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A Midnight Modern Conversationoil on canvas36 x 47cmFootnote: Hogarth’s original composition of this subject seems to be only known from an engraving. Numerous painted copies attest to the popularity of this scene throughout the 18th and 19th centuries. Ronald Paulson, however, suggests that the probable original is at the Yale Center for British Art, Connecticut, USA.Condition report: Old Christie's stencil GR 528 Lined.Oil on canvas which has been lined. The support and paint layers are in a good condition. There are a few scattered retouchings which are well matched to the original. The varnish is clear, even and glossy although dusty. The frame has a large loss to the decorative moulding on the left hand side.

Sam Francis 1923–1994 Untitled (SF P86-41), 1986 Acryl auf Leinwand rückseitig Signatur-Stempel und Nachlass-Stempel Sam Francis The Sam Francis Estate 111,76 x 111,76 cm Provenienz: Nachlass des Künstlers, Kalifornien (1994)Bruk Kahan Gallery, Boca Raton, Florida Privatsammlung (bei obiger Galerie erworben)Sotheby's, New York, 16.5.2007, Los 315Privatsammlung, New York (2007 bei obiger Auktion erworben)Privatsammlung, Rom Ausstellung: Sam Francis, Toyama, Museum of Modern Art, 23.4.–19.6.1988, Karuizawa, Seibu Takanawa, Museum of Modern Art, 4.8.–4.9.1988. Shiga, Museum of Modern Art, 10.8.–16.10.1988, Kurashiki, Ohara Museum of Art, 25.10.–27.11.1988, Tokyo, Setagaya Art Museum, 25.2.–26.3.1989, Kat.-Nr. 14, S. 50, mit Abb.Sam Francis Paintings/Works on Paper, Boca Raton, Bruk Kahan Gallery, New York, Greenberg Van Doren Fine Art, 4.2.–1.4.2000. Das Werk ist im Archiv von Sam Francis unter der Nr. SFF.1321 registriert.

Hans Hofmann 1880–1966 Birth of Taurus, 1945 Öl auf Holzplatte unten rechts signiert und datiert Hans Hofmann VII.30.45...rückseitig bezeichnet und datiert BIRTH OF TAURUS - 48 to 52 1945 130,8 x 121,9 cm Provenienz: Kootz Gallery, New York (1951)Collection Fred H. Olsen, Guilford, CT (1951–1983)Auktion Sotheby's, New York, 18.5.1983, Los 446Auktion Sotheby's, New York, 10.11.1986, Los 17 Ausstellung: Hans Hofmann, Recent Paintings, New York, Mortimer Brandt Gallery, 18.3.–30.3.1946.Hans Hofmann, New York, Whitney Museum of American Art, 24.4.1957–17.6.1958, Des Moines, Art Center, 4.7.–4.8.1957, San Francisco, Museum of Art, 21.8.–22.9.1957, Los Angeles, Art Galleries of the University of California, 6.10.–4.11.1957, Seattle, Art Museum, 11.12.1957–12.1.1958, Minneapolis, Walker Art Center, 7.2.–11.3.1958, Utica, Munson-Williams-Proctor Institute, 28.3.–30.4.1958, Baltimore, Museum of Art, 13.5.–17.6.1958, Kat.-Nr. 13. Literatur: Suzi Villiger, Hans Hofmann, Catalogue raisonné of paintings, Vol. II: Catalogue entries P1-P846 (1901–1951), London, Lund Humphries Publ., 2014, S. 314, Nr. P517, mit Abb.Edward Alden Jewell, Accent on Modernism, Sculpture by Three at Grand Central-Hofmann, Gatch, Bohrod and Others, New York Times, 24.3.1946, S. 54.A Master Teacher, Hans Hofmann Influenced Three Decades of U. S. Art, Life 42, Nr. 14, 8.4.1957, S. 74.Alfred V. Frankenstein, Hofmann Changed the Course of American Art, San Francisco Chronicle, 8.9.1957, S. 31.Elizabeth Pollet, Hans Hofmann, Art 31, Nr. 8, Mai 1957, S. 33, mit Abb. S. 30.Robert Rosenblum, Unité et divergences de la peinture américaine, la peinture américaine depuis la seconde guerre mondiale, Aujourd’hui 3, Nr. 18, Juli 1958, S. 13/14, mit Abb. S. 17.Dore Ashton, Gli inizi dell’espressionismo astratto in America, L’Arte Moderna 13, Nr. 109, 1967, S. 5, mit Abb.Harold Rosenberg, The Teaching of Hans Hofmann, Arts Magazine 45, Nr. 3, Dezember 1970/Januar 1971, mit Abb. S. 18.Elisabeth C. Baker, Hans Hofmann, Abstract-Expressionism and Color in New York 1945–65, Art News Annual 37, edited by Thomas B. Hess und John Ashbery, 1971, S. 115.Cynthia Goodmann, Hans Hofmann, Modern Masters Series 10, New York, Abbeville Press, 1986, S. 45.Robert Rosenblum, On Modern American Art, Selected Essays, New York, Harry N. Abrams, 1999, S. 63/64, mit Abb. S. 64.Hans Hofmanns Birth of Taurus ist ein energiegeladenes Bild, unglaublich reich an visuellen wie auch strukturellen Details. Die wilden, dickflüssigen, mit unbändiger Energie und wohl in einem Schwung aufgetragenen Farbwolken leuchten, strahlen und pulsieren.Das Werk ist ein Paradebeispiel für Hofmanns revolutionäre Maltechnik push and pull, die er selber als Bewegung und Gegenbewegung und Plastizität bezeichnete. Diese erfrischend unorthodoxe Technik, bei der expandierende und kontrahierende Kräfte ein Gleichgewicht der Spannungen zwischen Farbe und Form im Bildraum erschaffen, versetzt den Betrachter sofort in die Körperlichkeit von Hofmanns dynamischer und ausdrucksstarker Malerei. Seine ganz eigenen Theorien zu Farbe und Komposition setzt der Künstler in diesem Werk meisterhaft um.Hans Hofmann, 1880 in Bayern geboren, setzte sich erst mit dem Pointilismus und der impressionistischen Malerei in München auseinander. 1904 zog er nach Paris, der damaligen Weltkunst-Metropole, wo er die nächsten zehn Jahre lebte und sich mit dem Ehepaar Robert und Sonia Delaunay, Picasso, Braque, Kandinsky undMatisse anfreundete. 1930 übersiedelte er in die USA und gründete 1934 in New York eine Kunstschule, die eine Reihe später prominenter Schüler hatte wie Helen Frankenthaler, Allan Kaprow, Larry Rivers, die Designerin Ray Eames, Lee Krasner und Jackson Pollock. In den USA fand er zu seiner sehr eigenen Form der Abstraktion, für die der berühmte US-Kritiker Clement Greenberg den Begriff abstract expressionism prägte. Ohne seine Malerei und seinen Unterricht hätte es möglicherweise keine New York School gegeben, zu der Pollock, Robert Motherwell, Mark Rothko, Willem de Kooning und andere gehörten.

Chrome plated art deco design lamp base with modern Tiffany style leaded shade. 46 cm high approx. (B.P. 21% + VAT) Passed PAT test, chrome base is a bit worn, shade appears undamaged.

PAIR OF FRAMED MODERN ART LANDSCAPE SCENES

A Framed Limited Edition Modern Art Print and a Artist Proof Print

THREE MODERN POP ART PICTURES, 71CM WIDE

A brass embossed magazine rack together with an Art Deco mantle clock; Bakelite bowl; "Modern Boys Annual 1940" etc

A modern Art Deco style 18ct white gold and diamond encrusted 'bow tie' brooch, 40mm, gross 7.1 grams.

