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All works are signed in pencil unless indicated otherwise.
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1700 House, Old Tappan. 1934. Etching. 6 7/8 x 8 3/4. $125.
The Merry Clown. 1947. Lithograph. 11 1/2 x 9 5/8. Edition 250. Printed on white wove paper with full margins. Signed in pencil. $150.
Born in Brooklyn, Evans was a pupil of P.R.B. Pierson. He exhibited at the Chicago Exposition in 1893, the Paris Exposition in 1900, as well as in London, Berlin, Vienna, Munich and New York. He was awarded bronze medals at the Buffalo Exposition in 1901 and at the St. Louis Exposition in 1904. He received a silver medal at the Panam Pacific International Exposition in 1915. He lived and worked in Brooklyn, New York. His work is in the New York Public Library, the Carnegie Institute, and in the Brooklyn Institute of Art and Science.
Evans was a disginguished wood engraver, who did both reproductive and original work. In the late nineteenth and early twentieth centuries, wood engraving was the primary medium of reproduction in books and magazines. Wood engraving is a highly technical and demanding medium. Evans was one of the masters of the medium.
Portrait of Johnson. 1935. Wood engraving after a sculpture by James E. Kelly. 7 1/2 x 6 1/2. Printed on tissue paper. Signed in pencil by Evans and in ink by Johnson. $125.
Little Dutch Girl. 1895. Wood engraving after Marcia Oakes Woodbury (1865-1913). 7 3/4 x 4 5/8 (sheet 11 1/8 x 9 7/8). Signed and dated in pencil by Evans. $75.
Chinese Tree Peony. 1951. Color serigraph. 7 3/4 x 10 7/8. Edition 150. Second presentation print for the Garden Club, which ended before the print was released. Signed in pencil. $150.
Godurt. c. 1960. Serigraph. 7 1/4 x 5 1/2. Edition 200, #57. Signed, titled and numbered in pencil. $50.
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Christmas from the Gorslines. 1942. Etching. 4 7/8 x 2 7/8 (sheet 8 3/4 x 5 7/8). A fine impression on off-white laid paper with deckle edges on 2 sides. Excellent condition apart from two stains from old hinges in the top corners. Signed and dated in pencil. $175.
Christmas Pudding. 1942. Etching. 4 7/8 x 2 7/8 (sheet 9 3/16 x 5). A fine impression with plate tone printed on watermarked laid paper. Excellent condition apart from two stains from old hinges in the top corners. Signed and dated in pencil. $175.
The Four Evangelists. 1951. Woodcut. x 6 1/2. Matthew, Mark, Luke and John are presented in medieval iconography. $125.
Eugene Higgins, N.A. American. 1874-1956.
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Gypsy Dancers. 1949. Soft-ground etching. 3 5/8 x 2 7/8. Presentation plate for the Miniature Print Society. Signed in pencil. $125.
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Historic Homes of Virginia:
Brandon on the James River. c. 1930. Etching. 8 1/8 x 10 3/4. Signed in pencil. $175.
Chatham on Rappahannoch. c. 1930. Etching. 8 1/8 x 10 3/4. Signed in pencil. $175.
Drybregor Manor. c. 1930. Etching. 8 1/8 x 10 /8. Signed in pencil. $175.
Mount Vernon - Rear. c. 1930. Etching. 8 5/8 x 11 1/2. Signed in pencil. $175.
Greetings from the House of Weyhe, 1931. 1931. Lithograph. 4 3/4 x 8 1/8 (sheet 5 7/8 c 8 13/16). Printed on heavy wove paper. Signed and dated in the stone. $100.
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Chinese Lanterns (Physalis alkekengi). 1923. Drypoint. Jaques 337. 9 1/2 x 5 7/8 (sheet 13 x 10 1/4). Printed on the full sheet of Japanese mulberry paper. A fine impression with plate tone. Printed on Japanese mulberry paper, on the full sheet with deckle edges. Provenance: the artist's estate. Unsigned. Annotated "1st". $150.
Sweetbriar (little). 1922. Etching and drypoint. Jaques 324. 5 7/8 x 2 7/8 (sheet 8 3/16 x 5 3/16). A rich impression with plate tone, printed on Japanese mulberry paper. Provenance: the artist's estate. Monogrammed in the plate; annotated "1st proof" in the artist's hand. The artist also made a larger plate of the same subject. $125.
