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Arthur John Trevor Briscoe, R.E. 1873-1943.

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Watercolours

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The Archibald Russell. 1935. Pencil and watercolour on watercolour board. 20 7/8 x 28 5/8. Excellent color and condition. Signed and dated in ink, lower right; titled verso. Housed in a gold leaf frame 28 1/2 x 36-inch gold leaf frame. $3,500.

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The Endeavour. c.1935. Pencil and watercolour on watercolour board. 14 3/8 x 20 7/8. Signed in pencil, lower right; titled in pencil, verso. Housed in a 23 1/2 x 36-inch light brown wood frame. $2,500.

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Moonlight at Sea. 1925. Pencil and watercolour on watercolour board. 15 x x 21 3/4. Provenance: The Fine Art Society, London. Excellent color and condition. Signed and dated in ink, lower right; titled verso. Housed in a 22 1/8 x 28 1/2-inch archival double mat. $1,750.

Etchings

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Abandoned. 1930. Etching. Hurst 277. 8 7/8 x 15 7/8 (sheet 11 3/8 x 17 1/2). Edition 75, #73. A rich impression printed on cream laid paper with a Strasbourg lily watermark, with full margins. Signed and numbered in ink. $1,950.

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An Act of God. 1926. Etching. Hurst 155. 7 5/16x 10 11/16 (sheet 9 7/8 x 13). Edition 75, #46. Illustrated: Print Collector's Quarterly 25 (1938): 290. A rich impression printed on pale blue/green laid paper from an antique volume, with full margins. Excellent condition. Signed and numbered in ink. $750.

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All Hands. 1926. Etching. Hurst 141. 8 1/4 x 15 1/4 (sheet 9 7/8 x 17 5/8). Trial proof, apart from the edition of 75. A beautifully wiped impression with plate tone, printed on laid paper with a Strasbourg lily watermark, on the full sheet with deckle edges. Signed in pencil and annotated 'trial' in ink. The artist's trial proofs are extremely rare. $1,950.

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Aloft. 1929. Etching and drypoint. Laver 144; Hurst 256. 9 7/8 x 15 15/16 (sheet 13 3/4 x 19 1/4). Edition 75, #1. Illustrated: Print Collector's Quarterly 26 (1939): 98. Exhibited at the Royal Academy in 1930. A rich impression printed on antique white laid paper from an old volume, with full margins. Excellent condition. Signed and numbered in ink. $1,750.

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The Anchor. 1930. Etching. Hurst 268.ii. 7 x 6 3/4 (sheet 10 3/4 x 7 5/8). Edition 275. A rich impression with plate tone printed on antique 'GR' laid paper with a hunting horn countermark. As published in J. Lauer's volume, A complete catalogue of the Etchings and Drypoints of Arthur Briscoe. One spot in the right-hand sheet; otherwise in excellent condition. Signed in ink. $750.

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An Arrival. 1932. Etching. Laver supplement 66; Hurst 75. 8 x 13 7/8 (sheet 10 1/4 x 15). Edition 75, #23. A rich impression with plate tone printed on antique 'LA' laid paper. Signed and numbered in ink. $975.

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The Binnacle. 1930. Etching. Hurst 272 state.iii. 8 7/8 x 15 7/8 (sheet 14 3/8 x 21). Edition 75, #39. Illustrated: Fine Prints of the Year, 1931; Prints II, 2 (1932): 17; Print Collector's Quarterly 25 (1938): 302. A rich, tonal impression printed on 'Whatman Turkey Mill 1830' laid paper. Signed and numbered in ink. $1,950.

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The Capstan. 1926. Etching. Laver 49, Hurst 124. 7 x 11 (sheet 9 3/4 x 14 5/8). Edition 75, #64. A richimpression printed on antique laid ledger paper. Signed and numbered in ink. $1,950.

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The Helmsman. 1925. Etching. Hurst 130. 7 x 10 7/8 (sheet 11 x 5). Trial proof, apart from the edition of 75 An extremely rich impression printed cream wove paper. An exceptionally rare proof printed by the artist. Signed and annotated 'trial by self' in pencil. $2,500.

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In the Tropics. 1928. Etching. Hurst 229. 14 x 8 7/8 (sheet 17 1/4 x 11 13/16). Edition 75, #28. A dramatic impression with plate tone, printed on antique countermarked laid paper. Signed and numbered in ink. $975.

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The Life Line. 1939.Etching. Hurst 326. 7 7/16 x 11 7/8 (sheet 10 3/4 x 16 13/16). Edition 50, #17. Printed on 'Millbourn British Handmade Pure Rag' paper with a partial watermark. Titled in pencil; signed and numbered in ink. $1,750.

