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Summertime

“And so with the sunshine and the great bursts of leaves growing on the trees, just as things grow in fast movies, I had that familiar conviction that life was beginning over again with the summer.” ~ F. Scott Fitzgerald, The Great Gatsby

"In summer, the song sings itself." ~ William Carlos Williams

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

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

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West Forty-Second Street (Corner of Fifth Avenue toward Sixth.). 1920. Etching. Fletcher 41. 13 1/8 x 10 5/8 (sheet 19 1/8 x 15 7/8). Edition 75. Pale mat stain from previous mounts; otherwise good condition. A rich impression with plate tone, printed on cream wove paper with full margins. Provenance: estate of David Llewellyn Reese, New York. Signed and titled in pencil. Available housed in a striking black wood frame. $7,500.

George Wesley Bellows, N.A. 1882-1925.

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Tennis (Tennis Tournament). c. 1921. Lithograph. Mason 71. 18 3/8 x 20 (sheet 20 x 21 3/8 ). Edition probably 63. A rich impression printed on chine appliqueé mounted on plate paper, as issued. This is a fine lifetime impression. Signed, annotated 'imp' and numbered '6' in pencil by the printer, Bolton Brown; signed and titled in pencil by the artist. Housed in a reproduction period gold leaf frame (29 x 32 1/2). $15,000.

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The Tournament (Tennis at Newport). c. 1921. Lithograph. Mason 72. 14 3/4 x 18 7/8 (sheet 20 1/2 x 24). Edition probably 63. A rich impression printed on chine appliqueé mounted on plate paper. Signed, annotated 'imp' and numbered '42' in pencil in pencil by the printer, Bolton Brown; signed in the stone and in pencil by the artist. Housed in a reproduction period gold frame (29 x 32 1/2). $12,500.

Frank Weston Benson, N.A. 1862-1951.

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Boats at Dawn 1920. Etching. Paff 190.iii. 7 3/4 x 10 7/8 (sheet 10 3/8 x 14 3/8). Edition 150. A rich impression with subtle plate done printed on Japanese mulberry paper on the full sheet with deckle edges. Provenance: the artist's family. Signed in pencil. $2,750.

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On the Kedgwick 1923. Etching. Paff 222. 7 3/4 x 11 3/4 (sheet 11 1/2 x 15 9/16). Edition 150. Illustrated: Fine Prints of the Year, 1923. A rich impression in excellent condition, printed on cream laid paper on the full sheet with deckle edges. Signed in pencil. $2,750.

Isabel Bishop. American. 1902-1988

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Double Date Delayed or Entry-E 1948. Etching. Teller 43. 5 x 3 1/2 (sheet 12 7/8 x9 7/8). Incomplete edition of 35 printed by the artist. This proof is from the subsequent lifetime edition of 50 published in 1978 by Associated American Artists, New York. It was printed by Stephen Sholinsky of Stem Graphics, New York. The sheet bears his embossed blindstamp on the front lower right. A fine impression in pristine condition printed on cream wove paper. Signed and numbered 1/50 in pencil. $600.

Arthur John Trevor Briscoe, R.E. 1873-1943.

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The Endeavour. c.1935. Pencil and watercolour on watercolour board. 14 3/8 x 20 7/8. Signed in pencil, lower right; titled in pencil, verso. $3,500.

Edmund Blampied, R.E. 1886-1966.

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Splashing Through the Surf. 1923. Drypoint. Appleby 95. 7 1/4 x 10 3/16 (sheet 10 1/4 x 15 3/4). Edition 100. Illustrated: Print Collector's Quarterly 13 (1926): 91. A rich impression with drypoint burr printed on the full sheet of cream wove paper with deckle edges. Signed in pencil. $750

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Summer.1914. Drypoint. Appleby 46. 6 7/8 x 4 7/8 (sheet 11 5/8 x 9 3/16). Edition 77. Printed on cream wove paper on the full sheet with deckle edges. Signed in pencil. $650.

Ann Chernow, N.A. Born 1936.

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Lollipop Lane. 2005. Etching. Chernow 157. 1 7/8 x 2 7/8. Edition 5, #1. A fine impression printed in black/brown ink on white wove paper on the full sheet with deckle edges. Signed, titled and numbered in pencil. $300. .

