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Catalogue of Etchings, Mezzotints, Dry Points, and Aquatints by Sir Frank Short, R.A.,P.R.E.

On Exhibition at the Galleries of CM.. KNOEDLERj C& CO. 556-558 Fifth Avenue between 45th and 46th Streets Commencing February the eighth 1915

SIR FRANK SHORT, R,A.,P.R.E.

HERE have been other masters of etching and other masters of mezzo­ tint, but never has there been an artist of such wide range and versa­ tility, such subtlety of technique, such command of every phase and possibility of the engraver's art. Short—for we must give him the accepted master's brief title—has explored every secret of the copper; has sailed uncharted seas; he seems to have deter­ mined whatever his goal, to carry the flag a step be­ yond the point which his last brave forerunner at­ tained. But determination and craftsmanship together will not suffice in the world of art alone. No man knows that better than Short himself, for in his own words "A man must first be a workman, and an artist afterwards, if it please God." Behind all Short's determination and skill and sin­ cerity is the final secret, the whisper of the poetic soul, free as the Nature that he loves and worships, re7 sponsive to Nature as the sea is responsive to the changing colour and movement of the sky. Other artists love Nature in passionate moods, or strive to bend her beneath their own power. Short is more content to acce.pt; he is more in sympathy with all that is gracious and serene. In all his masterpieces— in all such things as, for instance, "The West's Good Night to the East," "Low Tide and Evening Star," "Silver Tide" or "Sunrise o'er Whitby Scaur"—there is the note of sweet intimacy, of gentle glowing emo­ tion, of lyrical charm. Sir Frank Short was born at Wollaston near Stour­ bridge, Worcestershire, in 1857. Thirty years ago he went to London as a civil engineer, and it was only recently that he resigned his membership of the Insti­ tute of Civil Engineers. That early training gave him a knowledge of tools and materials and craftsman­ ship that has always stood him in good stead; but he was an engineer with the soul of an artist, and Art claimed him for her own. In 1883 he entered the National Art Training School and became an etcher; he studied also in the life classes at Westminster, then under Professor Fred Brown, and at the short-lived school of the Royal Institute of Painters in Water Colours. To-day he is a member of the Royal Academy, and President in succession to Sir Francis Seymour Haden, of the Royal Society of Painter-Eetchers. In the interval he has not only established his own repu­ tation as an artist, but in his unassuming way has done noble service to the engraver's art. He has writ­ ten a standard work "On the Making of Etchings" and a delightful little book that should be in the hands of every student and collector on "Etchings and En­ gravings : What they are and are not." And in spite of all his own success and the claims of his own work, he has presided for many years over an engraving class in the Royal College of Art, South Kensington. There, as Professor at South Kensington, his advice is sought, not only by his own students, but by etchers from far and wide, at home and abroad. Never was there a more wise and sympathetic teacher; and never were advice and assistance more ungrudgingly given. Etchers to-day might well describe Short in Barrie's words about Stevenson, "The great king of us all"; and it is characteristic of the affection in which Short is held by his pupils that one of them in a festive little gathering of students should have said, "We shall all remember 1911 as the year when George was crowned and Frank was knighted." Short is not only an ideal interpreter in mezzotint of other artists' work, but an original worker whose own achievenments stand alone in the history of mezzotint. Entirely his own, too, is his work in aqua­ tint, another method he revived, finding an exquisite use for its harmonies in simple tone. He has opened up new possibilities for aquatint, endowed it with fresh qualities, and attained a delicacy and refinement which the earlier masters of the art never reached. CATALOGUE

The numbers are from Mr. E. F. Strange's •catalogue.

The edition of each plate seldom exceeds one hundred signed artist's proofs, and is fre­ quently not more than fifty.

There are no print states.

