x342053a.gif - 1861 Bytes

Srule10.gif - 377 Bytes

Sir Frank Short, R.A., P.R.E. 1857-1945.

Click on the images for larger screens.

Original Etchings

anglers1.JPG - 3897 Bytes

The Anglers Bridge on the Wandle. 1898. Etching. Hardie 311. 5 11/16 x 11 8 7/8 (sheet 8 1/4 10 7/16). A fine impression with plate tone, printed on cream laid paper. Signed in pencil. $500.

beachbuoy1.JPG - 3265 Bytes

The Beach Buoy. 1888. Etching. Hardie 230. 6 3/8 x 10 1/4 (sheet 9 7/16 x 14). A rich impression with plate tone printed on cream laid paper with a partial crown watermark. Signed in pencil. $375.

breaking1.jpg - 5660 Bytes

The Breaking-Up of the Great Eastern, No. 2. 1890. Etching. Hardie 247. 7 7/8 x 10 (sheet 11 3/8 x 14 3/8). Only a few impressions were printed. A rich impression with plate tone printed on cream laid paper with full margins. Signed in pencil. An extremely rare and historically significant image. $450.

bromborough1.jpg - 5782 Bytesbromboroughframet.jpg - 5408 Bytes

Bromborough. A Cornfield by the Mersea. 1890. Etching. Hardie 250. 3 3/8 x 7 7/8 (sheet 4 5/8 x 9). Edition 50. A rich impression with subtle wiping, printed on cream laid paper. Signed in pencil. $275. Housed in a reproduction Hogarth frame (14 3/4 x 9 1/2) $375.

chalkcliffs1.JPG - 3145 Bytes

Chalk Cliffs at Cuckmere Haven The Seventh Sister. 1936. Soft-ground etching. Hardie 378. 11 7/8 x 8 15/16 (sheet 16 7/8 x 12 7/8). A fine impression printed on cream wove paper. Signed in pencil. $500.

churchstreet1.jpg - 7193 Bytes

Church Street, Whitstable. 1910. Etching. Hardie 346. 9 1/2 x 13 1/2 (sheet 11 3/8 x 15 1/4). Trial proof, before the addition of the artist's monogram in the shield. Unpublished plate -- rare. A rich impression with plate tone, printed on heavy cream wove paper. Signed and annotated 'Trial proof' in pencil. A large, impressive plate. $750.

coastroad1t.JPG - 4262 Bytes

The Coast Road, Kingsdown, No.1. 1922. Etching. Hardie 362. 4 1/4 x 6 (sheet 5 5/16 x 7). Printed on cream laid paper. Signed in pencil. $225.

coastroad2t.JPG - 3745 Bytes

The Coast Road, Kingsdown, No. 2. 1922. Etching. Hardie 363. 4 15/16 x 8 (sheet 8 1/16 x 11 3/16). Printed on old laid ledger-type paper. Signed in pencil. $250.

fen1.jpg - 6720 Bytes

A Fen Country Bridge. 1903. Etching. Hardie 322. 7 5/16 x 11 1/4 (sheet 9 1/2 x 14 5/8). A rich impression with plate tone printed on cream laid paper. Signed in pencil. $650. Housed in a gold leaf and black wood frame (14 1/2 x 19) $750.

gatheringsget1.JPG - 5983 Bytesgatheringet1.JPG - 4874 Bytes

Gathering the Flock on Maxwellbank. No. 1. 1892. Soft-ground etching. Hardie 272.ii/iii. 5 3/4 x 8 3/4 (sheet 6 3/8 x 9 1/2). A rich impression printed on cream laid paper. State with the sky heavily reworked and the title added, lower left, and prior to the mezzotinting late in Short's life. Signed in pencil. $500.