Erik Nitsche (Swiss, 1908 - 1998) "Cube Houses in the Netherlands" Signed lower left. Original Watercolor/ink painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original which was published on the Fleetwood First Day Cover for the Netherlands Europa 1987 Modern Art - Architecture stamp issued May 12, 1987. The unusual and interesting houses pictured in this artwork are Cube Houses designed by architect Piet Blom. The houses are located in Drenthe, which is a province in the northeast of the Netherlands. Piet Blom was born in the capital city of Amsterdam in 1943. He belonged to the most important representatives of the new Dutch structuralism, and he later specialized in urbanism. Although the uniqueness of Blom's Cube Houses may make them appear to be the product of a personal whim or self-expression, the house are really an end result of the intellectual, social, and technical conditions of our modern times. This analytical, structural approach distinguishes the design of the 20th century from previous periods and from it stems the liberation of the modern designer from preconveived notions of styles or forms. Image Size: 14 x 12 in. Overall Size: 20 x 15 in. Unframed. (B10764)

Erik Nitsche (Swiss, 1908 - 1998) "Lloyd's Building in London" Signed lower left. Original watercolor/ink painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original which was published on the Fleetwood First Day Cover for the Great Britain Europa 1987 Modern Art - Architecture stamp issued May 12, 1987. Richard Rogers is Great Britain's most famous architect. Born in 1933, he studied at the Architectural Association School in London and at the Yale School of Architecture in New Haven, Connecticut. He also constructed the Lloyd's Building in London. When looking at this building, it is apparent that Rogers exposes functional parts of the structure most architects would work hard to cover up. Among the most dramatic features of the Lloyd's Building are the external glass-sided observation lifts, which were used for the first time in a British building as a main means of vertical transportation. Image Size: 12 x 14 in. Overall Size: 20 x 15 in. Unframed. (B11055)

Erik Nitsche (Swiss, 1908 - 1998) "The Atomium in Belgium" Signed lower right. Original watercolor/ink painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood First Day Cover for the Belgium Europa 1987 Modern Art - Architecture stamp issued May 9, 1987. Art Nouveau emerged in Belgium as a dominant force in architecture in the late nineteenth century, and it remains characteristic of much of Belgium's modern architecture. The town of Louvain-la-Neuve has opened opportunities for Belgian architects to experiment with the modern techniques. This artwork portrays the 335 foot high Atomium, built in Brussels in 1958 for the World's Fair. It represents the molecules of an iron crystal magnified 165 billion times. Each globular "atom" houses an exhibit on science and technology, and they are linked by tubes containing escalators and elevators. The Atomium is a magnificent feat of imagination and architecture, and it has become a landmark in Brussels. Image Size: 14 x 12 in. Overall Size: 20 x 15 in. Unframed. (B10923)

Artist: Andrew Wyeth (American, 1917-2009). Title: "White Dress [Helga]". Medium: Color offset lithograph. Date: Composed 1980. Printed 1987. Dimensions: Overall size: 11 1/8 x 15 3/4 in. (283 x 400 mm). Image size: 8 1/4 x 13 3/16 in. (210 x 335 mm).Lot Note(s): Signed in pencil, lower right; signed in the plate, lower right. Edition unknown. Cream wove paper. Wide margins. Fine impression. Very good to fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [28309-3-225]

Artist: Sam Francis (American, 1923-1994). Title: "Uncle Sam Love Marilyn". Medium: Color lithograph. Date: Composed 1963. Dimensions: Overall size: 16 1/4 x 22 15/16 in. (413 x 583 mm). Image size: 16 x 22 7/16 in. (406 x 570 mm).Lot Note(s): Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Fine condition; centerfold as issued. Comment(s): For Walasse Ting's "1¢ Life." Prints from the One Cent Life portfolio are in most major and public collections worldwide including MOMA (New York), Tate Modern (London), Museum of Contemporary Art (Montreal) and the Andy Warhol Museum (Pittsburg). Text and/or image may be on verso. Image copyright © Estate of Sam Francis / Artists Rights Society (ARS), New York. [26796-4-225]

Artist: Andrew Wyeth (American, 1917-2009). Title: "Spring Sun". Medium: Color offset lithograph. Date: Composed 1958. Printed 1963. Dimensions: Overall size: 11 1/4 x 15 1/2 in. (286 x 394 mm). Image size: 8 9/16 x 13 3/16 in. (217 x 335 mm).Lot Note(s): Signed in pencil, lower right; signed in the plate, lower left. A proof from the edition of unknown size (c300?). Cream wove paper. Wide margins. Fine impression. Fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. Image copyright © The Estate of Andrew Wyeth. [27972-3-150]

Artist: Andrew Wyeth (American, 1917-2009). Title: "New Leaves". Medium: Offset lithograph. Date: Composed 1941. Printed 1963. Dimensions: Overall size: 11 3/8 x 14 1/4 in. (289 x 362 mm). Image size: 8 5/8 x 11 1/2 in. (219 x 292 mm).Lot Note(s): Signed in pencil, lower right. A proof from the edition of unknown size (c300?). Cream wove paper. Wide margins. Fine impression. Fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. Image copyright © The Estate of Andrew Wyeth. [27970-3-300]

Artist: Andrew Wyeth (American, 1917-2009). Title: "May Day". Medium: Color offset lithograph. Date: Composed 1960. Printed 1963. Dimensions: Overall size: 11 3/16 x 14 3/4 in. (284 x 375 mm). Image size: 9 11/16 x 13 7/16 in. (246 x 341 mm).Lot Note(s): Signed in pencil, lower right. A proof from the edition of unknown size (c300?). Cream wove paper. Wide margins. Fine impression. Fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. Image copyright © The Estate of Andrew Wyeth. [27969-3-225]

Artist: Andrew Wyeth (American, 1917-2009). Title: "Helga in Orchard". Medium: Color offset lithograph. Date: Composed 1974. Printed 1987. Dimensions: Overall size: 11 3/8 x 15 3/4 in. (289 x 400 mm). Image size: 8 3/4 x 13 3/16 in. (222 x 335 mm).Lot Note(s): Signed in pencil, lower right; signed in the plate, upper right. Edition unknown. Cream wove paper. Wide margins. Fine impression. Very good to fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [28304-3-300]

Artist: Joel-Peter Witkin (America, b.1939). Title: "Manuel Osorio". Medium: Original vintage photogravure. Date: Composed 1982. Printed 1985. Dimensions: Overall size: 11 x 10 7/8 in. (279 x 276 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): According to “Gordon’s Photography Prices” the most recent sale of a silver print of this image realized $2,337 Swann Auction Galleries, N.Y.C., 10/18/2011, lot #283. Witkin’s controversial and carefully constructed photographs frequently depict macabre, often grotesque scenes, with images including cadavers, hermaphrodites, dwarfs, etc. His works can be found in the collections of The Museum of Modern Art in New York City, the J. Paul Getty Museum in Los Angeles, the National Gallery in Washington, D.C., the Victoria and Albert Museum in London, and the Centre Georges Pompidou in Paris. Image copyright © Joel-Peter Witkin. [29673-2-300]

Artist: Andrew Wyeth (American, 1917-2009). Title: "Helga, Nude [AW inventory #2918]". Medium: Color offset lithograph. Date: Composed 1976. Printed 1987. Dimensions: Overall size: 11 7/16 x 15 in. (291 x 381 mm). Image size: 9 3/4 x 13 3/16 in. (248 x 335 mm).Lot Note(s): Signed in pencil, lower right; signed in the plate, lower right. Edition unknown. Cream wove paper. Wide margins. Fine impression. Very good to fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [28300-3-500]

Artist: Andrew Wyeth (American, 1917-2009). Title: "Helga, Nude [AW inventory #2941]". Medium: Color offset lithograph. Date: Composed 1978. Printed 1987. Dimensions: Overall size: 11 1/2 x 15 7/16 in. (292 x 392 mm). Image size: 9 7/16 x 13 in. (240 x 330 mm).Lot Note(s): Signed in pencil, lower right; signed in the plate, lower right. Edition unknown. Cream wove paper. Wide margins. Fine impression. Very good to fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [28299-3-400]

Artist: Andrew Wyeth (American, 1917-2009). Title: "Early October". Medium: Color offset lithograph. Date: Composed 1961. Printed 1963. Dimensions: Overall size: 14 11/16 x 11 1/8 in. (373 x 283 mm). Image size: 11 1/2 x 7 5/16 in. (292 x 186 mm).Lot Note(s): Signed in pencil, lower right; signed in the plate, lower left. A proof from the edition of unknown size (c300?). Cream wove paper. Wide margins. Fine impression. Fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. Image copyright © The Estate of Andrew Wyeth. [27968-3-400]

