Sir Frank Short, R.A., P.R.E. 1857-1945.

Click on the images for larger screens.

Etchings

Anchors at Walberswick. 1890. Etching. Hardie 261. 7 x 10 (sheet 10 3/4 x 14 7/8). This was an outdoor sketch from which very few impressions were take: only 8 are known. Printed with plate tone, printed on cream laid paper. Two small remnants of tape hinges in the margin, well outside the image. Collector's name, address and monogram verso: E.A. Scollin, M.D. Signed in pencil. $450

An April Day in Kent. 1903. Etching. Hardie 326. 8 x 11 3/48 (sheet 11 7/8 x 17). A rich impression with plate tone, printed on cream laid paper with a unicorn watermark. Printed on the full sheet with deckle edges. Excellent condition. Illustrated: Malcolm Salaman, Modern Masters of Etching: Frank Short. Signed in pencil. $600.

Church Street, Whitstable. 1910. Etching. Hardie 346. 9 1/2 x 13 1/2 (sheet 11 3/8 x 15 1/4). Trial proof, before the addition of the artist's monogram in the shield. Unpublished plate -- rare. A rich impression with plate tone, printed on heavy cream wove paper. Signed and annotated 'Trial proof' in pencil. A large, impressive plate. $750.

The Coast Road, Kingsdown. 1922. Etching. Hardie 362. 4 1/4 x 6 (sheet 5 5/16 x 7). Printed on cream laid paper. Signed in pencil. $275.

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. $300.

Entrance to the Mersey. 1890. Etching. Hardie 250. 4 x 10 (sheet 6 7/8 x 11 7/16). Edition 50. A very rich impression with tonal wiping printed on fine cream laid paper. Signed in pencil. $275.

George's Dock, Liverpool 1890. Etching. Hardie 245. 5 7/8 x 9 7/8 (sheet 7 13/16 x 9 7/8). Printed on 'MBM' laid paper. Signed in pencil. $375.

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. $450.

King's Lynn. No. 2. 1894. Etching. Hardie 309. 7 7/8 x 10 3/4 (sheet 10 x 13 13/16). A carefully wiped impression with plate tone printed on 'FJ Head & Co' cream laid paper. Signed in pencil. $400.

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. $475.

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 others 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. $450

Old Quay on the Nith. 1891. Etching. Hardie 268.iv. 4 x 6. A rich impression with plate tone, printed on cream wove paper with wide margins. Signed in pencil. $250.

Old Wind Pump in Hayling Island. 1908. Etching. Hardie 339. 9 1/2 x 13 5/8 (sheet12 x 17 1/8). A cleanly wiped impression printed on tan 'VGL' countermarked laid paper on the full sheet with deckle edges. A rare, large impressive image. $450.

Potato Scales. 1890. Drypoint. Hardie 256. 2 5/8 x 4 3/8 (sheet 5 1/4 x 6 1/4). Outdoor sketch on copper. A few proofs only -- rare. Printed with plate tone on cream laid paper. Signed in pencil. $175.

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.

A Quiet Evening on the Ferry over the Blythe. 1890 Etching. Hardie 259. 5 7/8 x 7 8/8 (sheet 7 1/4 x 8 7/8). A rich impression with plate tone, printed on cream laid paper. Signed in pencil. $450.

The Rope Walk, Spittel Bridge, Whitby. 1891. Etching. Hardie 267. 5 15/16 x 5 7/8 (sheet 8 1/16 x 7 7/16). A rich impression with plate tone, printed on cream wove paper with full margins. Excellent condition. Signed with the shield and titled in the plate. Signed in pencil. $300.

Rough Weather at Blatchington. 1925. Etching. Hardie 368. 5 1/2 x 8 9/16 (sheet 7 3/16 x 11 1/4). Edition about 50. Illustrated: Fine Prints of the Year, 1924. A rich impression printed on Japanese mulberry paper. Signed in pencil. $450.

The Sea Road into Seaford. 1925. Etching. Hardie 367. 6 3/8 x 9 1/8 (sheet 8 7/8 x 12 1/2). A rich impression with plate tone, printed on cream laid paper with deckle edges on two sides. Illustrated: Malcolm Salaman, Modern Masters of Etching: Frank Short. Signed in pencil. $350.

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. $425.

A South Coast Road, Pegwell Bay. (Isle of Thanet, Kent, England). 1903. Etching. Hardie 323.i/ii. 5 5/16 x 10 7/16 (sheet 7 3/16 x 11 7/8). Printed with plate tone on cream laid paper. Signed in pencil. $425.

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. $300.

