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James McBey. 1883-1959.

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Scotland

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Albert Basin, Aberdeen. 1906. Etching and drypoint. Hardie 50. 5 7/8 x 9 1/2 (sheet 8 3/8 x 11 3/8). Edition 40, #39. Faint mat line; otherwise excellent condition. A richly inked impression with drypoint burr, on antique paper. Signed and numbered in ink. $1,350.

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Buchan. 1914. Etching. Hardie 154. 5 x 11 5/8 (6 7/8 x 12 3/4). Edition 50, #19. A rich impression with plate tone, printed on antique laid paper with an armorial watermark. Signed and numbered in ink. $600.

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The Fishmarket (Stonehaven). 1915. Etching. Hardie 157. 6 5/8 x 10 3/4 (sheet 7 9 1/8 x 12 1/2). Edition 50, #48. A rich proof with subtle tonal wiping printed on Strasbourg lily laid paper. Signed and titled in ink. $650.

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A Gale at Port Errol. 1923. Etching. Hardie 215. 13 x 8 3/4 (sheet 16 7 /8 x 11 1/2). Edition 76, #A15. . Illustrated: Fine Prints of the Year, 1923; Salaman,Modern Masters of Etching. A rich wiped impression on antique 'Mamet' countermarked paper. Signed and numbered in ink. $975.

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Old Torry. 1905. Etching. Hardie 51. 5 15/16 x 8 3/8 (sheet 7 15/16 x 8 3/8).Edition 18. A proof with subtle tonal wiping of this exceptionally rare image. Fold in the left-hand edge of the image; otherwise excellent condition. Printed on off-white laid paper from an antique volume. Signed and dedicated 'To Martin Hardie' in ink. $1,950.

Belgium and the Netherlands

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Antwerp. 1923. Etching. Hardie 124. 8 1/4 x 13 (sheet 10 1/2 x 16 1/2). Edition 76, #12. A rich impression with careful tonal wiping printed on 'Porter & Bridges 1895' laid paper from an antique volume. Collector's seal verso: George La Monte (Lugt 1181). Signed and numbered in ink. $950.

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Enkhuisen Harbour. 1910. Etching. Hardie 66. 6 7/8 x 8 7/8 (sheet 8 x 10 1/4). Edition 40 proofs, #3. A fine, tonal impression printed on antique laid paper. Signed and numbered 'III' in ink. $1,250.

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Grimnessesluis -- A Canal at Amsterdam. 1913. Etching. Hardie 143. 10 7/8 x 5 7/8 (sheet 13 x 7 1/2). Edition 50, #34. A very rich impression printed on antique laid paper. Signed "James McBey Amsterdam August 1913" in a plaque on the left-hand house; signed and numbered in ink. A portrait of Rembrandt looks through a picture frame window on the right-hand house. $1,750.

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Monnickendam Harbour. 1910. Etching. Hardie 64. 7 7/8 x 5 7/8 (sheet 10 7/8 x 8 1/8). No published edition; 4 proofs only. Printed on off-white paper from an antique volume. A fine, tonal proof of this exceptionally rare early image. gned in ink; titled and annotated 'III' in pencil. $1,500.

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The Timber Mill 1913. Etching and drypoint. Hardie 142. 6 x 9 1/4 (sheet 8 1/8 x 10 15/16). Edition 50, #24. A very rich impression printed on fine laid paper from an antique volume. Signed and numbered in pencil. $1,000.

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Veere. 1924. Etching. Hardie 218. 8 x 11 7/8 (sheet 9 7/16 x 14 7/16). Edition 76, #32. An atmospheric impression with plate tone, printed on laid paper removed from an antique volume. Signed and numbered in ink. $550.

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Veere. 13 May, 1922. Ink and watercolor on paper. 10 1/8 x 16 5/8 (image and sheet). An atmospheric impression of veere on a cloudy gray day. Provenance: Arthur H. Harlow & Co., New York. Numbered '3' in ink, verso. Signed, titled and dated in ink; lower right. $1,750.

