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
Moonrise on the Bure
Mezzotint, 1922, 280 x 404 mm., Hardie 126. Very fine impression on chine-appliqué with large, full margins, signed in pencil. As a mezzotinter, Short would naturally have been fond of night scenes, mezzotint being the only print-making technique whose natural working is always from dark to light. Matters of sun and shadow, then, are sometimes replaced by the much subtler light of the moon and its effect on landscape. This is precisely what Short is working with here, its reflection on clouds, on water, on land, on parts of boats and even on the white shirt and hat of the evening fisherman. And one should note, at the left, the ripple in the water from something having just entered it, the slight raise of the ripple above the surface taking the moonlight more strongly. This kind of naturalistic study simply did not exist in mezzotint before Short. The Bure runs through the Norfolk Broads to Great Yarmouth and the East coast of England.