1486

1808 Chestnut Street Philadelphia Pennsylvania 19103 Tel-215.563.9275 Fax-215.563.8236

The George D. Horst Collection of Fine Art

www.freemansauction.com

Auction:

Exhibitions:

Bidding:

Sale 1486 Sunday March 30, 2014 at 2pm

London Monday, February 17 through Friday, February 21 10am-6pm

Cara Bishoff 267.414.1208 fax: 215.599.2240 cbishoff@freemansauction.com

Inquiries: Alasdair Nichol 267.414.1211 anichol@freemansauction.com David Weiss 267.414.1214 dweiss@freemansauction.com Andrew Huber 267.414.1210 ahuber@freemansauction.com

Main Line Tuesday, March 11 through Wednesday, March 19 10am-4pm Saturday, March 15 10am-3pm Sunday, March 16 & Monday, March 17 CLOSED

Catalogue: $35 in the gallery $42 domestic mail $47 international mail Color images of every lot are available at www.freemansauction.com

Philadelphia Wednesday, March 26 through Friday, March 28 10am-5pm Saturday March 29 12pm-5pm

Printing by Brilliant Studio Exton, Pennsylvania

Scan this QR code to view a feature on The George D. Horst Collection of Fine Art with Alasdair Nichol and Curt DiCamillo

Grandfather’s Paintings

george d. horst; nolde & horst factory from the collection of the historical society of berks county museum & library, reading, pa

george h. sullivan

G

eorge D. Horst was my grandfather. He was born long long ago, during the height of the Civil War, and he was a founding partner in the hosiery firm of Nolde & Horst, established in 1890 in Reading, PA. In those days Reading was a major hosiery manufacturing center, and Jacob Nolde and George Horst constructed the city’s first large-scale manufacturing facility, which ultimately occupied a full city block and employed some 500 workers. In the early 1900s, both men built country homes on large adjacent parcels of land in Cumru Township, several miles south of the city. They named their enclave “Sheerlund” after a tiny village in their native Germany, and both men planted forests on the farmland around their homes (the Nolde parcel — more than 600 acres — is now the Nolde Forest Environmental Education Center, owned and run by the Commonwealth of Pennsylvania).

Grandfather Horst began collecting paintings in 1911, but the private free-standing art gallery he built next to his country home was not constructed until 1926. The story of its genesis goes all the way back to 1904 and the Louisiana Purchase Exposition — the “Meet Me in St. Louis” World’s Fair of movie fame. It was there that Dr. Levi Mengel, first director of the newly-founded Reading Public Museum, purchased some 2,000 cultural and anthropological artifacts for museum display — a display that he set up in temporary quarters on the third floor of the Reading School District administration building in downtown Reading.

Those temporary quarters lasted for twenty years. During that period the museum collection grew through both purchase and gift, and ultimately it took over the entire building. The collection was expanded to include paintings in 1913, when the

mr. and mrs. george d. horst with daughter caroline at ‘sheerlund’

museum was first opened to the public, and George Horst became its principal art donor. Between 1913 and 1924 he gave or loaned many paintings to the fledgling museum; like the rest of the museum’s artifacts, the paintings were meant to serve as teaching tools, and they rotated around the Reading school system when they were not on display in the administration building.

Then, in 1924, it came time to build a proper museum building.

There was considerable controversy about where to place the structure, and Grandfather, as a major donor, made his opinion known. Reasonably enough, he thought the structure should be built in City Park, at the base of Mount Penn and close to the city’s center, where everyone who lived within the city limits would have easy access. By that time he had retired from the hosiery business, and early in the year he left with his

wife and daughter (his only child) for an extended vacation in Europe.

When he returned home, he found that — unbeknownst to him — ground had been broken for the new museum building across the Schuylkill River from downtown, in a remote and swampy location that was barely within the city limits. To add insult to injury, the land on which the new building was to stand had been donated by his principal business competitor, who was just beginning to develop hundreds of acres adjacent to the site into what is now Reading’s principal suburb, Wyomissing.

Grandfather was furious. So he demanded that all the paintings he had loaned to the museum be returned to him at once. The demand produced banner headlines in the local

interior of mr. horst’s private art gallery by reading architects richter & eiler

paper, but construction of the new museum continued. In due course the paintings were returned, and two years later he built his own gallery to house them. He continued to purchase paintings until 1929, when the Depression put an end to his collecting.

Today, all four of George Horst’s grandchildren are still alive, but George Horst died in 1934, before any of us were born, so we never knew him. Except for the receipts and catalogues which he stored upstairs in the art gallery, we don’t know much about his art-collecting methods, either. And when we were young, our exposure to his art collection was quite limited. We grew up in a separate house built by our parents in 1939, at the other end of Sheerlund; the house was designed

by Edward Durell Stone in the modern Art Deco style, and it contained not a single one of Grandfather’s paintings. In fact,

our parents (who hated the Victorian clutter they grew up with) were frankly proud of the fact that the clean lines and mirrored walls of their home afforded only two places for the display of art, one in the living room and one in the library. So we never paid much attention to the paintings in the art gallery, which was used only for occasional parties.

My own interest in the collection was minimal until the 1980s.

Sometime during that decade (if I remember correctly), the late lamented IBM Gallery on Madison Avenue in New York City mounted a show devoted to the French Barbizon painter Charles Daubigny. That show was full of beautiful paintings, and it sent me back to take a closer look at Grandfather’s Daubigny — a pink-tinged sunset landscape entitled “Bord De L'Oise, Le Soir” — and then to take a closer look at the rest of the collection. By that time, the American Impressionists

interior view of mr. and mrs. sullivan’s art deco home designed by edward durrell stone; caroline horst sullivan; entrance to sheerlund forests

that Grandfather collected had begun to attract positive critical attention, as a new generation of art historians looked at them with fresh eyes. Childe Hassam, Frank Weston Benson, Daniel Garber, Edward Redfield, even Emil Carlsen (who is not strictly speaking an Impressionist like the others) — these were all painters with their own individuals styles, and as I explored their careers I came to believe that Grandfather’s collection contained first-rate examples of their work. But as I gradually got to know the complete collection, it was the lesser-known painters whom I grew to appreciate the most.

Fred Wagner, Howard Butler, Aldro Hibbard, John Carlson, William Lathrop, Edward Moran, George Noyes, William Trost Richards — these are not widely-known American artists, but they were all fine painters.

Today the Reading Public Museum and Art Gallery is widely recognized as one of the finest small regional museums in the country, and its location does not seem remote at all.

Grandfather’s “swamp” is drained and splendidly landscaped, and about a decade ago the original museum building was elegantly expanded by Der Scutt, the designer of New York’s Trump Tower (and a local boy who grew up about a mile from Sheerlund). If Grandfather were alive today, I like to think he would be tremendously pleased with the way the museum ultimately turned out.

George H. Sullivan is the author of Not Built in a Day: Exploring the Architecture of Rome (Carroll & Graf, 2006), a walking-tour guide to the city of Rome that covers some 200 separate architectural sites; he lectures regularly on Roman architecture at the Smithsonian Institution in Washington, DC.

European Art Sunday March 30, 2014 at 2pm lots 1-32

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1 132243/46 CHARLES FRANÇOIS DAUBIGNY (french 1817-1878) “BORD DE L’OISE, LE SOIR” Signed and dated ‘Daubigny 1874’ bottom right, oil on panel 13 3/8 x 26 1/4 in. (34 x 66.7cm) [Hellebranth 383] provenance: Frederic Bonner, 1900.

The Estate of George Crocker.

‘The Public Sale of the Crocker, Newcomb, Moir and Bonner Collections.’ American Art Association, New York, New York, January 24, 1912, lot 19.

Acquired from the above auction.

The George D. Horst Collection of Fine Art. literature: R. Hellebranth, Charles-François Daubigny 1817-1878, Catalogue Raisonné, Paris, 1976, p. 125, no. 383, (illustrated). $6,000-10,000

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2 132243/56 HENRI JOSEPH HARPIGNIES (french 1819-1916) “LANDSCAPE WITH BROOK” Signed ‘H. Harpignies’ bottom right, oil on canvas 25 5/8 x 19 3/8 in. (65.1 x 49.2cm) provenance: Mr. Otto Hemme, Brussels.

Acquired from the above, 1912.

The Philadelphia Art Galleries and Auction Rooms, Philadelphia, Pennsylvania.

Acquired from the above, January 23, 1914.

The George D. Horst Collection of Fine Art. $5,000-8,000

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3 132243/50 JULES DUPRÉ (french 1811-1889) “LANDSCAPE WITH COTTAGE” Signed ‘Jules Dupre’ lower right; with I.A. Rose, Fine Paintings, New York City label on stretcher verso, oil on canvas 13 x 16 1/4 in. (33 x 41.3cm) provenance: M.L.W. Borden.