England

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April in Kent. 1912. Etching. Hardie/Carter 114. 6 1/8 x 11 3/8 (sheet 8 1/8 x 12 3/8). Trial proof E, apart from the edition 40. An extremely rich, tonally wiped impression printed on 'PD'antique laid paper. Signed and annotated 'MB' and 'E' in ink. $650.

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Bosham. 1926. Etching. Hardie 226. 6 15/16 x 11 7/8 (sheet 9 x 13). Edition 80, #55. A fine, tonal impression printed on laid paper with a hunting horn in a shield watermark. Signed and numbered in ink. $600.

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Thunderstorm Over Boston. July 14, 1930. Ink and watercolor on paper. 10 5/8 x 17 5/8 (sheet 12 x 19 1/4). Signed and dated and titled in ink, lower right; titled verso and annotated 'The Witham' (the latter crossed out). $1,750.

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A Flood in the Fens. 1922. Drypoint. Hardie 209. 6 7/8 x 12 1/4 (sheet 9 x 14 1/2). Trial IV, before the edition 76. A rich, tonally wiped impression antique watermarked cream laid paper. Slight 1/2 x 1/16--inch rubbed line in the sky to the left of the tallest figure on the right; otherwise fine condition. Annotated in pencil 'Trial IV' and 'slightly cream' and 'bank clear' and 'keep clean through here'; signed and annotated 'Trial IV' in ink. A unique annotated proof. $600.

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Gravesend. August 1928. Ink and watercolor on paper. 13 1/2 x 21. Signed and dated in ink, lower left; and titled in ink, verso. $3,750.

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Greetings from 1. Holland Park Avenue, London. 1931. Ink and wash on tan wove paper. 3 1/2 x 3 1/4 (sheet 6 1/8 x 4 7/8 - visible in mat area). Signed, dated, titled and annotated 'XMas 1931' in ink. Housed in a 16 1/2 x 14-inch black wood frame. $850.

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Hastings. 1925. Etching. Hardie/Carter 225. 7 3/4 x 9 7/8 (sheet 9 1/4 x 14 1/2). Edition 80, #A6. Two unobtrusive diagonal fold along the lower right/hand corner; otherwise fine condition. A rich, tonally wiped impression printed in black/brown ink on 'A Bugeon'antique laid paper. Signed and numbered in ink. $500.

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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 print, printed with plate tone on fine antique laid paper. Signed and numbered in ink. $1,750.

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Mersea, Sunset. 1924. Etching. Hardie 222. 8 5/16 x 14 3/8 (sheet 11 x 16 3/4). Edition 76, #A20. Illustrated: Fine Prints of the Year, 1925; Holme, Etchings of Today, (London: The Studio, 1929), plate 26. A rich impression with drypoint burr and plate tone, printed on antique cream colored wove paper. Signed and numbered in ink. $850.

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Penzance. 1913. Etching and drypint. Hardie 144. 8 3/4 x 12 sheet 9 1/2 x 14 3/8). Edition 50, #20. A rich impression with plate tone, printed on antique cream laid paper. Signed and numbered in ink. $950.

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Surrey Downs. 1915. Etching. Hardie 190. 6 7/8 x 9 7/8 (sheet 7 11/16 x 11 1/8). Edition 76. #4. A rich, tonally wiped impression on cream laid paper from an old volume. Signed and numbered in ink. $450.

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The Thames Barge Race: the Start. 1936. Etching. Hardie 272. 7 1/8 x 14 3/8 (sheet 11 5/16 x 18 3/18). Edition 80, #14. Illustrated: Fine Prints of the Year, 1935. A very rich, atmospherically wiped impression printed on cream laid paper with a Strasbourg lily watermark. Signed and numbered in ink. $750.

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The Thames Barge Race: the Sarah Winning. 1936. Etching. Hardie 273. 6 3/8 x 17 1/2 (sheet 11 3/16 x 17 1/2). Edition 80, #33. Illustrated: Fine Prints of the Year, 1937; Print Collector's Quarterly 25 (1938): 444. A very rich, atmospherically wiped impression printed on cream laid paper from an antique volume. Signed and numbered in ink. $750.

Spain and Morocco.

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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 the utmost rarity.Signed, numbered and titled in ink. $2,150.

