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“Breathe Paris in. It nourishes the soul.” ~ Victor Hugo
“When good Americans die, they go to Paris.” ~ Oscar Wilde
Gargoyles and Cathedrals
A Devil of Notre Dame. 1929. Etching. Fletcher 222.ii. 8 x 5 1/2 (sheet 13 x 9). Gargoyle Series #13. Edition 255. Illustrated as a frontispiece for Churches of France by Dorothy Noyes Arms. 'Number 12 of the Gargoyle Series. Printed by Peter Platt at New York on cream-colored wove paper. A fine, well-inked impression. Signed in pencil. $1,950.
The Gargoyle and His Quarry, Notre Dame. 1920. Etching.Fletcher 90. 7 1/8 x 5 1/4 (sheet 10 1/2 x 9 1/16). Gargoyle series #1. Edition 75. A rich impression printed on 'FJHead&Co' cream laid paper. Signed and annotated in pencil. $2,750.
The Gothic Spirit (also called A Gargoyle, A Gothic Spirit). 1922. Etching and stipple. Fletcher 120. 11 5/8 x 7 (sheet 15 1/4 x 11 1/4). Gargoyle Series #8. Edition 130. Illustrated: Print Collector's Quarterly 21 (1934):126; American Etchers: John Taylor Arms. A glowing impression printed on Japanese mulberry paper with deckle edges on two sides. Signed in pencil. $2,750.
Guardians of the Spire (Amiens Cathedral Number 2). 1921. Etching. Fletcher 102. 6 3/4 x 9 7/8 (sheet 8 7/8 x 13 3/4). Gargoyle Series #4. Edition 75. Illustrated: Dorothy Noyes Arms, Churches of France p.20. A rich impression printed on cream-colored antique laid paper.Signed and dated in pencil. $2,500.
Le Penseur de Notre Dame (The Thinker of Notre Dame Cathedral). 1923. Etching. Fletcher 136.ii. 12 1/2 x 10 1/15 (sheet 17 x 12 3/8). 'Private collection b I' apart from the edition of 185. Gargoyle series #11.e collection b I' apart from the edition of 185. Gargoyle series #11. A very rich impression printed in cream laid paper. Signed, titled, annotated and initialed 'SP' in pencil. $4,500.
Watching the People Below, Amiens Cathedral. 1921. Etching. Fletcher 101. 4 7/8 x 8 (sheet 7 11/16 x 9 1/2). Edition 75. Gargoyle series #3. Illustated: Dorothy Noyes Arms, Churches of France p.20; Beall, American Prints in the Library of Congress, p. 34. A fine impression printed on cream laid paper. Signed in pencil. $2,500. France
Abside de la Cathédrale de Saint Pierre et Saint Paul, Troyes (Apse of the Cathedral of Saints Peter and Paul, Troyes). 1929. Etching. Fletcher 224.ii. 12 1/2 x 7 3/8 (17 3/4 11 7/8). French Series, #29. Edition 127 in this state + 2 printed by Griggs in 1932 and 5 by Strang in 1937-38 (+ 20 trial proofs). Illustrated: Dorothy Noyes Arms, Churches of France, p. 156; Fine Prints of the Year, 1930. A fine impression printed in 1929 by Henry E. Carling with plate tone on pale blue/green laid paper. Signed, dated, titled 'Cathédrale de Saint Pierre et Saint Paul, Troyes' and annotated 'cp' (Carling printed) in pencil. $800.
Gloria: Saint Riquier. (The Church of Saint Riquier; Gloria Ecclesiae Antiquae). 1937. Etching. Fletcher 307.iii/iv. 13 7/8 x 8 5/8 (sheet 8 1/16 x 11 3/8). Edition 175 (Total 237+ 12 trial proofs). French Church series # 39. Illustrated: Fine Prints of the Year, 1938. A fine impression printed on cream laid paper. Signed, dated, titled and annotated 'Third state' and 'sp' (Strang printed) in pencil. $850.
Lescure, Une Tour des Remparts. (A Rampart Tower in Lescure). 1928. Etching. Fletcher 217. 6 3/8 x 3 15/16 (sheet 10 3/8 x 7 3/16). Commissioned as a card for The Architectural Forum, 1928. A fine impression printed by Frederick Reynolds on pale blue/green laid paper. Signed, dated and titled in pencil. $250.