6 OLD BATTERSEA BRIDGE. Etching. Etched for an art students' magazine, "Sweepings of the Corridor," 1883.

9 OAK HOUSE, WEST BROMWICH. Etching.

14 ST. MAGNUS CHURCH, BILLINGSGATE (No. 2). Etching. Published in "English Etchings," vol. iv., 1884. This was the first plate sold by Mr. Short for publication.

SI EBB-TIDE, PUTNEY BRIDGE. Mezzotint.

35 PROCRIS AND CEPHALUS. Mezzotint. Done from a print in the Victoria and Albert Museum. Lettered, "Frank Short, sculp., after J. M. W. Turner"; published 1st Aug., 1885 87 RAGLAN CASTLE. Mezzotint. Lettered, "Frank Short, sculp., after J. M. W. Turner." Published ist Aug., 1885.

51 IN A CIDER COUNTRY. Mezzotint. From the painting by Alfred Parsons, A. R. A., R. I.

60 PER HORSE-POWER PER HOUR, WHITBY HARBOUR. Mezzotint.

62 WROUGHT NAILS, HALESOWEN. Etching. Etched out of doors at Christmas time. On the plate are etched the following lines: By the sweat of their brow, they—exist. Sunrise to them is over-late, and sundown but a lighting of their work-lamp. As little sleep to them as may be, and not much save smoke to swallow. Simple and sturdy hearts, men and women that work and make a nation. Where is your reward? Great God! that there be nail-shops down in hell for other folks to try.

64 THE "PATIENCE," BOSHAM. Etching.

74 RYE PIER, EVENING. Aquatint. 75 THE CURFEW, RYE. Aquatint. Inscribed: . Over some wide-water'd shore Swinging slow with sullen roar.

79 THE MOORING STONE, POLPERRO HARBOUR. Etching.

80 POLPERRO HARBOUR. Etching. On zinc.

98 WENSLEYDALE. Mezzotint. From a water-colour by P. de Wint, in the Victoria and Albert Museum.

101 FLATFORD LOCK. Mezzotint. From the painting by John Constable, R. A.

109 A DEAD CALM IN ITCHENOR CHANNEL. Etching.

Ill UNLOADING PEAT, DORT. Etching.

116 A SUSSEX DOWN. Mezzotint. From a sketch in oils by John Constable, R. A., in the collection of the late Henry Vaughan, Esq. On the back of the sketch is written. "Brighton, looking north-east, noon." 117 NEAR HINGHAM, NORFOLK. Mezzotint. From the painting by J. Crome in the National Gallery of British Art.

119 GEORGE'S DOCK, LIVERPOOL. Etching.

120 THE BREAKING-UP OF THE "GREAT EAST­ ERN" (No. 1). Etching.

126 DINNER-TIME ON BOARD THE TIMBER BARQUE "MARIE," UNLOADING AT CONWAY. Etching.

181 ENTRANCE TO THE MERSEY FROM WATERLOO SANDS. Etching.

137 A SWISS PASS. Mezzotint. From a water-colour by J. M. W. Turner, R. A., in the collection of the late J. E. Taylor, Esq.

143 OLD QUAY ON THE NITH (GLENCAPEL). Etching.

144 THE SOLWAY AT MIDDAY. Etching.

152 SOLWAY FISHERS (NO. 2). Mezzotint. 154 NlTHSDALE. Mezzotint.

163 SKIES A-CLEARING, SUN A-SHINING, AND THE EVENSONG A-CHIMING. THE CHURCH AT KAMPEN. Etching.

165 HET BROUWERIJ, HAARLEM. Etching.

167 VUURTOREN (HINDLOOPEN), FRIESLAND. Etching. Inscribed with title, and the words, "Four feet of water over bar, 1892."