Wisteria. 1923. Drypoint with hand coloring. Jaques 336. 5 x 3 (sheet 8 1/2 x 6 5/16). A rich impression with plate tone, printed on fine laid paper. Provenance: the artist's estate. Unsigned. $150.
Albergo, Alberoni, Italy. 1913. Etching. Jaques 220. 9 1/4 x 5 7/8 (sheet 11 x 7 3/8). A fine impression with plate tone. Printed on cream laid paper, on the full sheet with deckle edges. $175.
Gifts of the Magi. c. 1936. Linocut. 4 1/2 x 4 1/2 (sheet 9 3/16 x 6 3/8). A strong impression printed on hand-made paper. Engraved on the block by the artist himself. Signed in pencil. $125.
Gloria. c. 1936. Linocut. 4 1/2 x 4 1/2 (sheet 9 3/16 x 6 3/8). A strong impression printed on hand-made paper. Engraved by the artist on the block. Signed in pencil. $125.
Virgin and Child. 1936. Linocut. 5 1/2 x 2(sheet 8 7/16 x 3 3/4). A strong impression printed on hand-made paper. Monogrammed and dated in pencil. $125.
Virgin and Child with Sheep. c. 1936. Linocut. 5 3/4 x 4 5/16 (sheet 9 x 6). A strong impression printed on hand-made paper. Engraved on the block by the artist himself. Signed in pencil. $125.
A Bend in the Road. c. 1934. Linocut. 4 1/2 x 4 (sheet 7 x 4 7/8). A strong impression printed on hand-made paper. Engraved on the block by the artist himself. Signed and dedicated "my grateful appreciation of Carl Fro Kallog and all his family" in pencil. $125.
Rooftops in Snow. c. 1934. Linocut. 4 1/2 x 3 5/8 (sheet 6 1/4 x 4 11/16). A strong impression printed on hand-made paper. Engraved on the block by the artist himself. Signed in pencil. $125.
[Winter Storm]. c. 1934. Linocut. 3 13/16 x 3 1/8 (sheet 7 x 4 7/8). A strong impression printed on hand-made paper. Engraved on the block by the artist himself. Signed in pencil. $125.
Allen Lewis. 1878-1957.
Design with Trees and Horse. 1947. Line engraving on copper. 4 15/16 x 7 (sheet 6 7/16 x 8 5/8). Presentation plate for The Print Club of Rochester. A rich impression printed by the artist, on light tan wove paper on the full sheet. Original folder and prospectus. Signed in pencil. $100.
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Florida Pines. c. 1932. Etching. 4 x 4 3/4 (sheet 8 x 8 7/8). A rich impression with plate tone, printed on cream wove paper. Signed and titled in pencil. $175.
Provincetown. c. 1930. Etching and drypoint. 7 7/8 x 9 3/4. $175.
Other etchings by the artist are available.
[Winter Storm]. c. 1934. Linocut. 3 13/16 x 3 1/8 (sheet 7 x 4 7/8). A strong impression printed on hand-made paper. Engraved on the block by the artist himself. Signed in pencil. $175.
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The Garden of the Generalife. 1896. Lithograph. W37. 6 3/4 x 5. Spanish series. As published in Washington Irving, The Alhambra, 1895. Edition 500. Unsigned. $75.
Maine Fisherman. 1937. Lithograph. 9 1/8 x 10 3/4. Edition 150 for The Print Club of Rochester.Printed on hand-made wove paper on the full sheet with deckle edges. Two hinge stains and minor scattered foxing. Original presentation portfolio. Signed in pencil. $175.
The Ginza. c. 1950. Color serigraph. 15 x 21. Edition 30, #26. Affixed to a backing board. "The Ginza" referrs to the Japanese shopping district, much like Manhattan's Fifth Avenue. Signed and numbered in pencil. $175.
Cape Cod Cottage, Storrowton. c. 1955. Linoleum cut. 5 3/4 x 7 7/8. $150.
Church and Schoolhouse, Storrowton. c. 1955. Linoleum cut. 6 x 8. $175.
Red School House, Storrowton. c. 1955. Linoleum cut. 7 1/2 x 6. $150 in black and white; $250 in color.
Town Hall, Storrowton. c. 1955. Linoleum cut. 6 x 8. $175.
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The Press. c. 1920. Woodcut 5/16 x 5 1/16 (sheet 10 1/16 x 7 7/16). Unsigned. Titled in letterpress. Published in Modern Woodcutters, No. 2 (London: Herbert Furst, 1920). A good impression on the full sheet pale cream-colored wove paper, with deckle edges on two sides. $125.
