Paul Nash (artist)
Paul Nash | |
---|---|
Slade School of Art | |
Known for | Painting, printmaking |
Movement | Surrealism |
Spouse |
Margaret Theodosia Odeh
(m. 1914–1946) |
Paul Nash (11 May 1889 – 11 July 1946)
Born in London, Nash grew up in
During World War II, although sick with the asthmatic condition that would kill him, he produced two series of anthropomorphic depictions of aircraft, before producing a number of landscapes rich in symbolism with an intense mystical quality.[3] These have perhaps become among the best known works from the period. Nash was also a fine book illustrator, and also designed stage scenery, fabrics and posters.[4]
He was the older brother of the artist John Nash.[4]
Early life
Nash was the son of a successful barrister, William Harry Nash, and his wife Caroline Maude, the daughter of a Captain in the Royal Navy. He was born in
The Slade was then opening its doors to a remarkable crop of young talents – what Tonks later described as the school's second and last 'Crisis of Brilliance'. Nash's fellow students included
World War I
Army officer
On 10 September 1914, shortly after the start of World War I, Nash reluctantly enlisted as a Private for home service in the Second Battalion, the
In December 1914 Nash married Jerusalem-born Margaret Theodosia Odeh, an Oxford-educated campaigner for
Nash began officer training in August 1916 and was sent to the
Official war artist – Belgium, 1917
In November 1917 Nash returned to the
I have just returned, last night from a visit to Brigade Headquarters up the line and I shall not forget it as long as I live. I have seen the most frightful nightmere of a country more conceived by Dante or Poe than by nature, unspeakable, utterly indescribable. In the fifteen drawings I have made I may give you some idea of its horror, but only being in it and of it can ever make you sensible of its dreadful nature and of what our men in France have to face. We all have a vague notion of the terrors of a battle, and can conjure up with the aid of some of the more inspired war correspondents and the pictures in the Daily Mirror some vision of battlefield; but no pen or drawing can convey this country—the normal setting of the battles taking place day and night, month after month. Evil and the incarnate fiend alone can be master of this war, and no glimmer of God's hand is seen anywhere. Sunset and sunrise are blasphemous, they are mockeries to man, only the black rain out of the bruised and swollen clouds all through the bitter black night is fit atmosphere in such a land. The rain drives on, the stinking mud becomes more evilly yellow, the shell holes fill up with green-white water, the roads and tracks are covered in inches of slime, the black dying trees ooze and sweat and the shells never cease. They alone plunge overhead, tearing away the rotting tree stumps, breaking the plank roads, striking down horses and mules, annihilating, maiming, maddening, they plunge into the grave, and cast up on it the poor dead. It is unspeakable, godless, hopeless. I am no longer an artist interested and curious, I am a messenger who will bring back word from the men who are fighting to those who want the war to go on for ever. Feeble, inarticulate, will be my message, but it will have a bitter truth, and may it burn their lousy souls."[10][12][13]
Nash's anger was a great creative stimulus which led him to produce up to a dozen drawings a day. He worked in a frenzy of activity and took great risks to get as close as possible to the frontline trenches.[14] Despite the dangers and hardship, when the opportunity came to extend his visit by a week and work for the Canadians in the Vimy sector, Nash jumped at the chance. He eventually returned to England on 7 December 1917.[5]
Official war artist – England, 1918
In six weeks on the Western Front, Nash completed what he called "fifty drawings of muddy places". When he returned to England, he started to develop these drawings into finished pieces and began working flat-out to have enough pictures ready for a one-man show in May 1918. While in Flanders Nash had mostly worked in pen-and-ink, often over painted in watercolours, but in England he learnt, from Nevinson, to produce lithographs. The 1917 drawing Nightfall, Zillebecke District showing soldiers walking along a zig-zagging duckboard became the 1918 lithograph Rain. After the Battle shows a battlefield, deserted save for some corpses sinking into the mud.[10] The Landscape – Hill 60 shows fields of mud and shellholes with explosions filling the sky above. One of the largest and most powerful new drawings was Wire, originally titled Wire-The Hindenburg Line and again uses the destruction of nature, in the form of a tree trunk wrapped in barbed wire, akin to a crown of thorns, to represent the catastrophe of war.[15]
