James McBey. Prints and Multiples

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. Hardie writes, "Margot, the twelve-year-old daughter of Dr. and Mrs. Murray, in a fancy dress made to resemble that of Lopokova, the Russian dancer, stands with head slightly bent forward and arms at sides. On the left, her mother is sitting with arms outstretched altering the fop flounce of the dress." Born in Newburgh near Aberdeen, James...

The Desert of Sinai (No. 2). 1919. Etching. Hardie 184. 7 7/8 x 13 3/4 (sheet 9 5/8 x 15 3/16). Edition 76, #ix. Illustrated: Furst, Original Engraving and Etching: An Appreciation. ...

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, #2...

Ras-El-Ain. 1919. Etching. Hardie 180. 7 7/8 x 12 7/8 (sheet 9 x 14 1/2). Edition 76, # 1. Series: First Palestine Set. A rich impression with plate tone, printed on cream laid paper...

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. A rich impression with subtle tonal wiping. Printed on white laid paper...

James McBey (1883-1959), Haarlem, etching, 1910, signed in ink bottom right margin and numbered XXXV bottom left [also signed, titled and dated July 1910 in the plate]. Reference: Hardie and Carter 61, only state, edition of 40, 4 3/4 x 6 7/16, the sheet 6 1/4 x 8 inches. Printed on old laid paper, with a partial crest watermark, with margins. In good condition, a paper loss upper right corner (away from image), slight soiling in margins, archival mounting. A fine impression, with a light veil of plate tone. At the age of 26 McBey left his bank job (which he had had for 15 years!) and traveled to Holland, where from July to September of 1910 he created a number of etchings depicting the Dutch landscape. McBey had studied Rembrandt’s prints, and the influence of the Master is evident in etchings such as Haarlem; Haarlem also is reminiscent of Whistler’s Thames etchings...

James McBey (1883-1959), Benicasim, etching, 1911, signed in ink and numbered lower left margin [with initials, title and date in the plate]. Reference: Hardie 96, only state, edition of 40. In very good condition, with wide margins (cut irregularly at bottom, tiny loss upper right corner), 5 5/16 x 8 3/8, the sheet 9 x 11 1/2 inches, archival matting. A fine, delicately printed impression, printed in black ink on cream laid paper. Benicasim is a small Spanish town a few miles north of Valencia. In McBey’s etching it appears beautiful, isolated and remote; today it is built up, the site of a famous pop music festival. McBey was of course a student of Rembrandt, and compositionally Benicasim may be referencing Rembrandt’s Three Trees.

James McBey (1883-1959), Benachie, etching, 1911, signed in ink lower right and numbered XXVII lower left [also signed and dated in the plate lower right]. Reference: Hardie 90, only...

Dawn. The Camel Patrol Setting Out. October, 1919. Etching. Hardie 181. 8 7/8 x 14 7/8 (sheet x 14 1/4). Edition 76, #XLV. Series: First Palestine Set. Illustrated: Zigrosser, Six...

Hardie/Carter 253. 15 7/8 x 9 3/8 (sheet 18 3/8 x 11 3/4). Edition 80, #23. A fine impression on dark cream-colored laid paper from an antique volume with full margins. Signed and numbered in ink. Housed in a 23 x 15 1/2-inch archival mat. 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. 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...