All works are signed in pencil or ink or paint unless indicated otherwise.
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The Balcony (Venetian Gateway). 1931. Etching. Fletcher 237.iii. 8 1/16 x 5 1/16 (sheet 12 5/8 x 10 1/16). Edition 110 (plus 34 trial proofs). Italian series #21. Published as the frontispiece for the Housed in an Italianate gold leaf frame. $2,000.
Enchanted Doorway,Venezia (La Porta della Carta, Venezia '29). 1930. Etching. Fletcher 227.ii. 12 3/8 x 6 9/16 (sheet 15 13/16 x 10 1/16). Edition 148 in this state (+ 19 trial proofs). Italian Series #15. Illustrated:Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 170; Cortissoz, Contemporary American Prints, 1931; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 115. A rich impression on white laid paper from an antique volume. Signed, dated and annotated 'Edition 100' in pencil. $1,200.
La Mangia, Siena (La Torre del Mangia, Siena). 1921. Etching. Fletcher 192.15 x 8 (sheet 17 7/8 x 11 3/4). Edition 115. Italian series #10. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 38; American Etchers: John Taylor Arms; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 160. A fine impression printed on A[rches] laid paper by Frederick Reynolds. Signed and dated in pencil. $1,750.
Palazzo Dell'Angelo, Venice. 1931. Etching. Fletcher 233.ii/iii. 7 1/2 x 6 4/8 (sheet 15 2/4 x 10 1/2). Edition 12 in this state (total 147 + 9 trial proofs). Italian series #19. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. Award: Member's Prize, 22nd Annual Exhibition, Chicago Society of Etchers, Art Institute of Chicago, 1932 A rich impression printed by Henry E. Carling on handmade cream wove paper from an antique volume. Signed, dated, titled and annotated 'cp' in pencil. $2,750.
From the Ponte Vecchio, Florence. 1925. Etching and aquatint. Fletcher 159.ii. 11 1/8 x 15 1/4 (sheet 13 3/8 x 18 1/4). Edition 160 in this state (total edition about 165). Italian series #1. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 90; The Print Collector's Quarterly 21 (1934): 130; American Etchers: John Taylor Arms. A rich impression on cream laid paper. Signed in pencil. $1,750.
Porta del Paradiso, Venezia. 1930. Etching. Fletcher 230.ii. 7 1/2 x 3 3/4(sheet 12 1/2 x 7 3/4). Edition 141 in this state (total edition about 151). Printed by Henry E. Carling. Italian series #17. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 184; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. A rich impression on antique laid paper. Signed, dated and titled in pencil. $1,250.
Rio del Santi Apostoli, Venice. 1930. Etching. Fletcher 226.ii. 8 x 6 (sheet 9 3/4 x 14 1/4). Edition 100 (+ 10 trial proofs). Italian series #4. Illustrated:Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 206. Commission as the frontispiece for the limited edition of American Etchers: John Taylor Arms. A rich impression, one of 18 printed by Henry E. Carling on antique cream laid paper with a shield watermark. Signed, dated, and annotated ' Plate etched as frontispiece for Limited Edition of Volume V of American Etchers Series' and 'cp' (Carling printed) in pencil. Housed in an Italianate gold leaf frame. $2,000.
Shadows of Venice. (Il Ponte di Rialto, Venezia.) 1930. Etching. Fletcher 229. 10 1/8 x 12 (sheet 11 5/8 x 16 1/2). Italian Series, plate #16. Edition 140 (+ 14 trial proofs). Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 208; The Print Collector's Quarterly 21 (1934): 136; Fine Prints of the Year, 1931; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940.A fine impression on cream laid paper. Signed,dated and annotated 'Edition 100' in pencil. Shadows of Venice. was the artist's diploma print for his acceptance as a member of The Royal Society of Painter-Etchers in 1934. $2,300.