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Summer. 2010. Lithograph from one stone, printed on Arches paper. 8 3/4 x 7 1/2. Edition 7. Signed in pencil. $500.

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Swingtime. 2009. Etching and aquatint printed on Arches paper. 10 x 8. Edition 12. Signed in pencil. $500.

John Steuart Curry. 1897-1946.

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Our Good Earth. 1942. Lithograph. Cole 36. 12 3/4 x 10 1/8 (sheet 16 3/4 x 12 5/8). Edition 250 for Associated American Artists. Illustrated: Beall, American Prints in the Library of Congress.This was originally an image used for advertising war bonds, reading, 'Our Good Earth, Keep it Ours, Buy War Bonds, Make Every Market Day Bond Day.' A fine impression on the full sheet of white wove paper with deckle edges. Signed in pencil. $5,000.

Honoré Victorin Daumier. 1808-1879.

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"- Quand après dix assauts infructueux on arrive enfin à conquéérir une place dans un wagon on éprouve un premier et bien vif plaisir."


Having found a seat after ten desperate attempts to board the train, a first tender feeling of holiday relaxation emerges.)

Les Trains de Plaisir. (Pleasure Trains). 1864. Lithograph. Delteil 3295.ii/ii (with letters). 9 5/8 x 8 3/4 (sheet 11 13/16 x 12 1/16). Series: Croquis, - par Daumier, (Sketches by Daumier), plate one. The series consisted of 4 prints which appeared in the CHARIVARI between August 6, 1864 and June 6, 1866. This image was published in Le Charivari August 6, 1864. Text: lower left: Mon-Martinet,172 r.Rivoli et 41,r.Vivienne; lower right: Lith. Destouches,28,r.Paradis Pre. Slight foxing; one vertical and one horizontal fold; sheet trimmed. A delightful early railroad image. Initialed in the stone, lower left. $750

Edward Julius Detmold (1883-1957).

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Summer Solstice. c. 1920. Colour etching and aquatint, printed à la poupée. 20 7/8 x 12 3/4 (sheet 24 x 16 1/2). Edition 12, #7. A fine, richly inked impression on Japanese mulberry paper with fresh, vibrant colors. Signed, numbered and annotated 'E.J.D. imp' in pencil indicating a proof printed by the artist. $7,500.

Harold Kerr Eby, N.A. 1890-1946.

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Digging Clams. 1931. Etching. Giardina 163. 8 3/8 x 12 5/8 (sheet 11 3/4 x 15 7/8). Edition 350 for the Chicago Society of Etchers.A rich impression printed on 'France' cream wove paper with full margins. Brown paper tape along three edges. Signed in pencil. The scene is Maine. $450.

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White Water. 1929. Etching and sandpaper ground. Giardina 135.vi. 8 13/16 x 14 1/4. Edition 90. Illustrated: American Etchers: Kerr Eby. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $500.

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

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Amazons on a Breton Beach. 1931. Drypoint. Wright 45.ii. 8 x 13 3/8 (sheet 10 3/4 x 17 1/4). Edition 76, #14. An extremely rich impression printed on cream 'J Whatman Hand Made' paper. Hinge stains in 3 corners, well outside the image. Illustrated: Salaman, Modern Masters of Etching. Signed and numbered in ink. $1,500.

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Celinda's Precaution. 1931. Drypoint. Gardner and Clark 52. 7 1/4 x 4 3/4 (sheet 9 1/4 x 7 1/4). Edition 65, #75. A rich impression with drypoint burr printed on 'J Whatman 1827' paper. Signed, numbered and annotated in ink. $975.

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Priscilla Alone. c. 1931. Etching and drypoint. 8 13/16 x 6 3/8 (sheet 12 1/2 x 8 7/8). Edition 75, #64. A rich impression printed in black/brown ink on 'WWarren 1837' laid paper. Signed, numbered and annotated in ink. $975.

Percival Gaskell, R.E. 1868-1934.

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San Giovanni di Bellagio. 1924. Aquatint. 10 x 14 1/2 (sheet 13 13/16 x 19). Edition 150. llustrated: Fine Prints of the Year, 1924. Signed in pencil. A rich impression on cream wove paper. $550.

