The Natural Law. 1924. Wood engraving. Cleverdon E8. 2 1/4 x 3 1/4 (sheet 3 1/2 x 4 7/8). A fine impression printed on cream japan paper. A proof aside from the published book edition of Libellus Lapidum by Hilary Pepler. Unsigned. Provenance: Collection Eric Gill. $600.
Troy Kinney, N.A. 1871-1931.
Arcadia. 1921. Etching. Kinney 33. Fantasy. 6 1/2 X 7 3/4 (sheet 11 3/4 x 12 1/2). Edition 170. Exhibited: Chicago Society of Etchers, The Art Institute of Chicago, Catalogue of an Exhibition of Etchings, Jan. 26-Feb.28, 1922; Print Makers Society of California, 3rd International Print Makers Exhibition, Los Angeles Museum Exposition Park, March 21-April 16, 1922. Illustrated: Print Collector's Quarterly 25 (1938): 280. A fine impression printed on wove paper on the full sheet with deckle edges. Signed in pencil. $225.
Sir Frank Short, R.A., P.R.E. 1857-1945.
Orpheus and Eurydice (after George Frederic Watts, R.A., H.R.C.A. 1817 - 1904). 1889. Mezzotint. Hardie 54.12 5/8 x 19 1/2 (sheet 17 1/8 x 23 3/ 8). Edition 300. A rich proof printed on Japon paper. Exhibited in 1889 at the Exposition Universelle, Paris, where it was awarded a gold medal. Signed in pencil by Watts, Short, and by the printer, Frederick Goulding. $1,750.
Scene in the Campagna also known as Woman at a Tank and Hindu Ablutions. (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Hardie 4.ii. Preliminary etching for the mezzotint. 8 1/2 x 11 3/8 (sheet 12 5/8 x 17 3/8). Printed in brown ink on off-white wove paper. Signed in the plate. $125.
J.M.W. Turner. 1775-1851.
The Woman and the Tambourine. c. 1806-07. Published by J.M.W. Turner, ?11 June 1807. Etching and mezzotint. Finberg 3.iii/iv. Series: Liber Studiorum. 8 1/4 x 11 1/2 (sheet 11 5/8 x 17 1/4). Drawn and etched by J.M.W Turner. Engraved (mezzotinted) by C. Turner C. Turner (Charles Turner. 1773-1857). A richly-inked impression printed in sepia ink on off-white wove paper on the full sheet with deckle edges. With the blindstamp of the 1873 Turner collection sale at Christie's, in the plate just before the text 'Engraved by C. Turner'. Signed with the artists' names in the plate. $550.
"After all these years, I see that I was mistaken about Eve inthe beginning; it is better to live outside the Garden with her than inside it without her.... Wheresoever she was, there was Eden." __ Mark Twain, Adam's Diary
Sir William Russell Flint, R.A. 1880-1909.
Eve. 1930. Drypoint. Wright 34. 7 x 10 1/8 (sheet 8 3/4 x 13 1/2). Edition 75, #68. A rich impression in black-brown ink with plate tone and drypoint burr printed on 'Fin de Atelier 1753' laid paper. Signed, numbered and annotated in ink. $2,500.
Robert Sargent Austin, R.A., P.R.E., P.R.W.S. 1895-1973.
Bethlehem. 1925. Line engraving. Dodgson 62. 6 x 4 7/8 (sheet 9 1/2 x 7 3/8). Edition 50. A rich impression printed on cream laid paper. Signed and dated in pencil. $500.
Eric Gill, R.E. 1882-1940.
The Madonna and Child with an Angel: Madonna Knitting. 1919. Wood engraving. Physick 60. 2 1/2 x 2 1/2 circular (sheet 5 3/8 x 5). Printed on white wove paper. Signed in pencil. $1,750.
Käthe Kollwitz. German. 1867-1945.
Maria und Elisabeth (Mary and Elisabeth). Version III. 1928. Woodcut. Klipstein 234,Vb; von dem Knesebeck 249.vi.a. 14 1/4 x 13 3/4. Edition 150 in this state. A glowing impression on Japanese mulberry paper. Signed in pencil. Housed in an elegant black and silver frame. $9,750.
“Women are meant to be loved; not to be undertood." Oscar Wilde.
George Wesley Bellows, N.A. 1882-1925.
