John Taylor Arms

Rio del Santi Apostoli, Venice.

1930

Rio della Misericordia. October 1924. Watercolor. 14 x 8 3/4. McBey did a striking 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. The Rio Della Misericordia ( from the Venetian to the Misericordia Canal ) is a canal from Venice in the sestiere of Cannaregio, Contrada San Marzillan in Italy. The river runs along the old Servite convent. The canal is crossed by two bridges, from east to west: the San Marziale spawning linking the campo of the same name with the Fondamenta de la Misericordia and the dei dei Servi or Betania linking the Mensa di Betania to the Fondamenta de la Misericordia . 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...

William Walcot. R.E., R.I.B.A. San Marco. 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. Housed in a 16 x 20-inch archival mat. Soon after Walcot's arrival in England, the Fine Art Society sponsored a trip sent to Italy. This scene is one of four small drypoints that resulted from the artist’s stay in Venice. When he was seventeen, he began to study architecture under Louis Benois at the Imperial Academy of Art in Saint Petersburg. He went to Paris where he continued his studies at the Ecole des Beaux-Arts and the Atelier Redon. He practiced as an architect briefly in Moscow, designing the Hotel Metropole...

A Regatta on the Grand Canal. 1930. Drypoint. Hardie/Carter 248. 8 7/8 x 15 3/8 sSheet 13 3/16 x 19 3/8). Edition 80, #5. A fine impression on cream-colored wove paper with full margins. Signed and numbered in ink. Housed in an 18 x20-inch archival mat. Carter writes, "A procession of boats, gaily decorated, is entering the Grand Canal, with the Campanile and the Doges' Palace in the background. On the left is the baroque poop of a boat with a flamboyant, carved female figure; on the right, another boat with a prow of two prancing horses." 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...

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 wo...

Etching on cream laid paper, 1930. 7 1/2 x 3 7/8 inches (190 x 970 mm), full margins. Signed and inscribed "Edition 100" in pencil, lower margin. In very good condition with minor s...

1926. Etching in sepia ink on Japon paper, 9 5/8 x 11 1/2 inches (245 x 292 mm), full margins with the lower margin slightly notched. Signed, titled and dated in pencil in the lower ...

Etching and aquatint on antique laid paper, wide margins. Signed, dated and inscribed "Edition of 100" in pencil, lower margin. Second state (of 2)....

Rio Ognissanti, Venezia, rif. 529 Etching inches 19.29 x 33 - mm 490 x 840 The etching was exhibited last year in the critical retrospective that the city of Milan promoted and set ...