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Sir Muirhead BoneRainy Night in Rome1913
1913
About the Item
Muirhead Bone (1876-1953), Rainy Night in Rome, drypoint, 1913,signed in pencil lower right and inscribed “Trial Proof” lower left margin. Reference: Dodgson 299, first state (of 10), a total of 125 impressions were printed in all 10 states. In very good condition, with margins (deckle edges bottom and right irregularly trimmed, the slightest toning), 12 x 8 7/8 inches, the sheet 15 3/4 x 11 inches.
Provenance: Kennedy Galleries, New York (with their stock number a11101).
A fine rich impression, printed with a brownish/black ink, with substantial burr and carefully wiped plate tone lightening the center of the composition, printed on a cream wove paper. A trial proof aside from the 48 impressions in this state.
As described by Dodgson, the ground at the bottom right is blank to a height of 10 mm in this state, but the foreground of the composition is in fact darkened with plate tone.
Rainy Night in Rome is one of Bone’s great iconic images. It shows the church San Girolamo degli Schiavoni (not the Church of St. Rocco, as mentioned by Dodgson), at an angle of the Via Schiavoria and the Via di Ripetta.
- Creator:Sir Muirhead Bone (1876 - 1953, Scottish)
- Creation Year:1913
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU51531636633
Sir Muirhead Bone
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 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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