‘The Public Sale of the Late M.L.W. Borden.’ American Art Association, New York, New York, February 14, 1913, lot 66.

Acquired from the above auction.

The George D. Horst Collection of Fine Art. $3,000-5,000

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4 132243/44 JEAN-BAPTISTE-CAMILLE COROT (french 1796-1875) “GARDEN GATE” Signed ‘Corot’ bottom left, with partial label verso, oil on canvas 13 x 18 1/4 in. (33 x 46.4cm) provenance: Forbes Collection, London, 1878.

Hollander & Cremetti, London, 1884.

Acquired from the above, 1890.

M. Knoedler & Co., New York, New York.

Acquired from the above, 1890.

Charles H. Senff, New York, New York.

“Important Paintings by Old & Modern Masters collected by the late Charles H. Senff.” The Anderson Galleries, New York, New York, March 28 & 29, 1928, lot 65.

Acquired from the above auction.

The George D. Horst Collection of Fine Art.

note: By the mid-19th century Corot firmly established himself as the leading figure of the Barbizon school of painting. Along with fellow artists Charles-Francois Daubigny, Narcisse Diaz de la Pena, Jules Dupre and Henri Joseph Harpignies, each represented in the Horst Collection, members of this group concentrated their efforts on painting the rich, wooded landscapes and forests of Fontainebleau and the surrounding regions of Bas-Breau, Ville-d’Avray

and Jean-de-Paris - paysages often sparsely populated by a lone figure or peasants undertaking their daily tasks. Corot’s intimate landscapes have been characterized as idyllic, even dreamlike, while still maintaining an adherence to a nearly monochromatic colour palette and a quiet restraint.

A photocopy of a letter of authenticity from Martin Dieterle, dating February 28, 2002, will accompany this lot. $60,000-80,000

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5 132243/48 NARCISSE VIRGILE DIAZ DE LA PEÑA (french 1808-1876) “AUTUMN” Signed and dated ‘N Diaz 72’ bottom right, oil on panel 15 x 19 in. (38 x 48.3cm) provenance: Charles H. Senff, New York, New York.

“Important Paintings by Old & Modern Masters collected by the late Charles H. Senff.” The Anderson Galleries, New York, New York, March 28 & 29, 1928, lot 65.

Acquired from the above auction.

The George D. Horst Collection of Fine Art. $4,000-6,000

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6 132243/49 NARCISSE VIRGILE DIAZ DE LA PEÑA (french 1808-1876) “PORTRAIT OF A BOY WITH THREE DOGS” Signed ‘N. Diaz’ lower left, oil on panel 14 3/8 x 9 7/8 in. (36.5 x 25.1cm) provenance: The George D. Horst Collection of Fine Art. $3,000-5,000

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7 132243/41 EUGÈNE LOUIS BOUDIN (french 1824-1898) “ESTUARY WITH SAILBOATS AND LIGHTHOUSES” Signed, dated and inscribed ‘E Boudin 91/Trouville’ bottom left, oil on panel 12 x 10 1/4in. (30.5 x 26cm) provenance: ‘The Public Sale of the Crocker, Newcomb, Moir and Bonner Collections.’

American Art Association, New York, New York, January 24, 1912, lot 27.

Acquired from the above auction.

The George D. Horst Collection of Fine Art. note: Primarily a marine painter but also an accomplished landscapist as well, Boudin’s penchant for brightly hued, sun dappled seas, ports and beaches typically paired with dynamic cloud filled blue skies made him one of the leading painters in 19th century France. Boudin formally began painting at age 22, debuting at the Paris Salon in 1859 - his first of many such exhibitions - eventually earning the distinction of knight of the Legion d’honneur. He was referred to as “king of the skies” by none other than his teacher and the father of Barbizon painting, Jean-Baptiste-Camille Corot, and he is said to have advised a then teenage Claude Monet, “I want to show you Honfleur; I want you to see the light.” Painting not only in Honfleur, but also his native Deauville, Granville, Bretagne, Touques, and as in the present work, Trouville, Boudin’s never wavered from his plein-air approach as a landscapist, his evocative style presaging French Impressionism. $40,000-60,000

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8 132243/65 LÉON AUGUSTIN LHERMITTE (french 1844-1925) “PETITE FILLE À LA FONTAINE” Signed ‘L. Lhermitte’ bottom left, oil on canvas 22 1/2 x 16 1/4 in. (57.2 x 41.3cm) [Fontenay 230] provenance: The Artist.

Acquired from the above.

M. Knoedler & Co., New York, New York.

Acquired from the above, January 4, 1915.

The George D. Horst Collection of Fine Art. literature: Monique Le Pelley Fontenay. Léon Augustin Lhermitte. Catalogue Raisonné.

Editions Cercle d’Art, Paris. 1998. pg. 148, no. 230 (illustrated). $20,000-30,000

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9 132243/42 JEAN-CHARLES CAZIN (french 1841-1901) “LA SABLIERE” Signed ‘J.C. Cazin’ lower left, oil on canvas 23 3/4 x 28 7/8 in. (60.3 x 73.3cm) provenance: The Hirsch Collection, Paris.

M. Knoedler & Co. New York, New York.

Acquired from the above, January 4th, 1915.

The George D. Horst Collection of Fine Art. $2,500-4,000

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10 132243/74 JEHAN GEORGES VIBERT (french 1840-1902) “VISIT TO FIGARO” Signed ‘J.G. Vibert’ lower left, oil on panel 10 5/8 x 8 3/8 in. (27 x 21.3cm) provenance: Peter A. Schemm.

‘The Public Sale of the Peter A. Schemm Collection.’ American Art Association, New York, New York, March 16, 1911, lot 169.

Acquired from the above auction.

The George D. Horst Collection of Fine Art. $4,000-6,000

22 www.freemansauction.com

11 132243/40 ROSE MARIE BONHEUR (french 1822-1899) “HIGHLAND CATTLE” Signed and indistinctly dated ‘R. Bonheur 62(?)’ lower left; also indistinctly inscribed ‘****/The Cottage(?) / London (?) / 26 Mai 1895 (?)’ on label verso; also with partial AAA label verso, oil on panel 6 x 9 in. (15.2 x 22.9cm) provenance: Peter A. Schemm.

‘The Public Sale of the Peter A. Schemm Collection.’ American Art Association, New York, New York, March 17, 1911, lot 244.

Acquired from the above auction.

The George D. Horst Collection of Fine Art. $1,500-2,500

12 132243/38 JOSEPH BAIL (french 1862-1921) “KITCHEN BOY” Signed ‘Bail Joseph’ lower right, oil on canvas 15 x 18 1/8 in. (38.1 x 46cm) provenance: Philadelphia Art Galleries and Auction Rooms, Philadelphia, Pennsylvania.

Acquired from the above, April 2, 1914.

The George D. Horst Collection of Fine Art. $1,000-1,500

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13 132243/47 EDOUARD JEAN BAPTISTE DETAILLE (french 1848-1912) “THE VIDETTE” Signed and dated ‘Edouard Detaille 1881’ lower center right, oil on panel 9 7/8 x 7 3/4 in. (25.1 x 19.7cm) provenance: George C. Thomas, Philadelphia, Pennsylvania.

“The George C. Thomas Collection of Oil Paintings.” Samuel T. Freeman & Co, Philadelphia, Pennsylvania, November 13, 1924, lot 48.

Acquired from the above auction.

The George D. Horst Collection of Fine Art. $1,500-2,500

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14 132243/53 MARIANO JOSÉ MARÍA BERNARDO FORTUNY Y CARBÓ (spanish 1838-1874) “ARAB GUARD” Signed ‘Fortuny’ lower right, watercolor on paper 12 1/2 x 8 3/4 in. (31.8 x 22.2cm) provenance: George C. Thomas, Philadelphia, Pennsylvania.

“The George C. Thomas Collection of Oil Paintings.”

Samuel T. Freeman & Co, Philadelphia, Pennsylvania, November 13, 1924, lot 45.

Acquired from the above auction.

The George D. Horst Collection of Fine Art. $4,000-6,000

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15 132243/76 REINHARD SEBASTIAN ZIMMERMAN (german 1815-1893) “CONSULTATION” Signed ‘** Zimmerman’ top center left; with unidentified label affixed verso, oil on panel 7 1/2 x 10 1/2 in. (19.1 x 26.7cm) provenance: F. Draz.

American Art Association, New York, New York.

Acquired from the above November 15, 1923.

The George D. Horst Collection of Fine Art. $2,000-3,000

26 www.freemansauction.com

16 132243/68 MARTIN RICO Y ORTEGA (spanish 1833-1908) ‘“VENICE” Signed ‘RICO’ lower left, oil on panel 14 5/8 x 10 5/8 in. (37.1 x 27cm) provenance: Estate of Watmough.

Stan V. Henkels auction, Philadelphia, Pennsylvania sale of December 11, 1917, lot 15.

Acquired from the above auction.