168 OVER THE MEADOWS TO MONNIKENDAM.

169 THE BELL TOWER, MONNIKENDAM. Etching. 170 IN PORT VOLENDAM. Etching. Inscribed: "Volendam, 1892."

171 DEVENTER. Etching.

172 TOWERS OF KAMPEN. Etching.

173 THE DIJK AT VOLENDAM. Etching.

175 WHEN THE WEARY MOON WAS IN THK WANE. DORT. Mezzotint. 184 MlLKING-TlME, VoLENDAM. Etching.

195 SHIPPING AT THE ENTRANCE OF THE MED- WAY. Mezzotint. Lettered, "Drawn by J. M. W. Turner, R. A. Etched by Frank Short." From an unpublished drawing for the Liber Studiorum in the pos­ session of Sir J. C. Robinson.

197 FALLS OF THE RHINE, SCHAFFHAUSEN. Etching. Lettered, "Drawn by J. M. W. Turner, R. A. Etched by Frank Short, 1891."

198 AESACUS AND HESPERIE. Mezzotint. Lettered, "Aesacus and Hesperie. F. Short, sculp., after J. M. W. Turner, R. A., 1895."

199 VIEW OF A RIVER FROM A TERRACE (MACON?). Mezzotint. Not known to have been etched or engraved during Turner's lifetime. The drawing is in the National Gallery. Lettered, "Macon. From an unpublished drawing for the Liber Studiorum, in the pos­ session of Henrv Vaughan, Esq. Drawn by J. M. W. Turner, R. A. Etched by Frank Short, 1891." 200 VIEW OF A LAKE. (Sometimes called Der- wentwater.) Etching.

Lettered, "Drawn by J. M. W. Turner, R. A. Etched by Frank Short, 1891." From an unpublished drawing for the Liber Studiorum, in the possession of Henry Vaughan, Esq.

201 THE STORK AND THE AQUEDUCT. (Some­ times called The Heron's Pool.) Mezzotint. Lettered, "The Stork and the Aqueduct. Drawn and etched by J. M. W. Turner, R. A. Etched and engraved by F. Short, 1896."

202 PAN AND SYRINX. Mezzotint. Done from copy of an etching in Turner's time; and the drawing at the British Museum.

203 PAN AND SYRINX. Mezzotint. Lettered, "Pan and Syrinx. From an un­ published drawing for the Liber Studiorum in the British Museum. Drawn by J. M. W. Turner, R. A. Etched and engraved by F. Short, 1896."

204 KINGSTON BANK (NO. 1). Mezzotint. The drawing is in the National Gallery. 205 KINGSTON BANK (NO. 2). Mezzotint. Lettered, "Kingston Bank. From an unpub­ lished drawing for the Liber Studiorum, in the possession of Henry Vaughan, Esq. Drawn by J. M. W. Turner, R. A. Etched and en­ graved by F. Short, 1896."

206 A PASTORAL. Mezzotint. Lttered, "Pastoral. From an unpublished drawing for the Liber Studiorum in the National Gallery. Drawn by J. M. W. Turner, R. A.

207 MOONLIGHT ON A RIVER (LUCERNE?). Mezzotint. Lettered, "Lucerne. From an unpublished drawing for the Liber Studiorum, in the pos­ session of Henry Vaughan, Esq. Drawn by J. M. W. Turner, R. A." The drawing is in the National Gallery.

208 HUNTSMEN IN A WOOD. Etching. Lettered, "Drawn by J. M. W. Turner, R. A. Etched by Frank Short, 1891." From an un­ published drawing for the Liber Studiorum in the British Museum. 209 MOONLIGHT AT SEA. THE NEEDLES. Mezzotint. The drawing is in the National Gallery. Let­ tered, "Moonlight at Sea off the Isle of Wight." From an unpublished drawing for the Liber Studorium, in the possession of Henry Vaughan, Esq. Drawn by J. M. W. Turner, R. A.

210 STONEHENGE AT DAYBREAK. Mezzotint. The drawing is in the collection of the late Mr. J. E. Taylor. From an unpublished draw­ ing for the Liber Studiorum. Drawn by J. M. W. Turner, R. A.

