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Italy: An Artful Journey.

All works are signed in pencil or ink or paint unless indicated otherwise.

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John Taylor Arms, N.A. 1887-1953.

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The Balcony (Venetian Gateway). 1931. Etching. Fletcher 237.iii. 8 1/16 x 5 1/16 (sheet 12 5/8 x 10 1/16). Edition 110 (plus 34 trial proofs). Italian series #21. Published as the frontispiece for the book by Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy; Print Collector's Quarterly 21 (1934):138. A rich impression printed on handmade cream wove paper. Signed and dated in pencil. $2,750. Available with an Italianate gold leaf frame.

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La Bella Venezia, or The Grand Canal, Venice. 1930. Etching. Fletcher 232. 7 1/8 x 16 1/2 (8 3/8 x 17 1/2. Italian Series, #18. Trial proof, apart from the edition of 81 (+ 5 trial proofs). Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 192; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, A rich impression with subtle tonal wiping printed on cream wove paper. Signed, dated, titled and annotated and 'trial proof II', 'collection j' (Hugh Fisher, England), and 'ct' (Carling trial) in pencil. $6,500. Housed in a gold leaf frame.

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Church of Saint Francis and the Natizone, Cividale. 1940. Etching. Fletcher 238.iii. 7 1/2 x 10 1/2 (sheet 79 5/8 x 16). Edition 128 (+ 6 trial proofs). Italian series #22. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 139. A rich impression in red/brown ink printed on antique laid paper by Henry E. Carling. Signed,dated, titled and annotated 'cp' (Carling printed) in pencil. $700.

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Dawn, Lake Como. 1920. Etching and aquatint printed in colors. Fletcher 53.ii. 7 1/8 x 5 1/8(sheet 11 9/16 x 9 1/16). Edition of 105 in color in this state and 80 printed in black and white (+ 3 trial proofs). Printer: Frederick Reynolds. Illustrated: Print Connoisseur vol. 1, #2 (December 1920): 110. Printed on cream laid on the full sheet with deckle edges. Signed in pencil. $2,250.

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Enchanted Doorway,Venezia (La Porta della Carta, Venezia '29). 1930. Etching. Fletcher 227.ii. 12 3/8 x 6 9/16 (sheet 15 13/16 x 10 1/16). Edition 148 in this state (+ 19 trial proofs). Italian Series #15. Illustrated:Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 170; Cortissoz, Contemporary American Prints, 1931; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 115. A rich impression on white laid paper from an antique volume. Signed, dated and annotated 'Edition 100' in pencil. $1,350.

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La Mangia, Siena (La Torre del Mangia, Siena). 1921. Etching. Fletcher 192.15 x 8 (sheet 17 7/8 x 11 3/4). Edition 115. Italian series #10. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 38; American Etchers: John Taylor Arms; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 160. A fine impression printed on A[rches] laid paper by Frederick Reynolds. Signed and dated in pencil. $1,750.

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Palazzo Dell'Angelo, Venice. 1931. Etching. Fletcher 233.ii/iii. 7 1/2 x 6 4/8 (sheet 15 2/4 x 10 1/2). Edition 12 in this state (total 147 + 9 trial proofs). Italian series #19. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. Award: Member's Prize, 22nd Annual Exhibition, Chicago Society of Etchers, Art Institute of Chicago, 1932 A rich impression printed by Henry E. Carling on handmade cream wove paper from an antique volume. Signed, dated, titled and annotated 'cp' in pencil. $2,750.

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From the Ponte Vecchio, Florence. 1925. Etching and aquatint. Fletcher 159.ii. 11 1/8 x 15 1/4 (sheet 13 3/8 x 18 1/4). Edition 160 in this state (total edition about 165). Italian series #1. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 90; The Print Collector's Quarterly 21 (1934): 130; American Etchers: John Taylor Arms. A rich impression on cream laid paper. Signed in pencil. $1,750.

