Arthur John Trevor Briscoe Art

The Anchor. 1930. Etching. Hurst catalog 268 state ii. 7 x 6 3/4 (sheet 10 3/4 x 7 5/8). Edition 275. A rich impression with plate tone printed on antique 'GR' laid paper with a hunting horn countermark. As published in J. Lauer's volume, A complete catalogue of the Etchings and Drypoints of Arthur Briscoe. One spot in the right-hand sheet; otherwise in excellent condition. Signed in ink Housed in a 16 x 20-inch archival mat, suitable for framing. The Roaring Forties is the name given to strong westerly winds found in the Southern Hemisphere, generally in the areas between the latitudes of 40 and 50 degrees south in the Southern Hemisphere, where the prevailing winds blow persistently from the west. The roaring forties have strong, often gale-force, winds throughout the year. They were named by the sailors who first entered these latitudes. Norman Wilkinson also etched the subject. In 1899 he acquired a studio in Malden, Essex, and bought a 3 ton cutter which, with his young family, he would spend eight or nine months a year, sailing to Calais, along the Belgian coast and through the Dutch waterways, constantly sketching and painting in both oil and watercolor. In 1922, after a meeting with the etcher James McBey, Briscoe returned to etching once more producing plates of some of his sea sketches. The two artists sailed together in Briscoe's, forty-ton yacht, the "Golden Vanity...

The Old Man. 1925. Etching. Laver catalog 59, Hurstcatalog 137. 6 3/8 x 8 5/8 (sheet 9 3/16 x 11 3/4). Edition 75, #1. Signed and numbered in ink. A dramatic impression with plate tone. Printed on fine laid paper, on the full sheet with deckle edges. . Housed in a 16 x 20-inch archival mat, suitable for framing. Hurst writes, page. 122: "Everyone will know that the master of a ship is referred to as 'The Old Man', even if he was a young fellow, scarcely out of his teens! Here we have an impression -- but what an impression ! -- of a master caught by the bulkhead lamp as he lays off a position line on the chart. His sextant still lies on the chart table...

The Main Tack. 1928. Etching. Hurst 211. 13 7/8 x 7 15/16 (sheet 15 3/8 x 10). Edition 75, #58. Signed and numbered in pencil. A rich impression with plate tone printed on cream laid...

The Roaring Forties. 1926. Drypoint. Hurst 103. 5 3/8 x 8 13/16 (sheet 7 3/4 x 10 1/2). Edition 75, #26. Printed on off-white laid paper from a book. A dramatic, carefully wiped impr...

The Wheel. 1927. Etching. Hurst 196. 9 x 10 (sheet 11 13/8 x 16 3/4). Trial proof 5, apart from the edition of 75. Illustrated: Print Collector's Quarterly 25 (1938): 292. A rich impression with tonal wiping. Printed on the full sheet of cream laid paper with deckle edges. Signed and annotated 'trial' and 'trial 5' in pencil. Housed in a 16 x 20-inch archival mat. In 1922, after a meeting with the etcher James McBey, Briscoe returned to etching once more producing plates of some of his sea sketches. The two artists sailed together in Briscoe's, forty-ton yacht, the "Golden Vanity...

Laver 21; Hurst 75. 6 1/4 x 9 1/16 (sheet 7 3/4 x 11 5/16). Edition 75, #60. A dramatic impression with plate tone and drypoint burr, printed on pale cream-colored wove paper. Signed and numbered in ink. n 1922, after a meeting with the etcher James McBey, Briscoe returned to etching once more producing plates of some of his sea sketches. The two artists sailed together in Briscoe's, forty-ton yacht, the "Golden Vanity...

Abandoned. 1930. Etching. Hurst 277. 8 7/8 x 15 7/8 (sheet 11 3/8 x 17 1/2). Edition 75, #73. A rich impression printed on cream laid paper with a Strasbourg lily watermark, with ful...