Gathering the Flock on Maxwellbank. No. 2. 1892. Soft-ground etching. Hardie 273. A few proofs only -- rare.Printed on Japanese vellum. Signed in pencil. $300.

georgesnew1.jpg - 8803 Bytes

George's Dock, Liverpool 1890. Etching. Hardie 245. 5 7/8 x 7 3/4 (sheet 8 1/4 x 10 1/8). Two hinge stains in the top sheet edges; otherwise excellent condition. A rich impression with plate tone, printed on cream wove paper with full margins. Signed in pencil. $350.

head1.jpg - 6424 Bytes

The Head of Langston Harbour. 1908. Etching. Hardie 340. No published edition. 7 1/2 x 10 13/16 (sheet 11 1/2 x 14 3/8). Printed on 'O.W.P. & A.O.L.' countermarked laid paper. A fine impression of this very scarce image. Signed in pencil. $375.

kingslynn1new.JPG - 3858 Bytes

King's Lynn. No. 2. 1894. Etching. Hardie 309. 7 7/8 x 10 3/4 (sheet 10 x 13 13/16). A carefully wiped impression with plate tone printed on 'FJ Head & Co' cream laid paper. Signed in pencil. $400.

lane1.jpg - 7545 Bytes

A Lane in Arundel. 1907. Etching. Hardie 333.iii/iv. 8 3/16 x 9 7/8 (sheet 9 1/8 x 11 3/8). A carefully wiped impression with plate tone printed on cream wove paper. Signed in pencil. $400.

newinnpoole1.JPG - 4994 Bytes

The New Inn, Poole. 1884. Etching. Hardie 195.i/ii. 9 7/8 x 6 3/4 (sheet 16 1/2 x 11 3/16). A proof before lettering; the lettered state was published in English Etchings V (1885): 17. A carefully wiped impression with plate tone printed on cream wove paper. Signed in pencil. $300.

niagara1.jpg - 5910 Bytes

Niagara Falls. 1893. Etching. Not catalogued by Strange. Hardie 294. 4 15/16 x 7 (sheet 7 5/8 x 12 1/2). This was an outdoor sketch on copper from which very few impressions were take: only 12 are known, 9 of which are in museums. Printed with plate tone, printed on antique cream laid paper. Collector's name, address and monogram verso: E.A. Scollin, M.D. Signed in pencil. $325.

oldquay1.jpg - 6826 Bytes

Old Quay on the Nith. 1891. Etching. Hardie 268.iv. 4 x 6. A rich impression with plate tone, printed on cream wove paper with wide margins. Signed in pencil. $250.

oldwind1.jpg - 6438 Bytes

Old Wind Pump in Hayling Island. 1908. Etching. Hardie 339. 9 1/2 x 13 5/8 (sheet 12 x 17 1/8). A cleanly wiped impression printed on tan 'VGL' countermarked laid paper on the full sheet with deckle edges. Signed in pencil. $400.

polperrobridge1.jpg - 6698 Bytes

Polperro Harbour, with Bridge. 1888. Etching. Hardie 227. 6 x 7 7/8 (sheet 8 1/8 x 10 7/8). A fine impression with plate tone on white laid paper with an armorial watermark. Signed in pencil. $325.

potato1.JPG - 3830 Bytes

Potato Scales. 1890. Drypoint. Hardie 256. 2 5/8 x 4 3/8 (sheet 5 1/4 x 6 1/4). Outdoor sketch on copper. A few proofs only -- rare. Printed with plate tone on cream laid paper. Signed in pencil. $175.

prisoners1.jpg - 6747 Bytes

Prisoners of War. 1890. Etching. Hardie 240. 5 15/16 x 7 3.4 (sheet 7 x 8 11/ 16). Printed with plate tone on off-white laid paper. Two printing folds in the lower margin, the right-hand one just extending into the image. Signed in pencil. $175.

rising1.JPG - 4725 Bytes

The 'Rising Sun' Kingsdown. 1922. Etching. Hardie 361. 4 1/4 x 5 7/8 (sheet 6 1/4 x 7 7/8). No published edition. Printed on cream laid paper with a partial armorial watermark. Signed in pencil. $250.

rough1.jpg - 6726 Bytes

Rough Weather at Blatchington. 1925. Etching. Hardie 368. 5 1/2 x 8 9/16 (sheet 7 3/16 x 11 1/4). Edition about 50. Illustrated: Fine Prints of the Year, 1924. A rich impression printed on Japanese mulberry paper. Signed in pencil. $400.

searoad1.jpg - 6376 Bytes

The Sea Road into Seaford. 1925. Etching. Hardie 367. 6 3/8 x 9 1/8 (sheet 8 7/8 x 12 1/2). A rich impression with plate tone, printed on cream laid paper with deckle edges on two sides. Illustrated: Malcolm Salaman, Modern Masters of Etching: Frank Short. Signed in pencil. $300.

