THE short SHOW
Etchings, Mezzotints & Aquatints of Sir Frank Short on the 100th Anniversary
of the Private View of his works in London
Etchings, Mezzotints & Aquatints of Sir Frank Short on the 100th Anniversary
of the Private View of his works in London
- Invitation Card
- In a Cider Country
- The Head of Langston
- Derwentwater
- Old Mill on the Wandle
- Solway Fishers
- Knaresborough
- A Lane in Arundel
- In the Cotswolds
- Ehrenbreitstein, No. 1
- Ehrenbreitstein, No. 2
- A Pastoral
- Screel Hill
- The Snow Drift
- Hobb’s Hawth, No. 2
- The Lost Sailor
- Old Quai on the Nith
- Lucerne
- A Roman Canal
- A Roman Canal
- A Street in Monikendam
- The “Victory”
- “The Street,” Whitstable
- Cottage and Harvesters
- Portrait of Two Gentlemen
- ‘Twixt Dawn and Day
- Pan and Syrinx
- Moonrise on the Bure
- Stonehenge at Daybreak
- The Mooring Stone
- Shipping at the Entrance
- Per Horse-Power Per Hour
- Polperro from the Cliffs
- A Yorkshire Dell
- The Coast Road
- Mount St. Gothard
- A Dutch Greengrocerie
- A Woody Landscape
- Hawk’s Brow and Seaford Head
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2. Sir Frank Short (1857-1945) Alfred Parsons (1847-1920) In a Cider Country |
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(click on image to print)
In a Cider Country
Soft-ground etching and mezzotint, 1886, 445 x 572 mm., Hardie 50. Fine impression on simili-japon paper with large margins, signed in pencil by both Short and Parsons; some creases in the margins. Short was an accomplished etcher before he ever essayed mezzotint. This is one of his earlier mezzotints and certainly the first on so grand a scale. It was a dual effort, Parsons’ painting apparently being completed the same year as the print after it, and the project meant to be a commercial success, as three hundred pencil-signed impressions were issued. The problem for Short, as always, was how to make a viable black-and-white print from an oil painting, and his answer was to accentuate the blackness of the trees against the brightening sky in the background and dot the mostly grayish foreground with spots and lines of white, almost as if he were finishing a grisaille drawing in white ink. Parsons was a well-known illustrator as well as a painter. We have been unable to trace this painting, but there is a great similarity to other canvases by him, some of the same trees having made their way from one picture to another.