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Wood Notes Wild. c. 1920. Mezzotint. 10 1/4 x 12 7/8 (sheet 22 1/4 x 18). A rich impression on warm china paper, applied to a heavy white wove paper. Signed in pencil. Excellent condition. Signed in pencil. $500.

Childe Frederick Hassam, N.A. 1859-1935.

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Toby's, Cos Cob. October 31, 1915. Etching and drypoint. Clayton 55. 6 7/8 x 8 7/8 (sheet 9 1/4 x 10 1/8). A unique proof printed on cream wove paper from a Bible. Signed with the cypher in pencil. $5,500.

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The Writing Desk. 1915. Etching. Clayton 54. 10 x 7 (sheet 12 314 x 9 5/8). Tack holes in the marings as usual, indicating that the sheet is untrimmed. A fine impression printed on cream paper with full margins and deckle edges on 3 sides. Signed with the cypherand annotated 'imp' in pencil signifying a proof printed by the artist. Available unframed or housed in a gold leaf frame with fleur-de-lys on the corners. Price upon request.

Wilson Irvine, N.A. American. 1869-1936.

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Summer Landscape. c. 1920. Aqua-print (monotype). 14 1/2 x 17 1/2 (framed 24 x 27). Signed, lower left. Housed in a gold-lipped silk mat and gold leaf frame. $1,950.

Troy Kinney, N.A. 1871-1931.

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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. $200.

Dame Laura Knight, R.A., R.E. 1877-1970.

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Dancing on Hampstead Heath. 1930. Aquatint. Bolling/Withington 47. 10 3/4 x 7 3/4 (sheet 16 x 11). Edition 55. A rich impression with striking contrasts, printed on cream wove paper on the full sheet. Signed, titled and annotated in pencil. $2,500.

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Spanish Dancer No. 2. 1923. Aquatint. Bolling/Withington 19.ii. 10 1/4 1/4 (sheet 16 x 11 3/8). Edition 55 plus trial proofs. An extremely rich impression with striking contrasts, printed on the full sheet of cream laid paper. Signed in pencil. $2,000.

Alphonse Legros. 1837-1911.

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Chercheurs du Trésor (Treasure Hunters). Etching. Wright 697. 4 3/8 x 5 3/4 (sheet 5 5/8 x 6 3/4). Printed with plate tone on antique cream laid paper. Possibly the treasure is the wild truffle. Signed in pencil. $325.

Martin Lewis, N.A. 1881-1962.

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Circus Night. 1933. Drypoint and sandground. McCarron 103. 11 1/8 x 14 7/8 (sheet 12 x 15 1/2). Edition 43 recorded impressions, some unsigned. Illustrated: Fine Prints of the Year, 1934. A rich, tonal impression printed on [S]WEDEN wove paper. Signed in pencil. Price upon request.

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Sunday Garden Inspection. 1927. Drypoint. McCarron 67.ii. 11 3/4 x 8 (sheet 16 x 11 5/8). Edition of 34 recorded impressions (intended edition 50). A rich, well-inked impression printed on cream wove paper with full margins. Signed 'Martin Lewis imp' in pencil, indicating an impression printed by the artist. $3,000.

Reginald Marsh. 1898-1954.

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Beach Picnic. July 11, 1939. Engraving. Sasowsky 182.iii. 5 x 7 (sheet 7 1/2 x 10). Edition 20. Printed on china paper affixed to a sturdy white wove support sheet. A rich impression of this very rare image. Signed in pencil. $3,500.

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Coney Island Beach #1. 1939. Engraving. Sasowsky 191.ii. 9 3/4 x 12 (sheet 11 1/2 x 13 7/8). Edition of 17 lifetime impressions printed by Marsh in 1939 as noted by Sasowsky (there were 110 posthumous impressions). A fine lifetime impression printed on toned J Whatman laid paper with irregular margins. Signed, dated, titled and annotated '[$]25.00 Ed. 40' in pencil. Signed in pencil. $5,500.