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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 original condition. A rich impression with drypoint burr printed on antique laid paper. Signed and dedicated 'To James Greig' in ink. $1,250.

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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 image; otherwise fine original condition. A rich impression with drypoint burr printed on antique laid paper. Signed and numbered in ink. $1,250.

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Study for Ovation to the Matador (Hardie 110). Watercolor on paper. c. 1911. 19 1/2 x 12 1/2 ( image and sheet). A few unobtrusive foxing spots; otherwise excellent condition. A bright, fresh impression on watercolor paper. Signed in ink, lower right. $5,500.

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Sunrise at Tarragona. 1911. Etching. Hardie 103. 5 7/8 x 8 7/8 (sheet 7 7/8 x 12).Edition 30, #3. A rich impression on antique laid paper. An extremely scarce image. Signed and numbered" in ink. $750.

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A Moroccan Market. 1913. Etching. Hardie 136. 5 7/8 x 10 7/8 (sheet 8 1/8 x 13). Edition 50, #1. A richy wiped impression with plate tone, printed on antique cream laid paper. Signed and numbered in ink. $750.

War

France

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France at her Furnaces. 1917. Etching. Hardie 175. 8 x 15 (sheet 10 1/8 x 16 15/16). Edition 76, #A14. A rich impression printed on old laid paper with full margins. Signed and numbered in ink. $1,500.

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Rouen. 1916. Etching. Hardie 172. 6 11/16 x 14 3/8 (sheet 7 13/16 x 15 9/16). Edition 76, #A19. An extremely rich impression printed printed on 'J. Whatman' laid paper from an antique volume. Signed and numbered in ink. $975.

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The Seine at Rouen. 1916. Etching. Hardie 173. 6 x 8 13/16 (sheet 7 7/16 x 10). Edition 76, #A3. A rich impression printed on cream wove paper. Signed and numbered in ink. $650. (sheet 7 7/8 x 12).Edition 30, #3. A rich impression on antique laid paper. An extremely scarce image. Signed and numbered in ink. $650.

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The Sussex. 1916. Etching. Hardie 171. 8 3/16 x 15 1/8 (sheet 9 3/4 x 16 3/16). Edition 76, #7. Illustrated: Lumsden, The Art of Etching; Illustrated: Salaman,Modern Masters of Etching. A rich impression printed on antique laid paper. Signed and numbered in ink. $950.

France: The Somme Front.

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Français Inconnus. 1917. Drypoint. Hardie 176. 6 x 9 7/8 (sheet 7 1/2 x 11 3/8). Edition 76, #A18. A fine impression printed on cream laid paper from an antique volume. Signed and numbered in in ink. $1,250.

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The Somme. 1917. Watercolor. 9 1/2 in x 18 3/4. Provenance: Carol Carstairs Gallery; Collection of Victor Spark, New York. Exhibited: The 18th International Exhibition of Water Colors, The Art Institute of Chicago, 1939. Annotated verso, 'Bapaume Road'. Signed and dated, lower left. $5,500.

The East: First Palestine Set - 1919.

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Ras-El-Ain. 1919. Etching. Hardie 180. 7 7/8 x 12 7/8 (sheet 9 x 14 1/2). Edition 76, # 1. A rich impression with plate tone, printed on cream laid paper from an antique volume. Signed and numbered in ink. $700.

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Dawn. The Camel Patrol Setting Out. October, 1919. Etching. Hardie 181. 8 7/8 x 14 7/8 (sheet 10 1/2 x 16 3/8). Ed. 76, #viii. Illustrated: Zigrosser, Six Centuries of Fine Prints. An extremely rich impression with drypoint burr and subtle tonal wiping. Printed on antique laid paper. Signed in ink. Price upon request.

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The Desert of Sinai (No. 2). 1919. Etching. Hardie 184. 7 7/8 x 13 3/4 (sheet 9 5/8 x 15 1/2). Edition 76. Illustrated: Furst, Original Engraving and Etching: An Appreciation. Printed with plate tone on cream laid paper from an antique volume. Signed and numbered in ink. $700.

