London: Alexander Postan in association with The Tate Gallery, 1971.
Engraving on copper, c1923, printed on TH Saunders mould-made paper with full margins. Printed by Carol Korn at The Print Workshop, London. Mounted and held in buff-coloured presentation folder with titling. Also, loosely inserted, is a proof of the first state. 127 X 203 mm. with the blind stamp of the Paul Nash Trust. A Trustee of the Paul Nash Trust discovered the copper plate for this engraving by chance, dispelling former doubts on whether the artist had produced engravings on copper. The plate was clean and not worn indicating that few impressions, if any, had been taken from it. The Trust decided to issue a limited edition of impressions in conjunction with Alexander Postan Publishing and the Tate Gallery, where a retrospective exhibition took place. Following a severe breakdown in 1921, diagnosed as “war strain”, the artist and his wife, Margaret, rented a cottage at Dymchurch on the Kent coast. While recuperating Nash was drawn to this naturally mysterious landscape and began to incorporate abstraction into his work for the first time. This copy is from the library of Iain Stuart Bain (1934 – 2018) distinguished scholar, world authority of the wood engravings of Thomas Bewick and expert on printing techniques. He wrote extensively on the history of copper-plate printing and was Head of Publications at the Tate Gallery for twenty-two years. Indeed, Iain Bain may have overseen the printing of this plate which is why both the first state and the final state are included with this folder. Fine as issued.