x342053a.gif 1.86 K

Srule10.gif - 377 Bytes

Harold Kerr Eby, N.A. 1890-1946.

Srule10.gif - 377 Bytes

Reference is made to the catalogue raisonne by Bernadette Passi Giardina, Kerr Eby: The Complete Prints Bronxville, New York: M. Hausberg, 1997.

All works are signed in pencil unless indicated.

Click on the small images for larger screens. The large image files are hyperlinked.

Srule10.gif - 377 Bytes

Connecticut

cowshed1.jpg - 8267 Bytes

The Cow Shed. 1946. Etching, aquatint and sandpaper ground. Giardina 211. 9 5/8 x 15 1/8. Edition 100. A rich impression printed on white wove paper with full margins. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $825.

summer1.jpg - 7379 Bytes

A Summer Day. c. 1922. Etching. Giardina 88.ii. 5 5/8 x 9 5/8. Unpublished; a small number of proofs printed. Very rare. The scene is probably in Connecticut. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $450.

whitetails1.jpg - 5805 Bytes

White Tails in the Morning. 1935. Etching. Giardina 183.ii. 8 1/4 x 12 1/2 (sheet 10 5/8 x 14 7/8). Edition approximately 100. A rich impression with subtle plate tone, printed by the artist on cream wove paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. The scene is probably Connecticut. $325.

winterwheat1.jpg - 5944 Bytes

Winter Wheat. 1933. Etching. Giardina 176. 6 3/8 x 11 5/8. Edition 100. The scene is probably Connecticut. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $400.

Maine

devilsdr1.jpg - 9934 Bytes

Devil's Back or The Breakers. 1938. Charcoal drawing. A study for the aquatint (Giardina 197). 14 1/2 x 21 1/2 (sheet 15 1/4 x 22 3/4). The aquatint is illustrated in the Print Collector's Quarterly 26 (1939): 502. Signed and dated, lower right. The scene is on the Maine coast. $2,500.

digging1.jpg - 7199 Bytes

Digging Clams. 1931. Etching. Giardina 163. 8 3/8 x 12 5/8 (sheet 11 3/4 x 15 7/8). Edition 350 for the Chicago Society of Etchers.A rich impression printed on 'France' cream wove paper with full margins. Brown paper tape along three edges. Signed in pencil. The scene is Maine. $450.

hatchet1.jpg - 6821 Bytes

Hatchet Cove. 1937. Etching, aquatint and sandpaper ground. G194. 9 x 13 7/8 (sheet 11 3/4 x 16 5/8). Trial proof, apart from the edition of about 100. A very rich impression with atmospheric tonal wiping, printed by Eby. Signed and annotated "trial proof" and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,250.

littlehalls1.jpg - 6487 Bytes

Little Hall's Island. 1940. Etching and sandpaper ground. Giardina 199. 10 x 15. Edition 100. Little Hall's Island is located off the coast of Friendship. Maine. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $450.

nighthighisland1.jpg - 5328 Bytes

Night, High Island, Maine. 1928. Etching. Giardina 131. 12 5/8 x 6 7/8 (16 3/4 x 10 5/8). Trial proof, apart from the edition of 90. Illustrated: American Etchers: Kerr Eby. A rich impression printed on cream wove paper., Signed annotated 'trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $325.

sintram1.jpg - 6386 Bytes

The Schooner Sintram. c.1920-21. Pencil drawing on buff wove paper. A study for the etching, (Giardina 46). 9 3/4 x 13 1/2 (image and sheet). Signed in pencil. $850.

shadagawa1.jpg - 6362 Bytes

Shadows on the Agawa, No. 2. 1929. Etching. Giardina 139.iii. 11 1/16 x 10 3/4 (sheet 16 5/8 x 13 7/8). Edition 90. A rich impression, printed on hand-made laid paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $750.

storm1.JPG - 4057 Bytes

The Storm. 1937. Etching and sandpaper ground. Giardina 191. 9 1/2 x 15 7/8 (sheet 11 7/8 x 18 1/2). Edition 100. Illustrated: Prints VII, 3 (1938): 175. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $850.

white1.jpg - 3368 Bytes

White Water. 1929. Etching and sandpaper ground. Giardina 135.vi. 8 13/16 x 14 1/4. Edition 90. Illustrated: American Etchers: Kerr Eby. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $500.

Massachusetts

highland1.jpg - 6343 Bytes

High Land, Cape Cod. 1921. Etching. Giardina 54. 6 x 10 1/16. Edition of 90. A fine impression with plate tone, on cream-colored laid paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $175.