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Porta del Paradiso, Venezia. 1930. Etching. Fletcher 230.ii. 7 1/2 x 3 3/4(sheet 12 1/2 x 7 3/4). Edition 141 in this state (total edition about 151). Printed by Henry E. Carling. Italian series #17. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 184; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. A rich impression on antique laid paper. Signed, dated and titled in pencil. $1,250.

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Rio del Santi Apostoli, Venice. 1930. Etching. Fletcher 226.ii. 8 x 6 (sheet 9 3/4 x 14 1/4). Edition 100 (+ 10 trial proofs). Italian series #4. Illustrated:Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 206. Commission as the frontispiece for the limited edition of American Etchers: John Taylor Arms. A rich impression, one of 18 printed by Henry E. Carling on antique cream laid paper with a shield watermark. Signed, dated, and annotated ' Plate etched as frontispiece for Limited Edition of Volume V of American Etchers Series' and 'cp' (Carling printed) in pencil. $1,850. Available housed in an Italianate gold leaf frame.

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Shadows of Venice. (Il Ponte di Rialto, Venezia.) 1930. Etching. Fletcher 229. 10 1/8 x 12 (sheet 11 5/8 x 16 1/2). Italian Series, plate #16. Edition 140 (+ 14 trial proofs). Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 208; The Print Collector's Quarterly 21 (1934): 136; Fine Prints of the Year, 1931; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940.A fine impression on cream laid paper. Signed,dated and annotated 'Edition 100' in pencil. $2,500.

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Venetian Filigree ( Cà D'Oro Venezia). 1931. Etching. Fletcher 235.ii. 10 3/4 x 11 (sheet 13 7/8 x 18 5/8). Edition 150 (+ 4 trial proofs). Italian Series #20. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p.188; Fine Prints of hte Year, 1932;Prints vol. III, no. 2, 1933, page 3; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 117. Printer: Henry E Carlingg. A rich impression on pale blue/green laid paper on the full sheet with deckle edges. Housed in an elegant 21 1/2 x 22-inch gold leaf frame. Signed, titled and annotated 'cp' (Carling printed) in pencil. $6,500.

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Venetian Mirror (The Grand Canal, Venice). 1933. Etching. Fletcher 289.ii. 6 1/4 x 14 1/4 (sheet 10 3/16 x 18 1/8). Edition 169 (+ 27 trial proofs). Italian Series #27. Illustrated:Prints vol. VI, no. 2, 1935, p. 79;. Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 119. Printer: David Strang. A rich impression on 'David Strang' cream laid paper with full margins. Signed, dated 1935, titled and annotated 'II' in pencil. $7,500.

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Via Facchini, Pisa. 1927. Etching. Fletcher 194. 11 3/8 x 5 1/2 (sheet 15 7/8 x 10 1/4). Edition 110. Italian series #11. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 24. A fine impression printed on 'M BAS' laid paper. Signed and dated in pencil. $400.

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Volterra. The Town in the Clouds. 1927. Etching. Fletcher 196. 7 15/16 x 8 1/4 (sheet 12 7/8 x 11 5/8). Edition 100. Italian series #12. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 30. A fine impression printed on 'FJ Head & Co' laid paper by Frederick Reynolds. Signed, dated and titled in pencil. $325.

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Robert Sargent Austin, R.A., P.R.E., P.R.W.S. 1895-1973.

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The Mother. 1932. Line engraving. Subsequent to Dodgson. 11 1/2 x 8 5/8 (sheet 14 7/8 x 10 7/8). Edition 40 published by the Twenty-One Gallery for 7 guineas. Illustrated: FPY, 1933. A rich impression with plate tone printed on cream laid paper. A large, impressive plate. Signed and dated in pencil. $650.

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Siena, Evening. 1923. Line engraving. Dodgson 38. 4 3/8 x 4 3/16 (sheet 8 x 7 1/4). A fine impression with plate tone, printed on cream laid paper. Signed, dated and titled in pencil. $750.

