Austin, Robert

(1895 – 1973)

The Bride


Original Copper Plate

8 7/8 x 6 in. (22.5 x 15 cm.)

(12 3/8 x 9 1/2 in. (31.5 x 24 cm.) framed)

1 in stock


The Artist’s Estate; Private collection

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.

Liss Llewellyn are continually seeking to improve the quality of the information on their website. We actively undertake to post new and more accurate information on our stable of artists. We openly acknowledge the use of information from other sites including Wikipedia, and and other public domains. We are grateful for the use of this information and we openly invite any comments on how to improve the accuracy of what we have posted.


Austin, Robert

1895 – 1973

Printmaker and draughtsman, born in Leicester. He studied at the School of Art there and at the Royal College of Art, 1914-16 and 1919-22, winning the Rome Scholarship for engraving in the latter year. He taught engraving at the Royal College of Art, 1927-44, becoming Professor in the Department of Graphic Design, 1948-55. Showed with RWS, of which he was a member and President; RE, of which he was a member; and the RA, to which he was elected in 1949. 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.


Robert Austin
The Angelus, 1922, original copper plate
Robert Austin
Alice Lush, 1928 (CD 80), original copper plate
Robert Austin
My bed, rainy day, 1939
Robert Austin
Charles Murray, 1925 (CD 55), the original copper plate
Robert Austin
Ling of Lingard, 1936 (CD 115), the original copper plate
Robert Austin
Portrait of Noel Edwards, 1935-36
Robert Austin
Springtime at Fulham, 1921
Robert Austin
Ling of Lingard, 1936 (CD 115)
Robert Austin
The Mother, 1932
Robert Austin
Easter Sunday, 1940
Robert Austin
Belfry Steps, 1935
Robert Austin
The Choir, 1920
Robert Austin
Woman sleeping, 1931
Robert Austin
Child in Bed, 1929
Robert Austin
A Girl at a Gate (1938)
Robert Austin
Attic Room, Lingard House, with unmade bed, 1930’s
Robert Austin
Bell No. 2 (1927) Campbell Dodgson 73
Robert Austin
The Belfry (1929)
Robert Austin
Souvenir of Paris, 1920’s
Robert Austin
The Fisherman, 1927, the original copper plate