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Presentation: Mounted
SN: 4314
Signed, dated and inscribed with title
Pencil
28 x 40 cm
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Presentation: Passe-partout
SN: 1077
Signed with studio stamp
Charcoal on brown paper
9 1/2 x 10 5/8 in. (24 x 27 cm).
Provenance: Rachel and Clare Austin
Figures resting or sleeping are amongst the subjects that Austin drew consistently. In the domestic family routine which formed the backdrop to his work Austin found an endless source of inspiration.
Austin won the Rome Scholarship for engraving in 1923 and spent 3 remarkable years in Rome before teaching engraving at the Royal College of Art, 1927-44, becoming Professor in the Department of Graphic Design, 1948-55. Austin was a meticulous craftsman-engraver and a vigorous draughtsman, as his series of drawings of Women's Auxiliary Air Force and ballooning activities done during World War II shows. The Tate Gallery holds his work.
The Ashmolean Museum, Oxford, organised an exhibition of his work in 1980.
More recently he was the subject of two shows at the Fine Art Society plc (2001 and 2002), the latter organised in conjunction with Liss Fine Art Ltd, and a show at The Royal Academy of Arts in 2009; (he was elected a Royal Academician in 1949).
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Presentation: Passe-partout
SN: 3845
Original etched copper plate, 17.5 x 19 cm
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Presentation: Framed
SN: 1598
Drypoint
Copper plate: 4 3/4 x 9 3/4 in. (12 x 14.8 cm). (cancelled)
Print: 8 1/4 x 9 in. (21 x 23 cm).
A limited edition has been printed posthumously on ARCHES 250 g/m² paper
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Presentation: Framed
SN: 1603
The original etching plate,
Copper plate: 5 3/4 x 4 5/8 in. (14.5 x 11.8 cm).Women in Church was one of the earliest line engravings completed by Austin during his tenureship at the British School in Rome (1922-25). Austin was one of the greatest exponents of line engraving - Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austin, compared him to Albrecht Dürer, noting that Austin had ‘more than a touch of that master in him’ (Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930).
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Presentation: Passe-partout
SN: 1607
The original etched copper plate
12.5 x 11.2 cm (21.6 x 20 cm framed)
Print: 21.5 x 19.5 cm
A limited edition has been printed posthumously on ARCHES 250 g/m² paper
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Presentation: Passe-partout
SN: 1609
The original etched copper plate
16.9 x 12 cm (25 x 20 cm framed)
Print: 26 x 20 cm.
A limited edition has been printed posthumously on ARCHES 250 g/m² paper
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Presentation: Passe-partout
SN: 1613
The original copper plate, cancelled.
Copper plate: 7 x 6 in. (17.8 x 15.4 cm).
Print: 10 5/8 x 9 1/4 in. (27 x 23.5 cm).
It is generally acknowledged that Austin was one of the greatest exponents of line engraving of the Twentieth century. Campbell Dodgson, keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austins' work, compared his work to that of Durer noting that Austin had 'more than a touch of that master in him' (Robert Austin, Twenty-One, 1930 Gallery).
Robert Austin's original etching plates were rediscovered in 2007. They represents all aspects of the artists oeuvre, from his first engraving (The Bridge, 1913 ) to his his last (Frost in May 1971). Although, as was common practise amongst print makers, Austin cancelled his plates after their edition run, the manner in which he did this is remarkable. Far from defacing the compositions by scratching lines across the centre, or drilling holes in the plates, Austin drew precise lines of different proportions, dissecting each composition, responding individually to each image. As such the geometry of each composition appears heightened, and the plates take on a abstract beauty of their own.
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Presentation: Framed
SN: 1616
The original copperplate etching plate, (cancelled): 5 7/8 x 4 3/4 in. (15 x 12 cm).
A limited edition of 5 prints, taken from the cancelled plate, have been printed posthumously by David Maes using ARCHES 250 g/m² paper, (print size 25 x 20 cm. - price per print £100).
Provenance: The Artists Family Literature: Campbell Dodgson, Robert Austin, Twenty-One Gallery, 1930; Gordon Cooke, Drawings and Prints by Robert Austin, London, The Fine Art Society, 2001
Robert Austin's original etching plates were rediscovered in 2007. They represents all aspects of the artists oeuvre, from his first engraving (The Bridge, 1913 ) to his his last (Frost in May 1971). Although, as was common practise amongst print makers, Austin cancelled his plates after their edition run, the manner in which he did this is remarkable. Far from defacing the compositions by scratching lines across the centre, or drilling holes in the plates, Austin drew precise lines of different proportions, dissecting each composition, responding individually to each image. As such the geometry of each composition appears heightened, and the plates take on a abstract beauty of their own.
It is generally acknowledged that Austin was one of the greatest exponents of line engraving of the Twentieth century. Campbell Dodgson, keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austins' work, compared his work to that of Durer noting that Austin had 'more than a touch of that master in him' (Robert Austin, Twenty-One, 1930 Gallery).
Austin's period of greatest acclaim was during the etching boom of the 1920s (which ended abruptly with the Wall Street Crash). Later works however, (for instance Girl by a gate,1930 and Empty Church, Concarneau, 1949,) demonstrate that Austin was still at the height of his powers long after his period of greatest acclaim.
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Presentation: Passe-partout
SN: 1617
Original copper plate: 7 7/8 x 5 in. (20 x 12.5 cm). (cancelled)
Provenance: The Artists Family
Literature: Campbell Dodgson, Robert Austin, Twenty-One Gallery, 1930; Gordon Cooke, Drawings and Prints by Robert Austin, London, The Fine Art Society, 2001
Robert Austin's original etching plates were rediscovered in 2007. They represents all aspects of the artists oeuvre, from his first engraving (The Bridge, 1913 ) to his his last (Frost in May 1971). Although, as was common practise amongst print makers, Austin cancelled his plates after their edition run, the manner in which he did this is remarkable. Far from defacing the compositions by scratching lines across the centre, or drilling holes in the plates, Austin drew precise lines of different proportions, dissecting each composition, responding individually to each image. As such the geometry of each composition appears heightened, and the plates take on a abstract beauty of their own.
It is generally acknowledged that Austin was one of the greatest exponents of line engraving of the Twentieth century. Campbell Dodgson, keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austins' work, compared his work to that of Durer noting that Austin had 'more than a touch of that master in him' (Robert Austin, Twenty-One, 1930 Gallery).
Austin's period of greatest acclaim was during the etching boom of the 1920s (which ended abruptly with the Wall Street Crash). Later works however, (for instance Girl by a gate,1930 and Empty Church, Concarneau, 1949,) demonstrate that Austin was still at the height of his powers long after his period of greatest acclaim.
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Presentation: Unframed
SN: 1625
The original copper etching plate, (cancelled): 13 3/4 x 10 3/4 in. (35 x 27.5 cm).
