Robert Austin (1895 - 1973)

Souvenir of Paris, 1920’s


SKU: 1605
Line engraving, original copper plate

Height – 14.6cm
Width – 11.5cm

1 in stock


The Artists Family

Literature: Campbell Dodgson, Robert Austin, Twenty-One Gallery, 1930;
Cooke, Drawings and Prints by Robert Austin, London, The Fine Art
Society, 2001.

Llewellyn, Sacha, and Paul Liss. Portrait of an Artist. Liss Llewellyn, 2021, p.29.

This image is not recorded in Campbell Dodgson and was possibly never editioned.

It is possible that Souvenirs of Paris relates to Austin’s journeys to and from the British School at Rome, when he passed via Paris by train.  He was Rome Scholar in Engraving from 1922-1925.  In 1924 he married Ada (May) Harrison with whom he collaborated on Some Tuscan Cities (London 1924) and Some Umbrian Cities (London 1925). It is tempting to imagine that this souvenir – the artist represented by the two portfolios which lean towards the bouquet of flowers, feathered hat and fur trimmed coat –  recalls their courtship.

 Although the date of this engraving is not recorded, Michael Campbell has suggested  that the style and design accord with Austin’s engravings of the period  1940-1953.

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.

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).

Austin’s period of greatest acclaim was during the etching boom of the
1920s (which ended abruptly with the Wall Street Crash).
Later works however, (for instance Girl by a gate,1930 and Empty
Church, Concarneau, 1949,) demonstrate that Austin was still at the
height of his powers long after his period of greatest acclaim.

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.


Robert Austin
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 (1895 - 1973)
The Angelus, 1922, original copper plate
Robert Austin (1895 - 1973)
Alice Lush, 1928 (CD 80), original copper plate
Robert Austin (1895 - 1973)
My bed, rainy day, 1939
Robert Austin (1895 - 1973)
Charles Murray, 1925 (CD 55), the original copper plate
Robert Austin (1895 - 1973)
Portrait of a Young Girl, 1936
Robert Austin (1895 - 1973)
Ling of Lingard, 1936 (CD 115), the original copper plate
Robert Austin (1895 - 1973)
Portrait of Noel Edwards, 1935-36
Robert Austin (1895 - 1973)
Child in bed, 1930
Robert Austin (1895 - 1973)
Springtime at Fulham, 1921
Robert Austin (1895 - 1973)
Self-portrait in Roman Hat, circa 1925
Robert Austin (1895 - 1973)
Ling of Lingard, 1936 (CD 115)
Robert Austin (1895 - 1973)
Near St. Martin’s Church – Leicester
Robert Austin (1895 - 1973)
The Mother, 1932
Robert Austin (1895 - 1973)
Easter Sunday, 1940
Robert Austin (1895 - 1973)
The Widow
Robert Austin (1895 - 1973)
The bath tub, 193
Robert Austin (1895 - 1973)
Midday rest, 1932
Robert Austin (1895 - 1973)
Belfry Steps, 1935
Robert Austin (1895 - 1973)
The Choir, 1920
Robert Austin (1895 - 1973)
Early Spring, Gloucestershire, 1922 (CD 30)
Robert Austin (1895 - 1973)
Woman sleeping, 1931
Robert Austin (1895 - 1973)
Spanish Steps, Rome
Robert Austin (1895 - 1973)
Child in Bed, 1929
Robert Austin (1895 - 1973)
Empty Church – Concarneau (1949)
Robert Austin (1895 - 1973)
A Girl at a Gate (1938)
Robert Austin (1895 - 1973)
Attic Room, Lingard House, with unmade bed, 1930’s
Robert Austin (1895 - 1973)
The Fisherman (1927)
Robert Austin (1895 - 1973)
Girl Brushing Her Hair, 1938
Robert Austin (1895 - 1973)
Bell No. 2 (1927) Campbell Dodgson 73
Robert Austin (1895 - 1973)
The Belfry (1929)
Robert Austin (1895 - 1973)
Souvenir of Paris, 1920’s
Robert Austin (1895 - 1973)
The Fisherman, 1927, the original copper plate