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The Look-out, Sunrise. 1925. Etching. Hurst 122. 7 11/16 x 11 3/8 (sheet 9 5/8 x 13 3/8). Edition 75, #21. Printed on Strasbourg Lily watermarked laid paper. Signed and numbered in ink. $1,250.

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Low Tide, Brixham. 1927. Etching. Hurst 190. 6 5/16 x 8 3/4 (sheet 7 15/16 x 12 3/4). Edition 75, # 38. A rich impression printed on ' 1815' laid paper. Signed and numbered in ink. $650.

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The Main Tack. 1928. Etching. Hurst 211. 13 7/8 x 7 15/16 (sheet 15 3/8 x 10). Edition 75, #55. Signed and numbered in pencil. A rich impression with plate tone. Printed on cream laid 'Hodgkinson & Co' countermarked laid paper. $1,950.

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Make Fast, plate 2. 1929. Etching. Laver 146; Hurst 258. 14 3/8 x 9 13/16 (sheet 17 5/8 x 11 3/4). Trial proof 2, before the edition or 75. Illustrated: Print Collector's Quarterly 25 (1938): 300. Printed on ' Gen Dedijon extra ordi.' watermarked cream laid paper. Signed and annotated 'A.B. 2' in ink. It is extemely rare to find early Briscoe proofs. $2,250.

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Making a Passage. 1929. Drypoint. Laver 21; Hurst 75. 6 1/4 x 9 1/16 (sheet 7 3/4 x 11 5/16). Edition 75, #60. Signed and numbered in ink. A dramatic impression with plate tone, printed on pale cream-colored wove paper. $550.

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Making Sail. 1927. Etching. Laver 100; Hurst 185. 9 7/8 x 15 7/8 (sheet 12 1/4 x 17 7/8).Edition 75, #1. A dramatic impression with plate tone printed on cream laid paper. Signed and numbered in ink. $1,950.

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Mending the Trawl, plate 3. 1926. Etching. Hurst 166. 6 7/8 x 11 3/4 (sheet 9 x 13 1/2). Edition 75, #73. A rich impression with dramatic plate tone, printed on cream laid paper with a foolscap watermark. Signed and numbered in ink. $1,950.

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The Old Man. 1925. Etching. Hurst 137. 6 3/8 x 8 5/8 (sheet 9 3/16 x 11 3/4). Edition 75, #1. Signed and numbered in ink. A dramatic impression with plate tone. Printed on fine laid paper, on the full sheet with deckle edges. $1,250.

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On the Main Yard. 1925. Etching. Hurst 120. 9 1/16 x 7 (sheet 10 13/16 x 8 9/16). Edition 75, #8. Printed on blue/green Strasbourg Lily laid paper. Illustrated: Print Collector's Quarterly 25 (1938): 286. Signed and numbered in ink. $975.

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On the Yard, plate 3. 1929. Etching. Laver 139, Hurst 246. 8 7/8 x 13 7/8 (sheet 11 1/2 x 16 1/4). Trial proof. No published edition. An extremely rich impression with plate tone printed on 'antique laid paper countermarked 'DS&Pine 17940 with a Strasbourg lily watermark. Signed and annotated 'trial' in pencil. An exceptional proof of the greatest rarity. $2,250.

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Overhauling the Net. 1926. Etching. Hurst 163. 10 7/8 x 7 1/8 (sheet 14 5/8 x 9 1/2). Edition 75, #13. A dramatic impression with plate tone. Printed on antique laid paper with a fleur-de-lys watermark. Signed and numbered in ink. $1,250.

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The Pilot. 1925. Etching. Hurst 128.ii. 612 7/8 x 8 7/8 (sheet 15 x 10 7/8). Trial proof, before the edition of 75. Signed and annotated "Trial proof" in pencil. A very rich impression with plate tone, printed on pale cream-colored wove paper from an old journal. $1,500.

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The Roaring Forties. 1926. Drypoint. Hurst 103. 5 3/8 x 8 13/16 (sheet 7 3/4 x 10 1/2). Edition 75, #26. Printed on off-white laid paper from a book. A dramatic, carefully wiped impression. Signed and numbered in ink. $550.

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The Seine Net. 1925. Etching. Hurst 143.iii. 7 3/16 x 10 15/16 (sheet 9 5/8 x 14 11/16). Trial proof vi, apart from the edition of 75. Fingerprints in the margins; soiling in the margins and in the image; 2 printing folds. A very rich, atmospheric impression printed on Strasbourg lily LVG laid paper from an antique volume. Signed and annotated "trial VI" and "64B" in pencil. $750.

