- Paul Nash 1889–1946
- Wood engraving on paper
- Image: 137 x 156 mm
frame: 275 x 275 x 20 mm
- Presented by the Trustees of the Paul Nash Trust 1971
Not on display
Paul Nash 1889–1946
P01026 Promenade II 1920
Woodblock, 4½ x 5½ (11.5 x 14).
Presented by the Paul Nash Trust 1971.
The following note on this woodblock and the print T01457 made from it has been kindly supplied by Alexander Postan (letter of 14 June 1972):
‘“Promenade II” was one of a series of wood-engravings that Paul Nash made while he was living at Dymchurch in Kent. The subject of the woodcut is of course the bay and seawall at Dymchurch, a subject that Paul Nash painted, drew, and photographed a great deal at that time. I have seen four different woodcuts of this subject; three made in 1920, and one in 1922.
‘The first is “Seawall”, 1920, reproduced in The Keepsake, 1920. Only a few proofs remain from a proposed edition of 50 and, according to John Gould Fletcher, the block has been destroyed. (John Gould Fletcher, cat. no. 8).
‘Paul Nash worked on “Promenade I” and “Promenade II” in 1920, not in 1923 as signed on your proof. The date 1923 most probably refers to when the impression was taken, rather than the date when it was cut. “Promenade I” and “Promenade II” can be thought of as first and second states, the same block being used in each case. A few proofs have been taken of “Promenade I”. Approximately 30 proofs have been taken from “ Promenade II “, some numbered as from an edition of 25, some numbered and inscribed as from an edition of 35 or from an edition of 50. “Promenade II” was reproduced in the Winter number of The Apple, in 1921, and also in Form, November–December, 1921. ("Promenade I”, John Gould Fletcher, cat. no. 9 and “Promenade II”, John Gould Fletcher, cat. no. 10).
‘The final woodcut on this theme is “The Bay”, 1922 (John Gould Fletcher, cat. no. 23), of which there were about 30 proofs pulled, some numbered and some inscribed as from an edition of 50.
‘Incidentally, in most of the drawings and watercolours of this subject that I have seen, there is a female figure which can be taken to be Margaret Nash. Although neither of the figures in the “Promenade II” can be called portraits, one could guess that the two women are Margaret Nash and Paul Nash’s sister Barbara.’
Published in The Tate Gallery Report 1970–1972, London 1972.