View Artwork Details
Send image Biography Enquire£650 
Presentation: Mounted
Signed, dated and inscribed with title
Pencil
28 x 40 cm
Send image Biography Enquire£650
Presentation: Passe-partout
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).
Send image Biography Enquire£3,500
Presentation: Passe-partout
Original etched copper plate, 17.5 x 19 cm
Send image Biography Enquire£1,500
Presentation: Framed
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
Send image Biography Enquire£1,750
Presentation: Framed
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).
Send image Biography Enquire£950
Presentation: Passe-partout
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
Send image Biography Enquire£1,000
Presentation: Passe-partout
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
Send image Biography Enquire£700
Presentation: Passe-partout
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.
Send image Biography Enquire£1,300
Presentation: Framed
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.
Send image Biography Enquire£950
Presentation: Passe-partout
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.
Send image Biography Enquire£1,200
Presentation: Framed
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.
Send image Biography Enquire£450
Presentation: Unframed
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.
Send image Biography Enquire£2,800
Presentation: Framed
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.
Send image Biography Enquire£1,950
Presentation: Framed
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)
Send image Biography Enquire£1,750£875
Presentation: Framed
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)
Send image Biography Enquire£800£400
Presentation: Mounted
Signed and dated in pencil
Wash
11 7/8 x 10 5/8 in. (30 x 27 cm.)
Provenance: The Artists Daughters
Exhibited: Robert Austin, The Fine Art Society, 2002, no 28
Literature: Robert Austin, Paul Liss, 2002, p. 14; illustrated p. 20
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.
Send image Biography Enquire£950£475
Presentation: Mounted
Signed with initials, pencil on pink paper
18 x 22 1/4 in. (46 x 56.5 cm.)
Provenance: The Artists Daughters
Exhibited: Robert Austin, The Fine Art Society, 2002, no 65
Literature: Robert Austin, Paul Liss, 2002, p. 40; illustrated p. 43
This composition is set in Austins studio, The Chapel at Burnham Overy Staithe, which consisted of a 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.
Send image Biography Enquire£1,100
Presentation: Framed
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.
Send image Biography Enquire£500
Presentation: Framed
Etching
Copper plate: 3 1/2 x 3 1/8 in. (9 x 8 cm.) (cancelled)
Send image Biography Enquire£900
Presentation: Framed
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.
Send image Biography Enquire£1,200
Presentation: Framed
Line engraving
Copper plate: 6 x 5 in. (15 x 12.6 cm.) (cancelled)
Send image Biography Enquire£1,800
Presentation: Framed
Line engraving
Copper plate: 6 3/8 x 6 5/8 in. (16.2 x 16.9 cm.) (cancelled)
Send image Biography Enquire£600
Presentation: Framed
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.
Send image Biography Enquire£2,200
Presentation: Framed
Line engraving
Copper plate: 5 3/4 x 4 1/8 in. (14.6 x 10.5 cm.) (cancelled)
Send image Biography Enquire£600
Presentation: Framed
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)
Send image Biography Enquire£1,700
Presentation: Framed
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)
Send image Biography Enquire£1,000
Presentation: Framed
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£170
Presentation: Unmounted
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£120
Presentation: Unmounted
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£190
Presentation: Unmounted
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£70
Presentation: Unmounted
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£70
Presentation: Unmounted
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.)
Send image Biography Enquire£70
Presentation: Unmounted
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£70
Presentation: Unmounted
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£120
Presentation: Unmounted
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.)
Send image Biography Enquire£70
Presentation: Unmounted
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.)
Send image Biography Enquire£70
Presentation: Unmounted
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.)
Send image Biography Enquire£120
Presentation: Unmounted
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£120
Presentation: Unmounted
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.)
Send image Biography Enquire£120
Presentation: Unmounted
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£120
Presentation: Unmounted
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£70
Presentation: Unmounted
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£95
Presentation: Unmounted
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£70
Presentation: Unmounted
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£70
Presentation: Unmounted
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£170
Presentation: Unmounted
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£120
Presentation: Unmounted
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£250
Presentation: Unmounted
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£120
Presentation: Unmounted
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£70
Presentation: Unmounted
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£70
Presentation: Unmounted
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£120
Presentation: Unmounted
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£70
Presentation: Unmounted
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£120
Presentation: Unmounted
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£80
Presentation: Unmounted
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£120
Presentation: Unmounted
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£70
Presentation: Unmounted
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£120
Presentation: Unmounted
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£95
Presentation: Unmounted
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£70
Presentation: Unmounted
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£60
Presentation: Unmounted
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£220
Presentation: Unmounted
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£170
Presentation: Unmounted
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£80
Presentation: Unmounted
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£70
Presentation: Unmounted
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£120
Presentation: Unmounted
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£120
Presentation: Unmounted
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£70
Presentation: Unmounted
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£70
Presentation: Unmounted
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£195
Presentation: Unmounted
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£120
Presentation: Unmounted
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£120
Presentation: Unmounted
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£120
Presentation: Unmounted
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£65
Presentation: Unmounted
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£120
Presentation: Unmounted
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£170
Presentation: Unmounted
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£120
Presentation: Unmounted
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£80
Presentation: Unmounted
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£170
Presentation: Unmounted
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£140
Presentation: Unmounted
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£600
Presentation: Mounted
Pencil with highlights in red chalk
Signed and dated in pencil, signed with initials (studio stamp)
22 1/2 x 17 1/4 in. (57 x 44 cm).