Early in 1918, Nash began working in oils for the first time. The first oil painting he made was The Mule Track in which, amidst explosions from a bombardment, are the tiny figures of soldiers trying to stop their pack animals charging away along another zig-zagging duckboard. Switching to oils allowed Nash to make far greater use of colour and the explosions in The Mule Track contain yellow, orange and mustard shades.[10] The canvas The Ypres Salient at Night captures the disorientation caused by the changes in direction of the defensive trenches at the Front, which Nash would have been familiar with, and which was exacerbated at night by the constant explosion of shells and flares.[15][16]
Whilst in France Nash had made a pen-and-ink drawing he called
These new works, alongside the 1917 pieces and some other works such as Mackerel Sky, were exhibited in Nash's solo exhibition entitled The Void of War at the Leicester Galleries in May 1918. This exhibition was critically acclaimed with most commentators focusing on how Nash had portrayed nature, in the form of devastated woods, fields and hillsides, as the innocent victim of the war.[13]
The Menin Road
In April 1918 Nash was commissioned by the British War Memorials Committee to paint a battlefield scene for the Hall of Remembrance project. He chose to depict a section of the Ypres Salient known as 'Tower Hamlets' that had been devastated during the Battle of the Menin Road Ridge. Once his work for the Void of War exhibition was complete in June 1918, Nash started painting the huge canvas, now known as The Menin Road, which was almost 60 square feet (5.6 m2) in size, at Chalfont St Peter in Buckinghamshire using a herb-drying shed as his studio. He completed the piece in February 1919 in London.[18] The picture depicts a maze of flooded trenches and shell craters while tree stumps, devoid of any foliage, point towards a sky full of clouds and plumes of smoke bisected by shafts of sunlight resembling gun barrels. Two soldiers at the centre of the picture attempt to follow the now unrecognisable road itself but appear to be trapped by the landscape.[15][19]
1920s
When the war ended Nash was determined to continue his career as an artist but struggled with periodic bouts of depression and money worries. Throughout 1919 and 1920 Nash lived in Buckinghamshire and in London where he made theatre designs for a play by J. M. Barrie. Along with several other artists, Nash became prominent in the Society of Wood Engravers and in 1920 was involved in its first exhibition.[20] From 1920 until 1923 Nash taught, on an occasional basis, at the Cornmarket School of Art in Oxford.
Dymchurch and Iden
In 1921, after visiting his sick father, Nash collapsed and, after a week during which he repeatedly lost consciousness, was diagnosed as suffering from 'emotional shock' arising from the war.
This change in direction continued throughout 1929 and 1930 when Nash produced a number of innovative paintings,
- Landscape at Iden, with its seemingly unrelated objects placed beside each other amid strong architectural elements, showed the impression the 1928 London exhibition by the surrealist Giorgio de Chirico had made on Nash.[22]
- Northern Adventure and Nostalgic Landscape, St Pancras Station both paintings of St Pancras Station seen through a lattice work of abstract elements, derived from the frame of an advertising hoarding.[11]
- The paintings Coronilla (1929) and Opening (1931) both depict openings between spaces in an abstract and cubist manner through which trees or the sea can be seen. The earlier Lares is in a similar style.[23]
- Nash completed Dead Spring in February 1929, immediately after the death of his father. The painting shows a dying pot plant on a window still surrounded by a lattice of geometrical shapes which include some draughtsman's tools.[24] Like the painting Lares, Dead Spring is thought to show the influence on Nash of having seen the 1928 Giorgio de Chirico exhibition in London.[24]
Other media
Nash often worked in media other than paint. As well as two volumes of his own wood engravings, Places and Genesis, throughout the 1920s Nash produced highly regarded book illustrations for several authors, including Robert Graves and Siegfried Sassoon. Nash was one of the contributors of illustrations to the Subscriber's Edition of T. E. Lawrence's Seven Pillars of Wisdom, published in 1926.[11] In 1930, Nash produced the dust jacket design for Roads to Glory, a collection of World War I stories by Richard Aldington.[25]
In 1921 Nash displayed textile designs at an exhibition at Heal's and in 1925 developed four fabric designs for the Footprints series sold by Modern Textiles in London. Later still, in 1933, Brain & Co in Stoke-on-Trent commissioned Nash and other artists to produce designs for their Foley China range which was showcased at the Modern Art for the Table exhibition at Harrods.[26] In 1931, Margaret Nash gave him a camera when he sailed to America to serve as a jury member at the Carnegie International Award in Pittsburgh. Nash became a prolific photographer and would often work from his own photographs alongside his preparatory sketches when painting a work.[27]