seineboats1.JPG - 4247 Bytes

Seine Boats, St. Ives, Cornwall. 1888. Etching. Hardie 229. 6 7/8 x 7 7/8 (sheet 7 7/8 x 9 1/2.) Edition 50. A rich impression with plate tone, printed on cream laid paper. Ex-colletion Edward Bond. Signed in pencil. $300.

solwaymidday1.jpg - 5156 Bytes

The Solway at Midday. 1891. Etching. Hardie 269.iii. 3 3/4 x 9 7/8 (sheet 6 1/4 x 12). Edition 50. A dramatic, tonal impression printed on vellum. Signed in pencil. $275.

southcoasti1.jpg - 6033 Bytes

A South Coast Road, Pegwell Bay. 1903. Etching. Strange 249. Hardie 323.i/II. 5 15/16 x 10 7/16 (sheet 9 5/8 x 14 9/16). A fine impression in fine condition with wide margins. Small edition. Printed on cream laid paper. Signed in pencil. $300.

strandgate1.jpg - 7086 Bytes

Strand Gate, Winchelsea. 1910. Drypoint. Hardie 367.i/ii. 7 1/8 x 12 1/2 (sheet 9 1/16 x 4 7/16). A rich impression with plate tone, printed on cream laid paper with full margins. Excellent condition. Signed in pencil. $200.

streetwhitstable1.JPG - 5626 Bytes

"The Street," Whitstable. 1910. Etching. Hardie 348. 9 1/2 x 13 1/2 (sheet 14 7/8 x 20). A rich impression with plate tone, printed on cream wove paper with full margins. Signed in pencil. $400.

strolling1.jpg - 6925 Bytes

Strolling Players, Lydd. 1907. Etching. Hardie 335. 7 x 9 7/8 (sheet 8 1/4 x 11 1/16). A rich impression with plate tone, printed on cream laid paper with full margins. Excellent condition. Illustrated: Malcolm Salaman, Modern Masters of Etching: Frank Short. Signed in pencil. $400.

winchelseamarshes1.JPG - 2762 Bytes

Winchelsea Marshes. 1910. Etching. Hardie 345. 4 3/8 x 10 3/8 (sheet7 1/2 x 13 5/8). Illustrated: Guichard, British Etchers, 1850-1940. A rich impression printed with plate tone on laid paper with full margins.Signed in pencil. $300.

Original Lithograph

putney1.jpg - 5812 Bytes

Putney. 1894. Lithograph. Hardie 383. 5 x 8 (sheet 1/8 x 11 13/16) As published in The Studio 1894, vol. III; with their blindstamp, lower left. Unsigned; dated and titled in the image, lower right. $75.

Original Aquatints

dawn1.JPG - 2020 Bytes

Dawn. 1912. Aquatint. Hardie 160. 6 3/4 x 14 (sheet 9 1/2 x 17 7/8). Exhibited: Painter-Etchers, February 1925. A rich, tonal impression on white wove paper with full margins. Signed in pencil. $500.

hightide1.JPG - 2417 Bytes

High Tide on the Solway. 1932. Aquatint. Hardie 169. 9 1/8 x 12 (sheet 15 1/2 x 19 1/4). Exhibited at the R.A. in 1931. No published edition -- scarce. Printed on the full sheet of white wove paper. A lyrical, tonal impression of this rare image. Signed in pencil. $950.

morninghaze1.JPG - 2123 Bytes

Morning Haze in Chichester Harbour. 1922. Aquatint. Hardie 166. 9 3/8 x 13 5/8 (sheet 15 1/2 x 21 1/2). Illustrated: W.P. Robins, The Etching Craft; Malcolm Salaman, Modern Masters of Etching: Frank Short. A delicate, carefully wiped impression on white wove paper, with full margins. Signed in pencil. $1,250.

newmoon1.jpg - 6003 Bytes

The New Moon. 1918. Aquatint. Hardie 163. 10 1/2 x 16 1/4 (sheet 15 x 17 7/8). A dramatic sensitively wiped impression with plate tone, printed on white wove paper with wide margins. Signed in pencil. The image shows 2 fishermen on the Bure River at Stokesby Ferry, near Acle in Norfolk. $1,750.

silvertide1.jpg - 6037 Bytes

The Silver Tide. 1912. Aquatint. Hardie 162.6 x 9 1/8 (sheet 9 x 11 5/8). Edition unknown, probably between 50-100. A rich, tonal impression printed on '[gre]at Britain' countermarked paper. Signed in pencil. The image shows high tide at the head of Bosham Harbour. $500.