A limited edition of 5 prints, taken from the cancelled plate, have been printed posthumously by David Maes on GUARRO Superalfa 250 g/m² paper, (print size 47 x 38 cm. - price per print £50).
Provenance: The Artists Family Literature: Campbell Dodgson, Robert Austin, Twenty-One Gallery, 1930; Gordon Cooke, Drawings and Prints by Robert Austin, London, The Fine Art Society, 2001
Robert Austin's original etching plates were rediscovered in 2007. They represents all aspects of the artists oeuvre, from his first engraving (The Bridge, 1913 ) to his his last (Frost in May 1971). Although, as was common practise amongst print makers, Austin cancelled his plates after their edition run, the manner in which he did this is remarkable. Far from defacing the compositions by scratching lines across the centre, or drilling holes in the plates, Austin drew precise lines of different proportions, dissecting each composition, responding individually to each image. As such the geometry of each composition appears heightened, and the plates take on a abstract beauty of their own.
It is generally acknowledged that Austin was one of the greatest exponents of line engraving of the Twentieth century. Campbell Dodgson, keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austins' work, compared his work to that of Durer noting that Austin had 'more than a touch of that master in him' (Robert Austin, Twenty-One, 1930 Gallery).
Austin's period of greatest acclaim was during the etching boom of the 1920s (which ended abruptly with the Wall Street Crash). Later works however, (for instance Girl by a gate,1930 and Empty Church, Concarneau, 1949,) demonstrate that Austin was still at the height of his powers long after this period.
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Presentation: Framed
SN: 2083
Charcoal
Inscribed AUSTIN, lower centre, and Empty Cot and Bed April 9 1934
15 1/4 x 20 5/8 in. (38.5 x 52.5 cm).
In a polish mahogany frame wedge shaped frame
Exhibited: The Fine Art Society, Robert Austin prints and drawings, 2000
Figures resting or sleeping are amongst the subjects that Austin drew consistently. In the domestic family routine which formed the backdrop to his work Austin found an endless source of inspiration. Drapery was a subject that he was particularly drawn to.
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Presentation: Framed
SN: 2084
Signed with studio stamp
Watercolour
18 x 13 in. (46 x 33 cm.)
Provenance: The Artists Daughters
Exhibited: Robert Austin, The Fine Art Society, 2002, no 23
Literature: Robert Austin, Paul Liss, 2002, p. 14; illustrated p. 14
In a narrow wooden frame with hand washed mount.
Figures resting or sleeping are amongst the subjects that Austin drew consistently. In the domestic family routine which formed the backdrop to his work Austin found an endless source of inspiration. Drapery was a subject that he was particularly drawn to.
Prints and Drawings by Robert Austin RA (1895-1973)
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Presentation: Framed
SN: 2085
Signed, inscribed with title and dated, (twice)
Pencil and watercolour
11 x 14 in. (28 x 35.5 cm.)
Provenance: Clare Austin, the Artist's Daughters
In a narrow gilded frame with hand washed mount
Figures resting or sleeping are amongst the subjects that Austin drew consistently. In the domestic family routine which formed the backdrop to his work Austin found an endless source of inspiration. Drapery was a subject that he was particularly drawn to.
Prints and Drawings by Robert Austin RA (1895-1973)
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Presentation: Framed
SN: 2607
Signed and dated
Pencil; 23 × 18 in. (58.3 × 45.6 cm) sight
Provenance:Artist’s daughters.
In a polished fruit wood frame.
During the war Austin made drawings ofWoolwich Arsenal, Fighter Pilots and nurses at work, as well as posters for the London Underground.This drawing depicts a bomb trolley, which would have been pulled behind a tractor from the bomb dump to the aircraft.The bomb was then loaded into the aircraft’s bomb carrier , from which it was eventually dropped.
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Presentation: Framed
SN: 2974
Etching
Copper plate: 3 1/2 x 3 1/8 in. (9 x 8 cm.) (cancelled)
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Presentation: Framed
SN: 2975
The original drypoint copper plate, (cancelled): 3 3/4 x 5 in. (9.5 x 12.5 cm.)
A limited edition of 5 prints, taken from the cancelled plate, have been printed posthumously by David Maes on Arches paper 250 g/m² paper, (print size 31.5 x 25 cm - price per print £100).
Provenance: The Artists Family Literature: Campbell Dodgson, Robert Austin, Twenty-One Gallery, 1930; Gordon Cooke, Drawings and Prints by Robert Austin, London, The Fine Art Society, 2001
Robert Austin's original etching plates were rediscovered in 2007. They represents all aspects of the artists oeuvre, from his first engraving (The Bridge, 1913 ) to his his last (Frost in May 1971). Although, as was common practise amongst print makers, Austin cancelled his plates after their edition run, the manner in which he did this is remarkable. Far from defacing the compositions by scratching lines across the centre, or drilling holes in the plates, Austin drew precise lines of different proportions, dissecting each composition, responding individually to each image. As such the geometry of each composition appears heightened, and the plates take on a abstract beauty of their own.
It is generally acknowledged that Austin was one of the greatest exponents of line engraving of the Twentieth century. Campbell Dodgson, keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austins' work, compared his work to that of Durer noting that Austin had 'more than a touch of that master in him' (Robert Austin, Twenty-One, 1930 Gallery).
Austin's period of greatest acclaim was during the etching boom of the 1920s (which ended abruptly with the Wall Street Crash). Later works however, (for instance Girl by a gate,1930 and Empty Church, Concarneau, 1949,) demonstrate that Austin was still at the height of his powers long after his period of greatest acclaim.
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Presentation: Framed
SN: 2976
Line engraving
Copper plate: 6 x 5 in. (15 x 12.6 cm.) (cancelled)
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Presentation: Framed
SN: 2977
Line engraving
Copper plate: 6 3/8 x 6 5/8 in. (16.2 x 16.9 cm.) (cancelled)
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Presentation: Framed
SN: 2978
The original dry point copper etching plate, (cancelled):
5 5/8 x 4 3/4 in. (14.4 x 12.1 cm.)
A limited edition of 5 prints, taken from the cancelled plate, have been printed posthumously by David Maes using ARCHES 250 g/m² paper, (print size 14.4 x 12.1 cm. - price per print £100).
Provenance: The Artists Family Literature: Campbell Dodgson, Robert Austin, Twenty-One Gallery, 1930; Gordon Cooke, Drawings and Prints by Robert Austin, London, The Fine Art Society, 2001
Robert Austin's original etching plates were rediscovered in 2007. They represents all aspects of the artists oeuvre, from his first engraving (The Bridge, 1913 ) to his his last (Frost in May 1971). Although, as was common practise amongst print makers, Austin cancelled his plates after their edition run, the manner in which he did this is remarkable. Far from defacing the compositions by scratching lines across the centre, or drilling holes in the plates, Austin drew precise lines of different proportions, dissecting each composition, responding individually to each image. As such the geometry of each composition appears heightened, and the plates take on a abstract beauty of their own.