In the Park, Dark. 1916. Lithograph. Mason 30.i/ii. 16 7/8 x x 16 1/4 (sheet 24 1/8 x 28 3/4). Edition 81, #34. A rich impression printed on sturdy wove paper, with full margins. This is a fine lifetime impression. Provenance: estate of Anita Jaffe, wife of Leo Jaffe who ran Columbia Pictures, the motion picture, studio, in the 1960s and 1970s, until his retirement in 1981. Signed in and numbered pencil by artist. Housed in an elegant black and gold 32 1/2 x 16 1/2-inch wood frame. $4,500.
Edmund Blampied, R.E. 1886-1966.
Below Stairs. 1930-31. Drypoint. Appleby 143. 10 1/4 x 7 3/4 (sheet 13 1/2 x 10 3/8). Edition 100, #42. A very fine impression on cream-colored 'Whatman' laid paper with full margins. Signed and numbered in ink. $2,000.
Eric Gill, R.E. 1882-1940.
Skaters. 1926. Engraving on copper. Physick 368.ii. 4 3/8 x 4 1/4 (sheet 13 1/16 x 9 7/8). This is the second state of the engraving, as indicated by the ballet skirts worn by each skater. (In the first state, the skaters were completely nude.) Skaters was based upon a photograph in the 'Daily Mirror' of two men skating. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929 in an edition of 480. (There was also ad edition of 50, presumably signed and numbered, and a hand-colored edition.) Printed on the full sheet of cream wove paper. Unsigned. $275.
John Sloan, N.A. 1871-1951
Love on the Roof. 1914. Etching. Morse 167.ii. 5 7/8 x 4 1/4 (sheet 10 1/2 x 6 1/4). Edition 100. A rich impression printed on Japanese mulberry paper. Signed in pencil. $3,750.
Jacques James Joseph Tissot. 1836-1902.
La Galerie du 'Calcutta' (Souvenir d'en Bal à Bord). 1898.Drypoint. Wentworth 25. 10 3/8 x 14 1/4 (sheet 14 5/8 x 19). Edition of 25 in Ten Etchings and 25 separate plates; total edition 50. A rich impression with drypoint burr printed on cream laid paper. Signed in pencil, lower left, and with the artist's red stamp (Lugt 1545) in the image lower right. Price upon request
"The proper basis for a marriage is mutual misunderstanding." Oscar Wilde.
Gerald Leslie Brockhurst, R.A., R.E. 1890-1978.
Adolescence. (Kathleen Nancy Woodward). 1932. Etching. Fletcher 75.vi. 14 3/8 x 10 7/16 (sheet 16 3/4 x 13). Total edition 91. Illustrated: Guichard, British Etchers 1850-1940; Fine Prints of the Year, 1933 and and Zigrosser, Six Centuries of Fine Prints. A luminous, richly-inked impression on simili-japon paper. Signed in pencil. This is the artist's magnum opus. It was one of the most influential and familiar icons of erotica of the 1930s. Housed in a 24 3/8 x 20 3/8 Italianate style wood frame. $28,000.
The Black Silk Dress (Anaïs). 1927. Etching. Fletcher 58.iv/x. 8 7/8 x 7 1/4 (sheet 17 x 11 1/2). 5 impressions in this state (edition 111). Exhibited at the RE, 1928, no.22. Illustrated: Furst, Original Engraving and Etching: An Appreciation and Salaman, Modern Masters of Etching: Brockhurst; Calloway, English Prints for the Collector, p. 191. A rich impression printed on 'J Whatman' laid paper. Signed and annotated '4th state GLB 5 proofs thus' in pencil. This is a portrait of the artist's first wife. Anaïs Folin. Signed in pencil. $2,250.
The Black Silk Dress (Anaïs). 1927. Etching. Fletcher 58.v/x. 8 3/4 x 6 1/4 (sheet 17 1/8 x 11). 4 impressions in thei state (edition 111). Exhibited at the RE, 1928, no.22. Illustrated: Furst, Original Engraving and Etching: An Appreciation and Salaman, Modern Masters of Etching: Brockhurst. A rich impression printed on 'J Whatman' laid paper. Signed and annotated '5th state GLB 4 proofs thus' in pencil. This is a portrait of the artist's first wife. Anaïs Folin. Signed in pencil. $2,000.