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Sunset: Wadi-Um-Mukhsheib. 1919. Etching. Hardie 185. 7 x 13 (sheet 8 1/8 x 14 1/14). Edition 76, # A4 (American edition). Series: First Palestine Set. Mat line, well outside the image; otherwise in excellent condition. A rich impression with plate tone printed on laid paper from an antique volume. Signed and numbered in ink. $650.

The other etchings in the First Palestine Set are: The Mid-Day Halt, The Desert of Sinai (No. 1), Strange Signals, A Deserted Oasis. (The Desert of Sinai (No. 1) was issued as a trial proof only.)

Second Palestine Set - 1920.

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Palestine. "Blue Bonnets O'er the Border." 1920. Etching and drypoint. Hardie 192. 6 7/8 x 12 3/8 (sheet 10 3/4 x 15 1/4). Edition 76, #6. Series: Second Palestine Set. A cleanly wiped impression with drypoint burr, printed on cream laid paper from an antique volume. Signed and numbered in ink. $750.

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Dust, Beersheba. 1920. Etching. Hardie 193. 8 15/16 x 15 3/8 (sheet 11 1/8 x 17 7/8). Edition 76, #21. Series: Second Palestine Set. A fine impression printed on cream laid paper from an antique volume. Signed and numbered in in ink. $1,450.

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The Sniper (No. 2). 1920. Drypoint. Hardie 195. 7 3/8 x 11 7/8 (10 13/16 x 14 1/2). Edition 76, # 32. Series: Second Palestine Set. Printed on cream laid paper from an antique volume. An extremely rich impression printed in sepia ink with plate tone and drypoint burr. Signed and numbered in ink. $975.

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The First Sight of Jerusalem, Nebi Samwil (No. 2). 1920. Etching. Hardie 197. 11 x 18. Edition 76. Series: Second Palestine Set. Printed with plate tone on antique laid paper with full margins. Signed and numbered in ink and annotated 'Jerusalem' in pencil. $1,300.

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The Advance on Jerusalem. Wadi Ali. 1920. Etching. Hardie 198. 8 x 14 (sheet 10 1/4 x 15 1/16). Edition of 76 (plus 8 trial proofs), #13. Series: Second Palestine Set. A very rich impression printed on laid paper taken from an antique volume. Signed and numbered in ink. $950.

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The Moonlight Attack, Jelil. 1920. Etching. Hardie 200. 9 x 15 3/8 (sheet 11 x 17). Edition 76 + 8 trial proofs. Series: Second Palestine Set. A rich impression printed on antique laid paper. Signed and numbered in ink. $1,100.

The other etchings in the Second Palestine Set are: The Sniper (No. 1), The First Sight of Jerusalem, Nebi Samwil (No. 1), The Surrender of Jerusalem, Gaza: Prisoners of War, Zero. The Sniper (No. 1) and Gaza: Prisoners of War were issued as trial proofs only.

Third Palestine Set - 1921.

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Gun Fire, Mount of Olives. 1921. Drypoint. Hardie 204. 8 x 5 3/4 (sheet 10 x 7 1/4). Edition 54, #33. Series: Third Palestine Set. A rich impression with plate tone printed on antique wove paper. Signed and numbered in ink. $750.

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Jerusalem from Olivet. 1921. Drypoint. Hardie 205. 6 5/8 x 14 3/8 (sheet 10 7/8 x 17 1/4). Edition 76, #22. Series: Third Palestine Set. Printed with plate tone on antique ledger paper. Signed and numbered in ink and annotated 'Jerusalem' in pencil. $900.

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The Dead Sea. 1921. Drypoint. Hardie 206. 7 13/16 x 11 3/4 (sheet 10 5/8 x 16). Edition 76, #23. Series: Third Palestine Set. A very rich impression with drypoint burr, printed on blue-toned paper from an old volume.Signed and numbered in ink. $700.

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Hermon: Cavalry Moving on Damascus. 1921. Etching. Hardie 207. 8 7/8 x 15. (sheet 11 x 17 1/4). Edition 76, number 9. Series: Third Palestine Set. A rich impression with plate tone printed on antique laid paper with a Strasbourg Lily watermark. Signed and numbered in ink. $1,250.