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The Stonebreaker. 1925. Etching. Dodgson 57.iii. 4 1/8 x 5 5/16 (sheet 8 3/16 x 10 9/16). Illustrated: Salaman, Modern Masters of Etching; Print Collector's Quarterly 16 (1929): 336. A rich impression printed on 'Charles I' tan/cream laid paper. Signed and dated in pencil. $750.

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A Woman of Scanno. 1926. Line engraving. 7 7/8 x 6 1/8 (sheet 12 3/4 x 10 3/8). Edition 50. Published by the Twenty One Gallery. A very rich impression printed on 'Charles I' laid paper. Illustrated: Salaman, Modern Masters of Etching; Fine Prints of the Year, 1927; Print Collector's Quarterly 16 (1929): 342. Signed and dated in pencil. $450.

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Women at Prayer. 1936. Line engraving. 10 15/16 x 8 7/16 (sheet 13 13/16 x 10 13/16). Subsequent to Dodgson. Edition 40 published by the Twenty-One Gallery for 7 guineas. Illustrated: Fine Prints of the Year, 1936. A rich impression with plate tone printed on white wove paper. Signed and dated in pencil. A large, impressive plate. $850.

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Otto Henry Bacher. 1856-1909.

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Laguna Veneta. 1880. Etching. 5 x 7 1/4 (sheet 8 3/4 x 11 1/4). Venetian series, #22. A rich impression printed on chine collé mounted on white wove paper. Signed 'Otto' and dated 'August 23 80' in the plate; in pencil. $1,750.

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Wilfred Williams Ball. 1853-1917.

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San Giorgio, Venice. c. 1889. Etching. 8 x 17 5/8 (sheet 13 3/4 x 21 5/8). Published by Robert Dunthorne. A rich, glowing impression with careful tonal wiping. Printed on Japanese vellum with full margins. Signed and titled in pencil. $450.

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Sir Muirhead Bone, R.A. 1876-1953.

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Archway, Chioggia. 1915. Drypoint. Dodgson 338.iii/iii. 6 1/8 x 6 7/8 (sheet 7 5/8 x 9 7/8). Edition of 59 in this state (total edition 78. Illustrated: Print Collector's Quarterly 9 (1922): 193. Signed in pencil. A rich impression, with burr and plate tone, printed on cream laid paper from an antique volume. $400.

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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 aa superior impression. This and Rainy Night in Rome are Bone's two great Italian prints. $2,750.

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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.

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Rainy Night in Rome. 1913. Drypoint. Dodgson 299.vi/x. 12 x 8 7/8 (sheet 15 7/8 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. $3,250.

Rainy Night in Rome. 1913. Drypoint. Dodgson 299.x. 12 x 8 7/8 (sheet 16 x 11 3/4). 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 '13' in pencil. $3,000.

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.

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Edward Bouverie-Hoyton. 1900-1988.

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Thermae of Caracalla. 1928. Etching. 10 x 13 3/8 (sheet 14 5/16 x 18 7/8). Edition 75. A rich impression printed on light tan laid paper. Published by the Fine Art Society. Signed in pencil. $500.

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Vatican City. c.1929. Etching and drypoint. 9 x 12/8 (sheet 11 3/8 x 17 1/4). A rich impression printed on cream laid paper with full margins. The artist also made a color version of the image. Signed in pencil. $400. rich impression printed on light tan

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Edgar Chahine. 1874-1947.

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Campo Santa Margherita, Venise. 1922. Etching and drypoint. Tabanelli 346. 7 7/8 x 13 3/4 (sheet 10 1/2 x 15 3/8. Edition 100. A tonal, atmospheric impression printed on cream laid paper from an antique volume. The wiping helps to create the dreamlike quality of the marketplace with its groups of people and palazzi. Signed in pencil. $350.

Sir David Young Cameron, R.A., R.S.A.,R.W.S, R.E. 1865-1945.