Louviers Lace (Porte du Baptême, Eglise Notre Dame, Louviers. (Louviers lace, Baptismal Door, Church of Our Lady, Louviers). 1936. Etching. Fletcher 303.iii. 12 x 3 1/2 (sheet 15 7/8 x 7 3/8). Edition 166 (+ 3 trial proofs). French Church series # 38. Illustrated: Prints vol. VII, no. 3, 1937, p. 170. A fine impression printed on cream laid paper. Signed, dated, titled and annotated 'sp' (Strang printed) in pencil. $750.
Notre Dame de Laòn. 1929. Etching. Fletcher 219.iii. 14 x 9 5/8 x (sheet 17 1/4 x 11 1/4). Edition 135. French Church Series #26. Illustrated: Dorothy Noyes Arms, Churches of France, p. 174; American Etchers: John Taylor Arms. 2 professionally-repaired tears in the right-hand margin, one extending just into the image. A fine impression printed cream laid paper by Henry E. Carling. Signed and dated in pencil. $375.
Notre Dame du Val, Provins (La Tour, Notre Dame du Val, Provins and Thibaut) 1931. Etching. Fletcher 240.ii. 8 11/16 x 5 1/8 x (sheet 13 x 8 5/8). Edition 155 (+ 19 trial proofs). French Church Series #30. A fine impression printed cream laid paper by Charles S. White. Signed, dated, titled 'Tour, Notre Dame du Val, Provins' and annotated 'Plate etched for Frontispiece of limited Edition (150 copies) of "Contemporary American Etching" 1931. Published by American Art Dealers Association' and 'WI' (Charles White)' in pencil. $375.
Rodez. (The Tower of Notre Dame). 1927. Etching. Fletcher 189. 11 7/8 x 4 15/16 (sheet 15 1/4 x 7 3/4).Edition 120. French Church Series #12. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 114; American Etchers: John Taylor Arms. A fine impression printed cream laid paper by Frederick Reynolds. Signed and dated in pencil. $350.
The Rose, Beauvais. 1925. Etching. Fletcher 161. 12 x 7 (sheet 15 1/4 x 10). Edition 156. French Church Series #3. Illustrated: Dorothy Noyes Arms, Churches of France, p. 22. A fine impression printed on cream laid paper with full margins. Signed and dated in pencil. $600.
Rouen; The Cathedral of Notre Dame from the South. 1925. Etching. Fletcher 162. 8 1/8 x 7 5/8 (sheet 14 1/4 x 9 1/8). French Church Series #4. Edition 150. Illustrated: Dorothy Noyes Arms, Churches of France, p. 50; Fine Prints of the Year, 1925. A fine impression printed on antique cream laid paper. Signed and dated in pencil. $500.
La Rue Sauton, Paris (The South Transept of Notre Dame, Seen from the Rue Sauton and Viguereune) 1924. Etching. Fletcher 144. 13 1/2 x 7 1/2 (sheet 18 1/4 x 11 5/8). French Church Series #1. Edition 200. Illustrated: Dorothy Noyes Arms, Churches of France, p. 4. A fine impression printed on Made [in England] cream laid paper. Signed and dated in pencil. $950.
Sunlight on Stone, Caudebec-en-Caux. 1931. Etching. Fletcher 241.ii. 14 1/4 x 7 1/2 (sheet 16 1/2 x 11 5/8). French Church Series #31. Edition 164 (+ 28 trial proofs). Illustrated: Print Collector's Quarterly 21 (1934): 140; Arms, "Aristocracy in Prints", Prints (May 1932, p. 40. A rich impression with plate tone printed by Henry E. Carling on 'Dard Hunter' cream laid paper. Signed, dated, titled and annotated 'cp (Carling printed) in pencil. $1,750.
A Tower of St. Front, Perigueux (Perigueux's Tower of Saint Front). 1928. Etching. Fletcher 212. 11 7/8 x 5 5/8 (sheet 13 1/2 x 8 3/8). French Church Series #22. Edition 200 (+ 2 trial proofs). Illustrated: Dorothy Noyes Arms, Churches of France, p. 96. A fine impression printed on cream laid paper. Signed, dated and titled in pencil. $400.
Le Hibou.
Le Hibou (Pauca Paucis) 1883. Etching, drypoint, aquatint and roulette. 1883. B/G 161.v/v. 17 1/2 x 12 3/4 (sheet 19 1/4 x 14 1/2). An atmospheric impression printed in brown/black on cream wove paper. Provenance: Kovler Gallery, Chicago. Unsigned.
