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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: 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: 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)
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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.
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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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