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The Chapel and Founder's Tomb, Charterhouse. 1895. Etching. Rinder 240. 6 1/4 x 4 1/4. Fronsispiece for E.P. Wilmot and E.C. Streatfeld, Charterhouse Old and New (London: Nimmo, 1895). Initialed in the plate. A fine impression printed on Japanese vellum. $50.
Kingsgate, Winchester. 1902. Etching. Rinder 340. 6 1/8 x (sheet 10 1/8 x 7 3/8). A good impression printed with plate tone on cream wove paper. As issued in The Complete Angler. Signed in pencil. $175.
Scottish Women's Hospital. 1914. Etching. Not in Rinder. Bookplate. 4 1/8 x 2 3/4. Signed in pencil. Printed on off-white wove paper. A fine impression of this very rare print. $175.
West Bow, Edinburgh. c. 1847. Lithograph by Harding after a drawing by Cattermole. 16 3/4 x 11 9/16 (sheet 21 1/2 x 14). From the portfolio "Scotland Delineated in a Series of Views," originally produced for John Parker Lawson and published by E,Gambart in London and Edinburgh, 1849 - 1854. Lithographed by Day and Son. There were several printings. This is probably from the first edition, volume 1. Printed on heavy off-white wove paper. Good condition apart from scattered foxing. Signed in pencil by Cattermole. $175.
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On the Dal, Srinagar. c. 1923. Linoleum cut printed in colors. 4 3/8 x 6 5/8. Signed and titled in pencil. Mounted on cream-colored museum board with blue outlines. $175.
Nanga Parbat. c. 1923. Linoleum cut printed in colors. 4 3/8 x 6 5/8. Signed and titled in pencil. Mounted on cream-colored museum board with blue outlines. $175.
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Scheregate Steps, Colchester (Essex). c. 1921. Etching. 9 1/2 x 6 3/8 (sheet 13 x 9 1/8). Edition 50. A fine proof printed with plate tone, on Japanese mulberry paper. $150.
At Dorking. c. 1836. Lithograph. 15 1/8 x 11 1/8 (sheet 22 1/8 x 15 3/5). Printed on grey paper laid onto heavy wove paper. Titled and monogrammed in the stone. Scattered foxing; otherwise good condition. A fine impression. $175.
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Eastern Scene. c. 1925. Color woodcut. 11 x 9 1/16. Edition 25, #5. $125.
Rue Eau de Robec, Rouen. c. 1930. Etching. 11 5/16 x 7 3/8 (14 1/8 x 10 5/16). Titled in the plate; signed in pencil. A fine impression on pale cream-colored wove paper. Good condition apart from light sunstaining. $95.
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Guerilla Bandit. 1824. Etching. Alexander 25. 6 x 6 7/8. From the Rimmel edition of 1879 on India paper. Illustrated: Print Quarterly II.iii (1985): 221. Initialed in the plate. $100.
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Waterloo Bridge. 1894. Lithograph (auto-lithograph). 7 x 10 1/8 (7 7/8 x 11 4/15). As published in The Studio 4 (1894). Signed in the stone. $75.
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Spanish Holiday, Granada. c. 1930. Etching. 11 7/8 x 8 3/4. Edition 80, #29. $175.
A PORTFOLIO OF TWENTY-FOUR WOOD-ENGRAVINGS.
1985. Edition 45 numbered 1-45 and an additional I-XV not for sale. This is number #40. Each has a 'PNT' (Paul Nash Trust) blindstamp. Printed on Japanese Hosho paper by Ian Mortimer. In the catalogue notes that follow the titles of entries 17-24 are new titles created at this time. All dimensions are in millimetres, height first. Average size: 230 x 155 millimeters.
Upon the sale of the remaining contents of the Curwen composing room in 1984, seventeen of Paul Nash’s original engraved wood blocks came to light. A further eight previously uncatalogued blocks were then discovered through the Nash Trustees. Twenty-four of these blocks were used by Garton & Cooke to produce a limited edition of sixty impressions from each block for publication as a set in May 1985. The blocks were printed by Ian Mortimer and the resulting impressions are of consistently high quality. All are in excellent original condition.
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2. ABSTRACT NO 1, 1924. 102x31.
Nash printed this engraving on white wove paper, as here, and on a white wove paper with a rust coloured background design. The comparison between the two is striking, for the rust background disuses the strength of the image and enhances its decorative qualities. These differences take on further significance in the light of Nash's attitude towards abstract art. He only found it an appropriate medium for the applied arts. Medium apart, this engraving has no allegiance to the applied arts, and when printed on white wove paper is a highly successful abstract design, in which the dynamic rhythms of arcs, planes and curves are expertly set off by Nash's skilled and sure range of cutting. $150.