Water Meadows, Arundel. 1907. Etching. Hardie 331. 6 x 7 15/16 (sheet 8 7/8 x 12 7/16). An outdoor sketch on copper. No published edition: Hardie stated that there were only 3 or 4 impressions; actually 6 are known, 4 of which are in the British Museum. A line of script needled under the upper margin reads 'Hollar's ground smoked with wax tapers (small)'. Printed with plate tone on cream wove paper with full margins.A delightful and extremely rare image. Unsigned. $450.

A Wintry Blast on the Stourbridge Canal. 1890. Etching. Hardie 264. 6 7/8 x 9 7/8 (sheet 7 3/4 x 11 7/8). Edition 50. A very rich impression with plate tone, printed on fine off-white laid paper. Signed by Short and by the famous printer, Frederick Goulding. Illustrated: Illustrated: Guichard, British Etchers, 1850-1940; Malcolm Salaman, Modern Masters of Etching: Frank Short. $700.

Original Aquatints

Dawn. 1912. Aquatint. Hardie 160. 6 3/4 x 14 (sheet 8 7/8 x 16 1/2). A rich, tonal impression on simili-Japan paper with full margins. Signed in pencil. $400.

Morning Haze in Chichester Harbour. 1922. Aquatint. Hardie 166. 9 3/8 x 13 5/8 (sheet 15 3/8 x 21 7/8). Illustrated: Malcolm Salaman, Modern Masters of Etching: Frank Short. A delicate, carefully wiped impression on white wove paper, on the full sheet with deckle edges. Signed in pencil. $1,250.

The Silver Tide. 1912. Aquatint. Hardie 162.6 x 9 1/8 (sheet 9 x 11 5/8). 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.

Twixt Day and Dawn. 1919. Aquatint. Hardie 165.ii. 9 7/8 x 11 1/2 (sheet 12 3/8 x 15). A subtly inked impression printed on white wove paper. Signed in pencil. $650.

Original Mezzotints

The Headlights Over the Hill. 1927. Mezzotint. Hardie 127. 5 7/8 x 7 7/8 (sheet 98 5/16 x 12 1/8). Slight mat line; otherwise excellent condition. A rich, atmospheric impression printed on tan wove paper with wide margins. Signed, titled 'Headlights over the hill (Seaford) and dedicated to the American etcher, 'To my friend Herman Webster. 1033. F.S.' in pencil. . This is considered one of Short's finest original mezzotints. The automobile is travelling the road from Seaford to New Haven in Sussex. Seafoard Head is in the distance and the sea is on the right. $3,500.

The Lifting Cloud. 1902. Mezzotint. Hardie 118. 6 x 9 (sheet 10 5/8 x 15 3/16). A very rich impression printed on white wove paper. Slight sun toning. From a watercolour sketch made by Sir Frank Short on Whitby Scaur. Signed in pencil. $400.

The Night Picket Boat at Hammersmith. 1916. Mezzotint. Hardie 125. 11 7/8 x 17 13/16 (sheet 9 1/8 x 11 3/4). Printed on white wove paper with wide margins. A rich, atmospheric impression. A rare impression touched with white watercolour in the moon, the reflections in the water and the lights. Signed in pencil. $3,000.

Orion over the Thames at Ranelagh. 1914. Mezzotint. Hardie 124. 11 x 16. A rich, atmospheric impression printed on white wove paper with wide margins. This is one of Short's finest original mezzotints. Signed in pencil. $3,500.

The Shadowed Valley. 1927. Mezzotint. Hardie 128. 14 3/8 x 19 3/8 (sheet 19 x 25 1/2). A rich, glowing impression printedin varying tones of black-brown ink on chine mounted on sturdy white wove paper. Illustrated: Fine Prints of the Year, 1927. Signed in pencil. This is Short's most dramatic mezzotint. $3,500.

Reproductive Aquatints and Mezzotints

Diana and Endymion (after the painting by George Frederic Watts, R.A., H.R.C.A. 1817 - 1904). 1891. Mezzotint. Hardie 60. 17 3/4 x 22 (sheet 21 3/4 x 25). Edition 300. A rich, tonal proof printed on Japan paper. Signed in pencil by Watts and by Short. $2,750.

Orpheus and Eurydice (after George Frederic Watts, R.A., H.R.C.A. 1817 - 1904). The painting is on the right. 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. $1,750.

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. $325.

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 5/8; plate 10 7/8 x 15 3/4; sheet 12 x 15 3/4. Edition 50. A fine, richly-inked proof printed on chine applied to sturdy white wove paper. This glowing impression is beautifully inked. Signed in pencil. $750.

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. $350.

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. $1,750.

Sea Piece (after J.M.W. Turner.) 1889. Aquatint. Hardie 142. 9 1/4 x 6 1/2 (sheet 14 1//8 x 10 1/2). As published in The Portfolio 19 (1889). Slightly toned; otherwise fine condition. Printed in red/ brown ink on cream wove paper mounted on mat board. Unsigned. $175.

