Sir Frank Short, R.A., P.R.E. 1857-1945.
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Original Etchings
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.
The Beach Buoy, Penzance. 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Original Aquatints
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.
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. Slight mat line outside the image; otherwise in good original condition. A delicate, carefully wiped impression on white wove paper, with full margins. Signed in pencil. $1,250.
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. $1,250.
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.
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.
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
The Headlights Over the Hill. 1927. Mezzotint. Hardie 127. 5 7/8 x 7 7/8 (sheet sheet 9 7/8 x 12). Slight abrasion in the upper right margin, outside the image; otherwise good original condition. A rich, atmospheric impression printed on cream wove paper with wide margins. Signed in pencil. The Headlights Over the Hill. is considered one of Short's finest original mezzotints. $1,500.
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. Signed in pencil. From a watercolour sketch made by Sir Frank Short on Whitby Scaur. $500.
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. 1,400.
Nithsdale. 1891. Mezzotint. Strange 154, Hardie 110. 8 1/4 x 12 7/8 (sheet 13 9/16 x 16 5/8). Edition about 50. Printed with plate tone on off-white laid paper. Illustrated The International Studio XLII/No. 165, November 10: 3. Signed in pencil. $975.
The Shadowed Valley. 1927. Mezzotint. Hardie 128. 14 3/8 x 19 3/8 (sheet 18 3/4 x 23 7/8). A rich, glowing impression printed in varying tones of black-brown ink on chine mounted on sturdy white wove paper. Marginal tears and folds, outside the image. Illustrated: Fine Prints of the Year, 1927. Signed in pencil. This is Short's most dramatic mezzotint. $2,750.
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.
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.
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
Mezzotints after Watts
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. $1,000.
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. Housed in a 23 1/4 x 29-inch champagne gold leaf frame. $1,250.
Mezzotints after other artists
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.
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.
Ehrenbreitstein to Coblenz, No. 2 (after the watercolor by J.M.W. Turner, R.A., 1775-1851.) 1913. Preliminary etched state for the mezzotint. 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 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.
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. $300.
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 affixed to white wove paper. $350. Housed in a black and silver wood frame $450.
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.
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.
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.
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 Studiorumthroughout his career, completing 47 etched and mezzotinted plates.
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.
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. $200.
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.
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. Mezzotint. 8 1/2 x 11 3/8 (sheet 12 5/8 x 16 3/4). Printed in brown ink on off-white wove paper. Signed in pencil. $275.
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.
Sir Francis Job 'Frank' Short PPRE (19 June 1857 - 22 April 1945) was a British printmaker and teacher of printmaking. Born in Stourbridge, Worcestershire, he was educated to be a civil engineer and in 1883 became an associate member of the Institution of Civil Engineers. He was engaged on various works in the Midlands until 1881, when he moved to London as the assistant to Baldwin Latham assisting with the Parliamentary Inquiry into the pollution of the Thames River. In 1883 began studying art at both the Kensington and Westminster Schools of Art. He became a print maker and was largely responsible for reviving the practices of mezzotint and aquatint engraving. Praised and encouraged by Ruskin and a great admirer of Turner, his etchings and mezzotints from Turner's Liber Studiorum were among his earlier successes. He also reproduced in fine and sensitive mezzotints several pictures by George Frederick Watts, David Cox and Peter de Wint.
He became head of the Engraving School at the Royal College of Art and was elected to the Royal Society of Painter-Etchers ad Engravers (now called the Royal Society of Painter-Printmakers) in 1885. In 1910 he succeeded Sir Seymour Haden President, and held that office from 1910 to 1938. 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. His work as a watercolour painter was recognized in 1917 when he was elected a member of the Royal Institute of Painters in Watercolours.
As head of the Engraving School at the Royal College of Art, South Kensington, Short had great influence on younger engravers of the time. He was elected to the Royal Society of Painter-Etchers and Engravers in 1885, and took a prominent part in conducting its affairs. In 1910 he succeeded Sir Francis Seymour Haden as president, serving as such until 1939. >
He was a student of the works of JMW Turner and his etchings and mezzotints from Turner's Liber Studorium (1885 seq.) are examples of his painstaking devotion and skill. These works were among his earliest successes, combining sympathetic study of the originals with a full knowledge of the resources of engraving and unwearied patience. Short received praise, constant advice and encouragement from Ruskin and the co-operation of students of Turner. After completing the series from the existing plates of Turner's "Liber" Short turned to the subjects which Turner and his assistants had left incomplete. Several fine plates resulted from this study, bearing the simple lettering "F. Short, Sculp., after J. M. W. Turner, R.A.," which told little of the work expended on their production, even before the copper was touched.
Short received, amongst other distinctions, the gold medal for engraving at the Paris International Exhibition, 1889, and another gold medal (Rappel) 1900. In 1906 Short was elected an Associate of the Royal Academy, when membership as Associate Engraver was revived and in 1911 he was elected a full Royal Acadamician (R.A.), and also received a knighthood. Frank Short and Whistler became friends around 1885 and, according to Robert Getscher in his book The Stamp of Whistler: "Whistler was attracted by Short's skill and often visited him in the nineties to ask for help with technical matters, such as the formulas for etching baths. He proofed some of his last plates in Short's studio."
In 1888 Short published On the Making of Etchings , a manual which became a bible for many etchers of the time. The Etched and Engraved Work of Frank Short, by Edward F. Strange (1908), describes 285 plates by the artist. Subsequently, Sir Martin Hardie published four books on Short's etched work. A complete catalog is under way by Professor (emeritus) Derek W. Allinson.
Sir Frank Short revived the practices of mezzotint and pure aquatint, while expanding the expressive power of line in drypoint etching and engraving. He also wrote about printmaking to educate a wider public.
He lived in Brook Green, London. Short had a house in Seaford, a costal town in Sussex between Brighton and Eastbourne
According to his friend and colleague, Martin Hardie: 'Physically strong, with a powerful frame, a massive head, and large and benevolent eyes, Short was a man of quiet manner and kindly impulse, but of firm character and great strength of will.'
Sir Frank Short died in Ditchling, East Sussex, England on April 22, 1945.
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