Paul Nash: Signed (23 results)

First Edition. Signed by the author. Near fine paperback copy; edges very slightly dulled. Remains well-preserved overall; tight, bright, clean and especially sharp-cornered. Physical description; 80 pages : illustrations (some color) ; 24 cm. Notes; Includes bibliographical references (page 79) and index. Contents; 1. Early Visions and Poems -- 2. The Void of War -- 3. Making a New World -- 4. Unit One and Surrealism -- 5. Further Adventures in Flight. Subjects; Nash, Paul 1889-1946. Nash, Paul 1889-1946 Criticism and interpretation. Nash, Paul. Artists England ; Biography. Artists. Painting, Modern 20th century. Painting, Modern 20th century Great Britain. 1 Kg.…

First Edition. Signed by the author. Near fine paperback copy; edges very slightly dulled. Remains well-preserved overall; tight, bright, clean and especially sharp-cornered. Physical description; 80 pages : illustrations (some color) ; 24 cm. Notes; Includes bibliographical references (page 79) and index. Contents; 1. Early Visions and Poems -- 2. The Void of War -- 3. Making a New World -- 4. Unit One and Surrealism -- 5. Further Adventures in Flight. Subjects; Nash, Paul 1889-1946. Nash, Paul 1889-1946 Criticism and interpretation. Nash, Paul. Artists England ; Biography. Artists. Painting, Modern 20th century. Painting, Modern 20th century Great Britain. 1 Kg.…

Hardcover. 8vo. pp 107. Charcoal cloth covered boards with gilt lettering at spine. Colour illustrated dust jacket. Signed presentation copy with a laid-in, signed letter from editor, Janet Boulton. Copiously illustrated in black and white throughout. ISBN: 1870071883 May show some slight shelfwear but content clean and unread. Very good indeed in very good indeed dust jacket.…

Paperback. Condition: Very Good. First Edition. Wraps. 8vo. pp 25. Stapled wraps. Original publisher's peach coloured covers, lettered black. Signed presentation from the author on the front inside cover, "Janet, many thanks for your support, Lucy." ISBN: 9781851772810 Very good indeed. Signedes.

Hardcover. Condition: Fine. 1st Edition. Oblong quarto. 48 pages. Flat signed by the author to the title page. No marks of previous ownership. Jacket in removable film cover. Unblemished example. Signed by Author(s).

1st Ed. Sm. Slim 4to. 90pp. Colour frontis., photo. port. of Paul Nash, 34 colour plates, 20 figures, 4 other colour plates. From the library of Jerrold Northrop Moore, lightly rubbed original white lettered grey cloth with coloured pictorial upper board. Signed to title page by 'David Boyd Haycock.' US$37.…

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. Published by John Murray, London, UK, 1973. Original orange cloth gilt. Dustwrapper. Size: 23.2cm x 29.3cm. pp. xvi, 156. Copy of Isobel, Baroness Radnor, with her armorial bookplate and inscribed to her by the author 'with affectionate good wishes'. Also includes two autograph letters from Eates to Radnor in an envelope which has been attached to the front paste-down. One of these discusses how surprised she is by the success of the book and how: "I wish you'd known Paul. He was one of Harley's and my closest friends" and "If he opened the door and walked in I'd simply say 'Darling Paul, how splendid to see you,' and go on from where we left off." The second letter refers to her visit to see the 'Whistler glass at Moreton… as well as the recumbent effigy of (T. E.) Lawrence. Did you know, by the way, that Lawrence insisted on the engravings for the 'Special' edition of the Seven Pillars being done by Paul Nash? Lawrence himself was a student of Margaret Nash's father, who taught him Arabic at Oxford". Illustrated throughout in colour. A near fine, tight, clean copy in near fine, very slightly creased and marked dustwrapper. ISBN 0714828122. Signed by Author(s).…