Thw image shows a horse-drawn cab, a sailing ship, a figure from a novel he illustrated, people with umbrellas, gulls, owls, a minstrel and a bit of the church at Valognes. In the central image, the owl, Buhot's alter ego, stands next to an open book and his shadow, cast on the blank page, produces a silhouette portrait of the bearded artist. The words Pauca Paucis (A Few for the Few) are inscribed below the owl and the book. Buhot designed the print to be a cover or title page for a projected album of some of his works. Unfortunately, the project never materialized. The print itself, though, is a major addition to his oeuvre. $6,000.
Le Hibou (Pauca Paucis) c.1883. Pencil, ink and watercolor study for the etching, B/G 161.v/v.Image 16 x 10 3/4 (sheet 19 7/8 x 12 1/4). Provenance: The New Gallery, New York c. 1925); a Long Island, New York, estate. Monogrammed, lower right, with the stamp of The New Gallery Housed in an elegant period frame. $7,500
Le Hibou (Pauca Paucis) c.1883. Black, brown, and white chalk, charcoal, graphite, pastel and turpentine washes, heightened with white gouache. Image 17 1/2 x 11 1/2(sheet 20 1/4 x 13 7/8. Laid down on board. Housed in an elegant period frame. $15,000.
These lithographic stones are some of the few original Daumier lithographic stones still in existence. This brings the total number of stones listed by The Daumier Register lists only 28 a very low number compared to the large production of almost 4000 lithographs. Most of the stones had been regularly erased after printing and were repeatedly re-used.
Provenance: The previous owner purchased this stone 20 years ago from a Dutch collector by the name of Robert Knol, who assembled a collection of lithographic stones from French and Belgian sources. Thence to public auction in Leiden, The Netherlands. Thence, the collection of Derek Allinson, Ph.D. and Jane Allinson, Ph.D.
Delteil, DR 1249.ii; HD 713. "- Ma bonne amie, puis-je entrer! ... as-tu fini de collaborer avec monsieur?......" (May I come in my dear, or are you still collaborating with Monsieur?). Lithographic stone. Published in Le Charivari 30.05.1844. Lithograph. 230x198 mm (9.06 x 7.8). Series: LES BAS- US, plate 29. Signature 'h.D.'; lower left 'Chez Aubert Pl. de la Bourse 29.'; lower right 'Imp. d'Aubert & Cie.'Stone Number 614. Stone size: 12 5/8 x 10 5/8 x 2 1/2. Weight 31 pounds.
Delteil, DR 1405.ii. HD 2233. - Allons bon!... voila les Grafignons qui viennent à six de Paris pour nous demander à dîner sans façon, et pas moyen de dire que nous n'y sommes pas!... ("Oh no, look, the Grafignons just arrived from Paris, all six of them, just in time for lunch, and there is no way to hide away from them and say we're not in!"). Lithographic stone. Published in Le Charivari 14.08.1845. Series: Pastorales. #18. Signature 'h.D.'; lower left 'Chez Aubert & Cie. Pl. de la Bourse, 29.'; lower right 'Imp. d'Aubert & Cie.' Stone Number 789. Stone size: 13 x 10 1/2 x 2. Weight 25 pounds.
Delteil, DR 1548.ii; HD 925. Une idylle dans les blés. (An idyll in the wheat field.) Lithographic stone. Published in Le Charivari, 6.9.1847. Series: LES BONS BOURGEOIS, plate 72. Signed 'h.D.'; lower left 'Chez Aubert & Cie. Pl. de la Bourse.'; lower right 'Imp. d'Aubert & Cie.' Stone number 1054. Stone size: 12 5/8 x 10 1/2 x 2 5/8. Weight 30 pounds.
Delteil app41, Hazard-Delteil 1990, DR 4022. Le Prédicateur. Je prèche à la cour.... sur l'avarice et le parjure....... j'ai un succès prodigieux...... le roi pleure et me serre les mains....... je reçois le chapeau du cardinal. Lithograph. 240 x 192 mm (9.45 x 7.56 inches). "The preacher. I preach at Court... on avarice and purgery... I have a prodigious success... the king cries and shakes my hands... I shall receivie the Cardinal's hat." Published in Le Charivari 08.08.1833. Series: L'IMAGINATION, Plate 13. Lower left 'L.de Benard, rue de l'Abbaye,No4'; lower right 'On s'abonne che'L'Imagination' to the lithographic stones, while Daumier was serving his prison term in Dr. Pinel's clinic. Image: 7.56 x 9.45. Stone size: 12 1/2 x 10 1/2 x 2 1/4. Weight 30 pounds.