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The Doge's Palace. 1902. Etching with drypoint. Rinder 326.ii. 9 7/8 x 15 3/4.No published edition -- extremely scarce. A rich impression printed on laid paper. Signed in pencil. $3,500.

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The Palace Doorway (Palace of Joannis Darius).1895. Etching. Rinder 225. 9 3/8 x 15 (sheet 11 x 14 1/8). North Italian Set, #22. A rich impression with burr and plate tone, printed on off-white laid paper. Signed in pencil. $2,750.

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Jean Cologero. Italian-American. 1922-2001.

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Studî della piccola Simonella (Sketches of little Simonella). August 28, 1942. Pencil drawing. 5 1/8 x 7 13/16. Signed, dated and titled in pencil. A charming set of studies of a sleeping child. $500.

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Frank Duveneck. 1848-1919.

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Bridge of Sighs (2nd plate). 1885. Etching. Poole 29.i/ii. 12 x 9 3/4 (sheet 14 x 11 3/4). Rare impression of the first state before the edition 100 signed proofs of the second state published by Robert Dunthorne, London. Illustrated: Print Collector's Quarterly 25 (1938): 318. A rich impression with plate tone printed on sturdy wove paper with full margins. . Monogrammed, dated and annotated 'Venice'. Provenance: Cincinnati Museum (duplicate); Dr. Sam L. Greenwood; Baldwin-Wallace College, Berea, Ohio. Signed in pencil. $4,500.

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Sir William Russell Flint, R.A. 1880-1909.

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Bagno della Marchesa. 1930.Drypoint. 10 1/2 x 7 5/8 (sheet 13 3/16 x 8 1/2). Trial proof, apart from the edition of 75. A, extremely rich impression printed on French 1798 countermarked laid paper. Illustrated: Fine Prints of the Year, 1930; Guichard, British Etchers. Extensively annotated in ink by Flint: 'Trial: entire background was later reworked. Paper: French 1798.' Signed and dedicated 'To Eve H.Sanders with salutations'. An exceptionally rare proof. $1,850.

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A Rendez-Vous, Vincenzia. 1929. Drypoint. Wright 19.v.9 1/2 x 6 5/8 (sheet 12 1/8 x 9 3/8). Edition 75, #I. An extremely rich impression printed on blue/green laid paper. Signed and numbered in ink. $875.

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Percival Gaskell, R.E. 1868-1934.

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The Lonely Tower, Roman Campagna. 1924. Aquatint. 10 x 14 1/4 (sheet 13 1/2 x 20). Edition 150. A fine impression with tone printed in dark brown ink on white wove paper. Signed in pencil. $550.

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Eilas Mandel Grossman. 1898-1947.

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Old Palaces on the Lagoon, Venice. 1927. Etching and drypoint. 8 1/2 x 13 1/2 (sheet 11 1/2 x 16 1/2). A rich impression with drypoint burr printed on simili-Japan by the artist. Signed, dated, titled and annotated in pencil. $350.

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Kenneth Holmes, A.R.C.A. Born 1902.

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San Giorgio, Maggiore, Venice. 1930. Drypoint. 8 3/16 x 12 1/8. Signed in pencil. Published by James Connell, in an edition of forty proofs. A rich impression printed on cream wove paper with full margins. Signed in pencil. $450.

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Donald Shaw MacLaughlan. 1876-1938.

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Venetian Noontide. 1912. Etching. Bruette 187. 9 11/16 x 11 5/8 (sheet 10 x 12 1/4). A rich impression with tonal wiping, printed on cream laid paper. Signed in pencil. Illustrated: Print Collector's Quarterly 6 (1916): 115. $675.

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James McBey. 1883-1959

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Barcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8 (sheet 17 1/4 x 10 1/4). Edition 80, #xxv. Print Collector's Quarterly 24 (1938): 428. An extremely rich impression with subtle tonal wiping, printed on pale blue-toned laid paper from an antique volume. Signed and numbered in ink. Price upon request.