Condition: Fine. 1st Edition. First edition, first printing. Limited edition of 50 numbered copies and 10 unnumbered artist's proofs (this being an AP/Artist's Proof), with 8 original Iris inkjet prints produced by Nash Editions on 16 x 20-inch Rives BFK cotton-rag paper. Each print is signed by the artist and embossed with the Nash Editions seal. The portfolio includes a title sheet with artist's biographies, limitation and colophon, printed letterpress. The prints are contained in a custom-made orange cloth-covered portfolio, with title stamped in blue on cover. Portfolio size 16-3/8 x 20-5/8 inches. Fine. Prints and portfolio in flawless, pristine condition. The prints are as follows: 1) Shelly J. Smith, "Untitled Nanbird," 1992. Image size 14 x 15-1/2 inches. 2) Robert Heinecken, "Shiva, The Lord Whose Half Is Woman (Vacation), 1990." Image size 18 x 10-1/4 inches. 3) Paul Thorel, "Paola V.," 1993. Image size 15-5/8 x 14 inches. 4) Graham Nash, "Chrome Magnum," 1991. Image size 14 x 16 inches. 5) Peter Campus, "bee being," 1994. Image size 10-7/8 x 18 inches. 6) Eva Sutton, "Disintegration #8," 1991. Image size 14 x 15-1/2 inches. 7) Barbara Kasten, "Roman Amphitheater, Medieval Church, Tarragona, Spain," 1992. Image size 13-1/2 x 18 inches. 8) Martina Lopez, "Revolutions in Time 2," 1994. Image size 10-3/4 x 17-3/4 inches. From Mark Haworth-Booth: "The artists represented here work with the idea that manipulation -- technical, political, psychological and an endless menu of ramifications -- is the underlying reality of our time. The images here do not so much 'express' this; it's what they are." From the publisher: "'Metamorphoses' is among the first fine-art portfolios of digital photography ever produced. Featured are dynamic new works by some of the most significant established and emerging artists of our time. Marrying the revolutionary potentials of digital image-making with the Iris digital printing process, this portfolio represents the state of the art of a nascent form of photographic expression. At a pivotal moment in the history of photography, this work represents a metamorphosis: the transformation of the medium from its photochemical origins to a new, digital foundation. The artists included in the 'Metamorphoses' portfolio were chosen for the sophistication and eloquence of their visual statements. Working in collaboration with Nash Editions in the proofing and production of the edition, these artists have created digital prints of photographic images that were impossible or simply unimagined before the emergence of computer-imaging techniques. A new vision is emerging at the crossroads of art and technology, and now, along with it, we have a printing method compatible with that vision." Signed by Author.…

Second Edition. Signed and inscribed. Very good copy in the original paper-labelled, paper-wrapped boards. Spine bands and panel edges somewhat dulled and rubbed as with age, with a tear to paper of spine. Remains well-preserved overall. Physical description; x, 287 p. : illus. ; 19 cm. Notes; Includes bibliographical references and index. Subjects; 1642-1649. Newbury, England, Battle of, 1644. Great Britain History Civil War, 1642-1649. 1 Kg. …

Second Edition. Signed and inscribed. Very good copy in the original paper-labelled, paper-wrapped boards. Spine bands and panel edges somewhat dulled and rubbed as with age, with a tear to paper of spine. Remains well-preserved overall. Physical description; x, 287 p. : illus. ; 19 cm. Notes; Includes bibliographical references and index. Subjects; 1642-1649. Newbury, England, Battle of, 1644. Great Britain History Civil War, 1642-1649. 1 Kg. …

Hardcover. Condition: Very Good. Dust Jacket Condition: Good. Hbk, 54p. with five engravings on wood by Paul Nash. New Haven: Yale University Press, 1923 edition. Neat inscription by previous owner on ffep. Signed copy by author: 'John Drinkwater, Christmas 1933' on title page. A clean copy in very good condition.Glassine wrapper also in pretty good condition despite small tear to tail of spine. d434 / m2664. Paul Nash (illustrator). Signed by Author(s).…

Hardcover. Condition: Very Good. No Jacket. 1st Edition. Five half-page engravings. Maize paper-covered boards with printed label on the front cover. A very good clean copy. Presentation copy, inscribed by the author to Molly Patterson. Inscribed by Author(s).