[Justice avocat. (LAWYER)]. "N'y a pas de doute, mon Président, qu'à ma place vous n'auriez pas abimé, comme c' homme là vous !...." (There is no doubt, my President, that in my place you would not have wrecked, like that, that man near you! ... ")1857. Lithograph. Image 8 x 6 5/8, image with text 10 1/4 x 7 3/8, sheet 15 3/8 x 11 1/8. Armelhault and Bocher 1269.ii. Bohêmes (Bohemians), from Masques et Visages by Paul Gavarni, New Series. Physionomies Parisiennes, plate 13. The series of 20 lithographs was published in 1857 by Lemercier & Cie, Paris. The figures were half-length or three quarter-length. This is an impression apart from the daily magazine, printed sur blanc. Accompanied by the original lithographic stone: image 8 x 6 5/8, stone 13 x 9 5/8 x 1 1/2 inches and weighs 19 pounds, 2 ounces. It is interesting to note that the stone contains only the image, not the text, which was later added when the complete lithograph was printed. Additionally, the image is presented in the same direction on the stone and in the lithograph. Price upon request.
English Bar. 1908. Etching and drypoint. Exsteens 275.ii. 8 1/8 x 5 5/8 (sheet 17 3/8 x 12 1/4). Series: Les Bars. Edition 65 in this state (total edition 95). Printed on laid paper watermarked "Pellet et Legrand" on the full sheet with deckle edges. With the red Pellet stamp, lower right. Signed and numbered in pencil. $875.
Sportsmen. 1908. Etching and drypoint. Exsteens 271.i/ii. 11 1/4 x 5 3/4 (sheet 17 3/8 x 12 1/4). Series: Les Bars. From the first state edition of 30 proofs with the remarque sketch at the foot of the image (total edition 95). Printed on laid paper watermarked "Pellet et Legrand" on the full sheet with deckle edges. With the red Pellet stamp, lower right. Signed in pencil. $875.
L'Arche du Pont Notre-Dame. (An Arch of the Pont Notre Dame, Paris). 1853 and later. Etching. Burty 39, Delteil-Wright 25; Schneiderman 28.iv/vii. 6 x 7 3/5/8 (sheet 8 x 9). Series: Eaux-Fortes sur Paris. In this state, the border line has not yet been strengthened, but with the inscriptions in cursive "C. Meryon, del. sculp, 1853', and, lower right, 'Imp. Rue Ne. and St. Etienne-du-Mont 26. Lower right is the inscription, 'Paris 1853'. A fine impression on printed on pale green laid paper. $6,500.
La Galerie Notre-Dame. 1853. Etching with engraving. Schneiderman 29.iv/vi. 11 1/8 x 6 15/16 (14 3/8 x 9 3/8). A rich impression printed in warm black/brown ink on cream laid paper. Illustrated: Lumsden, The Art of Etching. Signed in pencil. Collector's seal: Alfred Morrison (Lugt 151). Signed and dated in the plate. $5,500.
Le Grand Châtelet à Paris, vers 1780. 1861. Etching and drypoint. Schneiderman 74.iv. 9 3/16 x 11 3/4 (sheet 13 1/2 x 19 1/4). Edition 100 in this state. A fine impression printed on laid paper with the letters 'A&M' in a crown. Initialed in the plate. The etching was done after an old drawing in the collection of Monsieur Bérard. It was exhibited at the Salon of 1863. Initialed in the plate, lower left. $750.
La Pompe Notre Dame. (The Pumphouse, Notre Dame). 1852. Etching. Schneiderman 26.vii/x. 6 11/16 x 9 7/8 (sheet 11 x 14). A rich impression with plate tone printed on vergé bleu vedâtre. Signed and dated in the plate. $6,000.
La Pompe Notre Dame. (The Pumphouse, Notre Dame). 1861. Etching. Delteil-Wright 31.ix; Schneiderman 26.x. 6 3/4 x 10. Edition 30 in this state. Series: Eaux-Fortes sur Paris. Initialed in the plate. Illustrated: Leipnik, A History of French Etching; Keppel, The Golden Age of Engraving-; Salaman, The Great Painter Etchers from Rembrandt to Whistler. Ex-collection: Louis Conrad Rosenberg, the American architectural etcher. $3,000 the pair. Accompanied by an etching by Rosenberg.
