IFPDA_Fair_Logo_2021.png

Allinson Gallery, Inc.

Storrs, US

Introduction

Welcome to Allinson Gallery, Inc. We have been in business since 1978, and specialize in American, British and Continental fine prints, drawings and watercolors in the Painter-Etcher tradition from 1850 to 1950.

The gallery has maintained an online presence since 1982. That was an exciting time when e-commerce was beginning. Questions were raised, such as “Would collectors purchase art that they had not seen in person?” “Was the internet a fad?” “Would banks provide credit cards to galleries that sold works internationally?” “Was art too exalted to be offered online?” It took nearly a decade to prove that the web was a viable venue for the art world.

Jane Allinson has a Ph.D. in medieval studies. She has curated museum exhibitions on Joseph Pennell and three Scottish printmakers: Cameron, McBey and Bone. Additionally, she has published several articles and has co-authored two books on the Philippine painter, Fernando Amorsolo y Cueto. Seven Deadly Sins is a collaboration of her irreverent poems and mixed media prints by Ann Chernow, N.A.

Derek Allinson, Ph.D. is an emeritus professor from the University of Connecticut, presently preparing an extensive revision and expansion of the catalogue raisonné of Sir Frank Short, R.A., 1857-1945. Short belonged to the artistic circle of Whistler, Haden and their contemporaries. He revived the practices of mezzotint and pure aquatint, and worked extensively in drypoint, etching and engraving. Short also wrote about printmaking and was President of the Royal Society of Painter Etcher & Engravers (now called the Royal Society of Painter-Printmakers) from 1910 to 1938. He was head of the department of engraving at the Royal College of Art from 1891- 1924. During that time, he taught a generation of printmakers. He created several hundred fine prints, both original and reproductive works after such artists as George Frederic Watts and J.M.W. Turner, whose Liber Studiorum Short continued, with the encouragement of John Ruskin.

The Allinson Gallery, Inc. reflects the founders’ collecting interests. The emphasis is on works by James Abbott McNeill, Whistler, Martin Lewis and the British Painter-Etcher tradition.

Image:

Martin Lewis. The Glow of the City.

Powered-by-Black-type-white-background.p

I'm a paragraph. Click here to add your own text and edit me. It's easy.

Spring in the City

Winter’s ended. Welcome spring!
Celebrate. Do a handspring!
Get yourself a new spring robe,
Or refresh your print wardrobe
With works from this droll ditty
Showing spring in the city.

The Chanin Building’s aglow,
Tenement lights share the show.
Perhaps the lights are a trope,
Reflect her longing and hope.

Temperature’s inferior
In East Side Interior.
Her bodice is décolleté
To help keep the heat away.
She welcomes the breeze that blows
While baby sleeps as she sews.
Overfilled apartment’s dense,
Temperature is more intense.

Look at the poor soda jerk:
Others relax, he must work
In the Village one spring night.
What a sweet nostalgic sight,
Just like Relic’s speakeasy -
Moonshine could make you queasy –
Doorway is in the shadows.
Once inside, anything goes.

On a corner, by the El,
Yorkville grocery’s doing well.
Passers by all make a stop
As they walk and talk and shop.

Dockworkers on East River
Ignore Brooklyn Bridge upriver.
Perhaps there’s an argument,
Or a New York Parliament!

9 A.M. on Saturday,
Stylish workers on their way
In the early morning light.
Day’s End shows a different sight:
Fact’ry workers leave their site
“In the forest of the night.”

When you have some funds to spend,
And art exhibits attend,
Listen to art connoisseurs!
Hear the music of the spheres.
I am among the minions
In my eye there comes a glint
When I see a great fine print.
Art collecting’s just a ball.
I want to see – and buy – them all!


Sloan’s next etching (it’s quite droll)
Of a bar nicknamed “Hell Hole”.
‘Twas an artsy meeting spot.
Some were famous; most were not.

Next, the elegant set met,
At famed Café Lafayette,
Where you could see and be seen,
Dine on scrumptious French cuisine.

Up and down Fifth Avenue –
That was their daily venue –
Critiques were on the menu
As they’d parade and damn you.

Love on the Roof is exotic.
Look – the laundry’s erotic
And a little chaotic,
Romantic and rhapsodic.

Another rooftop delight –
On a sultry summer night
Families are sprawled, fast asleep
Trying to escape the heat.

See Madame Ryanne’s corset –
A sight you’d like to forget –
Shown in a storefront window.
I really don’t know how to
Fasten the thing around you.
Without one, girls are at ease.
I’ll bypass it by, if you please.

On Fourteenth street, one and all,
Guys and dolls could have a ball,
At the red brick Wigwam (so-called)
Home of famed Tammany Hall,
Headquarters of old bosses.
Cross them – count your losses.

On a New York ferry
Some mourn, others are merry,
At this outdoor Irish wake,
Folks mourn, dance, can’t stay awake.
They’ll reach the other side soon
On this rainy afternoon.

Now it seems we’ve reached the end.
Thanks for joining me, my friend.
Let the art make your heart sing
Like a robin in the spring.

Jane Allinson, Ph.D. President

Martin Lewis, N.A.

The Glow of the City

1929

18 1/2 x 21 3/4 inches framed

Drypoint

Edition of 110 recorded impressions, including 4 trial proofs.

Edward Hopper, N.A.

East Side Interior

1922

framed 17 x 18 1/2 inches framed

Etching and drypoint

No published edition. Rare.

Martin Lewis, N.A.

Spring in Greenwich Village

1930

21 x 22 1/2 inches framed

Drypoint and sand ground.

Edition 92

Martin Lewis. Quarter of Nine, Saturday's Children and Day's End

Allinson Gallery Print Room

Martin Lewis, N.A.

Relics, Speakeasy Corner

1928

25 x 21 inches framed

Drypoint

Edition 111

Martin Lewis, N.A.

Yorkville Night

1947

17 x 19 3/4 inches framed

Drypoint

Edition 18

Martin Lewis. Quarter of Nine, Saturday's Children and Day's End

Allinson Gallery, Inc.

Storrs, US

001 860 429 2322