The other etching in the Third Palestine Set is: Bombs! issued as trial proofs only.

Watercolors

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Trenches at Gaza. 1917 and 1921 Watercolour. 14 x 22. Signed and annotated 'Gaza 1917 ', and 1921 lower left. Provenance: The Fine Art Society. Housed in an elegant 22 x 29 3/4 gold leaf frame with blue/grey highlights. $4,000.

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Mejdel Yaba. 20 September , 1918 Pencil, ink and watercolour on paper. 8 1/8 x 22. Annotated, upper left, "due N at ???' Dated on the ink drawing on the verso. Signed and dedicated on the front "To Paul from James McBey." $4,000.

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Acre. 1934. Watercolour. 12 1/2x 18. Signed, dated and titled, lower right. Annotated in pencil verso, 'Acre (Palestine)'. Provenance: The Fine Art Society.

Italy: Venice

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Barcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8. Edition 80, #xxx. Illustrated: Print Collector's Quarterly 24 (1938): 428; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 98. An extremely rich impression with subtle tonal wiping, printed on pale blue-toned laid paper from an antique volume. Signed and numbered in ink. Price upon request.

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The Deserted Palace. 1928. Etching. Hardie/Carter 236. 8 1/2 x 10 (sheet 11 7/8 x 13 9/16). Edition 80, #68. A rich impression printed in bistre ink with plate tone on antique Strasbourg Lily watermarked laid paper. Signed and numbered in ink. $2,000.

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Distant Salute. 1925. Etching. Hardie/Carter 250. 7 3/16 x 15 15/16 (sheet 10 7/8 x 17 1/8).Edition 80, #30. Signed and numbered in ink. A fine impression with plate tone, printed on antique cream-colored wove paper with full margins. $1,650.

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The Doorway. 1925. Etching. Hardie/Carter 244. 8 1/16 x 6 3/8 (sheet 10 1/4 x 8 1/4). Edition 80, #52. Illustrated: Guichard, British Etchers, 1850-1940; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 99. A rich impression with plate tone. Printed on laid paper from an antique volume. Signed and numbered in ink. $1,450.

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Laguna Veneta. 1926. Etching. Hardie/Carter 227. 6 3/4 x 14 3/4 (sheet 11 1/4 x 18 3/8). Edition 80, #42. A rich impression with plate tone printed on antique laid paper with wide margins. Signed and numbered in ink. $1,650.

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Molo. 1925. Etching. Hardie/Carter 239. 12 5/16 x 9 5/16 (sheet 15 1/4 x 11 1/2). Edition 76, #21. Illustrated: Fine Prints of the Year 24 (1938): 434; ; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 99. A rich impression with plate tone, printed on 'LOTTERY'laid paper with full margins. Signed and numbered in ink. $1,500.

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The Passing Gondola. c. 1926. Etching. Edition 80, #18. Hardie/Carter, 230. 8 1/2 x 10 1/2 (sheet 11 1/4 x 13). Fine Prints of the Year, 1927. Printed on antique wove paper with subtle plate tone. Signed and numbered in ink. $1,750.

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A Regatta on the Grand Canal. 1930. Drypoint. Hardie/Carter 248. 8 7/8 x 15 3/8 (Sheet 13 3/16 x 19 3/8). Edition 80, #5. A impression on cream-colored wove paper with full margins. Signed and numbered in ink. $1,750.

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Rio della Misericordia. October 1924. Watercolor. 14 x 8 3/4. McBey did a stiking nocturnal view of the bridge in his 1926 drypoint, The Bridge by Night Carter 232. Signed and dated, lower right; titled verso. $7,500.

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The Riva at Dusk 1930. Etching. Carter 253. 15 7/8 x 9 3/8 (Sheet 18 3/8 x 11 3/4). Edition 80, #23. Signed and numbered in ink. A fine impression on cream-colored laid paper with full margins. The artist is pictured in the left foreground with his back to the viewer; his wife faces the viewer. This is a charming study of the couple in an outdoor cafe in Venice. $750.