Provenance: The Artists Daughters
Exhibited: Robert Austin, The Fine Art Society, 2002, no 66
Literature: Robert Austin, Paul Liss, 2002, p. 40; illustrated p. 43
This composition is set in Austins studio, The Chapel at Burnham Overy Staithe, which consisted of a 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.
Send image Biography Enquire£700£350
Presentation: Mounted
Pencil
Inscribed with title
11 7/16 x 17 3/4 in. (29 x 45 cm.)
Rob, the artist's son, was born in 1927.
Send image Biography Enquire£1,200
Presentation: Unmounted
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£500
Presentation: Mounted
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
Original Copper Plate, 10.7 x 14cm (19.7 x 23cm framed)
Send image Biography Enquire£700
Presentation: Passe-partout
The original etched copper plate
9.5 x 12.5cm (18.5 x 21.5cm framed)
Send image Biography Enquire£975
Presentation: Passe-partout
Original Copper Plate, 14 x 11.2cm (23 x 20cm framed)
Send image Biography Enquire£950
Presentation: Passe-partout
The original etched copper plate
12.5 x 14.5cm (21.5 x 23.5cm framed)
Send image Biography Enquire£900
Presentation: Passe-partout
The original etched copper plate
13 x 15cm (22 x 24cm framed)
Send image Biography Enquire£750
Presentation: Passe-partout
The original etched copper plate
19 x 13cm (28 x 22cm framed)
Send image Biography Enquire£1,800
Presentation: Passe-partout
The original etched copper plate
19 x 15.4cm (28 x 24.4 cm framed)
Send image Biography Enquire£1,200
Presentation: Passe-partout
Original Copper Plate, 20.3 x 15cm (29.6 x 24cm framed)
Send image Biography Enquire£1,400
Presentation: Passe-partout
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
The original etched copper plate
19 x 13cm (28 x 22cm framed)
Send image Biography Enquire£750
Presentation: Passe-partout
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
The original etched copper plate
16.5 x 26.5cm (25.5 x 35.5cm framed)
Send image Biography Enquire£950
Presentation: Passe-partout
Original Copper Plate, 15.5 x 10.5cm (24.5 x 20cm framed)
Send image Biography Enquire£900
Presentation: Passe-partout
The original etched copper plate
15 x 12cm (24 x 21cm framed)
Send image Biography Enquire£420
Presentation: Mounted
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£120
Presentation: Passe-partout
Engraving, posthumously printed
23.5 x 17.5 cm (framed: 31 x 24.5 cm)
Send image Biography Enquire£900
Presentation: Passe-partout
The original etched copper plate
14.5 x 11 cm (24 x 20 cm framed)
Send image Biography
Reserved
Presentation: Passe-partout
The original etched copper plate
24.5 x 19.5cm (33.5 x 28.5cm framed)
Send image Biography
To be included in a
forthcoming exhibition
Presentation: Framed
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
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 Biography
Sold
Presentation: Framed
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).
Send image BiographySold
Presentation: Framed
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.
Send image BiographySold
Presentation: Framed
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.
Send image BiographySold
Presentation: Unmounted
Stamped with studio stamp
Watercolour, signed with studio stamp
15 x 10 1/2 in. (38 x 27 cm).
Provenance: Rachel Austin
Exhibited: Fine Art Society, October, 2002
Austin moved to Lingard House, Chiswick Mall, in 1931. Apart from visits to his Norforlk holiday house, he lived at Lingard House for the rest of his life.
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)
Send image BiographySold
Presentation: Framed
Stamped, incribed with title and dated
Black chalk on light pink tinted paper
17 3/4 x 22 1/16 in. (45 x 56 cm).
Provenance: Clare Austin, the artist's daughter
Exhibited: exh: Fine Art Society, October, 2002, no. 31, p 23, (reproduced)
Literature: Paul Liss, Robert Austin, The Fine Art Society 2002, p. 40; Liss Fine Art 2005, cat. no 92
In a gessoed white stepped Gluck frame.
Amongst the subjects that Austin was most naturally drawn to were his two daughters. In his studio at Burnham Overy Staithe, a huge North-facing room with high ceilings, they often served as models.
Send image BiographySold
Presentation: Framed
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.
Send image BiographySold
Presentation: Unmounted
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.
Send image BiographySold
Presentation: Framed
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.
Send image BiographySold
Presentation: Mounted
Pencil
Inscribed March 68
15 3/4 x 17 3/4 in. (40 x 45 cm).
Send image BiographySold
Presentation: Passe-partout
Etching. 22.5 x 17.2cm (31.5 x 26.2cm framed)
Unique artist's proof from the artists own collection.
Thumbnail panels:
