1503

ANDY WARHOL (american, 1928-1987) “MARILYN MONROE (MARILYN)” 1967, pencil signed, dated and rubber stamp-numbered 11/250 verso (there were also 26 artist’s proofs lettered A-Z), the full sheet, Factory Additions, New York, publisher. Color screenprint on wove paper.

36 x 36 in. (91.4 x 91.4cm)

Modern & Contemporary Art 11/02/14

Auction

Exhibitions

Sale 1503 Sunday, November 2, 2014 at 2:00pm 1808 Chestnut Street, Philadelphia PA 19103 Wednesday, October 29 to Friday, October 31 10:00am-5:00pm Saturday, November 1 12:00pm-5:00pm

Catalogue

$37 in the gallery $42 domestic mail $47 international mail Front Cover: Lot 102 (detail) Back Cover: Lot 114 (detail) Visit www.freemansauction.com/catalogues or call 267.414.1256 to purchase a catalogue. Complimentary digital catalogues may be viewed online along with color images of every lot in the auction.

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Modern & Contemporary Art Department

Anne Henry Vice President, Head of Department ahenry@freemansauction.com 267.414.1220

Alasdair Nichol Vice Chairman anichol@freemansauction.com 267.414.1211

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Client Services

Mary Maguire Carroll Director, Client Services mmaguire@freemansauction.com 267.414.1236

Modern & Contemporary Art lots 1-163

Lot 67 (detail)

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1 JEAN DUFY (french, 1888-1964) “CALÈCHES ET CAVALIER PRÈS DU BOIS DE BOULOGNE” Signed bottom center, watercolor and gouache on paper.

18 3/4 x 24 3/4 in. (47.6 x 62.9cm) provenance: Mrs. Lila Glassman, New York, New York. note: This lot will be accompanied by a certificate of authenticity by Jacques Bailly, dated July 2, 2014 and numbered 4422. The painting will be included in the forthcoming Catalogue Raisonné. $15,000-25,000

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2 JEAN DUFY (french, 1888-1964) “REPRESENTATION SPORTIVE” Stamp signed bottom left, watercolor and gouache on paper laid down to canvas.

22 x 23 in. (55.9 x 58.4cm) provenance: Mrs. Lila Glassman, New York, New York. note: This lot will be accompanied by a certificate of authenticity by Jacques Bailly, dated July 2, 2014 and numbered 4421. The painting will be included in the forthcoming Catalogue Raisonné. $15,000-25,000

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3 VICTOR CHARRETON (french, 1864-1937) “AUVERGNE: AU SOLEIL DU PRINTEMPS” Signed bottom left, bears pencil title verso, oil on illustration board.

13 3/4 x 18 in. (34.9 x 45.7cm) provenance: The Collection of Dr. Daniel Lovette. $2,500-4,000

4 two paintings JEAN LURÇAT (french, 1892-1966) STILL LIFES Each signed and one dated 27, oil on canvas. each: 9 1/2 x 16 1/4 in.

(24.1 x 41.3cm) (2) provenance: Private Collection. $6,000-8,000

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5 MARC CHAGALL (french/russian, 1887-1985) “SAMSON CARRYING THE GATES OF GAZA” plate 59 from “the bible” 1958, pencil signed with initials bottom right, numbered 31/100, with wide margins, Tériade, Paris, publisher. Etching with handcoloring on wove paper. image: 11 1/2 x 9 in.

(29.2 x 22.9cm) sheet: 17 1/2 x 13 7/16 in.

(44.5 x 41.8cm) [see Cramer books, 30] $2,000-3,000

6 MARC CHAGALL (french/russian, 1887-1985) “THE ARTIST WITH A GOAT” 1984, pencil signed lower right, numbered 35/50 (there were also 12 artist’s proofs in black), with wide margins. Color lithograph on Arches. image: 12 3/4 x 9 1/2 in.

(32.4 x 24.1cm) sheet: 21 1/2 x 16 7/8 in.

(54.6 x 42.9cm) [Mourlot, 1026] $4,000-6,000

7 AFTER JOAN MIRÓ (spanish, 1893-1983) “LE MOULIN A CAFE” 1954, pencil signed and dated bottom right, numbered 200/300, with wide margins, Maeght, Paris, publisher and with their (partial) blindstamp. Color aquatint on Rives BFK. image: 19 1/4 x 22 in.

(48.8 x 55.8cm) sheet: 25 x 28 5/16 in.

(63.4 x 71.8cm) [Maeght, 1701] $4,000-6,000

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8 PABLO GARGALLO (spanish, 1881-1934) “PETITE FAUNESSE DEBOUT” Incised with the artist’s initial and dated 1908 along base, numbered ‘E.A. 3/3’ (an épreuve d’artiste, the edition was 7), with the E. GODARD CIRE PERDUE foundry stamp.

Bronze with black patina.

Conceived in 1908. height: 9 3/4 in. (24.7cm) provenance: Martha Schaeffer Fine Arts, New York, New York.

Private Collection, Norfolk, Virginia (acquired directly from the above in 1985). exhibited: “Gargallo, Exposició d’Escultures,” Sala Parès, Barçelona, December 7 - 21, 1934.

“Pablo Gargallo : Escultor. Exposición póstuma de sus Obra,” Museo de Arte Moderno, Madrid, March 6 -21, 1935.

“Jeunesse des Maîtres de la Sculpture du XX Siècle,” Musée Rodin, Paris, 1959.

“Gargallo,” Wilhelm Lehmbruk Museum, Duisburg, November 19 - December 31, 1966.

“Exposicion antologica de la obra de Gargallo,” Museo de Arte Contemporaneo, Madrid, October 23 -December 5, 1971 (the exhibition traveled to Palacio de la Virreina, Barçelona in 1972).

“Pablo Gargallo,” Fuji Television Gallery, Tokyo, Japan, January 10 - February 1, 1986, exhibition catalogue no. 4. (all likely other examples from the edition). literature: P. Courthion & P. Gargallo-Anguera, “L’oeuvre complet de Pablo Gargallo,” Paris, 1973, p. 130, no. 23 (another cast illustrated on pages 129 & 150). note: Pierrette Gargallo-Anguera has confirmed the authenticity of this sculpture. Her photocertificate dated October, 1985 accompanies this lot. $20,000-30,000

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9 SALVADOR DALÍ (spanish, 1904-1989) “ALIYAH” 21 color lithographs 1968, all pencil signed, numbered 23/250 (there were also 25 of each printed on Japan and lettered A-Y), all with full margins, Shorewood Press, New York, publisher. The incomplete set of 21 color lithographs on Arches (lacking four lithographs), title/pencil-numbered justification page and text, accompanied by original linen-covered portfolio box with metal clasp. images: 22 1/8 x 15 1/8 in. (56.2 x 38.4cm) sheets: 25 3/8 x 19 1/2 in. (64.5 x 49.6cm) [Michler & Löpsinger, 1193-1205, 1207-10, 1212-14 and 1217] (21) $12,000-18,000

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10 AFTER SALVADOR DALÍ (spanish, 1904-1989) “DEBRIS D’UNE DONNANT NAISSANCE A UN CHAVEL AVEUGLE MORDANT UN TELEPHONE” 1988, stamp numbered 262/850, Daum crystal and bronze.

15 1/2 x 17 x 5 1/4 in.

(39.4 x 43.2 x 13.3cm) provenance: From a Prominent Philadelphia Estate. note: This sculpture will be accompanied by a certificate of authenticity from Daum Cristal France. $4,000-6,000

11 PABLO PICASSO (spanish, 1881-1973) “SERIES 156” plate 108 1971, stamp-signed bottom right and numbered 33/50 (there were also 15 artist’s proofs), with wide margins, Louise Leiris, Paris, publisher. Etching on Rives BFK. image: 14 1/2 x 19 3/8 in.

(36.8 x 49.2cm) sheet: 19 3/4 x 25 3/4 in.

(50.2 x 65.4cm) [Bloch, 1963; Baer, 1972] $4,000-6,000

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12 AFTER PABLO PICASSO (spanish, 1881-1973) “NATURE MORTE AU CITRON ET UN PICHET ROUGE” Circa 1955-1960, pencil signed, numbered 295/300, with wide margins, Atelier Crommelynck, Paris, publisher and with their blindstamp. Color aquatint on BFK Rives. image: 13 x 16 in. (33 x 40.6cm) sheet: 19 3/4 x 25 3/4 in.

(50.1 x 65.4cm) provenance: The Estate of Lois Cowles Harrison. $6,000-10,000

13 PABLO PICASSO (spanish, 1881-1973) “DOVE ON STRAW BED” 1949, with ‘D’APRES PICASSO’ and ‘MADOURA PLEIN FEU’ stamps verso, inscribed ‘MADOURA’ and ‘nouvelle edition’, white earthenware clay plate, decoration in engobes, knife engraved, white enamel brushed under glaze.

12 3/4 x 15 1/4 in. (32.4 x 38.7cm) [Ramié, 79] provenance: Private Collection. $6,000-10,000

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14 PABLO PICASSO (spanish, 1881-1973) “DISHEVELLED WOMAN” 1963, numbered 46/100 and with ‘MADOURA PLEIN FEU’ and ‘EMPREINTE ORIGINALE DE PICASSO’ stamps verso, white earthenware clay plate painted in colors and glazed. diameter: 10 1/2 in. (26.7cm) [Ramié, 509] provenance: Howard Russeck Gallery, Palm Beach, Florida.

Private Collection. $8,000-12,000

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15 PABLO PICASSO (spanish, 1881-1973) “GEOMETRIC FACE” 1956, numbered 63/100 and with the ‘MADOURA PLEIN FEU’ and ‘EMPREINTE ORIGINALE DE PICASSO’ stamps verso, white earthenware ceramic plate. diameter: 14 1/2 in. (36.8cm) [Ramié, 344] provenance: Private Collection, Norfolk, Virginia. $5,000-8,000

16 PABLO PICASSO (spanish, 1881-1973) “CENTAUR” 1956, with ‘MADOURA PLEIN FEU’ and ‘EMPREINTE ORIGINALE DE PICASSO’ stamps verso, numbered 67/100, white earthenware clay plate. diameter: 16 3/4 in. (42.6cm) [Ramié, 338] provenance: Private Collection. $5,000-8,000

17 PABLO PICASSO (spanish, 1881-1973) “DISHEVELLED WOMAN” 1963, numbered 63/100 and with the ‘MADOURA PLEIN FEU’ and ‘EMPREINTE ORIGINALE DE PICASSO’ stamps verso, white earthenware clay plate. diameter: 10 5/8 in. (27cm) [Ramié, 510] provenance: Private Collection, Virginia. $3,000-5,000

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18 PABLO PICASSO (spanish, 1881-1973) “CENTAUR” 1950, with ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps verso, numbered 11/250, red earthenware clay plate with engobe decoration. diameter: 15 in. (38.1cm) [Ramié, 102] provenance: Private Collection. $6,000-10,000

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19 PABLO PICASSO (spanish, 1881-1973) “BEARDED MAN’S WIFE” 1953, from the edition of 500, with the ‘MADOURA PLEIN FEU’ and ‘EMPREINTE ORIGINALE DE PICASSO’ stamps verso, inscribed ‘EDITION PICASSO’, white earthenware clay pitcher, decoration in engobes, knife engraved under partial brushed glaze. height: 14 1/2 in. (36.8cm) [Ramié, 193] provenance: From the Collection of Jim and Gail McKay. $15,000-25,000

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20 PABLO PICASSO (spanish, 1881-1973) “BEARDED MAN” 1953, from the edition of 500, with the ‘MADOURA PLEIN FEU’ and ‘EMPREINTE ORIGINALE DE PICASSO’ stamps verso, inscribed ‘EDITION PICASSO’, white earthenware clay pitcher with decoration in engobes, knife engraved under partial brushed glaze. height: 12 1/2 in. (30.5cm) [Ramié, 217] provenance: From the Collection of Jim and Gail McKay. $15,000-25,000

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21 PABLO PICASSO (spanish, 1881-1973) “WOMAN AND TOREADOR” 1968, numbered 283/500 and with the ‘MADOURA PLEIN FEU’ and ‘EMPREINTE ORIGINALE DE PICASSO’ stamps verso, rectangular red earthenware clay plaque printed with engobe pad.

6 1/2 x 4 1/4 in. (16.5 x 10.8cm) [Ramié, 541] provenance: Private Collection, Virginia. $2,000-3,000

22 PABLO PICASSO (spanish, 1881-1973) “FACE WITH RUFF” 1971, with ‘MADOURA PLEIN FEU’ and ‘POINCOINS ORIGINAL DE PICASSO’ stamps verso, numbered 54/200, red earthenware clay plaque with four stamps.

14 1/4 x 12 1/2 in. (36.2 x 31.8cm) [Ramié, 625] provenance: Private Collection. $6,000-10,000

23 PABLO PICASSO (spanish, 1881-1973) “WOMAN’S FACE” 1971, numbered 23/200 and with “POINCOINS ORIGINAL DE PICASSO” and “MADOURA PLEIN FEU” stamps verso, red earthenware clay plaque with five stamps.

14 1/2 x 12 3/4 in. (36.8 x 32.4cm) [Ramié, 616] provenance: Private Collection, Virginia. $2,500-4,000

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24 PIERRE SOULAGES (french, b. 1919) “LITHOGRAPHIE N° 3” 1957, pencil signed bottom right, numbered 85/200, the full sheet, Galerie Berggruen, Paris, publisher.

Color lithograph on Velin d’Arches. sheet: 27 3/4 x 20 in.

(70.4 x 50.8cm) [Rivière, 3] note: This lithograph was the poster for the exhibition “Soulages, gouaches et gravures,” at the Galerie Berggruen in 1957. $2,000-3,000

25 AFRO (italian, 1912-1976) “FETICCIO” 1974, pencil signed and numbered 20/80 (there were also 15 artist’s proofs in Roman numerals), with full margins, Stamperia 2RC, Rome, publisher and with their blindstamps. Color etching and aquatint on Fabriano. image: 25 x 30 1/2 in.

(63.5 x 77.4cm) sheet: 34 3/8 x 40 7/8 in.

(87.3 x 103.6cm) $3,000-5,000

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26 THANOS TSINGOS (greek, 1914-1965) “FLEUR ROUGE ET BLEUE SUR FOND VERT FONCÉ” Signed and dated 59 bottom left, signed, titled, dated and numbered “NO 37” in black crayon verso, oil on canvas.

15 x 18 in. (38.1 x 45.7cm) provenance: Private Collection. $1,500-2,500

27 ENRICO BAJ (italian, 1924-2003) “NUDO” Signed bottom left, signed again, titled and dated 59 on stretcher verso, oil, fabric and mixed media collage.

14 x 18 in. (35.6 x 45.7cm) provenance: Galleria Schettini, Milan, Italy.

Private Collection. $4,000-6,000

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28 NIKOLAY DIULGHEROFF (bulgarian, 1901-1982) “AEROPITTURA” FROM “I MONDI” SERIES Signed bottom left, signed again, titled and dated 1932 verso, gouache and spray on cardboard.

19 3/4 x 13 3/4 in. (50.1 x 34.8cm) provenance: Galleria Milano, Milan, Italy.

Private Collection, Basel, Switzerland.

Phillips New York, “Impressionist, Modern & Contemporary Paintings, Drawings and Sculptures,” May 12, 1998, lot 53.

Private Collection, New York, New York (acquired directly from the above sale). $7,000-9,000

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29 NICOLA SIMBARI (italian, 1927-2012) UNTITLED Signed and dated 80 bottom right corner and with the artist’s copyright stamp verso, oil on canvas.

44 7/8 x 57 1/2 in. (114 x 146.1cm) Unframed provenance: The artist.

Private Collection. $8,000-12,000

30 NICOLA SIMBARI (italian, 1927-2012) “FLOWER VENDERS - CHICAGO” Signed and dated 67 bottom right, oil on canvas.

35 x 39 in. (88.9 x 99.6cm) provenance: Findlay Galleries Inc, Chicago, Illinois.

Private Collection. $4,000-6,000

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31 NICOLA SIMBARI (italian, 1927-2012) UNTITLED (TWO WOMEN WITH WIDE-BRIMMED HATS) Signed bottom right, oil on canvas.

39 1/4 x 43 1/4 in.

(99.7 x 109.9cm) Unframed provenance: The artist.

Private Collection. $6,000-8,000

32 CLAUDE VENARD (french, 1913-1999) “LE CABANON” Signed bottom left and titled in chalk verso, oil on canvas.

29 x 36 in. (73.7 x 91.4cm) provenance: Galerie Felix Vercel, New York/Paris. note: We are grateful to Renata Venard for her assistance in confirming the authenticity of this work. $8,000-12,000

33 ANDRÉ GISSON (american, 1921-2003) PROMENADE NEAR NOTRE DAME, PARIS Signed bottom right, oil on canvas.

25 x 30 in. (63.5 x 76.2cm) provenance: Private Collection, New York, New York.

By descent in family to current owner. $1,500-2,500

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34 VU CAO DAM (french, 1908-2000) “MATERNITÉ ROSE” Signed and dated 66 bottom left, signed twice, titled and dated verso, oil on canvas.

40 x 32 in. (101.6 x 81.3cm) provenance: Wally Findlay Gallery, New York, New York.

Private Collection, Hollywood, Florida. $25,000-40,000

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35 I NYOMAN KAYUN (indonesian, b. 1954) IN THE VILLAGE Signed and inscribed ‘Peliatan,’ bottom right and again verso, also inscribed ‘Bali’ verso, acrylic on canvas.

24 1/4 x 15 in. (61.6 x 38.1cm) provenance: Private Collection, Virginia. $4,000-6,000

36 MONTIEN BOONMA (thai, 1953-2000) UNTITLED Signed bottom left, oil on canvas.

40 x 30 in. (101.6 x 76.2cm) provenance: Wally Findlay Gallery, New York, New York.

Private Collection.

By descent in family to current owner. $4,000-6,000

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37 MASSOUD ARABSHAHI (iranian, b. 1935) UNTITLED Signed and dated 2000 on stretcher verso, mixed media on burlap.

28 x 39 1/4 in. (71.1 x 99.7cm) provenance: Private Collection. $10,000-15,000

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38 SADEGH TABRIZI (iranian, b. 1939) UNTITLED Signed bottom right, ink, gold leaf and varnished paper.

19 1/2 x 13 1/2 in. (49.5 x 34.3cm) provenance: Private Collection. $800-1,200

39 REUVEN RUBIN (israeli, 1893-1974) TWO CAMELS Signed in English and Hebrew bottom left, ink on paper.

12 1/2 x 17 3/4 in. (31.8 x 45.1cm) $1,000-1,500

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40 MAQBOOL FIDA HUSAIN (indian, 1915-2011) UNTITLED Oil on canvas, signed in Devanagari upper right.

40 x 30 in. (101.5 x 76.2cm) provenance: Private Collection.

Dhoomimal Gallery, New Delhi, India (acquired directly from the above circa 1959 while working in New Delhi for the United States Agency for International Development (USAID)). $40,000-60,000 The present work is representative of one of Maqbool Fida Husain’s most vibrant and creative periods, and is marked by his use of quasiCubist faceting and thick, textured layers of impasto on the canvas. In this work, figural elements are represented in bright blue jewel tones and strong lines set against fields of earthy brown, creating a contrast that evokes the palette of daily life in rural India.

As is characteristic of works from this period and into the mid 1960s, an abstract field of white and gray surrounds the central subject. With no border consistently separating figure from ground, the gray covers some elements like the blue hand at right, and bleeds over the green and brown paint in the upper left section.

The artist’s decision to integrate figure and ground in this way creates a balanced composition that is quite distinct from his treatment of iconic subjects like the Indian epic Mahabharata that appear later in the 1960s. Across the canvas, paint is applied in overlapping layers and lines are thick and expressive, as seen in his early and mid-career work. At this time, Husain was surrounded by leading modernist peers including Tyeb Mehta and V.S. Gaitonde who were beginning to explore elements of gesture and abstraction. It appears from this work that Husain absorbed some stylistic concerns, if only around this moment.

This painting was acquired at Dhoomimal Gallery in New Delhi in 1959. Established in 1937, Dhoomimal Gallery was a leading art center in India in the years around independence in 1947, as no true commercial galleries were established in India’s main artistic centers of Bombay and Delhi until the early 1960s. Dhoomimal’s importance in these years was as much for its presence as a lively center where artists could meet as

for its critical or commercial ambitions. This aspect was particularly key for artists like Husain, who was known for his sociability in India’s developing art scene of the 1940s and 50s. This painting was purchased by Americans living in New Delhi who worked for the United States Agency for International Development (USAID).

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41 HECTOR HYPPOLITE (haitian, 1894-1948) PORTRAIT OF A WOMAN Signed bottom center, oil on panel.

29 1/4 x 23 1/2 in. (74.3 x 60cm) provenance: The artist.

Private Collection, Pennsylvania (acquired directly from the above in 1959).

By descent in family to current owner.

Private Collector, Bucks County, Pennsylvania. $15,000-25,000

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The following four lots of Haitian art are offered from the personal collection of George B. and Theodora Mathues.

George worked for CARE, an international relief agency, for over forty years. His work brought the couple to Haiti during the 1970s, during which time, the couple fell in love with works by self-taught Haitian artists and often purchased the pieces directly from them. The Mathues enjoyed lifelong friendships with many of the artists, and corresponded with several for many years, even after returning to the United States.

42 PHILOME OBIN (haitian, 1892-1986) “CARNIVAL 1948, RUE 5, CAP-HAITIEN” Signed and inscribed ‘Cap-Haitien’ bottom right, titled bottom center.

Executed circa 1960.

24 x 30 in. (61 x 76.2cm). provenance: The artist.

George B. and Theodora Mathues, Pennsylvania (acquired directly from the above circa 1970-75).

By descent in family to current owner.

Private Collection, Pennsylvania. $15,000-25,000

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43 JEAN-BAPTISTE BOTTEX (haitian, 1918-1978) “OPEN AIR MARKET” Signed and dated 6/69 lower right, oil on masonite.

30 x 39 1/2 in. (76.2 x 100.3cm) provenance: The artist.

George B. and Theodora Mathues, Pennsylvania (acquired directly from the above circa 1970-75).

By descent in family to current owner.

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

44 PAULEUS VITAL (haitian, b. 1918) “ADAM AND EVE” Signed and dated 29/7/73 bottom left, oil on board.

24 x 48 in. (61 x 121.9cm) overall: 31 1/4 x 55 1/4 in. (79.4 x 140.3cm) provenance: The artist.

George B. and Theodora Mathues, Pennsylvania (acquired directly from the above circa 1973-75).

By descent in family to current owner.

Private Collection, Pennsylvania. $1,000-2,000

45 WILMINO DOMOND (haitian, b. 1928) GARDEN OF EDEN Signed, dated 1973 and inscribed ‘Jacmel Marbial Haïti’ bottom left, gouache on masonite.

31 1/2 x 48 in. (80 x 121.9cm) provenance: The artist.

George B. and Theodora Mathues, Pennsylvania (acquired directly from the above circa 19731975).

By descent in family to current owner.

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

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46 FELIPE CASTAÑEDA (mexican, b. 1933) UNTITLED (KNEELING WOMAN) Signed and dated 1982 on left leg, unique marble sculpture. height: 13 1/4 in. (33.7cm) width: 13 in. (33cm) depth: 10 in. (25.4cm) provenance: Bernard Lewin Gallery, Palm Springs, California.

Private Collection. $6,000-10,000

47 FRANCISCO ZÚÑIGA (mexican, 1912-1998) “DESNUDO RESPOSANDO” Signed and dated 1968 bottom left, black and sepia conte crayon.

19 3/4 x 25 11/16 in. (50.2 x 63.4cm) provenance: Galeria Bryna, Mexico City, Mexico.

Private Collection, New York, New York (aquired directly from the above in 1969).

Private Collection, New Jersey. note: This lot will be accompanied by a certificate of authenticity from Galeria Bryna, Mexico City. It is signed by the artist and dated July 30, 1969.

We are grateful to Mr. Ariel Zúñiga for his assistance in confirming the authenticity of this work which is to be included in the forthcoming Volume V of the artist’s Catalogue Raisonné. $3,000-5,000

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48 FELIPE CASTAÑEDA (mexican, b. 1933) “FELICIDAD” Unique marble sculpture, signed and dated 1989 on right foot. height: 27 in. (68.6cm) width: 15 1/2 in. (39.4cm) depth: 18 1/2 in. (47cm) provenance: Bernard Lewin Gallery, Palm Springs, California.

Private Collection. note: This sculpture will be accompanied by a copy of an invoice and certificate from Bernard Lewin Gallery. $10,000-15,000

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49 FRANCISCO ZÚÑIGA (mexican, 1912-1998) “MUJER SENTADA Y MUYER ACOSTADA” Signed, dated 1978 and numbered I/V verso near base, bronze with patina. height: 12 1/2 in. (31.7cm) width: 15 1/4 in. (38.7cm) depth: 14 in. (35.5cm) provenance: Mrs. Lila Glassman, New York, New York. literature: “M. Francisco Zúñiga: Catálogo Razonado Volúmen I, Escultura 1923-1993,” Albedrío & Fundación Zúñiga Laborde, Mexico City, 1999, p. 492, no. 848. note: We are grateful to Mr. Ariel Zúñiga for his assistance in confirming the authenticity of this work. Mr. Zúñiga notes that this work was an edition of VI but being numbered V is a known error. This will be noted in the forthcoming re-edition of Volume I of the Catalogue Raisonné of the artist. $8,000-12,000

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50 ANGEL BOTELLO (puerto rican, 1913-1986) “GIRL DANCING” Signed ‘Botello’ and numbered ‘cast #8’ along bottom edge, bronze.

Executed circa 1970. height: 24 in. (60.1cm) length: 10 1/4 in. (26cm) width: 3 1/2 in. (8.9cm) (not including base) provenance: Private Collection. note: We are grateful to Juan Botello for his assistance in confirming the authenticity of this work.

Please note that the base is not original to the sculpture and was added later. $8,000-12,000

51 CHARLOTTE YAZBEK (mexican, 1919-1989) “HOMBRE SIN REPOSO” Signed and dated 64 on the outer left leg, bronze. height: 16 1/2 in. (41.9cm) width: 14 1/2 in. (36.8cm) depth: 12 3/4 in. (32.4cm) provenance: Galeria de Arte Misrachi, S.A., Mexico.

Private Collection, New York, New York.

By descent in family to current owner.

Mary Ellen Caffrey, PhD, Philadelphia, Pennsylvania. note: A larger version of the present work was displayed in the Mexican Pavilion at the 1964 World’s Fair held in New York City. $5,000-8,000

38 www.freemansauction.com

52 DIEGO RIVERA (mexican, 1886-1957) NIÑO EN EL PATIO Pencil signed and dated 28 bottom left, watercolor and black crayon on Japanese paper.

6 1/4 x 8 3/8 in. (15.9 x 21.3cm) provenance: Mrs. J. Stogdell Stokes, Philadelphia, Pennsylvania.

By descent in family.

Mr. and Mrs. John S. Price, Philadelphia, Pennsylvania. $3,000-5,000

53 DIEGO RIVERA (mexican, 1886-1957) OBRERO CANSADO Pencil signed bottom right and annotated 77 bottom left, graphite on paper.

13 7/8 x 8 3/8 in. (35.2 x 21. 3cm) provenance: Mrs. J. Stogdell Stokes, Philadelphia, Pennsylvania.

By descent in family.

Mr. and Mrs. John S. Price, Philadelphia, Pennsylvania exhibited: “Mexican Art,” Pennsylvania Museum of Art, Fairmount, Pennsylvania, January 6 - February 19, 1934. $4,000-6,000

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54 JOSEF SCHARL (american/german, 1896-1954) NUDE Signed and dated 1952 bottom left, gouache on Japanese paper.

13 1/2 x 20 1/2 in. (34.2 x 52cm) provenance: The Private Collection of Mr. and Mrs. Bela Kalman. $1,500-2,500

55 MILTON AVERY (american, 1885-1965) “MY WIFE SALLY” 1934, signed in pencil bottom right, 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] $1,500-2,500

56 MARCH AVERY (american b. 1932) “SPRING FIELD” Signed, titled and dated 64 on stretcher verso, oil on canvas.

30 x 46 in. (76.2 x 116.8cm) provenance: Private Collection. $3,000-5,000

40 www.freemansauction.com

57 HANANIAH HARARI (american, 1912-2000) “WORKING ON THE RAILROAD” Signed and dated 1939 bottom left corner and signed, titled and dated on original stretcher piece affixed to frame backing verso, oil on canvas.

28 1/2 x 22 in. (72.4 x 55.9cm) provenance: Mr. and Mrs. Charles Brown, Jr., Louisville, Kentucky.

Sotheby’s New York, “American Paintings, Drawings and Sculpture,” September 30, 1997, lot 407.

Private Collection. exhibited: “American Abstract Artists: 50th Anniversary Celebration,” Hillwood Art Gallery, Long Island University, C.W. Post Campus, Greenvale, New York, October 1-24, 1986.

“Hananiah Harari Works of the 30s and 40s,” Martin Diamond Fine Arts, New York, New York, October 13- November 7, 1981. $3,000-5,000

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58 AFTER ALEXANDER CALDER (american, 1898-1976) “SERPENT AU VITRAIL NO. 20” Ca. 1970, numbered 3/6 on woven label affixed verso, with the Art Vivant and Tapisserie d’Aubusson Penton fabric labels affixed verso, Art Vivant, Inc., New Rochelle, publisher. Woven wool Aubusson tapestry.

77 1/2 x 53 1/2 in.

(196.9 x 135.8cm) provenance: Art Vivant Inc., New Rochelle, New York.

Christie’s East, New York, “Modern & Contemporary Paintings, Watercolors, Drawings & Sculpture,” February 27, 1992, lot 165.

Private Collection, New York. exhibited: “Alexander Calder Tapestries,” Whitney Museum of American Art, New York, Oct.-Nov. 1971, exhibition catalogue no. 18 (another example).

“Aubusson Tapestries by Calder,” Leonard Hutton Galleries, New York, April-May 1972, exhibition catalogue no. 16 (another example). $6,000-10,000

42 www.freemansauction.com

59 ALEXANDER CALDER (american, 1898-1976) “BUSHY-TAILED RED” Signed on base with monogram, painted wire and sheet metal.

Executed in 1966. height: 8 1/2 in. (21.6cm) width: 9 1/2 in. (24.1cm) depth: 8 in. (20.3cm) provenance: The artist.

Perls Gallery, New York, New York.

Private Collection (purchased from the above in 1967).

The Private Collection of Mr. and Mrs. Bela Kalman. note: This work is registered in the archives of the Calder Foundation under identification number A07865. $200,000-300,000

“Just as one can compose colors, or forms, so one can compose motions." It was this concept, developed by Alexander Calder in the 1930s, that revolutionized the art of sculpture.

Calder pioneered the development of kinetic sculpture. He broke free from the established artistic language of movement, implied statically through form and volume.

Rather, Calder introduced moving parts to express and occupy open space, three-dimensionality and transparency. He drew inspiration from planetary movements, and attempted to harness the natural rhythms, floating freedom and unpredictability of celestial bodies.

He also brought about a new whimsical aesthetic. His abstract

forms and emphasis on primary colors evoke a sense of humor that redefined what art could be.

were seldom intended for sale.

Instead, they were reserved for Calder’s friends and family.

Until around the Second World War, Calder had largely focused his energies on the construction of monumental mobiles and stabiles.

His inspiration for the smaller mobile came from the maquettes he submitted to architects who commissioned his large scale works.

Though initially intended as models, these small works triggered an investigation into the unexplored territory of miniature moving sculpture. It was Marcel Duchamp who championed these little designs and encouraged Calder to send them to the Parisian dealer, Louis Carré, who exhibited them in 1946.

Yet for the most part, these pieces

“Bushy-Tailed Red,” created in 1966, classically embodies Calder’s defining principles through its enticing mixture of bold color, dramatic curves, graceful geometric shapes and natural rhythmic movement. In his preface to the aforementioned Carré exhibition catalogue, Jean-Paul Sartre aptly described small mobiles such as the present work as “a small local ‘fête’, an object defined by its movement, which does not exist outside of this movement, a flower that fades the minute the movement ceases, the play of sheer motion, exactly as there are plays of light.”

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60 ALEXANDER CALDER (american, 1898-1976) “JUGGLER’S DREAM” Signed and dated 1966, gouache and ink on paper.

29 x 42 in. (73.7 x 106.7cm) provenance: Perls Gallery, New York, New York.

Private Collection (purchased from the above in 1967).

Wickliff Auctions, April 21, 2011, lot 963.

Private Collection. exhibited: “Alexander Calder,” Akademie der Kunst, Berlin, May 21 - July 16, 1967, exhibition catalogue no. 132. note: This work is registered in the archives of the Calder Foundation under identification number A05891. $30,000-50,000

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61 CLEVE GRAY (american, 1918-2004) “ZEN GARDENS #22” Signed, titled and dated 72 verso, acrylic on canvas.

40 x 60 in. (101.5 x 152.3cm) provenance: Private Collection, Philadelphia, Pennsylvania. $5,000-8,000

46 www.freemansauction.com

62 SALLY AVERY (american, 1902-2003) “AUTUMN HILLS” Signed and dated 1982 bottom right and signed, dated and titled again verso, oil on canvas.

36 x 50 in. (91.4 x 127cm) provenance: The artist.

Private Collection. $6,000-8,000

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63 SALLY AVERY (american, 1902-2003) YELLOW LILY STILL LIFE Pencil signed and dated 1987 bottom right, watercolor and charcoal on paper.

14 x 10 1/4 in. (35.6 x 26cm) provenance: The artist.

Private Collection. $1,500-2,500

64 SALLY AVERY (american, 1902-2003) PINK FLORAL STILL LIFE Pencil signed and dated 1987 bottom right, watercolor and charcoal on paper.

14 1/4 x 10 1/4 in. (36.2 x 26cm) provenance: The artist.

Private Collection. $1,500-2,500

48 www.freemansauction.com

65 HARRY BERTOIA (american, 1915-1978) SONAMBIENT SCULPTURE Beryllium copper and brass. height: 77 in. (195.6cm) width: 12 in. (30.5cm) depth: 12 in. (30.5cm) provenance: Benjamin Mangel Gallery, Bala Cynwyd, Pennsylvania.

Madame Justice Newman, Gladwyne, Pennsylvania (acquired directly from the above). note: This lot will be accompanied by a certificate of authenticity signed by Mary Thorp of the Harry Bertoia Research Project. It will also be included in the forthcoming Catalogue RaisonnĂŠ. $70,000-100,000

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66 HARRY BERTOIA (american, 1915-1978) “WHEAT” Stainless steel. height: 60 in. (152.4cm) base: 12 x 12 in. (30.5 x 30.5cm) provenance: Benjamin Mangel Gallery, Bala Cynwyd, Pennsylvania.

A Prominent Philadelphia Estate (purchased from the above in 1979). exhibited: “Harry Bertoia: A Retrospective,” Benjamin Mangel Gallery, Bala Cynwyd, Pennsylvania, November 9- December 10, 1979, exhibition catalogue no. 1 (illustrated). $20,000-30,000

50 www.freemansauction.com

67 HARRY BERTOIA (american, 1915-1978) “BUSH” Bronze with green patina.

Executed circa 1960. height: 10 in. (24.1cm) width: 11 1/2 in. (29.2cm) depth: 11 1/2 in. (29.2cm) provenance: Benjamin Mangel Gallery, Bala Cynwyd, Pennsylvania.

A Prominent Philadelphia Estate (purchased from the above in 1979). exhibited: “Harry Bertoia: A Retrospective,” Benjamin Mangel Gallery, Bala Cynwyd, Pennsylvania, November 9- December 10, 1979, exhibition catalogue no. 44 (illustrated). note: This lot will be accompanied by a certificate of authenticity signed by Mary Thorp of the Harry Bertoia Research Project. It will also be included in the forthcoming Catalogue Raisonné. $18,000-25,000

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68 HARRY BERTOIA (american, 1915-1978) “BUSH (GOLD KNOBS)” Patinated bronze.

Executed circa 1960. height: 12 in. (29.2cm) width: 11 in. (27.9cm) depth: 5 in. (12.7cm) provenance: Benjamin Mangel Gallery, Bala Cynwyd, Pennsylvania.

A Prominent Philadelphia Estate (purchased from the above in 1979). exhibited: “Harry Bertoia: A Retrospective,” Benjamin Mangel Gallery, Bala Cynwyd, Pennsylvania, November 9December 10, 1979, exhibition catalogue no. 19. note: This lot will be accompanied by a certificate of authenticity signed by Mary Thorp of the Harry Bertoia Research Project. It will also be included in the forthcoming Catalogue Raisonné. $18,000-25,000

52 www.freemansauction.com

69 HARRY BERTOIA (american, 1915-1978) “ABSTRACT FORM” Welded stainless steel. height: 26 in. (66cm) base: 6 x 6 in. (15.2 x 15.2cm) provenance: Benjamin Mangel Gallery, Bala Cynwyd, Pennsylvania.

A Prominent Philadelphia Estate (purchased from the above in 1979). exhibited: “Harry Bertoia: A Retrospective,” Benjamin Mangel Gallery, Bala Cynwyd, Pennsylvania, November 9December 10, 1979, exhibition catalogue no. 49 (illustrated). $15,000-20,000

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70 HARRY BERTOIA (american, 1915-1978) “WILLOW” Stainless steel.

Executed circa 1970. height: 66 in. (167.6cm) width: 37 in. (94cm) depth: 37 in. (94cm) provenance: A Prominent Philadelphia Estate. $30,000-50,000

54 www.freemansauction.com

71 HARRY BERTOIA (american, 1915-1978) “FREEFORM” Bronze with green patina.

Executed circa 1960. height: 12 1/2 in. (31.8cm) width: 8 in. (20.3cm) provenance: Benjamin Mangel Gallery, Bala Cynwyd, Pennsylvania.

A Prominent Philadelphia Estate (purchased from the above in 1979). exhibited: “Harry Bertoia: A Retrospective,” Benjamin Mangel Gallery, Bala Cynwyd, Pennsylvania, November 9December 10, 1979, exhibition catalogue no. 50 (illustrated). note: This lot will be accompanied by a certificate of authenticity signed by Mary Thorp of the Harry Bertoia Research Project. It will also be included in the forthcoming Catalogue Raisonné. $10,000-15,000

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72 HARRY BERTOIA (american, 1915-1978) “ROD AND TUBE” Bronze with green patina.

Executed circa 1965. height: 12 in. (30.5cm) width: 11 in. (27.9cm) provenance: Benjamin Mangel Gallery, Bala Cynwyd, Pennsylvania.

A Prominent Philadelphia Estate (purchased from the above in 1979). exhibited: “Harry Bertoia: A Retrospective,” Benjamin Mangel Gallery, Bala Cynwyd, Pennsylvania, November 9- December 10, 1979, exhibition catalogue no. 46. note: This lot will be accompanied by a certificate of authenticity signed by Mary Thorp of the Harry Bertoia Research Project. It will also be included in the forthcoming Catalogue Raisonné. $3,000-5,000

73 KLAUS IHLENFELD (german, b. 1934) “SUNFLOWER” Signed with the artist’s initials on the base, patinated phosphor bronze.

Executed in 1968. height: 8 in. (20.3cm) width: 9 in. (22.9cm) provenance: A Prominent Philadelphia Estate. $1,500-2,500

74 KLAUS IHLENFELD (german, b. 1934) “WIND TORN PLANT” Stamped with the artist’s initials on the base, patinated bronze and copper.

Executed in 1962. height: 11 1/2 in. (29.2cm) width: 11 in. (27.9cm) provenance: A Prominent Philadelphia Estate. $1,500-2,500

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75 GEORGE RICKEY (american, 1907-2002) UNTITLED Inscribed on base ‘To George from George / 1960 / Rickey’, stainless steel and wire on wood base. height: 15 5/8 in. (39.7cm) provenance: The artist.

Mr. George Debell, East Chatham, New York (gifted directly from the above).

By descent in family to current owner.

Private Collection, Maryland. note: The present work was gifted to George Debell, who, along with his wife Jade, lived next door to the artist and his wife, Edie in the 1960s. The couples were lifelong friends. Included in this lot are photographs, a holiday card from the Rickeys and a humorous poem written by Edie Rickey for the Debells in which she references the value of artists signing their works. The poem relates that, at Jade’s request, Mrs. Rickey encouraged her husband to sign and date his gift to add value for the recipients. $3,000-5,000

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76 JEAN MIOTTE (french, b. 1926) “COMPOSITION” Signed bottom right, acrylic on canvas.

Executed in 1986.

35 x 51 1/2 in. (88.9 x 130.8cm) provenance: G.R. N’Namdi Gallery, Birmingham, Michigan.