First edition. Quarto. 90 pages. Colour illustrations throughout. Cloth with colour pictorial front board. The catalogue of an exhibition. Introduction by Dr Robert Travers who established the gallery. Loosely inserted is a Typed Letter Signed by Dr Travers: about 200 words to noted collector Allen Freer presenting the book and generally chatting.Fine. Not issued in dustwrapper.…

Oversize hardcover. First edition (& 1st printing). Full colour graphic novel, very oversize (42cm x 31cm). LIMITED EDITION: 450 numbered copies signed by the artist. Fine copy in pictorial boards, as issued without dustjacket (as new).

Hardcover. Condition: Fair. 1st Edition. The deluxe issue of the first edition, printed on large hand-made paper and limited to 500 numbered copies signed by the author (this being #39). Tall slim 8vo. Unpaginated. Paper-covered boards lettered in gold at the upper board. With one full-page black and white drawing by Paul Nash, and a second colour illustration. The boards marked, toned and soiled, and the paper-covering chipped at the spine with a number of vertical slivers of loss. The final leaf, noting that this is number 19 of The Ariel Poems series, detached and lain-in. A fair copy, but really quite crisp internally. No dust wrapper called for. Signed by Author(s).…

Hard Cover. Condition: Very Good. No Jacket. Limited ed. 34/43 signed by the author. Pp, 87. Many illustrations. This special edition is with four tipped-in, previously unpublished woodcuts numbered and with the authentication stamp of the Paul Nash Trust. Bound in 1/4 morocco with buckram boards, in buckram slipcase. Spine of slipcase slightly bubbled, spine ends of book slightly rubbed. Size: 23.5 x 16.0 Cms. Paul Nash (illustrator). Signed by Author. …

Soft cover. Condition: Very Good. No Jacket. 1st Edition. Folio. Original paper covers, with mounted colour plate. 10 colour plates. Covers rubbed and frayed. From the library of the writer Anthony Bosman, with an ink presentation inscription to him on the half-title in Nash's hand. Signed by Author(s).…

Paperback. Condition: Very Good. First edition. Folio. Original paper covers, with mounted colour plate. 10 mounted colour plates. Covers a little rubbed and frayed. With a presentation inscription 'For Bernard & Barbara from Paul, with good wishes for 1939' from Paul Nash; could be Barbara (Hepworth) and Bernard (Leach) or his sister Barbara Nash.…

Soft cover. Condition: Good. 1st Edition. 12mo. Original paper wrappers with yapped edges. Covers worn and frayed and nearly detached. There is a contemporary label on the upper cover noting the frontis portrait of Drinkwater is signed by him and dated 10.7.1918 also that the Paul Nash woodcut is signed and dated by Nash. From the collection of James King, who has been a John Simon Guggenheim Memorial Fellow and is a Fellow of the Royal Society of Canada, enjoys a distinguished career as an academic and a popular writer of both non-fiction and fiction. Published the book 'Paul Nash. Designer and ilustrator'. Signed by Author(s).…

First edition Oblong octavo. pp 16 + 32 plates, some in colour. Wrappers.Presentation copy from the artist to the art historian, E.H. Ramsden, inscribed in pencil inside the upper cover: ''Hartley from Paul - May 1944''. The recipient was the partner of Margot Eates who in 1948 published the first major book on Paul Nash.Covers dusty. Front cover marked. Spine rubbed and staples rusted away. Good.…

Hardcover. Condition: Very Good. Dust Jacket Condition: good. First edition. Sm.4to. Original two colour cloth with constructivist design, Grey d/w with matching design lettered in pink. B/w plates. Covers a little rubbed, d/w rubbed and frayed , with loss around head of spine, several tears around spine. mark to reverse, slightly frayed at head of spine, lettering on spine faded to white. Inscribed in ink on front end-paper 'To Ben Bennett from Barbara Hepworth' additionally inscribed by Ben Nicholson, his inscription dated Aug. 30, 1934.…