It is generally acknowledged that Austin was one of the greatest exponents of line engraving of the Twentieth century. Campbell Dodgson, keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austins' work, compared his work to that of Durer noting that Austin had 'more than a touch of that master in him' (Robert Austin, Twenty-One, 1930 Gallery).
Austin's period of greatest acclaim was during the etching boom of the 1920s (which ended abruptly with the Wall Street Crash). Later works however, (for instance Girl by a gate,1930 and Empty Church, Concarneau, 1949,) demonstrate that Austin was still at the height of his powers long after his period of greatest acclaim.
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Presentation: Framed
SN: 2979
Line engraving
Copper plate: 5 3/4 x 4 1/8 in. (14.6 x 10.5 cm.) (cancelled)
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Presentation: Framed
SN: 2981
Original cancelled copper plate cleaned, restored and framed
Etching
Copper plate: 4 3/4 x 5 7/8 in. (12,2 x 14,9 cm.) (cancelled)
Print: 8 1/4 x 9 in. (21 x 23 cm.)
A small number of prints have been pulled from the cancelled plate posthumously on Arches paper (250g/m²)
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Presentation: Framed
SN: 2982
Original cancelled copper plate cleaned, restored and framed
Line engraving
Copper plate: 7 7/8 x 5 in. (19,8 x 12,6 cm.) (cancelled)
Print: 11 1/4 x 8 1/16 in. (28,5 x 20,5 cm.)
A small number of prints have been pulled from the cancelled plate posthumously on Arches paper (250g/m²)
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Presentation: Framed
SN: 2984
Original line engraving copper plate, (cancelled) 5 1/8 x 6 in. (13 x 15,2 cm.)
A limited edition of 5 prints, taken from the cancelled plate, have been printed posthumously by David Maes on Arches paper 250 g/m² paper, (print size Print: 22 x 23 cm- price per print £100).
Provenance: The Artists Family Literature: Campbell Dodgson, Robert Austin, Twenty-One Gallery, 1930; Gordon Cooke, Drawings and Prints by Robert Austin, London, The Fine Art Society, 2001
Robert Austin's original etching plates were rediscovered in 2007. They represents all aspects of the artists oeuvre, from his first engraving (The Bridge, 1913 ) to his his last (Frost in May 1971). Although, as was common practise amongst print makers, Austin cancelled his plates after their edition run, the manner in which he did this is remarkable. Far from defacing the compositions by scratching lines across the centre, or drilling holes in the plates, Austin drew precise lines of different proportions, dissecting each composition, responding individually to each image. As such the geometry of each composition appears heightened, and the plates take on a abstract beauty of their own.
It is generally acknowledged that Austin was one of the greatest exponents of line engraving of the Twentieth century. Campbell Dodgson, keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austins' work, compared his work to that of Durer noting that Austin had 'more than a touch of that master in him' (Robert Austin, Twenty-One, 1930 Gallery).
Austin's period of greatest acclaim was during the etching boom of the 1920s (which ended abruptly with the Wall Street Crash). Later works however, (for instance Girl by a gate,1930 and Empty Church, Concarneau, 1949,) demonstrate that Austin was still at the height of his powers long after his period of greatest acclaim.
Send image Biography Enquire£200
Presentation: Unmounted
SN: 2985
Line engraving
Plate: 5 3/4 x 4 1/8 in. (14.6 x 10.5 cm.) (cancelled)
Print: 9 x 7 1/4 in. (23 x 18.5 cm.)
A limited edition has been printed posthumously on
GUARRO Superalfa (250 g/m²)
Send image Biography Enquire£150
Presentation: Unmounted
SN: 2986
Line engraving
Plate: 6 1/4 x 6 1/2 in. (16 x 16.5 cm.) (cancelled)
Print: 9 7/8 x 9 7/8 in. (25 x 25 cm.)
A limited edition has been printed posthumously on
GUARRO Superalfa (250 g/m²)
Send image Biography Enquire£270
Presentation: Unmounted
SN: 2987
Dry point
Plate: 5 x 5 1/2 in. (12.5 x 14.1 cm.)
Print: 8 5/8 x 8 5/8 in. (22 x 22 cm.)
Figures resting or sleeping are amongst the subjects that Austin drew consistently. In the domestic family routine which formed the backdrop to his work Austin found an endless source of inspiration.
This dry point, printed posthumously from the canceled plate, is amongst Austins most celebrated images.
Austin won the Rome Scholarship for engraving in 1923 and spent 3 remarkable years in Rome before teaching engraving at the Royal College of Art, 1927-44, becoming Professor in the Department of Graphic Design, 1948-55. He was a meticulous craftsman-engraver and a vigorous draughtsman, as his series of drawings of Women's Auxiliary Air Force and ballooning activities done during World War II shows. The Tate Gallery holds his work.
The Ashmolean Museum, Oxford, organised an exhibition of his work in 1980.
More recently he was the subject of two shows at the Fine Art Society plc (2001 and 2002), the latter organised in conjunction with Liss Fine Art Ltd, and a show at The Royal Academy of Arts in 2009; (he was elected a Royal Academician in 1949).
Send image Biography Enquire£100
Presentation: Unmounted
SN: 2988
Drypoint
Plate: 5 5/8 x 4 3/4 in. (14.4 x 12.1 cm.) (cancelled)
Print: 9 7/8 x 8 1/16 in. (25 x 20.5 cm.)
A limited edition has been printed posthumously on
GUARRO Superalfa (250 g/m²)
Send image Biography Enquire£100
Presentation: Unmounted
SN: 2989
Line engraving
Plate: 8 x 5 15/16 in. (20 x 13.8 cm.)
Print: 11 3/8 x 8 1/2 in. (29 x 21.5 cm.)
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Presentation: Unmounted
SN: 2990
Line engraving, plate size 7 x 4 in. (18 x 10 cm.),
paper size, 10 5/8 x 7 1/8 in. (27 x 18 cm.)
Literature: Campbell Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930; Gordon Cooke, Drawings and Prints by Robert Austin, exh. cat.,The Fine Art Society, London, 2001
Austin was one of the greatest exponents of line engraving and etching. Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austin, compared him to Albrecht Dürer, noting that Austin had ‘more than a touch of that master in him’ (Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930).
A limited edition of 5 line engravings have been printed posthumously on ARCHES 250 g/m² paper costing £50.00 each
We are grateful to Rachel and Clare Austin, Gordon Cooke and David Maes for assistance.
Send image Biography Enquire£100
Presentation: Unmounted
SN: 2991
Etching
Plate: 3 7/8 x 6 1/8 in. (9.8 x 15.6 cm.) (cancelled)
Print: 7 1/4 x 9 in. (18.5 x 23 cm.)
