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Cudham, Kent. 1924. Etching. Tassi 15; Cooke 20. 3 1/8 x 4 (sheet 4 3/8 x 6 7/16). Edition of 42, including some artist's proofs. Published by the Twenty-One Gallery in London. A rich impression with plate tone, printed by the artist on antique laid paper. Signed in pencil. $2,750.
Michaelmas. 1928. Etching. Tassi 25.iii; Cooke 31. 3 3/8 x 2 3/4 (sheet sheet 7 3/16 x 6 7/16). Edition of 109 for the Print Collector's Club, London. Published by Twenty-One Gallery, London. Printed by Stanley Wilson. Illustrated: Print Collector's Quarterly 16 (1929): 93. A fine impression printed on off-white laid paper with wide margins. Excellent condition. Signed in pencil. $2,150.
The Village. 1925. Etching. Man 23; Tassi 20.iii. 6 7/8 x 8 7/8 (sheet8 1/2 x 12). Edition 83 in this state (total 99 proofs). Published by the Twenty-one Gallery. A rich, tonal impression printed on cream laid paper. Signed in pencil 'Graham Sutherland imp' indicating a proof printed by the artist. $6,000.
Warning Camp. 1924. Etching. Tassi 9; Cooke 15. 5 1/8 x 6 1/8 (sheet 8 x 10 1/2). Edition of 62 in two states. Published by Twenty-One Gallery, London. A fine impression printed on cream colored laid paper with wide margins. Excellent condition. A scarce early image printed by the artist. Signed in pencil. $2,250.
Wood Interior. 1928. Etching. Tassi 29.ii; Cooke 34. 4 3/4 x 6 3/8 (sheet 7 1/8 x 11 1/4). Edition 60, #45 (total 66 proofs). Published by Twenty-One Gallery, London. Remnants of red ink in the right-hand margin, well away from the image. A fine impression printed on antique cream laid paper with wide margins. Printed by the artist. Signed in pencil. $5,500.
Graham Sutherland (1903-1980) was a prominent 20th-century English landscape artist, who was inspired by the etchings of Samuel Palmer. Sutherland's earliest works, done while he was a student at Goldsmith's College in the early 1920s, were images of pastoral calm. However, his early success was ended by the 1929 slump, which destroyed the market for contemporary prints. His work went through a transformation around this time, and his landscapes became threatening, sinister and tragic. He achieved maturity and made his first significant contribution to English landscape art with "Pastoral" (1930) and "The Garden" (1931).
British Fine Prints.
Allinson Gallery Index.
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