First edition, first impression, association copy, inscribed by the artist on the front free endpaper, "John Betjeman from Paul Nash [small deletion] (bought)". In 1934 Nash and his wife moved to Dorset where, commissioned by John Betjeman, he began to research material for the Shell Guide to Dorset, published in 1935. Duodecimo. With 17 plates reproducing Nash's work. Original black and white patterned boards designed by Enid Marx, title to front cover in red. Spine a little toned; a near-fine copy, contents clean and unmarked.…

Folding sheet. Condition: Very Good. First edition. A hand written letter in black ink on unheaded folded grey notepaper addressed: 3 Eldon Road, Hampstead, NW35 to Cicely Grey: February 1938 My dear Cicely, please come and see us, we'd love to see you again and it will reassure us both. We thought you had abandoned us as we never heard from you again. I was staying with Tom and Gillian in October and we used to talk of you. They are steadily making a nice fat living out of The Blue Pool. I made a drawing of it and we are planning to produce a sort of guide to the Pool. Of course we should love to come and sample your cook and sniff the tulips from the country. With our best greetings Paul. With an envelope in adifferent hand. Nash stayed with the Barnards, the owners of the Blue Pool, at Furzebrook House in 1937 and talked of producing a guide for the Blue Pool for which he would supply illustrations. Provenance: the Barnard family. Pennie Denton. Paul Nash and the Blue Pool. Dorset Life, May 2013. "The visitors' book from Furzebrook House, near Wareham, records that Paul Nash stayed there from 17 to 24 September 1937. Seven-year-old Tom Barnard junior was told that the famous artist needed to sleep with seven pillows, because of his asthma. In the morning he crept to the door dividing the nursery wing from his parents' quarters and peeped through, hoping, in vain as it turned out, that the visitor's bedroom door might be open and he might catch a glimpse of Mr Nash on his seven pillows.Tom does not know how Paul Nash first got to know his parents, Tom and Gillian Barnard, but on 9 March 1935, a few days after the Barnards had moved into Furzebrook House, Paul and his wife, Margaret, were brought to tea by a Mr West, who may have had a part in the negotiations to buy the house. Just why these visitors were invited when the family were in the process of moving in is unclear but perhaps Nash, who was then living in Swanage and busy researching his Shell Guide to Dorset, was anxious to see the Blue Pool, a beauty spot on the Furzebrook estate often sought out by artists.The Barnards had lived for many years in South Africa where Tom Barnard was Director of the School of African Life and Languages at Cape Town University. In 1934 the family returned to England and began to look for somewhere to live. Furzebrook House seemed attractive, with its 200 acres of land including a large garden, heathland, woodland, eight cottages and a small farm. They decided to buy it but as the house had not been lived in for some time, it needed a good deal of work before they could move in.The Furzebrook estate had been owned and managed by Leonard Gaskell Pike, the last of the generations of Pikes who had mined the land for ball clay. Joseph Pike, a clay merchant from Devon, had started mining in the area in 1760 and in 1762 his son, William, drew up a contract with Josiah Wedgwood for 1100 tons of clay a year. In 1866 the Pikes opened a railway line from Furzebrook to Ridge Wharf and a steam train replaced the donkeys and carts that had transported the clay across the heath. From Ridge, barges took the clay to Poole for onward shipment to the Mersey ports, to Bristol and, by canal, to Staffordshire.When the Barnards bought the estate, some of the clay workings had been filled in but several large ponds, including the famous Blue Pool, remained. The Blue Pool had originally been dug in the mid-19th century but was already disused when Augustus John and his friends came to paint there in 1910. The pool's main attraction was its startling turquoise water, which was caused by the diffraction of light from minute clay particles in the lake. People were turning up at all times and without permission to gaze in wonder at the pool and Tom Barnard hit on the idea of turning the lake and its surroundings into a visitor attraction. He fenced in about 25 acres around the pool, turned one of his fields into a car park, built an attractive teahouse and charged an entrance fee. Gillian Barnard laid the first bri.…