The George D. Horst Collection of Fine Art. note: Rico y Ortega’s career first began in Paris and was then firmly established in Venice, which he first visited in 1872, summered annually thereafter and ultimately settled, establishing a residence in the Dorsoduro neighborhood.

He studied with Federico de Madrazo and Juan Antonio de Ribera, first exhibiting at the Paris Salon in 1864 - where his work was regularly shown and the Salon des Artistes Francais. Working in the traditional en plein air manner, sometimes from a moored gondola, Rico’s paintings feature panoramic vistas which often employ the use of single vanishing point perspective in a vertical composition (as in the present painting), almost beckoning the viewer to enter the picture. While artists from the Baroque period onwards through the 19th and 20th centuries were drawn to the picturesque vistas of the Italian ‘city on the water,’ few painters active in the late 1800s so convincingly captured its light, churches, bridges and shimmering reflections of its lagoon and canals with as much skill and optical clarity as Rico. $12,000-18,000

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17 132243/43 PAUL JEAN CLAYS (belgian 1819-1900) “MARINE” Signed ‘P.J. Clays’ lower right, with William Schaus New York label verso, watercolor on paper 10 5/8 x 16 3/4 in. (27 x 42.5cm) provenance: Herman Schaus.

‘The Public Sale of the Estate of Herman Schaus.’

American Art Association, New York, New York, January 15, 1912, lot 120.

Acquired from the above auction.

The George D. Horst Collection of Fine Art. $1,000-1,500

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18 132243/61 PIETER LODEWIJK FRANCISCO KLUYVER (dutch 1816-1900) “DUTCH SUMMER SCENE” Signed ‘Kluyver’ lower left, oil on panel 17 5/8 x 27 1/4 in. (44.8 x 69.2cm) provenance: D.A. Miller, Woodbury, Connecticut.

The George D. Horst Collection of Fine Art. $3,000-5,000

30 www.freemansauction.com

19 132243/58 JOZEF ISRAËLS (dutch 1824-1911) “GIRL SEWING” Signed ‘Josef Israels’ lower left, oil on panel 12 3/4 x 9 5/8 in. (32.4 x 24.4cm) provenance: Mr. J. Tersteeg, The Hague, The Netherlands.

M. Knoedler & Co., New York, New York.

Acquired from the above, January 4, 1915.

The George D. Horst Collection of Fine Art. $5,000-8,000

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20 132243/39 BERNARDUS JOHANNES BLOMMERS (dutch 1845-1914) “MOTHER AND CHILD” Signed ‘B.J. Blommers’ lower right, oil on panel 14 x 10 in. (35.6 x 25.4cm) provenance: ‘The Public Sale of the Crocker, Newcomb, Moir and Bonner Collections.’ American Art Association, New York, New York, January 24, 1912, lot 9.

Acquired from the above auction.

The George D. Horst Collection of Fine Art. $2,000-3,000

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21 132243/70 ATTRIBUTED TO JOSÉ PINELO LLULL (spanish 1861-1922) “A CALM DAY” Bears signature 'E Sanchez Perrier' lower right, oil on panel 10 1/2 x 16 1/4 in. (26.7 x 41.3cm) provenance: Messrs. Chaine & Simonson, Paris.

Acquired from the above (as Emilio Sanchez Perrier).

The Philadelphia Art Galleries and Auction Rooms, Philadelphia, Pennsylvania.

Acquired from the above, January 23, 1914 (as Emilio Sanchez Perrier).

The George D. Horst Collection of Fine Art. $1,000-1,500

22 132243/66 HELMER MASOLLE (swedish 1884-1969) “DLAMAS” Signed and dated ‘Masolle / 14’ upper right; with partial Pennsylvania Academy of the Fine Arts ‘The Swedish Exhibition 1916’ label verso, oil on canvas 30 5/8 x 25 1/4 in. (77.8 x 64.1cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, February 27, 1917.

The George D. Horst Collection of Fine Art. exhibited: “The Swedish Exhibition.”

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1916, no. 120. $1,000-1,500

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23 132243/62 LUDWIG KNAUS (german 1829-1910) “LOVE LETTER” Signed ‘L. Knaus’ lower left, oil on panel 9 3/4 x 7 3/8 in. (24.8 x 18.7cm) provenance: Acquired 1929.

The George D. Horst Collection of Fine Art. $3,000-5,000

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24 132243/55 HEINZ FUCHS (german 1886-1961) “LANDSCAPE” Oil on canvasboard 13 1/4 x 16 in. (33.7 x 40.6cm) provenance: The Artist.

Acquired from the above, 1929.

The George D. Horst Collection of Fine Art. $1,000-1,500

25 132243/54 HEINZ FUCHS (german 1886-1961) “ROOF TOPS, 1927” Signed and dated ‘H. Fuchs ‘27’ lower right, oil on board 19 7/8 x 23 1/4 in. (50.5 x 59.1cm) provenance: Acquired 1927.

The George D. Horst Collection of Fine Art. $1,500-2,500

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The Panama-Pacific International Exposition in 1915 The Panama-Pacific International Exposition in 1915 was a world’s fair held in San Francisco California commemorating the opening of the Panama Canal. Though held during World War I, the exposition was a success, with twenty-two countries erecting their own exhibition buildings and every country in the world represented.

Artists turned out in droves to exhibit their work, with over 800 American artists exhibiting at the exposition, many of whom were collected by George D. Horst. Additionally, the Scandinavian countries were well represented, and well received, as both Fjaestad’s “Pool In Winter” and Anna Wrangel’s “Old Man” were exhibited, with the latter receiving a silver medal for her effort.

26 132243/75 ANNA VON WRANGEL (swedish 19th/20th century) “OLD MAN” Signed with initials and dated ‘1912’ bottom left; with ‘Swedish Exhibition 1916’ label verso; also with name plate recto: ‘Panama Pacific International Exposition 1915 Department of Fine Arts Awarded a Silver Medal,’ oil on canvas 47 x 41 in. (119.4 x 104.1cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, February 27, 1917.

The George D. Horst Collection of Fine Art. exhibited: “Pan Pacific International Exposition.” San Francisco, California, 1915.

“The Swedish Exhibition.”

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1916, no. 152. $3,000-5,000

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27 132243/51 GUSTAF EDOLF FJAESTAD (swedish 1868-1948) “POOL IN WINTER” Signed and dated ‘G Fjaestad 13’ bottom left; also with ‘The Swedish Exhibition 1916 label’ and ‘Pan Pacific International Exposition 1915’ San Francisco label verso, oil on canvas 47 3/8 x 57 3/4 in. (120.3 x 145.7cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above February 27, 1917.

The George D. Horst Collection of Fine Art. exhibited: “Pan Pacific International Exposition.” San Francisco, California, 1915.

“The Swedish Exhibition.” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1916, no. 85. note: Gustaf Fjaestad was one of the leading members of the Rackstad colony of artists based in Varmland, Sweden. Led by the sculptor Christian Eriksson, Fjaestad and fellow Swedes, including Bjorn

Ahlgrensson and Fritz Lindstrom, the Rackstad artists worked primarily in the first part of the 20th century and focused their efforts on depicting the local landscapes. They drew their inspiration from picturesque surroundings of Lake Racken, just north of the small town of Arvika, where Fjaestad and the other group members settled. Fjaestad was not only a highly accomplished and prolific painter, he also designed rugs and tapestries and was a furniture craftsman. The present work falls neatly within the artist’s oeuvre: a realistically rendered undisturbed snow covered landscape with a partially frozen lake bank in the foreground shimmering with reflections.

Typically devoid of figures, Fjaestad’s painterly canvases have an almost pointillist quality and capture the pristine solitude of the Swedish countryside. $20,000-30,000

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28 132243/69 LAURITS ANDERSEN RING (danish 1854-1933) “WINTER DAY” Signed and dated ‘L.A. Ring 1912’ lower right; and inscribed ‘1912’ on stretcher label verso, oil on canvas 47 1/4 x 36 5/8 in. (120 x 93cm) provenance: The American Scandinavian Society.

American Art Association sale of February 4, 1913, lot 86.

Acquired from the above auction.

The George D. Horst Collection of Fine Art. $4,000-6,000

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29 132243/79 ANTOINE-LOUIS BARYE (french 1796-1875) “TIGER MARCHANT” Inscribed ‘BARYE F. BARBEDIENNE FONDEUR’ and incised ‘F.B.’ in gold stamp, bronze brown patina Height: 8 in. (20.3cm) Length: 16 1/2 in. (41.9cm) and “LION MARCHANT” Inscribed ‘BARYE F. BARBEDIENNE FONDEUR’ and incised ‘F.B.’ in gold stamp, bronze brown patina Height: 8 7/8 in. (22.5) Length: 16 3/8 in. (41.6cm) (2) provenance: The George D. Horst Collection of Fine Art. $5,000-8,000

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30 132243/71 MILLY STEGER (german 1881-1948) “FIGURE OF A DANCER” Inscribed ‘M. Steger’ and ‘GussHeinze’ on base, bronze, medium brown patina Height: 27 5/8 in. (70.2cm) Width: 10 in. (25.4cm) provenance: Acquired 1929.

The George D. Horst Collection of Fine Art. $2,500-4,000

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31 132243/60 EDMUND KLOTZ (austrian 1855-1925) “FIGURE OF A GIRL WITH A ROSE” Inscribed and located ‘EDM KLOTZ WIEN’ on base, bronze, medium brown patina Height: 16 1/4 in. (41.3cm) Width: 4 1/2 in. (11.4cm) provenance: The George D. Horst Collection of Fine Art. $1,500-2,500

32 132243/57 WALTER HAUSCHILD (german 19th century) “LAMB” Inscribed ‘Hauschild’ on base, bronze, brown patina Height: 14 3/4 in. (37.5cm) Length: 11 1/2 in. (29.2cm) provenance: Acquired April 1929.

The George D. Horst Collection of Fine Art. $1,000-1,500

American Art Sunday March 30, 2014 lots 33-64

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33 132243/35 BESSIE POTTER VONNOH (american 1872-1955) “THE INTRUDER” Inscribed ‘Bessie Potter Vonnoh **IV’ and ‘Roman Bronze Works, N.Y.’ below figure, bronze, brown patina Base depth: 12 5/8 in. (32.1cm) Height: 11 in. (27.9cm) On variegated green marble base provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 4, 1915.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Tenth Annual Exhibition.” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, February 7 - March 28, 1915, no. 789. note: An exhibition catalogue from the “One Hundred and Tenth Annual Exhibition” at the Pennsylvania Academy of the Fine Arts will accompany this lot. $5,000-8,000

34 132243/31 CAROLINE EVERETT RISQUE (american b. 1886) “IN THE MORNING” Stamped ‘R.B.W.’ and ‘C. Risque 1914’ on base, bronze with brown patina Height: 11 5/8 in. (29.5cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 14, 1916.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Eleventh Annual Exhibition.”

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, February 6 - March 26, 1916, no. 526. $1,000-1,500

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35 132243/19 ELIZABETH ANNIE MCGILLIVRAY KNOWLES (canadian 1866-1929) “LANDSCAPE MINIATURES” Each signed and variously dated, oil on board Largest: 2 1/4 x 2 1/4 in. (5.7 x 5.7cm) (8) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above December 13, 1915.

The George D. Horst Collection of Fine Art. exhibited: “Fourteenth Annual Watercolor and Miniature Exhibition.” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, November 7 - December 12, 1915, nos. 122-129. note: An exhibition catalogue from the “Fourteenth Annual Watercolor and Miniature Exhibition” at the Pennsylvania Academy of the Fine Arts will accompany this lot. $2,000-3,000

36 132243/24 EDWARD PERCY MORAN (american 1862-1935) “OLD SPANISH GATEWAY, MEXICO” Signed ‘Percy Moran’ lower left, watercolor over traces of pencil on paper 15 5/8 x 9 7/8 in. (39.7 x 25.1cm) provenance: M. Knoedler & Co. New York, New York.

Acquired from the above, February 26, 1914.

The George D. Horst Collection of Fine Art. $800-1,200

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37 132243/30 WILLIAM TROST RICHARDS (american 1833-1905) “NEAR KENNEBUNKPORT, MAINE” Signed ‘WT Richards’ bottom left; with a McClees Gallery, Philadelphia label verso, oil on cradled panel 9 x 16 in. (22.9 x 40.6cm) provenance: McClees Galleries, Philadelphia, Pennsylvania.

Acquired from the above, April 2, 1914.

The George D. Horst Collection of Fine Art. note: Best known for his paintings of seascapes along the New England coast, Richards enjoyed a long and prosperous artistic career. Born in Philadelphia, Richards traveled widely along the coast between New Jersey and Maine before settling upon Newport, Rhode Island for his summer residence. Associated with both the Hudson River School and the American PreRaphaelites, Richards was celebrated for his watercolors and oil paintings, rendered with meticulous detail. $8,000-12,000

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38 132243/23 EDWARD MORAN (american 1829-1901) “SEASCAPE AT SUNSET” Signed ‘Edward Moran’ lower right, oil on canvas 18 x 28 in. (45.7 x 71.1cm) provenance: Acquired November 15, 1923.

The George D. Horst Collection of Fine Art. $3,000-5,000

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39 132243/37 FREDERICK JUDD WAUGH (american 1861-1940) “SEA AND ROCKS, NO. 6” Signed ‘Waugh’ bottom left, oil on canvas 20 x 30 in. (50.8 x 76.2cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 14, 1916.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Eleventh Annual Exhibition.”

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania. 1916, no. 6. $3,000-5,000

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40 132243/18 PAUL BERNARD KING (american 1867-1947) “SAILING BOATS” Signed ‘Paul King’ bottom right; also signed and inscribed twice ‘Paul King/105 18th St. Phila’ verso, oil on canvas 32 x 40 1/4 in. (81.3 x 102.2cm) In a Harer frame with incised signature ‘HARER/PHILA’ provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 27, 1919.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Fourteenth Annual Exhibition.” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, February 9 - March 30, 1919, no. 259. note: King grew up around the arts, assisting his father as a goldsmith. His subjects varied widely, from portraits and illustrations to landscapes and scenes of rural life. He kept a studio on 18th street in Philadelphia and exhibited widely. Some of the best public collections in the nation possess King’s work including the National Gallery of Art and the Albright Knox Gallery in the artist’s hometown of Buffalo, New York.

An exhibition catalogue from the “One Hundred and Fourteenth Annual Exhibition” at the Pennsylvania Academy of the Fine Arts will accompany this lot. $10,000-15,000

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41 132243/21 JONAS LIE (american/norwegian 1880-1940) “BEYOND” Signed and dated ‘Jonas Lie 19’ bottom left; with The Corcoran Gallery of Art ‘Seventh Contemporary American Oil Paintings 1919’ label verso, oil on canvas 30 1/4 x 50 in. (76.8 x 127cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, April 2, 1920.

The George D. Horst Collection of Fine Art. exhibited: “Seventh Contemporary American Oil Painting Exhibition.” The Corcoran Gallery of Art, Washington DC, 1919.

“One Hundred and Fifteenth Annual Exhibition.” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, February 8 - March 28, 1920, no. 217. note: A Norwegian by birth, Lie’s childhood home often played host to famous Norwegians including Henrik Ibsen. Lie moved to New York at 13, where he studied art at the National Academy of Design and the Cooper Union. Very popular in his own time, Jonas Lie exhibited widely, in Philadelphia, Chicago and New York. Lie’s style was simultaneously influenced by Impressionism and the realism of the Ashcan school, members of which he had encountered in New York City. Just before his death, Lie held the presidency of the National Academy of Design. With paintings in the collections of the Metropolitan Museum of Art, the Musée Luxembourg and the Museum of Fine Arts, Boston - Jonas Lie is considered the greatest of all Norwegian immigrant painters.

An exhibition catalogue from the “One Hundred and Fifteenth Annual Exhibition” at the Pennsylvania Academy of the Fine Arts will accompany this lot. $20,000-30,000

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42 132243/5 EMIL CARLSEN (american 1853-1932) “COPPER AND PORCELAIN” Signed and dated ‘Emil Carlsen 1928’ bottom left; with National Academy of Design label attached verso, oil on canvas laid on board 58 x 46 3/4 in. (147.3 x 118.7cm) In a Carrig Rohane frame designed

by Herman Dudley Murphy with incised inscription ‘19 (M) 09 / Carrig Rohane / Copyright 1909 / Hermann Dudley Murphy / 699’ provenance: The National Academy of Design, New York, New York.

Acquired from the above, April, 1929.

The George D. Horst Collection of Fine Art. literature: Ulrich W. Hiesinger. Quiet Magic: The Still Life Paintings of Emil Carlsen.

Vance Jordan, New York, 1999. pg.

44, fig. 42 (illustrated as Still Life, 1928, location unknown”). $100,000-150,000

Having committed much of his artistic career to painting fish, game, floral arrangements, and crockery, Soren Emil Carlsen earned the right to be considered the greatest American still-life painter.

Born in Denmark, Carlsen moved to the United States when he was 19, settling in Chicago. While he took a teaching position at the Chicago Academy of Design, he was not satisfied with his training, and like many of his fellow American artists, left the States for Paris, where he would discover the work of Jean-Baptiste-Siméon Chardin.

Though he delved into painting landscapes and marine subjects later in life, Carlsen’s still-lifes, particularly those featuring brass and copper kitchen vessels were his most celebrated.

Copper and Porcelain is one of the largest canvases by Carlsen to ever come to market, boasting an inordinately rare size for its subject.

