Sir Frank Short, R.A., P.R.E. 1857-1945.
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Etchings
An April Day in Kent. 1903. Etching. Hardie 326. 8 x 11 3/48 (sheet 11 7/8 x 17). A rich impression with plate tone, printed on cream laid paper with a unicorn watermark. Printed on the full sheet with deckle edges. Excellent condition. Illustrated: Malcolm Salaman, Modern Masters of Etching: Frank Short. Signed in pencil. $750.
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 Unpublished plate -- rare.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.
The Coast Road, Kingsdown. 1922. Etching. Hardie 362. 4 1/4 x 6 (sheet 5 5/16 x 7). Printed on cream laid paper. Signed in pencil. $275.
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. $300.
Entrance to the Mersey. 1890. Etching. Hardie 250. 4 x 10 (sheet 6 7/8 x 11 7/16). Edition 50. Printed on fine cream laid paper. Unobrusive center fold. Signed in pencil. $225.
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. $450.
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. $475.
Low Tide and the Evening Star, and Rye's Long Pier Deserted (plate #2). 1888. Etching. Hardie 219. 7 3/16 x 10 3/16 (sheet 8 1/4 x 11 5/16). Edition 100. An atmospheric impression with plate tone, printed on fine off-white laid paper with a crown watermark. Fine condition apart from minor paper losses at the sheet edges, well outside the image. Signed by Short and by the famous printer, Frederick Goulding. Illustrated: Malcolm Salaman, Modern Masters of Etching: Frank Short. The 'Evening Star' is a ship. This is one of Short's most lyrical and most desireable etchings. Signed in pencil. $800.
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.
Old Wind Pump in Hayling Island. 1908. Etching. Hardie 339. 9 1/2 x 13 5/8 (sheet12 x 17 1/8). A cleanly wiped impression printed on tan 'VGL' countermarked laid paper on the full sheet with deckle edges. A rare, large impressive image. $450.
Over the Meadows to Monnikendam. 1892. Etching. Hardie 279.iv. 4 3/8 x 6 3/16 (sheet 6 3/4 x 9 5/16). Printed on cream laid paper. Impression apart from he edition used as a frontispiece to Short's book, On the Making of Etchings third edition, 1898. Signed in pencil. $275.
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.
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.
A Quiet Evening on the Ferry over the Blythe. 1890 Etching. Hardie 259. 5 7/8 x 7 8/8 (sheet 7 1/4 x 8 7/8). A rich impression with plate tone, printed on cream laid paper. Signed in pencil. $450.
The 'Rising Sun' Kingsdown. 1922. Etching. Hardie 361. 4 1/4 x 5 15/16 (sheet 5 3/4 x 7 7/8). No published edition. Printed on cream laid paper. Signed, titled and dedicated "To my friend, J.D. Marion F.S." A charming, scarce print. $250.
The Rope Walk, Spittel Bridge, Whitby. 1891. Etching. Hardie 267. 5 15/16 x 5 7/8 (sheet 8 1/16 x 7 7/16). A rich impression with plate tone, printed on cream wove paper with full margins. Excellent condition. Signed with the shield and titled in the plate. Signed in pencil. $300.
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. $450.
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. $400.
Skies A-Clearing, Sun A-Shining, and the Evensong A-Chiming. The Church at Kampen. 1892. Etching. Hardie 274.ii. 5 1/2 x 7 3/4 (sheet 7 1/16 x 8 1/2). Printed on greyish-toned paper laid paper. Circular abrasions in the lower and right-hand margins, just into the lower left-hand corner of the image, but only visible from the back. Signed in pencil. Sold.
A South Coast Road, Pegwell Bay. (Isle of Thanet, Kent, England). 1903. Etching. Hardie 323.i/ii. 5 5/16 x 10 7/16 (sheet 7 3/16 x 11 7/8). Printed with plate tone on cream laid paper. Signed in pencil. $425.
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. $375.
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. $600.
Walberswick Pier #1. 1890. Etching. Hardie 257. 5 7/8 x 8 7/8 (sheet 6 5/8 x 9 13/16). A rich impression with plate tone, printed on cream wove. Illustrated: Malcolm Salaman, Modern Masters of Etching: Frank Short. Signed in pencil. $450.
Aquatints
Dawn. 1912. Aquatint. Hardie 160. 6 3/4 x 14 (sheet 8 7/8 x 16 1/2). A rich, tonal impression on simili-Japan paper with full margins. Signed in pencil. $400.
Morning Haze in Chichester Harbour. 1922. Aquatint. Hardie 166. 9 3/8 x 13 5/8 (sheet 15 3/8 x 21 7/8). Illustrated: Malcolm Salaman, Modern Masters of Etching: Frank Short. A delicate, carefully wiped impression on white wove paper, on the full sheet with deckle edges. Signed in pencil. $1,250.
The New Moon. 1918. Aquatint. Hardie 163. 10 1/2 x 16 1/4 (sheet 15 3/16 x 21 5/8). A dramatic sensitively wiped impression with plate tone, printed on white wove paper with wide margins. Slightly toned; otherwise excellent condition. Signed in pencil. The image shows 2 fishermen on the Bure River at Stokesby Ferry, near Acle in Norfolk. $1,750.