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The Deserted Palace. 1928. Etching. Hardie/Carter 236. 8 1/2 x 10 (sheet 11 7/8 x 13 9/16). Edition 80, #78. A rich impression printed in bistre ink with plate tone on antique paper with a fleur-de-lys watermark. Signed and numbered in ink. $2,000.

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Distant Salute. 1925. Etching. Hardie/Carter 250. 7 3/16 x 15 15/16 (sheet 10 7/8 x 17 1/8).Edition 80, #30. Signed and numbered in ink. A fine impression with plate tone, printed on antique cream-colored wove paper with full margins. $1,650.

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The Doorway. 1925. Etching. Carter 244. 8 1/16 x 6 3/8 (sheet 10 1/4 x 8 1/4). Edition 80, #26. Illustrated: Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940. A rich impression with plate tone. Printed on laid paper from an old book, on the full sheet. Signed and numbered in ink. $1,750.

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La Guidecca 1926. Etching. Carter 229. 6 x 12 3/8 (sheet 8 3/16 x 17 7/8). Edition 80, #28. A fine impression on cream-colored paper countermarked 1818. Signed and numbered in ink. $1,850.

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Laguna Veneta. 1926. Etching. Hardie/Carter 227. 6 3/4 x 14 3/4 (sheet 11 1/4 x 18 3/8). Edition 80, #42. A rich impression with plate tone printed on antique laid paper with wide margins. Signed and numbered in ink. $1,650.

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Molo. 1925. Etching. Hardie/Carter 239. 12 5/16 x 9 5/16 (sheet 15 1/4 x 11 1/2). Edition 76, #21. Illustrated: Fine Prints of the Year 24 (1938): 434; Illustrated: Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940. A rich impression with plate tone, printed on 'LOTTERY'laid paper with full margins. Signed and numbered in ink. $1,500.

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The Passing Gondola. c. 1926. Etching. Edition 80, #18. Hardie/Carter, page 230. 8 1/2 x 10 1/2 (sheet 11 1/4 x 13). Printed on antique wove paper with subtle plate tone. Signed and numbered in ink. $1,750.

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A Regatta on the Grand Canal. 1930. Drypoint. Hardie/Carter 248. 8 7/8 x 15 3/8 (Sheet 13 3/16 x 19 3/8). Edition 80, #5. A impression on cream-colored wove paper with full margins. Signed and numbered in ink. $1,750.

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The Riva at Dusk 1930. Etching. Carter 253. 15 7/8 x 9 3/8 (Sheet 18 3/8 x 11 3/4). Edition 80, #23. Signed and numbered in ink. A fine impression on cream-colored laid paper with full margins. The artist is pictured in the left foreground with his back to the viewer; his wife faces the viewer. This is a charming study of the couple in an outdoor cafe in Venice. $1,950.

The Riva at Dusk. 1930. Etching. Hardie/Carter 253. 15 7/8 x 9 3/8 (sheet 17 1/2 x 11 5/8). Edition 80, #51. A fine impression on French blue-green laid paper from an antique volume with full margins. Signed and numbered in ink. The color of the paper suggests evening. $1,950.

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Santa Maria della Fava, Venice. 1925. Etching and drypoint. Hardie/Carter 234. 13 x 8 1/2 (sheet 16 11/16 x 11 1/8). Edition 80, #9. Print Collector's Quarterly 24 (1938): 430. A rich tonal impression, printed in black/brown ink on French laid blue/green paper from an antique volume. Signed and numbered in ink. $1,750.

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September Sunset. 1928. Etching. Hardie/Carter 241. 8 7/8 x 17 3/4 (sheet 12 1/4 X 20 7/16). Edition 80, #50. Paper thinning in various areas, visible only from the verso, stablized professionally; a few printing folds. A rich impression with subtle tonal wiping. Printed on white laid paper with full margins. Signed in ink. $1,500.

