James McBey. 1883-1959.
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Scotland
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.
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.
A Gale at Port Errol. 1923. Etching. Hardie 215, #46. 13 x 8 3/4 (sheet 16 7 /8 x 11 1/2). Edition 76. #46. Illustrated: Fine Prints of the Year, 1923. A rich wiped impression on antique 'Whatman 1814' countermarked paper. Signed and numbered in ink. $1,250.
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. $1,350.
Belgium and the Netherlands
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.
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.
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."
Haarlem. 1910. Etching. Hardie 61. 4 3/8 x 6 7/16 (sheet 8 5/16 x 9 1/2). Edition 40, #29. A rich impression printed on antique laid paper. Some toning in the image, otherwise good condition. Signed and numbered in ink. $1,250.
England
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.
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.
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. Housed in a 24 1/2 x 31-inch Whistler-style gold frame. $2,750.
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.
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.
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.
Spain.
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. $1,500.
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.
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.
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.
War
France
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. $1,250.
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.
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.
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; Salaman,Modern Masters of Etching. A rich impression printed on antique laid paper. Signed and numbered in ink. $950.
France: The Somme Front.
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. $1,000.
The East: First Palestine Set - 1919.
Ras-El-Ain. 1919. Etching. Hardie 180. 7 7/8 x 12 7/8 (sheet 9 x 14 1/2). Edition 76, # A7. A rich impression with plate tone, printed on antique cream laid paper from an antique volume. Signed and numbered in ink. $500.
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. $600.
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.
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. $1,100.
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. $850.
The First Sight of Jerusalem, Nebi Samwil (No. 2). The First Sight of Jerusalem, Nebi Samwil (No. 2). 1920. Etching. Hardie 197. 10 7/8 x 17 15/16 (sheet 12 5/8 x 19). Edition 76, #28. Series: Second Palestine Set. Printed with plate tone on antique wove paper. Signed and numbered in ink and titled 'The First Sight of Jerusalem' in pencil. $750.
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. $750.
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. $750.
Third Palestine Set - 1921.
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.
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. $850.
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.
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.
Watercolor
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." Provenance: The Fine Art Society. Housed in an elegant French mat and an elegant 14 x 27 1/2-inch gold leaf frame with blue/grey highlights. $2,500.
Italy: Venice
Barcarolle. 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. 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.
Distant Salute. 1925. Etching. Hardie/Carter 250. 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. 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.
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.
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.
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. 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.
America.
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.
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 canceled plate. $1,750.
Portraits
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 thy 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.
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.
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 James McBey
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. $650.
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.
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.
Born in Newburgh near Aberdeen, James McBey attended evening classes at Graydon's School of Art and taught himself etching, building his own press at the age of fifteen. He moved to London to prepare for a one-man show at Goupil's Gallery, and shortly after this highly successful first show, he traveled to Morocco with James Kerr Lawson, beginning a long association with North Africa.
McBey enlisted in the military in 1916. His pictures of the Somme led to his appointment as an Official War Artist. In 1917 he was sent to Egypt where he completed some 300 watercolors of the campaign in Egypt and Palestine.
v
McBey visited America in 1929, where he met Marguerite Loeb in Philadelphia. The two married in 1931. He became a US citizen in 1942; and during WWII he lived between Philadelphia and New York where he rented a studio at MacDougal Alley - a favorite of many artists at the time. They settled in the region of North Africa, buying a house in Tangier and another in Marrakesh. McBey lived in America during World War II and was even able to find some work, but in 1946 they returned to Tangier where McBey continued to work until his death in 1959.
His etchings are varied in subject, but all show his excellent draughtmanship and his sense of light. He was particularly good at depicting the North African desert, water scenes and cities such as New York, Venice and Rotterdam.
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James McBey. 1883-1959.
Walter Ernest Tittle. 1883-1960.
Gerald Leslie Brockhurst, R.A., R.E. 1890-1978.
