All works are signed in pencil or ink, unless indicated otherwise.
Click on the images for larger pictures. The large images are not interlinked. Please click on the "back" button to return to this file.
Artists and Writers.
William Cowper Esqr. (After Thomas Lawrence 1769-1830). 1806. Stipple engraving. 11 x 8 (sheet 12 1/8 x 9 5/8). Published by J. Johnson, St. Paul's Church Yard, January 1, 1806. Printed on cream wove paper. Paper grubby, mainly around the edges, otherwise fair original condition. Signed, dated and titled in the plate. $125.
Henry Bell, Esq. December, 1930. Etching. Fletcher 68.v. Published state. 8 5/16 x 6 3/16 (sheet 14 3/4 x 10 7/16). Private commission. Edition 55 (68 total proofs). A very rich impression. Signed in pencil. Henry Bell was associated with Lloyds Bank. $500.
Fabian (The Ideal Head). 1921. Etching. Fletcher 23. 7 x 5 (sheet 11 5/8 x 9 7/16). Edition 76 (total 90 impressions). Exhibited at the Royal Society of Painter-Etchers, 1921. llustrated: Print Collector's Quarterly 11 (1924): 423. A rich impression printed on cream wove paper with wide margins. Signed in pencil. $650.
Marquett. 1925. Etching. Fletcher 51. 8 7/16 x 6 7/8 (sheet 12 13/16 x 8 7/8). Trial proof, apart from the edition of 106 (total 113 impressions). A rich impression, printed on cream laid paper. Signed and annotated "Trial" and "to light" by the artist in pencil. The model for this portrait was the wood engraver, Marquett, whose portrait Brockhurst had etched in 1921 (Fletcher 27). $575.
James McBey. 1931. Etching. Fletcher 69.ix. 10 1/2 x 7 1/2 (sheet 14 7/8 x 11 3/8). Edition 111. A rich impression printed on cream wove paper with full margins. Illustrated: Fine Prints of the Year, 1931; Print Collector's Quarterly 22 (1944): 70. Signed in pencil. Housed in a 19 1/2 x 16-inch Hogarth style frame.
An Old Corsican. 1921. Etching. F 27. 6 5/16 x 4 9/16 (11 1/2 x 9 3/8). Edition 76. A beautiful, rich impression with plate tone, printed on 'J. Whatman' laid paper on the full sheet with deckle edges. Signed in pencil. The model for this portrait was the wood engraver,Marquett, whose portrait Brockhurst had etched in 1925 (Fletcher 51). $650.
Henry Rushbury, A.R.A., R.E., R.W.S., No. 2. 1930. Etching. Fletcher 66. Published state. 10 x 7 3/8 (sheet 14 1/2 x 10 3/4). Edition 111. Illustrated in 'Royal Academy Illustrated' 1930; 'Fine Prints of the Year' 1930; Print Collector's Quarterly 21 (1943): 331. An exceptionally rich impression with printed on cream wove paper. One of a few proofs signed by the artist and also by Henry Rushbury. $2,250.
A Self Portrait. c. 1932. Ink drawing on wove paper. 3 1/2 x 2 1/4 (sheet 10 x 7). Provenance: the artist's daughter. Unsigned. A unique silhouette housed in anarchival French double mat and a 12 3/4 x 11 3/8 Whistler-style gold leaf frame. $1,750.
Portrait of Eugene Higgins, Age 80. 1954. Oil on canvas. 30 x 25 (framed 35 x 30). Higgins and Cole, both artists, lived in Lyme, Connecticut. Born in the same year, they were both 80 when the painting was executed. Housed in a gold leaf frame. Signed and dated, lower right. $4,400.
Charles Cundall, R.A. 1926. Drypoint. Schwabe 171.v. 18 x 11 3/4 (sheet 20 1/2 x 14 5/8). Illustrated: Guichard, British Etchers, 1850-1940. A rich impression printed on the full sheet of cream wove paper. A painter and lithographer, Cundall (1890-1971) had his first one-man show at Colnaghi the year after this impressive portrait was made. Signed in pencil. $1,200.
Timothy Cole Engraving a Woodblock. 1935. Wood engraving after Alphaeus Philemon Cole (1876-1988). 6 3/16 x 5 (sheet 12 x 9). A rich impression printed on cream wove paper. Signed in pencil by Alphaeus P. Cole, signed and dated by John W. Evans. $500.
L'amant et le dictionnaire des rimes. (The Lover and the Rhyming Dictionary) July 7, 1839. Lithograph. 7 7/8 x 6 1/4 (image), 10 1/3 x 9 (border), 14 5/8 x 10 (sheet). A find impression printed on newsprint as published in Le Charivari. Good condition apart from a center fold. Signed in reverse in the stone. A charming parody on amateur poets. $125.
(L'amant): Nymphes des Bois, connaissez vous Adèle? (Le Dictionnaire des Rimes): Adèle! Pastourelle, charnelle, onzelle, matétielle, récelle, sempiternelle, femelle....Qu'elle demoiselle!
The comparisons become increasingly less flattering.
Le Comte Robert de Montesquiou-Fezensac. c. 1894. Etching with drypoint and roulette. 9 1/8 x 4 1/4 (10 1/2 x 7 1/8). As published in the Gazette des Beaux-Arts in 1903. A fine impression printed by Porcabeuf on cream laid paper. Signed in the plate. $175.
Portrait of Albert Schweitzer. 1950. Etching. 11 3/6 x 9 3/4 (sheet 16 1/4 x 14). Illustrated: Beall, American Prints in the Library of Congress, page 205. A rich impression with plate tone printed on cream laid paper. Signed and annotated 'Printed from Copper' in pencil; titled on the mat in the artist's hand. $750.
Portrait of Whistler with the Monacle. 1897. Drypoint. 13 3/4 x 10 1/4 (sheet 16 3/4 x 11 5/8). A carefully wiped impression with plate tone, from the canceled plate (there were only 28 impressions before the plate was canceled), printed on cream laid paper. A delightful portrait of Helleu's colleague and friend, Whistler. $1,750.
Portrait of Lèon Bonnat. 1880. Etching. 3 1/4 x 2 1/2 (sheet 12 x 8 3/16). Printed by Vernant on cream wove paper and published in Revue de l'Art ancien et moderne. Monogrammed in the plate. $85.
The Artist. 1927. Woodcut. 4 1/2 x 2 3/4 (sheet 12 x 9 1/4). As published in Douglas Cleverdon. The Engravings of David Jones: A Survey by Douglas Cleverdon. Frontispiece portrait, wood-engraving of the title page of Morte Darthur and 206 illustrations (three engraved by Eric Gill from the blocks designed by David Jones). Copy number xxv of 105 copies on J. Barcham Green hand-made paper, watermarked Clover Hill, with a separate portfolio containing a set of the engravings on japon, 9 copper engravings and one drypoint printed from the original copper-plates, of a total edition of 430. Portrait frontispiece of David Jones, wood-engraving of the title-page of Morte Darthur and 206 illustrations (three engraved by Eric Gill from the blocks designed by David Jones). Two volumes. Small folio, near fine in original quarter tan morocco, green cloth sides with “David Jones” device in gilt on upper cover, spine with green morocco and gilt labels, the portfolio in a uniformly bound clamshell box of tan and green cloth with green morocco spine labels, both volumes housed in a green cloth-covered slipcase. London, Clover Hill Editions. 1981. $4,500.
Portrait of George Frederick Watts (1817-1904. 1879. Etching. Beraldi 198.iii/iv; Wright 198 iii; Bliss 198. 7 1/8 x 5 1/4 (sheet 11 7/8 x 8). As published the Revue de l'Art ancien et moderne May 10, 1900. A fine impression printed on the full sheet of cream wove paper. Signed in the plate. $225.
The Connoisseur: Malcolm Salaman. 1926. Drypoint. Boulet 202. Edition 540, #34. 9/8 x 11 1/2 (sheet 11 3/4 x 13). Illustrated: Print Collector's Quarterly 8 (1921): p.112. An extremely rich impression with drypoint burr and plate tone printed on Japanese mulberry paper. Signed, numbered and annotated 'imp' in pencil, indicating a proof printed by the artist. A penetrating portrait of the famous scholar. $1,500.
Artist and Model. 1925. Etching. Hardie 223.vi. 8 3/4 x 5 3/4. Edition 500. A fine impression on the full sheet of wove paper. Signed in ink. $650.
Geoffrey Badger Moody. 1922. Drypoint. Guichard 38, Black 98. 10 x 7 (sheet 12 5/8 x 9 1/8). Edition 150. Illustrated: Fine Prints of the Year, 1923. A rich impression with drypoint burr, printed on 'FJ Head & Co' cream wove paper. Published by Lefevere and Son and Mssrs. Ernest Brown and Phillips. Signed in pencil. $2,750.
