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

All works are signed in pencil.

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Etchings

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. $750.

Low Tide and the Evening Star, and Rye's Long Pier Deserted (plate #2). 1888. Etching. Hardie 219. 7 3/16 x 10 3/16 (sheet 8 1/4 x 11 5/16). Edition 100. An atmospheric impression with plate tone, printed on fine off-white laid paper with a crown watermark. Fine condition apart from minor paper losses at the sheet edges, well outside the image. Signed by Short and by the famous printer, Frederick Goulding. Illustrated: Malcolm Salaman, Modern Masters of Etching: Frank Short. The 'Evening Star' is a ship. This is one of Short's most lyrical and most desireable etchings. $800.

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 15/16). A rich impression with plate tone, printed on cream laid paper. Signed in pencil. $400.

The Rope Walk, Spittel Bridge, Whitby. 1891. Etching. Hardie 267. 5 15/16 x 5 7/8 (sheet 10 x 10 1/4). A rich impression with plate tone, printed on cream laid paper with full margins. Excellent condition. Signed with the shield and titled in the plate. Signed in pencil. $300.

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. $400.

A South Coast Road, Pegwell Bay. 1903. Etching. Hardie 323.ii. 5 7/8 x 10 9/16 (sheet 9 5/8 x 14 9/16). A rich impression with plate tone, printed on cream laid paper. Illustrated: The Studio 38 (1906): 55. Signed in pencil. $375.

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. $375.

Additional fine prints are available:

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. $650.

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. A $1,250.

The New Moon. 1918. Aquatint. Hardie 163. 10 1/2 x 16 1/4 (sheet 15 3/16 x 21 5/8). A dramatic sensitively wiped impression with plate tone, printed on white wove paper with wide margins. Slightly toned; otherwise excellent condition. Signed in pencil. The image shows 2 fishermen on the Bure River at Stokesby Ferry, near Acle in Norfolk. $1,750.

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. $600.

Sunrise O'er Whitby Scaur. 1912. Aquatint. Hardie 156. 8 1/8 x 12 7/16 (sheet 11 x 14 1/2). A tonal, atmospheric impression printed on vellum. Full sheet, with scattered, unobtrusive foxing in the margins. Whitby Scaur is a beach composed of bed-rock. $350.<

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. $1,100.

Original Mezzotints

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. $550.

The 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. $2,250.

Reproductive Mezzotints

Cottage and Harvesters (after a watercolor by Peter De Wint). 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.

Diana and Endymion (after George Frederic Watts, RA, HRCA. 1817 - 1904). The painting is on the right. 1891. Mezzotint. 17 3/4 x 22. A rich proof printed on Japon paper. Excellent condition apart from a professionally-repaired puncture in the upper right-hand corner. Exhibited in the Royal Academy, 1892, Summer Exhibition, number 1477. Short created several mezzotints after paintings by Watts. This is the most famous. Signed in pencil by Watts and by Short. $3,250.

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 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. $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.

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. $125.

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. $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). A rich, tonal impression printed in black ink on simili-Japan paper. Signed in pencil. $850.

A Swiss Pass (after J.M.W. Turner.) 1898. Etching. 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. Scattered light foxing; otherwise fine condition. A rich, tonal impression printed on vellum. Signed in pencil. $350.

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.

Mill Near the Grand Chartreuse -- Dauphiny (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Etching. 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 on chine applied to sturdy white wove paper. Signed in the plate. $150.

Scene in the Campagna. 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 laid paper. Signed in the plate. $125.

Water Mill. 1885. Mezzotint. Hardie 3.ii. With the publication line. 7 x 10 1/8 (sheet 12 1/4 x 16 5/8). Printed in brown ink on warm tan chine affixed to cream wove paper with wide margins. Signed in pencil. $225. The preliminary etched version is available. $125.

British Fine Prints.