The painting is rife with varying textures, from the soft, tactile tapestry acting as a backdrop to the hard, reflective surface of the copper urn. Copper and Porcelain is a summation of Carlsen’s virtuoso draughtsmanship and rendering of atmospheric light on a grand scale.

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43 132243/25 GEORGE LOFTUS NOYES (american/canadian 1864-1954) “JOYOUS ISLAND” Signed ‘G.L. Noyes’ lower left; with Pennsylvania Academy of the Fine Arts ‘115th Annual exhibition 1920’ label verso; also with Brooklyn Institute of Arts and Sciences label verso, oil on canvas 34 x 36 in. (86.4 x 91.4cm) In a Foster Brothers, Boston, frame provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, April 2, 1920.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Fifteenth Annual Exhibition.” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, February 8 - March 28, 1920, no.

265. note: An American Impressionist, George Loftus Noyes’ plein air paintings were highly respected, particularly in Boston where he kept a studio. He exhibited regularly at the Boston Arts Club before going into teaching at the turn of the century, when he taught N.C. Wyeth. Wyeth would later compliment Noyes on his use of color. The vibrancy of his palette in Joyous Island gives the painting an otherworldly, fantastic quality. Much of Noyes’ life’s work was destroyed in a fire in 1939. $10,000-15,000

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44 132243/4 HOWARD RUSSELL BUTLER (american 1856-1934) “MAINE CLIFFS IN SUNLIGHT” Signed ‘HR Butler’ bottom right; with Pennsylvania Academy of the Fine Arts ‘113th Annual Exhibition 1918’ label verso, oil on canvas 25 1/4 x 32 1/8 in. (64.1 x 81.6cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 26, 1918.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Thirteenth Annual Exhibition.” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania. February 3 - March 24, 1918, no. 163. note: Born in New York City, Butler practiced law before leaving the legal profession and developing his artistic talents, working alongside such luminaries as Frederic Church and John Singer Sargent. Butler funded the construction of the Fine Arts building on West 57th street in New York City, which housed the Art Students League, The Society of American Artists, the Architectural League of New York and the American Fine Arts Society, the last of which Butler founded and led for their first 17 years.

An exhibition catalogue from the “One Hundred and Thirteenth Annual Exhibition” at the Pennsylvania Academy of the Fine Arts will accompany this lot. $8,000-12,000

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45 132243/12 HENRY HENSCHE (american 1901-1992) “PROVINCETOWN” Signed ‘Henry Hensche’ lower right, oil on board 19 7/8 x 24 in. (50.5 x 61cm) provenance: The Artist.

Acquired from the above, 1927.

The George D. Horst Collection of Fine Art. $4,000-6,000

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46 132243/15 HENRY HENSCHE (american 1901-1992) “DAISIES” Signed, titled, dated and located ‘Provincetown, Mass 1927’ in pencil verso, oil on panel 19 7/8 x 23 5/8 in. (50.5 x 60cm) provenance: The Artist.

Acquired from the above, July 12, 1927.

The George D. Horst Collection of Fine Art. $3,000-5,000

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47 132243/27 ELIZABETH OKIE PAXTON (american 1877-1971) “HANNA JUMPER’S HOUSE” Signed ‘Elizabeth Paxton’ lower right; with indistinct inscription and Pennsylvania Academy of the Fine Arts ‘121st Annual Exhibition 1926’ label verso, oil on canvasboard 16 x 20 in. (40.6 x 50.8cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 15, 1926.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Twenty First Annual Exhibition.”

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, January 31 - March 21, 1926, no. 220. $3,000-5,000

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50 132243/2 KATHARINE NEWBOLD BIRDSALL (american 20th century) “MY STUDIO WINDOW” Signed ‘Katherine N. Birdsall’ bottom right, with Pennsylvania Academy of the Fine Arts ‘124th Annual Exhibition 1929’ label verso, oil on canvas 20 1/8 x 16 in. (51.1 x 40.6cm) provenance: The Artist.

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 8, 1929.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Twenty Fourth Annual Exhibition.” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania,1929. $1,000-1,500

51 132243/9 MARY GRAY (american 1891-1964) “INTERIOR WITH PENNSYLVANIA ANTIQUES” Signed ‘Mary Gray’ bottom right, with two Gallery-onthe-Moors exhibition labels verso; also with two Carnegie Institute exhibition labels verso, oil on canvas 24 x 20 in. (61 x 50.8cm) provenance: Acquired March 17, 1922.

The George D. Horst Collection of Fine Art. exhibited: Carnegie Institute, Pittsburgh, Pennsylvania. (n.d.).

“Sixth Annual Exhibition.” Gallery-On-The-Moors, East Gloucester, Massachusetts, August 2 - 21, 1921. $1,000-1,500

48 132243/17 LOUIS BERTRAND RALSTON KEELER (american b. 1882) “MORNING LIGHT; JUNE” Signed and dated ‘R. Keeler 1912’ bottom right, with Pennsylvania Academy of the Fine Arts ‘108th Annual Exhibition 1913’ label verso, oil on canvas 24 x 28 in. (61 x 71.1cm) provenance: Budworth & Son, New York, New York.

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above March 21, 1913.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Eighth Annual Exhibition.”

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1913, no. 336. note: An exhibition catalogue from the “One Hundred and Eighth Annual Exhibition” at the Pennsylvania Academy of the Fine Arts will accompany this lot. $3,000-5,000

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49 132243/1 FRANK WESTON BENSON (american 1862-1951) “MARSHES OF LONG POINT” Signed and dated ‘F.W. Benson 19**’ bottom left; also inscribed in pencil on stretcher ‘Mr. Benson’ verso, with Pennsylvania Academy of the Fine Arts ‘121st Annual Exhibition 1926’ label affixed verso, oil on canvas 36 x 44 in. (91.4 x 111.8cm) With frame incised 1924 THULIN 1387. provenance: John McBrine, Boston, Massachusetts.

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 15, 1926.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Twenty First Annual Exhibition.” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, January 31 - March 21, 1926, no. 37. note: An exhibition catalogue from the “One Hundred and Twenty First Annual Exhibition” at the Pennsylvania Academy of the Fine Arts will accompany this lot. $200,000-300,000

Trained at the School of the Museum of Fine Arts, Boston and the Académie Julian in Paris, Benson was a highly celebrated American Impressionist during his lifetime.

In 1914 the Boston Transcript named him “America’s Most Medalled Painter” due to the numerous prizes he received at academic venues. His interest in progressive aesthetics and exhibition practices led him to become a member of “The Ten”, a group comprised of such painters as Childe Hassam, William Merritt Chase, and Julian Alden Weir, who withdrew from the Society of American Artists. Currently, his paintings and engravings hang in major museums throughout the United States, including the Museum of Fine Arts Boston, the Art Institute of Chicago, and the Pennsylvania Academy of the Fine Arts.

In this landscape painting Benson has captured the atmospheric effects particular to Long Point, the peninsula found jutting into Lake Erie. Benson was an avid sportsman and in fact wanted to be an ornithological illustrator at a young age. A paean to the sport he dedicated much of his life to, Marshes of Long Point features loose brushstrokes, reminiscent of John Singer Sargent to depict the bristling reeds of the marshland. He repeats the rapid movements of his brush in the cloud formations and flock of waterfowl overhead.

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50 132243/2 KATHARINE NEWBOLD BIRDSALL (american 20th century) “MY STUDIO WINDOW” Signed ‘Katherine N. Birdsall’ bottom right, with Pennsylvania Academy of the Fine Arts ‘124th Annual Exhibition 1929’ label verso, oil on canvas 20 1/8 x 16 in. (51.1 x 40.6cm) provenance: The Artist.

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 8, 1929.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Twenty Fourth Annual Exhibition.” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania,1929. $1,000-1,500

51 132243/9 MARY GRAY (american 1891-1964) “INTERIOR WITH PENNSYLVANIA ANTIQUES” Signed ‘Mary Gray’ bottom right, with two Gallery-onthe-Moors exhibition labels verso; also with two Carnegie Institute exhibition labels verso, oil on canvas 24 x 20 in. (61 x 50.8cm) provenance: Acquired March 17, 1922.

The George D. Horst Collection of Fine Art. exhibited: Carnegie Institute, Pittsburgh, Pennsylvania. (n.d.).

“Sixth Annual Exhibition.” Gallery-On-The-Moors, East Gloucester, Massachusetts, August 2 - 21, 1921. $1,000-1,500

48 132243/17 LOUIS BERTRAND RALSTON KEELER (american b. 1882) “MORNING LIGHT; JUNE” Signed and dated ‘R. Keeler 1912’ bottom right, with Pennsylvania Academy of the Fine Arts ‘108th Annual Exhibition 1913’ label verso, oil on canvas 24 x 28 in. (61 x 71.1cm) provenance: Budworth & Son, New York, New York.

