Graham Sutherland etching ‘Clegyr-Boia’ (Landscape in Wales)



Graham Sutherland etching, unsigned. Still, now rarely, in its original published state in the ‘Signature  no. 9’  in July 1938. The volume is a fine copy with the original receipt made out to a ‘George Plank’ loosely inserted. The etching is printed on wove paper by Walsch, London. The books is bound in original plain card wrappers with original text . There are 54 pages, other articles include ‘Mr.Whatman, Papermaker by James Wardrop; A Survey of Modern binding’ by Desmond Flower; ‘Openings’ by Paul Nash; ‘Swelled Rules and Typographic Flourishes’ by P.H.Lang. Besides illustrations of book bindings and the original etching by Sutherland, there are two collotypes illustrating Paul Nash’s work. A fine copy housed in the original Curwen Press slip case with a cloth spine and paper covered boards designed by Barnett Freedman with the number ‘3’ neatly written in ink at top of the canvas spine.


Image size 19.8 x 15 cm (7.8 x 5.8 inches)
Sheet size 24.5 x 18 cm (9.5 x 7 inches)

Book size 24.5 x 18.5 cm  (9.5 x 7.25 inches)

Item details

Reference:  Tassi 33,Man 37.

This extraordinary, brooding etching of a Welsh landscape was created in 1936 and published in Signature 9 in July 1938. It was this work, with its obvious debt to Samuel Palmer and Edward Calvert, and its anxious overtones of threat and destruction, that set the template for the entire Neo-Romantic movement. This is one of Sutherland’s rarest and most important prints, in lovely condition. There is a copy in the Tate Gallery. According to Carey & Griffiths, Avant-Garde British Printmaking, the obliterated word on the plate is “herons”, the title having been originally intended to be Herons Ghyll.

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