James McBey. 1883-1959.
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Scotland
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.
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.
A Fishing Harbour (Stonehaven). 1913. Etching. Hardie 145. 5 1/2 x 7 7/8 (sheet 7 1/5 x 9 1/2). Edition 50, #4. Printed on antique laid paper. A rich proof with subtle tonal wiping. Signed and titled in ink. $650.
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.
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.
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.
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.
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.
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.
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). $2,750.
A Flood in the Fens. 1922. Drypoint. Hardie 209. 6 7/8 x 12 1/4 (sheet 10 1/16 x 14 3/4). Edition 76. A rich, tonally wiped impression antique cream laid paper. Signed and numbered in ink. $450.
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. $850.
Lion Brewery. 1914. Etching. Hardie 149. 11 1/2 x 8 1/8 (sheet 13 5/8 x 10 1/8). Edition 50, #10. Illustrated: Salaman,Modern Masters of Etching. A fine impression of this scarce print, printed with plate tone on antique laid paper. Collector's seal verso, showing through at the lower right-hand of the image:Cortland Field Bishop (Lugt 27706). Signed and numbered in ink. $1,750.
Mersea, Sunset. 1924. Etching. Hardie 222. 8 5/16 x 14 3/8 (sheet 11 15/16 x 17 1/8). Edition 76, #A5. 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 cream colored wove paper. Signed and numbered in ink. $850.
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.
Repairing the Barge. 1914. Etching. Hardie 148. 8 3/8 x 6 1/4 (sheet 9 3/4 x 7 3/86). Edition 50, #25. A very good impression on antique laid paper with a partial Strasbourg lily watermark. Signed and numbered in ink. $950.
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.
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.
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.
France and Spain
The Carpenter of Hesdin. 1917. Drypoint. Hardie 178. 7 13/16 x 11 15/16 (sheet 9 3/16 x 13 1/2). Edition 76, #50. A very rich impression with drypoint burr, printed on cream laid paper.Signed and numbered in ink. $600.
The Crucifix, Bologne. 1922. Etching. Hardie 168. 6 x 8 1/8 (sheet 7 3/8 x 9). Edition 76, #A14. A rich impression printed on old laid paper. Signed and numbered in ink. $550.
A Norman Port. 1916. Etching. Hardie 169. 6 11/16 x 14 1/2 (sheet 8 1/4 x 15 7/8). Edition 76, #1. An extremely rich impression with plate tone, printed Strasbourg Lily watermarked laid paper from an antique volume. Signed and numbered in ink. $600.
Palos. Departure of Columbus, 1492. 1933. Etching. Hardie/Carter 267. 10 1/16 x 17 3/4 (sheet 13 3/8 x 19 1/2). Edition 80, #61. Illustrated: Fine Prints of the Year(1933). A rich impression with plate tone, printed on cream wove paper with full margins. A large, impressive image. Signed and numbered in slightly-faded ink. $650.
The Quai, Gambetta, Boulogne. 1916. Etching. Hardie 170. 7 1/8 x 11 5/16 (sheet 9 1/4 x 12 5/8). Edition 76, proof B, reserved for the artist. An extremely rich impression with plate tone, printed on old laid paper. Signed and numbered in ink. $850.
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. $850.
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.
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.
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 in 'J Whatman' laid paper from an antique volume. Signed and numbered in ink. $900.
Venice
Barcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8. Edition 80, #xxx. Illustrated: Print Collector's Quarterly 24 (1938): 428. 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.
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. 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.
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. 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. $1,000.
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. 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. $2,750.
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. A rich impression with plate tone, printed on 'LOTTERY'laid paper with full margins. Signed and numbered in ink. $1,500.
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.
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. $1,350.
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.
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.
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.
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.
Venetian Night. 1930. Etching. Carter 254. 10 7/8 x 16 3/4 (sheet 11 3/4 x 17 1/2). Edition 81. Illustrated: Guichard, British Etchers, 1850-1940; Print Collector's Quarterly 25, 1938, p. 436; Fine Prints of the Year, 1928. Published by P. & D. Colnaghi, London. A brilliant impression, printed in black ink on cream laid paper from an antique volume. Signed and numbered in ink. Venetian Night is considered to be the artist's master etching. $11,500.
Another impression.
Venetian Night. 1930. Etching. Carter 254. 10 7/8 x 16 3/4 (sheet 12 x 17 1/2). Edition 81, #iv. Signed and numbered in ink. A rich, glowing impression on pale greenish-toned laid paper from an old book.Venetian Night is considered to be the artist's master etching. $12,000.
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.
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 slightly faded 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 cancelled plate. $1,750.
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
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.
Portrait of George W. Davison. 1930. Drypoint. Hardie/Carter 261. 10 x 6 3/16 (sheet 13 5/8 x 9 1/4). Edition 47, #13 . An extremely rich impression with drypoint burr, printed on antique cream laid paper. Signed and numbered in ink. $325.
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.
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 the 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. 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. $500.
A Studio (Earl's Court). 1914. Etching. Hardie 147. 6 3/4 x 10 15/16 (sheet 8 1/2 x 12 5/8). Edition 40, #30. A very rich impression printed on cream laid paper from an antique volume. Signed and numbered in ink. $2,000.
Gerald Leslie Brockhurst, R.A., R.E. 1890-1978.
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. $3,000.
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