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Paul Nash (1889-1946)
These lots have been imported from outside the EU … Read more PROPERTY FROM THE COLLECTION OF MARY H.D. SWIFT
Paul Nash (1889-1946)


Paul Nash (1889-1946)
signed 'Paul Nash' (lower right)
pencil, watercolour, coloured crayon and pastel
10 7/8 x 15¼ in. (27.6 x 38.8 cm.)
Executed in 1941.
probably Sir Michael Sadler.
Margaret Nash.
with Zwemmer Gallery, London, where purchased by Lord Eccles in 1956.
with Agnews, London, where purchased by the present owner.
Margot Eates letter, Listener, 8 April 1948, p. 82, pl. 86.
M. Nash (ed.), Fertile Image, London, 1951, pl. 35.
Studio, January 1952.
Country Life, 13 April 1961.
A. Causey, Paul Nash, Oxford, 1980, p. 455, no. 1078, pl. 550.
probably Cheltenham, Cheltenham Art Gallery, Paintings, Drawings, and Designs by Paul Nash, June 1945, no. 38, as 'Sir Michael Sadler's Monster', dated '1942'.
London, Arts Council of Great Britain, Paul Nash's camera: an exhibition of photographs by the artist, November 1951, no. 55.
London, Leicester Galleries, Paul Nash: A Private Collection of Watercolours and Drawings [Margaret Nash's Collection], May 1953, no. 41.
London, Redfern Gallery, Paul Nash, April 1961, no. 9.
London, Tate Gallery, Paul Nash Paintings and Watercolours, November - December 1975, no. 192.
Special Notice

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

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Pippa Jacomb
Pippa Jacomb

Lot Essay

Andrew Causey writes, 'Nash wrote on the back of a photograph 'Portrait of Sir Michael Sadler's Monster'. The picture was not in the catalogue of the [Leicester Galleries] 1944 exhibition of Sadler's pictures following his death, but nor were others that were sold by [Leicester Galleries] from his estate at that time. It is possible that the artist bought it back then or at Cheltenham' (A. Causey, Paul Nash, Oxford, 1980, p. 455).

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