Items Similar to Albert Basin, Aberdeen, Scotland
Want more images or videos?
Request additional images or videos from the seller
1 of 3
James McBeyAlbert Basin, Aberdeen, Scotland1906
1906
About the Item
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. This is an extremely rare early McBey etching. Housed in a 16 x 20-inch archival mat, suitable for framing.
Hardie writes, "An avenue of ships' masts rising dark against an evening sky. The light gleams on the pathway of water down the centre. A man and woman, by a boat, in foreground, to the left.
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 and shortly after this highly successful first show, he traveled to Morocco with James Kerr Lawson, beginning a long association with North Africa.
McBey enlisted in the military in 1916. His pictures of the Somme led to his appointment as an Official War Artist. In 1917 he was sent to Egypt where he completed some 300 watercolors of the campaign in Egypt and Palestine. v McBey visited America in 1929, where he met Marguerite Loeb in Philadelphia. The two married in 1930 and, together, they settled in the region of North Africa, buying a house in Tangier and another in Marrakesh. McBey lived in America during World War II and was even able to find some work, but in 1946 they returned to Tangier where McBey continued to work until his death in 1959.
His etchings are varied in subject, but all show his excellent draughtmanship and his sense of light. He was particularly good at depicting the North African desert, water scenes and cities such as Venice and Rotterdam.
- Creator:James McBey (1883 - 1959, British)
- Creation Year:1906
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Storrs, CT
- Reference Number:1stDibs: LU33522570493
About the Seller
5.0
Recognized Seller
These prestigious sellers are industry leaders and represent the highest echelon for item quality and design.
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 1977
1stDibs seller since 2016
697 sales on 1stDibs
Typical response time: 1 hour
Associations
International Fine Print Dealers Association
- ShippingRetrieving quote...Ships From: Storrs, CT
- Return PolicyA return for this item may be initiated within 3 days of delivery.
More From This SellerView All
- House on Cliff Walk, Newport, Rhode IslandBy Clifford Isaac AddamsLocated in Storrs, CTHouse on Cliff Walk, Newport, R.I. 1931-1932. Etching and drypoint. Hausberg catalog 13 state .i/ii. Edition 75 in this state. 5 7/8 x 7 7/8 (sheet 9 x 13 1/2). A rich impression pr...Category
Mid-20th Century American Modern Landscape Prints
MaterialsDrypoint, Etching
- Caprice, or House on Cliff Walk, Newport, Rhode IslandBy Clifford Isaac AddamsLocated in Storrs, CTHouse on Cliff Walk, Newport, Rhode Island or Caprice, Newport, Rhode Island.. 1931/33. Etching. Hausberg catalog 138 state ii. 5 15/16 x 8 (sheet 7 7/8 x 9 5/8). A rich impression ...Category
Mid-20th Century American Modern Landscape Prints
MaterialsDrypoint, Etching
- Bailey's Beach, Newport, Rhode Island.By Clifford Isaac AddamsLocated in Storrs, CTBailey's Beach (Newport, Rhode Island). c. 1931-1933. Etching and drypoint. Hausberg catalog 126 state vi. Edition 75. 6 x 7 7/8 (sheet 9 9/16 x 12 1/2). Printed on cream wove paper ...Category
Mid-20th Century American Modern Landscape Prints
MaterialsDrypoint, Etching
- Bailey's Beach, Newport, Rhode Island.By Clifford Isaac AddamsLocated in Storrs, CTBailey's Beach (Newport, Rhode Island). 1933. Etching. Hausberg 126 state v/vi. Edition 75. 6 x 7 7/8 (sheet 9 3/8 x 12 3/8). Printed with extensive plate tone with plate tone on 'Va...Category
Mid-20th Century American Modern Landscape Prints
MaterialsDrypoint, Etching
- Fountains Abbey.By Henry RushburyLocated in Storrs, CTFountains Abbey. 1946. Drypoint. Rushbury 84. 8 7/8 x 12 1/4 (sheet 11 1/8 x 15). Edition 100. A rich impression printed on cream laid paper, on the fu...Category
1940s Modern Landscape Prints
MaterialsDrypoint, Etching
- The Turkish FortBy Sir David Young Cameron, R.A.Located in Storrs, CTThe Turkish Fort. 1909. Etching and drypoint. Rinder 409. 5 1/2 x 10 3/8. Signed in pencil. Housed in a 16 x 20-inch archival mat. This print shows a fort on the Mokattam Hills, ne...Category
Early 20th Century Modern Landscape Prints
MaterialsDrypoint, Etching
You May Also Like
- Irving Guyer, Christmas Trees on Second Street (NYC)By Irving GuyerLocated in New York, NYPhiladelphia-born Irving Guyer attended the Art Students League and worked in New York City before moving to California. This print is signed and titled i...Category
1930s American Modern Figurative Prints
MaterialsDrypoint, Etching