A limited edition has been printed posthumously on
GUARRO Superalfa (250 g/m²)
Send image Biography Enquire£150
Presentation: Unmounted
SN: 2992
Line engraving
Plate: 6 x 4 1/4 in. (15.4 x 10.8 cm.)
Print: 9 5/8 x 7 5/8 in. (24.5 x 19.5 cm.)
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Presentation: Unmounted
SN: 2993
Etching
Plate: 7 1/2 x 4 in. (19 x 10.3 cm.)
Print: 10 5/8 x 6 3/4 in. (27 x 17 cm.)
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Presentation: Unmounted
SN: 2994
Aquatint
Plate: 8 x 6 1/8 in. (20.5 x 15.6 cm.)
Print: 11 3/8 x 9 in. (29 x 23 cm.)
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Presentation: Unmounted
SN: 2995
Etching
Plate: 4 1/8 x 5 3/8 in. (10.6 x 13.7 cm.) (cancelled)
Print: 8 x 8 5/8 in. (20 x 22 cm.)
A limited edition has been printed posthumously on
GUARRO Superalfa (250 g/m²)
Send image Biography Enquire£150
Presentation: Unmounted
SN: 2996
Etching
Plate: 4 3/4 x 6 in. (12 x 15 cm.)
Print: 8 1/4 x 9 1/4 in. (21 x 23.5 cm.)
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Presentation: Unmounted
SN: 2997
Line engraving
Plate: 5 1/4 x 4 in. (13.3 x 10 cm.)
Print: 8 5/8 x 7 in. (22 x 18 cm.)
Send image Biography Enquire£150
Presentation: Unmounted
SN: 2998
Line engraving
Plate: 5 1/2 x 4 1/2 in. (14 x 10.8 cm.)
Print: 9 x 7 1/2 in. (23 x 19 cm.)
Send image Biography Enquire£100
Presentation: Unmounted
SN: 2999
Etching and dry point, image size: 9 1/8 x 7 1/2 in. (23.2 x 19.2 cm.),
paper size: 12 3/4 x 10 3/4 in. (32.5 x 27.5 cm.)
Line engraving, plate size 7 x 4 in. (18 x 10 cm.),
paper size, 10 5/8 x 7 in. (27 x 18 cm.)
Literature: Campbell Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930; Gordon Cooke, Drawings and Prints by Robert Austin, exh. cat.,The Fine Art Society, London, 2001
Austin was one of the greatest exponents of line engraving and etching. Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austin, compared him to Albrecht Dürer, noting that Austin had ‘more than a touch of that master in him’ (Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930).
A limited edition of 5 line engravings have been printed posthumously on ARCHES 250 g/m² paper costing £50.00 each
We are grateful to Rachel and Clare Austin, Gordon Cooke and David Maes for assistance.
Send image Biography Enquire£125
Presentation: Unmounted
SN: 3000
Etching
Plate: 5 1/4 x 5 in. (13.3 x 12.8 cm.)
Print: 8 5/8 x 8 1/2 in. (22 x 21.5 cm.)
Send image Biography Enquire£100
Presentation: Unmounted
SN: 3001
Line engraving
Plate: 5 3/4 x 4 3/4 in. (14.8 x 12 cm.)
Print: 9 1/2 x 8 in. (24 x 20 cm.)
Send image Biography Enquire£100
Presentation: Unmounted
SN: 3002
Line engraving
Plate: 6 1/2 x 5 in. (16.8 x 12.7 cm.)
Print: 10 x 8 1/4 in. (25.5 x 21 cm.)
Send image Biography Enquire£200
Presentation: Unmounted
SN: 3003
Line engraving
Plate: 6 1/4 x 4 3/4 in. (15.8 x 12.2 cm.)
Print: 9 7/8 x 8 in. (25 x 20 cm.)
Send image Biography Enquire£150
Presentation: Unmounted
SN: 3004
Line engraving
Plate: 8 3/4 x 5 3/4 in. (22.2 x 14.7 cm.)
Print: 11 13/16 x 8 5/8 in. (30 x 22 cm.)
Send image Biography Enquire£300
Presentation: Unmounted
SN: 3005
Line engraving
Plate: 6 x 7 1/2 in. (15.3 x 19.3 cm.)
Print: 9 1/2 x 10 1/4 in. (24 x 26 cm.)
From a posthumous edition of 3 printed by David Maes in 2009
Austin won the Rome Scholarship for engraving in 1923 and spent 3 remarkable years in Rome before teaching engraving at the Royal College of Art, 1927-44, becoming Professor in the Department of Graphic Design, 1948-55. Austin was a meticulous craftsman-engraver and a vigorous draughtsman, as his series of drawings of Women's Auxiliary Air Force and ballooning activities done during World War II shows. The Tate Gallery holds his work.
The Ashmolean Museum, Oxford, organised an exhibition of his work in 1980.
More recently he was the subject of two shows at the Fine Art Society plc (2001 and 2002), the latter organized organised in conjunction with Liss Fine Art Ltd, and a show at The Royal Academy of Arts in 2009; (he was elected a Royal Academician in 1949).
Send image Biography Enquire£150
Presentation: Unmounted
SN: 3006
Line engraving
Plate: 7 1/2 x 5 1/8 in. (19.2 x 13 cm.)
Print: 11 x 8 1/4 in. (28 x 21 cm.)
Send image Biography Enquire£100
Presentation: Unmounted
SN: 3007
Etching
Plate: 7 7/8 x 5 1/2 in. (19.8 x 14 cm.)
Print: 11 1/2 x 8 1/4 in. (29 x 21 cm.)
Send image Biography Enquire£100
Presentation: Unmounted
SN: 3008
Etching
Plate: 4 1/2 x 4 in. (11.7 x 10.1 cm.)
Print: 8 x 7 in. (20.5 x 18 cm.)
Send image Biography Enquire£150
Presentation: Unmounted
SN: 3009
Etching
Plate: 3 3/4 x 5 1/2 in. (9.5 x 14 cm.)
Print: 7 1/4 x 8 1/2 in. (18.5 x 21.5 cm.)
Send image Biography Enquire£100
Presentation: Unmounted
SN: 3010
Etching
Plate: 3 7/8 x 3 1/8 in. (9.8 x 8 cm.) (cancelled)
Print: 8 7/8 x 8 in. (22.5 x 20 cm.)
A limited edition has been printed posthumously on
GUARRO Superalfa (250 g/m²)
Send image Biography Enquire£150
Presentation: Unmounted
SN: 3011
Etching and dry point
Plate: 8 1/16 x 13 9/16 in. (20.5 x 34.5 cm.)
Print: 11 7/8 x 17 in. (30 x 43 cm.)
Send image Biography Enquire£110
Presentation: Unmounted
SN: 3012
Etching, image size 5 1/2 x 4 1/2 in. (13.8 x 11.6 cm.),
paper size 8 7/8 x 7 3/4 in. (22.5 x 19.5 cm.)
