All works are signed in pencil unless indicated otherwise.
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Joseph Conrad Listening to Music. 1923. Drypoint. Dodgson 385.vii. 6 7/8 x 9 7/8 . Edition of 89 in this state (total edition 109). Two printing folds in the image; otherwise fine condition. A rich, tonal impression printed on simili-Japon paper with full margins. Signed in pencil, titled and annotated 'VII' in pencil. Housed in an archival French mat and 19 1/8 x 14 1/2 x 1/2-inch black and gold wood frame. $1,950.
Manhattan Excavation. 1923-28. Drypoint. Dodgson 390.xvii/xix. 12 3/8 x 10 1/4 (sheet 15 3/4 x 13 3/4). Edition of 40 in this state (total 151 impressions in 19 states). Begun from nature on June 4, 1923 and finished in 1928. A rich, beautifully inked impression printed on the full sheet with deckle edges. Signed and annotated "XVII" in pencil. This is the most dramatic of Bone's New York etchings. The subject is an immense excavation for the foundation of a new building on Madison Avenue. Price upon request.
The Tuscania leaving New York. 1923. Photolithograph. 10 5/16 x 12 1/2 (sheet 11 3/4 x 14). Printed on grey wove paper. Signed, titled and dedicated 'To E[ugene} N[oble]. New York. July 23, 1923' in pencil. $650.
Amey's Eating House, Winchester. 1916. Pencil drawing.13 x 7 1/2 (sight size). One pinhole on the right-hand edge of the drawing, 3 inches from the top; otherwise fine condition. Provenance: Fine Art Society, with their label, verso. Framed and glazed. Signed, dated and annotated 'Winchester', lower right. Housed in an elegant 22 x 15 1/2-inch gold leaf frame with blue/grey highlights. $1,750.
The Ballantrae Road. 1907 Drypoint. Dodgson 212. 4 7/8 x 7 7/8 (sheet 6 1/4 x 8 7/8). Edition 73 proofs in 15 states. Provenance: The Vincent Price Collection; Arthur H. Harlow & Co., New York. A rich impression printed on Japanese paper. Signed in pencil. $2,000.
Happisburgh (Haseboro') Church, Norfolk. 1934. Drypoint. Dodgson 447.iv. 9 7/8 x 6 7/8 (sheet 15 3/8 x 10 7/8). Edition 38. A rich impression printed on simili-Japan paper with wide margins. Unobtrusive printing fold in the image upper right. Anotated 'IV 28 proofs thus' and also initialed 'MB' in the upper right-hand corner indicating that this was the artist's own proof. Signed in pencil. $450.
Hove. 1906. Drypoint. Dodgson 197. 5 7/8 x 8 7/8(sheet 7 3/8 x 10 5/8). Edition of 36 (there were an additional 4 trial proofs). Printed on cream laid Japanese with full margins. Collector's stamp verso: S. William Pelletier. The image was exhibited at the Society of Twelve in 1906. A rich, velvety impression printed with plate tone. Signed in pencil. $500.
The Jetty, Gorleston. 1934. Drypoint. D 463.vii. 6 7/8 x 10 15/16 (sheet 9 1/8 x 10). Edition 99 in 7 states. A rich impression printed on cream-colored wove paper. Signed in pencil. $450.
Piccadilly Circus -- 1915. 1915. Drypoint. Dodgson 332.vi. 11 13/16 x 14 7/8 (sheet 16 x 22). Edition of 125 in this state. Illustrated: Furst, Original Engraving and Etching: An Appreciation. A rich impression printed on the full sheet of simili-Japan paper. Signed in pencil. Housed in a black stepped 19 x 20 2/3-inch modernist frame with a subtle red line. $3,750.
Rye, from Camber. 1907. Drypoint. Dodgson 205.i/ii. 6 x 8 (sheet 8 3/4 x 10). Edition 25 in this state (total 38 plus 5 trial proofs). A rich impression with drypoint burr and plate tone printed on Japanese mulberry paper. Signed in pencil. $500.
Canal and Bridge of SS Apostoli, Venice. 1916. Drypoint. Dodgson 351.xx/xxvi. 12 7/8 x 8 7/8 (sheet 15 5/8 x 10 7/8). Edition of 129 proofs in 26 states. A rich impression with drypoint burr, printed on simili-Japan laid paper. Signed, lower right and annotated 'MB' with two circles, upper right, indicating a superior impression. This and Rainy Night in Rome are Bone's two greatest Italian prints. Housed in a 21 1/2 x 17 1/2-inch Whistler style gold wood frame. $1,750.
Evening, Port of Genoa. 1915. Drypoint. Dodgson 337.i/v. 7 5/8 x 9 15/16 (sheet 9 1/8 x 14). Edition of 45 in five states. An exceptionally rich impression with drypoint burr, printed on antique cream laid paper. A rare proof of the first state. Signed and annotated 'I' in pencil. $650.