The Riva at Dusk. 1930. Etching. Hardie/Carter 253. 15 7/8 x 9 3/8 (sheet 17 1/2 x 11 5/8). Edition 80, #51. A fine impression on French blue-green laid paper from an antique volume with full margins. Signed and numbered in ink. The color of the paper suggests evening. $850.

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Santa Maria della Fava, Venice. 1925. Etching and drypoint. Hardie/Carter 234. 13 x 8 1/2 (sheet 16 11/16 x 11 1/8). Edition 80, #9. Print Collector's Quarterly 24 (1938): 430. A rich tonal impression, printed in black/brown ink on French laid blue/green paper from an antique volume. Signed and numbered in ink. $1,750.

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September Sunset. 1928. Etching. Hardie/Carter 241. 8 7/8 x 17 3/4 (sheet 12 1/4 X 20 7/16). Edition 80, #50. Paper thinning in various areas, visible only from the verso, stablized professionally; a few printing folds. A rich impression with subtle tonal wiping. Printed on white laid paper with full margins. Signed in ink. $1,500.

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Sotto Portico, Venice. 1928. Etching. Hardie/Carter 235. 12 1/2 x 8 3/4 (sheet 8 1/4 x 11 3/8). Edition 80, #39. A rich impression printed in black/brown ink with subtle tonal wiping. Printed on antique laid paper with full margins. Signed and numbered in ink. $1,750.

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A Tartane Leaving Venice. 1928. Etching. Hardie/Carter 240. 6 1/2 x 12 1/2 (sheet 9 5/16 x 14). Edition 80, #43.A rich impression printed in sepia ink on off-white laid paper from an antique volume. Signed and numbered in ink. $2,150.

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The White Palace. 1930. Etching. Carter 260. 14 1/2 x 8 1/2 (18 x 10 3/4). Edition 80, #76. Signed and numbered in ink. A rich impression on off-white laid paper from an antique volume. Signed and numbered in ink. $2,250.

U.S.A.

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East River, Sunset. 1934. Etching. Hardie/Carter 270. 8 1/8 x 13 3/4 (sheet 11 1/8 x 15 7/8). Edition 80, #16. A rich impression with subtle tonal wiping, printed on cream wove paper. Signed and numbered in ink. $1,500.

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New York from Weehauwken. 1941. Etching. Hardie 277. 7 7/8 x 14 7/8. Edition 60, #2. An excellent impression printed on white laid paper. Signed and numbered in ink. With an unsigned proof from the cancelled plate. $1,750.

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Sub-Treasury Building, New York. March 10, 1930. Ink and watercolor on paper. 15 1/2 x 9 1/2. Signed, dated and titled in ink, lower right. The lower mat bevel is decorated to emulate cobblestones -- a charming touch. An elegant watercolor with bright, unfaded colors, in pristine condition. $3,500.

Portraits

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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. This is a delightful self-portrait. It is the frontispiece to the catalogue raisonne of the artist's early work by Martin Hardie. Etchings and Dry-Points by James McBey. 1902-1924. London: P. & D. Colnaghi & Co., 1925. $650.

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Margot as Lopokova. 1920. Drypoint. Hardie 189. 11 15/16 x 8 3/8 (sheet 14 x 10 7/16). Edition 76, #40. A fine impression on laid paper from an antique volume. Signed and numbered in ink. $750.

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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.

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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.

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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.

Portraits of the James McBey

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Artist and Model. 1925. Etching. Hardie 223. 8 3/4 x 5 3/4. Edition 500. A fine impression on the full sheet of wove paper. Signed in ink. This is a delightful self-portrait. It is the frontispiece to the catalogue raisonne of the artist's early work by Martin Hardie. Etchings and Dry-Points by James McBey. 1902-1924. London, 1925. $650.

Gerald Leslie Brockhurst, R.A., R.E. 1890-1978.

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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 fine impression printed on cream wove paper with full margins. Illustrated: Fine Prints of the Year, 1931. Signed in pencil. $2,000.

Walter Ernest Tittle. 1883-1969.

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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.

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War.

British Fine Prints.

Allinson Gallery Index.

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