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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. Chinatown by Chryssa, Image 1.

    Chryssa

    Chinatown, 1978

    Screenprint on paper

    38.75 x 31.25 in (98.43 x 79.38 cm)

  2. Night by Robert Malone, Image 1.

    Robert Malone

    Night, 1978

    Lithograph on paper

    15 x 22.5 in (38.1 x 57.15 cm)

  3. Astres et Désastres (Stars and Disasters) by Pierre Alechinsky, Image 1.

    Pierre Alechinsky

    Astres et Désastres (Stars and Disasters), 1969

    Aquatint on paper

    15.375 x 19 in (39.05 x 48.26 cm)

  4. Steve Allen by Philippe Halsman, Image 1.

    Philippe Halsman

    Steve Allen, 1954

    Gelatin silver print

    11 x 13.875 in (27.94 x 35.24 cm)

  5. Wambaw Cypress by William Melton Halsey, Image 1.

    William Melton Halsey

    Wambaw Cypress, No date

    Oil on canvas

    60 x 34 in (152.4 x 86.36 cm)

  6. The Anti-Archive of Trauma on the U.S.-Mexico Border by Susan Harbage Page, Image 1.

    Susan Harbage Page

    The Anti-Archive of Trauma on the U.S.-Mexico Border, 2007-2020

    Chromogenic print

    17 x 22 in (43.18 x 55.88 cm)

  7. Ethiopia (Refugees in the Korem Camp) by Sebastião Salgado, Image 1.

    Sebastião Salgado

    Ethiopia (Refugees in the Korem Camp), 1984, printed later

    Gelatin silver print

    11.75 x 17.375 in (29.85 x 44.13 cm)

  8. Butiful All Year Round by Gene Merritt, Image 1.

    Gene Merritt

    Butiful All Year Round

    Ink on paper

    11 x 8.5 in (27.94 x 21.59 cm)

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About the artist

James McBey

British

1883-1959

Self-taught as an artist, McBey was born in Newburgh near Aberdeen. He worked as a bank clerk from the age of fifteen, learning about art from books. After reading about etching, he became interested in printmaking, producing his first prints using a domestic mangle and building his own printing press. An admirer of Rembrandt’s prints, McBey launched his artistic career in 1910 by travelling to Holland. He returned to live in London before working in Egypt as an Official War Artist in 1917. McBey reached the peak of his popularity as an etcher in the 1920s, but when the print market collapsed due to the Depression he mainly produced portraits on commission. McBey did not associate with artistic movements, but saw himself as a traditional, skilled craftsman.