By April 1928, Nash wanted to leave Iden but did not do so until after his father's death in February 1929, when he sold the family home in
1930s
In 1930 Nash started working as an art critic for The Listener, and in his writings acknowledged the influence of the 1928 Giorgio de Chirico London exhibition and of the modernist works he had seen during a visit to Paris in 1930 at Léonce Rosenberg's gallery.[28] Nash became a pioneer of modernism in Britain, promoting the avant-garde European styles of abstraction and surrealism throughout the 1930s. In 1933 he co-founded the influential modern art movement Unit One with fellow artists Henry Moore, Barbara Hepworth, Ben Nicholson, Edward Wadsworth and the critic Herbert Read. It was a short-lived but important move towards the revitalisation of British art in the inter-war period.[29]
Avebury
When in 1931 he was invited to illustrate a book of his own choice, Nash choose Sir Thomas Browne's Hydriotaphia, Urn Burial and The Garden of Cyrus, providing the publisher with a set of 30 illustrations to accompany Browne's discourses. For Hydriotaphia, Urn Burial Nash also produced six larger watercolours, including Mansions of the Dead, and three oil paintings on the book's themes of death and burial customs.[30] These became significant themes for Nash when in July 1933 he went to Marlborough on holiday and visited Silbury Hill and Avebury for the first time. This ancient landscape with its neolithic monuments and standing stones "excited and fascinated" Nash and stirred "his sensitiveness to magic and the sinister beauty of monsters" according to Ruth Clarke who had accompanied him to Marlborough.[11] Nash went on to paint the landscape at Avebury several times in different styles, most notably in his two 1934 paintings, Druid Landscape and Landscape of the Megaliths.[11] The 1935 painting Equivalents for the Megaliths stresses the mystery of the site by portraying it in an abstract manner rather than a more literal depiction.[31] Nash appears to have been unhappy with the restoration work, started in 1934, at Avebury by Alexander Keiller, seemingly preferring the previous wilder and more unkept appearance of the area.[32]
Nash's father in law Naser Odeh died in Rye in 1932 and Nash was named an executor, together with his wife Margaret. Nash wanted to move to live in Wiltshire but instead he left Rye for London in November 1933 before the couple undertook a long trip to France, Gibraltar and North Africa. When they returned to England in June 1934, the Nashes rented a cottage on the Dorset coast near Swanage. Nash was asked by the poet John Betjeman to write a book in the Shell Guides series. Nash accepted and undertook writing a guide to Dorset.
Swanage
Between 1934 and 1936 Nash lived near Swanage in Dorset, hoping the sea air would ease his asthma whilst he worked on the Shell Guide to Dorset. He produced a considerable number of paintings and photographs during this period, some of which he used in the guide book. The guide was published in 1935 and featured some peculiarities of landscape and architecture that are often overlooked.
By the time of the exhibition Nash had come to dislike Swanage and in mid-1936 moved to a large house in Hampstead. Here he wrote articles on "seaside surrealism", created collages and assemblages, began his autobiography and organised a large one-man show at the Redfern Gallery in April 1937. That summer he visited the site of the Uffington White Horse in Berkshire and shortly afterwards began work on Landscape from a Dream.[27] In 1939, shortly after World War II began, the Nashes left Hampstead and moved to Oxford.[36]
World War Two
At the start of World War Two Nash was appointed by the War Artists' Advisory Committee to a full-time salaried war artist post attached to the Royal Air Force and the Air Ministry. Nash was unpopular with the Air Ministry representative on the WAAC committee, partly because of the modernist nature of his work and partly because the RAF wanted the WAAC artists to concentrate on producing portraits of their pilots and aircrew.[37] Whilst still a salaried WAAC artist Nash produced two series of watercolours, Raiders and Aerial Creatures. Raiders, or Marching Against England, was a set of studies of crashed German aircraft set in English rural landscapes with titles such as Bomber in the Corn, The Messerschmidt in Windsor Great Park and Under the Cliff. Whilst the Air Ministry could appreciate the patriotic intent and propaganda value of those works, the Aerial Creatures series, with its anthropomorphic depictions of British aircraft, displeased the Air Ministry so much they insisted Nash's full-time contract was ended in December 1940. The Chairman of WAAC, Kenneth Clark was aghast at this development and in January 1941 the Committee agreed to put aside £500 to purchase works from Nash on the theme of aerial conflict.[38][39] Nash worked intermittently under this arrangement until 1944 to produce four paintings for WAAC. The first two of these were Totes Meer (Dead Sea) and Battle of Britain.
