A Roman Madonna
Etching, 1922, Dodgson 36 (ii/II); edition 30, this 6 3/4 x 5 7/8 in. Signed in the plate and signed in pencil. Also inscribed by the artist "Artist's proof A" in the lower margin. This is a superb impression printed with light plate tone. The margins are full and the condition is excellent.
SOLD

Cat and Mandolin
Engraving, 1925, Dodgson 60 (ii/II), edition 50. 4 1/4 x 6 1/8 in. Initialed in the plate. Signed and dated in pencil. This is a fine, rich impression of this endearing print. The margins are full and the condition is fine. This print was published by the XXI Gallery, London, which represented Austin's work.
SOLD

Early Spring, Gloucestershire
Etching, 1922, Dodgson 30, edition 40. 7 x 7 5/8 in. Signed in the plate. Signed and dated in pencil. This is a fine impression on cream laid paper. The margins appear to be full and untrimmed. The condition is excellent. Austin's work was published by the Twenty-one Gallery, London, which also represented S.R. Badmin, Paul Drury and Graham Sutherland among many others.
SOLD

Ponte Pietra, Verona
Etching, 1925, Dodgson 56, edition 76. 5 1/8 x 4 3/4 in. Signed in the plate and signed in pencil. This is a fine, rich impression printed on cream laid paper. The margins are full and the condition is fine other than for a faint suggestion of toning within an earlier mat opening. Austin studied with Frank Short and is rightfully considered one of the preeminent printmakers working in England between the wars. He was a master craftsman with the copper plate and was gifted as a figurative artist as well as an etcher of architectural subjects. Austin was the recipient of many rewards throughout his career and his fine work clearly stands the test of time.
$750

Portrait (Noel Edwards)
Engraving, 1935-36, Dodgson 110 (Ashmolean Museum Catalogue, 1980), edition about 40. 9 x 7 3/8 in. Initialed in the plate. Signed and dated (1936) in pencil, lower center. This is a superb, beautifully inked impression printed on light cream wove paper. The margins are full and the condition is fine. This is arguably Austin's finest print, a tour de force of portrait engraving by one of the British masters of the craft. He was a legendary student of Sir Frank Short. "The subject of this unusual portrait, Noel Edwards, was the wife of the Dean of Canterbury. She was also a former pupil of Austin's in the engraving School at the Royal College of Art in London. The unusual composition of this portrait and the remarkable attention to detail which Robert Sargent Austin has lavished on every aspect of his sitter’s clothing with its many varied textures, have combined to create a masterwork of line engraving which stands alone in its fascination." (Michael Campbell)
SOLD

The Pack Bridge, Aylestone, Leicestershire
Engraving, 1926, Dodgson 65; edition 60. 4 3/4 x 4 3/8 in. Initialed in the plate and signed and dated in pencil. This is a very fine, rich impression printed on light gray laid paper. The margins are wide and probably full. The condition is quite good. Like F.L.Griggs, Austin was inspired by the English countryside as well as its stone architecture.
$875