James McBey. 1883-1959.
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Watercolors
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). $3,000.
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. $4,500.
Fine Prints
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. $750.
Barcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8. Edition 80, #xxx. An extremely rich impression with subtle tonal wiping, printed on pale blue-toned laid paper from an antique volume. Signed and numbered in ink. $13,500.
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. A brilliant impression printed on 'P. Eller' countermarked blue-green French laid paper. Signed and numbered in ink. $4,750.
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. $600.
The Dead Sea. 1921. Drypoint. Hardie 206. 7 13/16 x 11 3/4 (sheet 10 5/8 x 16). Edition 76, #23. A very rich impression with drypoint burr, printed on blue-toned paper from an old volume.Signed and numbered in ink. $985.
Distant Salute. 1925. Etching. Carter 250. 7 3/16 x 15 15/16 (Sheet 10 7/8 x 17 1/8). Edition 80, #27. Signed and numbered in ink. $1,950.
The Doorway. 1925. Etching. Carter 244. 8 1/16 x 6 3/8 (sheet 10 1/4 x 8 1/4). Edition 80, #26. 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. $1,850.
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.
Mersea, Sunset. 1924. Etching. Hardie 222. 8 5/16 x 14 3/8. Edition 76. Illustrated: Holme, Etchings of Today, (London: The Studio, 1929), plate 26. A rich impression printed on cream colored laid paper. Signed and numbered in ink. $950.
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.
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. $1,950.
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 J. Whatman laid paper from an old volume. Signed and numbered in ink. $750.
San Luis Obispo. 1944. Etching. Carter 283. 6 7/16 x 14 1/8 (sheet 9 1/4 x 15 7/16). Edition 48, #30. Signed and numbered in ink. A delicate impression with carefully wiped plate tone, prited on cream-colored laid paper. $750.
Santa Maria della Fava, Venice. 1925. Etching. Hardie 234. 13 x 8 1/2. Edition 80. Printed on greenish-toned paper. Trimmed to the plate on three sides. Signed in ink. $1,500.
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.
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. $750.
A Tartane Leaving Venice. 1928. Etching. Carter 240. 6 1/2 x 11 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. $2,750.
The Thames Barge Race: the Start. 1936. Etching. Hardie 272. 7 1/8 x 14 5/8 (sheet 8 1/2 x 16 1/2). Edition 80.. A very rich, atmospherically wiped impression printed on cream laid paper from an old volume. Signed and numbered in pencil. $750.
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 6, 1916, p. 115. Published by P. & D. Colnaghi, London. A brilliantE 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. Price upon request.
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