Biography Sold

Presentation: Framed
The original woodblock
3 ins. sq. (7.5 x 7.5 cm).
Provenance: the artist’s family
Literature: A List of Prints with Notes by Frederick Carter, exh. cat., Cartwright Memorial Hall, Bradford, 1916, p. 17 (no. 29); Frederick Carter: A Study of his Etchings, Richard Grenville Clark, Guildford, Surrey, 1998.

Framed with an posthumous woodcut taken from the block by David Maes, mounted to the reverse.
Biography Sold

Presentation: Framed

Original wood-block (engraved by W.M.R. Quick), together with an original wood-cut,
signed in pencil; 3½ × 4¼ in. (9.5 × 11.5 cm.)
Provenance: the artist’s estate
Literature: catalogue in preparation by Richard Grenville Clark (no. 15.4)

The Balance was published in the folio The Dragon of the Alchemists: A Portfolio of Drawings (John Gawsworth,1936) in a limited edition of twenty-five.
We are grateful to Michael Campbell for assistance.

In a plain wood shadow box frame
Biography Sold

Presentation: Unframed

Original wood-block (engraved by W.M.R. Quick), together with an original wood-cut,
signed in pencil 5½ × 4¾ in. (14 × 12 cm.)
Provenance: the artist’s estate
Literature: catalogue in preparation by Richard Grenville Clark (no. 16.10)

The Bride was published in the folio Eighteen Drawings (Twyn Barlwn Press, London,1937), in a limited edition of twenty.
We are grateful to Michael Campbell for assistance.
Biography Sold

Presentation: Framed
Original copper plate and etching framed together in a shadow box frame with sage green colour-field, plate size 4½ × 8⅜ in. (11.5 × 21.3 cm.)
Provenance: the artist’s family
Literature: A List of Prints with Notes by Frederick Carter, exh. cat., Cartwright Memorial Hall, Bradford, 1916, p. 15, no. 23; Frederick Carter: A Study of his Etchings, Richard Grenville Clark, Guildford, Surrey, 1998, p. 32

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 he exhibited a series of prints on the subject, with accompanying notes. Of A Dance 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’ (A List of Prints with Notes by Frederick Carter, exh. cat., Cartwright Memorial Hall, Bradford, 1916, p. 15, no. 23).
Biography Sold

Presentation: Framed
Original copper plate and etching framed together in a RAF Blud colour field, plate size 4⅛ × 6¾ in. (10.5 × 17.3 cm.)
Provenance: the artist’s family
Literature: A List of Prints with Notes by Frederick Carter, exh. cat., Cartwright Memorial Hall, Bradford, 1916, p. 17 (no. 29); Frederick Carter: A Study of his Etchings, Richard Grenville Clark, Guildford, Surrey, 1998, p. 38
Biography Sold

Presentation: Framed
Original wood-block (engraved by W.M.R.Quick), together with an original wood-cut,
signed and dated in pencil, 1918; 4×3 in. (11.5×8 cm.)
Provenance: the artist's estate
Literature: catalogue in preparation by Richard Grenville Clark (no.16.1)

Babylon is Fallen was published in the folio Eighteen Drawings (Twyn Barlwn Press, London,1937) in a limited edition of twenty.

We are grateful to Michael Campbell for assistance

Biography Sold

Presentation: Framed
Etching
Plate: 4 1/2 x 8 1/2 in. (11.5 x 21.5 cm.)
Print: 7 1/2 x 11 in. (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".
Biography Sold

Presentation: Unmounted
Etching
Plate: 6 7/8 x 4 1/2 in. (17.5 x 11.5 cm.)
Print: 9 7/8 x 6 3/4 in. (25 x 17 cm.)
A limited edition has been printed posthumously on
GUARRO Superalfa paper (250 g/mÂ²)
Biography Sold

Presentation: Unmounted
Wood engraving
Block: approx. 2 1/2 x 2 1/2 in. (6.5 x 6.5 cm.)
Print: 6 1/4 x 6 1/4 in. (16 x 16 cm.)
A limited ediditin has been printed on
HahnemÃ¼hle Natural Line vergÃ© paper (100g/mÂ²)
Biography Sold

Presentation: Unmounted
Etching
Plate: 6 1/2 x 5 1/2 in. (16.4 x 14.1 cm.)
Print: 10 x 9 in. (25.5 x 23 cm.)
A limited edition has been printed posthumously on
GUARRO Superalfa paper (250 g/mÂ²)
Biography Sold

Presentation: Framed
Etching
Plate: 8 x 5 1/4 in. (20.3 x 13.3 cm.)
Print: 12 x 8 5/8 in. (30.5 x 22 cm.)
A limited edition has been printed posthumously on Arches paper (250 g/mÂ²)
Biography Sold

Presentation: Unmounted
Etching
Copper plate: 5 x 4 in. (12,5 x 10,2 cm.)
Print: 8 1/2 x 7 in. (21,5 x 18 cm.)

A small, posthumous edition of prints has been pulled from the original copper plate on Arches paper 250g/mÂ².