Rainy Night in Rome. 1913. Drypoint. Dodgson 299.vi/x. 12 x 9 (sheet 16 x 11 1/4). Edition 16 in this state (total 125 proofs in 10 states). A rich impression with burr and tonal wiping. Printed on simili-Japan paper with wide margins. Signed, dated, and titled annotated '6th' in pencil; annotated 'M' and numbered '9' in pencil, verso. $2,500.
Rainy Night in Rome. 1913. Drypoint. Dodgson 299.x. 12 x 9 (sheet 16 x 11 1/4). Edition 125 in 10 states. A rich impression with burr and tonal wiping. Printed on simili-Japan paper with wide margins. Signed, dated, titled and annotated '8' on the front; annotated 'M' and numbered '96' in pencil, verso. in penci verso. $2,500.
The Trevi Fountain, Rome. 1913-28. Drypoint. Dodgson 304.xix. 16 x 10 1/4 (sheet 18 3/4 x 12 1/2). One of thirty-four impressions in this state; total edition 87 proofs. Printed on the full sheet of simili-Japan paper with deckle edges. An extremely rich impression, with burr and plate tone. Annotated '19th' in pencil, lower left; signed in pencil. $1,750.
Tuscan Hill Farm. 1912. Drypoint. Dodgson 284. 5 1/2 x 4 (sheet 11 x 8). Edition 279 (plus 4 trial proofs). Illustrated: Print Collector's Quarterly 9 (1922): 189. Printed on simili-Japan paper. Signed in pencil. $225.
Dancing on the Apostle's Day, Santiago. 1930. Drypoint. Dodgson 444. 6 5/16 x 7 11/16 (sheet 10 3/4 x 15 7/8). Edition 133. Printed on the full sheet of white laid paper with deckle edges. WITH Jubilee Year, Santiago de Compostela. 1930. Drypoint. Dodgson 39. 13 3/8 x 7 7/8 (sheet 20 x 13 1/4). Edition 133. Printed on the full sheet of white laid paper with deckle edges. Illustrated: Gertrude Bone, Days in Old Spain. Published in the portfolio, Two Drypoints by Muirhead Bone. $2,000 the pair in the original portfolio.
Jubilee Year, Santiago de Compostela 1930. Drypoint. Dodgson 39. 13 3/8 x 7 7/8 (sheet 20 x 13 1/4). Edition 133. Printed on the full sheet of white laid paper with deckle edges. Illustrated: Gertrude Bone, Days in Old Spain. Published in the portfolio, Two Drypoints by Muirhead Bone. The other drypoint in the folder is, Dancing on the Apostle's Day, Santiago. (not included here). Signed in pencil. $1,750.
A Spanish Good Friday (Ronda). 1925. Drypoint. Dodgson 412.xxix. 12 1/2 x 8 1/8 (sheet 16 3/4 x 12). Edition 160 in 29 states. Illustrated: Zigrosser: Six Centuries of Fine Prints. A rich impression with velvety drypoint burr. Printed on smooth simili-Japan paper with full margins. Annotated by Bone 'XXIX A Spanish Good Friday (Ronda) (for Morris) in the lower margin. Signed in pencil by Bone. Price upon request.
A Spanish Good Friday (Ronda). 1925. Drypoint. Dodgson 412. One of only 20 numbered impressions printed from the canceled plate in 1985. 12 1/2 x 8 1/8 (sheet 22 1/2 x 15). A rich impression, printed on heavy white wove paper, countermarked BFK RIVES FRANCE, with wide margins. Inscribed in pencil at extreme lower edge of sheet '8/20' and 'U[niversity]. of Bristol School of Art 1985'. Ex-collection William Pelletier. $500.
Windy Night, Stockholm. 1935. Drypoint. Dodgson 457.x. 11 7/8 x 7 5/8 (sheet 15 1/2 x 10 7/8). Edition of 80 in this state (total 93 in 10 states). Illustrated: Guichard, British Etchers: 1850-1940. A rich, atmospheric impression with tonal wiping printed on simili-Japon paper. Signed in pencil. Housed in a silver leaf frame: $1,850.
Muirhead Bone was born in Partick, a suburb of Glasgow in 1876. As a young man he was apprenticed to a firm of architects and in the evenings attended classes at the Glasgow School of Art. Aware his vocation was art, and not architecture, he devoted his time almost exclusively to drawing. He continually sketched the streets, buildings and slums of Glasgow imbuing the urban decay with a dignity and sentiment he so admired in the work of the Dutch artists whose townscapes he had studied in the Glasgow Corporation Art Galleries. Bone moved to London in 1901, holding his first exhibition at the Carfax Gallery in 1902. His success both critically and financially was rapid. His status as an etcher in the early years of the last century placed him among the world's most celebrated artists. It is not an exaggeration to say that his international reputation among collectors and the curators of the 'Great Print Rooms' of Europe and America was without parallel. He was appointed the first Official War Artist in World War I and was the doyen of War Artists in the Second World War. He was instrumental in the foundation of The Imperial War Museum, and became a Trustee of The Tate and The National Gallery. He was knighted for his services to art in 1937.
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British Fine Prints.
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