.JPG)
Homme dé;voilant une Femme. (Man uncovering a woman). 1931. Drypoint. Bloch 138; Baer 203 B.d. Vollard Suite, plate 5. Printed by: Lacourier, Paris. Published by Vollard. From the edition of 250 on petit papier vergé Montval paper. Total Edition 310. Good condition apart from mat burn and 3 unobtrusive foxing spots in the lower left-hand margin. A rich impression with drypoint burr, printed on laid paper countermarked 'Vollard', on the full sheet with deckle edges on three sides. Annotated with the Baer number '203' in the lower left-hand margin. Signed 'Picasso' n pencil by the artist. Housed in a striking 28 1/2 x 23 1/2-inch modernist stepped gold leaf frame. Price upon request.
Self Portrait. c.1933. Drypoint. 11 7/8 x 8 1/2 (sheet 18 3/8 x 11 1/4). Edition75, #39. Signed and numbered in pencil. Tack holes in the outer margins from drying, as usual. A rich impression on cream-colored laid paper with full margins. $600.
Connoisseurs of Prints. 1905. Etching. Morse 127. 5 x 6 7/8 (sheet 9 3/4 x 11 3/4). Series: New York City Life, first plate. Edition 100. Exhibited: Panama-Pacific International Exposition, San Francisco, 1915. A fine impression on cream wove paper with full margins. Signed, titled, annotated '100 proofs' in pencil. Housed in an archival mat and a striking 13 1/2 x 14 3/4-inch black and gold wood frame. $4,000.
The Impercipient. 1923. Etching and drypoint. Barclay 155. 9 1/2 x 9 1/2 (sheet 15 7/8 x 12 3/4). Exhibited at the Royal Academy and the Royal Society of Painter-Etchers. A rich impression with plate tone on cream laid paper with full margins. Signed in pencil. $1,250. Housed in a 12 1/2 x 16-inch archival mat. This is the artist's magnum opus.
Portrait of Frederick Goulding (1842-1909. 1906. Drypoint. David Strang 581. 15 7/8 x 11 3/8 (18 3/8 x 13). A rich impression printed on cream laid paper. Signed and annotated by the artist's son, David. $750.
Click on the images for larger screens.
James McBey. 1931. Drypoint. 8 7/8 x 5 7/8 (sheet 11 1/2 x 9 ). An extremely rich impression with drypoint burr, printed by the artist on cream wove paper. Signed in the plate lower left: "Walter Tittle / London." Signed and annotated 'imp' in pencil. $400.
J.A.M. Whistler with the White Lock. c. 1895. Lithograph. Gallatin 131. 8 1/8 x 5 1/2 (sheet 10 X 6 3/4). A tonal impression printed on fine wove paper. Signed in pencil. $2,500
J. Becquet, Sculptor (The Fiddler). 1859. Drypoint. Kennedy 52.iv; Glasgow 62.vi. 10 1/8 x 7 1/2 (sheet 15 5/16 x 9 3/4). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects" (Thames Set), plate 8. Illustrated: Salaman, The Great Painter-Etchers from Rembrandt to Whistler, Print Collector's Quarterly 1 (1911): 36; Salaman, Modern Masters of Etching: Whistler; Guichard, British Etchers, 1850-1940. An extremely rich impression with plate tone, printed on cream laid paper with a fleur-de-lys watermark and a JHamp;Zoon (Chicago 321). Provanance: Howard G. Mansfield (1848-1938) to Harris F. Whittemore (1864-1939)(Lugt 1834a. Unsigned. $3,250.
The Russian Schube. 1896. Lithograph. Way 112, Levy 160, Chicago 142.ii. 1896. Lithograph on laid paper. 7 x 5 1/2 (sheet 11 11/16) x 8). Way lists 15 impressions in 2 states. Provenance: the collector's seal of Otto Gerstenberg (Lugt 2785). Monogrammed in the stone, center right; signed in pencil with the butterfly in the lower margin. The stone was erased November 4, 1903. Housed in a spectacular 18 x 15 1/2 gold leaf frame. A fine impression of this extremely scarce image. $7,500.
Zorn and His Wife. 1890. Etching. Hjert and Hjert 31.ii. 12 1/2 x 8 3/8 (sheet 23 1/2 x 18). Edition 40-50. A fine impression on simili-Japan paper. Signed in pencil. $9,500.
Portrait of Dudley Olcott. 1930. Drypoint. Hardie/Carter 263. 9 3/8 x 6 (sheet 15 1/2 x 7 1/2). Trial I, on a plate that had been used for a first study of Mr. J. Seaman, whose head has been partly scraped out. Edition 41 plus 5 trials. An extremely rich impression with drypoint burr, printed on antique cream laid paper. Signed and annotated 'Trial I' in ink; titled and annotated 'trial I' in pencil. A unique proof. $375.