Artist: Lee Krasner (American, 1908-1984). Title: "Composition". Medium: Conte crayon on paper. Date: Composed c1940. Dimensions: Overall size: 10 x 7 in. (254 x 178 mm). Image size: 9 x 6 1/4 in. (229 x 159 mm).Lot Note(s): Signed lower right. Textured tan wove paper. Good to very good condition. Provenance: Please contact Joe Stanford (joseph@stanfordauctioneers.com). Comment(s): Undoubtedly a study for a larger work. In the early 1930s Krasner regularly visited the Museum of Modern Art in New York to analyze, absorb and emulate the works of the European Modernists: de Chirico, Miro and Henri Matisse were among her favorites. During this period Krasner was also taking life drawing classes, under various instructors and producing studies of the nude in pencil, conte crayon, ink and charcoal. In 1937 Krasner enrolled at the Hans Hofmann School of Fine Arts and, for the first time, became seriously engaged with Cubism (courtesy National Gallery of Australia). She became one of the most influential American abstract expressionist painters in the second half of the 20th century. On October 25, 1945, she married artist Jackson Pollock, who was also influential in the abstract expressionism movement. She was born Lena Krassner (outside the family she was known as Lenore Krasner) in Brooklyn, New York to Russian Jewish immigrant parents from Bessarabia. Image copyright © Lee Krasner/ARS. [28341-1-2400]

Artist: Wifredo Lam (Cuban, 1902 - 1982). Title: "Composicion". Medium: Mixed media (Gouache, pastel, and crayon) on paper. Date: Composed 1973. Dimensions: Overall size: 16 1/8 x 12 in. (410 x 305 mm).Lot Note(s): Signed and dated, lower right. Tan wove paper. Very good to fine condition. Provenance: Through the artist Max Ernst; Private collection, Vera Cruz, Mexico. Comment(s): Our example undoubtedly removed from a sketchbook. Lam, like many of the most renowned artists of the 20th century, combined radical modern styles with the "primitive" arts of the Americas. While Diego Rivera and Joaquin Torres-Garcia drew inspiration from Pre-Columbian art, Lam was influenced by the Afro-Cubans of the time. He dramatically synthesized Surrealist and Cubist strategies while incorporating the iconography and spirit of Afro-Cuban religion. Image copyright © The Estate of Wifredo Lam. [30170-3-5000]

Artist: Andrew Wyeth (American, 1917-2009). Title: "Braids [Helga]". Medium: Color offset lithograph. Date: Composed 1979. Printed 1987. Dimensions: Overall size: 11 3/8 x 14 5/8 in. (289 x 371 mm). Image size: 9 5/8 x 12 3/16 in. (244 x 310 mm).Lot Note(s): Signed in pencil, lower right; initialed in the plate, upper right. Edition unknown. Cream wove paper. Wide margins. Fine impression. Very good condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [28306-3-600]

Artist: Joel-Peter Witkin (America, b.1939). Title: "The Sins of Joan Miro". Medium: Original vintage photogravure. Date: Composed 1981. Printed 1985. Dimensions: Overall size: 10 3/4 x 10 15/16 in. (273 x 278 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): According to “Gordon’s Photography Prices” a silver print of this image realized $4,880 at Bonhams, New York, 5/10/2011, lot #152. Witkin’s controversial and carefully constructed photographs frequently depict macabre, often grotesque scenes, with images including cadavers, hermaphrodites, dwarfs, etc. His works can be found in the collections of The Museum of Modern Art in New York City, the J. Paul Getty Museum in Los Angeles, the National Gallery in Washington, D.C., the Victoria and Albert Museum in London, and the Centre Georges Pompidou in Paris. Image copyright © Joel-Peter Witkin. [29674-2-300]

Artist: Jasper Johns (American, b.1930). Title: "Technics and Creativity II - Target 1970". Medium: Color offset lithograph. Date: Composed 1970. Dimensions: Image size: 10 5/8 x 8 in. (270 x 203 mm).Lot Note(s): Signed in pencil, lower left; signed in the plate, lower left. Edition of 22,500, of which few have survived intact (brush present, with hairs, w.c. pads unused). White wove paper. Full margins. Fine impression. The print is in fine condition. Very light soil to plastic case. Scarce thus. Provenance: Private collection, Los Altos, California. Comment(s): An unsigned impression sold for €616 ($973) on 03-30-2008 at PIASA in Paris. Another unsigned impression was offered at auction with a pre-sale estimate of $4,000/5,000 (starting bid $2,000) at RoGallery, August 11, 2010, lot 259. Plastic case containing a catalogue with 364 illustrations (20 in color) and a specially commissioned multiple by Johns (a two-color offset lithograph), along with watercolor pads and a brush. The pads are intact and, along with the brush, never used. Produced by Gemini in conjunction with "Technics and Creativity: Gemini G.E.L," an exhibition at The Museum of Modern Art, New York. Image copyright © Licensed by VAGA, New York, NY. [19894-3-600]

Artist: Andrew Wyeth (American, 1917-2009). Title: "Study for Easter Sunday [Helga]". Medium: Color offset lithograph. Date: Composed 1975. Printed 1987. Dimensions: Overall size: 11 3/8 x 15 5/16 in. (289 x 389 mm). Image size: 9 7/16 x 13 3/16 in. (240 x 335 mm).Lot Note(s): Signed in pencil, lower right; signed in the plate, upper left. Edition unknown. Cream wove paper. Wide margins. Fine impression. Very good to fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [28308-3-300]

Artist: Andrew Wyeth (American, 1917-2009). Title: "Study for Barracoon [Helga, nude]". Medium: Color offset lithograph. Date: Composed 1976. Printed 1987. Dimensions: Overall size: 11 3/8 x 14 15/16 in. (289 x 379 mm). Image size: 9 11/16 x 12 3/4 in. (246 x 324 mm).Lot Note(s): Signed in pencil, lower right; signed in the plate, lower left. Edition unknown. Cream wove paper. Wide margins. Fine impression. Very good to fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [28303-3-600]

Artist: William E. Smith (American, 1913-1997). Title: "Pay Day". Medium: Original linocut. Date: Composed 1938. Dimensions: Overall size: 10 3/4 x 8 1/4 in. (273 x 210 mm). Image size: 8 x 5 15/16 in. (203 x 151 mm).Lot Note(s): Signed in pencil, lower right; titled in pencil, lower left. Edition of 20. Cream wove paper. Wide margins. A very good, dark impression. Fine condition. Comment(s): An impression of this rare print sold for $3,600 (including premium) at Swann Galleries, New York City, 10/4/2007, Lot #7. Smith made another linoleum cut of this subject with the pose reversed – impressions dated 1941 are in the collections of Hampton University, VA, and Harmon and Harriet Kelley, San Antonio. Smith, an African-American, moved to Cleveland from Chattanooga at the age of 12. During the early 1930s he studied at the Playhouse Settlement of the Neighborhood Association of Cleveland (now called Karamu House), one of the oldest ethnically and racially diverse cultural institutions in the United States. It was here that Smith found his passion for printmaking and began making linocuts. He exhibited widely in Cleveland, New York, Hartford, and Atlanta during the 1930s and 1940s, before subsequently moving to Los Angeles. He drew praise from the likes of Howard University artist and art historian James Porter, who lauded Smith as “one of the dominant personalities of Negro printmaking” in his 1943 publication, “Modern Negro Art.” Image copyright © The Estate of William E. Smith. [19536-2-600]

A modern silver clad easel photo frame in the Art Nouveau style, 21x15cm

Artist: Sigmar Polke (German, 1941-2010). Title: "Untitled Rorschach Blot". Medium: Gouache and watercolor on paper. Date: Composed c1999. Dimensions: Overall size: 11 11/16 x 16 1/2 in. (297 x 419 mm).Lot Note(s): Signed in pencil, verso. Painted on light cream wove notebook paper. Very good to fine condition; vertical center fold, as found/painted. Comment(s): Compositions comparable to our example, in watercolor and gouache, often sell at auction for substantially more than our modest pre-sale estimates. A similar image to our work was exhibited at the Museum of Modern Art (MoMA), New York City, in the exhibition “Alibis: Sigmar Polke 1963–2010,” April 19–August 3, 2014. Polke is widely considered to be one of the most influential painters of the postwar era. Image copyright © The Estate of Sigmar Polke. [29947-3-16000]

