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
‘Twixt Dawn and Day
Aquatint, 1919, 229 x 295 mm., Hardie 165 ii/ii. Fine impression on wove paper with good margins, signed in pencil. The difference between the first and second states lies only in the extension of the white streak in the sky to the left of the hayrick. Short’s aquatint technique was far more complicated, and produced far subtler results, than the basic method developed in the eighteenth century. He often used a sandpaper ground to cover the whole plate, rather than several aquatint grounds of differing grain. He probably used multiple bitings. And most of his delicate effects were produced by burnishing, as in mezzotint, but with a quite different look. The aquatints are generally lighter in appearance, more “daytime” prints, and Short played with the lighter shades of gray to produce myriad tiny tonal variations hardly seen in aquatint before. There are no lines on this plate, only shifting tones.