Portrait of Dudley Olcott. 1930. Drypoint. Hardie/Carter 263. 9 3/8 x 6 (sheet 13 1/8 x 9 1/4). Trial III, on a plate that ha been used for a first study of Mr. J. Seaman, whose head appears upside down in the lower right. Edition 41 plus 5 trials. An extremely rich impression with drypoint burr, printed on antique cream laid paper. Signed and annotated 'Trial III' in pencil; annotated 'Trial III', 'old' and 'head scraped' in pencil. A unique proof. $375.
Portrait of Dudley Olcott. 1930. Drypoint. Hardie/Carter 263. 9 3/8 x 6 (sheet 12 5/8 x 8 5/8). Trial IV. The sitter's right ear shortened; added work all over thye face and in the background. Mr. Seaman's head removed from the plate. Edition 41 plus 5 trials. An extremely rich impression with drypoint burr, printed on antique cream laid paper. Signed and annotated 'Trial IV' in pencil; annotated 'Trial IV', 'ear shortened' and 'White head reinforceded' and 'hair brought down' in pencil. A unique proof. $375.
Joseph Seaman. 1930. Drypoint. Hardie/Carter 262. 9 7/16 x 5 7/8 (sheet 14 1/4 x 10 1/8). Edition 41, #12. An extremely rich impression with drypoint burr, printed on antique cream laid paper. Signed and numbered in ink. $325.
Portrait of Albert H. Wiggin (No. 3). 1930. Drypoint. Hardie/Carter 259. 8 x 7 (sheet 14 x 9). Edition 85, #33. An extremely rich impression with drypoint burr, printed on antique cream laid paper. Dedicated in ink, 'From collector to collector. A.H.W. to Dudley Olcott.' Signed and numbered in ink. $325.
Sir Sidney Smith, K.C.B. (1764-1840) 1802. Mezzotint. 25 1/4 x 17 (plate). Text: 'Robert Ker Porter pinx.t. W.Say sculp.t.
London Published as the Act directs, June 19 1802, by John P. Thompson, Printseller to his Majesty and their Royal Highness's the Duke and Duchess of York; Great Newport Street, and No 51, Dean Street, Soho.'
Signed, dated and titled in the plate. Vertical stain under the 'S' in Smith; otherwise apparently fine condition. Housed in a stunning 34 x 25 1/2-inch carved, patinated and gilded frame with ormolu corner mounts. $550.00
Le Pope Niemetsky. Prisonnier de guerre au camp de Halle (Prusse), 1915. (Pope Niemetsky, Prisoner of war in the Halle Camp, Prussia). 1915. Drypont. Printed by Vernant and Dollé, and published in Revue de l'Art ancien et moderne. Unsigned. $65.
The Blessed Trinity with the Blessed Virgin. 1921. Wood engraving. Physick 181. 3 x 3 5/8 (sheet 3 9/16 x 5 1/8). Based upon a drawing by Elizabeth Gill. Printed on cream wove paper. Unsigned. $575.
Nativity with Midwife, St. Joseph Standing. 1913. Wood engraving. Physick 14. 2 1/8 x 2 1/8 (sheet 2 5/8 x 2 3/4). Design for a Christmas Card. Printed on cream wove paper. Laid onto a paper mount along the top sheet edge. Signed and annotated with a '+' in pencil. $750.
Resurrection: EGO SUM RESURRECTIO ET VITA. 1934. Wood engraving. Physick 866. 4 1/8 x 2 1/8 (sheet 5 x 3). Letterpress verso: 'DAVID WHITEMAN PEPLER 23 OCT. 1905 2 SEPT. 1934 DONA EI REQUIEM INVENUMUS EUM IN CAMPIS SILVAE'. Printed as a memorial card, apart from the illustration for The Passion of Our Lord. Extremely scarce in this printing. Printed on cream wove paper. Unsigned. $450.
St. Mark. 1934. Wood engraving. Physick 870. 6 11/16 x 4 1/16 (sheet 7 5/16 x 4 3/4). Printed on bluish-gray wove paper as a holiday card. Printed on the inside reads, 'Happy Christmas and New Year from Mary Gill', typeface. Annotated 'Our love to you, and from all the family,' in pen on the back of the front cover. From the Aldine Bible. Unsigned. $350.