spannew1.jpg - 6722 Bytes

A Span of Old Battersea Bridge. 1899. Aquatint with soft-ground etching. Hardie 155. 7 1/2 x 11 5/8 (sheet 10 1/2 x 15). A dramatic, tonal impression printed on simili-japon paper. Illustrated: Lumsden, The Art of Etching Signed in pencil. $975.

twixt1.jpg - 5907 Bytes

Twixt Day and Dawn. 1919. Aquatint. Hardie 165.ii. 9 7/8 x 11 1/2 (sheet 12 3/8 x 16 1/8). A subtly inked impression printed on white wove paper. Signed in pencil. $600.

Original Mezzotints

eveonthames1.jpg - 6162 Bytes

Evening on the Thames. 1912. Mezzotint. Hardie 122. 8 5/8 x 11 11/16 (sheet 12 x 14 3/4). Edition 45. A rich, atmospheric impression printed on white wove paper with full margins. Signed in pencil. $1,750.

headlights1.jpg - 5551 Bytes

The Headlights Over the Hill. 1927. Mezzotint. Hardie 127. 5 7/8 x 7 7/8 (sheet 9 x 11 3/14). Slight mat line; otherwise excellent condition. A rich, atmospheric impression printed on tan wove paper with wide margins. Signed in pencil. . This is considered one of Short's finest original mezzotints. The automobile is travelling the road from Seaford to New Haven in Sussex. Seaford Head is in the distance and the sea is on the right. $2,250.

liftin1.jpg - 6693 Bytes

The Lifting Cloud. 1902. Mezzotint. Hardie 118. 6 x 9 (sheet 10 5/8 x 15 3/16). A rich impression printed on white wove paper. From a watercolour sketch made by Sir Frank Short on Whitby Scaur. Signed in pencil. $500.

moonrisebure1.jpg - 5626 Bytes

Moonrise on the Bure. 1922. Mezzotint. Hardie 126. 11 x 15 7/8 (sheet 18 3/8 x 23 1/2). A dramatic, tonal impression printed on warm chine affixed to a cream wove paper support sheet, as issued. Signed in pencil. 2,000.

nightpicket1.jpg - 5758 Bytes

The Night Picket Boat at Hammersmith. 1916. Mezzotint. Hardie 125. 11 7/8 x 17 13/16 (sheet 19 3/8 x 24 1/2). A rich, atmospheric impression printed in black-brown ink on white wove paper with wide margins. A rich, atmospheric impression. This is Short's only war subject. Signed in pencil. $2,500.

orion1.JPG - 2830 Bytes

Orion over the Thames at Ranelagh. 1914. Mezzotint. Hardie 124. 11 x 16. A rich, atmospheric impression printed on white wove paper with wide margins. This is one of Short's finest original mezzotints. Signed in pencil. $2,500.

shadowed1.JPG - 3783 Bytes

The Shadowed Valley. 1927. Mezzotint. Hardie 128. 14 3/8 x 19 3/8 (sheet 19 x 25 1/2). Margins grubby; otherwise good condition. A rich, glowing impression printed in subtle tones of black-brown ink on chine mounted on sturdy white wove paper. Illustrated: Fine Prints of the Year, 1927. Signed in pencil. This is Short's most dramatic mezzotint. $2,750.

solwayfishers1.JPG - 3005 Bytes

Solway Fishers (no. 2). 1893. Mezzotint. Hardie 113.ii. 7 3/4 x 10 7/8 (sheet 11 x 14). Edition 100. A dramatic, tonal impression printed in black-brown ink on 'JWhatman Turkey Mill' wove paper. The plate was sold to Robert Dunthorne. Impressions were printed both in sepia and in black ink. Signed in pencil. $975.

slantii1.jpg - 6601 Bytes

A Slant of Light, Polperro Harbour (No. 2). 1901. Mezzotint. Hardie 117. 8 1/8x 10 3/4 (sheet 11 1/8 x 15). No published edition. An extremely rich impression with plate tone printed in black/brown ink. Printed on cream wove paper. An extremely rare image. Signed in pencil. $875.

wearymoon1.JPG - 2662 Bytes

When the Weary Moon was in the Wane, Dort. 1893. Mezzotint. Hardie 115. 7 x 9 7/8 (sheet 9 x 12). Edition unknown, probably between 50-100. Illustrated: Guichard: British Etchers. 1850-1940. A dramatic, tonal impression printed on Japanese vellum. Signed in pencil. $975.

