The Scottish Island of Iona

by John Northcote Nash

P.O.A.

British painter, John Nash beautifully depicts a view of the small island, Iona, which is just off the western coast of Scotland, showing Nash’s appreciation of nature at the centre of his practice. He contrasts the lighter tones of beige, green and blues to depict the light on the rocks and mountains, with the harsher shades of black all demonstrating his exceptional skill as a watercolourist.

MEDIUM: Watercolour
DIMENSIONS: (unframed) 10.3 x 14.3 ins/ 26.2 x 36.3 cm
SIGNATURE: Signed ‘John Nash’ (lower right)

Catalogue No: 6188 Category: Tags: , , ,

John Northcote Nash was a British painter of landscapes and still lifes, as well as being a wood engraver and an illustrator. His atmospheric depictions of rural England and Scottish landscapes are highly individual and natural.

This particular work beautifully depicts a view of the small island, Iona, which is just off the western coast of Scotland, showing Nash’s appreciation of nature at the centre of his practice. He contrasts the lighter tones of beige, green and blues to depict the light on the rocks and mountains, with the harsher shades of black all demonstrating his exceptional draughtsmanship and his skill as a watercolourist.

Nash was also fascinated by botany and made many illustrations. His watercolours demonstrate a spontaneous and intuitive response to landscape, something that is sometimes lost in the studio oil paintings. These studies are nevertheless well observed and calculated, often with annotations, reminiscent of the work of Edward Lear. Despite this systematic approach there is a naive quality to his landscapes, embodying a style that is both modern and distinctly English.

Private collection, United Kingdom

Buy with confidence: our assurance to you

Professional Associations

We have built up a strong reputation for the quality of the paintings, drawings and sculpture that we curate, exhibit and sell. Our professional associations with bodies such as The British Antique Dealers’ Association (BADA) and the Association of Art & Antique Dealers (LAPADA) are as a result of our reputation for integrity, our wide knowledge of fine arts and the high quality of our stock. Our business standards and expertise are reviewed regularly to adhere vigorously with enforced Codes. Our memberships and commitment to its Code of Conducts, gives our buyers confidence when purchasing a work from us.

Authenticity

Condition reports and certificates of authenticity vary in their nature by artwork, for more information on your pieces of interest, please enquire with the gallery.

Artwork images

We take pride in the attention we give to our images of the artworks for purchase and invest in these to ensure outputs are aligned as closely as possible to the item in reality. We do not apply filters or modify images, we provide high quality images to reflect the high quality of our artworks.

Your purchase process

Payment processing – You can be assured that payments are securely processed through Worldpay’s trusted payment gateway.

The Trinity House promise to you

Shipping and packaging

Shipping and packaging requirements are assessed per piece to ensure the most suitable protection for the artwork. Trinity House will therefore call following purchase to agree the recommendations and costs.

Our After Sales services

We offer the following services which we will be happy to discuss with you following your purchase, alternatively you can enquire for more information.

Insurance

We offer insurance appraisals to protect your prised artwork and help you find the right cover and policy for you.

Framing

We are able to advise on framing and have access to every type and style to suit any artistic period or room setting.

Conservation

The nature of the materials involved in a painting mean that on occasion some pieces are susceptible to movement and the effects of natural ageing. We are able to provide advice on practical measures to conserve the original condition of a piece and have relationships with restorers and framers to offer you a range of services to meet your needs.

Nash avoided formal training on the advise of his mentor and older brother, Paul Nash, who thought it would ruin his brother’s unique vision of the landscape and so encourage him to paint professionally.

He began his career as a newspaper reporter, but in 1913 he exhibited landscapes with his brother at the Dorien Leigh Galleries, London, and was invited to join The London Group and the Friday Club.

In 1914 he began painting in oils and the following year joined Harold Gilman in the Cumberland Market Group exhibiting with Gilman, Charles Ginner and Robert Bevan at the Goupil Gallery.

Despite being underexposed as an artist, partly as a result of his brother’s great success, Nash’ professional credentials were established early, becoming an official war artist in both World Wars.

Between the wars he lived at Gerrards Cross, with summer expeditions to the Chiltern Hills and Gloucestershire. In 1919 he became a member of the New English Art Club, and in 1920 was a founder member of the Society of Wood Engravers. He also taught at the Ruskin School in Oxford and the Royal College of Art, working on wood engravings and  lithographs. During this period he visited Gower, near Swansea, this was to be the first of many visits to the Pembrokeshire coast and other parts of Wales.

Following the Second World War, Nash lived in Essex joining the staff of the Royal College of Art in 1945. In 1967 he was elected to the Royal Academy where he was given the first ever retrospective exhibition of a living painter.

    Your Message


    You may also like…

    Go to Top