St. Mark. 1934. Wood engraving. Physick 870. 6 5/8 x 4 1/16 (sheet 7 3/8 x 9 1/2). Printed on light gray wove paper as a holiday card. Printed on the outside cover of the card reads, 'Happy Christmas & New Year From Mary Gill'. The image of St. Mark is printed on the inside. Written on the back of the card in ink reads 'My love to you both. I will be waiting. MG.' $1,500.
St. Matthew. 1934. Wood engraving. Physick 869. 6 x 3 1/2 (sheet 8 13/16 x 5 1/4). Issued as a Christmas card from Mary Gill. Annotated, 'My love to you both and the family. MG' in ink. Illustrated for the Aldine Bible. Printed on cream wove 'England 1945' watermarked paper with two sides deckle edges. $450.
Spoil Bank Crucifix. 1919. Wood engraving. Physick 157. 2 x 3 (sheet 4 x 4 3/8). Printed on simili-Japan paper. Initialed in pencil. $575.
Moses Breaking the Tablet of the Law. c. 1860. 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. Housed in an archival French mat and a 20 X 11 1/2-inch carved wood frame. $1,750.
The drawing is based upon the famous vault painting by Parmigianino in the church of Santa Maria della Steceta in Parma.
Notre Dame de la Fin des Terres. (Our Lady of the End of the World). Woodblock cut by Georges Aubert after a drawing by Rouault for the book Cirque de l'Étoile Filante (Circus of the Shining Star). (Paris, 1938), page 155. 6 x 7 3/4. Signed and dated in the block. $2,500.
Réincarnations du Père Ubu. 1918-19. Etching, sugar-lift aquatint, roulette and woodcut. Chapon-Rouault 8-30. Sheet size: 17 x 12 3/4. Complete set of twenty-two etchings and aquatints, hors-texte, and 104 wood engravings en-texte by Georges Aubert after drawings by Rouault. Example number 179 from the edition of 200 on papier àla marque de la Manufacture Royale de Vidalon avec la suite sur Arches et Rives (total edition 305). Initialed and dated in the plate or the block. The complete set, each print matted. All the prints are housed in a portfolio box. $7,50.
Père Ubu - for more then 3 decades. He began with Le Grand Almanach du Père Ubu, 1900 - 1901, illustrated by Pierre Bonnard and ended with Rouault's Réincarnations du Père Ubu in 1932, with etchings by Rouault. Vollard wrote or published more than 10 works on the subject. Père Ubu was based on the play, Ubu Roi, by Alfred Jarry, that premiered in 1896. It is one of the precursors to the Theatre of the Absurd and the greater surrealist art movement of the early twentieth century. It is the first of three stylised burlesques in which Jarry satirizes power, greed and their evil practices, in particular the propensity of the complacent bourgeois to abuse the authority engendered by success.
Rouault began the series in 1913 and completed the illustrations in 1928. The Ubu series marks Rouault's first use of photogravure to secure a basic image on the plate. An 8-page prospectus with 5 wood engravings by Aubert was issued by Vollard. The work was designed to mirror the artist's religious convictions and questionings and was to be a vast operation of over 100 prints. As the series progressed, an oeuvre of 100 proved too ambitious; so the series was curtailed.
Ambroise Vollard was obsessed with his invented character - Père Ubu - for more then 3 decades. He began with Le Grand Almanach du Père Ubu, 1900 - 1901, illustrated by Pierre Bonnard and ended with Rouault's Réincarnations du Père Ubu in 1932, with etchings by Rouault. Vollard wrote or published more than 10 works on the subject. Père Ubu was based on the play, Ubu Roi, by Alfred Jarry, that premiered in 1896. It is one of the precursors to the Theatre of the Absurd and the greater surrealist art movement of the early twentieth century. It is the first of three stylised burlesques in which Jarry satirizes power, greed and their evil practices, in particular the propensity of the complacent bourgeois to abuse the authority engendered by success.
To order, to report broken links or to be placed on the email list, please contact Jane Allinson (jane@allinsongallery.com), call +1 860 429 2322. Business hours are 9:A.M. to 5 P.M. Eastern Standard Time.
Please click here to review the USE AND ACCEPTANCE AND PRIVACY POLICIES FOR THE ALLINSON GALLERY, INC. WEBSITE
Thank you for visiting this website.
Religious Figures
François de Herain. 1877-1962.
Eric Gill, R.E. 1882-1940.
Daniel Ramé 1806-1887
(after Parmigianino. 1503-1540).
Georges Rouault. 1871-1958.
