Allinson Gallery, Inc. Figurative Prints

9 5/16 x 8 1/4 (sheet 15 1/4 x 12 3/4). Toning in the image; otherwise good condition. A rich impression with plate tone printed on cream wove paper. Signed in pencil. Housed in a 20...

Schwabe 171.v. 18 x 11 3/4 (sheet 20 1/2 x 14 5/8). Illustrated: Print Collector's Quarterly 13 (1926): 373; Guichard, British Etchers, 1850-1940. A rich impression printed on the fu...

Reif 20.IIc(of e). 10 5/8 x 9 3/4 (sheet 19 X 12 3/4). Slight scattered foxing in the margins, away from the image. A rich, tonal impression printed on sturdy wove paper. Proof aside...

"- Quand après dix assauts infructueux on arrive enfin à conquéérir une place dans un wagon on éprouve un premier et bien vif plaisir." (Pleasure Trains.) Having found a seat a...

Driving Home in the Rain. 1914. Drypoint. Appleby 35. 7 3/8 x 10 1/8 (sheet 12 x 15 3/8). Edition 40. Illustrated: Guichard, British Etchers, 1850-1940; Print Collector's Quarterly 1...

1928. Etching. Morse catalog 235. state ii. Image: 9 3/4 x 7 (sheet 17 1/4 x 11 3/8). From the first printing of 100 proofs by Peter Platt. There were an additional 10 printed by Er...

1932. Drypoint. Appleby 167. 9 1/4 x 11 5/8 (sheet 11 3/8 x 17 15/16). Edition 100 #48. Mat line, well outside the image; otherwise excellent condition. A rich impression with drypo...

A Fierce Bull. 1911. Drypoint. Hardie 108. 5 3/8 x 8 (sheet 8 5/16 x 11 7/8). Edition 8. An exceptional impression with rich drypoint burr printed on antique laid paper. A proof of t...

Below Stairs. 1930-31. Drypoint. Appleby 143. 10 1/4 x 7 3/4 (sheet 15 3/4 x 10 1/8). Edition 100, #31. A very rich, tonal impression on cream-colored laid paper. Unobtrusive soiling in the top left- and lower-left hand margins, just below the platemark; and light mat line just outside the platemark. . Signed and numbered in ink. Housed in a 20 x 16-inch archival mat, suitable for framing. A charming discussion between the chef and a scullery maid in a "Downtown Abbey...

The Centenarian. 1930-31. Drypoint. Appleby 144. 10 5/16 x 10 3/8 (sheet 17 3/8 by 12 3/8). Edition 100. A rich impression on cream-colored 'Whatman' laid paper with full margins. Signed and numbered in ink. Edmund Blampied was a painter, etcher, lithographer and sculptor. Born in 1886 to a family of three boys in St. Martin, Jersey, Blampied became interested in drawing at an early age. After visiting the studio of John Helier Lander in 1899, Blampied decided to make a career as an artist. In 1903 he went to London to attend Lambeth Art School, where he studied etching under Walter Seymour. In 1905, he joined the Daily Chronicle as an artist. In that year he was awarded a scholarship to Bolt Court Scool of Photo-engraving and Lithography. In 1912 he left the Chronicle and established his own studio. He earned a living by illustrating novels and short stories. In 1913, he had his first exhibition at the Leicester Gallery in London. The following year he married Marianne Van Abbé. During the 1920's, he became a member of the Royal Society of Painter-Etchers and Engravers. During the 1920s Blampied became a member of the Royal Society of Painters-Etchers and Engravers and exhibited in London to critical acclaim. He produced a folio of comic drawings in the 1930s which was published in New York in 1934 and another that was published in London in 1936. The Keeper of Prints and Drawings at the British Museum published a mongraph on his work. His London exhibitions were highly successful. In 1938, he moved to Bulwarks, St.Aubin in Jersey, but at the onset of the Occupation, had to relocate to Route Orange, St. Brelade. remained there throughout World War II during the German Occupation, despite the fact that his wife was Jewish. During the Occupation he designed bank...

Soup. 1920. Drypoint. Appleby 65. 9 x 8 1/8 (sheet 15 x 11 9/16). Edition 100. Illlustrated: Print Collector's Quarterly 13 (1926): 85. Signed in pencil. Edmund Blampied was a painter, etcher, lithographer and sculptor. Born in 1886 to a family of three boys in St. Martin, Jersey, Blampied became interested in drawing at an early age. After visiting the studio of John Helier Lander in 1899, Blampied decided to make a career as an artist. In 1903 he went to London to attend Lambeth Art School, where he studied etching under Walter Seymour. In 1905, he joined the Daily Chronicle as an artist. In that year he was awarded a scholarship to Bolt Court Scool of Photo-engraving and Lithography. In 1912 he left the Chronicle and established his own studio. He earned a living by illustrating novels and short stories. In 1913, he had his first exhibition at the Leicester Gallery in London. The following year he married Marianne Van Abbé. During the 1920's, he became a member of the Royal Society of Painter-Etchers and Engravers. During the 1920s Blampied became a member of the Royal Society of Painters-Etchers and Engravers and exhibited in London to critical acclaim. He produced a folio of comic drawings in the 1930s which was published in New York in 1934 and another that was published in London in 1936. The Keeper of Prints and Drawings at the British Museum published a mongraph on his work. His London exhibitions were highly successful. In 1938, he moved to Bulwarks, St.Aubin in Jersey, but at the onset of the Occupation, had to relocate to Route Orange, St. Brelade. remained there throughout World War II during the German Occupation, despite the fact that his wife was Jewish. During the Occupation he designed bank...