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Sotto Portico, Venice. 1928. Etching. Hardie/Carter 235. 12 1/2 x 8 3/4 (sheet 8 1/4 x 11 3/8). Edition 80, #39. A rich impression printed in black/brown ink with subtle tonal wiping. Printed on antique laid paper with full margins. Signed and numbered in ink. $1,750.

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A Tartane Leaving Venice. 1928. Etching. Hardie/Carter 240. 6 1/2 x 12 1/2 (sheet 9 5/16 x 14). Edition 80, #43.A rich impression printed in sepia ink on off-white laid paper from an antique volume. Signed and numbered in ink. $2,150.

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The White Palace. 1930. Etching. Carter 260. 14 1/2 x 8 1/2 (18 x 10 3/4). Edition 80, #76. Signed and numbered in ink. A rich impression on off-white laid paper from an antique volume. Signed and numbered in ink. $2,250.

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Jane Peterson. 1876-1965.

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[Flowering Carob Tree, San Giorgio Maggiore Island, Venice]. c. 1923. Oil on canvas. 18 x 24 (framed 27 x 32 1/2). Exhibited at the Newport Art Museum and Art Association, June 11, 2011 to October 16, 2011. 'Remembering the Ladies: Women and the Art Association of Newport.' Signed "Jane Peterson" lower right. Price upon request.

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Joseph Pennell, N.A. 1857-1926.

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Rebuilding the Campanile. No II. 1911. Etching. Wuerth 621. 9 5/8 x 12 1/2 (sheet 11 x 15 1/16). Edition probably 50. A fine impression, on cream paper from an antique volume. Printed by the artist. Signed, titled 'Rebuilding the Campanile, Venice' and annotated 'imp' in pencil in pencil. $750.

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Daniel Ramée 1806-1887

(after Parmigianino. 1503-1540).

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Moses Breaking the Tablet of the Law. Pencil drawing mounted onto paper. 12 1/4 x 3 3/4 inches. Collector's seal verso: Gustav Grunwald, Lugt 1155b. Monogrammed 'DR' (Nagler 582), lower right. $1,650.

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Louis Conrad Rosenberg, N.A.. 1890-1983.

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Via del Pianta, Rome. 1928. Drypoint. McMillan 66. 7 3/4 x 6 9/16 (sheet 10 1/2 x 8 3/8). A rich impression with selective plate tone printed on '1802' antique cream laid paper. Signed in pencil. $275.

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Ernest David Roth, N.A. American. 1879-1964.

Paintings

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La Doma, Florence. Oil on panel. 8 x 12 (framed 13 1/4 x 17 1/2). Reproduction period frame. Unsigned. Provenance: Roth's studio. $850.

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Poplars, Gubbio [Italy]. c. 1931. Oil sketch related to the etching. 20 x 16. Housed in a 25 x 21-inch Italian-style frame. Unsigned. Provenance: Roth's studio. $975. Etchings

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The Beach -- Camogli -- Italy (plate 2). 1943. Etching. 8 1/2 x 14 1/2 (sheet 11 x 17 1/4). A fine impression with carefully-wiped plate tone, printed on cream wove paper. Signed, dated and titled in pencil. A large, impressive image. $375.

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Campo Margharita, Venice. 1913. Etching. American Etchers 42. 7 7/8 x 11 3/4 (sheet 11 3/4 x 14 7/8). Edition 55. Illustrated: American Etchers, plate 3; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940. plate 58. Exhibited: Panama-Pacific International Exposition, San Francisco, 1915. A very rich impression with plate tone, printed on Japanese mulberry paper with full margins. Annotated 'Campo Marguerta' and annotated 'Not for sale" in an unknown hand; signed, dated and titled by the artist in pencil. $475.

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Grim Florence. 1907. Etching. 9 x 11 1/2 (sheet 11 x 12 3/4). Illustrated: International Studio 1914, vol. 54, p.13. Exhibited: Panama-Pacific International Exposition, San Francisco, 1915. A fine impression with rich tonal wiping, printed on cream laid paper. Signed, titled and annotated 'Firenze 07' in pencil. $475.