Reproductive Etchings, Aquatints and Mezzotints

bridgnorth1.JPG - 3855 Bytes

Bridgnorth (after the watercolour by T. Girtin). 1885. Etching. Hardie 172. 6 3/4 x 9 3/4 (sheet 9 x 13 3/4). Edition of 2000, as published in the Portfolio vol. xix, 1888. A dramatic impression printed on ceam wove paper. Monogrammed in the shield, lower left. $75.

robtburns1.JPG - 3750 Bytes

Robert Burns (after the oil painting by Alexander Nasmyth, 1758-1840.) 1893. Mezzotint. Hardie 62. 14 1/16 x 10 7/8 (sheet 15 3/4 x 12 1/2). Edition 250 published January 25th 1893 by by Robt. Dunthorne of London and Liverpool. A rich impression with plate tone printed on Japan paper. Signed in pencil. $500.

diana1.jpg - 7383 Bytes

Diana and Endymion (after the painting by George Frederic Watts, R.A., H.R.C.A. 1817 - 1904). 1891. Mezzotint. Hardie 60. 17 3/4 x 22 (sheet 21 3/4 x 25). Edition 300. A rich, tonal proof printed on Japan paper. Exhibited in 1900 at the Exposition Universelle, Paris, where it was awarded a gold medal.Signed in pencil by Watts and by Short. Signed in pencil by Watts and by Short. $2,750.

orpheus1.jpg - 6019 Bytes

Orpheus and Eurydice (after George Frederic Watts, R.A., H.R.C.A. 1817 - 1904). 1889. Mezzotint. Hardie 54.12 5/8 x 19 1/2 (sheet 17 1/8 x 23 3/ 8). Edition 300. A rich proof printed on Japon paper. Exhibited in 1889 at the Exposition Universelle, Paris, where it was awarded a gold medal. Signed in pencil by Watts, Short, and by the printer, Frederick Goulding. $1,750.

cottage1.jpg - 6555 Bytes

Cottage and Harvesters (after a watercolor by Peter De Wint, 1784-1849). 1907. Mezzotint. Hardie 88. 6 5/8 x 10 11/16 (sheet 14 x 19 1/4). Edition 100. A very rich impression, printed on warm chine affixed to a cream wove paper support sheet, as issued. Signed in pencil. $300.

ehrenet1.jpg - 5566 Bytesehren1.jpg - 5857 Bytes

Ehrenbreitstein to Coblenz, No. 2 (after the watercolor by J.M.W. Turner, R.A., 1775-1851.) 1913. Preliminary etched state for the m,zzotint. Hardie 95. Image 9 1/2 x 14 3/4; plate 10 7/8 x 15 3/4; sheet 14 3/8 x 20 7/8. ONly a few proofs of the etched state were printed. A fine, glowing proof printed on chine-appliqué mounted on sturdy white wove paper. $250.

Ehrenbreitstein to Coblenz, No. 2 (after the watercolor by J.M.W. Turner, R.A., 1775-1851.) 1913. Mezzotint. Hardie 95. Image 9 1/2 x 14 3/4; plate 10 7/8 x 15 3/4; sheet 12 x 15 3/4. Edition 50. A fine, glowing proof printed on chine applied to sturdy white wove paper. $550.

hayfield1.jpg - 7005 Bytes

A Hayfield in Yorkshire (after a watercolor by Peter De Wint, 1784-1849). 1904. Mezzotint. Hardie 80.ii. 8 3/4 x 11 11/13 (sheet 12 5/8 x 15 5/8). A very rich impression, printed on warm chine affixed to a cream wove paper support sheet, as issued. Signed in pencil. $350.

inthecotswalds1.jpg - 7018 Bytes

In the Cotswolds (after an oil painting by Sir Alfred East, R.A., P.R.B.A., 1849-1913). 1908. Mezzotint. Hardie 90. 8 6/16 x 10 5/16 (sheet 11 7/8 x 14 5/16). A very rich impression, printed on warm chine affixed to a cream wove paper support sheet, as issued. Signed in pencil. $300.

