Catalogue entry


Inscr. ‘Paul Nash’ b.l.
Canvas, 27 1/2×35 3/4 (70×90·5).
Purchased from the artist through Arthur Tooth & Sons (Knapping Fund) 1939.
Exh: Leicester Galleries, November 1928 (63); International Exhibition, Carnegie Institute, Pittsburgh, 1931 (261); Leicester Galleries, November 1932 (49; not numbered in catalogue but cf. Eates, 1948, p.52); Venice Biennale, 1938 (British Pavilion, 15); Leeds, April–June, 1943 (13); Tate Gallery, March–May 1948 (24); Canada, 1949–50 (7).
Lit: Eates, 1948, p.77, repr. pl.53; Bertram, 1955, p.163.
Repr: Architectural Review, CII, 1947, p.78; Carlos Peacock, Painters and Writers, 1949, pl.96 (in colour).

The photograph in the Nash Collection, V. & A. Library, is dated 1928. The painting shows a formalized view from the artist's garden, Oxenbridge Cottage, Iden, Sussex, and is one of a number of works painted at this time in which the geometric shapes of such motifs as the screen and logs are stressed. The snake, seen on the fence at the left, is an important symbol in Nash's work.

On the back there is an unfinished upright landscape dominated by a central tree, dateable c. 1927.

Published in:
Mary Chamot, Dennis Farr and Martin Butlin, The Modern British Paintings, Drawings and Sculpture, London 1964, II