Literature: Campbell Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930; Gordon Cooke, Drawings and Prints by Robert Austin, exh. cat.,The Fine Art Society, London, 2001
Austin was one of the greatest exponents of line engraving and etching. Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austin, compared him to Albrecht Dürer, noting that Austin had ‘more than a touch of that master in him’ (Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930).
A limited edition of 5 line engravings have been printed posthumously on ARCHES 250 g/m² paper costing £60.00 each
We are grateful to Rachel and Clare Austin, Gordon Cooke and David Maes for assistance.
Send image Biography Enquire£150
Presentation: Unmounted
SN: 3013
Dry point
Plate: 3 3/4 x 5 in. (9.5 x 12.5 cm.)
Print: 8 7/8 x 9 5/8 in. (22.5 x 24.5 cm.)
Send image Biography Enquire£100
Presentation: Unmounted
SN: 3014
Aquatint
Plate: 7 1/2 x 5 1/4 in. (19.2 x 13.2 cm.)
Print: 11 x 8 1/4 in. (28 x 21 cm.)
Send image Biography Enquire£150
Presentation: Unmounted
SN: 3015
Line engraving
Plate: 5 x 5 3/4 in. (12.5 x 14.5 cm.)
Print: 8 1/2 x 8 7/8 in. (21.5 x 22.5 cm.)
Send image Biography Enquire£125
Presentation: Unmounted
SN: 3016
Etching
Plate: 4 3/4 x 6 in. (12 x 15.3 cm.)
Print: 8 1/4 x 9 1/4 in. (21 x 23.5 cm.)
Send image Biography Enquire£100
Presentation: Unmounted
SN: 3017
Etching
Plate: 6 1/2 x 3 5/8 in. (16.8 x 9.3 cm.)
Print: 9 7/8 x 7 in. (25 x 17.5 cm.)
Send image Biography Enquire£90
Presentation: Unmounted
SN: 3018
Line engraving, image size 6 7/8 x 5 1/8 in. (17.5 x 13 cm.),
paper size 10 3/4 x 8 1/4 in. (27.5 x 21 cm.)
Literature: Campbell Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930; Gordon Cooke, Drawings and Prints by Robert Austin, exh. cat.,The Fine Art Society, London, 2001
Austin was one of the greatest exponents of line engraving and etching. Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austin, compared him to Albrecht Dürer, noting that Austin had ‘more than a touch of that master in him’ (Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930).
A limited edition of 5 line engravings have been printed posthumously on ARCHES 250 g/m² paper costing £40.00 each
We are grateful to Rachel and Clare Austin, Gordon Cooke and David Maes for assistance.
Send image Biography Enquire£270
Presentation: Unmounted
SN: 3019
Line engraving
Plate: 7 1/2 x 6 1/2 in. (19 x 16.5 cm.)
Print: 11 x 9 5/8 in. (28 x 24.5 cm.)
Send image Biography Enquire£200
Presentation: Unmounted
SN: 3020
Line engraving
Plate: 6 1/8 x 5 1/4 in. (15.5 x 13.4 cm.)
Print: 9 5/8 x 8 5/8 in. (24.5 x 22 cm.)
Send image Biography Enquire£110
Presentation: Unmounted
SN: 3021
Line engraving, image size, 6 1/2 x 10 1/4 in. (16.5 x 26.2 cm.);
paper size 10 1/4 x 13 1/4 in. (26 x 33.5 cm.)
Literature: Campbell Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930; Gordon Cooke, Drawings and Prints by Robert Austin, exh. cat.,The Fine Art Society, London, 2001
Austin was one of the greatest exponents of line engraving and etching. Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austin, compared him to Albrecht Dürer, noting that Austin had ‘more than a touch of that master in him’ (Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930).
A limited edition of 5 line engravings have been printed posthumously on ARCHES 250 g/m² paper costing £60.00 each
We are grateful to Rachel and Clare Austin, Gordon Cooke and David Maes for assistance.
Send image Biography Enquire£100
Presentation: Unmounted
SN: 3022
Line engraving
Plate: 8 x 5 1/2 in. (20.5 x 14 cm.)
Print: 11 5/8 x 8 5/8 in. (29.5 x 22 cm.)
Send image Biography Enquire£150
Presentation: Unmounted
SN: 3023
Line engraving
Plate: 9 3/4 x 8 in. (25 x 20 cm.)
Print: 13 1/4 x 11 in. (33.5 x 28 cm.)
Send image Biography Enquire£150
Presentation: Unmounted
SN: 3024
Line engraving
Plate: 6 3/4 x 4 3/4 in. (17 x 12 cm.)
Print: 10 1/4 x 8 in. (26 x 20 cm.)
Send image Biography Enquire£100
Presentation: Unmounted
SN: 3025
Line engraving
Plate: 13 3/4 x 10 5/8 in. (35 x 27 cm.)
Print: 18 1/4 x 15 in. (46.5 x 38 cm.)
Send image Biography Enquire£100
Presentation: Unmounted
SN: 3026
Line engraving
Plate: 11 1/2 x 8 5/8 in. (29.5 x 22 cm.)
Print: 15 x 11 7/8 in. (38 x 30 cm.)
Send image Biography Enquire£275
Presentation: Unmounted
SN: 3028
Aquatint - the original plate
Plate: 12 1/2 x 9 in. (32 x 23 cm.)
Print: 16 x 11 5/8 in. (40.5 x 29.5 cm.)
Send image Biography Enquire£150
Presentation: Unmounted
SN: 3029
Aquatint
Plate: 12 3/8 x 8 1/2 in. (31.5 x 21.5 cm.)
Print: 16 1/4 x 11 7/8 in. (41.5 x 30 cm.)
Send image Biography Enquire£150
Presentation: Unmounted
SN: 3030
Plate: 4 3/4 x 5 3/4 in. (12 x 14.8 cm.)
Paper: 8 1/4 x 9 in. (21 x 23 cm.)
Send image Biography Enquire£150
Presentation: Unmounted
SN: 3031
Plate size: 4 x 5 1/2 in. (100 x 140 mm.)
Paper size: 7 1/2 x 8 5/8 in. (190 x 220 mm.)
Send image Biography Enquire£95
Presentation: Unmounted
SN: 3032
Plate size: 5 3/4 x 4 1/2 in. (146 x 115 mm.)
Paper size: 9 1/4 x 7 1/4 in. (235 x 185 mm.)
Posthumous print taken from the canceled plate.
Robert Austin's original etching plates were rediscovered in 2007. They represents all aspects of the artists oeuvre, from his first engraving (The Bridge, 1913 ) to his his last (Frost in May 1971). Although, as was common practise amongst print makers, Austin cancelled his plates after their edition run, the manner in which he did this is remarkable. Far from defacing the compositions by scratching lines across the centre, or drilling holes in the plates, Austin drew precise lines of different proportions, dissecting each composition, responding individually to each image. As such the geometry of each composition appears heightened, and the plates take on a abstract beauty of their own.
