Sir Muirhead Bone. 1876-1953.
All works are signed in pencil unless indicated otherwise.
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America
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.
Britain
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.
Ayr Prison. 1905 Drypoint. Dodgson 179. Only state. 5 x 7 (sheet 8 3/4 x 11 3/8). Edition 41. Only state. Provenance: M. Knoedler & Co. Illustrated: Kappel, The Golden Age of Engraving; Lumsden, The Art of Etching, 333. A rich impression printed on Japanese paper. Signed in pencil. $6,000.
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. Illustrated: Zigrosser, Six Centuries of Fine Prints, #410. Provenance: The Vincent Price Collection; Arthur H. Harlow & Co., New York. A rich impression printed on Japanese paper. Signed in pencil. Housed in a dramatic 13 x 15 3/4-inch burled wood frame with a gold lip. $2,000.
Italy
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 Japanese mulberry paper with full margins and deckle edges on two sides. Signed in pencil. $2,000.
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.
Spain
Jubilee Year, Santiago de Compostela 1930. Drypoint. Dodgson 39. 13 3/8 x 7 7/8 (sheet 20 x 13 1/4). Edition 133. A rich impression printed on the full sheet of white laid paper with deckle edges. Illustrated: Gertrude Bone, Days in Old Spain. Signed in pencil. $1,250.
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 impressioa puppy for a companion?n 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. Housed in a 22 1/4 x 15 1/2-inch period gold leaf frame. $7,500.
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.
Sweden
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. $1,500.
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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