Satan sement l'ivraie (premier planche). (Satan Sowing Tares). 1906. Heliogravure printed in colors by Albert-Emmanuel Bertrand (1864-1912) after Rops, Exsteens 864. Image: 10 1/8 x 7; Plate: 12 x 8 1/8; sheet: 17 x 12 3/4. Edition 100. Series: Les Sataniques. An atmospheric, tonal impression printed on simili-japon paper. Red seal of the publisher, Gustave Pellet, lower right; remarque, lower right; both are faded. Unsigned. $2,000.
Albert Bertrand made two heliogravures after Satan sement l'ivraie, Exsteens 864 and Exsteens 859 (See Rouir pages 710 and 711). He was a French artist who studied under Isidore-Alexandre-Augustin Pils (1815-1875). Bertrand made his debut at the Salon in 1880.
The French Set and Paris. 1857-1891.
Bibi Valentin. 1859. Etching and drypoint. Kennedy 50.ii; Glasgow 34.ii. 6 x 8 7/8 (sheet 8 11/16 x 10 11/16). Glasgow records 44 known impressions. A rich impression with burr, printed on watermarked laid paper with full margins. Signed and dated in the plate. $2,250.
La Vieille aux Loques. (A Woman Sorting Rags). 1858. Etching and drypoint. Kennedy 21.ii; Glasgow 27.iii/iv (before the removal of Delâtre's namd and address). 6 x 8 7/8 (sheet 8 11/16 x 10 11/16). Series: "Douze eaux-fortes d'aprèè nature" (Twelve Etchings from Nature), the artist's first published set. Glasgow records 44 known impressions. A rich impression with burr, printed on watermarked laid paper with full margins. Signed and dated in the plate. $2,250.
The Unsafe Tenement. 1858. Etching. Kennedy 17,iv; Glasgow 18.iv. 6 1/8 x 8 3/4 (sheet 8 1/4 x 10 3/8). Glasgow records 74 known impressions. Series: Douze Eaux-Fortes d'après Nature (French set). Illustrated: Salaman, The Great Painter Etchers from Rembrandt to Whistler. A very rich impression with plate tone printed in brown/black ink on fine laid paper with full margins. Signed in the plate. $2,250.
Venus. 1859. Etching and drypoint. Kennedy 59.ii; Glasgow 60.ii. 6 x 9 (sheet 8 x 11 3/16). Glasgow records 27 known impressions. There was no published edition. A very rich impression printed in black ink on fine Japanese mulberry paper. Provenance: estate of Alvin B. Glaser Signed and dated in the plate. Housed in an archival French mat and an 11 1/2 x 14-inch gold leaf frame. $17,500.
Rue Furstenberg. 1894. Lithograph. Way 59; Levy 90; Tedeschi, Stratis and Spink catalog 97. Only state. 8 7/8 x 6 1/4 (sheet 14 1/4 x 8 7/8). Illustrated: Print Collector's Quarterly 3(1913: 298. A fine impression printed on cream laid paper with a 'D&C Blauw' watermark of a hunting horn in shield. From the posthumous edition of 37 printed by Goulding in 1903 (Way lists 26 lifetime impressions). Monogrammed with the butterfly in the stone. Housed in a double blue/gray archival French mat and an elegant 20 x 15 1/4-inch gold leaf frame. $5,000.
The Smith, Passage du Dragon. 1894. Lithograph. Way 73; Levy 110; Tedeschi, Stratis and Spink 103.iii/iii. 11 7/8 x 7 1/2 (sheet 14 1/4 x 9 3/4). Edition 34 in three states (additionally, Goulding printed 45 posthumous impressions in 1904. A fine lifetime impression printed on off-white laid paper. Collector's seal verso, lower left, faint brown ink, stamped: initial BP in sketchy square: Lugt 406, Rosalind Birnie Philip (lifetime stamp- design by Whistler. Monogrammed with the butterfly in the stone. $3,000.
The Whitesmiths, Impasse des Carmélites. 1894. Transfer lithograph with stumping. Way 53, Levy 84, Tedeschi, Stratis and Spink 92. iii. 8 5/8 x 6 3/8 (sheet 11 x 7 7/8). Way listed 28 lifetime proofs (Goulding printed 40 posthumous impressions on December 11, 1903). Printed on fine ivory laid paper. Signed with the butterfly in the stone and in pencil. $6,500.
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