It is generally acknowledged that Austin was one of the greatest exponents of line engraving of the Twentieth century. Campbell Dodgson, keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austins' work, compared his work to that of Durer noting that Austin had 'more than a touch of that master in him' (Robert Austin, Twenty-One, 1930 Gallery).
Austin's period of greatest acclaim was during the etching boom of the 1920s (which ended abruptly with the Wall Street Crash). Later works however, (for instance Girl by a gate,1930 and Empty Church, Concarneau, 1949,) demonstrate that Austin was still at the height of his powers long after his period of greatest acclaim.
Send image Biography Enquire£150
Presentation: Unmounted
SN: 3033
Plate size: 7 3/4 x 5 in. (198 x 126 mm.)
Paper size: 11 1/4 x 8 in. (285 x 205 mm.)
Send image Biography Enquire£200
Presentation: Unmounted
SN: 3034
Plate size: 6 1/2 x 7 1/4 in. (163 x 183 mm.)
Paper size: 10 x 11 in. (253 x 280 mm.)
From a posthumous edition of 3 printed by David Maes in 2009
Austin won the Rome Scholarship for engraving in 1923 and spent 3 remarkable years in Rome before teaching engraving at the Royal College of Art, 1927-44, becoming Professor in the Department of Graphic Design, 1948-55. Austin was a meticulous craftsman-engraver and a vigorous draughtsman, as his series of drawings of Women's Auxiliary Air Force and ballooning activities done during World War II shows. The Tate Gallery holds his work.
The Ashmolean Museum, Oxford, organized an exhibition of his work in 1980.
More recently he was the subject of two shows at the Fine Art Society plc (2001 and 2002), the latter organized organised in conjunction with Liss Fine Art Ltd, and a show at The Royal Academy of Arts in 2009; (he was elected a Royal Academician in 1949).
Send image Biography Enquire£150
Presentation: Unmounted
SN: 3035
Plate size: 6 x 7 1/2 in. (150 x 192 mm.)
Paper size: 9 5/8 x 11 in. (245 x 280 mm.)
Send image Biography Enquire£110
Presentation: Unmounted
SN: 3036
Etching, image size,6 x 7 1/2 in. (15x 19.2 cm.);
paper size 9 5/8 x 11 in. (24.5 x 28 cm.)
Literature: Campbell Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930; Gordon Cooke, Drawings and Prints by Robert Austin, exh. cat.,The Fine Art Society, London, 2001
Austin was one of the greatest exponents of line engraving and etching. Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austin, compared him to Albrecht Dürer, noting that Austin had ‘more than a touch of that master in him’ (Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930).
A limited edition of 5 line engravings have been printed posthumously on ARCHES 250 g/m² paper costing £60.00 each
We are grateful to Rachel and Clare Austin, Gordon Cooke and David Maes for assistance.
Send image Biography Enquire£200
Presentation: Unmounted
SN: 3037
Plate size: 6 x 7 1/2 in. (150 x 192 mm.)
Paper size: 9 5/8 x 11 in. (245 x 280 mm.)
Send image Biography Enquire£170
Presentation: Unmounted
SN: 3038
Original cancelled copper plate cleaned, restored and framed
Etching
Copper plate: 4 3/4 x 5 in. (12 x 12,7cm.) (cancelled)
Print: 8 1/4 x 8 1/4 in. (21 x 21 cm.)
A small number of prints have been pulled from the cancelled plate posthumously on Arches paper (250g/m²)
Send image Biography Enquire£1,200
Presentation: Unmounted
SN: 3137
Line engraving
Original copper plate: 6 5/8 x 4 3/4 in. (16,9 x 12 cm.) (cancelled)
Print: 10 1/4 x 8 in. (26 x 20 cm.)
A small edition has been printed posthumously by David Maes on Arches paper (250g/m²), (print size 26 x 20 cm - price per print £150)
To be included in the forthcoming exhibition Robert Austin RA (1895-1973)
Send image Biography Enquire£550
Presentation: Mounted
SN: 3612
Pencil, squared
14 x 11 in.
This is a study for Austin's etching "The Curtain"
Send image Biography Enquire£1,000
Presentation: Passe-partout
SN: 3961
Original Copper Plate, 10.7 x 14cm (19.7 x 23cm framed)
Send image Biography Enquire£700
Presentation: Passe-partout
SN: 3963
The original etched copper plate
9.5 x 12.5cm (18.5 x 21.5cm framed)
Send image Biography Enquire£975
Presentation: Passe-partout
SN: 3964
The original copper plate (cancelled),
14.7 x 10 cm (24 x 19 cm framed)Provenance: The Artist's Family.
Austin's engraving Belfry Steps, (CD 109), was published in 1935, the same year as Portrait of Noel Edwards and Summer Night - as a composition it has all of the qualities of economy and dynamism that made Austin one of the greatest exponents of line engraving of his generation. Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austin, compared him to Albrecht Dürer, noting that Austin had more than a touch of that master in him (Dodgson, Robert Austin, exhibition catalogue,Twenty-One Gallery, London, 1930).
Other original copper plates by Austin are in the collection of the Ashmoleon, The Royal Academy and Canterbury Museum and Art Gallery.
Send image Biography Enquire£975
Presentation: Passe-partout
SN: 3965
Original Copper Plate, 14 x 11.2cm (23 x 20cm framed)
Send image Biography Enquire£950
Presentation: Passe-partout
SN: 3967
The original etched copper plate
12.5 x 14.5cm (21.5 x 23.5cm framed)
Send image Biography Enquire£900
Presentation: Passe-partout
SN: 3968
The original etched copper plate
13 x 15cm (22 x 24cm framed)
Send image Biography Enquire£750
Presentation: Passe-partout
SN: 3969
The original etched copper plate
19 x 13cm (28 x 22cm framed)
Send image Biography Enquire£1,800
Presentation: Passe-partout
SN: 3972
The original etched copper plate
19 x 15.4cm (28 x 24.4 cm framed)
Send image Biography Enquire£1,200
Presentation: Passe-partout
SN: 3973
Original Copper Plate, 20.3 x 15cm (29.6 x 24cm framed)
Send image Biography Enquire£1,400
Presentation: Passe-partout
SN: 3977
The original etched copper plate
11.8 x 9.8cm (21 x 19cm framed)A limited edition of 5 prints, taken from the cancelled plate, have been printed posthumously by David Maes using ARCHES 250 g/m² paper, (print size 21 x 18 cm. - price per print £100).
