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Winifred Austen

  1876 Ė 1964
 
Click on a picture for more details
 
Fox

Fox  

Original etching.

Excellent signed artistís proof impression from the first published edition.

£240



Stoat

Stoat  

Original etching.

Excellent signed artistís proof, prior to the published edition 40 numbered impressions.

£265



Grizzlies

Grizzlies   1909

Original etching with drypoint.

Winifred Austenís most powerful etched work and one of her largest plates.

£750



American Widgeon sold

American Widgeon   1927

Original drypoint

Very fine signed proof impression with fresh drypoint burr, from the only edition of 65 proofs (a further 10 were retained by the artist).

SOLD



The Trap sold

The Trap   c.1907

Original etching and aquatint.

Superb impression, printed with considerable plate tone Ė the artistís own personal exhibition proof of this rare, unpublished private plate.

SOLD



Tree-creeper sold

Tree-creeper  

Original etching.

Very good signed artistís proof impression.

SOLD



The Dormouse sold

The Dormouse   1908

Original etching.

Superb impression, printed with considerable plate tone Ė the artistís own personal exhibition proof, aside from the only published edition of 50 proofs.

SOLD



The Little Egret sold

The Little Egret   1907

Original etching.

Exceptionally strong impression, printed with considerable plate tone. The artistís own personal exhibition proof, aside from the published edition of only 12 proofs.

SOLD



Zebra Finches sold

Zebra Finches  

Original aquatint, printed in colours.

Outstanding signed proof impression with fresh unfaded colours, from the only edition.

SOLD



The End of the Day (The Fowler) sold

The End of the Day (The Fowler)  

Original aquatint, printed in colours; together with the original watercolour sketch for this aquatint.

Very good signed proof impression with fresh unfaded colours, from the only edition; together with the original watercolour sketch for this aquatint. It is rare to be able to offer both a finished print and the original watercolour upon which it was based as a pair.

The pair - SOLD

 

Having established herself as one of the foremost etchers of wildlife in England during the first two decades of the century, Winifred Austen turned increasingly towards the depiction of birds. It is likely that her choice of subject matter was largely dictated by commercial pressures, as although the collapse of the etching market in England had begun, in America the noted printmaker Frank W. Benson was experiencing considerable success with etchings of game birds. From around 1920 Winifred Austen began to use drypoint extensively and by the end of the decade almost all of her original prints were executed in pure drypoint, rather than etching.