Modern & Contemporary Works of Art 5/16/10

Modern & Contemporary Works of Art 05/16/10

Sunday, May 16th at 2pm Sale 1368 Exhibitions: Thursday, May 13th and Friday, May 14th 10am-6pm Saturday, May 15th Noon-5pm Inquiries: anne henry ext 3049 Vice-President Direct Tel: 267.414.1220 ahenry@freemansauction.com aimee pflieger ext 3015 Associate Specialist Direct Tel: 267.414.1221 apflieger@freemansauction.com Bidding: bids department natalie difeliciantonio ext 3008 Direct Tel: 267.414.1208 Fax: 215.599.2240 ndifeliciantonio@freemansauction.com

Catalogue $35

Inside Front Cover: Lot 73 (detail) Inside Back Cover: Lot 102 (detail)

Samuel T Freeman & Co. 1808 Chestnut Street Philadelphia, PA 19103 Telephone: 215.563.9275 Fax: 215.563.8236 www.freemansauction.com 126 Garrett Street Charlottesville, VA 22902 Telephone: 434.296.4096 Fax: 434.296.4011 www.freemanssouth.com Printing by Brilliant Studio Exton, Pennsylvania

Color images of every lot are available from May 3rd at www.freemansauction.com

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Important Information for Buyers Registration

All potential buyers must register for the sale prior to placing a bid.

Registration information may be submitted in person at our reception desk, by fax or through our website at www.freemansauction.com. We will require proof of identification and residence and may require a credit card and/or a bank reference. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted Freeman’s Terms and Conditions of Sale.

Buyer’s Premium

A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $20,000 of the hammer price of each lot, 20% on the portion from $20,001 through $500,000, and 12% on the portion of the hammer price exceeding $500,000.

Sales Tax

All items in the catalogue are subject to the 7% Pennsylvania and Philadelphia sales tax. Dealers purchasing for resale must register their tax numbers on current PA forms. Forms should be submitted to our Client Services office on the second floor.

Catalogue Descriptions

All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. If potential buyers are unable to inspect lots in person, our specialists will be happy to prepare detailed Condition Reports on individual lots as quickly as possible. These are for guidance only, and all lots will be sold “as is” as per our Terms and Conditions of Sale.

Bidding

Payment

At the sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer.

To place your bid, simply raise your paddle until the auctioneer acknowledges you. The auctioneer will not mistake a random gesture for a bid.

By phone A limited number of telephone lines are available for bidding by phone through a Freeman’s representative. Phone lines must be reserved in advance. Requests must be submitted no later than 24 hours prior to the scheduled start of the sale.

In writing Bid forms are available in the sale room and at the back of the catalogue. These should be submitted in person, by mail or by fax no later than one hour prior to the scheduled start of the sale. The auctioneer will bid on your behalf up to the limit indicated, but is not responsible for errors or failure to execute bids.

On the internet A fully-illustrated catalogue is available on-line at www.freemansauction.com. Registered bidders may leave absentee bids through the web site and will receive email confirmation of their bid.

Freeman’s is not responsible for errors or failure to execute bids.

Lots purchased will not be released until we have received full payment.

Payment may be made in cash, by check, money order, or debit card.

Payments by check must clear the bank before goods will be released.

Removal of Purchases

Deliveries will not be made during the time of the sale unless otherwise indicated by the auctioneer. All items must be paid for and removed by September 25th at 3pm. Purchases not so removed may be turned over to a licensed warehouse at the expense and risk of the purchaser.

Shipping and Packing

Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. Upon request, Freeman’s will provide the purchaser with names of professional packers and shippers known to us.

Modern & Contemporary Works of Art SUNDAY MAY 16TH AT 2PM

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1 09-8135/10 CLAUDE MONET AND GEORGE THORNLEY (french 1840-1926) “TEMPETE A BELLE-ILE” Ca. 1908, signed in pencil by both Monet and Thornley, from the edition of 25, the full sheet; Belfond, Paris, printer (and with his blindstamp). Color lithograph on off-white India appliqué on cream wove paper. image: 7 7/8 x 9 9/16 in. (20 x 24.3cm) sheet: 15 11/16 x 22 5/16 in. (39.8 x 56.7cm) provenance: Property from the Ryan Collection, Naples, Florida. $8,000-10,000

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05/16/10 2 09-8135/12 JAMES ABBOTT MCNEILL WHISTLER (american 1834-1903) “SKETCHING, NO. 1” from “passages from modern english poets” 1861, Kennedy’s fourth (final) state, with margins.

Etching on wove paper. image: 5 x 6 1/2 in. (12.8 x 16.6cm) sheet: 8 x 10 1/2 in. (20.3 x 26.8cm) [Kennedy 86]. provenance: Property from the Ryan Collection, Naples, Florida. $1,000-1,500

3 09-8135/11 JAMES ABBOTT MCNEILL WHISTLER (american 1834-1903) “THE SMITHS YARD” 1895, from the edition of 3,000, with margins; published in The Studio, 15 February 1897 (and with ‘The Studio London’ blindstamp).

Lithograph on wove paper. image: 7 1/2 x 6 1/4 in. (19.1 x 15.9cm) sheet: 11 1/4 x 8 in. (28.6 x 20.4cm) [Spink, Stratis and Tedeschi 124]. provenance: Property from the Ryan Collection, Naples, Florida. $1,000-1,500

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05/16/10 4 09-8135/4 MARY CASSATT (american 1844-1926) “SARA WEARING HER BONNET AND COAT” Ca. 1904, with full margins.

Lithograph on MBM l’Ingres d’Arches (and with ‘Made in France’ watermark). image: 19 3/4 x 16 3/8 in.

(50.2 x 41.6cm) sheet: 24 3/4 x 18 7/8 in.

(62.8 x 47.9cm) [See Breeskin 198]. provenance: Property from the Ryan Collection, Naples, Florida $2,000-3,000

5 09-8135/13 EDOUARD MANET (french 1832-1883) “JEANNE” 1882, the fifth (final) state, with margins; Gazette des Beaux-Arts, Paris, France, publisher. Etching on imitation Japon. image: 6 1/8 x 4 1/4 in.

(15.6 x 36.2cm) sheet: 10 15/16 x 7 1/2 in.

(27.8 x 19.1cm) [Guerin; Harris 66]. provenance: Property from the Ryan Collection, Naples, Florida $3,000-5,000

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05/16/10 6 09-8135/1 PIERRE AUGUSTE RENOIR (french 1841-1919) “LE CHAPEAU EPINGLE, 2e PLANCHE” 1898, from the edition of approximately 100, with margins; Vollard, Paris, publisher. Lithograph on MBM laid wove paper. image: 24 x 19 in. (60.9 x 48.3cm) sheet: 30 1/4 x 22 5/8 in.

(76.8 x 57.5cm) [Delteil/Stella 30]. provenance: Property from the Ryan Collection, Naples, Florida. $12,000-18,000

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05/16/10 7 09-8135/2 PIERRE AUGUSTE RENOIR (french 1841-1919) “MATERNITE, GRANDE PLANCHE” Ca. 1912, from the edition of 200, with margins; Auguste Clot, Paris, publisher. Lithograph on Arches laid paper. image: 20 x 19 in. (50.8 x 48.3cm) sheet: 25 x 19 1/2 in.

(63.5 x 49.5cm) [Delteil/Stella 50]. provenance: Property from the Ryan Collection, Naples, Florida. $10,000-15,000

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8 09-8135/8 JULES CHERET (french 1836-1932) “PALAIS DE GLACE” 1894, with margins; Courrier Français supplement, January 28, 1894, Chaix, Paris, printer. Color lithographic poster. image: 20 x 12 3/4 in.

(50.8 x 32.4cm) sheet: 21 5/8 x 14 1/2 in.

(55 x 36.8cm) [Broido 365]. provenance: Property from the Ryan Collection, Naples, Florida. $1,500-2,500

9 09-8135/7 JULES CHERET (french 1836-1932) “PALAIS DE GLACE” 1896, with margins; Courrier Français supplement, March 1, 1896, Chaix, Paris, printer. Color lithographic poster. image: 21 5/8 x 13 in. (55 x 33cm) sheet: 22 3/8 x 15 3/8 in.

(56.8 x 39.1cm) [Broido 371]. provenance: Property from the Ryan Collection, Naples, Florida. $1,500-2,500

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05/16/10 10 09-8135/6 HENRI DE TOULOUSE-LAUTREC (french 1864-1901) “LES VIEUX MESSIEURS” 1894, with the artist’s red monogram stamp (Lugt 1338), Wittrock’s second edition printed before 1910, one of approximately 15 on this paper from this edition; Editions Pellet, Paris, publisher.

Brown color lithograph on Japon. image: 9 1/2 x 7 in. (24.2 x 17.8cm) sheet: 19 1/8 x 13 1/8 in.

(48.6 x 33.3cm) [Delteil 75, Adhemar 80, Wittrock 57, Adriani 91]. provenance: Property from the Ryan Collection, Naples, Florida. $7,000-10,000

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05/16/10 11 10-1157/5 PABLO PICASSO (spanish 1881-1973) “LES PAUVES” from “la suite des saltimbanques” 1904-5, from the edition of 250 after steelfacing (there were also 27 or 29 impressions on Japon), with wide margins; A. Vollard, Paris, publisher. Etching on van Gelder. image: 9 1/4 x 7 in. (23.6 x 17.8cm) sheet: 20 x 12 7/8 in.

(50.8 x 32.7cm) [Bloch 3; Baer 4]. provenance: Private Collection, Pennsylvania. $4,000-6,000

12 10-1155/6 PABLO PICASSO (spanish 1881-1973) “L’ECUYERE” 1960, from the edition of 1000.

Lithograph on wove paper, with margins. image: 19 1/2 x 25 3/8 in.

(49.5 x 64.5cm) sheet: 21 5/8 x 27 1/8 in.

(54.9 x 68.9cm) [Bloch 999; Mourlot 999]. provenance: Private Collection, Pennsylvania. $1,000-1,500

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13 10-1157/3 PABLO PICASSO (spanish 1881-1973) “FEMME COUCHEE ET HOMME A LA GUITARE” 1959, signed in pencil, inscribed ‘e.a.’ (proof apart from the numbered edition of 50), with wide margins; Galerie L. Leiris, Paris, publisher. Color linoleum cut on Arches. image: 20 3/4 x 25 1/4 in. (52.8 x 64.2cm) sheet: 24 3/8 x 29 9/16 in. (62 x 75.2cm) [Bloch 916; Baer 1234II B]. provenance: Private Collection, Pennsylvania. $10,000-15,000

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14 10-1157/7 (AFTER) PABLO PICASSO (spanish 1881-1973) “NUE AU FAUBOURG ST. HONORE” 1970, signed in red crayon upper right, numbered 62/100, the full sheet.

Color offset lithograph on wove paper. sight: 61 x 45.5 in. (155 x 115.6cm) [Czwiklitzer 357]. provenance: Private Collection, Pennsylvania. $10,000-15,000

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15 10-1155/3 PABLO PICASSO (spanish 1881-1973) “WOMAN LAMP” 1955, inscribed ‘Edition Picasso’ and numbered 147/200 in black, also with the ‘Madoura Plein Feu’ and ‘Edition Picasso’ stamps under base, turned white earthenware vase painted in blue and grege. height: 13 7/8 in. (35.2cm) [Ramié 299]. $2,500-4,000

16 10-1155/2 PABLO PICASSO (spanish 1881-1973) “PROW FIGURE” 1952, inscribed ‘Edition Picasso’ and numbered 163/300 in black, also with the ‘Madoura Plein Feu’ and ‘Edition Picasso’ stamps under base, turned white earthenware vase painted in blue, black and beige. height: 13 7/8 in. (35.3cm) [Ramié 136]. $1,500-2,500

17 10-1157/8 (AFTER) GEORGES BRAQUE (french 1882-1963) “THEIERE ET FRUITS” Circa 1950, signed in pencil, numbered 9/150, with full margins; Guy Spitzer, Paris, publisher (and with his ink-stamp including edition number ‘9’ in blue ink verso). Color collotype on Arches. image: 13 3/4 x 25 3/4 in.

(35 x 65.4cm) sheet: 23 3/4 x 35 3/8 in.

(60.4 x 89.8cm) provenance: Private Collection, Pennsylvania. $1,000-1,500

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18 10-1280/1 the complete set of 14 lithographs JOAN MIRO (spanish 1893-1983) “LA MELODIE ACIDE” 1979-80, each print numbered 98/1500 in pencil, all with full margins, loose (as issued); Galerie Lucie Weill, Paris, publisher. With pencil numbered title/justification page and original natural colored, textured paper folder and white cardboard folder/box as issued. The set of 14 color lithographs on Arches. images: 8 x 6 1/4 in.

(20.4 x 15.9cm) sheets: 13 x 9 13/16 in.

(33 x 24.9cm) [Maeght 1212-1225; see Cramer 248]. $1,500-2,500

20 09-1336/118 JOAN MIRO (spanish 1893-1983) “THE ILLITERATE-GREEN AND VIOLET” 1969, signed in white pencil, numbered 10/75, the full sheet; Maeght Editeur, Paris, publisher.

Color lithograph on wove paper. image/sheet: 33 3/8 x 24 in.

(84.8 x 61cm) [Mourlot 618]. provenance: A Pennsylvania Corporation. $2,000-3,000

19 10-1370/3 JOAN MIRO (spanish 1893-1983) “LES AGUILLES DEL PASTOR” 1972, signed in pencil, annotated ‘H.C.’ (proof apart from the edition of 75), the full sheet; Ediciones Polígrafa, Barcelona, Spain, publisher. Lithograph in colors on wove paper.

23 x 32 5/6 in. (58.4 x 82.9cm) [Cramer 882].

Unframed $2,000-3,000

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05/16/10 21 09-8135/14 SALVADOR DALI (spanish 1904-1989) “PORTRAIT OF MARGUERITE” plate 1 from “faust (walpurgis night)” 1968/9, signed in pencil and with the artist’s embossed signature, numbered 57/145 (there were also French and German editions of 293 on Arches), with wide margins.

Drypoint etching with hand-coloring in blue and gold on Japan . image: 12 1/2 x 9 1/2 in.

(31.8 x 24.1cm) sheet: 15 1/8 x 11 3/8 in.

(38.4 x 28.9cm) [Michler/Löpsinger 298]. $8,000-10,000

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22 09-2221/2 a suite of four prints SALVADOR DALI (spanish 1904-1989) “PLAYING CARDS” 1972, all signed in pencil, all numbered 95/150 (the total edition was 325), with full margins; Reese Palley, publisher. Four color lithographs on Arches. images: 14 1/8 x 9 3/8 in. (36.5 x 23.8cm) sheets: 25 3/4 x 19 7/8 in. (65.5 x 50.5cm) Including: “Jack,” “Queen,” “King,” and “Ace” of clubs.

[Michler & Löpsinger 1288, 1292, 1296 and 1300].

Unframed (4). provenance: Reese Palley, publisher.

Mr. and Mrs. Gilbert Palley.

Gifted to the United Way of Southeastern Pennsylvania, 1991. $3,000-5,000

23 09-2221/5 a suite of four prints SALVADOR DALI (spanish 1904-1989) “PLAYING CARDS” 1972, all signed in pencil, all numbered 83/150 (the total edition was 325), with full margins; Reese Palley, publisher. Four color lithographs on Arches. images: 14 1/8 x 9 3/8 in. (36.5 x 23.8cm) sheets: 25 3/4 x 19 7/8 in. (65.5 x 50.5cm) Including: “Jack,” “Queen,” “King,” and “Ace” of diamonds.

[Michler & Löpsinger 1290, 1294, 1298 and 1302].

Unframed (4). provenance: Reese Palley, publisher.

Mr. and Mrs. Gilbert Palley.

Gifted to the United Way of Southeastern Pennsylvania, 1991. $3,000-5,000

24 10-1158/3 MARC CHAGALL (russian/french 1887-1985) “THE ANNOINTING OF SAUL” plate 60 from “bible series” 1931-9, signed ‘M.Ch’ in pencil, numbered 67/100 (there was also an edition of 275 without handcoloring), with wide margins; Tériade, Paris, publisher. Etching with hand-coloring on wove paper. image: 12 3/8 x 8 5/8 in. (31.4 x 21.9cm) sheet: 21 1/4 x 15 in. (53.8 x 38.2cm) [see Cramer books 30]. provenance: Private Collection, Scottsdale, Arizona $5,000-7,000

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05/16/10 25 09-8126/2 MARC CHAGALL (russian/french 1887-1985) “BESIDE THE FOUNTAIN” from “daphnis and chloe” 1960, signed in pencil, numbered 22/60 (there was also an unsigned edition of 250), with full margins; Tériade, Paris, publisher. Color lithograph on Arches. image: 16 3/4 x 12 3/4 in.

(42.6 x 32.4cm) sheet: 21 1/4 x 15 in.

(53.8 x 38.2cm) [Mourlot 313; see Cramer books 46]. $12,000-18,000

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05/16/10 26 10-1314/3 a suite of three gouache pochoirs SONIA DELAUNAY-TERK (french 1885-1979) “SONIA DELAUNAY: SES PEINTURES, SES OBJETS, SES TISSUS SIMULTANES, SES MODES” Ca. 1924-5, all stamp-signed, each stamp numbered with respective plate number ‘4,’ ‘10,’ and ‘19,’ all with full margins; Libraire des Arts Décoratifs, Paris, publisher. Three color gouache pochoirs on wove paper. images (approx.): 10 1/2 x 16 in. (26.7 x 40.6cm) sheets (approx.): 15 x 22 1/8 in. (38.1 x 56.2cm) Unframed (3). provenance: Private Collection, Philadelphia, Pennsylvania. note: Accompanied by title page, preface page with text by André Lhôte and poems by Blaise Cendrars, Desha Delteil, Tristan Tzara and Philippe Soupault. $1,200-1,800

27 09-4167/5 SONIA DELAUNAY-TERK (french 1885-1979) UNTITLED 1968, signed and dated in pencil, numbered 87/100, with wide margins.

Color lithograph on Arches. image: 16 3/4 x 14 1/2 in. (42.5 x 36.8cm) sheet: 26 x 19 3/4 in. (66.1 x 50.2cm) provenance: Estate of Muriel Wolgin, Philadelphia, Pennsylvania. $1,000-1,500

28 10-1107/21 FRITZ GLARNER (swiss 1899-1972) “COLOR DRAWING FOR RELATIONAL PAINTING” 1963, signed and dated in pencil, numbered 28/35 (there were also 2 artist’s proofs), with full margins; Universal Limited Art Editions, West Islip, New York, publisher (and with their blindstamps). Color lithograph on wove paper. image: 20 1/2 x 12 in. (52.1 x 30.4cm) sheet: 31 1/2 x 22 3/4 in. (80 x 57.8cm) [Sparks 9]. provenance: Eleanor Rigelhaupt Gallery, Boston, Massachusetts. $500-700

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29 10-1323/2 VALERIUS DE SAEDELEER (belgian 1867-1942) LANDSCAPE Signed ‘Valerius de Saedeleer’ bottom left, oil on canvas 16 x 20 in. (40.6 x 50.8cm) provenance: Purchased by Dorothy S. Whipple directly from the artist ca. 1930, Belgium.

By family descent.

The Estate of Babette S. Whipple, Belmont, Massachusetts.. $10,000-15,000

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30 10-1039/22 MOISHE (MOISSEY) KOGAN (russian 1879-1943) FEMALE NUDE Bronze with brown patina on black Belgian marble base height: 7 in. (17.8cm) $2,000-3,000

31 10-1039/21 MOISHE (MOISSEY) KOGAN (russian 1879-1943) THREE FEMALE NUDES Bronze relief plaque, brown and light brown patinas 6 7/8 x 4 7/8 in. (17.5 x 12.4cm) $2,000-3,000

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05/16/10 32 10-1368/1 WASSILY KANDINSKY (russian 1866-1944) “LITHOGRAPHIE BLAU” 1922, signed in pencil, proof apart from the numbered edition of 100, with wide margins; Verlag Karl Nierendorf, Berlin, publisher. Color lithograph on wove paper. image: 8 1/2 x 5 5/8 in.

(21.6 x 14.3cm) sheet: 12 5/8 x 10 3/4 in.

(32.1 x 27.3cm) [Roethel 163]. provenance: The Artist.

Private Collection, Europe.

By family descent.

Private Collection, Philadelphia, Pennsylvania. $7,000-10,000

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33 10-8038/1 MAX ERNST (german 1891 - 1976) “GAI” 1957 (after plaster executed in 1935), signed and numbered “Max Ernst 1/9’ (the total edition was 13 cast between 1957-9), and inscribed with foundry mark, ‘Susse Fondeur Paris’ along base, bronze with black patina height: 14 3/4 in. (37.5cm) provenance: Private Collection, New York, New York.

By family descent.

Private Collection. literature: Spies, Werner, Sigrid Metkin and Günter Metken, “Max Ernst ŒuvreKatalog, Werke 1929-1938,” Cologne, 1979, no. 2160.1, p. 309, another cast illustrated. note: Dr. Jürgen Pech has confirmed the authenticity of this work which is accompanied by his certificate of authenticity dated April 15, 2010. $40,000-60,000

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05/16/10 34 10-1367/2 complete set of eight color lithographs (AFTER) RENE MAGRITTE (belgian 1898-1967) “MAGRITTE III” 2003, each signed with initials by Charly Merscovici of the Magritte Estate and numbered 243/300 in pencil (there were also 45 suites horscommerce), each signed again in pencil on the reverse; Philippe Moreno with authorization by ADAGP representing the Magritte Estate, publisher (with blindstamps). The complete set of eight color lithographs on Arches paper, title/table of contents and numbered justification page. Enclosed within original gold-embossed red portfolio. sheets: 30 13/16 x 22 3/4 in. (78.2 x 58cm) Including:”La bataille de l’argonne,” 1964; “Le château des pyrénées,” 1959; “La voix du sang,” 1959; “Le bouquet tout fait,” 1957; “La belle captive,” 1931; “Golconde,” 1953; “Le printemps,” 1965; “La page blanche,” 1967. $4,000-6,000

35 10-1367/1 complete set of eight color lithographs (AFTER) RENE MAGRITTE (belgian 1898-1967) “MAGRITTE I” 2003, each signed with initials by Charly Merscovici of the Magritte Estate and numbered 243/300 in pencil (there were also 45 suites hors-commerce), each signed again in pencil on the reverse; Philippe Moreno with authorization by ADAGP representing the Magritte Estate, publisher (with blindstamps). The complete set of eight color lithographs on BFK Rives paper, title/table of contents and numbered justification page. Enclosed within original gold-embossed red portfolio. sheets: 22 5/8 x 30 13/16 in. (57.5 x 78.3cm) Including:”L’empire des lumières,” 1961; “La grande famille,” 1963; “La grand style,” 1951; La folie des grandeurs II,” 1948, “Le blanc-seing,” 1965;.”La grande guerre,” 1964, “La cascade,” 1961; “Le beau monde,” 1962. $4,000-6,000

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36 09-4167/26 (AFTER) RENE MAGRITTE (belgian 1898-1967) “LA FOLIE ALMAYER” from “le lien de paille” 1968, with the artist’s stamp-signature, numbered 40/150 in pencil (the total edition was 300), with wide margins, with the ‘Atelier René Magritte’ stamp; G. Visat, Paris, publisher. Color etching and aquatint on Japon. image: 7 3/4 x 5 7/8 in. (19.7 x 15cm) sheet: 10 7/8 x 8 5/8 in. (27.7 x 21.9cm) [Kaplan & Baum 18]. provenance: Estate of Muriel Wolgin, Philadelphia, Pennsylvania. $1,500-2,500

37 09-4167/23 (AFTER) RENE MAGRITTE (belgian 1898-1967) “L’OEIL” from “le lien de paille” 1968, with the artist’s stamp-signature, numbered 40/150 in pencil (the total edition was 300), with wide margins, with the ‘Atelier René Magritte’ stamp; G. Visat, Paris, publisher. Color etching and aquatint on Japon. image: 6 7/8 x 5 3/4 in. (17.5 x 14.7cm) sheet: 10 7/8 x 8 5/8 in. (27.6 x 21.9cm) [Kaplan & Baum 17]. provenance: Estate of Muriel Wolgin, Philadelphia, Pennsylvania. $1,500-2,500

38 09-4167/21 (AFTER) RENE MAGRITTE (belgian 1898-1967) “L’ART DE VIVRE” from “le lien de paille” 1968, with the artist’s stamp-signature, numbered 40/150 in pencil (the total edition was 300), with wide margins, with the ‘Atelier René Magritte’ stamp; G. Visat, Paris, publisher. Color etching and aquatint on Japon. image: 5 5/8 x 4 3/8 in. (14.3 x 11.2cm) sheet: 10 7/8 x 8 5/8 in. (27.7 x 21.9cm) [Kaplan & Baum 16]. provenance: Estate of Muriel Wolgin, Philadelphia, Pennsylvania. $1,500-2,500

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05/16/10 39 10-1367/3 complete set of five color lithographs RENE MAGRITTE (belgian 1898-1967) “L’EVIDENCE ETERNELLE” 2003, signed in white pencil with initials by Charly Merscovici of the Magritte Estate, numbered 254/300; Philippe Moreno, publisher (with authorization by ADAGP representing the Magritte Estate). The full sheets, framed in individual metallic painted wood frames fitted into original red leather portfolio box with printed gold lettering. images: various portfolio: 13 x 10 3/8 x 3 in.

(33.2 x 26.4 x 7.6cm) $2,500-3,500

40 09-4167/29 DUANE MICHAELS (american b. 1932) “MAGRITTE” 1979, titled, signed and numbered 83/100 in ink in the margin. Gelatin silver print. image: 5 x 7 1/4 in. (12.7 x 18.4cm) sheet: 8 x 9 15/16 in.

(20.3 x 25.3cm) provenance: Estate of Muriel Wolgin, Philadelphia, Pennsylvania. $1,000-1,500

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05/16/10 41 09-4167/28 MAN RAY (american 1890-1976) EXHIBITION RAYOGRAPHIE 1963, signed, dated and dedicated ‘for Muriel Wolgin’ / Man Ray 1970’ in blue ink in bottom margin, inscribed verso ‘Stuttgart 1963’ verso. Gelatin silver print. image: 7 7/8 x 7 1/2 in (20 x 19.1cm) sheet: 10 1/2 x 7 7/8 in.

(26.8 x 20cm) provenance: Estate of Muriel Wolgin, Philadelphia, Pennsylvania. $700-1,000

42 10-1310/2 ENRICO BAJ (italian 1924-2003) “BAJ CHEZ BAJ” an incomplete set of nine screenprints with flocking Circa 1972, all signed in pencil, all numbered ‘VIII/XL’ (the edition was 250 in Arabic numerals plus 15 copies horscommerce); Multiplicata Internationale, publisher. The set of nine color screenprints with flocking plus the unsigned screenprinted title page, justification, all with full margins, loose (as issued), on wove paper, within original corrugated cardboard portfolio with screened image on cover and ribbon closure-ties. images: 30 3/8 x 24 in. (77.2 x 61cm) sheets: 39 1/8 x 27 3/8 in. (99.4 x 69.6cm) portfolio: 30 1/2 x 40 in. (77.5 x 101.6cm) $3,000-5,000

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05/16/10 43 10-1370/5 ANTONI TAPIES (spanish b. 1923) “T INCLINADA” 1971, signed in pencil, annotated ‘H.C’ (an hors-commerce copy, the edition was 75), the full sheet. Color etching and carborundum on wove paper. sheet: 23 x 30 3/8 in.

(58.5 x 77.2cm) [Galfetti 293].

Unframed $800-1,200

44 10-1370/4 ANTONI TAPIES (spanish b. 1923) “EL DIT” 2000, signed in pencil, numbered 14/99, the full sheet, Ediciones Polígrafa, Barcelona, publisher. Color etching and carborundum on wove paper. sheet: 22 x 29 7/8 in. (56 x 75.9cm) [Galfetti 1091].

Unframed $1,800-2,200

45 10-1214/6 FRANCISCO FARRERAS (spanish b. 1927) UNTITLED COMPOSITION Signed and indistinctly dated ‘F. FARRERAS 7*,’ mixed media collage on paper 10 1/8 x 8 1/16 in. (25.8 x 20.5cm) provenance: A Washington, D.C. Estate. $1,000-1,500

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05/16/10 46 10-1315/1 JEAN PIERRE DUBORD (french b. 1949) “LA FETE DES NEUX BATEAUX” Signed ‘JP DUBORD’ bottom right, signed and titled ‘Jean Pierre Duboard/la fête des neux bateau’ verso, oil on canvas 25 1/2 x 32 in. (64.8 x 81.3cm) $1,500-2,500

47 09-8062/17 YOLANDE ARDISSONE (french b. 1927) “LE PORT DE DOÉLANE” Signed ‘ARDISSONE’ bottom right, titled ‘le port de Doélane’ in ink on stretcher verso, oil on canvas 35 1/2 x 46 1/2 in. (90.2 x 118.1cm) provenance: A Charlottesville, Virginia Estate. $2,500-3,500

48 09-1840/30 JAKOB WEIDEMANN (norweigan 1923-2001) VILLAGE ROAD Signed and dated ‘WEIDEMANN 55’ bottom center, oil on canvas 13 1/4 x 13 3/4 in. (33.6 x 34.9cm) provenance: Private Collection, Philadelphia, Pennsylvania. $2,000-3,000

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05/16/10 49 10-1107/20 SIGMUND JOSEPH MENKES (polish/american 1896-1986) STUDIO STILL LIFE Signed ‘Menkes’ bottom right, oil on canvas 31 x 24 in. (78.8 x 60.9cm) provenance: Private Collection, Maryland. $10,000-15,000

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05/16/10 50 10-1039/14 ANTONIO RECALCATI (italian b. 1938) “MEMORIE DI MATTINO” Signed, titled and dated ‘recalcati 62 / Memorie di Mattino’ in crayon verso, oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80cm) provenance: Galleria Odyssia, Rome, Italy. $1,500-2,500

51 09-2208/3 EUGENE BRANDS (dutch 1913-2002) “LIGGEND NACKT” (RECLINING NUDE) Signed and dated ‘1961 brands’ bottom left, titled, signed and dated verso, gouache on paper 18 3/4 x 26 3/4 in. (47.7 x 68cm) Unframed provenance: Private Collection, Philadelphia, Pennsylvania. $1,000-1,500

52 10-1039/13 ALAIN DE LA BOURDONNAYE (french b. 1930) “PAYSAGE TOURAINE” Signed and dated ‘LA BOURDONNAYE/57’ bottom right, dated ‘V-57’ and signed again verso, oil on canvas 25 3/8 x 39 1/4 in. (89.9 x 99.7cm) provenance: Larry Aldrich, New York, New York.

Private Collection, New York, New York. exhibited: The Virginia Museum of Fine Art, Richmond, Virginia. $1,500-2,500

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05/16/10 53 10-1313/2 JOCHEN SEIDEL (german 1924-1971) UNTITLED Circa 1968-70, acrylic and collage on canvas 43 x 43 in. (109.3 x 109.3cm) provenance: The artist.

David Anderson Gallery, Buffalo , New York.

Fritz Bultman, New York, New York.

By family descent. $2,000-3,000

54 10-1370/1 HOWARD HODGKIN (british b. 1932) UNTITLED from “books for the paris review” 1997-99, signed with initials and dated in pencil, numbered 65/80 (there were also 20 artist’s proofs), the full sheet; The Paris Review, New York, New York, publisher.

Hand colored etching and aquatint on handmade paper. sheet: 14 5/8 x 16 1/4 in.

(37.2 x 41.3cm) [Tate 100].

Unframed provenance: Paris Review Magazine, New York, New York. $2,000-3,000

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05/16/10 55 10-1080/3 HENRY MOORE (british 1898-1986) “RECLINING WOMAN I” 1980-1, signed in pencil, numbered 2/50 (there were also 15 artist’s proofs in Roman numerals), with full margins; Raymond Spencer Company, Ltd., Much Hadham, England, publisher. Color lithograph on BFK Rives. image: 20 1/2 x 23 1/4 in. (52.1 x 59.1cm) sheet: 24 13/16 x 28 3/4 in. (63 x 73cm) [Cramer 591]. provenance: Private Collection, New York, New York. $2,500-3,500

56 10-1157/6 HENRY MOORE (british 1898-1986) “SIX RECLINING FIGURES” 1975, signed in pencil, numbered 61/99 (there were also 20 artist’s proofs in Roman numerals), with wide margins; Nathan Silverberg, New York , New York , publisher. Color lithograph on TH Saunders. image: 15 1/8 x 19 7/8 in (38.5 x 50.5cm) sheet: 22 1/2 x 30 1/2 in. (57.2 x 77.5cm) [Cramer 353]. $1,500-2,500

57 09-2211/1 DAVID HOCKNEY (british b. 1937) “BILL AND JAMES II” from “a series of hand drawn lithographs from 1979-80” 1980, signed and dated in pencil, numbered 15/17 (there were also 4 artist’s proofs), with full margins; Gemini G.E.L., Los Angeles, California, publisher. Color lithograph on Arches Cover white. image: 26 x 37 in. (66 x 94cm) sheet: 31 x 40 in. (78.7 x 101.6cm) [Gemini 1653]. provenance: Gemini G.E.L., Los Angeles, California.

Private Collection. $2,500-3,500

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05/16/10 58 09-1889/2 MÜBIN ORHON (turkish 1924-1981) UNTITLED Signed ‘Mubin’ bottom left and signed ‘MUbIN’ and dated verso, oil on canvas Executed in 1956 11 3/4 x 5 7/8 in. (29.8 x 14.9cm) provenance: Private Collection, London. $3,000-5,000

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59

60

59 10-1214/1 M. POUM MALAKOUL (thai 1910-1973) “THAI INSTRUMENT” Signed and dated ‘P. Malakoul 1965’ bottom right, titled ‘Thai Inrument (sic)’ on stretcher, oil on canvas 27 1/2 x 19 1/2 in. (69.8 x 49.5cm) provenance: A Washington, D.C. Estate $1,000-1,500

60 10-1214/3 CHOO KENG KWANG (singaporian b. 1931) “SINGAPORE RIVER” Signed ‘Keng Kwang’ bottom left, signed again, titled and dated verso, oil on canvas Executed in 1968 38 x 28 in. (96.5 x 71.2cm) provenance: A Washington, D.C. Estate $1,500-2,500

61 10-1214/4 CHOO KENG KWANG (singaporian b. 1931) RIVER SCENE Signed ‘K. Kwang’ bottom right, signed and dated ‘K.Kwang / 1968’ verso, oil on canvas 28 x 38 in. (71.1. x 96.6cm) provenance: A Washington, D.C. Estate $1,500-2,500

62 10-1213/1 TANG HAIWEN (chinese 1929-1991) UNTITLED Signed and dated ‘Tang 65’ with additional inscriptions in Chinese bottom right, watercolor on paper 27 1/2 x 19 1/2 in. (69.9 x 49.6cm) $1,000-1,500

62

61

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63 10-1310/1 SHIKO MUNAKATA (japanese 1903-1975) “BUSH WARBLER” Signed and dated ‘Munakata 1959’ bottom left and with artist’s chop mark in red ink. Woodcut on Japon. image: 17 15/16 x 18 3/8 in.

(45 x 46.7cm) sheet: 24 3/4 x 23 7/8 in.

(62.8 x 60.7cm) $1,000-1,500

64 09-2193/1 SHIKO MUNAKATA (japanese 1903-1975) “MIKINO MIMIKAZARI NO SAKU” Signed in pencil bottom left and stamped with artist’s chop mark in red ink. Woodcut on Japon.

Executed in 1965. image: 10 x 11 1/2 in.

(25.4 x 29.2cm) sheet: 13 3/4 x 16 in. (35 x 40.6cm) provenance: Betty Melvin, Philadelphia, Pennsylvania.

Gifted to present owner in 1980. $2,000-3,000

65 10-1214/2 LAXMAN SHRESHTHA (indian b. 1939) ABSTRACTION Inscribed with artist’s name verso, oil on canvas 12 x 12 in. (30.5 x 30.5cm) provenance: A Washington, D.C. Estate $1,200-1,800

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05/16/10 66 10-1317/1 SAKTI BURMAN (indian b. 1935) “FANTASTIC PEOPLE” Signed ‘SAKTI BURMAN’ in ink bottom right, signed and inscribed with title in pencil verso, watercolor and ink on paper sheet: 19 9/16 x 25 9/16 in.

(49.7 x 64.9cm) Unframed $3,000-5,000

67 10-1317/2 SAKTI BURMAN (indian b. 1935) UNTITLED (COMPOSITION WITH COMPOTES) Signed ‘SAKTI BURMAN’ in ink bottom center right, watercolor and ink on paper sheet: 19 9/16 x 25 9/16 in.

(49.7 x 64.9cm) Unframed $3,000-5,000

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68 10-1159/5 JAMINI ROY (indian 1887-1972) WORSHIPPER Signed in Bengali, tempera on thin paper laid on card Executed ca. 1940 20 5/16 x 14 15/16 in. (51.6 x 37.9cm) Unframed provenance: Purchased directly from the artist in 1968.

Private Collection, Europe. $3,000-5,000

69 10-1159/3 JAMINI ROY (indian 1887-1972) BALARAM Signed in Bengali bottom right, oil on card Executed ca. 1940 12 1/4 x 7 1/2 in. (31.1 x 19.1cm) Unframed provenance: Purchased directly from the artist in 1968.

Private Collection, Europe. $4,000-6,000

70 09-2208/1 JAMINI ROY (indian 1887-1972) CAT AND KITTEN Signed in Bengali bottom right, tempera on card image: 15 15/16 x 15 1/2 in. (40.5 x 39.4cm) card: 16 1/2 x 16 1/8 in. (41.9 x 41cm) Unframed provenance: Private Collection, Philadelphia, Pennsylvania. $2,500-4,000

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05/16/10 Painted in 1963 just before he traveled to New York for the first time, this Untitled oil on canvas by Vasudeo S. Gaitonde anticipates a moment of transition for the artist and in India’s fledgling commercial art world. As is characteristic of his mature career works, this painting integrates saturated color fields with geometric forms, though the almost-continuous, single horizontal band of symbolic imagery dividing this canvas is unusual and experimental. Given the longstanding bias against abstraction in Indian modernist art, the extreme minimalist composition of this painting is particularly noteworthy, and reflects the artist’s fervent and courageous individualism.

Though he is remembered as India’s pioneering abstract artist, Gaitonde preferred the term ‘non-objective’ for his paintings, claiming often that “there is no such thing as abstract art.” His latest representational works were painted in the late 1950s, and included The Bird and An Egg (1957), which was exhibited at the Young Asian Artists’ Exhibition in Tokyo, and an Untitled work (1959) depicting a flattened, abstracted airplane, which was commissioned by AirIndia but never bought and still hangs in fellow artist Bal Chhabda’s Mumbai home. By the early 1960s, Gaitonde’s work was consistently and obsessively non-figural, and he began to work towards a formal purity of line and color in his canvases, aided conceptually by his engagement with Zen Buddhism. This Untitled work and other of Gaitonde’s paintings strongly evoke the feeling of a landscape – with its horizon line separating a deep-blue sky from an equally rich sea, but they need not be read in terms of conventional categories.

In 1964, Gaitonde was awarded a prestigious Rockefeller Fellowship, which offered him, along with other leading artists like M.F. Husain and Tyeb Mehta, the opportunity to spend up to a year living in New York. By this time, New York was the center of the contemporary art world, and India’s artists were increasingly interested in experimentation with new ideas and forms of painting, as well as myriad other mediums, especially film. Post-war art and the scene in New York also provided an alternative to the heritage of figurative painting in London, with which Indian artists had a natural, if uneasy, relationship through shared colonial and postcolonial histories. Gaitonde met quick success in New York, exhibiting at the Graham Gallery and Willard Gallery in the mid 1960s, and his exposure to Abstract Expressionism there initiated a significant turn in his work, as he began creating fields of color with a roller instead of a paintbrush.

Through this time, many of India’s artists sought to exhibit their work in New York and other centers because of the lack of gallery infrastructure in India. In 1959, Bal Chhabda had opened Bombay’s first commercial gallery, Gallery 59, in the storefront of a building in which Gaitonde and his close associates Tyeb Mehta and Nasreen Mohamedi worked.

Gallery 59 hosted the first solo exhibitions of several leading artists, including Gaitonde’s in 1961, but it was forced to shut down in 1962 owing to a dispute with management. Even after two permanent galleries opened in the city in 1963, enabling the start of a developed art scene, many artists continued to sell their works locally through their studios and homes in transactions that were rarely documented, but are remembered through the enthusiastic anecdotes and exchanges that emerged from such encounters.

Beth Citron Beth Citron is a New York-based art historian and critic, who received her Ph.D. from the University of Pennsylvania where she completed her dissertation on Contemporary Art in Bombay, 1965-1995.

71 10-1039/10 VASUDEO S. GAITONDE (indian 1924-2001) UNTITLED Signed and dated in Devanagari ‘Gaitonde 63’ verso, oil on canvas 50 1/8 x 40 1/4 in. (127.3 x 102.2cm) provenance: Estate of Carole Nimmo Bourne, New York, New York.

Private Collection, New York, New York. $150,000-250,000

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05/16/10 72 10-1159/2 HEMENDRANATH MAZUMDAR (indian 1894-1948) STANDING FEMALE FIGURE Signed ‘H. Mazumdar’ bottom right, sepia ink on paper sheet: 15 1/16 x 8 7/8 in.

(38.3 x 22.5cm) provenance: The artist.

By family descent.

Private Collection, East Coast. $5,000-8,000

73 10-1159/1 SUNAYANI DEVI (indian 1875-1962) YASHODA AND KRISHNA Signed and dated 1938 in Bengali bottom left, watercolor on paper 19 3/8 x 16 7/8 in. (49.2 x 42.9cm) provenance: The artist.

By family descent.

Private Collection, East Coast. $2,500-4,000

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05/16/10 74 08-2171/2 KRISHNAJI SHAMRAO KULKARNI (indian 1916-1996) QUEEN Signed with initials ‘KSK’ lower left, watercolor on paper 28 3/8 x 22 5/8 in. (72 x 57.4cm) Unframed provenance: The artist.

Private Collection, India. $1,500-2,500

75 08-2171/1 KRISHNA HAWLAJI ARA (indian 1914-1985) SEATED NUDE Signed ‘ARA’ bottom left, watercolor and pencil on heavy paper 31 1/2 x 20 3/4 in. (80 x 52.7cm) Unframed provenance: The artist.

Private Collection, India. $3,000-5,000

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05/16/10 76 10-1028/4 FRANCIS NEWTON SOUZA (indian 1924-2002) UNTITLED – CHEMICAL HEAD Signed and dated ‘Souza 98’ upper right, inscribed verso ‘CR-Chm IP98-034’ in ink, chemical alteration and ink on printed magazine paper 11 3/4 x 8 1/2 in. (29.9 x 1.6cm) Unframed provenance: The Estate of F.N. Souza.

By family descent. $5,000-8,000

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05/16/10 77 10-1028/2 FRANCIS NEWTON SOUZA (indian 1924-2002) UNTITLED – CHEMICAL NUDE Signed and dated ‘Souza 91’ upper right, inscribed verso ‘CR-ChmI P91-016’ in pencil, chemical alteration and marker on printed magazine paper 10 7/8 x 8 7/8 in.(27.6 x 22.6 cm) Unframed provenance: The Estate of F.N. Souza.

By family descent. $4,000-6,000

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05/16/10

78 10-1028/3 FRANCIS NEWTON SOUZA (indian 1924-2002) UNTITLED – CHEMICAL LANDSCAPE Signed and dated ‘Souza 97’ upper right, inscribed verso ‘CR-Chm MGP-97006’ ‘in ink, chemical alteration, gouache and marker on printed magazine paper 10 x 12 1/2 in. (25.4 x 31.8cm) Unframed provenance: The Estate of F.N. Souza.

By family descent. $4,000-6,000

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05/16/10 79 10-1346/3 LE PHO (french 1907-2001) MOTHER AND CHILD Signed ‘Le Pho’ and again in Chinese bottom right, oil on canvas 14 x 10 3/4 in. (35.6 x 27.3cm) provenance: Wally Findlay Galleries, New York, New York.

Private Collection, West Palm Beach, Florida. $5,000-7,000

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05/16/10 By 1982, Fernando Botero was enjoying success as a painter of accentuated, corpulent human forms that cited as well as challenged Italian renaissance painting, history, religion, politics and Columbian folklore. By the mid 1970’s, however, Botero was able to afford to convert his Paris studio into a sculptor’s atelier, where he could explore three-dimensional forms and have his works cast at a foundry. Botero’s sculpture made tangible the heft and form that had been such integral themes to his paintings and murals.

With its rich, deep brown patina and highly polished surface, in ‘Mujer’ Botero revels in the exaggerated physicality of the female form as well as the literal weight and richness of bronze. Botero’s female figure doesn’t just make reference to pre-Columbian mythic gods, but by her size and presence she becomes an object to be worshipped in her own right. In the 1982 Marlborough Gallery exhibition in which this work was shown for the first time, Botero also presented glistening snakes, fertility goddesses and disembodied hands. All executed in the same rounded, lush, exaggerated forms polished to a rich chocolate sheen, these sculptures remind us just how much the sensuality of physical form should be enjoyed and celebrated.

Chosen to highlight some of the most important public streets and landmarks around the world, Fernando Botero’s impressive and robust figures grace the streets of Park Avenue in New York City, the Champs Elysees in Paris and the Palazzo Pitti in Florence, Italy.

80 10-1223/1 FERNANDO BOTERO (columbian b. 1932) “MUJER” 1982. Signed and numbered ‘Botero 1/6’ on reverse of base, bronze with brown patina 37 1/2 x 23 x 20 1/2 in. (95 x 58.5 x 52cm) provenance: Marlborough Gallery, New York, New York.

Private Collection, Pennsylvania, acquired from the above in 1982. exhibited: Marlborough Gallery, New York, New York, “Fernando Botero: Recent Sculpture,” April 30-May 29, 1982, catalogue #44, illustrated p. 23. $200,000-300,000

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81 10-1278/2 ANA MARIA DE MARTINEZ (salvadoran b. 1937) GRAPES Signed ‘Ana Maria’ bottom right, acrylic on canvas 11 x 14 in. (27.9 x 35.6cm) provenance: The Artist.

Private Collection, Philadelphia, Pennsylvania. $4,000-6,000

83 10-2359/1 LUIS CABALLERO (colombian 1943-1995) THREE GRAPHITE DRAWINGS Signed and dated ‘L. Caballero 81 /’ in pencil, graphite on wove paper 14 3/4 x 19 7/8 in. (37.5 x 50.5cm); and Signed and dated ‘L. Caballero 81 /’ in pencil, graphite on wove paper 14 3/4 x 19 1/2 in. (37.5 x 49.5cm); and Unframed Signed and titled bottom in pencil, dedicated indistinctly ‘Pour Henri’ à ****,’ graphite on gray wove paper 14 5/8 x 19 5/8 in. (37.1 x 49.8cm) Unframed (3) provenance: The artist.

Henri Barras (then Director of the Musée d’Art, Contemporain de Montréal.

Private Collection, Quebec, Canada. $2,000-3,000

82 10-1278/1 ANA MARIA DE MARTINEZ (salvadoran b. 1937) JICARAS AND CHERRIES Signed ‘Ana Maria’ bottom right, acrylic on canvas 10 x 8 in. (25.3 x 20cm) provenance: The Artist.

Private Collection, Philadelphia, Pennsylvania. $4,000-6,000

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05/16/10 84 10-1277/4 MILTON AVERY (american 1885-1965) “NUDE COMBING HAIR” 1961, signed and dated in pencil, numbered 12/90, with wide margins. Drypoint on wove paper. image: 8 9/16 x 6 1/8 in.

(21.8 x 15.6cm) sheet: 12 x 9 in. (30.4 x 22.9cm) [Lunn 30]. provenance: Private Collection, Philadelphia, Pennsylvania. $3,000-5,000

85 10-1314/1 MILTON AVERY (american 1885-1965) “MY WIFE SALLY” Signed ‘Milton Avery’ in ink bottom right, signed, titled and dated ‘ “My wife Sally” / by Milton Avery / 1952’ verso, black marker on paper 11 x 8 3/8 in. (28 x 21.3cm) provenance: Private Collection, Philadelphia, Pennsylvania. $2,000-3,000

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86 10-1277/3 MILTON AVERY (american 1885-1965) “LITTLE GIRL” 1936, signed and dated in pencil, numbered 53/60, with wide margins.

Drypoint on heavy wove paper. image: 8 3/4 x 4 3/4 in. (22.2 x 12.1cm) sheet: 13 7/8 x 9 15/16 in. (35.3 x 25.2cm) [Lunn 11].

Unframed provenance: Private Collection, Philadelphia, Pennsylvania. $2,000-3,000

88 10-1277/2 MILTON AVERY (american 1885-1965) “MY WIFE SALLY” 1934, signed in pencil, from the edition of 100, with wide margins. Drypoint on wove paper. image: 5 9/16 x 8 5/16 in. (14.1 x 21.1cm) sheet: 8 3/16 x 11 1/8 in. (20.8 x 28.1cm) [Lunn 5]. provenance: Private Collection, Philadelphia, Pennsylvania. $1,500-2,500

87 10-1277/1 MILTON AVERY (american 1885-1965) “STANDING NUDE” 1935, signed and dated in pencil, numbered 88/100, with wide margins.

Drypoint on wove paper. image: 9 7/8 x 4 1/4 in. (25 x 10.8cm) sheet: 14 7/8 x 13 in. (37.7 x 33cm) [Lunn 54].

Unframed provenance: Private Collection, Philadelphia, Pennsylvania. $1,500-2,500

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05/16/10 89 10-8028/1 REGINALD MARSH (american 1898-1954) “ERIE R.R. AND FACTORIES” 1930, signed in pencil, numbered ‘#7,’ from the edition of approximately 50, Sasowski’s sixth (final) state, with wide margins.

Etching, engraving and drypoint on wove paper. image: 8 x 11 7/8 in. (20.3 x 30.2cm) sheet: 10 1/4 x 13 3/4 in. (26 x 34.9cm) [Sasowski 90]. $1,200-1,800

90 10-1116/1 two watercolors KARL KNATHS (american 1891-1971) “BASKET OF FISH” ‘Estate of Karl Knaths’ stamp bottom right, watercolor, ink and graphite on paper sheet: 8 3/4 x 5 7/8 in. and; “CLAM DIGGERS RETURN” Watercolor and ink on paper sheet: 8 3/4 x 5 1/2 in.

(2). provenance: David Findlay Jr. Fine Art, New York, New York.

Private Collection, Woodstock, New York. $1,000-1,500

91 10-1116/3 ROLPH SCARLETT (american 1891-1984) ABSTRACTION Signed ‘SCARLETT’ bottom left corner, gouache and ink on paper 11 x 16 in. (28 x 40.6cm) provenance: Private Collection, Woodstock, New York. $1,500-2,500

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05/16/10 92 10-1116/4 ROLPH SCARLETT (american 1891-1984) ABSTRACTION Signed ‘SCARLETT’ bottom right corner, gouache on paper 6 1/2 x 10 in. (16.5 x 25.4cm) provenance: Private Collection, Woodstock, New York. $1,500-2,500

93 10-1313/1 GEROME KAMROWSKI (american b. 1914) UNTITLED FROM “DOME SERIES” Oil and mixed media assemblage on joined canvas panels Executed ca. 1960 10 x 60 x 60 in. (25.4 x 152.4 x 152.4cm) provenance: The artist.

Fritz Bultman, New York, New York.

By family descent. $2,000-3,000

94 09-4167/34 ARNOLD NEWMAN (american 1918-2006) “ISAMU NOGUCHI” Signed ‘© Arnold Newman’ in pencil bottom right, inscribed in pencil ‘Isamu Noguchi 1947 / For Muriel, to an old friend, from an old friend - of an old friend, love Augusta and Arnold.’ and with the artist’s copyright stamp verso. Gelatin silver print. image: 12 7/8 x 9 5/8 in. (32.7 x 24.5cm) sheet: 13 7/8 x 10 7/8 in. (35.3 x 27.6cm) provenance: Estate of Muriel Wolgin, Philadelphia, Pennsylvania. $1,500-2,500

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05/16/10 95 10-1039/11 JAMES JARVAISE (american b. 1931) “HUDSON RIVER SCHOOL SERIES #50” Signed ‘Jarvaise’ verso, oil on canvas Executed in 1958 50 3/4 x 44 3/4 in.

(128.9 x 111.8cm) provenance: Felix Landau Gallery, Los Angeles, California. exhibited: Museum of Modern Art, New York, “Sixteen Americans,” December 16, 1959 - February 17, 1960, listed in exhibition catalogue. $2,000-3,000

96 10-1113/1 AMERICAN SCHOOL (20th century) UNTITLED ABSTRACT COMPOSITION Oil on board 40 x 29 3/4 in. (101.6 x 75.6cm) $1,000-1,500

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97 10-1366/1 ALEXANDER CALDER (american 1898-1976) “HAMMOCK, SOFT SCULPTURE” From the edition of 100, CAC Publication, New York, New York, 100% cotton manila fiber Executed in 1975 overall approx. 94 x 99 in.

(238.8 x 251.5cm) provenance: Mercedes Gordillo Gallery, Managua, Nicaragua.

Private Collection, Costa Rica (purchased ca. 1975).

By family descent. $2,500-4,000

98 09-8121/4 two paintings framed together CLEMENTINE HUNTER (american 1886-1988) GIFT OF THE MAGI and SUNDAY PICNIC Both signed with artist’s initials bottom right, oil on board each, (sight): 14 3/4 x 23 in.

(37.5 x 58.4cm) (2). $6,000-10,000

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99 09-2223/1 ALEXANDER CALDER (american 1898-1976) UNTITLED Signed and dated ‘Calder 67’ bottom right, gouache and ink on paper 29 1/2 x 42 1/2 in. (75 x 108cm) note: This work is registered in the archives of the Calder Foundation under identification number A24943. provenance: Private Collection, Elkins Park, Pennsylvania. $40,000-60,000

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05/16/10 Marcel Duchamp coined the now-ubiquitous term “mobile” to describe Alexander Calder’s graceful kinetic sculptures in 1931 after visiting Calder’s studio in Paris. The term applies not only to his well known hanging works but also to sculptures that combine stationary bases with moving elements made of wire and painted metal. While some of Calder’s smaller sculptures acted as maquettes for larger works, many were works unto themselves such as the excellent example, “Azul, Amarillo, Blanco, Sobre Rojo.”

In 1955, Calder traveled to Caracas, Venezuela, where he set up a studio at the metal shop of the Universidad Central de Venezuela. That same year, the exhibition "Exposición Calder" was installed at Museo de Bellas Artes de Caracas. It would neither be the first nor the last time that Calder would visit and engage with curators and artists in Latin America; his interest in the culture, language and spirit of Central and South America would remain throughout his career.

This sculpture, created the same year as his residency in Venezuela, is an excellent example of a mobile that, while standing at just under a foot tall, is imbued with the all of the whimsy, balance and charm that is unequivocally Calder.

100 09-2235/1 ALEXANDER CALDER (american 1898-1976) “AZUL, AMARILLO, BLANCO, SOBRE ROJO” Sheet metal, brass, wire and paint Executed in 1955 7 1/2 x 7 3/4 x 6 1/2 in. (19.1 x 19.7 x 16.5cm) provenance: The Artist.

Private Collection, Caracas, Venezuela.

Krasner Gallery, New York, New York.

Private Collection, New York, New York (purchased in 1971).

Private Collection, Philadelphia, Pennsylvania. exhibited: Museo de Bellas Artes, Caracas, Venezuela, “Exposición Calder,” September 11-25, 1955, cat. no. 40.

Fundación Eugenio Mendoza, Caracas, Venezuela, “Calder en Venezuela,” July 6- August 3, 1969, cat. no. 40, illus. p. 40. note: This work is registered in the archives of the Calder Foundation under identification number A09335 and will be accompanied by an invoice from Krasner Gallery, New York, New York, dated February 6, 1971. $100,000-150,000

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101 09-2222/2 HARRY BERTOIA (american 1915-1978) VERTICAL ROD TREE Bronze Executed in the 1960’s 7 x 5 1/2 x 1 1/2 in.

(17.8 x 14 x 3.8cm) provenance: The Artist.

Private Collection, Philadephia, Pennsylvania. note: This sculpture will be accompanied by a certificate of authenticity signed by Val Bertoia. $5,000-8,000

102 09-2222/3 HARRY BERTOIA (american 1915-1978) CONCAVE TREE Bronze Executed in the 1960’s 6 x 5 x 3 in. (15.2 x 13 x 7.6cm) provenance: The Artist.

Private Collection, Philadephia, Pennsylvania. note: This sculpture will be accompanied by a certificate of authenticity signed by Val Bertoia. $4,000-6,000

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103 09-2222/6 HARRY BERTOIA (american 1915-1978) EXPANDING BUSH Bronze Executed in the 1960’s 14 x 16 x 14 1/2 in.

(35.6 x 40.6 x 36.8cm) provenance: The Artist.

Private Collection, Philadephia, Pennsylvania. note: This sculpture will be accompanied by certificate of authenticity signed

by Val Bertoia. $20,000-30,000

104 09-2222/7 HARRY BERTOIA (american 1915-1978) SOUND ARCHITECTURE Beryllium-copper rods silvered to brass.

Executed in the 1960’s 12 x 6 x 6 in. (30.5 x 15.2 x 15.2cm) provenance: The Artist.

Private Collection, Philadephia, Pennsylvania. note: This sculpture will be accompanied by a certificate of authenticity signed by Val Bertoia. $7,000-10,000

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105 09-2222/1 HARRY BERTOIA (american 1915-1978) BLUE TREE FORM Bronze Executed in the 1960’s 6 x 6 1/4 x 3 1/2 in.

(15.2 x 15.9 x 8.9cm) provenance: The Artist.

Private Collection, Philadephia, Pennsylvania. note: This sculpture will be accompanied by a certificate of authenticity signed by Val Bertoia. $4,000-6,000

106 09-2222/4 HARRY BERTOIA (american 1915-1978) CLOUD ON STEM Bronze Executed in the 1960’s 3 x 4 x 4 in. (7.6 x 10.1 x 10.1cm) provenance: The Artist.

Private Collection, Philadephia, Pennsylvania. note: This sculpture will be accompanied by a certificate of authenticity signed by Val Bertoia. $3,000-5,000

107 09-2222/5 HARRY BERTOIA (american 1915-1978) BIRD TREE Bronze Executed in the 1960’s 5 x 3 1/2 x 2 1/4 in. (13 x 8.9 x 5.7cm) provenance: The Artist.

Private Collection, Philadephia, Pennsylvania. note: This sculpture will be accompanied by a certificate of authenticity signed by Val Bertoia. $3,000-5,000

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05/16/10 108 09-2222/8 KLAUS IHLENFELD (german b. 1934) SPLINTER BRONZE Bronze with golden brown patina 12 x 11 5/8 x 8 1/4 in. (30.5 x 29.5 x 21cm) provenance: The Artist.

Private Collection, Philadephia, Pennsylvania. $1,000-1,500

109 09-2222/9 KLAUS IHLENFELD (german b. 1934) TREE Inscribed with initials ‘KI’ on base, bronze with golden brown patina 7 1/8 x 5 1/2 x 5 1/2 in.

(18.1 x 14 x 14cm) provenance: The Artist.

Private Collection, Philadephia, Pennsylvania. $700-1,000

110 09-2222/12 KLAUS IHLENFELD (german b. 1934) CIRCULAR TREE Bronze with brown patina and copper and verdigris highlights 7 3/4 x 6 x 1/2 in.

(19.7 x 15.3 x 1.3cm) provenance: The Artist.

Private Collection, Philadephia, Pennsylvania. $700-1,000

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111 09-2222/10 KLAUS IHLENFELD (german b. 1934) WIRE TREE Inscribed with initials ‘KI’ on base, brown patina with copper and verdigris highlights 7 3/4 in x 3 1/2 x 2 1/2 in.

(19.7 x 9 x 6.4cm) provenance: The Artist.

Private Collection, Philadephia, Pennsylvania. $500-800

112 09-2222/11 KLAUS IHLENFELD (german b. 1934) PIPES Inscribed with initials ‘KI’ on base, bronze with brown and golden brown patina height: 6 7/8 x 6 x 4 in.

(17.5 x 15.3 x 10.2cm) provenance: The Artist.

Private Collection, Philadephia, Pennsylvania. $700-1,000

113 09-4167/14 JOE GOODE (american b. 1937) TIC TAC JOE Signed ‘J. Goode’ in pencil bottom right, mixed media on paper 13 1/8 x 9 15/16 in. (33.3 x 25.3cm) provenance: Estate of Muriel Wolgin, Philadelphia, Pennsylvania. $700-1,000

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114 08-2109/161 BEVERLY PEPPER (american b. 1922) UNTITLED Stamped with initials ‘BP,’ iron, oxidized reddish brown patina height: 23 3/4 in. (60.3cm) provenance: Private Trust. $4,000-6,000

115 09-1960/2 WILLIAM CROVELLO (american b. 1929) UNTITLED Inscribed with initials and dated ‘W.G.C. ‘69,’ black marble 14 1/4 x 20 1/4 x 3 1/8 in. (36.2 x 51.4 x 5.4cm) provenance: Private Collection, Maryland. $1,000-1,500

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05/16/10 116 09-4167/41 JULIAN STANCZAK (polish/american b. 1928) “COLOUR FILTRATION” Signed and dated ‘J. Stanczak 1966’ verso, signed again and titled ‘JULIAN STANCZAK “COLOUR FILTRATION” ‘ on stretcher, acrylic on canvas 45 1/2 x 39 1/2 in.

(115.6 x 100.3cm) provenance: Feingarten Galleries, Beverly Hills, California. $8,000-10,000

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117 10-1323/1 FRANK MALINA (american 1912-1981) “VOYAGE IV” from “voyage among supernovae” Signed bottom right, signed again and titled ‘Malina “VOYAGE IV”/”VOYAGE AMONG SUPERNOVAE,” inscribed ‘949/64 / KINETIC PAINTING / LUMIDYNE SYSTEM’ verso, kinetic painting and electrical system 40 1/2 x 79 1/2 x 5 5/8 in. (102.9 x 201.9 x 14.3cm) provenance: Purchased directly from the artist by Mr. and Mrs. Fred Lawrence Whipple.

The Estate of Babette S. Whipple, Belmont, Massachusetts.

Texas born artist Frank Malina was a pioneer in the field of aeronautics and was the first Director of the NASA Jet Propulsion Laboratory in California .

His team at that facility was responsible for the successful launch of the first American rocket into space, the WAC Corporal. In 1951 Malina became head of UNESCO’s division of scientific research but left shortly thereafter to pursue an interest in kinetic art while living and working in Paris. His work was widely exhibited and notably included in “Cybernetics Serendipity,” the first exhibition to explore aspects of computer-aided artwork presented at the ICA in London in 1968.

This kinetic sculpture was created for Fred Lawrence Whipple, director of the Smithsonian Astrophysical Observatory from 1955-73 and accomplished professor of Astronomy at Harvard University. note: Please visit this lot in our online catalogue at www.freemansauction.com to view a video of this piece. $8,000-12,000

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118 09-4167/1 FLETCHER BENTON (american b. 1931) SYNCHRONETIC C-388-S Kinetic mixed media with aluminum and plexiglas 20 1/4 x 23 3/4 x 4 in. (51.4 x 60.3 x 10.2cm) provenance: Estate of Muriel Wolgin, Philadelphia, Pennsylvania. $1,000-2,000

120 10-1074/1 RONALD MALLORY (american b. 1939) MERCURY SCULPTURE Signed and dated ‘Richard Mallory 69’ and inscribed ‘#2801’ verso, contained mercury, glass and mixed media with rotational swivel 18 1/4 x 3 3/16 in. (46.3 x 8.1cm) $1,500-2,500

119 10-1362/1 SHOZO NAGANO (japanese/american 1928-2008) “WANDERING” Signed and dated ‘S. Nagano 1970’ on right outer canvas edge, acrylic on three dimensional, shaped canvas 35 x 34 in. (88.9 x 86.4cm) provenance: Langman Gallery, Jenkintown, Philadelphia.

Private Collection, Philadelphia, Pennsylvania. $3,000-5,000

121 10-1155/1 SYDNEY HUTTER (american b. 1959) “HANDMADE VASE #53” from “plate glass vase series” Signed, titled and dated ‘Sidney R Hutter Handmade Vase 353 9/83’ on the underside, cut, polished and dyed glass construction height: 21 3/4 in. (55.2cm) $1,000-1,500

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05/16/10 122 09-2160/4 FRANK STELLA (american b. 1936) “SINJERLI VARIATION I” 1977, signed and dated in pencil, numbered 41/100 (there were also 20 artist’s proofs); with full margins, Petersburg Press, New York, New York, publisher. Offset color lithograph and screenprint on Arches Cover. sheet: 32 x 42 in. (81.3 x 106.7cm) [Axsom 113]. provenance: Private Collection, Wellesley, Massachusetts. $2,500-3,500

123 10-1279/1 KENNETH NOLAND (american 1924-2010) “HORIZONTAL STRIPES I-5” from “handmade paper project” 1978, signed and dated in pencil, from the edition of 104 unique works, the full sheet, published by Tyler Graphics, Ltd., Mount Kisco, New York and with their blindstamp.

Unique colored, pressed paper pulp. image/sheet: 50 3/4 x 33 1/2 in.

(128.9 x 85.1cm) [Tyler 466]. provenance: Private Collection, Pennsylvania. $5,000-7,000

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05/16/10 124 10-8008/1 HELEN FRANKENTHALER (american b. 1928) “ORANGE DOWNPOUR” from “four pochoirs” 1970, signed and dated in pencil, numbered 15/50 (there were also 7 artist’s proofs in Roman numerals), the full sheet; Abrams Original Editions, New York, publisher. Color pochoir on Arches Imperial Rough watercolor. image/sheet: 30 1/2 x 22 in.

(77.5 x 55.8cm) [Harrison 27]. $3,000-5,000

125 10-8008/2 HELEN FRANKENTHALER (american b. 1928) “WIND DIRECTIONS” from “four pochoirs” 1970, signed and dated in pencil, numbered 15/50 (there were also 6 artist’s proofs), the full sheet; Abrams Original Editions, New York, publisher. Color Pochoir on Arches Imperial Rough watercolor image: 30 3/4 x 22 in.

(78.2 x 55.8cm) [Harrison 28]. $3,000-5,000

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126 10-1346/2 PAUL JENKINS (american b. 1923) “PHENOMENA SUFI PROCESSION” Signed ‘Paul Jenkins’ bottom right, signed, titled and dated ‘Paul Jenkins / “Phenomena Sufi Procession” / 1974’ verso, acrylic on canvas 49 x 75 in. (124.4 x 190.5cm) $20,000-30,000

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05/16/10 127 10-1346/1 PAUL JENKINS (american b. 1923) “PHENOMENA PRISM BASIN” Signed ‘Paul Jenkins’ bottom left, signed again, titled, dated and inscribed ‘Paul Jenkins / Phenomena Prism Basin / 1984 New York’ verso, watercolor on paper 31 x 43 in. (78.7 x 109.2cm) $6,000-10,000

128 10-1254/5 LOUISE NEVELSON (american 1899-1988) “FULL MOON” 1980, incised with signature and numbered 56/125 on metal plate affixed verso; Pace Editions, Inc., New York, New York, publisher.

Cast polyester resin.

18 1/2 x 18 1/2 in. (47 x 47cm) $3,000-5,000

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129 10-1277/6 CLAES OLDENBURG (american b. 1929) “STRIDING FIGURE” from “conspiracy: the artist as witness” 1971, signed and numbered 146/150 in pencil (there were also 24 artist’s proofs); Adolf Rischner, Styria Studio, New York, New York, publisher.. Color screenprint on C.M. Fabriano Cotone. image: 21 x 14 1/4 in. (53.3 x 36.2cm) sheet: 28 7/16 x 20 11/16 in.

(72.2 x 52.5cm) [Axsom & Platzker 76].

Unframed provenance: Private Collection, Philadelphia, Pennsylvania. $600-800

130 10-1370/2 CHRISTO (american b. 1935) UNTITLED from “wrapped monument to vittorio emanuele, project for piazza del duomo, milan” 1975, signed in pencil, numbered ‘HC’ (one of 10 hors-commerce copies, the edition was 75 plus 10 artist’s proofs); Ediciones Polîgrafa, Barcelona, Spain, publishers. Offset color lithograph on Guarro. image: 28 x 22 in. (71.1 x 55.9cm) [Schellmann 80].

Unframed $800-1,200 131 10-1360/1 LEO SEWELL (american b. 1945) STANDING MAN Mixed media construction on raw wood base Executed ca. 1973. height: 72 in. (182.9cm) provenance: Private Collection, Philadelphia, Pennsylvania. $2,500-3,500

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132 10-1177/1 ROBERT RAUSCHENBERG (american 1925-2008) “RAYS” 1973, signed and dated in pencil, numbered 61/95 (there were also an unrecorded number of artist’s proofs), the full sheet; Styria Studio, New York, New York, publisher.

Color offset lithograph and screenprint on wove paper. sheet/image: 53 x 39 in.

(134.7 x 99cm) $2,500-4,000

133 09-1680/525 ROBERT RAUSCHENBERG (american 1925-2008) “GENERAL DELIVERY” 1971, signed, numbered and dated in pencil 205/300 (there were also 30 artist’s proofs), with full margins; Walker Art Center Minneapolis, Minnesota, publisher. Color screenprint with collage on wove paper. image: 45 x 30 1/2 in.

(114.3 x 77.5cm) sheet: 49 x 34 in. (124.4 x 86.4cm) provenance: Lehman Brothers, New York, New York. $1,500-2,000

134 09-4167/37 ROBERT RAUSCHENBERG (american 1925-2008) “FLIRT” 1979, signed and dated in pencil, numbered 41/100 (there were also 15 artist’s proofs), the full sheet; the Institute of Contemporary Art, Philadelphia, Pennsylvania, publisher. Color silkscreen with collage on wove paper. sheet: 32 x 22 1/4 in. (81.3 x 56.5cm) provenance: Estate of Muriel Wolgin, Philadelphia, Pennsylvania. $1,000-2,000

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135 09-2359/15 ROBERT RAUSCHENBERG (american 1925-2008) “SHOOT FROM THE MAIN STEM” from “suite of 9 prints” 1979, signed and dated in pencil, numbered 75/100 (there were also an unrecorded number of artist’s proofs), the full sheet; Multiples, Inc., New York, New York, publisher. Color offset lithograph with collage on wove paper. image/sheet: 30 3/4 x 23 in.

(78 x 58.4cm) provenance: Corporate Collection, New York, New York. $1,200-1,800

136 09-2359/14 ROBERT RAUSCHENBERG (american 1925-2008) “FROM THE SEAT OF AUTHORITY” from “suite of 9 prints” 1979, signed and dated in pencil, numbered 98/100 (there were also an unrecorded number of artist’s proofs), the full sheet; Multiples, Inc., New York, New York, publisher. Color offset lithograph with collage on wove paper. image/sheet: 30 1/2 x 23 in.

(77.5 x 58.4cm) provenance: Corporate Collection, New York, New York. $1,200-1,800

137 09-4167/46 MEL RAMOS (american, 1935) “CHIC” from “11 pop artists ii” 1965, signed in pencil, numbered 186/200 (there were also 5 artist’s proofs and 50 collaborators proofs), the full sheet; Original Editions, New York, New York, publisher. Color screenprint on wove paper. image/sheet: 24 x 19 7/8 in. (60.9 x 50.5cm) $1,000-2,000

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05/16/10 138 09-2212/1 ROY LICHTENSTEIN (american 1923-1997) “I LOVE LIBERTY” 1982, signed and dated in pencil, numbered AP 26/73 (artist’s proof, the edition was 250), with full margins; the Artist and People for the American Way, Washington, D.C, co-publishers. Color screenprint on Arches 88. image: 32 3/8 x 21 in.

(82.2 x 53.3cm) sheet: 38 3/8 x 27 1/16 in.

(97.5 x 68.7cm) [Corlett 192]. provenance: The Artist.

Private Collection, New York, New York. $20,000-30,000

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139 10-1043/1 SUNDAY B. MORNING (AFTER ANDY WARHOL) “MARILYN PORTFOLIO” the complete set of 10 color screenprints All the full sheets; Sunday B. Morning, publisher and with their blue inkstamp verso. Color screenprints on museum board. sheets: 35 7/8 x 35 7/8 in. (91.2 x 91.2cm) Unframed (10). provenance: Private Collection, California. note: This lot will be accompanied by a Certificate of Authenticity issued by the publisher. $5,000-7,000

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140 10-1043/3 SUNDAY B. MORNING (AFTER ANDY WARHOL) “SOUP CAN I PORTFOLIO” the complete set of 10 color screenprints All the full sheets; Sunday B. Morning, publisher and with their blue inkstamp verso. Color screenprints on museum board. sheets: 35 x 23 in. (89 x 58.4cm) Unframed (10). provenance: Private Collection, California. note: This lot will be accompanied by a Certificate of Authenticity issued by the publisher. $4,000-6,000

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141 10-1043/2 SUNDAY B. MORNING (AFTER ANDY WARHOL) “FLOWERS PORTFOLIO” the complete set of 10 color screenprints All the full sheets; Sunday B. Morning, publisher and with their blue inkstamp verso. Color screenprints on museum board. sheets: 35 7/16 x 35 7/16 in. (90 x 90cm) Unframed (10). provenance: Private Collection, California. note: This lot will be accompanied by a Certificate of Authenticity issued by the publisher. $4,000-6,000

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05/16/10 142 10-1112/3 ALEX KATZ (american b. 1927) “THE ORANGE BAND” 1979, signed in pencil, numbered ‘a.p. 9/11’ (artist’s proof, the edition was 80), the full sheet; the artist and Simca Print Artists, Inc., New York, New York, co-publishers. Color screenprint on Arches Cover White. image/sheet: 40 x 28 1/4 in.

(101.6 x 71.8cm) [Maravall 115]. provenance: Private Collection, Pennsylvania. $3,000-5,000

143 10-1112/4 ALEX KATZ (american b. 1927) “ADA WITH FLOWERS” 1980, signed in pencil, numbered ‘A.P. 4/7’ (artist’s proof, the edition was 65), the full sheet; the artist and Simca Print Artists, Inc., New York, publisher. Color screenprint on Grammercy. image/sheet: 48 x 36 in.

(121.9 x 91.4cm) [Maravall 123]. provenance: Private Collection, Pennsylvania. $4,000-6,000

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05/16/10 144 09-1680/657 LOUISE BOURGEOIS (french/american b. 1911) “UNTITLED #2” from “fugue” 2003-5, signed with initials ‘LB’ in pencil, annotated ‘#2’ and numbered 7/9 in pencil verso (there was also one artist’s proof), the full sheet; Procuniar Workshop, New York, publisher. Color screenprint with lithography on Stonehenge Cream. image: 10 9/16 x 14 1/2 in. (26.8 x 36.8cm) sheet: 12 x 16 in. (30.5 x 36.8cm) provenance: Procuniar Workshop, New York, NY. The Lehman Brothers Collection, New York, New York. $3,000-5,000

145 10-1370/6 ED RUSCHA (american b. 1937) “RELOJ” 1988, signed and dated in pencil, numbered ‘H.C. 3/5’ (an hors-commerce copy, the edition was 45 plus 5 artist’s proofs), with full margins, Ediciones Polígrafa, Barcelona, Spain, publisher. Color etching and on handmade paper. image: 18 1/4 x 13 1/8 in. (46.4 x 33.3cm) sheet: 30 x 22 in. (76.2 x 56cm) [Engberg 167].

Unframed $1,200-1,800

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146 10-1114/1 JENNIFER BARTLETT (american b. 1941) “FIRE / THREE CONES” Oil on canvas with three painted wood cones Executed 1988-9 canvas: 60 1/4 x 84 in. (153 x 213.4cm) cones (each): 40 x 23 x 23 in. (101.6 x 58.4 x 58.4cm) [dimensions variable] [Bartlett studio inventory #607]. provenance: Paula Cooper Gallery, New York, New York.

Private Collection, Portland, Oregon. $15,000-25,000

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05/16/10 147 10-1279/2 two cibachrome prints JAN GROOVER (american b. 1943) KITCHEN STILL-LIFE SERIES Each signed, dated and numbered 'Jan Groover 1978 1/3' in marker bottom left, each inscribed '41.2' and '56.3' respectively. Ektacolor prints. images: 14 3/4 x 18 3/4 in.

(37.5 x 47.6cm) sheets: 16 x 19 7/8 in.

(40.6 x 50.5cm) (2). provenance: Private Collection, Pennsylvania. $2,500-3,500

148 08-1947/153 set of 18 photogravures LOIS CONNER (american b. 1951) “THE RIVER FLOWS” Circa 1980, each pencil signed and numbered 29/55; Thomas Palmer, printer. Photogravures.

Each plate: 7 1/4 x 17 1/4 in.

(18.5 x 40.4cm) Each sheet: 14 7/8 x 23 5/8 in.

(37.8 x 60cm) (18). provenance: A Corporate Collection, Wilmington, Delaware. note: Lois Conner received a MFA in photography from Yale University in 1981. She began photographing in China with a Guggenheim fellowship in 1984, which led to a limitededition gravure book, The River Flows Into the Heavens (1988). Her work has been exhibited internationally and is represented in such public collections as the Museum of Modern Art and the Metropolitan Museum of Art in New York, the Smithsonian Museum of American Art in Washington, and the Victoria and Albert Museum in London.

(Artists’ biography courtesy of the Asia Society, New York.) $5,000-7,000

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149 10-1177/5 YVONNE JACQUETTE (american b. 1934) “NORTHWEST VIEW FROM EMPIRE STATE BUILDING” 1982, signed and dated in pencil, numbered ‘C.T.P. 1/2’ (color trial proof, the edition was 60 plus 12 artist’s proofs), the full sheet; Brooke Alexander Editions, New York, New York, publisher. Lithograph on Transpagra vellum. sheet (sight): 50 x 35 in. (127 x 88.9cm) $1,500-2,500

150 09-2359/13 YVONNE JACQUETTE (american b. 1934) “MOTION PICTURE (TIMES SQUARE)” 1989-90, signed, titled and dated in pencil, numbered ‘7/10 A.P.’ (artist’s proof, the edition was 60), the full sheet; Brooke Alexander Editions, New York, New York, publisher. Color lithograph on Arches Cover White. image/sheet: 49 x 36 in.

(124.5 x 91.5cm) provenance: Corporate Collection, New York, New York. $1,000-2,000

151 09-2359/11 YVONNE JACQUETTE (american b. 1934) “MISSISSIPPI NIGHT LIGHTS- MINNEAPOLIS” 1985-6, signed and dated in pencil, numbered `A.P. 5/15’ (artist’s proof, the edition was 60), the full sheet; Brooke Alexander, Inc., New York, New York, publisher. Color lithograph and screenprint on Arches. sheet: 58 x 36 in. (147.3 x 91.5cm) provenance: Corporate Collection, New York, New York. $1,500-2,500

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05/16/10 152 09-2359/12 YVONNE JACQUETTE (american b. 1934) “TIP OF MANHATTAN” 1987, signed and dated in blue pencil, numbered ‘A.P. 2’ (the edition was 30), the full sheet; Experimental Workshop, Emeryville, California, publisher. Color woodcut on Japon. image/sheet: 29 3/4 x 55 3/4 in.

(75.5 x 141.3cm) provenance: Corporate Collection, New York, New York. $1,500-2,500

153 10-1155/4 PETER MILTON (american b. 1930) “DAYLILIES” 1975, signed, titled and dated in pencil, numbered 149/160 (there were also 15 artist’s proofs), with full margins. Etching and engraving on Rives Heavyweight Buff. image: 20 x 32 in. (50.8 x 81.3cm) sheet: 25 1/2 x 37 7/8 in. (64.8 x 96.2cm) [Johnson & Milton 96]. $1,200-1,800

154 10-1155/5 PETER MILTON (american b. 1930) “INTERIORS IV: SOUNDINGS” 1989, signed, dated, titled in pencil, numbered 109/175, with wide margins; the artist, publisher.

Etching and engraving on Somerset. image: 29 7/8 x 23 7/8 in. (75.9 x 60cm) sheet: 38 x 30 3/8 in. (96.5 x 77.2cm) [Johnson/Milton 112]. $800-1,200

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05/16/10 155 10-1310/3 JOHN ARMLEDER (swiss b. 1948) UNTITLED Signed with initials and dated ‘JA 83’ in pencil bottom left, acrylic and pencil on paper 29 1/2 x 19 3/4 in. (75 x 50.2cm) provenance: Daniel Newburg Gallery, New York, New York.

Private Collection, New York, New York. exhibited: Pratt Institute, Brooklyn, New York, “Division of External Affairs.” $1,000-1,500

156 10-1310/4 JOHN ARMLEDER (swiss b. 1948) UNTITLED Dated ‘1976’ and with extensive inscriptions in pencil and blue pencil bottom left, graphite and gouache on three sheets of joined paper overall: 11 1/4 x 24 1/4 in.

(28.6 x 61.6cm) provenance: Daniel Newburg Gallery, New York, New York.

Private Collection, New York, New York. $700-1,000

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157 10-1039/12 RICHARD HAMBLETON (american/canadian b. 1954) LEAPING FIGURE Signed ‘R HAMBLETON’ bottom left, acrylic on paper 88 x 48 in. (223.5 x 121.9cm) $2,000-3,000

158 10-1277/8 KEITH HARING (american 1958-1990) “FIGHT AIDS WORLDWIDE” 1990, numbered 767/1000 in pencil, with full margins; World Federation of the United Nations Associations, New York, New York, publisher and with the artist’s estate stamp verso.

Color lithograph on wove paper. image: 10 3/4 x 8 in.

(27.3 x 20.3cm) sheet: 11 x 8 3/8 in. (27.9 x 21.3cm) Unframed $1,000-1,500

159 10-1277/9 KEITH HARING (american 1958-1990) “INTERNATIONAL VOLUNTEER DAY” 1988, signed in pencil, numbered 649/1000, the full sheet; World Federation of the United Nations Associations, New York , New York , publisher (and with their blindstamp). Color lithograph on Arches. image/sheet: 11 1/4 x 8 1/2 in. (28.5 x 21.6cm) provenance: Private Collection, Philadelphia, Pennsylvania. note: This work is accompanied by a Certificate of Authenticity as issued from the World Federation of the United Nations Associations, New York. $700-1,000

88 free≤an’s modern & contemporary works of art

05/16/10 160 10-1112/2 RICHARD BOSMAN (american b. 1944) “WATERFALL” Signed and dated ‘BOSMAN FEB ‘86’’ verso, oil on canvas 72 x 48 in. (182.9 x 121.9cm) provenance: Brooke Alexander Gallery, New York, New York.

Private Collection, Pennsylvania. $2,500-4,000

161 10-1158/2 DAVID LEFFEL (american b. 1931) “BREAKFAST” Signed with initials ‘D.L.’ upper left, signed again with initials and titled in ballpoint pen ‘Dal Breakfast.’ on stretcher verso, oil on canvas 10 1/4 x 14 in. (26 x 35.6cm) provenance: Private Collection, Scottsdale, Arizona. $4,000-6,000

89 free≤an’s modern & contemporary works of art

05/16/10 162 10-1158/1 DAVID LEFFEL (american b. 1931) “ED HAMILTON’S STUDIO” Signed with initials ‘D.L.’ upper left, oil on canvas 48 x 39 in. (121.9 x 99cm) provenance: Kenmore Galleries, Philadelphia, Pennsylvania.

Private Collection, Scottsdale, Arizona. $10,000-15,000

90 free≤an’s modern & contemporary works of art

05/16/10 163 10-1178/7 FRANCIS LIVINGSTON (american b. 1953) “SOHO SHADOWS II” Signed ‘Livingston’ bottom right, oil on board 48 x 48 in. (121.9 x 121.9cm) provenance: Arcadia Fine Arts, Inc, New York, New York.

Private Collection, Philadelphia, Pennsylvania. exhibited: Arcadia Gallery, New York, New York, “Francis Livingston: Recent Oil Paintings,” 2004, illustrated on cover of catalogue. $2,000-3,000

164 10-1178/5 SCOTT NOEL (american b. 1955) “LOOKING NORTH” Signed with initials ‘SN’ bottom right, pastel on two joined sheets of wove paper Executed in 2003 40 x 64 in. (101.6 x 162.6cm) provenance: Gross McCleaf Gallery, Philadelphia, Pennsylvania.

Private Collection, Philadelphia, Pennsylvania. $2,000-3,000

91 free≤an’s modern & contemporary works of art

05/16/10 165 10-1160/7 two works on paper DOX THRASH (american 1893-1965) UNTITLED (ETHAN ALLEN MURAL STUDY) Graphite on paper Executed ca. 1940 image: 8 3/4 x 7 7/8 in. (22.2 x 20cm) sheet:14 3/4 x 11 1/2 in. (37.5 x 29.2cm) and; UNTITLED (ETHAN ALLEN MURAL STUDY) Watercolor, ink and tempera on paper Executed ca. 1940 image: 10 x 8 in. (25.4 x 20.32cm) panel: 16 x 10 in. (40.1 x 25.4cm) (2). provenance: Nowak Collection, Philadelphia, Pennsylvania.

Private Collection, Philadelphia, Pennsylvania. $1,500-2,500

166 10-1117/2 HUMBERT HOWARD (american 1915-1992) THREE SISTERS Signed and dated ‘Humbert Howard 80’ in black crayon and paint bottom right, oil on board 32 1/4 x 21 in. (81.3 x 53.3cm) provenance: Gross McCleaf Gallery, Philadelphia, Pennsylvania. $2,500-4,000

167 10-1117/1 HUMBERT HOWARD (american 1915-1992) PORTRAIT OF A GIRL Signed and dated ‘Humbert Howard 80’ bottom left, oil on board 32 x 21 in. (81.3 x 53.2cm) $2,500-4,000

92 free≤an’s modern & contemporary works of art

05/16/10 168 10-1072/2 BIAGIO PINTO (american b. 1911) STILL LIFE Signed ‘Biagio Pinto’ bottom left, oil on canvas 12 x 20 in. (30.5 x 50.8cm) provenance: Makler Gallery, Philadelphia, Pennsylvania. $800-1,200

169 10-1072/1 ANGELO PINTO (american 1908-1994) THE FISHERMAN Signed ‘A. Pinto’ bottom right corner, gouache on glass 8 x 10 in. (20.3 x 25.4cm) provenance: Makler Gallery, Philadelphia, Pennsylvania. $800-1,200

170 10-2358/1 LEONARD NELSON (american 1912-1993) ABSTRACTION Signed and dated ‘Nelson 54’ lower right, numbered ‘D55 # 50’ verso, oil on board 10 1/2 x 14 1/2 in. (26.7 x 36.8cm) provenance: Freeman’s, Philadelphia, Pennsylvania, June 21, 2002, lot 111. $1,500-2,500

93 free≤an’s modern & contemporary works of art

05/16/10 171 10-1308/1 LEONARD NELSON (american 1912-1993) “TIKA-SA” Signed and dated “Nelson 48” bottom right corner, signed again and titled “Leonard Nelson TIKA SA” verso, oil on wood panel in original handmade frame panel: 12 x 9 in. (30.5 x 22.9cm) with frame: 16 3/4 x 13 3/4 in.

(42.6 x 35cm) $1,500-2,500

172 10-1178/2 JANE PIPER (american 1916-1991) “RED AND WHITE CHECKED TABLECLOTH” Signed and dated ‘Jane Piper 84’ bottom right, oil on canvas 44 x 50 in. (111.8 x 127.2cm) provenance: Mangel Gallery, Philadelphia, Pennsylvania.

Private Collection, Philadelphia, Pennsylvania. $3,000-5,000

94 free≤an’s modern & contemporary works of art

05/16/10 173 10-1080/2 JIMMY LUEDERS (american 1927-1994) “STILL LIFE WITH SELF PORTRAIT” Acrylic on canvas Executed in 1990 42 x 44 in. (106.2 x 111.8cm) provenance: Private Collection, New York, New York. $2,000-3,000

174 10-1080/4 ELIZABETH OSBORNE (american b. 1936) “EARLY SPRING” Signed and dated ‘OSBORNE 87’ bottom right, signed, titled and dated ‘OSBORNE “EARLY SPRING” 1987 ©’ in black marker on stretcher verso, oil on canvas 48 x 42 in. (121.8 x 106.7cm) provenance: Private Collection, New York, New York. $2,000-3,000

95 free≤an’s modern & contemporary works of art

05/16/10 175 10-1080/1 ELIZABETH OSBORNE (american b. 1936) “DELAWARE RIVER” Signed ‘OSBORNE’ bottom right, oil on canvas Executed in 1984 39 x 53 in. (99.1 x 134.6cm) provenance: Jane Haslem Gallery, Washington, D.C. Private Collection, New York, New York. $2,000-3,000

176 09-2355/1 BO BARTLETT (american b. 1955) SELF-PORTRAIT Signed and dated ‘James W Bo Bartlett / 1981’ and inscribed ‘IGN’ and with artist’s device along bottom edge of sheet, graphite on paper sheet: 14 5/16 x 9 7/8 in.

(36.4 x 25.1cm) provenance: More Gallery, Philadelphia, Pennsylvania.

Private Collection, Marietta, Georgia. $1,000-1,500

96 free≤an’s modern & contemporary works of art

05/16/10 177 10-1156/1 EDNA ANDRADE (american 1917-2008) “TEMPLE” Signed with initials ‘EA’ bottom left, signed twice ‘EDNA ANDRADE’ and dated twice in marker on stretcher verso, acrylic on canvas Executed in 1986 60 x 37 in. (152.4 x 94cm) provenance: Private Collection, Connecticut. exhibited: Institute of Contemporary Art, Philadelphia, Pennsylvania, “Edna Andrade: Optical Paintings, 19631986,” January 18-April 6, 2003, illustrated p. 68. $10,000-15,000

97 free≤an’s modern & contemporary works of art

05/16/10 178 10-1178/1 EDNA ANDRADE (american 1917-2008) PRESENCE Signed with initials ‘EA’ bottom left, acrylic on canvas Executed in 1969 60 x 39 3/4 in. (152.4 x 101cm) provenance: Freeman’s, Philadelphia, Pennsylvania, 5/21/05, lot 227.

Private Collection, Philadelphia, Pennsylvania. $8,000-12,000

98 free≤an’s modern & contemporary works of art

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179 09-2271/13 EDNA ANDRADE (american 1917-2008) UNTITLED Signed ‘EDNA ANDRADE’ and dated ‘3/25/80’ in marker on stretcher verso, acrylic on canvas 42 x 42 in. (106.6 x 106.6cm) provenance: The Artist.

Private Collection, Philadelphia, Pennsylvania. $8,000-12,000

99 free≤an’s modern & contemporary works of art

05/16/10 180 10-1273/1 EDNA ANDRADE (american 1917-2008) “FLYING CROSS” Signed with initials ‘EA’ bottom left, signed again and dated ‘EDNA ANDRADE 1976’ on canvas over stretcher verso, acrylic on canvas 30 x 30 in. (76.3 x 76.3cm) provenance: Marian Locks Gallery, Philadelphia, Pennsylvania.

Mary Kilroy, Philadelphia, Pennsylvania. exhibited: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, September 17, 1993-January 30, 1994, exhibition catalogue #19. $8,000-12,000

END OF SALE

Index American School, 96 Andrade, E., 177-180 Ara, K.H., 75 Ardissone, Y., 47 Armleder, J., 155, 156 Avery, M., 84-88 Baj, E., 42 Bartlett, B., 176 Bartlett, J., 146 Benton, F., 118 Bertoia, H., 101-107 Bosman, R., 160 Botero, F., 80 Bourgeois, L., 144 Brands, E., 51 Braque, G., after, 17 Burman, S., 66, 67 Caballero, L., 83 Calder, A., 97, 99, 100 Cassatt, M., 4 Chagall, M., 24, 25 Christo, 130 Cheret, J., 8, 9 Conner, L., 148 Crovello, W., 115 Dali, S., 21-23 de la Bourdonnaye, A., 52 de Martinez, A.M., 81, 82 de Saedeleer, V., 29 de Toulouse-Lautrec, H., 10 Delaunay-Terk, S., 26, 27

Devi, S., 73 Dubord, J.P., 46 Ernst, M., 33 Farreras, F., 45 Frankenthaler H., 124, 125 Gaitonde, V.S., 71 Glarner, F., 28 Goode, J., 113 Groover, J., 147 Haiwen, T., 62 Hambleton, R., 157 Haring, K., 158, 159 Hockney, D., 57 Hodgkin, H., 54 Howard, H., 166, 167 Hunter, C., 98 Hutter, S., 121 Ihlenfeld, K., 108-112 Jacquette, Y., 149-152 Jarvaise, J., 95 Jenkins, P., 126, 127 Kamrowski, G., 93 Kandinsky, W., 32 Katz, A., 142, 143 Knaths, K., 90 Kogan, M. (Moissey), 30, 31 Kulkarni, K.S., 74 Kwang, C.K., 60, 61

Le Pho, 79 Leffel, D., 161, 162 Leuders J., 173 Lichtenstein, R., 138 Livingston, F., 163 Magritte, R., 39 Magritte, R., after, 34-38 Malakoul, M.P., 59 Malina, F., 117 Mallory, R., 120 Man Ray, 41 Manet, E., 5 Marsh, R., 89 Mazumdar, H., 72 Menkes, S.J., 49 Michaels, D., 40 Milton, P., 153, 154 Miro, J., 18-20 Monet, C. (and G. Thornley), 1 Moore, H., 55, 56 Munakata, S., 63, 64 Nagano, S., 119 Nelson, L., 170, 171 Nevelson, L., 128 Newman, A., 94 Noel, S., 164 Noland, K., 123 Oldenburg, C., 129 Orhon, M., 58 Osborne, E., 174, 175

Pepper, B., 114 Picasso, P., 11, 12, 13, 15, 16 Picasso, P., after, 14 Pinto, A., 169 Pinto, B., 168 Piper, J., 172 Ramos, M., 137 Rauschenberg, R., 132-136 Recalcati, A., 50 Renoir, P.A., 6, 7 Roy, J., 68-70 Ruscha, E., 145 Scarlett, R., 91, 92 Seidel, J., 53 Sewell, L., 131 Shreshtha, L., 65 Souza, F.N., 76-78 Stanczak, J., 116 Stella, F., 122 Sunday B. Morning (after Andy Warhol), 139-141 Tapies, A., 43, 44 Thornley, G. (and Monet, C.), 1 Thrash, D., 165 Warhol, A., after, 139-141 Weidemann, J., 48 Whistler, J.A.M., 2, 3

Glossary any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement or representation of fact. freeman’s reserves the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. names Forename(s) and surname of painter is in our opinion a work by that artist; e.g. Charles Willson Peale. When an artist’s forename(s) is not known, a series of asterisks followed by the surname of the artist, wether preceded by an initial or not, indicates that in our opinion the work is by the artist named. attributed to Refers to probably a work by the artist; e.g. Attributed to Charles Willson Peale. studio of Refers to a work from the studio of the artist which may or may not have been executed under his direction; e.g. Studio of Charles Willson Peale. circle of Circle of..... refers to a work of the period of the artist executed under his immediate influence; e.g. Circle of Charles Willson Peale. follower of Follower of..... refers to a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil; e.g.

Follower of Charles Willson Peale.

manner of Manner of..... refers to a work in a style related to that of the artist, but of a later date; e.g. Manner of Charles Willson Peale. school of School accompanied by the name of a place or country and a date means that we believe the picture was executed at that time and in that location; e.g. Italian School, 18th Century. after an artist After an artist is in our opinion a copy of any date after a work by that artist; e.g. After Charles Willson Peale. signatures & dates Signed and/or dated and/or inscribed means that we believe the signature and/or date and/or inscription are from the hand of the artist.

Bears a signature and/or a date and/or an inscription means that we believe the artist’s name and/or date and/or inscription have been added by another hand.

All references to signature, inscriptions and dates refer to the present state of the work. measurements Dimensions are given height before width.

Fine American & European Paintings & Sculpture 06/13/10

BERNARDUS JOHANNES BLOMMERS (DUTCH 1845-1914) AT THE BEACH Signed and dated 'Blommers 80' bottom right, oil on canvas 31 1/4 x 46 1/4 in. (79.4 x 117.5cm) provenance: Private Collection, Pennsylvania $80,000-120,000

www.freemansauction.com

Exhibition : Thursday, June 10th & Friday, June 11th 10am-5pm Saturday, June 12th, 2010 Noon-5pm Inquiries: 267.414.1211 anichol@freemansauction.com DAVID WEISS 267.414.1214 dweiss@freemansauction.com LIBIA ELENA MENDEZ 267.414.1210 lmendez@freemansauction.com ALASDAIR NICHOL

102 free≤an’s modern & contemporary works of art

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Purchase removal, shipping and offsite storage information successful bidders for the property from the modern & contemporary works of art sale will be expected to pick up all property from freeman’s no later than 3 pm on friday, may 28th 2010.

Shippers who have worked with Freeman’s clients in the past, include but are not limited to: VG Packaging LLC: Contact: Gordon G Murray II 12 Salem Road Schwenksville, PA 19473 tel: 484-552-8741 fax: 484-552-8744 email: quotes@vgpackagingllc.com UPS Store Contact: John Bohach 51 North 3rd Street Philadelphia, PA 19106 tel: 215.629.4990 fax: 215.629.4992 email: store4242@theupsstore.com Mr. C’s Contact: Charles Cohen tel: 267.977.9567 email: mrcees61@gmail.com Cadogan Tate Fine Art Cadogan House, 41-20 39th Street Sunnyside, New York 11104 tel: 718.706.7999 fax: 718.707.2847 email: michael@cadogantate.com

To ensure the safety of your lot(s) Freeman’s requests payment in full and removal of property within ten business days of the sale date. Collection hours are Mon–Fri, 9:30–4:30pm. For larger items, please email bmobbs@freemansauction.com to schedule a loading dock appointment. For purchase release to persons not listed on your invoice, 3rd party authorization is required. Please mail or fax, 215.599.2240, a signed letter stating sale, lot, successful bidder and name of 3rd party collecting property.

Freeman’s does not handle packing or shipping. The shippers listed here have worked with Freeman’s clients in the past and will be happy to provide you with quotes for the packing and shipping of your property.

The Vader Project Auction 07/10/10 Auction: Saturday, July 10th at 12pm Exhibition: Monday, July 5th through Friday, July 9th 10am–6pm

PLASTICGOD (B. 1973) PRAISE THE LORD Mixed Media $10,000–15,000

Inquiries: simeon lipman tel: 267.414.1213 slipman@freemansauction.com kati gegenheimer tel: 267.414.1212 kgegenheimer@freemansauction.com

This auction is not sponsored or endorsed by Lucasfilm, and has no relationship with Lucasfilm. Star Wars and all related intellectual property is © or ® 2010 Lucasfilm Ltd. & TM. All rights reserved.

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Check out www.freemansauction.com for more exciting auctions including the September 3rd Pop Culture sale for which we are currently accepting consignments

Freeman’s 1808 Chestnut Street Philadelphia Pennsylvania 19103 Tel:215.563.9275 Fax:215.563.8236

Terms & Conditions all property offered and sold (“property”) through samuel t. freeman & co, (“freeman’s”) shall be offered and sold on the terms and conditions set forth below which constitutes the complete statement of the terms and conditions on which all property is offered for sale. by bidding at the auction, whether present in person or by agent, by written bid, telephone, internet or other means, the buyer agrees to be bound by these terms and conditions.

1 Unless otherwise indicated, all Property will be offered by Freeman’s as agent for the Consignor.

2 Freeman’s reserves the right to vary the terms of sale and any such variance shall become part of these Conditions of Sale.

3 Buyer acknowledges that it had the right to make a full inspection of all Property prior to sale to determine the condition, size, repair or restoration of any Property.

Therefore, all property is sold “ASIS”. Freeman’s is acting solely as an auction broker, and unless otherwise stated, does not own the Property offered for sale and has made no independent investigation of the Property. Freeman’s makes no warranty of title, merchantability or fitness for a particular purpose, or any other warranty or representation regarding the description, genuineness, attribution, provenance or condition to the Property of any kind or nature with respect to the Property.

4 Freeman’s in its sole and exclusive discretion, reserves the right to withdraw any property, at any time, before the fall of the hammer.

5 Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the printed catalogue. Freeman’s reserves the right to determine any and all matters regarding the order, precedence or appropriate increment of bids or the constitution of lots.

6 The highest bidder acknowledged by the auctioneer shall be the buyer.

The auctioneer has the right to reject any bid, to advance the bidding at his absolute discretion and in the event of any dispute between bidders, the auctioneer shall have the sole and final discretion either to determine the successful bidder or to re- offer and resell the article in dispute. If any dispute arises after sale, the Freeman’s sale record shall be conclusive in all respects.

7 If the auctioneer determines that any opening or later bid or any advance bid is not commensurate with the value of the Property offered, he may reject the same and withdraw the Property from sale.

8 Upon the fall of the hammer, title to any offered lot or article will immediately pass to the highest bidder as determined in the exclusive discretion of the auctioneer, subject to compliance by the buyer with these Conditions of Sale. Buyer thereupon assumes full risk and responsibility of the property sold, agrees to sign any requested confirmation of purchase, and agrees to pay the full price, plus Buyer’s Premium, therefore or such part, upon such terms as Freeman’s may require.

9 No lot may be removed from Freeman’s premises until the buyer has paid in full the purchase price therefor including Buyer’s Premium or has satisfied such terms that Freeman’s, in its sole discretion, shall require. Subject to the foregoing, all Property shall be paid for and removed by the buyer at his/her expense within ten (10) days of sale and, if not so removed, may be sold by Freeman’s, or sent

by Freeman’s to a public warehouse, at the sole risk and charge of the buyer(s), and Freeman’s may prohibit the buyer from participating, directly or indirectly, as a bidder or buyer in any future sale or sales. In addition to other remedies available to Freeman’s by law, Freeman’s reserves the right to impose a late charge of 1.5% per month of the total purchase price on any balance remaining ten (10) days after the day of sale. If Property is not removed by the buyer within ten (10) days, a handling charge of .1% of the total purchase price per month from the tenth day after the sale until removal by the buyer shall be payable to Freeman’s by the buyer; Freeman’s shall charge 1.5% of the total purchase price per month for any property not so removed within 60 days after the sale. Freeman’s will not be responsible for any loss, damage, theft, or otherwise responsible for any goods left in Freeman’s possession after ten (10) days. If the foregoing conditions or any applicable provisions of law are not complied with, in addition to other remedies available to Freeman’s and the Consignor (including without limitation the right to hold the buyer(s) liable for the bid price) Freeman’s, at its option, may either cancel the sale, retaining as liquidated damages all payments made by the buyer(s), or resell the property. In such event, the buyer(s) shall remain liable for any deficiency in the original purchase price and

will also be responsible for all costs, including warehousing, the expense of the ultimate sale, and Freeman’s commission at its regular rates together with all related and incidental charges, including legal fees. Payment is a precondition to removal. Payment shall be by cash, certified check or similar bank draft, or any other method approved by Freeman’s. Checks will not be deemed to constitute payment until cleared. Any exceptions must be made upon Freeman’s written approval of credit prior to sale. In addition, a defaulting buyer will be deemed to have granted and assigned to Freeman’s, a continuing security interest of first priority in any property or money of, or owing to such buyer in Freeman’s possession, and Freeman’s may retain and apply such property or money as collateral security for the obligations due to due to Freeman’s.

Freeman’s shall have all of the rights accorded a secured party under the Pennsylvania Uniform Commercial Code.

10 Unless the sale is advertised and announced as “without reserve”, each lot is offered subject to a reserve and Freeman’s may implement such reserves by bidding through its representatives on behalf of the Consignors. In certain instances, the Consignor may pay less than the standard commission rate where Freeman’s or its representative is a successful bidder on behalf of the Consignor. Where the Consignor is indebted to Freeman’s, Freeman’s may have an interest in the offered lots and the proceeds therefrom, other than the broker’s Commissions, and all sales are subject to any such interest.

11 No “buy” bids shall be accepted at any time for any purpose.

12 Any pre-sale bids must be submitted in writing to Freeman’s prior to commencement of the offer of the first lot of any sale. Freeman’s copy of any such bid shall conclusively be deemed to be the sole evidence of same, and while Freeman’s accepts these bids for the convenience of bidders not present at the auction, Freeman’s shall not be responsible for the failure to execute, or, to execute properly, any pre-sale bid.

13 A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s

Premium shall be: 25% on the first $20,000 of the hammer price of each lot, 20% on the portion from $20,001 through $500,000, and 12% on the portion of the hammer price exceeding $500,000.

14 Unless exempted by law from the payment thereof, the buyer will be required to pay any and all federal excise tax and any state and/or local sales taxes, including where deliveries are to be made outside the state where a sale is conducted, which may be subject to a corresponding or compensating tax in another state.

15 Freeman’s may, as a service to buyer arrange to have purchased property posted and shipped at the buyer’s expense. Freeman’s is not responsible for any acts or omissions in packing or shipping of purchased lots whether or not such carrier recommended by Freeman’s.

Packing and handling of purchased lots is at the responsibility of the buyer and is at the entire risk of the buyer.

16 In no event shall any liability of Freeman’s to the buyer exceed the purchase price actually paid.

17 No claimed modification or amendment of this Agreement on the part of any party shall be deemed extant, enforceable or provable unless it is in writing that has been signed by the parties to this Agreement. No course of dealing and no delay or omission on the part of Freeman’s in exercising any right under this Agreement shall operate as a waiver of such right or any other right and waiver on any one or more occasions shall not be construed as a bar to or waiver of any right or remedy of Freeman’s on any future occasion.

18 These Conditions of Sale and the buyer’s, the Consignor’s and Freeman’s rights under these Conditions of Sale shall be governed by, construed and enforced in accordance with the laws of the Commonwealth of Pennsylvania and Consignor and Buyer agree to the exclusive jurisdiction of the Philadelphia, Pennsylvania Court of Common Pleas and the United States District Court for the Eastern District of Pennsylvania.

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Samuel T Fre e man & Co. 18 1808 08 Che Chestnut stnut Str Street eet Ph Philade iladelphia lphia Pe Penns nnsylv ylvaa n ia 1 910 9103 3 Tel--215.

Tel 215.563.92 563.9275 75 Faxax-215.

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