Summer. 1914. Drypoint. Appleby 46. 6 7/8 x 4 7/8 (sheet 11 5/8 x 9 3/16). Edition 77. A fine impression printed on cream wove paper on the full sheet with deckle edges. Signed in pe...

1925-26. Drypoint. Appleby 114. 8 9/16 x 12 (sheet 12 x 17). Edition 100, #10. An excellent impression with burr, printed with plate tone on the full sheet of 'VGI' laid paper with ...

Night Time, Dieppe. 1926-27. Drypoint. Appleby 123. 7 7/8 x 11/ Edition 100. A fine impression printed on cream laid paper with full margins. Signed in penc...

Knaresborough (after a watercolor by Peter De Wint, 1784-1849). c. 1904. Mezzotint. Hardie catalog 80 state ii. 7 7/16 x 11 3/8 (sheet 13 3/8 x 18). A very rich impression, printed o...

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 ...

The Box at 'Faustus'. 1929. Drypoint. 11 x 8 7/8. Edition 100, #39. Signed, titled, and numbered in pencil. A rich impression printed on the full sheet of pale blue/green-toned wove paper. Signed in pencil. A tongue-in-cheek image of the devil in the opera box...

Arc de Triomphe in Snow (Napoleon's Triumphal Arch). c. 1930. Lithograph printed in grey ink. 11 1/4 x 9 7/16 (sheet 16 x 12). A tonal impression printe...

The Matador. 1911. Drypoint. Hardie 109. 6 7/8 x 10 7/8 (sheet 7 7/8 x 12). Edition 15. A few scattered foxing marks and slight mat line; otherwise fine o...

The Picador Incites the Bull. 1911. Drypoint. Hardie 104. 6 1/4 x 9 7/8 (sheet 8 1/4 x 11 7/8). Edition 30, #5. Slight mat line, 1 hinge stain in the lower margin, well outside the i...

Fifth Avenue Critics. 1909. Etching. Morse 128.x/xi. 6 x 8 (sheet 9 3/4 x 12 1/4). Edition 100 in this state (few proofs in earlier states, and a large unsigned edition printed for t...

Roofs, Summer Night. 1906. Etching. Morse catalog 137 state ii. 5 1/4 x 7 (sheet 9 1/2 x 12 1/8). Series: New York City Life. A fine impression on cream ...

Wake on the Ferry. 1949. Etching. Morse catalog 313. state v. 5 x 7 (sheet 8 3/4 x 11 7/8). Edition of 350: 200 for the Art Students League and 150 for the artist. A fine impression ...

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 cancelled plate (there were onl...

London Bridge, London. 1924. Etching and drypoint. 6 3/8 x 14 3/4 (sheet 9 7/8 x 17 1/4). Mat line; otherwise fine condition. A rich impression with dryp...

The Thames and the Tower of London. 1924. Etching and drypoint. 6 3/8 x 14 3/4 (sheet 10 1/4 x 17 1/4). Mat line; otherwise fine condition. A rich impr...

Lollipop Lane. 2005. Etching. Chernow 157. Image size: 1 7/8 x 2 7/8. Sheet size: 9 x 9. Edition 5, #1. A fine impression printed in black/brown ink on white wove paper on the full sheet with deckle edges. Signed, titled and numbered in pencil. Housed in a 12 3/4 x 17 1/8-inch archival mat awaiting your choice of presentation. Chernow's work focuses on American film genres from the 1930s and 1940s. This technically difficult miniature etching...

Timber Raft on the Rhine (after the watercolor by J.M.W. Turner in the National Gallery). 1898. Mezzotint. Hardie 66. 8 1/4 x 11 11/16 (sheet 10 5/16 x 13 1/2). Edition 100. A rich, ...

1888-89. Etching. Hausberg 18. 3 1/4 x 4 3/4 (image and sheet). Edition about 30. Agnew's label verso. A rich impression with plate tone, printed on off-white paper. A rich impressio...

Lion Brewery. 1914. Etching. Hardie 149. 11 1/2 x 8 1/8 (sheet 13 5/8 x 10 1/8). Edition 50, #7. Illustrated: Salaman, Modern Masters of Etching. A fine impression of this scarce pri...

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.

Black and white photograph on a ChromaLuxe metal panel with a UV coating bonded to substrates that include 0.45" metal. ChromaLuxe has superior fade, moisture, stain and scratch resi...

Wren's City. 1909. Mezzotint. Wuerth 504. 10 x 11 7/8 (sheet 12 3/8 x 14 3/8). Printed on laid wove paper. A rich impression printed by the artist. Signed and annotated 'imp' in penc...

Le banc de jardin (The Garden Bench). 1883. Mezzotint. Tissot catalog 79, Béraldi catalog 66, Wentworth catalog 75 state ii/iii. 16 1/2 x 22 1/8 (s...

Coney Island Beach #1. 1939. Engraving. Sasowsky catalog 191 state ii. 9 3/4 x 12 (sheet 11 1/2 x 13 7/8). Edition of 17-lifetime impressions printed by Marsh in 1939 as noted by Sas...

Sportsmen. 1908. Etching and drypoint. Exsteens 271.i/ii. 11 1/4 x 5 3/4 (sheet 17 3/8 x 12 1/4). Series: Les Bars. From the first state edition of 30 proofs with the remarque sketch...