New York

no1t.jpg - 4085 Bytes

No. 1 Wall Street. 1930. Etching and sandpaper ground. Giardina 148.iv. 16 x 10 3/8. Edition 90. No 1 Wall Street, the former Irving Trust Company headquarters, is located at the intersection of Wall Street and Broadway in Manhattan's financial discrict. Trinity Church is in the background. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,500.

Pennsylvania

moravian1.jpg - 6319 Bytes

Moravian Home for Old Ladies. c. 1919. Pencil drawing. 6 1/2 x 8 1/8. Unsigned; titled 'Moravian Home for Old Ladies' lower right. $500.

The South

oakset1.jpg - 6487 Bytesoaksdr1.jpg - 6614 Bytes

Oaks and Moss. 1931. Etching. Giardina 166. 9 5/8 x 13 7/8 (sheet 11 1/4 x 15 1/2). Unpublished etching, only a small number of proofs printed. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. with the pencil study Oaks and Moss. c. 1931. Pencil drawing. 9 5/8 x 13 7/8 (sheet 11 3/4 x 16). Drawin on white wove paper. Titled lower left; unsigned. $1,250 the pair.

The East

goat1.jpg - 8116 Bytes

Goatherd, Algeria. 1922. Etching. Giardina 80.ii. 5 1/2 x 6 2/3. Edition about 50. $225.

nomads1.JPG - 3064 Bytes

Nomads 1922. Etching and drypoint. Giardina 79.ii. 9 7/16 x 13 3/8 (11 x 14 3/8). Trial proof, apart from the edition of 30. A very rich impression with tonal wiping. Light soiling in the lower right-hand corner; otherwise fine condition.Signed and annotated '1st trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. The etching depicts a Bedouin encampment in the Algerian desert. $175.

steps1.jpg - 7360 Bytes

Steps and Doorways. 1922. Etching. G75. 9 7/8 x 4 11/16. Edition 50-90. The print was based on Eby's visit to Algeria during 1920-21. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $275.

streetcafes1.jpg - 7603 Bytes

Street Cafes 1922. Drypoint. Giardina 82. 11 x 6. Edition 25. The print was based on Eby's visit to Algeria during 1920-21. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $275.

streeetredsea1.jpg - 6667 Bytes

Street of the Red Sea. 1922. Etching. Giardina 76. 10 7/8 x 4 11/16. Edition 50. The print was based on Eby's visit to Algeria during 1920-21. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $275.

Europe: England and France

killian1.JPG - 4695 Bytes

Killan Pass [Landscape with Mountain]. c. 1925. Etching. Giardina 105. 8 1/2 x 12 1/2 (sheet 10 x 14). Unpublished; small number of proofs only. A rich impression with tonal wiping, printed by the artist on cream laid paper, on the full sheet with deckle edges. A unique touched proof with pencil additions in the sky. Signed and annotated "trial proof" and 'imp' in pencil, indicating a proof printed by the artist. $275.

porth1.jpg - 6147 Bytes

Porthleven. 1925. Etching and drypoint. Giardina 104. 9 x 14 1/8. Trial proof, apart from the edition of 90. Porthleven is a port in Cornwall, England. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $250.

springincornwall1.jpg - 6250 Bytes

Spring in Cornwall. (Surrey). 1925. Etching. Giardina 106.iii. 11 3/8 x 8 1/4 (sheet 16 3/8 x 10). Edition 90. Some inking traces in the margins; otherwise fine condition. A fine impression printed by Eby on cream 'Van Gelder Zonen' laid paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $175.

pauldavid1.JPG - 3536 Bytes

Pauldavid. 1927. Etching. Giardina 119.iii. 7 7/8 x 12 7/8 (sheet 11 1/8 x 16 5/8). Edition 90.A rich impression with atmospheric tonal wiping. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. The scene is Pouldavid, a small town in Brittany, France. $275.

stagricol1.jpg - 6271 Bytes

Saint Agricol Church, Avignon. c. 1919. Pen and ink drawing. 10 3/8 x 7 (sheet 11 1/4 x 8 3/8). Titled 'St. Agricol' , lower left; unsigned. $450.