5. BIRDS, 1923 164 x 132
Nash's fourth engraving for Welchman's Hose illustrates Robert Gravest poem 'To An Editor' in which he relates the common plight of the poet who awaits payment from his publisher. Nash chooses a symbolic interpretation; by depicting the poet in the guise of a bird, he comments on the plight of the poet's "winged artistic soul" at the mercy of the commercial world. $125.
6. DECORATION, 1923. 38x32.
This tiny abstract engraving appears twice in Welchmans Hose, and makes an appropriate tail-piece decoration to this volume of poems. $95.
8. PATTERN PAPER NO 24, 1928. 40 x 80.
This is one of two blocks used for this pattern paper. The original design, subsequently reproduced on the cover of The Night Jaw by E.B. Brown uses this block superimposed over areas of ochre on buff paper. It is interesting to note that in this block and the previous one Nash includes more than the area of the pattern repeat, which simplifies the printing by making the break between the blocks harder for the eye to discern. $95.
10. PARADISE, 1928. 136 x 93.
This is Tellier's "garden of delights" which "the white rivers water with their milk" and in which "here and beneath the trees, in languid attitude the blest recline". The engraving shows Nash's true mastery of his medium, the sense of space and airiness is quite unusual and conveys the effortless atmosphere of luxury and one-ness with nature. Here Nash transcends the conventional uses of line engraving and crosshatching, reversing black on white, and white on black in order to include the optimum number of scenes without sacrificing clarity, or the overall balance of the design. $210.
12. DESIGN 1, 1929. 101 x 38.
The first design for A Song about Tsar Ivan Vasilyevitch, his young body-guard, and the valiant merchant, Kalashnikov, this illustration appears on the verso of the title page. In the book it is printed in black on grey paper with an over-printing of a red border and a red strip highlighting the front of the throne. Nash's semi-abstract design of a throne complements the opening verses of the poem in which the Tsar is holding court with his bodyguards.
All the engravings for this book are markedly different from those Nash did for Ahd-erRhaman in Paradise a year earlier. They are predominantly geometric, relying on bold accents of black and white that one would normally associate with linocuts rather than wood-engraving. The designs are described in the title page notes as 'decorations by Paul Nash' and they are conceived not only as part of the overall design of the page, to balance the heavy Gothic type-face, but in terms of the book as a whole, the austerity of their design is matched in both colour and mood by the binding on the cover. It is precisely because Nash was responsible for the overall design of the book that his illustrations are not mere visual equivalents for Lermontov's text, instead he sees the book as an object in its own right with the text as a part of the visual harmony rather than a souce of images. The size and format of the illustrations are carefully conceived in terms of the book as a whole, each design being the same size; two vertical images at the beginning and end of the book serve as accents, echoing the shape and design of the binding and two horizontal ones guide the eye through the text. $125.
14. DESIGN 3,1929. 38 x 101.
The head-piece to page 13 of A Song about Tsar Ivan, this is an abstract, geometric design similar in format to the previous one; it too, incorporates the same fine red line as a border. $135.
22. MEADOW GARDEN, c 1928. 89 x 138.
It is tempting to suggest that this design was conceived as part of the Abd-er-Rhaman in Paradise suite. Although no precise textual equivalent can be found, the text is full of descriptions of celestial gardens which could have inspired Nash's design. Its horizontal format is at variance with the three published large illustrations, but it is comparable in size. The rather florid cutting is also in keeping with this group of engravings, the treatment of the waterfall in Paradise is similar to the cutting used here. $170.
23. ABSTRACT COMPOSITION. $105
24. BRYONY AND CONVOLVULUS 38 x 83.
In The Garden of Cyrus Sir Thomas Browne discusses the circular and upward movement of plants which he notes is nowhere better illustrated than in the "great convolvulus." He also notes that the order of the circle is "verified in the large roots of Briony and Mandrakes." Nash illustrates the convolvulus and mandrake on page 104 of this book where the upward spiralling movement of the convolvulus in his illustration is comparable to the movement of a snake. In this illustration the exposed root of the bryony is a reminder of Nash's use of the exposed tree stump in works such as Event on the Downs of 1934. And the similarity between the snake and the convolvulus in The Garden of Cyrus gives a foretaste of Nash's later use of the image of the tree stump as Laocoon, thereby lending the tree stump here an added poignancy of association. $150.