Private Collection, Michigan. literature: Fernando Arrabal et al., “Miotte,” La Difference, Paris, p. 223. $4,000-6,000

77 HOWARD HODGKIN (british, b. 1932) “GOSSIP” 1995, pencil signed with initials, dated and numbered 14/108 (there were also 14 artist’s proofs), with full margins, Lincoln Center/List Poster and Print Program, New York, publisher. Color screenprint on Somerset. image: 29 1/8 x 40 7/8 in.

(74 x 103.8cm) sheet: 36 x 47 in. (91.4 x 119.4cm) [Heenk, p. 224] $2,000-3,000

58 www.freemansauction.com

78 two prints LARRY RIVERS (american 1923-2002) “JOHN ASHBERY WORKING” 1983, pencil signed, dated and numbered 39/175. Etching and photogravure with hand coloring on wove paper.

Tondo: 17 9/16 x 17 7/8 in. (44.6 x 45.4cm) and: “CHINESE TRAVEL INFORMATION” 1985, pencil signed, dated and numbered 16/150. Color lithograph on wove paper.

30 1/16 x 35 3/16 in. (76.3 x 89.3cm) (2) $1,000-1,500

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79 PHILIP GUSTON (american, 1913-1980) “DOOR” 1981, pencil signed, titled, dated and numbered 48/50 (there were also 11 artist’s proofs), with full margins, published by Gemini G.E.L., Ltd., Los Angeles, and with their blindstamp and inkstamps verso. Lithograph on Rives BFK. image: 19 5/8 x 29 1/2 in.

(49.9 x 74.9cm) sheet: 22 1/4 x 29 3/4 in.

(56.5 x 75.6cm) [Gemini, 931] $3,000-5,000

80 LOWELL NESBITT (american, 1933-1993) “BLUE STAIR” Signed and dated 1960 bottom left and signed, titled and dated again verso, acrylic on canvas.

40 x 50 in. (101.6 x 127cm) provenance: Private Collection. $1,500-2,500

60 www.freemansauction.com

81 JASPER JOHNS (american, b. 1930) “PERISCOPE I” 1979, pencil signed, dated and numbered 42/65 (there were also 12 artist’s proofs), the full sheet, Gemini G.E.L., Ltd., Los Angeles, publisher and with their blindstamp.

Color etching on Japanese Kurotani. sheet: 50 x 36 in. (127 x 91.4cm) [ULAE, 200] $10,000-15,000

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82 ELLSWORTH KELLY (american, b. 1923) “DARK GRAY AND WHITE” 1977/79, pencil signed and numbered 40/41 (there were also 10 artist’s proofs), the full sheet, Tyler Graphics, Ltd., Mount Kisco, New York, publisher and with their blindstamp. Screenprinted collage on Rives paper support. sheet: 30 x 41 1/2 in.

(76.2 x 105.4cm) [Axsom, 180] $2,000-3,000

83 ten prints AD REINHARDT (american, 1913-1967) UNTITLED 1966, each sequentially stamped [110] verso, from the largely unsigned edition of 250, all with full margins, Wadsworth Atheneum, Hartford, Connecticut, publisher. The complete set of ten color screenprints in colors on wove paper (lacking the original paper folders, title, text and justification). all sheets: 22 x 17 in.

(55.9 x 43.2cm) Unframed (10) $5,000-8,000

62 www.freemansauction.com

84 SOL LEWITT (american, 1928-2007) “TWO CUBES” 1989, pencil signed and numbered 49/150 bottom right, with full margins, Edition Schellmann, New York, publisher. Screenprint on Arches. image: 15 7/8 x 28 1/4 in. (40.3 x 71.8cm) sheet: 20 x 32 5/8 in. (50.8 x 82.9cm) $1,000-2,000

85 ROBERT MANGOLD (american, b. 1937) “FIVE COLOR FRAME” 1985, pencil signed and numbered 82/200 (there were also 20 artist’s proofs), with full margins, Crown Point Press, San Francisco, publisher and with their blindstamp. Color woodcut on Echizen Kozo paper. image: 21 x 17 1/2 in (53.3 x 44.5cm) sheet: 25 x 21 1/8 in. (63.5 x 53.7cm) [Sandback, 22] $2,000-3,000

86 BERNAR VENET (french, b. 1941) “RANDOM COMBINATION OF INDETERMINITE LINES” 1995-96, pencil signed and dated bottom right, numbered 4/40 (there were also 10 artist’s proofs), with full margins, co-published by the artist and Graphicstudio, Tampa and with their blindstamps. Aquatint on wove paper. image: 11 x 8 1/2 in. (27.9 x 21.6cm) sheet: 22 1/2 x 17 in. (57.5 x 43.8cm) $1,000-2,000

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87 ALEX KATZ (american, b. 1927) “THE ORANGE BAND” 1979, pencil signed bottom left and numbered AP 5/11 (an artist’s proof, the edition was 80), the full sheet, the artist and Simca Print Artists, Inc., New York, co-publishers. Color screenprint on Arches Cover White paper. sheet: 40 x 28 1/4 in. (101.6 x 71.8cm) [Maravall, 115] $2,000-3,000

88 ALEX KATZ (american, b. 1927) “RED GROOMS AND LIZZY ROSS” from “pas des deux” 1993, pencil signed bottom left and numbered 148/150 (there were also 18 artist’s proofs), the full sheet, Chalk & Vermillion Fine Arts, Greenwich, Connecticut, publisher. Color screenprint on Arches Cover white paper. sheet: 36 x 19 7/8 in. (91.4 x 50.6cm) $1,500-2,500

89 ALEX KATZ (american, b. 1927) “JANUARY 7” 1993, pencil signed bottom left, inscribed ‘R.T.P.’ (the edition was 50 plus 12 artist’s proofs), the full sheet, Marlborough Graphics, Inc., New York, publisher. Color aquatint on Somerset Textured paper. sheet: 29 3/4 x 39 1/2 in. (75.5 x 100.3cm) $5,000-8,000

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90 ALEX KATZ (american, b. 1927) “STANDING ADA” 1987, incised with signature and numbered 20/75 on the base (there were also 12 artist’s proofs), Styria Studio, Inc., New York, publisher.

Color screenprint on aluminum. height: 64 5/8 in. (164.1cm) width: 10 1/8 in. (25.7cm) [Schröder, 216] $12,000-18,000

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91 ALEX KATZ (american, b. 1927) “ANNE” 1990, signed and numbered 7/75 (there were also 12 artist’s proofs), Styria Studio, Inc., New York, publisher. Color screenprint on laser-cut aluminum. height: 68 in. (172.7cm) width: 24 1/4 in. (61.6cm) [Schröder, 240] $12,000-18,000

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92 ALEX KATZ (american, b. 1927) “GRAY DAY” 1992, pencil signed and numbered 42/75 (there were also 12 artist’s proofs) and with the artist’s inkstamp verso, the full sheet, Chalk & Vermillion Fine Arts, Greenwich, Connecticut, publisher. Color screenprint on Arches. sheet: 22 1/8 x 72 1/4 in. (56.2 x 183.5cm) $18,000-25,000

93 TOM WESSELMANN (american, 1931-2004) “MAQUETTE FOR ‘SEASCAPE WITH CUMULUS CLOUDS’” Signed, titled and dated 1991 on frame verso, Liquitex on Bristol board mounted to board. cutout: 4 1/2 x 16 x 1/2 in.

(11.4 x 40.6 x 1.27cm) sheet: 12 1/2 x 21 1/2 in.

(31 x 54.6cm) provenance: The artist.

Robert Miller Gallery, New York, New York.

Private Collection, Princeton, New Jersey. $6,000-10,000

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94 ALEX KATZ (american, b. 1927) “RECLINING FIGURE/ INDIAN BLANKET” 1987, pencil signed and numbered AP 2/12 (the edition was 60), the full sheet, Crown Point Press, San Francisco, publisher. Color aquatint on Somerset Satin paper. sheet: 35 1/4 x 41 1/2 in. (89.5 x 105.4cm) [Schröder, 215] $4,000-6,000

95 JIM DINE (american, b. 1935) “FOUR HEARTS” from “record with rory mcewen” 1969, pencil signed bottom right, from the unnumbered edition of 200, the full sheet. Color screenprint on Acetate. sheet: 12 5/8 x 12 3/8 in. (32.1 x 31.4cm) [Galerie Mikro, 77] $800-1,200

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96 KEITH HARING (american, 1958-1990) “FIGHT AIDS WORLDWIDE” 1990, pencil numbered 494/1,000, with full margins, World Federation of the United Nations Associations, New York, publisher and with the artist’s estate stamp verso; also with the Keith Haring Estate certificate of authenticity with pencil signature by Julia Gruen verso. Color lithograph on wove paper. sheet: 11 x 8 5/8 in. (27.8 x 21.9cm) [Littman, 168] Unframed $1,000-1,500

97 KEITH HARING (american, 1958-1990) “KUTZTOWN CONNECTION” 1984, signed in red felt-tip pen and numbered ‘236’ in black ink verso, with full margins, The New Arts Program, New York, publisher, with their blindstamp and also with a letter on the reverse of the mount signed by the director of the New Arts Program, stating this work is no. 236 of the signed edition of the poster.

Offset lithographic poster on smooth wove paper. image: 21 1/2 x 18 1/2 in. (54.6 x 47cm) sheet: 33 1/8 x 20 1/8 in. (84.8 x 51.8cm) $1,000-1,500

98 ROY LICHTENSTEIN (american, 1923-1997) “SANDWICH AND SODA” from “ten works by ten painters” 1964, unsigned, from the edition of 500 (there were also 10 artist’s proofs), with full margins, Wadsworth Atheneum, Hartford, Connecticut, publisher. Color screenprint on clear Mylar. image: 19 x 23 in. (48.3 x 58.4cm) sheet: 20 x 24 in. (50.8 x 60.9cm) [Corlett, 35] $3,000-5,000

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99 ROY LICHTENSTEIN (american, 1923-1997) “NUDE READING” from “nudes” Pencil signed and dated 94, numbered 25/60 (there were also 12 artist’s proofs), with full margins, Tyler Graphics, Ltd., Mount Kisco, New York, publisher. Color relief print on Rives BFK mould-made paper. image: 23 15/16 x 30 3/8 in. (60.8 x 77.2cm) sheet: 30 5/8 x 36 3/8 in. (77.8 x 92.4cm) [Corlett, 288] $50,000-80,000

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100 ANDY WARHOL (american, 1928-1987) “MAO (WALLPAPER)” 1974, printed in 1989, from the edition of unknown size (there was also a signed edition of 100 printed in 1979), the full sheet, published by the Museum of Modern Art, New York as a poster for the 1989 Warhol retrospective and with their stamps at right, also with the Estate of Andy Warhol copyright stamp. Color screenprint on wove paper. sheet: 33 3/4 x 29 5/8 in. (85.7 x 75.2cm) [see Feldman & Schellmann, III.125a] Unframed $1,000-1,500

101 ANDY WARHOL (american, 1928-1987) “S&H GREEN STAMPS” Ink signed and dated 65 bottom right (from the edition of approx.