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 100. A very rich impression, printed on warm chine affixed to a cream Japanese vellum support sheet, as issued. Signed in pencil. $325.

St. Mary Redcliffe, Bristol (from the water-colour drawing by John Sell Cotman, 1782-1842). 1888. Etching. Hardie 53. 6 7/8 x 9 7/16 (sheet 9 5/16x 13 5/8). A rich impression with tonal wiping, printed on cream wove paper. As published The Portfolio volume xix, 1888. Signed 'S' on the shield. $175.

A Sussex Down (after John Constable, 1776-1837). 1898. Mezzotint. Hardie 67. 5 5/8 x 10 (8 1/8 x 13 1/2). Edition 100. A rich, atmospheric impression printed on cream wove paper with full margins. $175.

A Swiss Pass (after J.M.W. Turner.) 1898. Mezzotint. Hardie 65. Image 7x 10 1/8 ; plate 8 1/16 x 11 1/8; sheet 10 1/2 x 14 1/4. Edition 100. A rich, tonal impression printed on vellum. Signed in pencil. $350.

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). A rich, tonal impression printed in black ink on simili-Japan paper. Signed in pencil. $650.

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 Studiorumthrougout his career, completing 47 etched and mezzotinted plates.

Liber Studiorum: The Frontispiece. 1885. Mezzotint and etching. Hardie 1. 5 x 7 3/8 (sheet 12 7/8 x 17 1/8). Printed in black/brown ink on cream wove paper on the full sheet with deckle edges. Signed in pencil. $325.

Ben Arthur, Scotland. (The location of Turner's drawing of this subject is not known). 1888. Etching. Hardie 13.i/ii. Before the publication line. 7 1/8 x 10 3/8 (sheet 12 3/8 x 17). Printed in brown ink on off-white wove paper with wide margins. Signed in the plate. $125.

Crowhurst, Sussex. 1902. Mezzotint. Hardie 21.ii. With the title added in capitals. 8 3/8 x 11 1/4 (sheet 12 1/8 x 17). Printed in blACK ink on the full sheet of off-white wove paper. Signed in pencil. Short printed only a few of some subjects in black ink; consequently this proof is exceedingly rare. $500.

Little Devil's Bridge (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Preliminary etching for the mezzotint. Hardie 2. Image 7 x 10; plate 9 x 11 7/8; sheet 12 5/8 x 17 1/2. A fine, richly-inked proof printed on off-white wove paper. Signed in the plate. $150.

The Mildmay Sea Piece. (titled Sunset on the Beach on the frontispiece of the 'Twelve Subjects.' (after the oil painting by J.M.W. Turner, R.A., 1775-1851.) 1886. Mezzotint. Hardie 5.ii. With the publication line. 7 1/8 x 10 3/8 (sheet 12 1/8 x 17 1/4). Printed in brown ink on off-white laid paper on the full sheet with deckle edges. A rich impression in excellent condition. Signed in pencil. $275.

Mill Near the Grand Chartreuse -- Dauphiny (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Preliminary etching for the mezzotint. Hardie 9. Image 7 3/8 x 10; plate 9 x 11 7/8; sheet 12 1/2 x 17 1/4. A fine, richly-inked proof printed off-white wove. Signed in the plate. $125.

Pan and Syrinx (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1896. Preliminary etching for the mezzotint. Hardie 25. Image 7 7/8 x 10 3/8; plate 8 3/8 x 11; sheet 9 7/8 x 13 7/8. Printed in brown ink on white wove paper. Signed in pencil. $125.

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. Preliminary etching for the mezzotint. 8 1/2 x 11 3/8 (sheet 12 5/8 x 17 3/8). Printed in brown ink on off-white wove paper. Signed in the plate. $125.

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 17 31/8). Printed in brown ink on off-white wove paper. Signed in pencil. $275.

Sheep Washing, Windsor (Windsor Castle from Salt Hill) (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1890. Mezzotint. Hardie 19. Image 7 1/8 x 10; plate 8 1/8 x 10 5/8; sheet 12 3/16 x 17 1/8. A fine, richly-inked proof printed on off-white wove paper. Signed in pencil. $275.

Source of the Arveron (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Preliminary etching for the mezzotint. Hardie 11.i/11. Image 7 3/8 x 10 3/8; plate 8 3/8 x 11 3/8; sheet 12 1/2 x 17 3/8. A fine, richly-inked proof printed on off-white wove paper. Collector's seal and monogram verso: E.A. Scollin, M.D. Signed in the plate. $125.

Water Mill (after the watercolor by J.M.W. Turner.) 1885. Preliminary etched state. Hardie 3.i/ii. Proof before the publication line. 7 x 10 1/8 (sheet 12 1/4 x 16 5/8). Printed in brown ink on off-white wove paper with wide margins. Unsigned. $125.

British Fine Prints.