World War I.

attillerytrain1.jpg - 5684 Bytes

An Artillery Train. 1919. Etching. Giardina 30. 4 7/8 x 13 3/8 (sheet 8 5/8 x 16 3/4). Edition 100. A rich impression with plate tone, printed on Japanese paper with an ivy leaf watermark. Very slight toning; otherwise in excellent condition. Signed and connotated 'imp' in pencil, indicating an impression printed by the artist. $1,250.

caissons1.jpg - 6510 Bytes

"The Caissons Go Rolling Along". 1929. Etching and sandpaper ground. Giardina 145. 17 3/8 x 9 1/2 (sheet 15 7/8 x 10 1/2). Edition 90. A rich impression with plate tone, printed on cream laid paper. Illustrated: Flint, Contemporary American Etching, 1930. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,250.

dawn1.JPG - 5965 Bytes

Dawn, the 75s Follow Up. 1919. Drypoint. Giardina 28. 8 7/8 x 12 7/8 (sheet 11 1/2 x 15 3/16). Edition 75-90. A rich impression with plate tone, printed by the artist on cream laid paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,350.

intheopen1.jpg - 6052 Bytes

In the Open. 1927. Etching. Giardina 123. 7 7/8 x 12 3/4 (sheet 11 3/4 x 16 5/8). Edition 90. Illustrated in Fine Prints of the Year, 1927. Signed, annotated 'Ed. 90' and 'imp', indicating a proof printed by the artist. $1,250.

machinegunstrial1.jpg - 6545 Bytesmachineguns1.jpg - 6382 Bytes

Machine Guns. 1921-22. Etching. Giardina 64.ii. 7 x 11 1/2 (sheet 10 x 14). Trial proof, apart from the edition of 75. A fine impression printed with plate tone, printed on cream wove Van Gelder with full margins. Signed and annotated 'trial proof' 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,250.

Machine Guns. 1921-22. Etching. Giardina 64.ii. 7 x 11 1/2 (sheet 11 7/16 x 18). Edition 75. A fine impression printed with plate tone. Printed on cream wove paper with full margins. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,250.

Mars His Idiot. A group of early proofs prior to the published edition. $3,000 the set.

mars6trial1.jpg - 7677 Bytes mars6trial1.jpg - 7677 Bytesmars61.jpg - 7833 Bytes mars71.jpg - 7529 Bytesmars81.jpg - 7469 Bytes

Mars His Idiot. 1937. Etching and sandpaper ground. Giardina 190.ii/viii. Small patch of cross-hatching in unshaded band burnished and barely visible; some new work at lower right corner of the image. 10 7/8 x 11 1/8 (sheet 12 5/8 x 12 1/4). A fine proof printed on cream laid paper. Signed and annotated 'trial No 2' and 'imp' (imprimit) in pencil, indicating a proof printed Eby.

Mars His Idiot. 1937. Etching and sandpaper ground. Giardina 190.vi/viii. Trial proof not listed by Giardina. Some horizontal lines added over Mars's right hand an foot; sandpaper ground widely scattered throughout; plate signed at lower right above blank band. 10 7/8 x 11 1/8 (sheet 12 7/8 x 13 3/4). A fine impression printed with plate tone, printed on cream laid paper paper. Signed, titled and annotated 'Trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby.

Mars His Idiot. 1937. Etching and sandpaper ground. Giardina 190.vi/viii. Some horizontal lines added over Mars's right hand an foot; sandpaper ground widely scattered throughout; plate signed at lower right above blank band. 10 7/8 x 11 1/8 (sheet 12 7/8 x 14 7/8). Proof apart from the published edition 100. A fine impression printed with plate tone, printed on cream laid paper paper with tack holes from drying in the margins, well outside the image. Unsigned.

Mars His Idiot. 1937. Etching and sandpaper ground. Giardina 190.viia/viii. Trial not listed by Giardina, as the crosses and inscription are added added in pencil to blank band at bottom '+++MARS HIS IDIOT'. 10 7/8 x 11 1/8 (sheet 12 7/8 x 13 3/4). Proof apart from the published edition 100. A fine impression printed with plate tone, printed on cream laid paper paper with tack holes from drying in the margins, well outside the image. Signed, titled and annotated 'trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby.

Mars His Idiot. 1937. Etching and sandpaper ground. Giardina 190.viii. Published state. 10 7/8 x 11 1/8 (sheet 12 7/8 x 14 7/8). Published edition 100. A fine impression printed with plate tone. Printed on cream laid paper paper with tack holes from drying in the margins, well outside the image. Unsigned.

nomanslanddrawing1.jpg - 5890 Bytesnomanslandfirst1.jpg - 5696 Bytes<nomansland1.jpg - 5765 Bytes

No Man's Land. St. Mihiel Drive. 1919. Conte crayon drawing. Study for the mezzotint and drypoint, Giardina 32.ii.8 /4 x 13 (sheet 12 3/4 x 14). Drawn on illustration board. Image toned; otherwise fine condition. Signed 'Eby' in pencil, lower right. $15,000 for the first proof of the mezzotint and the drawing.