300, some of which were signed and dated as here), the full sheet, Institute of Contemporary Art, Philadelphia, publisher. Offset color lithograph on wove paper. sheet: 23 x 22 3/4 in.

(58.4 x 57.8cm) [Feldman & Schellmann, ll.9] $6,000-10,000

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Works from the Collection of Lois Cowles Harrison

Lois Cowles Harrison of Lakeland, Florida was a lifelong advocate for woman’s rights and a great supporter of the arts who led countless civic causes. Because of her advocacy and fundraising efforts, The Lois Cowles Harrison Center for the Visual and Performing Arts was founded in 1989 and bore her name. She was president of the League of Women Voters of Florida, president and member of the Board of Governors of the Polk Museum of Art, president of Planned Parenthood of Central Florida, and the Board of Directors of the Florida Endowment of the Humanities, among many other public initiatives. In 1994, Secretary of State Jim Smith honored Harrison and her husband, Homer Hooks with the Florida Arts Recognition Award.

Harrison’s dedication to the advancement of the arts had a personal beginning. The Cowles family name has long been associated with top notch contemporary art, and Lois was no exception. The daughter of famed Warhol collector Gardner Cowles, Jr., who founded and published Look Magazine, Lois Cowles was an early and avid collector of Warhol and other Pop artists. Lois displayed a keen collector’s eye when she purchased Andy Warhol’s complete series, Soupcans I (Lot 104) directly from the artist at their first showing at Leo Castelli’s gallery.

Prominently displayed in her home alongside other top examples of Pop Art graphics, the Soupcans were clearly among the most prized works in her collection. Freeman’s is honored to present here works belonging to such a distinguished public citizen and discerning collector.

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102 ANDY WARHOL (american, 1928-1987) “MARILYN MONROE (MARILYN)” 1967, pencil signed, dated and rubber stamp-numbered 11/250 verso (there were also 26 artist’s proofs lettered A-Z), the full sheet, Factory Additions, New York, publisher. Color screenprint on wove paper.

36 x 36 in. (91.4 x 91.4cm) [Feldman & Schellmann, II.31] provenance: The Estate of Lois Cowles Harrison. $150,000-250,000

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103 ANDY WARHOL (american, 1928-1987) “MARILYN MONROE (MARILYN)” 1967, pencil signed with initials, dated and rubber stamp-numbered 11/250 verso (there were also 26 artist’s proofs lettered A-Z), the full sheet, Factory Additions, New York, publisher. Color screenprint on wove paper. sheet: 36 x 36 in. (91.4 x 91.4cm) [Feldman & Schellmann, II.25] provenance: The Estate of Lois Cowles Harrison. $60,000-100,000

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104 ANDY WARHOL (american, 1928-1987) “CAMPBELL’S SOUP I” the complete set of ten prints 1968, each signed in ball-point pen and stamp numbered 34/250 verso (there were also 26 artist’s proofs lettered A-Z), with full margins, Factory Additions, New York, publisher. The complete set of ten color screenprints on wove paper. each sheet: 35 x 23 in. (88.9 x 58.4cm) [Feldman & Schellmann, II.44-53] (10) provenance: The Estate of Lois Cowles Harrison. $250,000-400,000

Andy Warhol’s Campbell’s Soup Cans were first displayed in his solo exhibition at the Ferus Gallery in 1962. The 32 canvases, representative of the brand’s 32 flavors were displayed together on shelves mimicking a grocery store aisle.

Each was available for purchase for $100. This bold exhibition sparked and immediate and impassioned reaction and brought Warhol instant notoriety and publicity. While some were intrigued by the innovative style, the Soup Cans were also greeted with hostility and derision. Certainly the concept of celebrating the everyday, commercial and ordinary in this manner was not instantly well-received.

The Campbell’s Soup Cans have since joined the ranks amongst the most iconic images of the twentieth century.

They launched the Pop Art movement which transformed post-war culture and challenged reigning notions of high-art.

By choosing commonplace, commercial objects as his subjects and reproducing them identically through the mechanized and industrial process of screenprinting, Warhol challenged traditions of aesthetics, artistic process and the sanctity of the subject. In his own words, “I just paint things I always thought were beautiful, things you use every day and never think about…” [1] At the same time, Soup Cans posed deeper questions about America’s consumerist society.

When asked why he chose Campbell’s soup cans as his subject, Warhol famously answered, “Because I used to drink it. I used to have the same lunch every day, for twenty years, I guess, the

same thing over and over again.

Someone said my life has dominated me; I liked that idea.” [2] Six years after the Ferus exhibition, Warhol revisited these images in Campbell’s Soup I, which included ten images issued in an edition of 250 by his aptly named “Factory Additions.’ (The present lot is copy 34 from this edition.)

This time, through the commercial medium of screenprint on commercial grade paper with 250 identical copies of each image, Warhol’s quest to celebrate reproduction, ubiquity and consumerism was even more fully realized.

Campbell’s Soup I remains the most uniform suite of Warhol’s prints; the only variation from one print to the next is the flavor. His perfection of the production process and the wide proliferation of Campbell’s Soup images mirrors 1960’s standardization, abundance, and consumerism. In this way, Warhol’s art strove to adopt the same qualities as the Campbell’s product it depicted – quintessentially American, mass produced, and widely available to the masses, rich or poor.

The prints asked Americans to reexamine their culture and conception of high-art. By raising the ordinary to extraordinary, Warhol’s Campbell’s Soup asks us to elevate the mundane to sublime.

[1] D. Bourdon, Warhol, New York, 1989, p. 90.

[2] Andy Warhol, Interview with Gene Swenson, Art News (1963).

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105 ROY LICHTENSTEIN (american, 1923-1997) “BRUSHSTROKES” 1967, pencil signed and annotated ‘A.P.’ (one of an unknown number of artist’s proofs, the edition was 300), with full margins, Leo Castelli Gallery, New York, publisher for the Pasadena Art Museum. Color screenprint on wove paper. image: 22 x 29 7/8 in. (55.9 x 75.9cm) sheet: 22 7/8 x 30 7/8 in. (58.1 x 78.4cm) [Corlett, 45] provenance: The Estate of Lois Cowles Harrison. $12,000-18,000

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106 AFTER ROY LICHTENSTEIN (american, 1923-1997) “THUNDERBOLT” 1966, ink signed and numbered 14/20 on fabric label affixed verso, Betsy Ross Flag and Banner Co, Inc., fabricator. Felt banner collage with aluminum hanging bars fitted inside top and bottom edges (as issued).

102 1/2 x 44 in. (260.4 x 111.8cm) Unframed provenance: The Estate of Lois Cowles Harrison. literature: Helen Cullinan, “Did Pop Go Out the Window?” Sunday Plain Dealer (Cleveland), January 11, 1976, p. 11.

Diane Waldman, “Roy Lichtenstein,” Harry N. Abrams, New York, 1971, plate 133 (illustrated). $40,000-60,000

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107 DALE CHIHULY (american, b. 1941) EIGHT PIECE SEAFORM SET Etched with signature and dated 1981 on underside of largest element, eight rose and magenta glass elements with teal lip wraps. height: 6 3/4 in. (17.2cm) width: 15 1/2 in. (39.4cm) depth: 12 in. (30.5cm) (8) provenance: The Estate of Lois Cowles Harrison. $10,000-15,000

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108 FRANK STELLA (american, b. 1936) “PURPLE SERIES” three prints All pencil signed and dated 72 bottom right, numbered 66/100 (there were also 9 artist’s proofs for all), the full sheets, Gemini G.E.L., Ltd., Los Angeles, publisher and each with their blindstamp.

Three color lithographs on Zerkall Copperplate deluxe. all sheets: 16 x 22 1/8 in. (40.6 x 56.2cm) [Axsom, 66, 71, 72] (3) provenance: The Estate of Lois Cowles Harrison. including: “HENRY GARDEN,” “HOLLIS FRAMPTON,” and “LEO CASTELLI.” $2,500-4,000

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109 3 vols.

Frei, George, editor. The Andy Warhol Catalogue Raisonne. Phaidon, 2004.

Volumes 1, 2A & 2B. 2nd edition of volume 1, 1st edition of volumes 2A & 2B. Oblong 4to, original boards.

Illustrated throughout. Lacking slipcases. provenance: The Estate of Lois Cowles Harrison. $1,200-1,800

110 1 vol.

Warhol, Andy. Andy Warhol’s Index Book. New York: Random House, 1967.

1st edition. 4to, original black clothbacked boards with b/w “Brillo” cover labels; minor edge wear.

Illustrated. With 9 (of 10) multiples - lacking balloon as usual, paper sculpture detached but present, tears at center head & foot of the leaf facing the Lou Reed disc. provenance: The Estate of Lois Cowles Harrison. $700-1,000

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Property from the Collection of Nell Day Surber

Freeman’s is pleased to present here 33 works from the Collection of Nell Day Surber. Ms. Surber graduated from Barnard College in New York in 1950, and was admitted to the Ohio bar in 1955. She called the city of Cincinnati her home from that point forward. She served for many years as Director of Economic Development for the city where she made enormously impactful decisions that affected her city’s economic growth and skyline. Nell’s work for the city required her to lead negotiations for the development of major banks, hotels and corporations such as the Hyatt/Saks Fifth Avenue complex, Atrium II and the Chiquita Center. In fact, a 1982 Cincinnati Magazine article declared her “the most powerful woman in Cincinnati.”

While Ms. Surber’s main residence was in Cincinnati’s Prospect Hill neighborhood, she also owned an apartment in New York. Friends recall Surber’s great love of the New York art scene, where she frequented museums and art galleries. Over time she developed a diverse collection ranging from early 1950’s abstraction and 60’s Pop Art to minimalist prints and cutting edge contemporary sculpture. Certainly, select works including Jean Dubuffet’s Site de Memoir [Lot 114] and Lynda Benglis’ twisted “Graham Hollywood” [Lot 137] reveal a woman who was also drawn to large-scale, bold artistic statements.

