A Span of Old Battersea Bridge
Aquatint and soft ground etching, 1899, Hardie 155; edition unknown. 7 1/2 x 11 5/8 in. Signed in pencil, lower right. This is a superb impression with full margins. The condition is fine overall apart from a very faint suggestion of lightening within a previous mat opening. This masterful early work, clearly inspired by Whistler, is a tour de force of design and execution. "The importance of Sir Frank Short in the development of modern British printmaking cannot be overstated. As head of the first engraving school at the Royal College of Art, and later as President of the Royal Society of Painter-Etchers, he exerted the fundamental influence which was responsible for the technical excellence of British etching and engraving during the first decades of this century." (M. Campbell, 1993). A detailed technical analysis of this print and how it was made is found on page 339 of The Art of Etching by E.S. Lumsden, 1924.
SOLD

A Span of Old Battersea Bridge
Aquatint and soft ground etching, 1899, Hardie 155, edition unknown. 7 1/2 x 11 5/8 in. Signed in pencil, lower right. This is a superb impression with full margins. The condition is fine overall apart from a slight suggestion of lightening within a previous mat opening. This masterful, early work; clearly inspired by Whistler, is a tour de force of design and execution. "The importance of Sir Frank Short in the development of modern British printmaking cannot be overstated. As head of the first engraving school at the Royal College of Art, and later as President of the Royal Society of Painter-Etchers, he exerted the fundamental influence which was responsible for the technical excellence of British etching and engraving during the first decades of this century." (M. Campbell, 1993). A detailed technical analysis of this print and how it was made is found on page 339 of The Art of Etching by E.S. Lumsden, 1924.
SOLD

Bellinzona from the Road to Locarno (after a watercolor by Turner)
Aquatint and etching, 1893, Hardie 144, edition of 24. 7 3/4 x 9 1/2 in. Signed in pencil. This is a fine impression printed on vellum. The margins are narrow and otherwise, the condition is fine. There were 24 signed impressions and an unsigned edition in The Portfolio. The watercolor by Turner which inspired this print is in the Aberdeen Art Gallery and dates from 1843.
SOLD

The Shadowed Valley
Mezzotint, 1927, Hardie 128, edition unknown. 14 3/8 x 19 3/8 in. Signed in pencil. This is a fine impression of this outstanding print. The margins are trimmed and it's printed on a chine applique; otherwise in fine condition. The drawing study for this print is in the collection of the Fogg Art Museum in Cnambridge, MA.
$2,200