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The Iron Grill, Venice. 1913. Etching. 10 3/8 x 7 3/4 (sheet 14 2/4 x 11 13/16). Edition 100. A very rich impression with plate tone, printed on cream laid paper with wide margins. Collector's seal verso: Viola and Remig Papp (not in Lugt). Signed, dated and titled in pencil Illustrated: Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940. Collector's seal verso: Viola and Reming Papp (not in Lugt). Signed, dated and titled in pencil. $475.

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Ponte Vecchio. Evening. 1907. American Etchers 11. Etching. 8 7/8 x 0 1/4 (sheet 12 3/8 x 10 7/8). Edition 80. An extremely rich tonal wiping, printed on Japanese paper. Illustrated: The International Studio 1914, vol. 54, p.16; American Etchers, plate 1. Signed, dated and titled in pencil. $475.

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Sesto Fiorentino. (Pieve of San Martino). 1924. Etching. 5 1/8 x 11 7/8 (sheet 13 1/4 x 11 3/16). A very rich impression with plate tone, printed on simili-Japan with full margins. Signed, dated and titled in pencil. $325.

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Henry Rushbury, A.R.A., R.E. 1889-1968.

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The Walls of Siena. 1923. Drypoint. Schwab, Rushbury 42. 5 x 9 7/8 (sheet 9 3/8 x 15 1/4). Edition 50. A rich impression with drypoint burr printed on cream laid paper with wide margins. Signed in pencil. $350.

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Sir Frank Short, R.A., P.R.E. 1857-1945.

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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. 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.

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Sidney Tushingham A.R.E. 1884-1968.

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Amalfi. 1926. Drypoint. Konody 83. 9 3/8 X 12 3/8. Edition 75. Exhibited at the Eighth International Print Makers Exhibition, Los Angeles Museum, March 1927. A fine impression printed on cream wove paper with full margins. Signed in pencil. $200.

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William Walcot, R.E. 1874-1943.

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Arc San Carlo, Naples. 1921. Etching and drypoint. Dickins 70. 6 3/4 x 6 5/8 (sheet 14 1/8 x 10). Editon 400. A fine impression with plate tone printed in black/brown ink on white wove paper. Blindstamp: the Rose collection. Signed in pencil. $600.

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Giudecca No. 2, Venice. 1913. Etching. Dickins 14. 4 3/16 x 7 9/16 (sheet 7 5/8 x 10 5/8). Ediiton 115. A rich impression with plate tone printed on white wove paper. Signed in pencil. $850.

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The Piazza San Marco 1920. Etching with drypoint and aquatint. Dickins 66. 3 7/8 x 5 7/8 (sheet 9 1/4 x 12 1/8). Venice set, # 2. Edition 415. A rich impression printed on cream wove paper. Fold in the margin, well outside the image; otherwise good condition. Signed in pencil. $500.

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James Abbott McNeill Whistler. 1834-1903.

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The Traghetto, No. 2. 1880. Etching and drypoint. Kennedy 191.vii. 9 1/4 x 12. Series: Twelve Etchings: First Venice Set. Edition 100. A fine, atmospheric impression printed with rich plate tone, presumably an unrecorded intermediate state between iv and v, before the drypoint on the hats of the men seated at the table, and the drypoint under the table, and before the baby's eyes are clearer. A proof printed in brown in on toned laid paper with a partial Strasbourg lily 1814 laid paper. Signed in pencil by Whistler with the butterfly and 'imp' on the tab. Price upon request.

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The Venetian Mast. 1879-80. Etching and drypoint. Kennedy 195.vi; Glasgow 219.x/xii. 13 3/8 x 6 3/8. Series: First Venice Set 1880. Glasgow records 53 impressions. A fine, atmospheric proof of this rare image, printed in black ink on fine laid paper. Signed with the butterfly in the image and annotated 'imp' on the tab in pencil by Whistler. $12,500.

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Allinson Gallery Index.

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