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Steeplechase. July 18, 1932. Etching. Sasowsky 138.x. 8 x 11 (sheet 13 x 15 1/2). Proof #18 from the 1969 posthumous edition of 100 for the Whitney Museum (there were about 10 lifetime impressions and a posthumous edition of 100 in 1956.). Illustated: Beall, American Prints in the Library of Congress, p. 293. Printed on white wove paper with full margins. With the 'WM' (Whitney Museum) blindstamp, lower right. This is one of Marsh's most delightful images. $1,750.

Jan Matulka. 1890-1972.

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Bather (Nude Bather, Seated, Facing Window). 1925. Lithograph. Flint 7. 14 1/8 x 10 3/4 (sheet 18 9/16 x 12 3/8). Very few impressions; no published edition. Fine impression apart from vertical uneven printing line. Printed on cream wove paper,with wide margins and a deckle edge on one side. Unsigned. This is a rare image, probably a proof impression. $1,250.

James McBey. 1883-1959.

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The Matador. 1911. Drypoint. Hardie 109. 6 7/8 x 10 7/8 (sheet 7 7/8 x 12). Edition 15. A few scattered foxing marks and slight mat line; otherwise fine original condition. A rich impression with drypoint burr printed on antique laid paper. Signed and dedicated 'To James Greig' in ink. $1,250.

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The Picador Incites the Bull. 1911. Drypoint. Hardie 104. 6 1/4 x 9 7/8 (sheet 8 1/4 x 11 7/8). Edition 30, #5. Slight mat line, 1 hinge stain in the lower margin, well outside the image; otherwise fine original condition. A rich impression with drypoint burr printed on antique laid paper. Signed and numbered in ink. $1,250.

Samuel Palmer. 1805-1881.

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The Herdsman's Cottage, or, Sunset. 1888. Etching. Lister 3.ii. Image 3 7/8 x 3; plate 4 7/8 x 4; sheet 6 x 4 7/8. As published in The Portfolio , 1872. Illustrated: Print Collector's Quarterly 3 (1913): 213. Printed on the full sheet of cream laid paper, with deckle edges on three sides. With the etched initials in the lower margin, as published. $1,250

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The Homeward Star. 1883. Etching. Lister 14.ii/iv. Image 3 15/16 x 5 15/16; plate 5 1/4 x 7 3/8; sheet 8 x 12 1/4. As issued, with lettering, in the second (small paper) edition An English Version of the Eclogues of Virgil The plate was commenced by Samuel Palmer and finished after his death by his son, A.H. Palmer, and issued 1883. A rich, tonal impression printed on cream wove paper. Signed in the plate. $950.

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Moeris and Galatea. 1883. Original etching by Samuel Palmer, completed by his son. Lister 17 ii/iii. Image 3 15/16 x 5 15/16; plate 5 3/16 x 7 3/8; sheet 8 x 12 1/4. As issued, with lettering, in the second (small paper) edition An English Version of the Eclogues of Virgil. The plate was commenced by Samuel Palmer and finished after his death by his son, A.H. Palmer, and issued 1883. A rich, tonal impression printed on cream wove paper. Signed in the plate. $650.

Doris Rosenthal. 1889-1971.

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Summer Breezes No. 1 (Sleeper). c.1931. Lithograph. 13 7/8 x 9 3/4 (sheet 15 7/8 x 11 1/4). Edition 40, # 1. Hinge stains in the margins, well outside the image. A rich,tonal impression printed on 'France' wove paper.Provenance: Midtown Galleries. A striking and unusual self portrait. $1,500.

John Sloan. 1871-1951.

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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.

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Roofs, Summer Night. 1906. Etching. Morse 137.ii. 5 1/4 x 7 (sheet 9 1/2 x 12 1/8). Series: New York City Life. A fine impression on cream laid paper on the full sheet with deckle edges. Annotated 'Peter Platt imp.' by the printer. Signed, titled and annotated "100 proofs" by Sloan in pencil. $3,750.

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Sunbathers on the Roof. 1941. Etching. Morse 307. 6 x 7 (sheet 8 1/4 x 10 1/2). Edition 175 of which 125 were provided on commission to the American College Society of Print Collectors. A fine impression on cream laid paper on the full sheet with deckle edges. Signed and titled by Sloan in pencil. $3,750.