Totes Meer (Dead Sea) was submitted to WAAC in 1941 and shows a 'dead sea' of wrecked German plane wings and fuselages based on sketches, and photographs, made at the Metal and Produce Recovery Unit at Cowley near Oxford in 1940.[40] The painting recalls a series of bleak sea and coastal paintings Nash made in the 1930s. Although the aircraft dump at Cowley contained many British planes, Nash only depicted German aircraft because he wished to show the fate of the 'hundreds and hundreds of flying creatures which invaded these shores'. He used the German title for the picture as he wanted it included in a series of postcards of crashed German planes he suggested be dropped over the Reich as propaganda. To this end Nash even created a postcard of the painting with Hitler's head superimposed on the wrecked aircraft.[40] Kenneth Clark stated that Totes Meer was 'the best war picture so far I think' and is still considered among the most celebrated British paintings of World War II.[32][39]
Battle of Britain (1941) is an imaginative representation of an aerial battle in progress over a wide landscape of land and sea, suggesting the
After completing Battle of Britain, Nash found himself creatively blocked and again sick with asthma. Whilst unable to paint he did produce a number of photographic collages which included symbols and motifs from previous works often alongside images of Hitler.[5] Nash submitted a series of these pieces, entitled Follow the Fuehrer, to the Ministry of Information for use as propaganda but they declined to use them.[18][38] When he did resume painting, Nash produced Defence of Albion, which is considered the weakest of his four large WAAC paintings. Nash had great difficulties completing the painting which shows a Short Sunderland flying boat in the sea off Portland Bill. As he had only seen photographs of Sunderlands, and was too ill to go to the coast to view one, Nash wrote to Eric Ravilious, who had painted flying boats in Scotland, asking him to describe the effect of sunlight on the plane.[18]
Nash's final painting for WAAC was however an extraordinary, imagined scene of a bombing raid on a city.[42] Despite being given access to official reports and accounts from aircrews who had flown on raids to Germany, for the Battle of Germany, Nash adopted an unconventional abstract approach. Nash explained that it showed a city under attack with a pillar of smoke from burning buildings in the background and the white spheres of descending parachutes in the foreground. The pillar of smoke and the moon were as threatening to the city as the bombers, concealed within the red clouds, responsible for the explosions on the right side of the painting.[43] Whilst Kenneth Clark found the painting difficult to understand because of what he called the "different planes of reality in which it is painted",[18] he did recognize that it might herald one course that post-war art could take.[5]
Final works
From 1942 onwards, Nash often visited the artist Hilda Harrisson at her home, Sandlands on Boars Hill near Oxford, to convalesce after bouts of illness. From the garden at Sandlands, Nash had a view of the Wittenham Clumps, which he had first visited as a child and had painted both before World War I and again, as a background, in 1934 and 1935. He now painted a series of imaginative works of the Clumps under different aspects of the Moon. Paintings such as Landscape of the Vernal Equinox (1943) and Landscape of the Moon's Last Phase (1944) show a mystical landscape rich in the symbolism of the changing seasons and of death and rebirth.[44][45] Another place in South Oxfordshire that Nash visited and revisited and found inspirational in his study of the Moon was the hamlet of Ascott.[46] There he began in 1932 and completed in 1942 his painting Pillar and Moon, which explored "the mystical association of two objects which inhabit different elements and have no apparent relation in life...the pale stone sphere on top of a ruined pillar faces its counterpart the moon, cold and pale and solid as stone".[47]