- Duchamp, Le Cheval, Composition, Du cubisme (after)By Marcel DuchampLocated in Auburn Hills, MIOriginal Edition Etching, Engraving, Drypoint on Lana pure rag paper. Edition: 455. Signed in the plate and unnumbered, as issued. Good Condition. Notes: From the folio, Du Cubisme, ...Category
1940s Modern Landscape Prints
MaterialsDrypoint, Engraving, Etching
- Guardians of the Spire; Amiens Cathedral Number 2By John Taylor ArmsLocated in Middletown, NYGuardians of the Spire; Amiens Cathedral Number 2 New York: 1937. Etching and drypoint on watermarked F.J. Head cream-colored, antique laid paper, 6 3/4 ...Category
Mid-20th Century American Modern Figurative Prints
MaterialsDrypoint, Etching
- Tugs on the HudsonBy Charles Frederick William MielatzLocated in Middletown, NYDrypoint etching with engraving printed in black ink on Japanese mulberry paper, 4 1/2 x 3 3/8 inches (113 x 84 mm), full margins. In superb condition. A beautiful New York City rive...Category
Early 20th Century American Modern Landscape Prints
MaterialsHandmade Paper, Drypoint, Etching
- The Acropolis, AthensBy Louis Conrad RosenbergLocated in Middletown, NYEtching and drypoint on cream wove paper, full margins. Signed in pencil, lower right margin. In generally good conditon with several scattered very light spots of foxing throughout,...Category
1920s Modern Landscape Prints
MaterialsHandmade Paper, Drypoint, Etching
- Palazzo dell'AngeloBy John Taylor ArmsLocated in Middletown, NYPalazzo dell'Angelo 1931 Etching and drypoint on cream-colored, handmade laid paper with deckle edges, 7 1/4 x 6 3/4 inches (185 x 171 mm), edition of 100, full margins. Signed, dated and numbered "Ed. 100" in pencil, lower margin, second state (of three). Printed by Henry Carling, New York. Extremely minor mat tone and some inky residue in the top right corner, all unobtrusive and well outside of image area. An exquisite impression of this intricate image, with astonishing detail, and all the fine lines printing clearly. The image represents the first print which Arms printed on his own handmade paper. Framed handsomely with archival materials and museum grade glass in a wood gilt frame with a flower and garland motif. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. [Fletcher 233] Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on Gothic cathedrals and churches he visited in France and Italy. He used what was available to him, namely sewing needles and a magnifying glass, to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war, Arms enjoyed a successful career as a graphic artist, created a series of etchings of American cities, and published Handbook of Print Making and Print Makers (Macmillan, 1934). He served as President of the Society of American Graphic Artists, and in 1933, was made a full member of the National Academy of Design. In its most modern incarnation, Palazzo dell'Angelo was constructed in or around 1570. The building, which has a rich and storied history, was erected upon the ruins of an earlier structure which predates the Gothic period. Some remnants of the earliest features of the residence were most certainly still visible when Arms visited, as they are today. Having a background in architecture, there's no question that Arms was moved by the beauty, history and ingenuity represented in the physical structure. One thing specifically gives away Arms's passion for the architecture, and that is the fact that he focused on the building's Moorish entranceway, balustrade, and two mullioned windows, and not on the curious Gothic era bas-relief of an angel nestled into the facade of the building, after which the structure is named. The sculpture itself doesn't appear in Arms's composition at all, despite the fact that it is the feature of the building that is most famous in its folklore. Arms instead focuses on the oldest portion of the architecture, even documenting some of the remnants of a fresco, and a funerary stele for the freedman Tito Mestrio Logismo, and his wife Mestria Sperata (visible above the water level, to the left of the door, behind the gondola), which was first described in 1436. Among the many notable bits of history regarding the Palazzo, it has been documented that Tintoretto painted frescos of battle scenes on the facade of the building. The paintings have been lost to time and the elements, but not entirely to history. The empty frame...Category
1930s American Modern Figurative Prints
MaterialsDrypoint, Etching
Recently Viewed
View AllMore Ways To Browse
Used Basin
Antique Basins
Antique Basin
Scottish Modern
Alberts Antiques
Antique Water Basin
Albert Venice
Antique World War Ii
Scotland Etching
Antique Scottish Print
Antique Centres Scotland
Scottish Antique Centres
Scottish Antique Centre
Egyptian Pictures
Visit Palestine
Antique African American Art
In Tangier
Desert Etching