No Man's Land. St. Mihiel Drive. 1919. Mezzotint and drypoint. Giardina 32.ii. 8 3/8 x 12 7/8 (sheet 11 3/4 x 16 1/2). Edition 25. An extremely rich impression printed in simili-japon paper. Signed and annotated 'first proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $15,000 for the first proof of the mezzotint and the drawing.

No Man's Land. St. Mihiel Drive. 1919. Mezzotint and drypoint. Giardina 32.ii. 8 3/8 x 12 7/8 (sheet 11 3/16 x 15 13/16). Edition 25. An extremely rich impression on laid paper countermarked 'Ingres d'Arches'. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $6,500.

This is Eby's only mezzotint. Another version of the subject is Eby's 1934 etching, September 13, 1918, St. Mihiel.

openaction1.jpg - 5532 Bytesopenactiontrial1.jpg - 5641 Bytes

Open Action. 1928. Etching. Giardina 124. 7 x 15 1/8 (sheet 11 5/8 x 18 3/4). Edition 90.Unidentified collector's seal. Faint mat line; otherwise fine condition. A very rich impression with tonal wiping that suggest gunfire. Printed on 'Van Geld[er]' wove paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,250.

Open Action. 1928. Etching. Giardina 124. 7 x 15 1/8 (sheet 7 1/2 x 15 3/16). Trial impression, before the edition of 90. A rich impression touched in pencil printed on cream Van Gelder wove paper. Trimmed to the image on three sides. Signed and annotated 'trial impression' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,250.

rough1.jpg - 7464 Bytes

Rough Going. 1919. Drypoint. Giardina 29.ii. 8 7/16 x 11 7/8 (sheet 11 x 15 1/16). Edition 60. A rich impression with plate tone, printed on cream wove paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,250.

scout2trial1.jpg - 5801 Bytesscout2trial1.jpg - 5801 Bytesscout1.jpg - 5792 Bytes

Scout Planes at Dawn. 1928. Etching. Giardina 125. 12 7 /8 x 8 7/8 (sheet 17 1/8 x 11 5/8). Trial proof, apart from the edition of 90. Illustrated: Fine Prints of the Year, 1928; Kerr Eby, War; Print Collector's Quarterly 26 (1939): 82; American Etchers: Kerr Eby. Slight toning; otherwise fine condition. A rich impression printed on cream wove paper. Signed and annotated 'trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,250.

Scout Planes at Dawn. 1928. Etching. Giardina 125. 12 7 /8 x 8 7/8 (sheet 17 3/4 x 12 3/4). Second trial proof, apart from the edition of 90. Illustrated: Fine Prints of the Year, 1928; Kerr Eby, War; Print Collector's Quarterly 26 (1939): 82; American Etchers: Kerr Eby. Slight toning; otherwise fine condition. A rich impression printed on cream wove paper. Signed and annotated 'second trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,250.

Scout Planes at Dawn. 1928. Etching. Giardina 125. 12 7 /8 x 8 7/8 (sheet 17 1/2 x 13). Edition of 90. Illustrated: Fine Prints of the Year, 1928; Kerr Eby, War; Print Collector's Quarterly 26 (1939): 82; American Etchers: Kerr Eby. Slight toning; otherwise fine condition. A rich impression printed on cream wove paper. Signed and annotated 'Ed 90' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,250.

shadows1.jpg - 7166 Bytes

Shadows. 1930. Etching and sandpaper ground. Giardina 186. 10 1/4 x 14 7/8 (sheet 13 x 18). Edition 175; 125 for the American College Society of Print Collectors and 50 for the artist. A very rich impression printed on cream laid paper. Signed and annotated 'imp' in pencil indication a proof printed by the artist. $1,250.

southernunit1.jpg - 6479 Bytes

A Southern Unit. 1919. Etching. Giardina 33. 4 7/16 x 6 7/16 . Edition 50. Illustrated: Print Collector's Quarterly 26 (1939): 88. A rich impression with plate tone printed on cream wove paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $750

stuck1.jpg - 7556 Bytes

Stuck. 1919-20. Lithograph. Giardina 38. 12 11/16 x 19 (17 7/8 x 22 7/8). Edition 75-100. A fine impression on cream-colored wove paper, on the full sheet with deckle edges. Signed and titled in pencil. $1,500.

washday1.jpg - 8313 Bytes

Wash Day. Charcoal drawing. 10 1/2 x 13 1/2. Provenance: Child's Gallery, Boston; a prominent North Shore Family. Signed, lower left.

wheretrial1.jpg - 6613 Bytes

Where Do We Go? 1919-20. Lithograph. Giardina 39. 11 13/16 x 18 3/16 (). Trial proof, apart from the edition of 75-100. A fine impression on cream-colored wove paper, on the full sheet with deckle edges. Signed and annotated 'trial proof' titled in pencil. $1,500.

willows1.jpg - 6829 Bytes

The Willows. 1920. Drypoint. Giardina 41. 7 3/16 x 11 3/16. Edition 50. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,250.

word2newt.jpg - 5635 Bytes

Word By the Way, No 2. 1918. Conte crayon drawing. Related to Eby's etching Word by the Way Giardina 14. 10 1/2 x 13 1/2 (sheet 10 1/2 x 9 1/4). Drawn on simili-japon paper. Signed, dated and titled in pencil. $1,250.

