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The Big Haystack. 1947. Etching. Embury 102. 8 1/8 x 11 15/16 (sheet 10 x 13 3/4). Edition 250 for Associated American Artists. Awarded first prize National Print Club. A rich impression printed in black ink with plate tone on cream wove paper. Signed in pencil. $400.
Hilltop Elms. 1954. Etching. Embury 123. 10 7/8 x 9 3/4 (sheeet 16 3/4 x 2 5/8). Proof apart from the edition 250 for Associated American Artists. A fine impression printed in red/brown ink printed on cream-colored wove paper. Signed, dated and dedicated in pencil. $300.
Stowe Village. 1933. Etching. Embury 48. 6 1/8 x 7 (sheet size 7 1/2 x 8). Created as a Christmas card. No published edition -- rare. A rich, tonal impression printed in black ink on Japanese mulberry paper, on the full sheet with deckle edges. Signed, dated, titled and annotated 'Merry Christmas! Luigi' in pencil. $400.
The Street. 1939. Etching. Embury 64. 9 7/8 x 7 3/4 (sheet size 16 x 12 13/16 inches). Edition 75. A rich, tonal impression printed in black/brown ink on cream-colored wove paper. Provenance: purchased from the artist. Signed, dated, titled and annotated $35.00 Very rare' in pencil. $400.
Tree Portraits. 1969. Etching. Embury 150. 10 1/2 x 7 3/4 (sheet 16 3/4 x 13). Proof aside from the edition of 250 for Associated American Artists. A rich impression in pristine condition, printed on the full sheet of white wove paper. Provenance: the artist. Signed, dated and titled in pencil. $300.
Lucioni was born in Malnate, Northern Italy and came to New York City when he was 10 years old. Even as a child he always had a pencil in his hand and at age 15 he won an art competition that gained him acceptance to Cooper Union, a leading and prestigious tuition-free art college in NYC. He enrolled in evening art classes, worked during the day in Brooklyn at an engraving/etching studio, and was accepted into the National Academy of Design.
Lucioni spent a few years traveling in Italy where he was inspired by the painters of the Renaissance. Upon his return, he traveled to Vermont and ended up settling there in the 1930s as he was so inspired by the landscape, which reminded him of his native Italy. He lived in Manchester, Vt., and would spend winters with his family in New York City.
Lucioni also recognized the need to produce works that would be affordable for the general public. Following his first successful painting trip to Vermont in 1930 he solidified a regimen to which he would adhere religiously for the remainder of his career. He spent his summers in Vermont, first on the Webb estate and later increasingly in the area around Manchester, where some of his signature subjects became Equinox Mountain, Dorset Hollow, and the Ekwanok Golf Course. Then he returned to New York City for the winter, where he busied himself making etchings after some of his summer landscapes. Thus, over the entire arc of Lucioni’s career there is a virtually seamless relationship between his paintings and his etchings. He enjoyed etching as it enabled him to practice his draftsmanship and precisionism, which he also carried into his painting. His incorporation of minute detail, sense of light and passion for the Vermont landscape shines through in all of his etchings.
American Fine Prints.
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