Biography Sold

Presentation: Framed
Etching
Carter's copper plate has been framed with an original print
Plate: 6 7/8 x 4 1/2 in. (17.5 x 11.5 cm.)
Print: 9 7/8 x 6 3/4 in. (25 x 17 cm.) (Guarro Superalfa paper 250 g/mÂ²)
Biography Sold

Presentation: Framed
Wood engraving on paper
Carter's woodblock has been framed with an original print signed by the artist
Block: 3 3/4 x 4 1/2 in. (9.5 x 11.5 cm.)
Print: 5 x 5 3/4 in. (12.5 x 14.5 cm.)
Biography Sold

Presentation: Framed
Wood engraving on paper
Carter's woodblock has been framed with an original print signed by the artist
Block: 5 1/2 x 4 3/4 in. (14 x 12 cm.)
Print: 7 x 6 1/4 in. (18 x 16 cm.)
The Bride was published in the folio Eighteen Drawings (Twyn Barwn Press, London, 1937), in a limited edition of 20.
Biography Sold

Presentation: Framed
Wood engraving
Block: 2 3/8 x 2 3/8 in. (6 x 6 cm.)
Carter's block has been framed with an original print
Biography Sold

Presentation: Mounted
Wood engraving
Block and print framed together
5 x 4 1/2 in. (12.7 x 11.5 cm.)
Biography Sold

Presentation: Framed
Wood engraving
The original woodblock and print
block, 12 x 6 cm; (print, 16.5 x 10.5 cm)

Presented together in a shadow box frame, (27 x 31 cm. overall)

Provenance: the artist’s family
Literature: A List of Prints with Notes by Frederick Carter, exh. cat., Cartwright Memorial Hall, Bradford, 1916; Frederick Carter: A Study of his Etchings, Richard Grenville Clark, Guildford, Surrey, 1998.

Carter abandoned an early career as a surveyor and engineer to study art in Paris, 1904, Antwerp, 1909-10 and London 1908-11, where he learnt his etching techniques under Frank Short.

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 Osmond 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 abandon printmaking for writing but continued to paint until the late 1950's. His work is in the collections of the BM and V&A. He showed at the RA, ROI, NEAC and was elected ARE in 1912.

In a plain wood shadow box frame

Biography Sold

Presentation: Framed
The original woodblook, framed with an original print of the wood engraving in a beech shadow box with burgundy colour field

Block: 2 1/8 x 2 in. (5.5 x 5 cm.)
Print: 2 3/8 x 2 1/8 in. (6 x 5.5 cm.)
Overall: 16 x 24 cm
Biography Sold

Presentation: Framed
Wood engraving
Blocks and prints framed together
Blocks: each approx. 2 3/4 x 2 3/4 in. (7 x 7 cm.)
Prints: each approx. 3 1/8 x 3 1/8 in. (8 x 8 cm.)
Biography Sold

Presentation: Framed
Wood engraving
Block and print framed together
Biography Sold

Presentation: Framed
Wood engraving
Block and print framed together
Block: 4 x 3 in. (10.2 x 7.6 cm.)
Print: 6 1/4 x 5 1/4 in. (16 x 13.5 cm.)
Biography Sold

Presentation: Framed
Wood engraving
Block and print framed together
Block: 4 3/4 x 3 3/8 in. (12 x 8.5 cm.)
Print: 7 x 5 5/8 in. (17.6 x 14.4 cm.)
Biography Sold

Presentation: Framed
Wood engraving
Block and print framed together
Block: 3 x 2 1/2 in. (7.5 x 6.2 cm.)
Print: 5 1/4 x 4 3/4 in. (13.2 x 12 cm.)

Biography Sold

Presentation: Framed
Wood engraving
Block and print framed together
Block: 4 1/2 x 3 3/4 in. (11.5 x 9.3 cm.)
Print: 6 1/2 x 5 1/2 in. (16.5 x 13.8 cm.)
Biography Sold

Presentation: Framed
Copper plate (etching) cleaned, inked and framed with posthumous print
Plate 6 1/2 x 5 1/2 in. (16.4 x 14.1 cm.)
Print 10 x 9 in. (25.5 x 23 cm.) GUARRO Superalfa (250g/m²)

In a plain wood shadow box frame
Biography Sold

Presentation: Framed
Etching
Copper plate cleaned, restored and framed with posthumous print on verso side
Copper plate: 8 x 5 1/4 in. (20,3 x 13,3 cm.)
Print: 11 1/2 x 8 1/4 in. (29 x 21 cm.) (Arches paper 250 g/mÂ²)

A small number of prints have been pulled from the original copper plate on Arches paper (250 g/mÂ²)
Biography Sold

Presentation: Framed
Original woodblock cleaned, restored and framed with posthumous print
Woodblock: 3 3/8 x 1 1/2 in. (8,5 x 3,5 cm.)
Print: approximately 4 1/8 x 2 1/8 in. (10,5 x 5,5 cm.)
Biography Sold

Presentation: Framed
Original woodblock cleaned, restored and framed
Woodblock: 7 x 3 1/2 in. (18 x 9,1 cm.)
Biography Sold

Presentation: Framed
Three original woodblocks cleaned, restored and framed with original prints
Woodblocks: approximately 2 3/8 x 2 3/8 in. (6 x 6 cm.)
Prints: approximately 3 1/8 x 3 1/8 in. (8 x 8 cm.)

Thumbnail panels:

Frederick Carter 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 Osmond 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 abandon 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.