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

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The Anglers Bridge on the Wandle. 1898. Etching. Hardie 311. 5 11/16 x 11 8 7/8 (sheet 8 1/4 10 7/16). A fine impression with plate tone, printed on cream laid paper. Signed in pencil. $500.

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A Roman Canal [Lincolnshire] (after the water-colour drawing by Peter De Wint, 1784--1849). 1904. Mezzotint. Hardie 82.ii. 6 3/4 x 15 (sheet 15 4/1 x 22). Published by Robert Dunthorne. A fine impression printed in black on chine-appliqué affixed to white wove paper. $350. Housed in a black and silver wood frame $450.

Charles William Taylor. 1878-1960.

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Kent. c. 1929. Watercolour. 8 3/4 x 12 1/8 (sheet 9 x 12 1/8). Study for the wood engraving. Irregular lower margin. Fresh, unfaded colors. Signed, lower right. $550.

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Marsh Farm, Essex. c. 1929. Watercolor. 11 3/8 x 9 (sheet 12 1/5 x 19 1/2). Mounting tape on outer margins; 1-inch fold on the left; 2-inch fold on the right; fresh colours. Unsigned. $550.

Jacques James Joseph Tissot. 1836-1902.

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En plein soleil. (In the Sunlight). 1881. Etching and drypoint. Tissot 54, Béraldi 45, Wentworth 54. 7 13/16 x 11 1/2 (sheet 11 1/4 x 15). Edition about 100. Mat line and two hinge stains on the upper sheet corners, well outside the image. A rich impression with plate tone printed on laid paper. The plate was included in A portfolio of Autograph Etchings, published by James R. Osgood and Co., Boston, 1881. Impressions from this portfolio are signed in pencil and have the artist's red stamp (Lugt 1545). $4,500.

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Le hamac (The Hammock). 1880. Etching and drypoint. Wentworth 46. 10 5/16 x 7 1/4 (sheet 14 1/2 x 9 7/16). Edition of about 100. Illustrated: Calloway, English Prints for the Collector, p. 160. A rich impression with drypoint burr printed on cream wove paper. Signed in the plate. $3,000.

J.M.W. Turner. 1775-1851.

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Isis [the great mother goddess of ancient Egypt]. Published c. January, 1819. Etching and mezzotint. Finberg 68.v/v. Series: Liber Studiorum. 8 x 11 3/8 (sheet 10 3/8 x 17 5/8). Drawn, etched and engraved by J.M.W Turner. Engraved(messotinted) by W. Say (William Say. 1768-1832). A fine impression printed in black/brown ink, on cream wove paper with full margins. This is an impression that J.M.W.Turner retained for his private collection and that was auctioned by his executors in 1873. All impressions included in this sale bore the Turner Sale Blindstamp, found in the lower center of the plate. Signed with the artists' names in the plate. $500.

James Abbott McNeill Whistler. 1834-1903.

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The Little Café au Bois. 1894. Lithograph. Way 56, Levy 87, Stratis, Spink and Tedeschi 91.i. 8 1/2 x 6 (sheet: 11 1/8 x 9). A fine lifetime impression printed on 'Van Gelder Zonen' countermarked laid paper. Way lists 28 lifetime impressions (Goulding printed 41 posthumously on April 12, 1904). Provenance: collector's seal of Henry Harper Benedict (Lugt 2936), a New Yorker who amassed an imprtant Whistler collection of 270 etchings and 1643 lithographs. Signed with the butterfly in the stone and in pencil. $10,000.

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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.

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The Traghetto, No. 2. 1880. Etching and drypoint. Kennedy 191.vii; Glasgow 233.vii/ix. 9 1/4 x 12. Series: Venice, a Series of Twelve Etchings (First Venice set). Edition 100; Glasgow records 59 known impressions. Illustrated: Print Collector's Quarterly 1 (1911): 53. A fine, atmospheric proof printed in black/brown in on toned laid paper with a partial Strasbourg lily watermark and an '1814' countermark. Monogrammed with the butterfly and annotated 'imp' on the tab in pencil by Whistler. Price upon request.

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