Artist: Guillermo Meza (Mexican, 1917 - 1997). Title: "Y Entonces Volvera Su Mirada [plate 11 from: "Guillermo Meza, Impressiones, 11 Litografias, Presentacion de Jaled Muyaes y Raul Kamffer, Nota Bibliografica de Carlos Payan." Sub-title: "Impressiones Subjectivas sobre el Libro Sagrado de los Antiguos Mayas. Chilam Balam de Chumayel."]". Medium: Color lithograph. Date: Composed 1962. Dimensions: Overall size: 13 3/4 x 17 7/8 in. (349 x 454 mm). Image size: 11 5/8 x 16 1/4 in. (295 x 413 mm).Lot Note(s): Signed in ink, lower right; numbered in ink, lower left. From the edition of 300 (of which all were printed?). Cream wove paper. Full margins. Fine impression. Very good condition. Provenance: Estate of Jaled Muyaes, one of the collaborators. Comment(s): Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez. Prints by Meza are scarce. His work is in the collections of the Museo de Arte Moderno, Mexico City, the Museum of Modern Art, New York, the Art Institute of Chicago, and the San Francisco Museum of Modern Art. His 'expressionist - surrealist' paintings, with themes often drawn from Indian mythology, are often associated with artists such as Frida Kahlo and Agustín Lazo. [25669-3-300]

Artist: Guillermo Meza (Mexican, 1917 - 1997). Title: "Bajaran Hormigas Como Tigres [plate 05 from: "Guillermo Meza, Impressiones, 11 Litografias, Presentacion de Jaled Muyaes y Raul Kamffer, Nota Bibliografica de Carlos Payan." Sub-title: "Impressiones Subjectivas sobre el Libro Sagrado de los Antiguos Mayas. Chilam Balam de Chumayel."]". Medium: Lithograph in brown ink. Date: Composed 1962. Dimensions: Overall size: 17 7/8 x 13 11/16 in. (454 x 348 mm). Image size: 16 1/4 x 11 7/8 in. (413 x 302 mm).Lot Note(s): Signed in ink, lower right; numbered in ink, lower left. From the edition of 300 (of which all were printed?). Cream wove paper. Full margins. Fine impression. Very good condition. Provenance: Estate of Jaled Muyaes, one of the collaborators. Comment(s): Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez. Prints by Meza are scarce. His work is in the collections of the Museo de Arte Moderno, Mexico City, the Museum of Modern Art, New York, the Art Institute of Chicago, and the San Francisco Museum of Modern Art. His 'expressionist - surrealist' paintings, with themes often drawn from Indian mythology, are often associated with artists such as Frida Kahlo and Agustín Lazo. Image copyright © The Estate of Guillermo Meza. [24467-3-225]

Artist: Guillermo Meza (Mexican, 1917 - 1997). Title: "Tigre de los Pueblos [plate 03 from: "Guillermo Meza, Impressiones, 11 Litografias, Presentacion de Jaled Muyaes y Raul Kamffer, Nota Bibliografica de Carlos Payan." Sub-title: "Impressiones Subjectivas sobre el Libro Sagrado de los Antiguos Mayas. Chilam Balam de Chumayel."]". Medium: Color lithograph. Date: Composed 1962. Dimensions: Overall size: 13 3/4 x 17 7/8 in. (349 x 454 mm). Image size: 11 5/16 x 16 3/8 in. (287 x 416 mm).Lot Note(s): Signed in ink, lower right; numbered in ink, lower left. From the edition of 300 (of which all were printed?). Cream wove paper. Full margins. Fine impression. Very good condition. Provenance: Estate of Jaled Muyaes, one of the collaborators. Comment(s): Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez. Prints by Meza are scarce. His work is in the collections of the Museo de Arte Moderno, Mexico City, the Museum of Modern Art, New York, the Art Institute of Chicago, and the San Francisco Museum of Modern Art. His 'expressionist - surrealist' paintings, with themes often drawn from Indian mythology, are often associated with artists such as Frida Kahlo and Agustín Lazo. [24465-3-400]

Artist: Joel-Peter Witkin (America, b.1939). Title: "Woman on the Moon". Medium: Original vintage photogravure. Date: Composed 1982. Printed 1985. Dimensions: Overall size: 10 3/4 x 10 15/16 in. (273 x 278 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): According to “Gordon’s Photography Prices” the auction record for a silver print of this image is $22,500 realized at Christie's, New York, 4/15/2010, lot #389. Witkin’s controversial and carefully constructed photographs frequently depict macabre, often grotesque scenes, with images including torture, cadavers, hermaphrodites, dwarfs, etc. His works can be found in the collections of The Museum of Modern Art in New York City, the J. Paul Getty Museum in Los Angeles, the National Gallery in Washington, D.C., the Victoria and Albert Museum in London, and the Centre Georges Pompidou in Paris. N.B. This image is alternately titled “Woman Masturbating on the Moon.” Image copyright © Joel-Peter Witkin. [29676-2-600]

Artist: Mel Ramos (American, b.1935). Title: "Señorita Rio". Medium: Color lithograph. Date: Composed 1963. Dimensions: Overall size: 16 1/8 x 22 1/8 in. (410 x 562 mm). Image size: 15 3/8 x 15 5/16 in. (391 x 389 mm).Lot Note(s): Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Fine condition; centerfold as issued. Comment(s): For Walasse Ting's "1¢ Life." Prints from the One Cent Life portfolio are in most major and public collections worldwide including MOMA (New York), Tate Modern (London), Museum of Contemporary Art (Montreal) and the Andy Warhol Museum (Pittsburg). Text and/or image may be on verso. Image copyright © Licensed by VAGA, New York, NY. [26838-4-300]

Artist: Kiki Kogelnik [kiki o.k.] (Austrian, 1935-1997). Title: "Rocket Ship". Medium: Color lithograph. Date: Composed 1963. Dimensions: Overall size: 16 x 23 1/8 in. (406 x 587 mm). Image size: 15 3/4 x 22 in. (400 x 559 mm).Lot Note(s): Signed with the initial in the plate, lower right. Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Joined sheets as issued; conservation backing. Comment(s): For Walasse Ting's "1¢ Life." Prints from the One Cent Life portfolio are in most major and public collections worldwide including MoMA (New York), Tate Modern (London), Museum of Contemporary Art (Montreal) and the Andy Warhol Museum (Pittsburg). [26803-4-300]

Artist: Frank Lloyd Wright/Taliesin Architects (American, 1869 - 1959). Title: "Vintage Frank Lloyd Wright/Taliesin Architects Designed Carpet from the Arizona Biltmore Hotel [01 "tile"] [approximate size: 54" x 54" (4 1/2' x 4 1/2') square. The integral repeating design of the carpet consists of four green “squares” with an “arrow” through the middle of each square, pointing to the “center.” Each one of the squares is approximately 27” square and four of them make the complete design, a “tile.” The tile dimension is approximately 54 inches square (4 ½ feet x 4 ½ feet)]". Medium: Textile. Date: Lot Note(s): The carpet has been professionally cleaned and bordered. Very good condition, with no holes, patches, stains, color bleeding, etc. Several minimal, virtually undetectable, professionally repaired tears. This carpet size is perfect for a wall hanging. It is also very impressive when framed. Provenance: Arizona Biltmore Hotel, Phoenix, Arizona. Comment(s): Built in 1929 and known throughout the world as “The Jewel of the Desert," the Biltmore resort was designed by Albert Chase MacArthur, with consulting from Frank Lloyd Wright and his Taliesin Architects, particularly on the brick design and general interior design, including the carpeting. Mr. Wright's carpet design was sent to the prestigious Wilton Carpet Manufacturing Company in Axminster, England, which used only the highest quality 100% wool available in its manufacture. In 1932 the carpet was installed throughout the hotel as an integral part of the overall interior design. On June 21st, 1973, a tragic fire led to the replacement of all the carpeting throughout the resort, of which our example is part (please see image of the carpet in place). The carpet was designed by Wright's Taliesin Architects based on a Wright drawing (dated by him in 1921) for the Second Imperial Hotel in Tokyo, constructed 1915-1923. "As classically correct today as the day it was created, Mr. Wright's modern use of line and rich jewel tones make this vintage carpet as modern and enduring as the Biltmore itself." (from the "Arizona Republic"). Included in several important collections, including the Baltimore Museum of Art. Image copyright © Artists Rights Society (ARS), New York. [23620-16-400]

* ANNE REDPATH OBE RSA ARA LLD ROI RBA (SCOTTISH 1895 - 1965), CABBAGE AND KALE oil on board, signed, titled label verso image size 51cm x 61cm, overall size 64cm x 74cm Framed. Handwritten artist's label verso. Label verso: Stone Gallery, Newcastle Upon Tyne. Provenance: Sold by Sotheby's, London, 29th August 1995 lot 954. Note: Anne Redpath was born in Galashiels, Scotland, in 1895, the first daughter of a textile designer. She went on to study at the Edinburgh College of Art, where she was described as the most promising student of her year and won a travel scholarship to Italy. Her time in Italy was to have a profound influence on her career. Having spent her early years as an artist immersed in the respectable Calvinist tradition, the opulent sense of the divine in Roman Catholic art proved to be a revelation, with the religious tranquillity of the early Renaissance masters informing her subsequent paintings. In 1920 she moved to France with her husband, an architect, and her art took a back seat as she focused on raising three sons. She did not revisit painting in earnest until she returned to Scotland when the relationship ended in 1934. When she did so, however, it was with renewed vigour. From 1942 onwards, as her confidence in her abilities returned, her palette became more vibrant. She was a central figure in the group of painters known as The Edinburgh School, sometimes described as the heirs to the Scottish Colourists. Redpath was a habitual traveller in her latter years, her journeys across Europe becoming the subject of her work; she was well-known for her landscapes, still lifes and pictures of church interiors. Anne Redpath was president of the Scottish Society of Women Artists from 1944-47, working tirelessly to promote the paintings of women who had been ignored by the British establishment. In 1952 she became the first woman artist to be elected to the Royal Scottish Academy as an Academician. UK Public Collections boast 116 examples of Redpath's work including at The National Galleries of Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Hunterian, The Fleming Collection, The Tate, Kelvingrove, The National Trust and at Edinburgh, Aberdeen, Kirkcaldy, Manchester and numerous others.

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), WELCOME bronze sculpture on wood plinth, incised signature "Benno Schotz", titled in presentation plaque 35cm high, including plinth. Note: Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.

* ALISON WATT OBE FRSE RSA (SCOTTISH b. 1966), YOUNG WOMAN oil on board, signed; titled and dated 1993 label verso image size 19.5cm x 14cm, overall size 39cm x 34cm Framed and under glass. Provenance: Acquired by the current owner from "Wee Gems" Exhibition 7th February - 4th March 1993 The Gatehouse Gallery, Glasgow (and gallery label verso). Note: Born in Greenock in 1965 the daughter of painter James Watt RGI (1931 - ), Watt went on to study at the Glasgow School of Art, graduating in the late 1980s as part of a remarkable wave of neo-figurative painters; her peers including Stephen Conroy and Ken Currie. In 1987 Watt won the National Portrait Gallery's Annual Award, which secured her the representation of some of the country's leading galleries including Marlborough Fine Art in London. In 1997, a decade on, Watt began to introduce her now famous folds of fabric to the backdrops of her portraiture, an angle she continued to cultivate and evolve until she had moved away from the figure altogether. This has made her earlier figurative output all the more desirable, being, as it is, scarce to the open market. Though not strictly self-portraiture, Watt frequently drew upon her own appearance in her work, deliberately lending her figures a homogenised and androgynous look; the elongated oval heads distinguished by a long straight nose and full mouth with a pronounced cleft to the upper lip. The distinctive look of her figures is at once classical and entirely modern, and one can trace the influence of artists from Ingres in the painstaking finish of the works, to Freud in the restraint of the palette and the deliberate focus away from typical ideals of beauty. In 2012 the Scottish National Portrait Gallery purchased her Self-portrait painting (1986/7) from her private collection for £20,000, to celebrate its re-opening after a refurbishment.

* JOHN MACLAUCHLAN MILNE RSA (SCOTTISH 1885 - 1957), THE GREEN POOL, IONA oil on board, signed image size 43cm x 53cm, overall size 56cm x 66cm Framed and under glass. Provenance: In the late 1930's a father took his daughter to Iona shortly after the premature passing of her mother. The daughter was soon to be married and those few days together on Iona were precious. They stayed at the tiny St Columba Hotel at the same time as John Maclauchlan Milne and one evening the artist, with the consent of the proprietor, positioned several paintings on the floor leaning against the wall in the dining-room. The father bought his daughter two paintings as a wedding gift, one of those being "The Green Pool, Iona". Some 50 years later, the daughter "downsized" after moving from her home in Glasgow and gifted the painting to her long time close friend who had always admired it. The recipient of this beautiful gift has treasured the painting for some thirty years but after having recently downsized herself, she no longer has a suitable place to hang it. The only time "The Green Pool, Iona" has been publicly exhibited was in the dining-room of The St Columba Hotel on Iona in the late thirties, probably still slightly wet and only a few days after it was completed. It is housed in the original frame and is behind glass, as it always has been. The condition is excellent and it has never been cleaned or restored in any way. Note: John Maclauchlan Milne was encouraged by his father – the Scottish landscape painter Joseph Milne. His father’s influence is apparent in his early work, before his style was transformed by the Scottish Colourists and modern French painters, particularly Cézanne. During the First World War Maclauchlan Milne left his home in Dundee to fight in France on the Western Front. France had a strong impression on the young artist. From 1919 -1932 he spent long periods in France. Initially he stayed at rue des Quatre-Vents in Paris but by 1924 Milne was in Cassis with Peploe, Cadell and Duncan Grant. They also spent considerable time in San Tropez. Almost all his exhibits in the 1920’ s were of Mediterranean subjects. His obituarist wrote ‘ like Peploe, he saw Cézanne and was immediately conquered… Here in the Midi, Milne found himself and the impact of this new experience stamped all his subsequent work'. At the outbreak of the Second World War, Maclauchlan Milne returned to Scotland and settled at High Corrie on the Isle of Arran. Here he painted the whitewashed cottages, the little jetty below the village and Goat Fell, the highest peak on the island. He died in Arran in 1957. Maclauchlan Milne exhibited at the Royal Scottish Academy, at the Glasgow Institute and showed works in London and New York. A Centenary exhibition of his work was held at Dundee Art Gallery and Museum in 1985 and a major Retrospective Exhibition was held at Portland Gallery (London) in 2010. As well as enjoying the company of the Scottish Colourists and exhibiting alongside them, Milne shared many of their patrons. William Boyd, the Managing Director of Keiller’s marmalade firm, became one of his most important patrons. In Boyd’s home at Claremont several works by William McTaggart, Peploe, Hunter and Milne were displayed. His collection of French paintings included Monet, Sisley, Van Gogh, Matisse, Bonnard, Vuillard and de Segonzac. Alexander Keiller, head of the marmalade firm, was another important patron. He paid Milne a stipend – so that he could spend the summers in France – in return for paintings. The collector, Matthew Justice, was a close friend of George Leslie Hunter as well as his agent during the 1920s. Justice owned around a dozen of Milne’s paintings; his sitting-room was hung exclusively with works by Peploe and Milne and his drawing room contained eleven Peploes, three Marchands, one Hunter and five Milne’s. The Justice collection also included works by Vuillard, Segonzac, Moreau and Matisse. Justice was friends with William Boyd and James Tattersall, another important patron of Milne. Maclauchlan Milne may only have visited Iona on three occasions in 1937, 1938 & 1939. On each visit, he stayed at the St Columba Hotel. These are his only documented visits, but there might have been more. The majority of his Iona paintings are of, or from, the north end of the island and the view to the north of the Treshnish Isles was one he was known to have repeated with variations of the viewpoint and the angle. Iona has long been the subject of prayer, prose and poetry. This historic and sacred island has also been the focus of a multitude of artists for more than two centuries. In the early to mid-twentieth century it was visited in the summers by many of Scotland's most renowned painters including the Scottish Colourists Cadell and Peploe. It was generally the case that when times were tough for artists, collectors would more readily invest in an Iona painting than any other subject.

* JOHN MACLAUCHLAN MILNE RSA (SCOTTISH 1885 - 1957), CIR MHOR FROM GLEN SANNOX (ARRAN) oil on board, signed image size 37cm x 45cm, overall size 55cm x 62cm Framed. Note: "Cir Mhor from Glen Sannox" was purchased directly from Maclauchlan Milne at his studio on Arran in the "early 1940's" by the parents of the vendor. John Maclauchlan Milne was encouraged by his father – the Scottish landscape painter Joseph Milne. His father’s influence is apparent in his early work before his style was transformed by the Scottish Colourists and modern French painters, particularly Cézanne. During the First World War Maclauchlan Milne left his home in Dundee to fight in France on the Western Front. France had a strong impression on the young artist. From 1919 -1932 he spent long periods in France. Initially, he stayed at rue des Quatre-Vents in Paris but by 1924 Milne was in Cassis with Peploe, Cadell and Duncan Grant. They also spent considerable time in San Tropez. Almost all his exhibits in the 1920’ s were of Mediterranean subjects. His obituarist wrote ‘ like Peploe, he saw Cézanne and was immediately conquered… Here in the Midi, Milne found himself and the impact of this new experience stamped all his subsequent work'. At the outbreak of the Second World War, Maclauchlan Milne returned to Scotland and settled at High Corrie on the Isle of Arran. Here he painted the whitewashed cottages, the little jetty below the village and Goat Fell, the highest peak on the island. He died in Arran in 1957. Maclauchlan Milne exhibited at the Royal Scottish Academy, at the Glasgow Institute and showed works in London and New York. A Centenary exhibition of his work was held at Dundee Art Gallery and Museum in 1985 and a major Retrospective Exhibition was held at Portland Gallery (London) in 2010. As well as enjoying the company of the Scottish Colourists and exhibiting alongside them, Milne shared many of their patrons. William Boyd, the Managing Director of Keiller’s marmalade firm, became one of his most important patrons. In Boyd’s home at Claremont several works by William McTaggart, Peploe, Hunter and Milne were displayed. His collection of French paintings included Monet, Sisley, Van Gogh, Matisse, Bonnard, Vuillard and de Segonzac. Alexander Keiller, head of the marmalade firm, was another important patron. He paid Milne a stipend – so that he could spend the summers in France – in return for paintings. The collector, Matthew Justice, was a close friend of George Leslie Hunter as well as his agent during the 1920s. Justice owned around a dozen of Milne’s paintings; his sitting-room was hung exclusively with works by Peploe and Milne and his drawing-room contained eleven Peploes, three Marchands, one Hunter and five Milne’s. The Justice collection also included works by Vuillard, Segonzac, Moreau and Matisse. Justice was friends with William Boyd and James Tattersall, another important patron of Milne.

* STANLEY CURSITER CBE FRSE FRIAS FEIS RSA RSW (SCOTTISH 1887 - 1976), A BOUQUET FOR HER MAJESTY oil on canvas board, signed, titled label verso image size 19cm x 29.5cm, overall size 30cm x 40cm Framed. Labels verso: Aitken Dott & Sons, Edinburgh (now The Scottish Gallery). Provenance: Private collection Inverness-shire. Note: "A Bouquet for Her Majesty" is understood to be the final preparatory study for the 1960 work 'HM Queen Elizabeth II Outside St Magnus Cathedral' by Stanley Cursiter, a 100cm x 151cm oil in the collection of Orkney Islands Council and hung in the Kirkwall and St Ola Community Centre and Town Hall. Born in Kirkwall, Orkney, Stanley Cursiter was one of Scotland's most prolific and celebrated twentieth-century painters as well as being a writer and curator. He was one of the first students of the newly-opened Edinburgh College of Art and played an important role in introducing Post-Impressionism and Futurism to Scotland. He was appointed Director of the National Galleries of Scotland in 1930 and King's Limner for Scotland in 1948. Cursiter initiated the campaign to create a Scottish National Gallery of Modern Art. One hundred and seven examples of Cursiter's work are held in UK public collections.

* HERBERT WHONE (BRITISH 1925 - 2011), TRAM & FIGURES IN RAIN, BYRES ROAD oil on canvas, signed and dated '61 image size 128cm x 77cm, overall size 140.5cm x 89cm Framed. Provenance: A private Glasgow collection. Note: "Tram & Figures in Rain, Byres Road" is quite likely to be the holy grail for Herbert Whone collectors. It is similar in size to "Tramcar in Fog" which is owned by The National Galleries Scotland and held in the collection of The Scottish National Gallery of Modern Art. It is also almost exactly four times the size of "Glasgow Tram" (by Whone) which sold in The Scottish Contemporary Art Auction of 20th June 2021 (lot 520) for £13,000 (hammer). "Tram & Figures in Rain, Byres Road" is illustrated as a full-colour page in "Herbert Whone, Glasgow - In Transition" (a 112 page illustrated hardback book) which accompanies this lot. Herbert Whone was born in Bingley, West Yorkshire, where his parents were both employed in the cloth mills. He was encouraged by his mother to ''improve'' himself culturally, and from an early age took photographs and practised the violin. After education at the Royal Manchester College of Music (now the Royal Northern College of Music) and Manchester University, he secured positions in the Royal Opera House Orchestra and the BBC Symphony Orchestra, before moving to Glasgow in 1955, where he took up the position of deputy leader of the Scottish National Orchestra. He was inspired by Glasgow's changing fortunes and painted a series of notable canvases featuring the beauty of a city and surrounding areas in transition. His paintings of trams and shipbuilding on and around the Clyde, to pick two of his fondest subjects, were presented with warmth and beauty, almost impressionistic in their depiction of glowing sunsets and use of rich colour. Herbert Whone (often incorrectly catalogued as Herbert Bannister Whone, his father's name) continued to paint long after his departure from Glasgow in 1964 and made several trips back to Scotland to paint, but It's the relatively small body of work produced in and around the city that stands testament to his exceptional talent. Whone's paintings, while highly collected and critically acclaimed, are still to attain the full recognition and commercial value they deserve and will surely eventually achieve. Known collectors of Herbert Whone's paintings included Joan Eardley, Margot Sandeman, Cyril Gerber, Johnny Beattie and Magnus Magnusson. Growing collector interest in Herbert Whone has seen his auction record price being beaten on an almost annual basis in recent years. This is even more impressive as auction appearances of his Glasgow paintings are becoming ever rarer. Public collections include: Glasgow Museums & Galleries, The Scottish National Gallery of Modern Art, The Hepworth, Kirklees Museums & Galleries, Salford Museums & Galleries and The Mercer Gallery (Harrogate).

Large group of modern Sotheby's auction catalogs for sales of Asian art.Provenance: Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

NO RESERVE Politics.- Hitler's Threat to Czech Democracy, 13pp., slightly browned, [Labour Party], 1938 § Dobb (Maurice) Marx as an Economist, 32pp., 1943 § Klingender (F.D.) Marxism and Modern Art an Approach to Social Realism, 52pp., pencil inscription at head of upper cover, 1943, original printed wrappers, first two wrappers slightly foxed, 8vo (3).

An Art Nouveau style bronze, 'Reveil', depicting a female stretching, upon modern base with bolt attached to base, height approx. 42cm.

A modern Carlton ware tea for two set in Art Deco style

Murano Glass amber colour vase 17.5cm high together with a modern art glass dish 35cm long

Art Nouveau style three-branch light fitting with pink glass shades, 55cm high approx, together with a pair matching wall lights and modern light fitting, 72.5cm wide approx.

A modern Art Deco style globe with aeroplane to top

Rawstorne, Lawrence. Gamonia: or, The Art of Preserving Game, coloured plates, modern crushed full morocco by Hatchards, all edges gilt, 8vo, London: Herbert Jenkins, 1929; Swann, Alfred J. Fighting the Slave-Hunters in Central Africa, first edition, half-title, plates, contemporary half morocco, top edge gilt, 8vo, London: Seeley and Co., 1910; and 40 others, mostly leather bound literature, v.s. (42)

Guy Pene Du Bois (American, 1884-1958). Oil on canvas-laid board painting depicting a nude woman sitting on a bed and gazing downward. Signed and dated 1933 along the lower right. The artwork is housed in a simple gilded frame.Guy Pene du Bois was born in 1884 to a French family living in New York. When he was fifteen years old, he enrolled in the New York School of Art, where he studied alongside other notable painters, including his friend Edward Hopper. In 1905, he moved to Paris to paint and exhibit modern Parisian scenes of men and women existing in public spaces. Du Bois moved back to New York after a year in France, and he was hired as a police reporter and illustrator for the New York American. He was not passionate about journalism, but he had a knack for writing, so he became an art critic. As time went on, he had little motivation to paint, so he continued writing art and music criticism for numerous publications. In the 1920s, du Bois moved back to France and finally found inspiration to paint. His oil paintings focused on the human form; du Bois liked to observe and paint subjects of varying social classes. After several years of painting French society, he returned to America and taught art while still painting and writing art criticism until he died of cancer in 1958.Provenance: Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.Unframed; height: 20 in x width: 16 in. Framed; height: 24 1/2 in x width: 20 1/2 in.Some areas of restoration.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Unframed; height: 20 in x width: 16 in. Framed; height: 24 1/2 in x width: 20 1/2 in.

Fritz Scholder (American, 1937-2005). Oil painting on paper depicting two abstracted human figures - one purple, the other green - in the midst of an embrace. The couple is set against a dark gray background with an amorphous form protruding from them and reaching out towards the left frame. Signed along the lower right in pencil.Fritz Scholder was born in Breckenridge, Minnesota in 1937 to parents that worked in pottery and in school administration for the Bureau of Indian Affairs. Fritz Scholder’s paternal grandmother was a member of the Luiseño tribe of California’s Mission Indians. Thus, he was one-quarter Indian and did not identify as an Indian. He was raised in Wahpeton, North Dakota, South Dakota and Wisconsin, attending public schools with primarily Anglo children. His first American Indian instructor was Oscar Howe at a high school in Pierre, South Dakota, who introduced him to modern art. In the 1950s, Scholder and his family moved to California, studying at Sacramento City College with Wayne Thiebaud, a pop artist. Thiebaud presented him with early opportunities to showcase his work. Scholder’s first show was in 1961 in Sacramento, which received excellent reviews. Scholder’s style was that of bold colors and generous brushstrokes. After graduating with an MFA Degree in 1964, Scholder became an instructor at the newly formed Institute of American Indians Arts in Santa Fe, New Mexico, remaining there for five years.In 1967 he began creating a series that maintained his bold, contemporary style that combined Abstract Expressionism and Pop Art, while introducing depictions of the contemporary lifestyle of American Indians. With humor, he presented such clichés, and he drew attention to the issues of self-alienation and the enforced alienation of these citizens. He resigned from teaching in 1969 and travelled to Basel and Egypt before settling in Scottsdale, Arizona. He then moved into the American Portrait series. He also pursued tactile sculpture, which merged his experience of the medium in graduate school with his imagination. The American Portrait series and sculptural works were inspired by his collection of Egyptian artifacts that he lived with, along with a desire to imbue his work with more of his self.Scholder’s Indian series continued to garner attention while his newer series were being explored. In 1972 a two-person show with a former student, Two American Painters: Fritz Scholder and T.C. Cannon, opened at the American Museum of Art of the Smithsonian Institution, Washington D.C. to good reviews and it traveled to Romania, Yugoslavia, Berlin and London. He began the American Portrait by 1980 and the Flower series in 1979, inspired by his surroundings and the challenge of pursuing non-figural subject and in a beautiful manner. His work was shown at the Basel International Art Fair in 1974, The Tucson Museum of art for a 1981 retrospective, and the Phoenix Art Museum in 1997 for his beastly artworks. In addition three documentaries were produced on the artist, in 1977, 1997, and 2008, the former two made by PBS. Following his death in 2005, an important exhibition was held in 2008 at the National Museum of the American Indian, Washington D.C. and New York, called “Fritz Scholder: Indian/Not Indian,†which placed many of his artworks from private collections on public view. Today Scholder’s works are in the collections of: Museum of Modern Art; Brooklyn Museum of Art; Art Gallery of Toronto; Bibliotheque Nationale, Paris; Center Cultural American, Paris; Los Angeles County Museum, California; San Francisco Museum of Art; National Collection of Fine Arts; and the Houston Museum of Fine Arts.Provenance: Private collection, Minnesota.Sight; height: 29 3/4 in x width: 22 3/4 in. Framed; height: 37 1/2 in x width: 29 1/2 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Sight; height: 29 3/4 in x width: 22 3/4 in. Framed; height: 37 1/2 in x width: 29 1/2 in.

Chihung Yang (Taiwanese, b. 1947). Charcoal and acrylic on canvas titled "White Ground," depicting several geometric and leaf-like abstractions. Signed, titled, and dated 1991-92 along the verso.Chihung Yang was born in Taiwan in 1947, and attended the National Taiwan College of Art in 1965. Upon graduating in 1968, Yang fell into place within the burgeoning modern painting scene in Taiwan. After some acclaim in Taiwan and China, Yang and his family immigrated to America in 1984, where Yang began to receive prestigious awards and residencies from New York institutions such as MoMA PS1 almost immediately upon arrival. Today, Chihung Yang continues to paint large canvases in his surreal and abstract, but restrained manner, and has work in the permanent collections of many global institutions and collectors.Chihung Yang's painting practice primarily revolves around nature. Like many artists coming up during mid-century Taiwan and China, Yang gravitated toward the stimuli of nature as a way to commemorate time's passed, as well as indicate change for the future. This use of nature as a key element in concept or figure in art harkens to artists and artists group such as The Fifth Moon Group from China, and the Gutai and Mono-Ha groups from Japan. Yang particularly flocked toward the work of the Fifth Moon Group, whose output and conceptual basis mirrored that of the abstract and pop artists of America of the time, while incorporating traditional Taiwanese and Chinese elements through the brushwork and imagery implemented in painting.Where Chihung Yang differs from the groups and artists that impacted him is the subdued elements of nature that envelope his canvases. In an application similar to Helen Frankenthaler, Yang's method of painting the background is shown through smokey and scratchy sweeps of light to dark color stemming from the upper left, with an eye catching swatch of ultramarine blue. Along the lower right corner of "White Ground," we see perhaps the only figural component of the painting, a black flower petal lain against an earthen toned area. While calm in nature, this black petal seems to influence the three other abstractions in their composition, color, and feel. Altogether, "White Ground" by Chihung Yang harnesses the beautiful known and unknown movements of nature on a still medium.Provenance: Corporate collection, Minnesota.Height: 81 3/4 in x width: 61 3/4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 81 3/4 in x width: 61 3/4 in.

Brian Kane (American, 20th c.) for Herman Miller, United States. Mid-century modern style swoop chair. Dark gray polyester fabric seat and wood backing. Manufacturer's label affixed along the underside.Designed by industrial designer Brian Kane and inspired by observing college students sit in non-traditional ways on campus furniture while instructing at the California College of Art. Kane designed the Swoop family of furniture to fit to an individual's personal way of sitting, allowing for a variety of postures and positions.Height: 30 1/2 in x width: 32 in x depth: 27 1/2 in.2 1/4 inch scratch to wood backPlease contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 30 1/2 in x width: 32 in x depth: 27 1/2 in.

Robert Braithwaite Martineau (British, 1826-1869)The pet of the brood signed with initials, inscribed and dated 'RBM/NOV.59.' (lower left)oil on panel25.5 x 18cm (10 1/16 x 7 1/16in).Footnotes:ProvenanceC.P. Townsend, London.Anon. sale, Sotheby's Belgravia, 25 March 1975, lot 58.ExhibitedLondon, French Gallery, Pall Mall, The Seventh Annual Winter Exhibition of Cabinet Pictures , Sketches and Drawings, 1859.Literature'The Winter Exhibition', in The Athenaeum, 19 November 1859, no. 1673, p. 673.Robert Braithwaite Martineau operated on the fringe of the Pre-Raphaelite circle in London in the 1850s and 60s. He was a year older than William Holman Hunt, who was his close friend and artistic mentor, but died in 1869, aged only forty-three. The present painting is a valuable addition to the corpus of his known works.Martineau was born in London, the fifth son of eight children of Philip and Elizabeth Martineau. He was educated at University College School, and in 1842 followed family tradition by commencing a career as a solicitor. In 1846, however, he decided to devote himself to art, first enrolling as a student at Cary's School, and then two years later at the Royal Academy schools. In April 1856 William Michael Rossetti, writing to William Bell Scott, described a visit to the house in Claverton Street, Pimlico, where Hunt, Martineau and Michael Halliday were then living. As Rossetti explained, 'joined with [Hunt] there are Halliday and Martineau, whom you may have heard of, or possibly seen; the latter an artist, the former something between artist and amateur. Both go in for Preraphaelitism, and both look up to Hunt with a genuine reverence and affection'.Martineau's first recorded painting, Kit's Writing Lesson (Tate collection), was done under Hunt's supervision and took its subject from Charles Dickens's 'The Old Curiosity Shop' (1841). This was followed in 1856 by a second subject on the theme of literacy and the need for education among the disadvantaged sections of community entitled The Spelling Lesson (Musée d'Orsay, Paris). Martineau seems to have worked quite slowly and probably had periods of professional inactivity. He was only an intermittent exhibitor at the Royal Academy, but he did participate in the various independent displays of progressive work that were staged in the later 1850s, including the 1857 Russell Place Pre-Raphaelite exhibition and in 1857-8 the three-venue touring exhibition of British art in the United States. He was a founder member and treasurer of the secessionist Hogarth Club, set up in 1858. Probably his most famous painting was the moral modern-life subject, The Last Day in the Old Home (Tate collection), of 1862 – the narrative of which is unambiguous and which shows a young man, surrounded by wife and children, apparently unmoved by the consequences of his fecklessness.By contrast, The Pet of the Brood is without didactic or moralistic overtones, but instead simply shows a female child, dressed in rustic fashion and standing in the open air with a background of foliage and grass, holding in her left hand a pigeon or dove. A play on words was likely to have been intended, as either or both the bird and the girl may be regarded as the pet – the bird perhaps tamed by the child, or the girl herself, who may perhaps have been the youngest of a number of siblings and the object of loving attention by her brothers and sisters. The mood of the subject is a happy one but without untoward sentimentality. In this sense it marks a progression on the part of Martineau towards a type of work which was more personal and relaxed and which served a purely decorative purpose.We are grateful to Christopher Newall for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

William Etty, RA (British, 1789-1849)Joan of Arc, on finding the sword she had dreamt of, in the church of St. Catherine de Fierbois, devotes herself and it to the service of God and her country oil on canvas298 x 198cm (117 5/16 x 77 15/16in).Footnotes:ProvenanceAccording to Denis Farr, William Etty, London, 1958, the early provenance of the present lot is as follows:Jointly purchased from the artist by Richard Colls, William Wethered and Charles W. Wass for £2,500, 1847Sale, William Wethered, 8 March 1856, lot 150, as Joan of Arc finding the sword.Sale, William Wethered, 27 February, 1858, lot 109.Charles Read (possibly).Sale, 18 May 1885, lot 244, Joan of Arc, bought by Bolton for 20 guineas.Sale, H. S. Ashbee, 19 November 1900, lot 85, as Joan of Arc at the Tomb of Saint Denis, bought by Maple for 14 guineas.Llantarnum Abbey.ExhibitedLondon, Royal Academy, 1847, no. 123.London, Society of Artists, London, 1849, no. VII. Engraved by Charles Wentworth Wass, 1851. The present work formed the left panel of a triptych that stretched across nearly the entire east wall of the Great Room within the Royal Academy of Arts summer exhibition in 1847. The three works were:Joan of Arc, on finding the sword she had dreamt of, in the church of St. Catherine de Fierbois, devotes herself and it to the service of God and her country (no. 123, present lot), Joan of Arc makes a sortie from the gates of Orleans, and scatters the enemies of France (no 124, now in the collection of the Musée des Beaux-Arts d'Orléans), and Joan of Arc, after rendering the most signal services to her Prince and people, is suffered to die a martyr in their cause. (no. 125, location unknown).Originally inspired by Etty's visit to Henry VII's Chapel within Westminster Abbey in 1839, the artist said that 'under the chivalric banners that hang there. Hearing the anthem sung, and looking towards the Grand Portal, I seemed to see her, in imagination.' The artist was to be haunted by this vision of Joan of Arc, so much so within weeks he had worked up the designs of his future triptych. Yet despite his impatience to create the final three large paintings of his colossal nine paintings – which included the Judith triptych, the Sirens and Ulysses, The Combat, and Benaiah – he wasn't to complete it until nearly eight years later. Beset by the increasing demands of his picture dealers, Etty was able to walk in the footsteps of his heroine by visiting France in 1843 with his friend John Woods, taking in Rouen, Paris, Orléans and Saint Denis. The 'pilgrimage' kindled his imagination as he soaked up the history of the areas, sketching as he went, and 'saw all the pictures related to her that had been done in modern times'. and set his thoughts on completing his last great works. As he himself said 'It was something to know you were on the spot where this Heroine trod, and exerted herself in the cause of her country'. It wasn't until a few years later in 1846, that Etty was able to seriously focus down on the three gigantic canvases with the aim of exhibiting them the next year. By this time, his own 'enemies' – those of a severe cough and difficulty breathing – were bearing heavily down on his efforts to complete the canvases. In that Winter, he became so obsessed with the task that he took to rising at five or six o'clock each morning in order to put in as many hours' work as possible. He was all this time reporting increasing affliction by attacks on his 'trachea, bronchial tubes, and throat – with cough and asthmatic accompaniments' and also 'rheumatism'. Yet, he rallied, 'fighting side by side by my inspiring Heroine, have [...] done wonders.'In a letter from Etty, published in The Fine Arts Journal, he describes Joan of Arc as 'the Judith of modern times' with his triptych, 'like all my large pictures, point a great moral lesson to the mind'. In this case, 'the saint, the patriot, and the martyr – that heroic self-devotion to her country and her prince which has stamped her fame!'. In the first canvas, 'I suppose her to have found the sword she had seen in her dream, and invoking the inspiration from heaven which sustained her through her arduous course'. Voices had directed Joan to the church of St. Catherine de Fierbois to find a sword, to which she found the sword of Charles Martel, grandfather of Charlemagne, behind the altar. The hand raised in devotion is reminiscent of Etty's central panel for his Judith triptych exhibited at the Royal Academy in 1827 (now in a ruined state at the National Galleries Scotland) – where Judith raises her sword before beheading Holofernes. In terms of the model for Joan of Art, there is a letter dated 23 November 1845 referring to 'the young lady who so kindly sad' for the head of Joan of Arc. Gilchrist says that this young lady had first been seen in Westminster Abbey and had there struck his fancy as suitable for the head of his chosen heroine. He set his niece – Betsy – on the stranger's track, who traced her to Kensington. Eventually Etty was able to track down her father and received both his and her permission to sit, with the whole process costing him 'no small pain and embarrassment'. The young lady sat for him many times and was remembered for her remarkable 'spirit, colour and force'.Upon exhibition at the Royal Academy, The Times described the expanse as 'instantly arresting the attention' upon entering the room with the 'character of the heroine under these different circumstances [...] preserved with extraordinary skill'. Etty's biographer Gilchrist stated that praise was received by 'lovers of Art, and brother Artists' alike, including Turner, Landseer and Leslie, among others'. Yet the overall Press reviews marks a mixed reaction, with the Examiner identifying the three paintings as the keynote to the whole exhibition, though the left panel 'except in the fine deep tone of colour that pervades it, the compartment on the spectator's left is a failure'. In reviewing the first compartment, the Art Union found the 'countenance shows much fervour and enthusiasm, without anything like theatrical extravagance'. This was a purposeful effect from Etty, who said in a letter that his heroine 'was not sufficiently excited' [as he] conceived her in possession of superior power'. The Literary Gazette noted that it was 'we think, the largest piece we ever saw in the Royal Academy [...] in the first compartment, the heroine wants dignity of person and countenance. The foreshortening from the waist downwards, makes her look short and dumpy'. However, The London Magazine commented that 'the sad episode of heroism [was] wonderfully told; the seizure of the sword is powerfully conceived; the grandeur of the sortie, and the devotedness of the heroine, as her charger gallops over the vanquished and slain foe; and the fervour of the dying heroine; - are all impressive beyond description. There may be defects of drawings in various points of the composition; but the colouring, especially of the flesh, is masterly; and there is a barbaric picturesqueness in the triple scene, which is a startling novelty in British art.'Within ten days, of the work's presentation at the Royal Academy, the triptych had been purchased by C. W. Wass and Richard Colls for the mighty sum of 2,500 guineas, with designs on engraving the works for wider distribution and an ambitious, but failed, plan to tour the works around the country. Wass declared himself bankrupt in 1852; the three panels were subsequently separated and sold.We are grateful to Dr Beatrice Bertram, York Art Gallery, for her assistance in cat... This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com