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above March 21, 1913.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Eighth Annual Exhibition.”

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1913, no. 336. note: An exhibition catalogue from the “One Hundred and Eighth Annual Exhibition” at the Pennsylvania Academy of the Fine Arts will accompany this lot. $3,000-5,000

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50 132243/2 KATHARINE NEWBOLD BIRDSALL (american 20th century) “MY STUDIO WINDOW” Signed ‘Katherine N. Birdsall’ bottom right, with Pennsylvania Academy of the Fine Arts ‘124th Annual Exhibition 1929’ label verso, oil on canvas 20 1/8 x 16 in. (51.1 x 40.6cm) provenance: The Artist.

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 8, 1929.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Twenty Fourth Annual Exhibition.” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania,1929. $1,000-1,500

51 132243/9 MARY GRAY (american 1891-1964) “INTERIOR WITH PENNSYLVANIA ANTIQUES” Signed ‘Mary Gray’ bottom right, with two Gallery-onthe-Moors exhibition labels verso; also with two Carnegie Institute exhibition labels verso, oil on canvas 24 x 20 in. (61 x 50.8cm) provenance: Acquired March 17, 1922.

The George D. Horst Collection of Fine Art. exhibited: Carnegie Institute, Pittsburgh, Pennsylvania. (n.d.).

“Sixth Annual Exhibition.” Gallery-On-The-Moors, East Gloucester, Massachusetts, August 2 - 21, 1921. $1,000-1,500

48 132243/17 LOUIS BERTRAND RALSTON KEELER (american b. 1882) “MORNING LIGHT; JUNE” Signed and dated ‘R. Keeler 1912’ bottom right, with Pennsylvania Academy of the Fine Arts ‘108th Annual Exhibition 1913’ label verso, oil on canvas 24 x 28 in. (61 x 71.1cm) provenance: Budworth & Son, New York, New York.

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above March 21, 1913.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Eighth Annual Exhibition.”

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1913, no. 336. note: An exhibition catalogue from the “One Hundred and Eighth Annual Exhibition” at the Pennsylvania Academy of the Fine Arts will accompany this lot. $3,000-5,000

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54 132243/16 ALDRO THOMPSON HIBBARD (american 1886-1972) “ICE STORM” Signed ‘A.T. Hibbard’ bottom right; inscribed with artist, title and ‘Main St. Rockport Mass’ in pencil verso; also with Boston Arts Club label and Pennsylvania Academy of the Fine Arts stamp verso, oil on canvas 36 1/8 x 36 in. (91.8 x 91.4cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, February 11, 1929.

The George D. Horst Collection of Fine Art. note: A native of Massachusetts, Hibbard studied under Frank Weston Benson at the Boston Museum School of Art. An exceptional plein air painter, Hibbard is best known for his winter snow scenes of Vermont and Rockport Massachusetts. $12,000-18,000

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52 132243/3 GEORGE MATTHEW BRUESTLE (american 1872-1939) “BROWN HILLSIDE” Signed and dated 'Geo M. Bruestle 1917' bottom left, also inscribed 'Geo M. Bruestle/132 E 23rd st. NYC' and titled 'Brown Hillside' in pencil verso, oil on canvas 25 x 30 in. (63.5 x 76.2cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 27, 1919.

The George D. Horst Collection of Fine Art. exhibited: "One Hundred and Fourteenth Annual Exhibition."

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, February 9 - March 30, 1919, no 80. $1,500-2,500

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53 132243/11 CHILDE HASSAM (american 1859-1935) “THE NORWEGIAN COTTAGE” Signed and dated ‘Childe Hassam/1909’ bottom right; bears monogram and date ‘1909’ verso, oil on canvas 25 x 30 1/4 in. (63.5 x 76.8cm) provenance: The Halow Studio, Reading, Pennsylvania.

Acquired from the above, January 9, 1917 (as “In Nannagasket Bay”).

The George D. Horst Collection of Fine Art. exhibited: “Childe Hassam: American Impressionist.” Jordan Volpe Gallery, Inc. New York, New York.

May 20 - July 1, 1994 (as “The Cottage”). literature: Ulrich W. Hiesinger, “Childe Hassam: American Impressionist.”

Jordan Volpe Gallery | Prestel, New York. 1994. pg. 119, fig. 128 (illustrated as “The Cottage”). $200,000-300,000

Considered the founder of “The Ten” Frederick Childe Hassam is rightly celebrated for exposing museums, collectors and the public to the American form of Impressionism. Born near Boston, Hassam primarily worked throughout the Northeast in such areas as Boston, New York City and the Isle of Shoals, off the coast of New Hampshire, where he summered.

Like most artists, Hassam traveled to Europe to study the masters and entered the Académie Julian in 1886. Back in the United States, Hassam, along with Theodore Robinson, John Henry Twachtman and J. Alden Weir made up the core of the American Impressionists, rendering their observations with immediacy, capturing the effects of light on landscapes as well as the New York cityscape for Hassam. In late 1897, along with his friends Weir and Twachtman, Hassam withdrew from the Society of American Artists, forming their own group, “The Ten American

Painters” which included Frank Weston Benson, and eventually, William Merritt Chase.

The Isle of Shoals was a location that allowed Hassam to paint in a more traditionally Impressionist style. His paintings were exhibited at the salons of writer Celia Thaxter, where she also hosted wealthy residents of the islands.

The Norwegian Cottage is representative of Hassam at midcareer. His advanced style of the late 19th century reaped dividends as Impressionism became the mainstream and desired style.

1909 was a year of success for Hassam, his paintings sold quickly and the Metropolitan Museum of Art acquired their first painting by him – also a scene from the Isle of Shoals. Hassam’s canvas captures a bright summer day on the island as part of his continuing exploration of the locale, illustrating the varying atmospheric elements of the rocky coast with rapid, staccato brushstrokes.

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54 132243/16 ALDRO THOMPSON HIBBARD (american 1886-1972) “ICE STORM” Signed ‘A.T. Hibbard’ bottom right; inscribed with artist, title and ‘Main St. Rockport Mass’ in pencil verso; also with Boston Arts Club label and Pennsylvania Academy of the Fine Arts stamp verso, oil on canvas 36 1/8 x 36 in. (91.8 x 91.4cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, February 11, 1929.

The George D. Horst Collection of Fine Art. note: A native of Massachusetts, Hibbard studied under Frank Weston Benson at the Boston Museum School of Art. An exceptional plein air painter, Hibbard is best known for his winter snow scenes of Vermont and Rockport Massachusetts. $12,000-18,000

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52 132243/3 GEORGE MATTHEW BRUESTLE (american 1872-1939) “BROWN HILLSIDE” Signed and dated 'Geo M. Bruestle 1917' bottom left, also inscribed 'Geo M. Bruestle/132 E 23rd st. NYC' and titled 'Brown Hillside' in pencil verso, oil on canvas 25 x 30 in. (63.5 x 76.2cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 27, 1919.

The George D. Horst Collection of Fine Art. exhibited: "One Hundred and Fourteenth Annual Exhibition."

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, February 9 - March 30, 1919, no 80. $1,500-2,500

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54 132243/16 ALDRO THOMPSON HIBBARD (american 1886-1972) “ICE STORM” Signed ‘A.T. Hibbard’ bottom right; inscribed with artist, title and ‘Main St. Rockport Mass’ in pencil verso; also with Boston Arts Club label and Pennsylvania Academy of the Fine Arts stamp verso, oil on canvas 36 1/8 x 36 in. (91.8 x 91.4cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, February 11, 1929.

The George D. Horst Collection of Fine Art. note: A native of Massachusetts, Hibbard studied under Frank Weston Benson at the Boston Museum School of Art. An exceptional plein air painter, Hibbard is best known for his winter snow scenes of Vermont and Rockport Massachusetts. $12,000-18,000

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52 132243/3 GEORGE MATTHEW BRUESTLE (american 1872-1939) “BROWN HILLSIDE” Signed and dated 'Geo M. Bruestle 1917' bottom left, also inscribed 'Geo M. Bruestle/132 E 23rd st. NYC' and titled 'Brown Hillside' in pencil verso, oil on canvas 25 x 30 in. (63.5 x 76.2cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 27, 1919.

The George D. Horst Collection of Fine Art. exhibited: "One Hundred and Fourteenth Annual Exhibition."

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, February 9 - March 30, 1919, no 80. $1,500-2,500

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55 132243/26 MARIE DANFORTH PAGE (american 1869-1940) “THE MOTHER” Signed and dated, ‘Marie D. Page 1916’ upper left; with a Pennsylvania Academy of the Fine Arts ‘111th Annual Exhibition 1916’ label verso, oil on canvas 50 x 40 in. (127 x 101.6cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 14, 1916.

The George D. Horst Collection of Fine Art. exhibited: Museum of Fine Arts Boston (by repute, n.d.).

“One Hundred and Eleventh Annual Exhibition.” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania. February 6 - March 26, 1916, no. 392. note: Born and raised in Boston, Marie Danforth Page was an accomplished portrait painter, particularly of mother and child scenes. As a student in at the Boston Museum School of Art she studied under Frank Weston Benson and Edmund C. Tarbell. An early pioneer of American women artists, Page is rightly celebrated along with other female artists including Martha Walter and Jane Peterson.

The Mother won the Philadelphia Prize in the One Hundred and Eleventh Annual Exhibition at the Pennsylvania Academy of the Fine Arts in 1916, a prize voted on by visitors, awarded to the painting they liked most. $6,000-10,000

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56 132243/32 SUSAN GERTRUDE SCHELL (american 1891-1970) “GRAY DAY” Signed ‘S.g. Schell’ lower left; signed and titled on unidentified label verso, oil on board 13 7/8 x 15 7/8 in. (35.2 x 40.3cm) provenance: The George D. Horst Collection of Fine Art. $1,500-2,500

57 132243/22 MARY MCCLELLAN (american 1860-1929) “AN INTERIOR” Signed ‘Mary McClellan’ bottom left; with Pennsylvania Academy of the Fine Arts ‘120th Annual Exhibition 1925’ label verso, oil on canvas 30 x 25 in. (76.2 x 63.5cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 23, 1925.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Twentieth Annual Exhibition.” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, February 8 - March 29, 1925, no. 346. exhibited: An exhibition catalogue from the “One Hundred and Twentieth Annual Exhibition” at the Pennsylvania Academy of the Fine Arts will accompany this lot. $1,000-1,500

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58 132243/10 BIRGE HARRISON (american 1854-1929) “THE LOCK IN WINTER” Signed ‘Birge Harrison’ lower left, also signed on stretcher verso; with Pennsylvania Academy of the Fine Arts ‘113th Annual Exhibition 1918’ label verso, oil on canvas 25 x 30 in. (63.5 x 76.2cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 23, 1918, no. 23.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Thirteenth Annual Exhibition.” Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania, February 3 - March 24, 1918. note: A Philadelphian, Birge Harrison studied at the Pennsylvania Academy of the Fine Arts, where he credited Thomas Eakins as a major influence. At the suggestion of John Singer Sargent, Harrison went to Paris and exhibited his painting Novembre at the 1882 Paris Salon. It was purchased by the French government, one of the first American artists to have that distinction. A tonalist, Harrison’s landscapes often feature dark, neutral hues, such as the gray tone that runs through The Lock In Winter. $8,000-12,000

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59 132243/29 GEORGE AGNEW REID (canadian 1860-1947) “RIVER LANDSCAPE” Signed and dated ‘G.A. Reid 1922’ bottom left, oil on canvas 29 7/8 x 40 in. (75.9 x 101.6cm) provenance: Acquired December 18, 1922.

The George D. Horst Collection of Fine Art. $2,000-3,000

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60 132243/6 JOHN FABIAN CARLSON (american 1875-1947) “SILENT GROVES” Signed ‘John F. Carlson’ bottom left; with artist’s name and title inscribed on stretcher verso; also with Pennsylvania Academy of the Fine Arts ‘111th Annual Exhibition 1916’ label and Macbeth Gallery, New York label attached verso, oil on canvas 30 x 40 in. (76.2 x 101.6cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 14, 1916.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Eleventh Annual Exhibition.” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, February 6 - March 26, 1916, no. 88. note: Originally from Sweden, Carlson moved as a child to Buffalo, New York. Shortly after 1900, Carlson won a scholarship to study with Birge Harrison in Woodstock, New York. Carlson’s highly decorated career included a silver medal at the Pan-Pacific International Exposition of 1915 in San Francisco. A snowy forest interior at dusk, Silent Groves is typical of Carlson’s oeuvre which often features the winter woodlands of New York state, but hearken back to his native Sweden.

An exhibition catalogue from the “One Hundred and Eleventh Annual Exhibition” at the Pennsylvania Academy of the Fine Arts will accompany this lot. $12,000-18,000

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61 132243/8 DANIEL GARBER (american 1880-1953) “GLEN CUTTALOSSA” Signed ‘Daniel Garber’ bottom left; with Pennsylvania Academy of the Fine Arts and Carnegie Institute, Pittsburgh, Pennsylvania label verso, oil on canvas 42 x 42 in. (107.7 x 107.7cm) November 1925 [Humphries 517] In Newcomb-Macklin frame. provenance: The Artist.

Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 15, 1926.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Twenty First Annual Exhibition.” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, January 31 - March 21, 1926, no 209.

“Visions of Home: American Impressionist Images of Suburban Leisure and Country Comfort.” Trout Gallery, Dickinson College, Carlisle, Pennsylvania, April 4 - June 20, 1997, no. 27; Florence Griswold Museum, Old Lyme, Connecticut, June 20 - September 28, 1997.

“Visions of Home: American Impressionist Images of Suburban Leisure and Country Comfort.’

Indianapolis Museum of Art, Indianapolis, Indiana, 1999.

“Daniel Garber: Romantic Realist” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, January 26 April 8, 2007. literature: Lisa N. Peters. Visions of Home: American Impressionist Images of Suburban Leisure and Country Comfort. The Trout Gallery, Dickinson College, 1997. pp 130-131, (illustrated).

Lance Humphries. Daniel Garber.

Catalogue Raisonné. Hollis Taggart Galleries, New York, 2006. vol II. pg.

190, no. 517 (illustrated). note: An exhibition catalogue from the “One Hundred and Twenty First Annual Exhibition” at the Pennsylvania Academy of the Fine Arts will accompany this lot. $200,000-300,000 Pennsylvania Impressionist Daniel Garber settled in the New Hope, Pennsylvania area in 1907 at the suggestion of fellow artist William Langson Lathrop. He named his property “Cuttalossa” after the nearby

creek. Along with Edward Willis Redfield, Garber is the most celebrated of the American Impressionists who made New Hope their home. Perhaps more than any other Pennsylvania Impressionist, Garber branched out from plein air landscapes by also painting celebrated interiors and portraits. It was however, his landscapes - his renderings of the quarries at Byram, the Delaware River, and the woods around his Cuttalossa property that were lauded at the time, and continue to be to this day. Garber's talents did not go unnoticed. He won numerous awards, many from the Pennsylvania Academy of the Fine Arts, where he also taught for over 40 years, in addition to winning a gold medal at the Panama-Pacific International Exposition in San Francisco in 1915.

Glen Cuttalossa is typical of Garber's oeuvre. A large oil on canvas, Garber's singular trees occupy a distinct foreground, rendered in great detail before receding into a thicket, stitched together by precise brushstrokes using a muted palette of reds and browns. The interplay between the foregrounded trees and the old ruined mill in the background lend a complexity to the canvas not readily apparent upon first view.

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62 132243/20 WILLIAM LANGSON LATHROP (american 1859-1938) “COTTAGE BY THE WOODS�

Oil on canvas 22 x 25 in. (55.9 x 63.5cm) provenance: The Halow Studio, Reading, Pennsylvania.

Acquired from the above, January 9, 1917.

The George D. Horst Collection of Fine Art. note: Considered the father of the Pennsylvania Impressionist School, Lathrop served as a mentor to many of the artists who flocked to New Hope Pennsylvania, including Daniel Garber. His home at Phillips Mill became the central meeting point of the art colony. Long considered a tonalist, Lathrop would work plein air but finish his often muted rural landscapes in the studio. $8,000-12,000

smithsonian institution archives of american art

smithsonian institution archives of american art

smithsonian institution archives of american art

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clockwise: frank weston benson, edward willis redfield and emil carlsen

63 132243/36 FREDERICK R. WAGNER (american 1864-1940) “WINTER AFTERNOON” Signed ‘F. Wagner’ lower left, oil on canvas 40 x 49 7/8 in. (101.6 x 126.7cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 27, 1919.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Fourteenth Annual Exhibition.” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, February 9 March 30, 1919, no. 24. note: Born in the Philadelphia suburbs, Wagner enrolled at the Pennsylvania Academy of the Fine Arts in 1879 and became a celebrated pupil of Thomas Eakins. Wagner was influenced by the art of William Glackens and John Sloan, introducing a taste of urban realism into the otherwise rural idyllic landscapes typical of the Pennsylvania Impressionists. $10,000-15,000

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64 132243/28 EDWARD WILLIS REDFIELD (american 1869-1965) “WINTER SUNLIGHT” Signed ‘EW Redfield’ bottom left; also inscribed, signed and dated ‘Winter Sunlight/$4000 EW Redfield Dec. 28’ and ‘EWR/Stockton, NJ’ in pencil on upper stretcher verso; with Pennsylvania Academy of the Fine Arts ‘124th Annual Exhibition 1929’ label verso, oil on canvas 38 1/4 x 50 in. (97.2 x 127cm) provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

Acquired from the above, March 8, 1929.

The George D. Horst Collection of Fine Art. exhibited: “One Hundred and Twenty Fourth Annual Exhibition.” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1929.

“Pennsylvania Regionalism: The Turn of the Century Impressionism & The Real.” The Miller Gallery, The Cumberland County Historical Society, Carlisle, Pennsylvania, April 19 - October 30,1999. literature: Karla Brown. The Sentinel. Carlisle, Pennsylvania, October 18, 1999 (illustrated).

J.M.W. Fletcher. The Redfield Letters. JMWF Publishing, Lahaska, Pennsylvania, 2002. no. 390, (illustrated). $200,000-300,000

Considered, along with William Langson Lathrop, as the founder of the New Hope art colony and the Pennsylvania Impressionists, Redfield’s heralded career made him one of the most highly decorated artists of his time.

Like other American Impressionists, Redfield traveled throughout Europe before settling in the New Hope area around the turn of the century and it was his travels in Europe that led him to familiarize himself with the work of Claude Monet, Camille Pissarro and the Norweigian artist, Frits Thaulow, who would be of particular influence on Redfield.

Always working with rapidity and force, Redfield typically made neither preliminary studies nor drawings and in fact gained a reputation for trudging into the snow, large canvas in hand to paint en plein air and finish in one go. The end result of all this can be seen in “Winter Sunlight.” The heavy, deep snow fittingly illustrated with thick impasto, coupled with the sleigh, leads the viewer directly into the composition and the frigid clear day. A December scene in Buck’s County, Redfield’s painting went on display at the Pennsylvania Academy of the Fine Arts just two months after it was painted and subsequently could not escape the eye of noted collector George D. Horst. Winter Sunlight would turn out to be one of Horst’s last art purchases.

art resource

smithsonian institution archives of american art

clockwise: daniel garber, childe hassam and jean-baptiste-camille corot library of congress

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exterior of horst family home at ‘sheerlund’

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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 $50,000 of the hammer price of each lot, 20% on the portion from $50,001 through $1,000,000, and 12% thereafter.

Sales Tax

All items in the catalogue are subject to the 8% 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

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.

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.

Payment

Payment is due within ten (10) working days of the sale. 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 within ten (10) working days of the sale. 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.

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Index of Artists Bail, J., 12 Barye, A.L., 29 Benson, F.W., 49 Birdsall, K.N., 50 Blommers, B.J., 20 Bonheur, R.M., 11 Boudin, E.L, 7 Bruestle, G.M., 52 Butler, H.R., 44

Garber, D., 61 Gray, M., 51 Harpignies, H.J., 2 Harrison, B., 58 Hassam, C., 53 Hauschild, W., 32 Hensche, H., 45, 46 Hibbard, A.T., 54

Carlsen, E., 42 Carlson, J.F., 60 Cazin, J.C., 9 Clays, P.J., 17 Corot, J.B.C., 4

Israels, J., 19 Keeler, L.B.R., 48 King, P.B., 40 Klotz, E., 31 Kluyver, P.L.F., 18 Knaus, L., 23 Knowles, E.A.M., 35

Daubigny, Charles F., 1 De La Pena, N.V.D. 5, 6 Detaille, E.J.B, 13 Dupre, J., 3 Fjaestad, G.E., 27 Fortuny Y Carbo, M.J.M.B., 14 Fuchs, H., 24, 25

Lathrop, W.L., 62 Lhermitte, L.A., 8 Lie, J., 41

Masolle, H., 22 McClellan, M., 57 Moran, E., 38 Moran, E.P., 36 Noyes, G.L., 43

Wagner, F., 63 Waugh, F.J., 39 Zimmerman, R.S., 15

Page, M.D., 55 Paxton, E.O., 47 Pinelo Llull, J., 21 Redfield, E.W., 64 Reid, G.A., 59 Richards, W.T., 37 Rico Y Ortega, M., 16 Ring, L.A., 28 Risque, C.E., 34 Schell, S.G., 56 Steger, M. 30 Vibert, J.G., 10 Von Wrangel, A., 26 Vonnoh, B.P., 33

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

attributed to

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.

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.

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.

Premium shall be: 25% on the first $50,000 of the hammer price of each lot, 20% on the portion from $50,001 through $1,000,000, and 12% thereafter.

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.

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

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

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.

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.

bidding & registration form SALE NO

BIDDER NO

CLIENT NO

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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 $50,000 of the hammer price of each lot, 20% on the portion from $50,001 through $1,000,000, and 12% on that portion of the hammer price exceeding $1,000,000. All lots must be paid for and removed within 10 days.

LOT NO

DESCRIPTION

MAXIMUM BID

please adhere to the bidding increments $10 UNTIL $200 IS REACHED

$25 UNTIL $500 IS REACHED

$50 UNTIL $1,000 IS REACHED

$100 UNTIL $3,000 IS REACHED

$250 UNTIL $5,000 IS REACHED

$500 UNTIL $10,000 IS REACHED

$1,000 UNTIL $30,000 IS REACHED

$2,000 UNTIL $50,000 IS REACHED

$5,000 UNTIL $100,000 IS REACHED

OVER $100,000 AUCTIONEER ’ S DISCRETION

bank reference

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TELEPHONE

I hereby confirm thet I have read and am bound by the “Terms of Sale” presented by the auction house and which govern all auction purchases made by me. Although every attempt is made to execute your bid(s), the auctioneer is not responsible for errors and omissions.

SIGNED

❑

(signature required to execute your bids)

❑

PLEASE SEND ME INFORMATION TO SUBSCRIBE TO FREEMAN ’S CATALOGS

Freeman’s 1808 Chestnut Street Philadelphia PA 19103 Tel-215.563.9275 Fax-215.599.2240 e-mail: info@freemansauction.com www.freemansauction.com

ID CONFIRMED

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Directory specialist departments

American Furniture, Decorative & Folk Art lynda a cain samuel ≤ free≤an ii whitney bounty American Silver samuel ≤ free≤an ii Asian Arts richard cervantes robert waterhouse (consulting specialist) tianhan gao andrew zajack English & Continental Furniture & Decorative Arts david walker tim andreadis sarah blattner tim lambert Silver & Objet de Vertu david walker sarah blattner Fine Jewelry & Watches samuel ≤ free≤an ii michael larsen allia dhody natalie prusich American Art alasdair nichol david weiss andrew huber candace vivian

depart≤ents

officers

Prints anne henry david weiss aimee pflieger andrew huber candace vivian shannon jeffers

Appraisals sa≤uel ≤ free≤an ii james e buckley donald e walter amy parenti laura cox bo shang

chair≤an samuel ≤ freeman ii

European Art & Old Masters alasdair nichol david weiss andrew huber candace vivian

Consignments samuel h cooper james e buckley maya o’donnell-shah

Photographs & Photobooks aimee pflieger candace vivian shannon jeffers Modern & Contemporary Art anne henry alasdair nichol david weiss aimee pflieger candace vivian shannon jeffers Oriental Rugs & Tapestries richard cervantes david weiss Books, Manuscripts, Maps & Ephemera david j bloom christiana scavuzzo

≤useum Services thomas b. mccabe iv lynda a cain Client Services mary maguire carroll stephanie parker cara bishoff bethany mobbs fran nicosia whitney long lauren carpinelli Operations herbert drayton derrick drayton gerald davis darryll byram

vice chair≤an margaret d freeman vice chair≤an alasdair nichol president paul roberts chief operating officer hanna dougher executive vice president ja≤es e buckley senior vice president david weiss tara theune-davis chief financial officer eric a smith vice presidents david j bloom lynda a cain anne henry samuel t. freeman iii matthew wilcox thomas b mccabe iv

Finance mark beckerman karen bajczyk Business Development & ≤arketing tara theune davis melissa geller thomas b mccabe iv christopher browne susannah mcgovern

representatives colin clarke Charlottesville, VA cclarke@freemansauction.com Telephone: 434.296.4096

matthew s wilcox Mid-Atlantic mwilcox@freemansauction.com Telephone: 215.940.9825

kelly wright Boston, MA kwright@freemansauction.com Telephone: 617.367.3400

william rudd Mid-West wrudd@freemansauction.com Telephone: 513.802.0090

maya o’donnell-shah Wayne, PA mshah@freemansauction.com Telephone: 610.254.9700

michael larsen Los Angeles, CA mlarsen@freemansauction.com Telephone: 818.205.3608

Trusts & Estates samuel t freeman iii thomas b. mccabe iv holen miles lewis amy parenti matthew wilcox laura cox jeffrey miller bo shang Photography elizabeth field elizabeth schultz thom clark ryan buckwalter v2.2013 v1.2014

1808 Chestnut Street Philadelphia Pennsylvania 19103 Tel-215.563.9275 Fax-215.563.8236

The George D. Horst Collection of Fine Art

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