knares1.jpg - 6466 Bytes

Knaresborough (after a watercolor by Peter De Wint, 1784-1849). c. 1904. Mezzotint. Hardie 80.ii. 7 7/16 x 11 3/8 (sheet 13 3/8 x 18). A very rich impression, printed on warm chine affixed to a cream wove paper support sheet, as issued. Signed in pencil. $300.

love&death1.jpg - 6012 Bytes

Love and Death (after George Frederic Watts, R.A., H.R.C.A. 1817 - 1904). 1900. Mezzotint. Hardie 71 between i and ii. 24 1/2 x 12 (sheet 27 1/4 x 13 3/ 8). Edition 350 in state one. London, Published May 1st 1900 by Robert Dunthorne,5 Vigo Street, London W. Rubbing and discoloration from a previous mat in the margins, well outside the image. A rich proof printed on Japon paper. Signed in pencil by Watts and by Short. $1,400.

romancanal1.jpg - 5637 Bytesromancanalframe1.jpg - 5407 Bytes

A Roman Canal [Lincolnshire] (after the water-colour drawing by Peter De Wint, 1784--1849). 1904. Mezzotint. Hardie 82.ii. 6 3/4 x 15 (sheet 15 4/1 x 22). Published by Robert Dunthorne. A fine impression printed in black on chine-appliqué affixed to white wove paper. $350. Housed in a black and silver wood frame $450.

rouen1.JPG - 4074 Bytes

Rouen (after the drawing and lithograph by R.P. Bonington). 1888. Etching. Hardie 173. 10 1/4 x 7 (sheet 13 7/8 x 9 1/8). Edition of 2000, as published in the Portfolio vol. xix, 1888. A dramatic impression printed on ceam wove paper. Monogrammed in the shield, lower left. $75.

shap1.jpg - 5516 Bytes

Shap Fells (after a watercolor by Peter De Wint, 1784-1849). c.1902. Mezzotint. Hardie 77. 5 x 12 5/8 (sheet 7 x 15 1/4). Edition 150. A very rich impression, printed on warm chine affixed to a cream Japanese vellum support sheet, as issued. Signed in pencil. $275.

timberraft1.jpg - 5934 Bytes

Timber Raft on the Rhine (after the watercolor by J.M.W. Turner). 1898. Aquatint. Hardie 66. 8 1/4 x 11 11/16 (sheet 10 5/16 x 13 1/2). Edition 100. A rich, tonal impression printed in black ink on simili-Japan paper. Signed in pencil. $450.

yorkshiredell1.jpg - 6490 Bytes

A Yorkshire Dell or The Heron’s Pool. (after J.M.W. Turner, R.A., 1775-1851.) 1905. Soft-ground etching and mezzotint. Hardie 85. mezzotint over etching on India paper printed on chine-collé mounted on sturdy wove paper. 10 7/8 x 15 (sheet 14 x 18 1/4). A rich, velvety impression. Signed in pencil. $1,000.

yorkshireroad1.JPG - 3125 Bytes

A Yorkshire Road (Wensleydale) (after a watercolor by Peter De Wint, 1784-1849). 1889. Mezzotint. Hardie 69. 4 58 x 11 1/2 (sheet 6 5/8 x 13 5/8). Edition 250. A very rich impression, printed on Japanese vellum support sheet, as issued. Signed in pencil. $275.

Liber Studiorum

In 1807 Turner began his great enterprise of publishing a series of 100 plates known as the Liber Studiorum, inspired, in part, by Claude's own studio record, Liber veritatis (begun in 1635 and continued until his death in 1682). Turner's aim was to document the great variety and range of landscape; some of the subjects were taken from his own existing paintings and watercolours. He employed several engravers, although he supervised the work at every stage, etched some of the plates himself, and made innumerable preparatory drawings. The publication was issued in parts consisting of five plates each and covering all the styles of landscape composition, including historical, architectural, mountainous, pastoral, and marine. The first part appeared in June 1807 and the last in 1819, when Turner evidently lost interest in the project and abandoned it after the publication of 71 plates.