212 THE "VICTORY" COMING UP THE CHANNEL (NO. 2). Mezzotint.

213 Swiss BRIDGE, MONT ST. GOTHARD. (Also known as Via Mala.) Mezzotint. The drawing is in the possession of Mr. J. Irvine Smith. Etched by J. M. W. Turner, and engraved, probably also by him ; but never pub­ lished.

214 THE LOST SAILOR. (Also called Storm Over the Lizard.) Mezzotint. Lettered, "F. Short, sculp., after J. M. W. Turner, R. A." 219 KING'S LYNN. Etching.

220 SUNEISE O'ER WHITBY SCAUE. Aquatint.

221 THE ANGLEES' BEIDGE ON THE WANDLE. Etching.

226 A SPAN OF OLD BATTEESEA BEIDGE. Aquatint.

228 A SLANT OF LIGHT IN POLPEEEO HAEBOUE (NO. 2). Mezzotint. 229 OLD GEAVEL PITS. Mezzotint. From the water-colour by David Cox in the Victoria and Albert Museum. On Steel. Done for the benefit of the Artists' General Benevo­ lent Association.

231 THE LIFTING CLOUD. Mezzotint. Pure mezzotint, on steel. 232 SHAP FELLS. Mezzotint. From the water-colour by P. de Wint in the Victoria and Albert Museum.

240 THE TIMBEE RAFT ON THE RHINE. Mezzotint. From the water-colour by J. M. W. Turner R. A., in the National Gallery. 241 THE SUN WENT DOWN IN HIS WRATH. Mezzotint.

247 CROWHURST, SUSSEX. Mezzotint. In completion of the Liber Studiorum. Etched by J. M. W. Turner, and engraved, probably by H. Dawe; but not published. Mr. Short's plate was completed from proofs in the collections of W. G. Rawlinson, Esq., and the late J. E. Taylor, Esq., and from the draw­ ing in the National Gallery.

248 A FEN COUNTRY BRIDGE. Etching.

249 A SOUTH COAST ROAD. PEGWELL BAY. Etching.

252 MOONRISE, RAMSGATE. Mezzotint. Done from a pastel sketch by the engraver, February, 1904.

254 AN APBIL DAY IN KENT. LYDD. Etching.

259 HAYFIKT.D IN YORKSHIRE. Mezzotint. From a water-colour by P de Wint in the National Gallery collection (exhibited in the Victoria and Albert Museum). 1904. 260 LONDON FROM GREENWICH. Mezzotint, From the water-colour by P. de Wint, in the National Gallery (Henderson Collection).

261 A ROMAN CANAL. Mezzotint. From the water-colour by P. de Wint, in the Victoria and Albert Museum. 1904.

262 THE SNOWDRIFT. Mezzotint. From the water-colour by P. de Wint, in the Victoria and Albert Museum. 1904.

264 A YORKSHIRE DELL. Mezzotint. From the water-colour by J. M. W. Turner, 'R. A., in the collection of the late J. E. Tay­ lor, Esq. 1905. Mr. A. J. Finberg has identi- ,fied a very slight sketch of this subject in a sketch-book of subjects in Scotland; so the title might be "A Scottish Dell."

270 ROAD NEAR OXFORD. Mezzotint. From the water-colour by P. de Wint, in the Victoria and Albert Museum.

275 COTTAGE WITH HARVESTERS. Mezzotint. From the water-colour by P. de Wint, in the Victoria and Albert Museum. •

276 STROLLING PLAYEES LYDD. Etching. 277 A LANE IN ARUNDEL. Etching. 281 THE HEAD OF LANGSTON HARBOUR. Etching.

282 LANGSTON MILL. Etching. 288 PEVERIL'S CASTLE, DERBYSHIRE. Dry-Point.

291 THE STRAND GATE, WINCHELSEA.

296 WINCHELSEA MARSHES.

298 DAWN. Aquatint. 299 THE THAMES AT TWICKENHAM. Aquatint. 800 A SILVER TIDE. Aquatint.

"Ofe Goerck Art Press New York