Via Facchini, Pisa. 1927. Etching. Fletcher 194. 11 3/8 x 5 1/2 (sheet 15 7/8 x 10 1/4). Edition 110. Italian series #11. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 24. A fine impression printed on 'M BAS' laid paper. Signed and dated in pencil. $400.
Siena, Evening. 1923. Line engraving. Dodgson 38. 4 3/8 x 4 3/16 (sheet 8 x 7 1/4). A fine impression with plate tone, printed on cream laid paper. Signed, dated and titled in pencil. $750.
Women at Prayer. 1936. Line engraving. 10 15/16 x 8 7/16 (sheet 13 13/16 x 10 13/16). Subsequent to Dodgson. Edition 40 published by the Twenty-One Gallery for 7 guineas. Illustrated: Fine Prints of the Year, 1936. A rich impression with plate tone printed on white wove paper. Signed and dated in pencil. A large, impressive plate. $850.
Laguna Veneta. 1880. Etching. 5 x 7 1/4 (sheet 8 3/4 x 11 1/4). Venetian series, #22. A rich impression printed on chine collé mounted on white wove paper. Signed 'Otto' and dated 'August 23 80' in the plate; in pencil. $1,750.
Evening, Port of Genoa. 1915. Drypoint. Dodgson 337.i/v. 7 5/8 x 9 15/16 (sheet 9 1/8 x 14). Edition of 45 in five states. An exceptionally rich impression with drypoint burr, printed on antique cream laid paper. A rare proof of the first state. Signed and annotated 'I' in pencil. $650.
Rainy Night in Rome. 1913. Drypoint. Dodgson 299.vi/x. 12 x 9 (sheet 16 x 11 1/4). Edition 16 in this state (total 125 proofs in 10 states). A rich impression with burr and tonal wiping. Printed on Japanese mulberry paper with full margins and deckle edges on two sides. Signed in pencil. $2,000.
Thermae of Caracalla. 1923. Etching. Rinder 470.iii. 11 x 1615/16 (sheet 12 3/16 x 18 3/4). Edition about 70. Illustrated: Print Collector's Quarterly (1924): 67; Salaman, Modern Masters of Etching.. Collector's seal, 'NG' lower right from the extensive collection of Neal Greene (not in Lugt). Signed in pencil. A glowing impression printed cream laid paper. Signed in pencil. $950.
Bagno della Marchesa. 1930.Drypoint. 10 1/2 x 7 5/8 (sheet 13 3/16 x 8 1/2). Trial proof, apart from the edition of 75. A, extremely rich impression printed on French 1798 countermarked laid paper. Illustrated: Fine Prints of the Year, 1930; Guichard, British Etchers. Extensively annotated in ink by Flint: 'Trial: entire background was later reworked. Paper: French 1798.' Signed and dedicated 'To Eve H.Sanders with salutations'. An exceptionally rare proof. $1,850.
A Rendez-Vous, Vincenzia. 1929. Drypoint. Wright 19.v.9 1/2 x 6 5/8 (sheet 12 1/8 x 9 3/8). Edition 75, #I. An extremely rich impression printed on blue/green laid paper. Signed and numbered in ink. $875.
Barcarolle. Venice. 1926. Etching. Carter 233. 14 7/8 x 8 3/8. Edition 80, #xxv. 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. Housed in an archival French mat and a 20 3/4 x 14 3/4-inch gold leaf frame. Price upon request.
Barcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8 (sheet 17 1/4 x 10 1/4). 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 antique pale blue-toned laid paper. Signed and numbered in ink. Price upon request
The Bridge by Night. 1926. Drypoint. Carter 232. 9 1/2 x 5 15/16 (sheet 12 13/16 x 8 1/8). Edition 80, #47. Illustrated: Print Collector's Quarterly 24 (1938): 426. A brilliant impression printed on 'P. Eller' countermarked blue-green French laid paper. Signed and numbered in ink. $3,000.
A Canal. October 1925. 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. Housed in a French mat and a 21 1/2 x 16-inch gold leaf frame. $5,000.