Frank Short worked on the uncompleted Liber Studiorumthrougout his career, completing 47 etched and mezzotinted plates.

bonnevillem1.JPG - 3976 Bytes

Bonneville, Savoy (After the drawing by J.M.W. Turner in the National Gallery). 1887. Mezzotint. Hardie 12.ii. With the publication line. 8 1/2 x 11 1/28 (sheet 12 3/4 x 17 3/8). Printed in shades of brown ink on the full sheet of cream-colored wove paper. Signed in pencil. $275.

chainofalpsm1.jpg - 6126 Bytes

Chain of Alps from Grenoble to Chamberi (after the drawing by J.M.W. Tuner in the National Gallery). 1887. Mezzotint. Hardie 7.ii. With the publication line added. 7 x 10 1/8 (sheet 12 7/8 x 17). A rich, tonal impression printed in brown ink on cream wove paper on the full sheet with deckle edges. Signed in pencil. $275.

mildwaymez1.JPG - 3738 Bytes

The Mildmay Sea Piece. (titled Sunset on the Beach on the frontispiece of the 'Twelve Subjects.') (after the oil painting by J.M.W. Turner, R.A., 1775-1851.) 1886. Mezzotint. Hardie 5.ii. With the publication line. 7 1/8 x 10 3/8 (sheet 12 1/8 x 17 1/4). Printed in brown ink on off-white laid paper on the full sheet with deckle edges. A rich impression in excellent condition. Signed in pencil. $250.

millet1.jpg - 8324 Bytesmillm1.JPG - 5396 Bytes

Mill Near the Grand Chartreuse -- Dauphiny (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Preliminary etching for the mezzotint. Hardie 9. Image 7 3/8 x 10; plate 9 x 11 7/8; sheet 12 1/2 x 17 1/4. A fine, richly-inked proof printed off-white wove paper. Signed in the plate. $125.

Mill Near the Grand Chartreuse -- Dauphiny (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Mezzotint. Hardie 9.ii. Image 7 3/8 x 10; plate 9 x 11 7/8; sheet 12 13/16 x 17. A fine, richly-inked proof printed on white wove paper. Signed in the plate. This is the finished mezzotint. $250.

pastoral1.JPG - 4293 Bytes

A Pastoral. (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1896. Mezzotint. Hardie 47. Published state. 8 x 10 3/4 sheet 9 1/2 x 12 5/8. Printed in brown inks on white wove paper. Collector's seal: Neal Green. Signed in pencil. $250.

berrym1.jpg - 6736 Bytes

Raglan Castle (Berry Pomeroy Castle). (After the drawing by J.M.W. Turner in the National Gallery) 1885. Mezzotint. Hardie 10.ii. With the publication line added. 7 5/8 x 10 5/8 (sheet 12 1/4 x 16 1/16). Printed in brown ink on cream wove paper on the full sheet with deckle edges. Signed in pencil. $250.

scene1.jpg - 8286 Bytes

Scene in the Campagna also known as Woman at a Tank and Hindu Ablutions. (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Hardie 4.ii. Preliminary etching for the mezzotint. 8 1/2 x 11 3/8 (sheet 12 5/8 x 17 3/8). Printed in brown ink on off-white wove paper. Signed in the plate. $125.

sheepwashingm1.JPG - 5008 Bytes

Sheep Washing, Windsor (Windsor Castle from Salt Hill) (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1890. Mezzotint. Hardie 19. 8 1/8 x 10 5/8 (sheet 12 3/16 x 17 1/8. A fine, richly-inked proof printed on off-white wove paper. Signed in pencil. $300.

watermillet1.JPG - 5359 Byteswatermillm1.JPG - 4531 Bytes

Water Mill (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1885. Preliminary etched state. Hardie 3.i/ii. Proof before the publication line. Image: 7 x 10 1/8; plate 7 7/8 x 11; sheet 12 1/4 x 16 5/8. Printed in brown ink on off-white wove paper with wide margins. Unsigned. $125.

Water Mill. (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1885. Mezzotint. Hardie 3.ii. With the publication line. 7 x 10 1/8 (sheet 12 1/4 x 16 5/8).A fine, richly-inked proof printed s white wove paper. Signed in pencil. $250.

Srule10.gif - 377 Bytes

Short was elected to the Royal Academy in 1911, the same year he was knighted, and served as the R.A.'s Treasurer from 1919-1932. He was also President of the Royal Society of Painter-Etchers and Head of the Engraving School of the Royal College of Art, where he taught from 1891-1924.

Srule10.gif - 377 Bytes

British Fine Prints.

Allinson Gallery Index.

To order, to request more information or to be placed on the email list, please contact Jane Allinson (jane@allinsongallery.com). Thank you for visiting this website.