Provenance: The Artists Family Literature: Campbell Dodgson, Robert Austin, Twenty-One Gallery, 1930; Gordon Cooke, Drawings and Prints by Robert Austin, London, The Fine Art Society, 2001
Robert Austin's original etching plates were rediscovered in 2007. They represents all aspects of the artists oeuvre, from his first engraving (The Bridge, 1913 ) to his his last (Frost in May 1971). Although, as was common practise amongst print makers, Austin cancelled his plates after their edition run, the manner in which he did this is remarkable. Far from defacing the compositions by scratching lines across the centre, or drilling holes in the plates, Austin drew precise lines of different proportions, dissecting each composition, responding individually to each image. As such the geometry of each composition appears heightened, and the plates take on a abstract beauty of their own.
It is generally acknowledged that Austin was one of the greatest exponents of line engraving of the Twentieth century. Campbell Dodgson, keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austins' work, compared his work to that of Durer noting that Austin had 'more than a touch of that master in him' (Robert Austin, Twenty-One, 1930 Gallery).
Austin's period of greatest acclaim was during the etching boom of the 1920s (which ended abruptly with the Wall Street Crash). Later works however, (for instance Girl by a gate,1930 and Empty Church, Concarneau, 1949,) demonstrate that Austin was still at the height of his powers long after his period of greatest acclaim.
Send image Biography Enquire£700
Presentation: Passe-partout
SN: 3979
The original etched copper plate
19 x 13cm (28 x 22cm framed)
Send image Biography Enquire£750
Presentation: Passe-partout
SN: 3983
Original Copper Plate,
22.5 x 15cm (31.5 x 24cm framed)
It is generally acknowledged that Austin was one of the greatest exponents of line engraving of the Twentieth century. Campbell Dodgson, keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austins' work, compared his work to that of Durer noting that Austin had 'more than a touch of that master in him' (Robert Austin, Twenty-One, 1930 Gallery).
Robert Austin's original etching plates were rediscovered in 2007. They represents all aspects of the artists oeuvre, from his first engraving (The Bridge, 1913 ) to his his last (Frost in May 1971). Although, as was common practise amongst print makers, Austin cancelled his plates after their edition run, the manner in which he did this is remarkable. Far from defacing the compositions by scratching lines across the centre, or drilling holes in the plates, Austin drew precise lines of different proportions, dissecting each composition, responding individually to each image. As such the geometry of each composition appears heightened, and the plates take on a abstract beauty of their own.
Send image Biography Enquire£700
Presentation: Passe-partout
SN: 3984
The original etched copper plate
16.5 x 26.5cm (25.5 x 35.5cm framed)
Send image Biography Enquire£950
Presentation: Passe-partout
SN: 3987
Original Copper Plate, 15.5 x 10.5cm (24.5 x 20cm framed)
Send image Biography Enquire£900
Presentation: Passe-partout
SN: 3991
The original etched copper plate
15 x 12cm (24 x 21cm framed)
Send image Biography Enquire£470
Presentation: Mounted
SN: 4317
Signed with studio stamp on the reverse
Charcoal
39 x 29 cm
In the domestic family routine which formed the backdrop to his work Austin found an endless source of inspiration. Compositions, which at first appear random, showing the corners of bedrooms and bathrooms are particularly characteristic of his work.
Send image Biography Enquire£150
Presentation: Passe-partout
SN: 4511
Engraving, posthumously printed
23.5 x 17.5 cm (framed: 31 x 24.5 cm)
Send image Biography Enquire£900
Presentation: Passe-partout
SN: 5045The original etched copper plate
14.5 x 11 cm (24 x 20 cm framed)
Send image Biography
To be included in a
forthcoming exhibition
Presentation: Framed
SN: 519
Copper and zinc plates, engraved and cancelled by Robert Sargent Austin
Provenance: the artist’s family
Literature: Campbell Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930; Gordon Cooke, Drawings and Prints by Robert Austin, exh. cat.,The Fine Art Society, London, 2001
This large collection represents the vast majority of surviving plates by Austin and includes examples of all aspects of the artist’s oeuvre, from his first engraving (The Bridge 1913) to his last (Frost in May 1971). Works from Austin’s mid- and late career, such as Girl by a Gate 1938 (illustrated following, with detail), and Empty Church, Concarneau 1949 (opposite), demonstrate that he was still at the height of his powers long after his period of greatest acclaim during the etching boom of the 1920s, which ended abruptly with the Wall Street Crash.The collection also includes examples of the line engravings of which Austin was one of the greatest exponents of his century, including The Flight Into Egypt 1925 from his period as Rome Scholar (1922–5), when he first began to use line engraving, and Bellringer’s Wife 1934 (following). Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austin, compared him to Albrecht Dürer, noting that Austin had ‘more than a touch of that master in him’ (Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930).
The plates have been restored and posthumously printed by David Maes.
A full list of plates in the collection is available on request. The collection is for sale to a public institution only.
We are grateful to Rachel and Clare Austin, Gordon Cooke and David Maes for assistance.
Send image BiographyTo be included in a
forthcoming exhibition
Presentation: Framed
SN: 1623
The original opper plate: 9 x 6 7/8 in. (22.7 x 17.5 cm).
Engraved and cancelled by Robert Sargent Austin
Provenance: the artist’s family
Literature: Campbell Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930; Gordon Cooke, Drawings and Prints by Robert Austin, exh. cat.,The Fine Art Society, London, 2001
Presented in a shadow box frame
Austin was one of the greatest exponents of line engraving and etching. Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austin, compared him to Albrecht Dürer, noting that Austin had ‘more than a touch of that master in him’ (Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930).
A limited edition of 5 line engravings have been printed posthumously on ARCHES 250 g/m² paper, plate size: 31.5 x 25 cm, costing £120.00 each
We are grateful to Rachel and Clare Austin, Gordon Cooke and David Maes for assistance.
Send image BiographyTo be included in a
forthcoming exhibition
Presentation: Unmounted
SN: 5253Signed, titled and dated 1/45,
charcoal and pastel heightened with white,
16 x 22 in (41 x 56 cm)
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Presentation: Framed
SN: 539
Signed and dated in pencil
Red chalk with black chalk highlights, sight size 7⅞
Provenance: acquired directly from the artist’s son
Literature: Drawings and Prints by Robert Austin, exh. cat.,The Fine Art Society, London, 2001 (no. 12), p. 23 (similar portrait repr.)
Austin and Woodford were brothers-in-law. Both were 1922 Rome Scholars (in Engraving and Sculpture respectively), along with Monnington, who was the 1922 Scholar in Decorative Painting. Austin’s portrait of Woodford was undertaken during 1926, their last year at the British School at Rome. A related, though slightly later, portrait of Woodford was included in The Fine Art Society exhibition Drawings and Prints by Robert Austin in 2001 (no. 12).
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Presentation: Framed
SN: 1033
Gouache on paper
Signed with initials
17 1/2 x 17 in. (44.5 x 43.2 cm.)
In a gessoed reverse section stepped frame the middle flat painted black
The circus was a theme that Austin was often drawn to. The Circus came once a year and set up on the shingle foreshore outside the artist's studio at Burnham Overy Staithe. The combination of animals and performers always fascinated him. This is likely to date early in his oeuvre.
