| Jan Matulka
1890-1972 |
| Untitled [View of a Hill Town in Czechoslovakia] |
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![Untitled [View of a Hill Town in Czechoslovakia] by Jan Matulka](http://www.larkhall.com/pp/Matulka_thm.jpg) |
Linocut 1921286x265mm
[476x315mm] |
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| Ref: Flint 19 |
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| A very good impression of this extremely rare print; there was no published edition. Printed on laid paper and with a large black crayon study of a single reclining figure verso. Small losses and other defects in the margins otherwise in fine condition |
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| £850 |
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| Charles Meryon
1821-68 |
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| Etching1865169x147mm
[555x351mm] |
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| Ref: Delteil and Wright 45 state v/vi |
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A fine early impression before the addition of the lettering in the lower margin. One of a small number of de-luxe proofs issued by Cadart and Luquet prior to the regular edition published in 1866. Printed on an extremely large sheet of heavy laid paper with the Aqua-fortistes watermark. Pronounced waterstain in upper margin along edge, minor discolouration in margins elsewhere, but generally in fine untouched condition.
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| £1650 |
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| John Nash
1893-1977 |
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| Wood engraving1929180x125mm
[327x217mm] |
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| Ref: Greenwood 2903 |
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| From The Apocrypha, published by The Cresset Press, 1929. One of 30 proofs printed on fine Japan paper and signed by the artist in pencil. With full margins as issued. |
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| £595 |
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| Paul Nash
1889-1946 |
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| Wood engraving1924114x90mm
[167x143mm] |
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| Ref: Greenwood 54; Postan W. 53 |
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An exceedingly rare proof of an illustration of Genesis, published by the Nonesuch Press, London in 1924. (see note below). A fine impression printed on laid Japan paper with margins, signed, dated and titled by the artist in pencil; inscribed above the image though somewhat illegibly, 2nd set of 2 sets and similarly verso, 2 sets only No 2. At a later stage presumably, Nash has also written in the upper margin verso, edition 2. Only four other impressions taken before the block cracked are known, one in the British Museum, one in the V&A, one in the Fogg Art Museum, Boston and one, unsigned but titled by the artist, formerly in the possession of Larkhall Fine Art Ltd.
Provenance: Given or sold by Nash to the artist, Eric Kennington.
For an explanation of the edition of the Genesis proofs see Greenwood, The Wood-Engravings of Paul Nash, The Wood Lea Press, Woodbridge, 1997. In short, ten of the twelve wood engravings were issued in an edition of 12 and some sets were offered for sale by the Redfern Gallery. Two prints were not included, Contemplation because the block cracked after only a few impressions and The Void, although in this case we do not know the reason. Typically, and this applies to Nash's prints in general, annotations relating to edition sizes are frequently erased or amended, possibly sometimes because the demand for prints was greater than Nash had at first thought.
The English poet and playwright, Gordon Bottomley, described the engravings for Genesis as,
works of unadulterated genius, and Nash explained to him, I have tried perhaps impossible things but I feel the whole lot do hang together pretty well. They came quite easily one after another and I know they are much better engravings technically.
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| SOLD |
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| Paul Nash
1889-1946 |
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| Wood engraving1924115x90mm
[169x133mm] |
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| Ref: Greenwood 46; Postan W. 45 |
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An extremely rare proof of an illustration of Genesis, published by the Nonesuch Press, London in 1924. A fine impression printed on laid Japan paper with margins, signed, dated and titled by the artist in pencil; inscribed above the image, 2nd set of 2 sets and similarly verso, 2 sets only No 2. At a later stage presumably, Nash has also written in the upper margin verso, edition 12.
Provenance: Given or sold by Nash to the artist, Eric Kennington.
For an explanation of the edition of the Genesis proofs see Greenwood, The Wood-Engravings of Paul Nash, The Wood Lea Press, Woodbridge, 1997. In short, ten of the twelve wood engravings were issued in an edition of 12 and some sets were offered for sale by the Redfern Gallery. Two prints were not included, Contemplation because the block cracked after only a few impressions and The Void, although in this case we do not know the reason. Typically, and this applies to Nash's prints in general, annotations relating to edition sizes are frequently erased or amended, possibly sometimes because the demand for prints was greater than Nash had at first thought.
The English poet and playwright, Gordon Bottomley, described the engravings for Genesis as,
works of unadulterated genius, and Nash explained to him, I have tried perhaps impossible things but I feel the whole lot do hang together pretty well. They came quite easily one after another and I know they are much better engravings technically.
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| SOLD |
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| Ben Nicholson
1894-1982 |
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| Etching1966188x195mm
[320x380mm] |
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| Ref: Lafranca 29 |
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A superb, unique pattern proof printed with strong, heavily manipulated tone and with additional work by the artist in ink, prior to the published edition of 50. Signed and dated in pencil and inscribed, campione [sample]. Further inscribed at the lower edge of the sheet, use this as model and worked on where black is.
The cancelled plate was sold in the Lafranca Sale at Sothebys in July 1998. |
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| £3850 |
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