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On the Dal, Srinagar. c. 1923. Linoleum cut printed in colors. 4 3/8 x 6 5/8. Signed and titled in pencil. Mounted on cream-colored museum board with blue outlines. $175.
Nanga Parbat. c. 1923. Linoleum cut printed in colors. 4 3/8 x 6 5/8. Signed and titled in pencil. Mounted on cream-colored museum board with blue outlines. $175.
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The Cottage - A Moonlight Scene (after Thomas Gainsborough. 1727-1788). c. 1823. Mezzotint on wove paper. 5 7/8 x 7 1/8 (sheet 8 5/16 x 9 1/2). Early proof before the engraved names of Gainsborough and Reynolds and before the title in the bottom margin. The image was later published as plate 4 in Gems of Art as issued by W.B. Cooke, London, 1823. Printed on tan paper, trimmed 1/4-inch outside the platemark. A dark rich impression. $125.
Scheregate Steps, Colchester (Essex). c. 1921. Etching. 9 1/2 x 6 3/8 (sheet 13 x 9 1/8). Edition 50. A fine proof printed with plate tone, on Japanese mulberry paper. $150.
Mother and Child. c. 1925. Etching and aquatint. 10 1/2 x 8 3/4 (sheet 17 1/4 x 12 7/8). Printed on the full sheet of tan wove paper. Scattered foxing in the margins, outside the image. A rich impression printed in bistre ink. Annotation verso: 'zu muttheiligen zweri für bairische kinderhelfe'. Signed and annotated 'radierung' in pencil. $175.
L'amant et le dictionnaire des rimes. (The Lover and the Rhyming Dictionary) July 7, 1839. Lithograph. 7 7/8 x 6 1/4 (image), 10 1/3 x 9 (border), 14 5/8 x 10 (sheet). A find impression printed on newsprint as published in Le Charivari. Good condition apart from a center fold. Signed in reverse in the stone. $175. A charming parody on amateur poets: (Lamant): Nymphes des Bois, connaissez vous Adèle? (Le Dictionnaire des Rimes): Adèle! Pastourelle, charnelle, onzelle, matétielle, récelle, sempiternelle, femelle....Qu'elle demoiselle! The comparisons become increasingly less flattering.
Girl with Flowers. c. 1925. Etching. 6 x 3 3/4 (sheet 17 1/2 x 12 1/4). Printed on the full sheet of cream wove paper. Signed in pencil. $175.
Portrait of Prince Otto von Bismarck. Etching. 5 11/16 x 4 13/16 (sheet 13 x 9 7/8). Signed in pencil. A fine impression on off-white wove paper. $150.
The College Door, Soissons. 1916. Etching and drypoint printed in sepia ink. 7 7/8 x 5 7/8 (sheet 9 1/2 x 8 3/16). Series: Twelve Etchings Made on the Front by Ch. Huard July 1916, #8. Edition 100 printed on Arches laid paper. Signed in pencil. $175.
Soissons is a town and commune in the Aisne département, Picardie, France, located on the Aisne River, about 60 miles northeast of Paris. It was the site of a major battle between German and American troops in 1918.
Nilbootn (Boats on the Nile). c. 1921. Etchingand aquatint. 6 1/2 x 13 1/2 (sheet 11 5/8 x 16 3/8). An unobtrusive scratch in the sky, upper right; otherwise a beautiful impression printed in subtle tones on cream wove paper. Signed and titled in pencil. $175.
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Wasservogel (Waterfowl). c. 1930. Etching. 6 3/8 x 9 13/16. Unsigned. $175.
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Makesagen in Egyptus (Storytelling in Egypt). c. 1921. Etching printed in colors. 3 7/8 x 5 1/2 (sheet 8 1/2 x 9 3/4). A fine impression with plate tone printed on cream wove paper. Signed and titled in pencil. $125.
Melonen-kaufer (Melon Seller). c. 1921. Etching printed in greygreen. 5 1/4 x 7 (sheet 9 3/4 x 12 5/8). A fine impression with plate tone printed on cream wove paper. Signed and titled in pencil. $150.
Palmen in Egyptus (Palm Tees in Egypt). c. 1921. Etching printed in colors. 7 1/4 x 10 1/2 (sheet 11 5/8 x 14 7/8). A fine impression with plate tone printed on cream wove paper. Signed and titled in pencil. $175.
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