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Black and white image showing a couple standing at the base of a harbour arm looking out to sea.

The Clare Neilson Collection

Presented by Jeremy Greenwood and Alan Swerdlow through The Art Fund in 2013

A collection of prints, books, photographs and ephemera by and associated with Paul Nash.

Clare Neilson was a lifelong friend and collector of Nash who visited the family home of Madams near Gloucester. Neilson bequeathed much of the collection to her godson Jeremy Greenwood who in turn gave it to Pallant House Gallery, supplemented by books and wood-engravings collected by himself and his partner Alan Swerdlow.

Clare Neilson met Paul Nash in the early 1930s, establishing an close friendship that was to last until Paul’s death in 1946. The wealthy daughter of a stockbroker, Clare had settled in Kent with her husband Charles in 1930 where she formed a wide circle of artist friends, which included Edward Burra and Paul Nash who lived in the neighbouring town of Rye. Clare and Paul shared a love of book collecting, and the collection includes examples of Nash’s most important illustrated books, many of which are personally inscribed by Nash, as well as a group of early wood engravings of the 1920s that demonstrate Nash’s significance as a printmaker.

After the Neilsons moved to Gloucestershire in 1937, Paul Nash was a frequent visitor to their home, Madams, and the standing stone at Staunton in the Forest of Dean and gnarled fallen trees known as the ‘Monster Field’ nearby provided subjects for some of the artist’s best known works. Their friendship was recorded not only in Nash’s artworks and their extensive correspondence, but in photographs recording their picnics, excursions and even Nash’s role in designing their garden.

Photograph and collage by Paul Nash showing a colour lithograph of a tiger collaged onto a black and white photograph of a ruined barn. The tiger appears to be stepping through a collapsed wall of the barn.

Paul Nash, Tyger Tyger

Paul Nash, Tyger Tyger, c.1938, Collage of colour engraving on photograph, Pallant House Gallery, Chichester (The Clare Neilson Collection Presented by Jeremy Greenwood and Alan Swerdlow through The Art Fund, 2013)

Black and white image showing a couple standing at the base of a harbour arm looking out to sea.

Paul Nash, The Bay

Paul Nash, The Bay, 1922, Wood engraving on paper, Pallant House Gallery, Chichester (The Clare Neilson Collection Presented by Jeremy Greenwood and Alan Swerdlow through The Art Fund, 2013)

Two women walking along a promenade by a beach. To the left, groynes line the beach,

Paul Nash, Promenade .2 (Promenade No. 2)

Paul Nash, Promenade .2 (Promenade No. 2), 1923, Wood engraving on paper, Pallant House Gallery, Chichester (The Clare Neilson Collection Presented by Jeremy Greenwood and Alan Swerdlow through The Art Fund, 2013)

Abstract image showing a concentric circle of brown against a blue background.

Paul Nash, Untitled watercolour

Paul Nash, Untitled watercolour, n.d., Watercolour sketch on paper, Pallant House Gallery, Chichester (The Clare Neilson Collection Presented by Jeremy Greenwood and Alan Swerdlow through The Art Fund, 2013)

A tree trunk standing next to a field of grass and poppies with ivy winding its way up the trunk.

Paul Nash, Summer Souvenir

Paul Nash, Summer Souvenir, n.d., Watercolour sketch on paper, Pallant House Gallery, Chichester (The Clare Neilson Collection Presented by Jeremy Greenwood and Alan Swerdlow through The Art Fund, 2013)

A tall jug containing foliage standing on a table in front of a screen. A door leading outside stands open on the left side.

Paul Nash, Still Life No. 2

Paul Nash, Still Life (No.2), 1927, Wood engraving on paper, Pallant House Gallery, Chichester (The Clare Neilson Collection Presented by Jeremy Greenwood and Alan Swerdlow through The Art Fund, 2013)

Abstracted view of trees of various species.

Paul Nash, Tree Group (Tree garden)

Paul Nash, Tree Group (Tree garden), 1919, Wood engraving on paper, Pallant House Gallery, Chichester (The Clare Neilson Collection Presented by Jeremy Greenwood and Alan Swerdlow through The Art Fund, 2013)