Srule10.gif - 377 Bytes

Kerr Eby was born in 1890 in Tokyo, Japan, the son of Methodist missionaries from Canada. Returning to that country when he was three, Eby grew up studying art, which his parents encouraged, as his mother came from a family of prominent artists. Harold Kerr Eby was born to Canadian Methodist missionaries in Tokyo, Japan, on October 19, 1889. At the age of three his family moved to Vancouver, B.C. and by the time he was twelve, he had lived in Vancouver, Kingston, Toronto and Bracebridge. He worked as a “printer’s devil” on the Bracebridge paper, and at fifteen he took his savings and moved to New York with the dream of becoming an artist

After graduating from high school in 1907, Eby moved to New York City to study art, first at the Pratt Institute, and later at the Art Students League.. He enrolled in art classes at Pratt Institute while working for a lithographic firm earning $4.00 a week. His pay barely covered his room and drawing supplies. Within a year, life became desperate for the young artist. Starving and feeling defeated, he left in the spring for home in Canada and was employed by a surveying party in Northern Ontario. While in this northern wilderness, Eby regained his dream of becoming an artist, and in his spare time he started to draw his surroundings.

By fall he had saved enough money to return to New York. He attended night classes at the Art Students League while working for another lithographic firm. He spent several more summers surveying in Northern Ontario before he was able to make a living as an illustrator. During this period he formed a number of influential friendships with major artists such as John Henry Twachtman and Childe Hassam and joined a summer artists' colony founded by them at Cos Cob, Connecticut. He supported himself by working as a magazine illustrator and at the American Lithographic Company. Through study and practice, Eby refined both his drawing and printing techniques.

In 1917, when the United States entered World War I, Eby joined the U.S. Army. He tried to obtain a commission as an artist, but was assigned first to ambulance duty and later as a sergeant in the 40th Engineers in France. During the war he documented in drawing what he saw and experienced and on his return to New York City, he translated his studies into prints. Drawings of his World War I experiences launched his career. He spent most of WWI on the front line camouflaging the big guns. During his spare time, he would sketch everything from the big guns to the dead soldiers in the field. He sent these drawings home each week. Upon his return from the war, these drawings became his inspiration for his first successful group of etchings. He continued creating a seroes of war-related prints throughout the 1920's and 30's. Many galleries exhibited his work, but Frederick Keppel, the great print dealer and a relative of Eby, was the exclusive gallery for many of his new prints.

With another conflict beginning in the mid-1930's Eby wanted to show the world what war was really like In 1935, he published a book of this prints, called "War These works are powerful, reflecting his horror and disillusionment he felt. It was a subject that never left him" His depictions of combat realities of war are some of the angriest visual arguments against war ever expressed in this country.

When the United States declared war in 1941, Eby tried to enlist, but was turned down because of his age. He instead received his opportunity to participate when Abbott Laboratories developed its combat artist program. Between October 1943 and January 1944, he traveled with Marines in the South Pacific and witnessed some of the fiercest fighting of the war, landing with the invasion force at Tarawa and living three weeks in a foxhole on Bougainville. While on Bougainville he became ill with a tropical disease, one which weakened his health. He returned to the United States unable to regain his full strength. He completed his final drawings for Abbott and two unrelated etchings, but could not complete the etchings that he intended to make from his war pictures. He died in Norwalk, Connecticut in 1946.

Eby was an Associate of the National Academy NA (1930); National Academy of Design (1934); Society of American Etchers; Chicago Society of Etchers; Philadelphia Society of Etchers; National Institute of Arts and Letters. Kerr Eby's work can be found in these collections of the Library of Congress, The Fine Arts Museums of San Francisco, Harvard Art Museums, New York Public Library, Navy Art Collection.

Srule10.gif - 377 Bytes

Allinson Gallery Index.

American Fine Prints.

To order or to be placed on the email list, please contact Jane Allinson (jane@allinsongallery.com) or send a fax to (860) 429 2825.