Amsterdam from Ransdorp
Etching, 1910, Hardie 74; edition only 40. 4 15/16 x 8 15/16 in. Signed and dated in the plate. Signed and numbered in ink. This is a superb, luminous impression of this outstanding early print. The margins are full and the condition is fine. (The paper is a 19th century sheet from an old book or ledger.) The influence of Rembrandt is here quite evident but this print also reminds us of Whistler's time in Holland from just a few years earlier. Zaandam (Kennedy 414) and The Mill (K413) are similar in their appreciation of the Dutch countryside. This etching is rare today and is clearly among the very best prints by McBey of Holland.
SOLD

California, San Luis Obispo
Etching, 1944, Hardie/Carter 283, edition 48. 6 1/2 x 14 1/8 in. Signed, titled and dated in the plate, lower left. Signed and numbered in ink. This is a fine, luminous impression printed on cream wove paper. The margins are wide and the condition is fine. (There's a little bit of brown paper tape along the left and right margin and a fraction along the top edge at right.) This appealing, later work by McBey shows his fascination with the diversity of the American landscape. In this same year he produced an etching of Ranchos de Taos in New Mexico and, of course, he was quite familiar with New York.
SOLD

Molo
Etching, 1928, Hardie/Carter 239, edition 80 plus 12 trial proofs. 12 3/8 x 9 1/4 in. Signed and dated in the plate, lower left. Signed and numbered in ink. This is a superb, luminous impression printed on laid paper with the watermark LOTTERY. The margins are full and the condition is excellent. This is a view of the Molo from the Balcony of the Doges' Palace.
$1,800

New York Harbour
Etching, 1941, Hardie/Carter 279, edition 65 plus 19 trial proofs. 10 1/4 x 15 in. Signed, titled and dated in the plate. Signed and numbered in ink. Here we have a fine impression with probably the full margins. The condition is also fine. This is one of McBey's best views of New York as pictured from Brooklyn across the East River.
SOLD

Omval
Etching, 1910, Hardie/Carter 78, edition 78. 4 3/4 x 6 1/2 in. Signed, titled and dated in the plate, lower right. Signed and numbered in ink. This is a stunning, beautifully inked impression of this uncommon print. The margins are full and there's an illegible watermark running vertically along the left side. The condition is fine. This early work relates closely to Rembrandt's 1645 etching by the same title. In Rembrandt's version, the tree is on the other side of the composition and there's a standing figure.
SOLD

Rio dei Greci
Etching, 1926, Hardie/Carter 228, edition 80 plus 11 trial proofs. 10 3/8 x 6 5/8 in. Signed and dated in the plate. Signed and numbered in ink. This is a very fine impression printed with tone. The paper is a fine antique laid with the watermark 1818. The margins are full and the condition is fine. In the background is a view of San Giorgio dei Greci, a Greek Orthodox church dating from the 16th century.
$1,400

September Sunset
Etching, 1928, Hardie/Carter 241, edition 80 plus 12 trial proofs. 8 7/8 x 17 7/8 in. Signed and dated in the plate, lower left. Signed and numbered in ink below. This is a fine, luminous impression printed on cream laid paper with an elaborate fleur-de-lis watermark. The margins are full. The condition is very good apart from a couple of small repaired tears in the margin edges and some light toning within an earlier mat opening. The catalogue describes the view as follows, "Venice is seen from the Canale di San Marco near the Public Gardens. Towards the center on the left is San Giorgio Maggiore, and beyond, to the right, dimly glittering in the light of the setting sun, the Salute."
SOLD

The Cowgate, Edinburgh
Etching, 1904-05, Hardie/Carter 33, edition 26. 8 x 5 in. Signed and dated in the plate, upper left. Signed and numbered "XIX" in ink. This is a fine, dark impression of this rare early work. The paper is a fine antique laid and the margins are full. Fine condition apart from an extremely faint suggestion of an old adhesive on the verso. The Cowgate is a very old street dating from the 15th century, not far from Edinburgh Castle.
SOLD

The Passing Gondola
Etching, 1926, Hardie/Carter 230; edition 80 plus 11 trials proofs. 8 3/8 x 10 1/2 in/ Signed and dated in the plate, lower left. Signed and numbered in ink. This is a superb impression with full margins. The condition is fine. (There are remains of white linen tape hinges at the top corners or the margin.) Here we have a nice example of McBey's work in Venice.
SOLD

The Pool
Etching, 1914, Hardie/Carter 150, edition 50 plus several trial proofs. 9 1/2 x 14 1/8 in. Signed and dated in the plate, lower right. Signed and numbered (VIII) in ink. This is a fine impression from the published state with wide (full?) margins. The condition is very good apart from very faint toning within an earlier mat opening. This Whistlerian London view shows the Pool of London from a warehouse near the south end of the Tower Bridge looking north.
$950

Venetian Night
Etching, 1925, Hardie/Carter 254; edition 81 plus 18 trial proofs. 10 7/8 x 16 5/8 in. Signed and dated in the plate. Signed and numbered in ink. This is a fine, luminous impression printed on a greenish blue paper with the top edge irregular. The sheet was originally bound into a book or volume of some kind. The margins are modest but this appears to be the full sheet as printed. The condition is fine apart from a slight mat line from an early mat opening. This memorable work is one of McBey's very best prints and it's a landmark image for early 20th century British printmaking. Venetian Night is illustrated on page 65 of Great Images of British Printmaking by Raymond Lister (1978).
SOLD