The Black Silk Dress (Anaïs). 1927. Etching. Fletcher 58.x (published state). 8 3/4 x 6 1/4 (sheet 14 1/2 x 9 1/8). Edition of 111. Exhibited at the RE, 1928, no.22. Illustrated: Furst, Original Engraving and Etching: An Appreciation and Salaman, Modern Masters of Etching: Brockhurst; Print Collector's Quarterly 11 (1024): 441. A very rich impression printed on off-white wove paper. Signed in pencil. This is a portrait of the artist's first wife. Anaïs Folin. Signed in pencil. $1,750.
Childe Frederick Hassam, N.A. 1859-1935.
The Writing Desk. 1915. Etching. Clayton 54. 10 x 7 (sheet 12 3/4 x 10). Printed on cream laid paper with full margins. Signed with the cypher in pencil. Price upon request.
Pablo Picasso. 1881-1973.
Homme dévoilant une Femme. (Man uncovering a woman). 1933. Etching. Bloch 138; Baer 203 B.d. 14 1/2 x 11 3/4 (sheet 17 1/2 x 11 3/4). Series: Suite Vollard, plate 5. From the edition of 250 on petit papier vergé Montval paper (there was also an edition of 50 on grand papier vergé Montval that same year, and 3 on parchment). Total edition 303. Printed by: Lacourière, Paris. A rich with drypoint burr, impression printed on laid paper countermarked 'Vollard' on the full sheet with deckle edges. The gentleman in the image is Picasso. Price upon request. Jacques James Joseph Tissot. 1836-1902.
Printemps (Spring). 1878. Etching and drypoint. Tissot 30, Béraldi 27, Wentworth 34. 15 5/8 x 6 (sheet 24 x 10 1/8). Edition about 100. Slight mat stain; otherwise fine condition. A rich impression printed on cream 'Van Gelder Zonen' laid paper, on the full sheet with deckle edges. Housed in a gold-leaf Whistler-type frame with a silk mat (Frame size 31 1/2 x 18). Signed in the plate, upper right. $4,500.
James Abbott McNeill Whistler. 1834-1903.
Fumette. 1858. Etching. Kennedy 13.iv; Glasgow 12.v. 6 3/8 x 4 1/4 (sheet 7 7/8 x 5 3/4). Glasgow records 74 known impressions. Series: Douze Eaux-Fortes d'après Nature(French set). A rich tonal impression in warm brown/black ink on 'Austin' off-white laid paper. Signed in the plate. $2,500.
Reading. [Maude Franklin] 1879 and 1887. Lithograph. Way 13, Levy 25, Tedeschi, Stratis and Spink 17.iv. 8 3/8 x 6 3/8 (sheet 18 x x 13). Edition 100 in this state. A fine impression on greyish chine mounted on ivory plate paper (small set), printed by Way and issued by Boussod, Valadon and Co. in the portfolio, Notes 1887-88. (there were also 30 impressions pulled on mounted Japan with larger sheets of wove backing). Monogrammed with the butterfly in the stone. $7,500.
Tête-à-Tête in the Garden. 1894. Lithograph. Way 54, Levy 85, Tedeschi, Stratis and Spink 90. 8 x 6 1/2(sheet 10 7/8 x 8 1/2). Edition of 25 lifetime impressions plus a few proofs recorded by Way (Goulding printed 30 posthumous impressions in 1904, after which the stone was erased). A foxing spot, otherwise excellent condition.Printed on ivory laid paper from an antique volume, numbered 178 recto and 177 verso, lower right. A well-inked lifetime impression of this extremely scarce print. Signed with the butterfly in the stone. $6,500.
"O for a Muse of fire, that would ascend
The brightest heaven of invention." __ William Shakespeare, >"Henry V" Act 1. Prologue.
Childe Frederick Hassam, N.A. 1859-1935.
The White Kimono. 1915. Etching. Clayton 47. 7 1/2 x 10 7/8 (sheet 10 1/4 x 13 11/16). Edition c. 61. Printed on off-white hand made paper with full margins. APristine condition. Provenance: Gift of Maud Doane Hassam (850 Park Ave NYC) Thence, by descent to a direct descendant of Mr. Maud Doane Hassam. Signed with the cypher in pencil. Price upon request.
Paul César Helleu. 1859-1927.
La Duchesse de Marlborough, Consuelo Vanderbilt. c. 1901. Drypoint. Montesquiou 8. 21 1/2 x 13 3/4 (sheet 24 3/8 x 12 3/4). A rich impression printed on white wove paper with full margins. Signed in pencil in the image. This portrait is the artist's master work. $13,500.
