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Alington in Wiltshire (The First Swallow). 1927. Etching. Garton 2.iv. 6 3/4 x 8 7/8 (sheet 10 1/2 x 13 1/2). Final state published by in an editon of 12 by Garton & Cooke in 1982 (Nicolson published an edition of 40 in 1927). In states iii and iv, the swallow of the title was removed. In iv,the sky was re-etched and the cross-hatching was slightly finer. Signed in pencil. $1,750.
Christmas. 1929. Etching. Garton 9.II. 13 X 11 (sheet 19 3/8 X 1 7/8). Trial proof, previous to the edition of 50 from the Penn Print Room edition published in 1974 by McDonald & Nicholson. Edition of 100 lifetime proofs and 122 posthumous proofs published by Garton & Co. A rich, tonal impression printed in simili-japon paper with full margins. Signed and annotated 'trial proof' in pencil. $7,500.
The Old Road: Elegy for the English Elm I. 1976. Etching. Garton 36.iii. 11 7/8 x 9 3/8 (sheet 12 7/8 x 10 1/8). Edition 1,000. As published in 1977 in the deluxe edition of British Etchers, 1850-1940 by Kennerth Guichard. Pristine condition. Signed in pencil. $650.
According to Garton, "Studies for this print began in 1974 at a time when the Dutch elm disease was considerably advanced. This plate is not only a lament for the English elm, but also a celebration of Traherne's line, 'Everything was at rest, free and immortal.'"
Robin Tanner was an English artist, etcher and printmaker. He followed in the visionary tradition of Samuel Palmer and English neo-romanticism. His etchings began following night-school classes at Goldsmiths College, London. He had been inspired by the major Samuel Palmer retrospective exhibition organised by Martin Hardie in London in 1926, and his first etching was made in that year. He was particularly moved by Palmer's early Shoreham works which had been so influential on fellow students such as Paul Drury, William Larkins and Graham Sutherland. He also acknowledged his admiration for the technical craftsmanship of the older etcher, F.L. Griggs. Tanner was thus part of the etching revival in England.
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