The Deserted Palace. Venice. 1928. Etching. Hardie/Carter 236. 8 1/2 x 10 (sheet 11 7/8 x 13 9/16). Edition 80, #78. A rich impression printed in bistre ink with plate tone on antique paper with a fleur-de-lys watermark. Signed and numbered in ink. $2,000.
Distant Salute. Venice. 1925. Etching. Hardie/Carter 250. 7 x 15 (sheet 11 3/8 x 18 1/8). Edition 80, #28. Signed and numbered in ink. A fine impression with plate tone, printed on antique cream-colored wove paper with full margins. $1,250.
The Doorway. Venice. 1925. Etching. Carter 244. 8 1/16 x 6 3/8 (sheet 10 1/4 x 8 1/4). Edition 80, #26. Illustrated: Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940. A rich impression with plate tone. Printed on laid paper from an old book, on the full sheet. Signed and numbered in ink. $1,750.
La Giudecca 1926. Etching. Carter 229. 6 x 12 3/8 (sheet 8 3/16 x 17 7/8). Edition 80, #28. A fine impression on cream-colored paper countermarked 1818. Signed and numbered in ink. $1,250.
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.
A Mirage. 1928. Etching. Hardie 238. 11 13/16 x 14 3/8 (sheet 12 3/16 x 18 3/4). Edition 76, #46. Illustrated: Fine Prints of the Year, 1928 and 1938; Holmes, Etchings of Today. A rich impression with subtle tonal wiping. Printed on antique paper with full margins. Signed in ink. This is one of McBey's largest and most dramatic Venetian images. $1,750.
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. $1,350.tchings of Today. A rich impression with subtle tonal wiping. Printed on antique paper with full margins. Signed in ink. This is one of McBey's largest and most dramatic Venetian images. $1,350.
A Regatta on the Grand Canal. Venice. 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. $1,600.
Rio della Misericordia, Venice. 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. Housed in a French mat and a 22 x 16 1/2-inch gold leaf frame. $5,000.
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.
A Tartane Leaving Venice. 1928. Etching. Hardie/Carter 240. 6 1/2 x 12 1/2 (sheet 10 1/8 x 14 1/8). Edition 80, #12.A rich impression printed in sepia ink on off-white laid paper from an antique volume. Signed and numbered in ink. and annotated 'Lely' in McBey's hand, and 'paper belonged to Sir P. Lely in 1666' in another hand. $2,500.
Moses Breaking the Tablet of the Law. c. 1860. Pencil drawing mounted onto paper. 12 1/4 x 3 3/4 inches. Collector's seal verso: Gustav Grunwald, (Lugt 1155b). Monogrammed 'DR' (Nagler 582), lower right. Housed in an archival French mat and a 20 X 11 1/2-inch carved wood frame. $1,750.
Scene in the Campagna also known as Woman at a Tank and Hindu Ablutions. (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Hardie 4. Preliminary etching for the mezzotint. 8 1/2 x 11 3/8 (sheet 12 5/8 x 17 3/8). Printed in brown ink on off-white wove paper. Signed in the plate. $125.
San Marco (St. Mark's). 1920. Etching with drypoint and aquatint. Dickins 66 Harvey-Lee 91 3 7/8 x 5 7/8 (sheet 9 1/4 x 12 1/8). Venice set, # 2. Edition 415. A rich impression printed on cream wove paper. Fold in the margin, well outside the image; otherwise good condition. Signed in pencil. $400.
The Venetian Mast. 1879-80. Etching and drypoint. Kennedy 195.vi; Glasgow 219.x/xii. 13 3/8 x 6 3/8. Series: First Venice Set 1880. Glasgow records 53 impressions. A fine, atmospheric proof of this rare image, printed in black ink on fine laid paper. Signed with the butterfly in the image and annotated 'imp' on the tab in pencil by Whistler. $10,000.
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