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The Shadow of the Mainsail. 1925. Etching. Hurst 298.ii. 6 1/2 x 11 3/4 (sheet 10 1/4 x 15 1/4). Edition 106 for the Print Collector's Club. A rich, atmospherically wiped impression. Printed on off-white wove paper. Signed in pencil. $1,750.

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The Squall. 1926. Etching. Hurst 144. 5 3/4 x 8 7/8 (sheet 8 3/4 x 10 7/8). Edition 75, #39. A fine impression with plate tone, printed on cream laid paper on the full sheet with deckle edges. Signed and numbered in ink. $750.

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The Trawler. 1926. Etching. Hurst 176. 9 7/8 x 13 7/8 (sheet 11 3/8 x 15 3/4). Edition 75, #71. A fine impression with plate tone, printed on cream laid paper from an antique volume. Signed and numbered in ink. $1,750.

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Published
Trial proof

Walking Up the Topsail. 1925. Etching. Hurst 100. 7 15/16 x 10 3/4 (sheet 9/16 x 12 7/8). Edition 75, #23. A rich, atmospherically wiped impression. Printed on Strasbourg laid paper from an antique volume. Signed and numbered in pencil. $1,250.

Walking Up the Topsail. 1925. Etching. Hurst 99.ii. 7 15/16 x 10 3/4 (sheet 10 5/16 x 12 1/2). Trial proof, apart from the edition of 75. Signed and annotated "Trial by Carling" in pencil. A rich, atmospherically wiped impression. Printed on laid paper from an antique volume. $1,750.

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We're Bound for the Rio Grande. state 2. 1929. Etching. Laver 143, Hurst 251. 9 x 10 (sheet 11 x 12). Edition 75, #3. Illustrated: Print Collector's Quarterly 25 (1938): 298. A rich impression with dramatic tonal wiping, printed on 'Edmeads & Pin' laid paper. Signed and numbered in ink. $1,250.

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The Wheel. 1925. Etching. Hurst 196. 9 x 10 (sheet 11 1/8 x 16 3/4). Edition 75, #1. Illustrated: Print Collector's Quarterly 25 (1938): 292. A rich impression with tonal wiping. Printed on the full sheet of cream laid paper with deckle edges. Signed and numbered in ink. $2,500.

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#1
#26

The Winkle Picker. 1926. Etching. Hurst 149. 5 3/4 x 8 15/16 (sheet 8 7/8 x 10 15/16). Edition 75, #1. Signed and numbered in ink. Printed on the full sheet of cream laid paper with deckle edges. It is rare to find the first numbered impression of an edition. $650.

The Winkle Picker. 1926. Etching. Hurst 149. 5 3/4 x 8 15/16 (sheet 9 7/8 x 11). Edition 75, #26. A rich impression printed on laid paper from an antique volume. Signed and numbered in ink. $550.

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Arthur Briscoe was a painter in oil and watercolour and etcher of marine subjects. Educated at Shrewsbury School, Briscoe subsequently studied art at the Slade under Fred Brown and at the Académie Julian in Paris. Subsequently, he devoted his time sailing. Arthur Briscoe painted and wrote on yachting subjects including Handbook on Sailing under the nom de plume of Clove Hitch.

Arthur Briscoe decided to become an artist after returning from a World trip with his father, a prominent Liverpool businessman. He studied at the Slade and the Académie Julian in Paris and, upon his return to London, Briscoe initially illustrated books with a strong Pre-Raphaelite influence.

In 1899 he acquired a studio in Malden, Essex, and bought a 3 ton cutter which, with his young family, he would spend eight or nine months a year, sailing to Calais, along the Belgian coast and through the Dutch waterways, constantly sketching and painting in both oil and watercolour. In 1922, after a meeting with the etcher James McBey, Briscoe returned to etching once more producing plates of some of his sea sketches. The two artists sailed together in Briscoe's, forty-ton yacht, the "Golden Vanity." Briscoe produced 189 etchings dealing with the sea and the sailing ship. Starting with his publisher, Harold Dickens of London, in 1925, his works were eagerly sought after and purchased by collectors throughout the 1930's. A His work was always technically accurate and very evocative of the last years of square-rigged sailing ships.Most of Briscoeleft an invaluable historical record of the workings of the last great commercial vessels.

For a more detaild biography, please visit Briscoe.

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British Fine Art.

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