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Presentation: Framed
SN: 1228
Signed with initials and inscribed 26th November 1947
pencil on pink washed paper
In a black reeded outer frame with broad gilded slip
22 1/4 x 15 3/8 in. (56.6. x 39 cm).
Exhibited: Robert Austin, The Fine Art Society, 2002, no 49.
Literature: Robert Austin, The Fine Art Society, 2002, illustrated p 33.
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Presentation: Framed
SN: 1621
Line engraving
Original copper plate: 5 1/4 x 3 1/4 in. (13.3 x 8.2 cm). (cancelled)
A limited edition of 5 prints has been printed posthumously by David Maes on Arches paper (250 g/m²), (print size 22 x 16 cm - price per print £50).
Provenance: The Artists Family
Literature: Campbell Dodgson, Robert Austin, Twenty-One Gallery, 1930; Gordon Cooke, Drawings and Prints by Robert Austin, London, The Fine Art Society, 2001
Austin received various official commissions including the design of bank notes and Ex Libris plates for the Priminsters Library.
Robert Austin's original etching plates were rediscovered in 2007. They represents all aspects of the artists oeuvre, from his first engraving (The Bridge, 1913 ) to his his last (Frost in May 1971). Although, as was common practise amongst print makers, Austin cancelled his plates after their edition run, the manner in which he did this is remarkable. Far from defacing the compositions by scratching lines across the centre, or drilling holes in the plates, Austin drew precise lines of different proportions, dissecting each composition, responding individually to each image. As such the geometry of each composition appears heightened, and the plates take on a abstract beauty of their own.
It is generally acknowledged that Austin was one of the greatest exponents of line engraving of the Twentieth century. Campbell Dodgson, keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austins' work, compared his work to that of Durer noting that Austin had 'more than a touch of that master in him' (Robert Austin, Twenty-One, 1930 Gallery).
Austin's period of greatest acclaim was during the etching boom of the 1920s (which ended abruptly with the Wall Street Crash). Later works however, (for instance Girl by a gate,1930 and Empty Church, Concarneau, 1949,) demonstrate that Austin was still at the height of his powers long after his period of greatest acclaim.
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Presentation: Framed
SN: 1624
The original copper plate: 9 3/4 x 7 3/4 in. (24.8 x 19.7 cm), engraved and cancelled by Robert Sargent Austin.
Provenance: the artist’s family
Literature: Campbell Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930; Gordon Cooke, Drawings and Prints by Robert Austin, exh. cat.,The Fine Art Society, London, 2001
Presented in a shadow box frame
Austin was one of the greatest exponents of line engraving and etching. Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austin, compared him to Albrecht Dürer, noting that Austin had ‘more than a touch of that master in him’ (Dodgson, Robert Austin, exh. cat.,Twenty-One Gallery, London, 1930).
A limited edition of 5 line engravings have been printed posthumously on ARCHES 250 g/m² paper, plate size: 31.5 x 25 cm, costing £120.00 each
We are grateful to Rachel and Clare Austin, Gordon Cooke and David Maes for assistance.
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Presentation: Unmounted
SN: 2606
Signed and dated in the plate; inscribed ‘printed for the passengers and staff of London Transport to recall other occasions of the Nation’s will and high purpose’
Original lithograph, printed by the Baynard Press
25-1/4 × 20 in. (64. 2 × 50.8 cm)
Provenance:Artist’s daughter.
This rare lithographic proof comes directly from the artist’s family. The London Transport Museum has the same poster in its collection, together with versions of the design in a number of earlier states.
The Underground Group (later London Transport) produced a wide variety of posters during the First and Second World Wars.There was, however, a marked difference between the propaganda element of the posters in both wars: the posters published in the GreatWar presented the conflict as an idealised struggle and urged men to enlist, whereas the posters of the Second World War stressed the individual’s role in helping the war effort at home and also aspired to lift the nation’s spirits.
Many London Transport posters were issued as a series, for maximum impact. Robert Sargent Austin was commissioned to produce the Our Heritage Series, depicting heroic British Leaders, such as Nelson,Drake, Pitt and finally Churchill.The aim of these posters was to boost the morale within the travelling public by reminding them what the nation was fighting for.
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Presentation: Framed
SN: 2980
The original line engraving copper plate, (cancelled):
4 x 5 1/2 in. (10 x 14 cm.)
A limited edition of 5 prints, taken from the cancelled plate, have been printed posthumously by David Maes on Arches paper 250 g/m² paper, (print size 19 x 22 cm - price per print £100).
Provenance: The Artists Family Literature: Campbell Dodgson, Robert Austin, Twenty-One Gallery, 1930; Gordon Cooke, Drawings and Prints by Robert Austin, London, The Fine Art Society, 2001
Burham Overy Staithe is a small village on the north Norfolk coast, where Austin owned The Chapel which he used as studio when not working in London. The Chapel consisted of large light-filled rooms, either facing green meadows or out to sea. Austin chose a huge, white, north-facing room, overlooking the sand dunes to Scolt Head, to be his studio. It was here that all his work was carried out.
Robert Austin's original etching plates were rediscovered in 2007. They represents all aspects of the artists oeuvre, from his first engraving (The Bridge, 1913 ) to his his last (Frost in May 1971). Although, as was common practise amongst print makers, Austin cancelled his plates after their edition run, the manner in which he did this is remarkable. Far from defacing the compositions by scratching lines across the centre, or drilling holes in the plates, Austin drew precise lines of different proportions, dissecting each composition, responding individually to each image. As such the geometry of each composition appears heightened, and the plates take on a abstract beauty of their own.
It is generally acknowledged that Austin was one of the greatest exponents of line engraving of the Twentieth century. Campbell Dodgson, keeper of Prints and Drawings at the British Museum, who compiled the standard reference work on Austins' work, compared his work to that of Durer noting that Austin had 'more than a touch of that master in him' (Robert Austin, Twenty-One, 1930 Gallery).
Austin's period of greatest acclaim was during the etching boom of the 1920s (which ended abruptly with the Wall Street Crash). Later works however, (for instance Girl by a gate,1930 and Empty Church, Concarneau, 1949,) demonstrate that Austin was still at the height of his powers long after his period of greatest acclaim.
Original cancelled copper plate cleaned, restored and framed
Line engraving
Copper plate: 10 x 14 cm (cancelled)
Print: 19 x 22 cm
A small number of prints have been pulled from the cancelled plate posthumously on Arches paper (250g/m²)
Burham Overy Staithe is a small village on the north Norfolk coast. Austin owned a house there and made frequent visits.
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Presentation: Passe-partout
SN: 3878
Etching. 22.5 x 17.2cm (31.5 x 26.2cm framed)
Unique artist's proof from the artists own collection.
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Presentation: Passe-partout
SN: 3985
The original etched copper plate
24.5 x 19.5cm (33.5 x 28.5cm framed)
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