The completion of Battle of Germany in September 1944 brought Nash's public commitments to an end and he spent the remaining eighteen months of his life in, by his own words, "reclusive melancholy".[5] In these final months, Nash produced a series of paintings, including Flight of the Magnolia (1944), which he called 'Aerial Flowers' that combined his fascination with flying and his love of the works of Samuel Palmer.[48] Nash also returned to the influence of William Blake that had so affected his early art, for example in the series of gigantic sunflowers including Sunflower and Sun (1942), Solstice of the Sunflower (1945) and Eclipse of the Sunflower (1945), based on Blake's 1794 poem "Ah! Sun-flower".[49][50]
Death
During the final ten days of his life Nash returned to Dorset and visited Swanage,
Legacy and works on public display
Works by Nash are held in the collections of the Aberdeen Art Gallery, Art Gallery of New South Wales, Beaverbrook Art Gallery, Bolton Art Gallery, Brighton & Hove Museums,
In 2016 English artist Dave McKean published Black Dog: The Dreams of Paul Nash, a graphic novel about Nash's life and work.[54]
'Paul Nash', a major exhibition of his work at Tate Britain in London, ran from October 2016 until 5 March 2017,[55] thereafter moving to the Sainsbury Centre for Visual Arts in Norwich from April to August 2017.[56]
Bibliography
- 1922: Places, Wiedenfield – text and wood-engravings[57]
- 1924: Genesis, Nonesuch Press – a book of wood-engravings[58]
- 1932: Room and Book, Soncino Press, London – essays on contemporary design[59]
- 1935: Shell Guide to Dorset, Architectural Press – with Archibald Russell[60]
- 1949: Outline – a partial autobiography, first published posthumously in 1949 and re-issued in 2016[61]
See also
References
- ^ "Paul Nash – British painter". Encyclopedia Britannica. 7 July 2023.
- ISBN 978-1-84403-563-2.
- ^ ISBN 0-500-20274-5.
- ^ ISBN 0-19-860476-9.
- ^ ISBN 978-1-908326-52-2.
- ^ ISBN 978-185437-436-3.
- ^ ISBN 978-1-905847-84-6.
- ^ David Redfern. The London Group: a history 1913 – 2013. p.38.
- doi:10.1093/ref:odnb/35186. Retrieved 31 October 2017. (Subscription or UK public library membershiprequired.)
- ^ a b c d e f g Richard Cork (1994). A Bitter Truth – Avant Garde Art and the Great War. Yale University Press & The Barbican Art Gallery.
- ^ ISBN 978-1-84822-096-6.
- ^ Paul Nash (1949). Outline: An Autobiography and Other Writings. Faber and Faber, London. pp. 1–271, 211.
- ^ ISBN 978-1-906593-00-1.
- ISBN 978-1-60606-431-3.
- ^ ISBN 978-1-904897-98-9.
- ^ Imperial War Museum. "The Ypres Salient at Night". Imperial War Museum Collections Search. Retrieved 21 February 2012.
- ^ Ben Lewis (19 March 2010). "Private view: Paul Nash". Prospect. Retrieved 3 June 2014.
- ^ ISBN 0-7181-2314-X.
- ^ Imperial War Museum. "The Menin Road". Imperial War Museum Collections Search. Retrieved 28 May 2014.
- ^ Horne, Alan. The Dictionary of British Book Illustrators: 162–163.
- ^ Tate. "Paul Nash:Modern artist, ancient landscape:Room guide:Dymchurch". Tate. Retrieved 29 July 2014.
- ^ Tate. "Catalogue entry for Landscape at Iden 1929". Tate. Retrieved 18 July 2014.
- ^ Tate. "Catalogue entry, Lares". Tate. Retrieved 22 July 2014.
- ^ ISBN 1857593316.
- ^ Martin Salisbury (21 October 2017). "Cover stories: beautiful book-jacket designs – in pictures". The Observer. Retrieved 24 October 2017.
- ISBN 0-500-27362-6.
- ^ ISBN 0-85331-825-5.
- ^ Tate. "Display entry for Kinetic Feature". Tate. Retrieved 22 July 2014.
- ^ The British Council. "Paul Nash". British Council. Archived from the original on 30 October 2013. Retrieved 25 May 2014.
- ^ Tate. "Catalogue entry for Mansions of the Dead". Tate. Retrieved 5 August 2014.
- ^ Tate. "Catalogue entry for Equivalents for the Megaliths 1935". Tate. Retrieved 17 June 2014.
- ^ ISBN 1-85437-566-0.
- ^ "Mixed Gallery of Shell Art Collection Images". nationalmotormuseum.org.uk. Retrieved 19 October 2013.
- ^ a b c Tate. "Catalogue entry for Swanage c.1936". Tate. Retrieved 17 June 2014.