The Silver Tide. 1912. Aquatint. Hardie 162.6 x 9 1/8 (sheet 9 x 11 5/8). 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.
Twixt Day and Dawn. 1919. Aquatint. Hardie 165.ii. 9 7/8 x 11 1/2 (sheet 12 3/8 x 15). A subtly inked impression printed on white wove paper. Signed in pencil. $750.
Original Mezzotints
The Lifting Cloud. 1902. Mezzotint. Hardie 118. 6 x 9 (sheet 10 5/8 x 15 3/16). A very rich impression printed on white wove paper. Slight sun toning. From a watercolour sketch made by Sir Frank Short on Whitby Scaur. Signed in pencil. $400.
The Night Picket Boat at Hammersmith. 1916. Mezzotint. Hardie 125. 11 7/8 x 17 13/16 (sheet 9 1/8 x 11 3/4). Printed on white wove paper with wide margins. A rich, atmospheric impression. A rare impression touched with white watercolour in the moon, the reflections in the water and the lights. Signed in pencil. $2,250.
Reproductive Mezzotints
Orpheus and Eurydice (after George Frederic Watts, R.A., H.R.C.A. 1817 - 1904). The painting is on the right. 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. $1,250.
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. $325.
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 5/8; plate 10 7/8 x 15 3/4; sheet 12 x 15 3/4. Edition 50. A fine, richly-inked proof printed on chine applied to sturdy white wove paper. This glowing impression is beautifully inked. Signed in pencil. $750.
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.
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.
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. $350.
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 100. A very rich impression, printed on warm chine affixed to a cream Japanese vellum support sheet, as issued. Signed in pencil. $325.
St. Mary Redcliffe, Bristol (from the water-colour drawing by John Sell Cotman, 1782-1842). 1888. Etching. Hardie 53. 6 7/8 x 9 7/16 (sheet 9 5/16x 13 5/8). A rich impression with tonal wiping, printed on cream wove paper. As published The Portfolio volume xix, 1888. Signed 'S' on the shield. $125.
A Sussex Down (after John Constable, 1776-1837). 1898. Mezzotint. Hardie 67. 5 5/8 x 10 (8 1/8 x 13 1/2). Edition 100. A rich, atmospheric impression printed on cream wove paper with full margins. $175.
A Swiss Pass (after J.M.W. Turner.) 1898. Etching. Hardie 65. Image 7x 10 1/8 ; plate 8 1/16 x 11 1/8; sheet 10 1/2 x 14 1/4. Edition 100. A rich, tonal impression printed on vellum. Signed in pencil. $350.
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). A rich, tonal impression printed in black ink on simili-Japan paper. Signed in pencil. $650.
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.
Ben Arthur, Scotland. (The location of Turner's drawing of this subject is not known). 1888. Mezzotint. Hardie 13.ii. With the publication line. 7 1/8 x 10 3/8 (sheet 12 7/8 x 17). Printed in brown ink on off-white wove paper with wide margins. Signed in pencil. $275.
Little Devil's Bridge (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Preliminary etching for the mezzotint. Hardie 2. Image 7 x 10; plate 9 x 11 7/8; sheet 12 5/8 x 17 1/2. A fine, richly-inked proof printed on off-white wove paper. Signed in the plate. $150.
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 1/2 x 17 3/8). Printed in brown ink on off-white laid paper on the full sheet with deckle edges. Faint mat burn, some residual ink in the left hand margin well outside the image, and one red spot in the top center just outside the plate mark. The lettering is faint, as this was a proof. The sky is particularly beautiful. Monogrammed in the plate; annotated 'Engravers Proof' in the lower right-hand sheet edge in another hand. $200.
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 yellow-brown ink on off-white laid paper on the full sheet with deckle edges. Foxing spots primarily in the margins, 1 just outside the image, upper left. A rich, glowing impression. Signed in pencil. $275.
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. Signed in the plate. $150.
Pan and Syrinx (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1896. Preliminary etching for the mezzotint. Hardie 25. Image 7 7/8 x 10 3/8; plate 8 3/8 x 11; sheet 9 7/8 x 13 7/8. Printed in brown ink on white wove paper. Signed in pencil. $150.
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. 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.
Sheep Washing, Windsor (Windsor Castle from Salt Hill) (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1890. Mezzotint. Hardie 19. Image 7 1/8 x 10; plate 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 the pencil. $275.
Solway Moss. 1887. Mezzotint. Hardie 8.ii. Mezzotint. 8 1/2 z 11 1/2 (sheet 11 x 15 5/16). Printed in sepia ink on off-white wove paper. Signed in pencil. $275.
Source of the Arveron (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Preliminary etching for the mezzotint. Hardie 11. Image 7 3/8 x 10 3/8; plate 8 3/8 x 11 3/8; sheet 12 1/2 z 17 3/8. A fine, richly-inked proof printed on off-white wove paper. $150.
Water Mill (after the watercolor by J.M.W. Turner.) 1885. Preliminary etched state. Hardie 3.i/ii. Proof before the publication line. 7 x 10 1/8 (sheet 12 1/4 x 16 5/8). Printed in brown ink on off-white wove paper with wide margins. Unsigned. $125.
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