Dame Laura Knight, D.B.E., R.A., R.E. 1877-1970.
Gilding the Lily. 1926. Soft ground etching. Bolling/Withington 47. 11 1/2 x 7 1/2 (sheet 15 1/4 x 10). Edition 20 or 35 (both numbers are given on different proofs; this one annotated '35') plus trials. A rich impression with plate tone printed on cream wove paper on the full sheet with deckle edges. Signed, titled and annotated in pencil. $2,000.
Martin Lewis, N.A. 1881-1962.
The Glow of the City. 1929. Drypoint. McCarron 77. 11 1/4 x 14 1/4 (sheet 14 1/8 x 18 3/4). Edition of 110 recorded impressions, including 4 trial proofs. Illustrated: American Etchers: Martin Lewis; Fine Prints of the Year, 1930. A rich impression printed on Kalmer Swedish paper, with full margins. Signed and annotated "imp" in pencil, indicating a proof printed by the artist. $60,000.
Reginald Marsh. 1898-1954.
Battery (Belles). 1938. Engraving. Sasowsky 177.vi. 9 x 12 (sheet 10 5/16 x 13 1/2). Edition 3 proofs and also 20 lifetime impressions in this state printed by the artist, plus an additional 111 posthumous impressions. Provenance: ACA Galleries, New York; a private collection. A rich impression printed by Marsh on cream wove paper. Signed and annotated 'forty proofs' in pencil. $6,750.
Georges Rouault. 1871-1958.
Automne (Autumn). c. 1938. Aquatint print in colors. Chapon/Rouault 288C. 19 1/2 x 25 1/2 (sheet 22 5/8 x 30 3/4). Edition 175, #58. Published by Vollard. A rich impression with bright, fresh colors printed on watermarked Montval paper, on the full sheet with deckle edges. Signed in ink, numbered in pencil. Housed in a silk mat and gold leaf frame (32 x 37). Price upon request. Henri de Toulouse-Lautrec. 1864-1901.
Jane Avril. 1899. Brush lithograph printed in four colours from three stones. Delteil 367, Adhémar 323, Adriani 354.iii, Wittrock P29 B. 22 x 14 7/8 (image and sheet). Provenance: Far Gallery, New York; estate of Anna Eleanor Roosevelt (née Braman) Grasso, Essex, Connecticut. Mounted on Green's Lens Tissue Japanese paper. The red is attenuated; the other colors are bright. A three-inch professionally-repaired diagonal tear just to the left of the skirt; the lower right-hand corner repaired. With name of the printer, 'H. Stern, Paris'. Titled, dated and monogrammed in the stone. Price upon request.
Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.v "Keep, ancient lands, your storied pomp!" cries she
With silent lips. "Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!" __Emma Lazarus. The New Colossus
Deirdre Allinson. Born 1968.
Freedom, horizontal. (Statue of Liberty.) 2013. Shot in infrared. 16 x 24. Edition: 75 silver gelatin prints printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $950.
Lady Liberty, vertical. 2013. Shot in infrared. 24 x 16. Edition: 75 silver gelatin prints printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $950.
Sir Muirhead Bone. 1876-1953.
Liberty Statue New York. 1923. Conte crayon and watercolor. 7 1/2 x 10 (sheet 8 5/16 x 10 5/8). Signed and annotated 'Liberty Statue New York. Sketched from a Ferry Boat July 1923.' and 'Muirhead Bone to Mrs David Keppel with kind regards Dec 1925'. $2,500.
Ellison Hoover. 1888-1955.
Liberty. c. 1940. Lithograph, 13 3/8 x 9 3/8 (sheet 16 x 121/16). Edition of 50. #30. A ricly-inked tonal impression printed on cream wove paper with full margins. Signed and annotated 'No 30' upper left; signed in pencil lower right. $2,250.
Hail America. [The Statue of Liberty]. 1908. Mezzotint. Wuerth 502. 8 1/2 x 14 7/8 (sheet 11 1/2 x 17). Trial working proof before the edition of c. 70. An extremely rich impresion printed on the full sheet of antique paper. Signed, annotated 'trial working proof' and 'imp' in pencil, indicating a proof printed by Pennell. Perhaps the artist's most iconic American image. $7,500.
Allinson Gallery Index.
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