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111 JOAN MIRÓ (spanish, 1893-1983) “BARCELONA” no. 11 1972-1973, pencil signed bottom right and numbered 39/50, (there were also 10 hors-commerce copies in Roman numerals), presumably the full sheet, Sala Gaspar, Barcelona, publisher. Color etching, aquatint and carborundum on Guarro. sheet: 27 1/2 x 41 in.

(69.9 x 104.1cm) [Dupin, 602] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $3,000-5,000

112 PIERRE SOULAGES (french, b. 1919) “LITHOGRAPHIE N°22” 1969, pencil signed bottom right and numbered 70/85, the full sheet, Galerie Berggruen, Paris, publisher.

Color lithograph on Velin d’Arches.

30 1/4 x 21 in. (76.8 x 53.3cm) [Rivière, 24] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $1,000-2,000

113 SERGE POLIAKOFF (russian, 1906-1969) UNTITLED 1969, pencil signed bottom right and numbered 48/80 (there were also 20 artist’s proofs), with full margins, Erker-Presse, St. Gallen, publisher and with their blindstamp. Color lithograph on Rives BFK. image: 38 x 25 1/4 in.

(96.5 x 64.1cm) sheet: 41 3/4 x 29 3/4 in.

(106.1 x 75.6cm) [Poliakoff & Schneider, 71] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $1,500-2,500

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114 JEAN DUBUFFET (french, 1901-1985) “SITE DE MEMOIRE II” Signed and numbered 9/10 bottom center (there were also 3 horscommerce copies in Roman numerals), Pace Editions, Inc., New York, publisher. Screenprint on canvas.

Executed in 1979.

84 x 58 in. (213.4 x 147.3cm) Unframed provenance: Pace Prints, New York, New York.

The Estate of Nell Day Surber, Cincinnati, Ohio. $30,000-50,000

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115 JIM DINE (american, b. 1935) “PALETTE III” 1969, pencil signed bottom right and numbered 41/75, the full sheet, Petersburg Press, London, publisher. Lithograph on wove paper. sheet: 28 x 19 3/4 in. (71.1 x 50.2cm) [Galerie Mikro, 58] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $800-1,200

117 JIM DINE (american, b. 1935) “BASIL IN BLACK LEATHER SUIT (BASIL AT THE THEATRE)” from “the picture of dorian gray” 1968, pencil signed bottom right and stamp/inscribed ‘A proof’ verso (the edition was 200), the full sheet, Petersburg Press, Ltd., New York, publisher. Color lithograph on wove paper. sheet: 17 5/8 x 12 1/2 in.

(44.8 x 31.8cm) [Galerie Mikro, 47c] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $800-1,200

116 ROY LICHTENSTEIN (american, 1923-1997) “ASPEN WINTER JAZZ POSTER” 1967, ink signed, dated and numbered 207/300 (there were also 12-15 artist’s proofs), the full sheet, co-published by the artist and Leo Castelli Gallery, New York for the Aspen Winter Jazz Festival. Color screenprint on wove paper. sheet: 40 x 26 in. (101.6 x 66cm) [Corlett, 44] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $1,500-2,500

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118 JASPER JOHNS (american, b. 1930) “M.D.” 1974, pencil signed and dated bottom left, numbered 44/100 (there were also 30 artist’s proofs), the full sheet, Castelli Graphics and Multiples, Inc., New York, publisher and with their blindstamp. Die cut on buff colored card. sheet: 22 1/4 x 18 in. (56.5 x 45.7cm) [ULAE, 148] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $2,000-3,000

119 two prints DOROTHEA ROCKBURNE (canadian, b. 1932) PLATES #1 AND #5 from “locus series” 1972, both pencil signed, dated, titled and numbered 30/42 (there were also 8 artist’s proofs), Parasol Press, Ltd., Portland, publisher.

Etching and aquatint on Strathmore 100% Rag Bristol. each sheet: 40 x 30 in. (101.6 x 76.2cm) (2) provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $2,000-3,000

120 LOUISE NEVELSON (american, 1899-1988) “MORNING HAZE” Pencil signed and dated 78 on one sheet and numbered 39/125 on the other (there were also 25 artist’s proofs), the full sheets, Pace Editions, Inc., New York, publisher. Cast paper relief on two sheets. overall: 33 3/4 x 45 3/8 in. (85.7 x 115.3cm) provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $3,000-5,000

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121 WILLEM DE KOONING (american/dutch, 1904-1997) “QUATRE LITHOGRAPHIES” the complete set of 4 lithographs 1986, each pencil signed, dated bottom right and numbered XXIX/L (there were also 100 in Arabic numerals), the full sheets, Editions de la Différence, Paris, publisher. The complete set of four color lithographs on Arches. each sheet: 28 3/4 x 24 7/8 in. (73 x 63.2cm) (4) provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $40,000-60,000

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122 ROBERT RAUSCHENBERG (american, 1925-2008) “PAGE 3” from “pages and fuses” 1973-4, with the artist’s embossed signature lower right, numbered 9/35 in pencil (there were also 7 artist’s proofs), the full sheet, Gemini G.E.L., Ltd., Los Angeles, publisher and with their inkstamp. Shaped and molded hand-made paper pulp in Plexiglas box (as issued). sheet: 18 1/2 x 19 in. (47 x 48.3cm) box: 23 x 28 in. (58.4 x 71.1cm) [Gemini, 515] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $800-1,200

123 FRANK STELLA (american, b. 1936) “THE BENJAMIN MOORE SERIES” three prints 1971, all pencil signed and dated bottom right, two numbered 28/100 and one numbered 92/100 (there were also 9 artist’s proofs for each), the full sheets, Gemini, G.E.L., Ltd., Los Angeles, publisher and each with their blindstamp. Three color lithographs on Arches. image: various image (each) approx.: 9 1/4 x 9 1/4 in. (23.5 x 23.5cm) [Axsom, 58, 61, 62] (3) provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. including: “NEW MADRID,” “SABINE PASS,” and “PALMITO RANCH.” $3,000-5,000

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124 ELLSWORTH KELLY (american, b. 1923) “DRACENA 1” from “plant series” 1984, pencil signed bottom right and numbered 24/30 (there were also 9 artist’s proofs), full margins, Gemini G.E.L., Ltd., Los Angeles, publisher and with their blindstamp.

Transfer lithograph on Rives BFK. image: 39 1/2 x 27 1/2 in.

(100.3 x 69.9cm) sheet: 43 x 31 1/2 in.

(109.2 x 80cm) [Gemini, 1209; Axsom, 213] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $5,000-7,000

125 SAM FRANCIS (american, 1923-1994) “GENERATED” 1982, pencil signed and dated on the right sheet and numbered 29/40 on the left sheet (there were also 8 artist’s proofs), the artist and Gemini, G.E.L., Ltd., Los Angeles, copublishers and with their blindstamps. Color lithograph on two sheets of HMP Koller handmade white (as issued). each sheet: 40 x 30 1/2 in.

(101.5 x 77.4cm) overall: 40 x 61 in.

(101.5 x 154.0cm) [Lembark, L.246] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $2,500-3,500

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126 ROBERT MOTHERWELL (american, 1915-1991) “ATASCADERO II” 1978, pencil signed bottom right and numbered 15/25 (there were also 10 artist’s proofs), with full margins, the artist and Gemini G.E.L, Ltd., Los Angeles, copublishers and with their blindstamps.

Color lithograph on wove paper with R.M. watermark. image: 30 x 12 in. (76.2 x 30.5cm) sheet: 36 x 18 1/2 in. (91.4 x 47cm) [Belknap, 156; Engberg & Banach, 220] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $1,000-1,500

127 ROBERT MOTHERWELL (american, 1915-1991) “NAPLES YELLOW OPEN” 1983-4, pencil signed and numbered 34/62 bottom right (there were also 10 artist’s proofs), with full margins, the artist (with his blindstamp) and Tyler Graphics, Ltd., Mount Kisco, New York, co-publishers. Color aquatint, soft-ground etching and lift-ground etching on German Etching paper. image: 11 3/4 x 17 7/8 in.

(29.9 x 45.4cm) sheet: 19 3/8 x 25 in.

(49.2 x 63.5cm) [Belknap, 311; Engberg & Banach, 341] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $1,000-2,000

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128 HELEN FRANKENTHALER (american, 1928-2011) “TALES OF GENJI VI” from “tales of genji” 1998, pencil signed bottom right and numbered AP 6/14 (the edition was 35), the full sheet, Tyler Graphics, Ltd., Mount Kisco, New York, publisher and with their blindstamp. Color woodcut and pochoir on TGL handmade paper. sheet: 47 x 42 in. (119.4 x 106.7cm) provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $15,000-25,000

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129 JASPER JOHNS (american, b. 1930) “SUMMER” Pencil signed and dated 85-91 bottom right, numbered 157/225 (there were also 19 artist’s proofs), with full margins, Brooke Alexander Editions, New York, publisher.

Color lithograph on J. Whatman. image: 9 1/2 x 6 1/4 in. (24.1 x 15.9cm) sheet: 16 1/4 x 11 1/4 in. (41.3 x 28.6cm) [ULAE, 254] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $2,000-3,000

130 JIM DINE (american, b. 1935) UNTITLED 1992, pencil signed, dated and numbered “P/P” (printer’s proof, the edition was 50 plus 10 artist’s proofs), with full margins, Pace Editions, New York, publisher.

Etching and power tool abrasion with hand-coloring on wove paper. image: 10 x 12 3/8 in. (25.2 x 31.4cm) sheet: 22 1/2 x 19 1/2 in. (57.2 x 49.5cm) [Carpenter, 56] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $1,000-1,500

131 CLAES OLDENBURG (american, b. 1929) “APPLE CORE” 1991, pencil signed with initials and dated bottom right, numbered 3/45 (there were also 10 artist’s proofs), full margins, Brooke Alexander Editions, New York, publisher. Color lithograph on Richard de Bas Narcisse. image: 16 1/2 x 13 1/2 in. (41.9 x 34.3cm) sheet: 31 x 22 7/8 in. (78.7 x 58.1cm) [Axsom & Platzker, 235] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $800-1,200

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132 RED GROOMS (american, b. 1937) “DALI SALAD II” 1980, signed and dated in pencil upper right and numbered 12/55 on brass plate verso (there were also 12 artist’s proofs), Brooke Alexander Editions and Marlborough Gallery, Inc., New York, copublishers. Three-dimensional color lithograph on Arches Cover, Japanese paper and vinyl, cut out, glued and mounted in Plexiglas case. overall: 26 1/2 x 27 1/2 x 12 1/2 in.

