John Nash R.A. (British, 1893-1977)
Poplar Plantation

signed and dated 'John Nash/1974' (lower left)
oil on canvas

Dimensions: 61 x 91.5 cm. (24 x 36 in.)

With Agnews, London

We are grateful to Andrew Lambirth for his assistance in cataloguing this lot

“Painting was about shaping but not forcing nature into a pattern; rather seeking the abstract structure beneath the surface detail, and interpreting without forfeiting character.” Andrew Lambirth, John Nash: Artist & Countryman

This landscape of 1974, by John Northcote Nash, the self-taught younger brother of Paul, is a calm, structured scene displaying the artist's deep appreciation and attentiveness to nature. Unlike his older brother who was inspired by dystopian scenes and elements of ancient history in his landscapes, John, found a very different artistic voice, which was rooted in the solace and still of the English countryside.

It was clear that John was not only inspired by the quietly beautiful landscape but drawn to something slightly more technical, the geometric lyricism of the landscapes he portrayed. The case is true in this picture, titled Poplar Plantation, which compositionally lends itself to the symmetry of an abstract work. Thematically, this painting not only stylistically aligns with Nash’s oeuvre but thematically addresses Nash’s interest in plants and nature. In this case the theme of hunting or rather humankind’s interaction within the landscape complement natural environments. In other examples similar themes are carefully depicted in coverts, hedgerows, and crops, which provide habitats for game. Likewise, seasons are important in his works and rendered with precision, whether it late autumn or early winter, landscapes often coincide with hunting season, subtly anchoring the idea of country pursuits.

However, in this case, Nash departs from the likes of grand hunting paintings. Traditionally, one thinks of dramatic hunts portrait at large scale in works 19th Century painters, Thomas Blinks and Alfred Munnings. Nash’s tone is more quiet and reflective, showing a fresher approach to the countryside. In his works, the countryside is a place of coexistence between humans, animals, and the landscape. In particular, after the war, Nash’s landscapes became even more reflective.
Nash’s landscapes of tree plantations, like this one, hedgerows, game coverts, woods and boundary fences are typical of country estates and game‑country. While Nash may not show riders or huntsmen overtly, the environments he painted are compatible with the activities of gamekeeping, shooting, country walks.

In Poplar Plantation, the human figure is carefully integrated and modest in presence, he complements the composition rather than commands. Figures in Nash’s work more broadly served to articulate the landscape’s structure, scale, and visual rhythm. In this painting, as in many other examples of John Nash's work, the narrative is to approach the landscape at the forefront and present humans as quiet participants within its natural order.