter wood inscribed verso: 131
Property from the Beaverbrook Art Gallery, Sold to Benefit Future Acquisitions Paul Nash 1889 - 1946 Environment for Two Objects signed Paul Nash (lower left) oil on canvas unframed: 51 by 76cm.; 20 by 30in. framed: 60.5 by 86cm.; 23¾ by 34in. Executed in 1936-37.
Paul Nash, British 1889-1946, Die Walkure, the Valkyrie's home; The hall of the Gibichungs from Gotterdammerung; another scene from Das Rheingold; and a scene from Siegfried all from 1925 for the Wagner Ring cycle; woodcuts in black and white on wove, each image: 8.2 x 9.8 cm, (unframed) (4)
