Arthur John Trevor Briscoe, R.E. 1873-1943.
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Watercolours
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.
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.
Etchings
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.
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.
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.
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.
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.
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.
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.
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.
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 extremely rare to find early Briscoe proofs. $1,750.
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. $1,750.
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. $1,000.
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.
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. $1,500.
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.
The Pilot. 1925. Etching. Hurst 128.ii. 12 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.
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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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.
The Wheel. 1927. Etching. Hurst 196. 9 x 10 (sheet 11 1/4 x 16 5/8). File copy, apart from the edition of 75.. Illustrated: Print Collector's Quarterly 25 (1938): 292. A rich impression with tonal wiping. Printed on the full sheet of cream laid paper with deckled edges. Signed and annotated 'file copy' ink. $1,750.
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. $500.
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 watercolor. 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. His works were eagerly sought after and purchased by collectors throughout the 1920s and 1930s. His work was always technically accurate and very evocative of the last years of square-rigged sailing ships. Briscoe left an invaluable historical record of the workings of the last great commercial vessels.
For a more detailed biography, please visit Briscoe.
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