Winifred Austen

1876 – 1964

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Grizzlies 1909

Original etching with drypoint.

Winifred Austen’s most powerful etched work and one of her largest plates.

SOLD

Fox

Original etching.

Excellent signed artist’s proof impression from the first published edition.

SOLD

Stoat

Original etching.

Excellent signed artist’s proof, prior to the published edition of 40 numbered impressions.

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 c.1907

Original etching and aquatint.

Superb impression, printed with considerable plate tone – the artist’s own personal exhibition proof of this rare, unpublished private plate.

SOLD

Tree-creeper

Original etching.

Very good signed artist’s proof impression.

SOLD

The Dormouse 1908

Original etching.

Superb impression, printed with considerable plate tone – the artist’s own personal exhibition proof, aside from the only published edition of 50 proofs.

SOLD

The Little Egret 1907

Original etching.

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

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)

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.