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Spring Online Edition, May 14 - 28, 2021

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Allinson Gallery, Inc.

+1 860-429-2322

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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:

A Horse Affrighted at a Lion. George Stubbs, A.R.A.

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Greetings from Connecticut! I’m guessing
You’re here to “come up and see my etchings”.
Prints are shown – to avoid disorder --
Arranged in chronological order.
In the art world, every day is Christmas
Tanner’s pastoral view is delicious.
I’ll don an ecclesiastical robe
As penance for my sins, Blake’s Book of Job.
After reading all of that wail and woe:
A Lion and a Horse. Don’t Stubbs your toe.
The next two images are much calmer –
The Bellman and Christmas, scenes by Palmer.
Turner established an artistic forum,
Short furthered his Liber Studiorum.
Haden and Whistler were famed – and still friends.
One etched in Ireland, one on the Thames.
Whistler and Tissot set prudish ears ringing,
Baring their lovers -- nude and quarreling.
Views by Buhot and Pennell still enthrall:
Westminster Palace, Wren’s spires, St. Paul’s.
Short and Bone mastered the drama of night:
Starlight and searchlights pierced evening light.
Blampied drove home across the Channel.
McBey: “I’d walk a mile for a camel.”.
Sickert and Nevinson showed the good times --
Clubs in New York and Paris at nighttime.
Bone portrayed mourners in Spain on Good Friday.
Griggs showed supplicants at the Almonry.

Short idealized the English landscape by dint
Of his work in reviving mezzotint.
Tanner’s cottage, Badmin’s bridge won’t grow old,
Showing tranquil beauty in the Cotswolds.
Knight’s gilded lily and Brockhursts’s Dorette
Could be labeled mignonette or coquette.
Brockhurst’s magnum opus, Adolescence,
Captured iconic erotic essence.
May you leaf through this list and savor it.
Which one of the prints is your favorite?

If you’ve enjoyed both the art and the rhyme,
Gallery’s online. Click and see it some time.

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Allinson Gallery, Inc. Printmaking in Britain: 1823-1932.

Robin Tanner, A.R.E. 1804-1988.

Christmas

1929

13 X 11 (sheet 19 3/8 X 1 7/8) inches.

Etching

Trial proof, previous to the edition of 50 from the Penn Print Room edition published in 1974 by McDonald & Nicholson.

$6,000

William Blake. 1757-1827.

Job's Comforters. 'And When They Lifted Up Their Eyes Afar Off'. 'What? Shall we receive good at the hand of God, and shall we not receive evil? '(Job ii: 10).

1823-25.

Image 7 11/16 x 5 7/8; plate 8 5/8 x 6 3/4; sheet 14 7/16 x 10 5/8 inches.

Engraving.

From the first edition of 315 published by John Linnell in 1826

$2,800

George Stubbs, A.R.A. 1724-1906.

A Horse Affrighted at a Lion

1788

Image: 9 x 12 1/2 (sheet: 9 1/8 x 12 3/4)

Etching with roulette work.

No published edition. Rare.

Price upon request.

Samuel Palmer. 1805-1881.

The Bellman

1879

Image 6 9/16 x 9 3/16; plate 7 9/16 x 9 7/8; sheet 11 3/4 x 13 1/2) inches.

Etching

Unique touched working proof.

Price upon request.

A Horse Affrighted at a Lion. George Stubbs, A.R.A.

Samuel Palmer. 1805-1881.

Christmas - Folding the Last Sheep.

1850

Image: 4 7/8 x 3 7/8 (sheet 11 3/8 x 8 3/8) inches.

Etching.

This proof is from the first issued edition, printed under the supervision of A.H.Palmer, the artist's son, and published for: Samuel Palmer, A Memoir, by A.H. Palmer 1882

$5,000

Adolescence. Gerald Leslie Brockhurst, R.A., R.E.

Robin Tanner, A.R.E. 1804-1988.

Christmas

13 X 11 (sheet 19 3/8 X 1 7/8) inches.

Etching

Trial proof, previous to the edition of 50 from the Penn Print Room edition published in 1974 by McDonald & Nicholson.

$6,000

William Blake. 1757-1827.

Job's Comforters. 'And When They Lifted Up Their Eyes Afar Off'. 'What? Shall we receive good at the hand of God, and shall we not receive evil? '(Job ii: 10).

Image 7 11/16 x 5 7/8; plate 8 5/8 x 6 3/4; sheet 14 7/16 x 10 5/8 inches.

Engraving.

From the first edition of 315 published by John Linnell in 1826

$2,800

George Stubbs, A.R.A. 1724-1906.

A Horse Affrighted at a Lion

Image: 9 x 12 1/2 (sheet: 9 1/8 x 12 3/4)

Etching with roulette work.

No published edition. Rare.

Price upon request.

Samuel Palmer. 1805-1881.

The Bellman

Image 6 9/16 x 9 3/16; plate 7 9/16 x 9 7/8; sheet 11 3/4 x 13 1/2) inches.

Etching

Unique touched working proof.

Price upon request.

Samuel Palmer. 1805-1881.