£100

Etching
Plate: 17.5 11.5 cm
Print: 25 x 17 cm
A limited edition has been printed posthumously on
GUARRO Superalfa paper (250 g/mÂ²)
£75

Etching
Plate: 16.4 x 14.1 cm
Print:: 25.5 x 23 cm
A limited edition has been printed posthumously on
GUARRO Superalfa paper (250 g/mÂ²)
£90

Etching
Copper plate: 12,5 x 10,2 cm
Print: 21,5 x 18 cm

A small, posthumous edition of prints has been pulled from the original copper plate on Arches paper 250g/mÂ².
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Etching
Plate: 11.5 x 21.5 cm
Print: 19 x 28 cm
A limited edition has been printed posthumously on
GUARRO Superalfa paper (250 g/mÂ²)
Carter was fascinated by the commedia dell'arte, believing that, in contrast to the vulgarised popular representation, its protagonists were part of a profound and rich tradition. In 1916 in exhibited a series of prints on the subject, with accompanying notes. Of A Dance - Desire he wrote: "A design for a ballet pantomime on a very large stage. With hands holding off but yet inviting, the figure in the black velvet dress dances away on her toes from the advances of Pierrot who follows ardently, leaving forlorn and weeping Colombine curled in a heap against the wall".
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Etching
Plate: 20.3 x 13.3 cm
Print: 30.5 x 22 cm
A limited edition has been printed posthumously on Arches paper (250 g/mÂ²)
Wood engraving
Block: approx. 6.5 x 6.5 cm
Print: 16 x 16 cm
A limited ediditin has been printed on
HahnemÃ¼hle Natural Line vergÃ© paper (100g/mÂ²)

Thumbnail panels:

Frederick Carter [prints] 1883 - 1967

Painter and etcher born in Bradford, Yorkshire. He abandoned an early career as a surveyor and engineer but studied art in Paris, 1904, Antwerp, 1909-10 and London 1908-11, where he learnt his etching techniques under Frank Short. He showed at the RA, ROI, NEAC and was elected ARE in 1912. His artistic life before and after the World War I was centred around the Fitzroy Street area of London, and the Dieppe restaurant in Dean Street. He became a mystic symbolist artist, involved with Aleister Crowley and worked on illustrations for D.H. Lawrence's Apocalypse. He was also a friend of Austin Osman Spare and helped with his theories of automatic drawing. From 1922 he taught etching at Liverpool School of Art and during the 1930's he abandonned printmaking for writing but continued to paint until the late 1950's. His work is in the collections of the BM and V&A. A retrospective exhibition was held at the 20th Century Gallery, Fulham, London, 1998. Richard Grenville Clark's 1998 publication Frederick Carter A.R.G. 1883-1967. A Study of his Etchings catalogues the artist's output and examines each period of his career and techniques.