(68.9 x 69.9 x 31.8cm) [Knestrick, 85] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $3,000-5,000

133 RED GROOMS (american, b. 1937) “FRED AND GINGER” 1982, pencil signed and dated bottom right, annotated AP 5/15 (an artist’s proof, the edition was 100), the full sheet, Senator Howard Metzenbaum’s Re-Election Committee, Washington, D.C., publisher. Color screenprint on Rives BFK. sheet: 40 x 26 in. (101.6 x 63.6cm) [Knestrick, 92] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $1,000-1,500

134 SAUL STEINBERG (american, 1914-1999) “RABBIT” 1984, pencil signed and numbered 31/52 (there were also 12 artist’s proofs), with full margins, Gemini G.E.L., Ltd., Los Angeles, publisher and with their blindstamps. Color etching and engraving with red embossing on Rives BFK. image: 18 x 12 in. (45.7 x 30.4cm) sheet: 27 1/2 x 20 in. (69.8 x 50.8cm) provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $800-1,200

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135 LOUISE BOURGEOIS (american/french, 1911-2010) “ODE Á MA MÈRE” one print from the series 1995, pencil signed and dated bottom right, numbered 32/45 (from the deluxe suite on this paper, there was also an illustrated book edition of 90 plus 35 horscommerce copies), with full margins, Les Éditions du Solstice, Paris, publisher.

Drypoint etching on handmade Dieu Donné paper. image: 8 1/2 x 6 1/4 in. (21.59 x 15.9cm) sheet: 11 1/2 x 11 3/4 in. (29.2 x 29.9cm) provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $1,500-2,500

136 LOUISE BOURGEOIS (american/french, 1911-2010) UNTITLED (ORIENTATION) from “anatomy” Pencil signed with initials bottom right and numbered “S.P.I1” (presumably a printer’s proof, the edition was 44 plus 10 artist’s proofs in Roman numerals), with full margins, Peter Blum Edition, New York, publisher. Drypoint on wove Somerset paper. image: 7 x 5 in. (17.8 x 12.7cm) sheet: 19 1/2 x 14 in. (49.5 x 35.6cm) [Wye & Smith, 97] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $1,000-2,000

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137 LYNDA BENGLIS (american, b. 1941) “GRAHAM HOLLYWOOD” from “stars and cars” Stainless steel, copper, nickel and chrome over wire mesh.

Executed in 1987. height: 54 1/2 in. (138.4cm) width: 33 in. (83.8cm) depth: 10 3/4 in. (27.3cm) provenance: Jack Brogan, Los Angeles, California.

Private Collection, Cincinnati, Ohio (purchased from the above in 1989).

The Estate of Nell Day Surber, Cincinnati, Ohio (gifted from the above). exhibited: “Avery Distinguished Professors,” Blum Art Institute, Bard College, Annandale-on-Hudson, New York, September 27-November 10, 1987. $60,000-100,000

Lynda Benglis has long worked in diverse media from paid print advertisements and film to wax paintings and poured resin.

However, her works have consistently borne a distinctly feminist viewpoint, and often critically address representations of femininity in art, film and television. While on a weekend break from an installation at the Walker Art Center in New York where she lived and worked at the time, Benglis came to Los Angeles in the April of 1971 to see the Art and Technology exhibition at the Los Angeles County Museum of Art. While there, she was introduced to many West Coast artists including Billy Al Bengston and Chuck Arnoldi. She also met Jack Brogan, a fabricator, collaborator, conservator and right-hand man for an entire generation of California Light & Space artists such as Peter Alexander, Larry Bell, DeWain Valentine and many others.

Benglis moved to Los Angeles soon after the Walker show. She and Brogan became friends and

collaborators for the next 40 years, working together on the fabrication of metalized knots including the present example. Brogan was sought out by many artists, including Benglis, for his unique knowledge of metals, resins and plastics and was invaluable in the realization of innovative artworks in unorthodox media. In a 2012 interview with Art in America magazine, Brogan described the uniquely tactile and physical process behind the creation of these larger than life metal reliefs. “[Benglis] folds and ties up stainless steel screen, and we spray hot metal onto those forms. They look cast, but they’re not. I’ve been using this process for about 50 years. It’s like a spray gun, with a flame that goes up to 4,000 degrees.”

Certainly for Benglis, the object and the process of creation were meant to evoke very visceral and physical experiences. The finished works were tied to her sense of self and gender identities both personal and cultural: “My work is an expression of space. What is the experience of moving? Is it pictorial? Is it an object? Is it a feeling? It all comes from my body. I am the clay; I have been extruded, in a sense. How to tie it together? I don’t need to tie a knot. The forms of knots in my earlier work were expressive of this idea. I am the form” (as related to Tracy Zwick in “Dancing with Clay: An Interview with Lynda Benglis,” Art in America, Jan. 30, 2014).

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138 FRANK STELLA (american, b. 1936) “YELLOW JOURNAL” 1982, pencil signed and dated bottom right, numbered AP XVI (an artist’s proof, the edition was 50), the full sheet, Tyler Graphics, Bedford, New York, publisher and with their blindstamp. Offset lithograph on Arches. sheet: 52 3/4 x 38 1/2 in.

(134 x 97.8cm) [Axsom, 162] provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $3,500-5,000

139 ALEX KATZ (american, b. 1927) “ROWBOAT” 1992, pencil signed and numbered 9/50 (there were also 12 artist’s proofs), the full sheet, Simmelink-Sukimoto Editions, Los Angeles, publisher. Aquatint on Somerset Satin paper. sheet: 33 x 42 1/2 in. (83.8 x 108cm) provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $1,000-2,000

140 VITO ACCONCI (american, b. 1940) “BIG BRICK” Pencil signed with initials, dated 84 and numbered 18/24 on one sheet, the full sheets. Aquatint and embossing on six sheets of wove paper. overall: 70 1/2 x 30 1/8 in. (179.1 x 76.7cm) Framed individually (6) provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $2,500-3,500

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141 NAM JUNE PAIK (american/korean, 1932-2006) “EVOLUTION, REVOLUTION, RESOLUTION” the complete set of eight prints 1989, all pencil signed bottom right and numbered 36/64 (there were also 8 artist’s proofs), with full margins, Carl Solway Gallery, Cincinnati, publisher and each with their blindstamp. The complete set of eight signed and numbered lithographs with etching in colors on Rives BFK. each image: 27 1/2 x 20 3/4 in. (69.9 x 52.7cm) each sheet: 30 x 22 1/4 in. (76.2 x 56.5cm) (8) provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $8,000-12,000 142 NAM JUNE PAIK (american/korean, 1932-2006) UNTITLED 1990, signed and dated bottom center, artist’s proof (the edition was 25). Screenprint, collage and metal antenna on canvas. canvas: 24 x 23 3/4 in. (61 x 60.3cm) Unframed provenance: The Estate of Nell Day Surber, Cincinnati, Ohio. $2,000-3,000

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Various Owners 143 GRISHA BRUSKIN (russian, b. 1945) “VISION” Incised with signature in Cyrillic on surface of base, stamped ‘ED NY’ and numbered 1/8 on outer edge of base, bronze with dark brown patina.

Executed in 1991. height: 7 in. (17.3cm) provenance: Private Collection. literature: Grisha Bruskin and Ann Schneider, “Grisha Bruskin: Life is Everywhere: State Pushkin Museum of Fine Arts, Moscow, State Russian Museum, St. Petersburg, Ludwig Museum in the Russian Museum,” Palace Editions, St. Petersburg, 2001 (another example illustrated on p. 105). $5,000-8,000

144 JEFF KOONS (american, b. 1955) “PUPPY” 1998, incised with signature and date on the underside, numbered 2299/3000, Art of this Century, New York and Paris, publisher and with their incised stamp. Glazed white ceramic vase. height: 17 1/2 in. (44.5cm) length: 10 7/8 in. (27.5cm) width: 19 in. (48.2cm) provenance: Amy Simon Fine Art, Westport, Connecticut.

Private Collection, New Jersey (acquired from the above in 2002). including: Original cardboard printed box and “Certificato di controllo”dated 05/05/06 and with hand-written numbering. $6,000-10,000

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145 ROSS BLECKNER (american, b. 1949) “FALLING BIRDS #3” Signed, titled and dated 1995 verso, oil on linen.

84 x 60 in. (213.4 x 152.4cm) Unframed provenance: Mary Boone Gallery, New York, New York.

Private Collection. note: Richard Milazzo, “The Paintings of Ross Bleckner,” Alain Noirhomme, Brussels, 2007 (similar examples illustrated, plates 62 and 116). $30,000-50,000

100 www.freemansauction.com

146 GAJIN FUJITA (american, b. 1972) “4TH STREET” Signed, titled, dated 2006 and inscribed ‘Hydeone’ verso, spraypaint, acrylic, Mean Streak and paint marker on two conjoined panels.

8 x 20 in. (20.3 x 50.8cm) Unframed provenance: Kravets/Wehby Gallery, New York, New York.

Private Collection. note: This lot will be sold with an artist signed and dated exhibition catalogue for his one-man exhibition at the Kemper Museum of Contemporary Art in 2006. $1,500-2,500

147 GAJIN FUJITA (american, b. 1972) “HEIGHTS” Signed, titled and dated 2006 verso, white gold and gold leaf, spraypaint, Mean Streak, paint marker and acrylic on panel.

24 x 16 in. (61 x 40.7cm) Unframed provenance: L.A. Louver Gallery, Venice, California.

Kravets/Wehby Gallery, New York, New York.

Private Collection. $1,500-2,500 148 two paintings ANDREW SCHOULTZ (american, b. 1975) “HORSE EXPLOSION” AND “11 HANDS OF A BLIND FOLDED MAN” One signed with initials and dated lower left, both signed, titled and dated 2006 and 2007 respectively verso, both mixed media on panel. each: 16 x 20 in. (40.6 x 50.8cm) (2) provenance: Morgan Lehman Gallery, New York, New York.

Private Collection. $2,000-3,000

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149 KEHINDE WILEY (american, b. 1977) “PASSING/POSING” