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Los 139
λ HAROLD WOOD (BRITISH 1918-2004) SUNSET, BEETHAM, WESTMORELAND Oil on panel Signed and dated 71 (lower right) signed and inscribed to label and dated 10 May 1971 to various labels (verso) 20.5 x 30.7cm (8 x 12 in.) Born in 1918, in Lancashire, Wood studied Drawing and Painting at the Harris School of Art, Preston. In 1935 he trained as a Decorative Artist with 'Leyland Paint Co.' Between1939 and 1946 Harold was in War Service in North Africa, Abyssinia and Europe. After the War he worked in London as an illustrator and model maker. He began painting full time in 1953, doing mainly one-man shows in London where he did various mural commissions. In 1947 he was commissioned to illustrate the life of Abdul Aziz al Saud, the first King of Saudi Arabia, a total of 58 paintings in watercolour, completed in 1977. Captured by the middle east Wood went on to work for the Sultan of Oman producing paintings of his Arabian horses. With a total of 285 paintings to date for the two patrons, Harold became known as 'Painter of the Arab World'. In 1980 Harold came to live in Kinsale, Ireland and later to Ballinhassig. In 1993 he discovered Connemara and, in between the Arabian commissions, fell in love with the mountains and landscape, in contrast to the endless heat and dust of the desert which occupied a great deal of his working life for over 26 years. Versatile and colourful artist, born in Preston, Lancashire, where he studied part-time at Harris Art School, 1935-9. He claimed to be "self-taught in painting"; however, in the five years to World War II he "learned much technical expertise" while working in the decorative art department at Leyland Paint & Varnish. After over six years' wartime service in the Army, including a period in Germany, Wood worked as an illustrator in London. He learned etching for two terms at the Central School of Arts and Crafts, but otherwise "spent all my spare time in the National Gallery". The early Italian masters, Oskar Kokoschka whom he met in 1954, and the writings of John Berger were key influences. For a time Wood was involved in town planning, architectural drawing and model-making, including work for Lancashire County Council, Peterlee New Town and George Wimpey.
Los 203
λ SALVADOR DALI (SPANISH 1904-1989) PARADISE CANTO 31 (FROM DIVINE COMEDY) Etching on silk, a special edition in sepia in an edition of 3 Inscribed along the lower edge 25.5 x 20cm (10 x 7¾ in.) Condition Report: There appears to be some light discolouration, otherwise, in apparently good condition. Under glass and unexamined out of frame. Condition Report Disclaimer
Los 16
James Gillray, Napoléon Bonaparte - 'Apotheosis of the Corsican-Phoenix'hand-coloured satirical etching and aquatint, published 2 August 1808 by Hannah Humphrey, mounted to board, 39 x 29cm (sheet). Ref: NPG D12910Unframed but paper stuck down to board, with some margins. Light dust staining and foxing. Some areas of small blemishes. See images
![James Gillray[William Smyth] 'A Petty-Professor of Modern-History, brought to Light'hand-coloured etching and aquatint, publi](https://cdn.globalauctionplatform.com/8b847b48-4e2a-48c7-96ed-af1d00f50030/d96f40f5-97e9-4695-8356-af2000b1f95a/468x382.jpg)
Los 23
James Gillray[William Smyth] 'A Petty-Professor of Modern-History, brought to Light'hand-coloured etching and aquatint, published by Hannah Humphrey 20 March 1810, 35 x 25cm, mounted and trimmed. Ref. NPG D12938.'La promenade en famille - a sketch from life'hand-coloured etching, published by Hannah Humphrey 23 April 1797, 25.5 36.5cm, trimmed to plate, mounted. Ref. NPG D12611
Los 380
After William Heath (British, 1795-1840), The Prime Lobster (Wellington), hand coloured etching, published by Thomas McLean, 26 Haymarket, London, 1829, 14 ¼ x 9 7/8in. (36.2 x 25cm.), framed.* Notes: One of the most iconic of the famous series of caricatures by William Heath depicting Wellington as Prime Minister. Here Wellington is represented as a giant lobster, his distinctive profile between the creature's raised claws. From his back hangs a Chancellor of the Exchequer's gown. On the ground in front of him are his cocked hat and sword and a song headed "The Soldier Tired of Wars".
Los 4288
Rembrandt van Rijn, Harmensz.: (1606 Leiden - Amsterdam 1669). Jan Asselijn, Maler. Radierung auf feinem Bütten um 1647. Blgr. 18,1 x 16,9 cm. Auf Plattenkante geschn., am Unterrd. wie üblich unter Verlust des leeren Tablets. Unter Passep. mont. New Ho. 236 IV/V (v. VII). B. 237. W.-B. 237. Vorzügl. Abdruck des IV./V. Zustands. Lt. N.-U. RRR (= sehr selten). - Ob. re. Eck mit 2 fachmännisch restaurierten kl. Fehlst. - Jan Asselijn, painter. Etching on laid paper. Trimmed to platemark, at lower margin as usual with loss of the empty tray. Fitted under passep. Excellent impression of the IV/V state. - Upper right corner with 2 expertly restored small missing parts. D
Los 4280
Rembrandt, Harmensz van Rijn: (1606 Leiden - Amsterdam 1669). Der Ringballspieler ("Der Golfspieler"). Radierung mit Plattenton auf cremefarbenem Bütten, 1654. Plgr. 9,5 x 14,4 cm, Blgr. 10,5 x 15,2 cm. Bartsch 125. New Hollstein 282 ii/ii. - Späterer Abdruck des zweiten Zustands (von zweien). - The Ringball Player ('The Golf Player') Etching, 1654. - A later impression of the second state (of two). R
Los 4277
Rembrandt, Harmensz van Rijn: (1606 Leiden - Amsterdam 1669). Mann in Mantel und Pelzmütze an eine Bank gelehnt. Radierung mit Plattenton, um 1630. Plgr. 11,5 x 8 cm, Blgr. 11,7 x 8,3 cm. Mit schmalem Rändchen. New Hollstein 48 iii/iii.- Guter Abdruck von New Hollsteins letztem Zustand (von dreien). - Kleine Ausbesserung am rechten unteren Rand. - Leicht fleckig und gebräunt. - Man in a Coat and Fur Cap Leaning Against a Bank. Etching, circa 1630. - Well inked impression of New Hollstein's final state (of three). - Small margins and repair to right edge, minor spotting and browning. R
Los 4010
Konvolut: von über 50 Landschaftsdarstellungen. Radierung. 17./18.Jhdt. Versch. Formate. Teilw. sign. u dat. â•”Darunter:â•— Philipp Hieronymus Brinckmann, Johann Wilhelm Becker, Franz Rechberger, Gottfried Stein, Giovan Frnacesco Grimaldi il Bolognese, Adrian Ludwig Richter, Johann Christian Klengel, Jean-Laques Le Veau, Johann Jakob Strüdt. - A collection of more than 50 landscape paintings. Etching. Various formats, partly signed and dated. R
Los 3888
Hrdlicka, Alfred: (1928 Wien 2009). 3 Graphiken: zwei Lithographien und eine Radierung, jeweils handsigniert, eine Litho mit Stauchungen am u. Rand, Blattmaße bis 57 x 76 cm. Three prints: two lithographs and one etching, each signed by hand, one litho with compression at the lower margin, sheet size up to 57 x 76 cm. D
Los 4274
Rembrandt, Harmensz van Rijn: (1606 Leiden - Amsterdam 1669). Jan Lutma, Goldschmied. Radierung u. Kaltnadel auf dickem cremefarbenem Bütten, 1656. Plgr. 20 x 15 cm, Blgr. 20,5 x 15,5 cm. Bartsch 276. Neuer Hollstein 293 v/v. - Späterer, kräftiger Abdruck. - Jan Lutma, Goldsmith. Etching and drypoint, 1656. - A later impression from the cut plate - New Hollstein's fifth state (of five). R
Los 4272
Rembrandt, Harmensz van Rijn: (1606 Leiden - Amsterdam 1669). La Négresse Couchée (Liegender Akt). Kaltnadelradierung und Kupferstich, 1658. Plgr. 8 x 15,8 cm, Blgr. 8,9 x 16,5 cm. Bartsch 205; New Hollstein 308 vi/vi. - Späterer Abdruck des letzten Zustands (von sechs). - Nude woman lying down. Etching with drypoint and engraving, 1658. - A later impression of the final state (of six). R
Los 4271
Rembrandt, Harmensz van Rijn: (1606 Leiden - Amsterdam 1669). Eine ihre Füße in einem Bach badende Frau. Radierung und Kaltnadel auf dickem cremefarbenem Bütten, 1658. Plgr. 16 x 8 cm, Blgr. 16,6 x 19 cm. Mit schmalem Rändchen. Bartsch 200. New Hollstein 309 ii/ii. - Späterer Abdruck von New Hollsteins letztem Zustand (von zwei). - Woman Bathing her Feet at a Brook. Etching and drypoint, 1658. - A later impression of New Hollstein's final state (of two). - Narrow margins. R
Los 4276
Rembrandt, Harmensz van Rijn: (1606 Leiden - Amsterdam 1669). Der Schulmeister. Radierung auf Bütten. 1641. Plgr. 9,3 x 6,1 cm. Mit Rändchen. New Ho. 191 IV (von IV). B. 128. W.-B. 128. - Prachtvoller Abdruck des IV. Zustands (von IV) mit der endgültigen Überarbeitung. - Sehr gut erhalten. - The schoolmaster. Etching on laid with margins. Splendid impression of the IVth state (of IV) with the final revision. D
Los 279
WILLIAM STRANG RA RP RE (SCOTTISH 1859 - 1921),CHRISTcharcoal on paper, signedimage size 34cm x 24.5cm, overall size 56cm x 41cm Mounted and unframed, along with the etching 'Christ', signed and inscribed '1st slate 4 proofs', unframed.Also along with a further sketch and etching, MORNING pencil sketch on paper, signedimage size 32cm x 24cm, overall size 56cm x 41cm Mounted and unframed, along with the etching 'Morning', signed and inscribed '1st slate, 7 proofs', also mounted and unframed (4).
Los 50
* JAMES MCBEY (SCOTTISH 1883 - 1959),MINSMERE MARSHES watercolour on paper, signed, titled and dated 1913image size 22cm x 29cm, overall size 39cm x 54cm Mounted, framed and under glass.Provenance: Martin Hardie Collection, handwritten label versoComment: Minsmere is a nature reserve owned and managed by the Royal Society for the Protection of Birds (RSPB) at Minsmere, Suffolk. The marshes were reclaimed as farmland in the 19th century, but were re-flooded during World War II as a protection against possible invasion.Note: Painter and etcher, born at Foveran, Aberdeenshire, who began work in a bank. He attended evening classes at Gray’s Art School, Aberdeen, taught himself etching, built his own press and by 1906–7 was showing at RSA and Royal Glasgow Institute of the Fine Arts. In 1910 he left the bank, worked on the continent and held his first one-man show at Goupil Gallery in 1911 which was very successful. Having travelled in Morocco in 1912, during World War II McBey was appointed Official War Artist in Egypt. When the etching boom declined in the 1920s McBey, who had already painted some good portraits, including one of T E Lawrence of Arabia, diversified into oils, watercolours and drawings and established a market for his work among American collectors, having a highly acclaimed show at Knoedler Gallery, New York, in 1929. Early in the 1930s McBey returned to Europe and bought a second home in Tangier, where he lived with his artist wife Marguerite and died. Aberdeen Art Gallery holds a large collection of his work.
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78472 Los(e)/Seite