- ^ Jane Ure-Smith (5 March 2005). "From Swanage with love". The Guardian. Retrieved 2 June 2014.
- ^ Oxford Civic Trust. "Paul Nash (1889-1946)". Oxfordshire Blue Plaques Scheme. Retrieved 5 August 2014.
- ^ David Lee (18 January 1997). "Reaching for the sky". The Spectator. Retrieved 3 June 2014.
- ^ ISBN 978-0-300-10890-3.
- ^ a b Imperial War Museum. "War artist archive Paul Nash 1939–1945". Imperial War Museum. Retrieved 3 June 2014.
- ^ a b History Trails Wars and Conflict (11 April 2005). "Art in War:Exploring a Painting". BBC. Retrieved 28 May 2014.
- ^ Imperial War Museum. "Battle of Britain by Paul Nash". Imperial War Museum. Retrieved 3 June 2014.
- ^ Imperial War Museum. "Battle of Germany". Imperial War Museum. Retrieved 16 December 2014.
- ISBN 978-1-904897-66-8.
- ^ Tate. "Catalogue entry for Wittenham Clumps c.1943-4". Tate. Retrieved 18 July 2014.
- ^ Tate. "Paul Nash:Modern artist, ancient landscape:Room guide: The Wittenham Clumps". Tate. Retrieved 7 August 2014.
- ^ "Wrecked Planes & Magnolia Trees: Paul Nash in Oxford". blogger.com. 21 November 2011. Retrieved 21 May 2022.
- ^ "Paul Nash, Pillar and Moon, 1932–42". tate.org.uk. Retrieved 21 May 2022.
- ^ Debra Lennard (January 2014). "Summary entry for Flight of the Magnolia 1944". Tate. Retrieved 18 July 2014.
- ^ Jason Whittaker (11 May 2010). "Surreal sunflowers – Paul Nash and William Blake". Zoamorphosis The Blake 2.0 Blog.
- ^ Seddon, Paul Nash, (1948), p.74
- ^ Tate. "Catalogue entry for Landscape from a Dream". Tate. Retrieved 17 June 2014.
- The London Evening Standard. Retrieved 11 December 2014.
- . Retrieved 9 September 2022.
- ISSN 0261-3077. Archived from the originalon 26 May 2023. Retrieved 26 May 2023.
- ^ Adrian Searle (25 October 2016). "Paul Nash review – pain, wonder and inescapable menace". The Guardian. Retrieved 13 November 2016.
- ^ "Paul Nash / Exhibitions". scva.ac.uk.
- )
- )
- ^ "Room and Book". Strand-on-the-Green, West London: roomandbook.co.uk/. 2000. Retrieved 8 September 2022.
- ^ "Shell Guide to Dorset". 9 North Pallant, Chichester: pallantbookshop.com. Retrieved 8 September 2022.
{{cite web}}
: CS1 maint: location (link) - ^ Rachel Cooke (4 October 2016). "Paul Nash: – the artist in words and pictures". The Observer. Retrieved 13 November 2016.
Further reading
- Causey, Andrew, Paul Nash: A Catalogue Raisonné (1980. ISBN 978-1-85437-436-3
- Causey, Andrew, Paul Nash: Landscape and the Life of Objects (2013. Lund Humphries, London) ISBN 978-1-84822-096-6
- Colvin, Claire, Paul Nash Book Designs: A Minories Touring Exhibition (1982. The Minories, Colchester)
- Eates, Margot, Paul Nash: The Master of the Image, 1889–1946 (1973. John Murray, London)
- Haycock, David Boyd, Paul Nash, Watercolours 1910–1946: Another Life, Another World (2014 Piano Nobile Gallery, London)
- Jenkins, David Fraser (ed.), Paul Nash: The Elements (2010. Dulwich Picture Gallery, London)
- Postan, Alexander, The Complete Graphic Work of Paul Nash (1973. Secker and Warburg, London)
- Read, Herbert (intro.) Contemporary British Painters No.1: Paul Nash. A Portfolio of Colour Plates (1937. Soho Gallery, London)
- Russell, James, Paul Nash in Pictures: Landscape and Dream (2011. Mainstone Press, Norwich) ISBN 978-0955277771.
- Seddon, Richard, "Paul Nash" Studio 135 (600), March 1948, p. 74 [1]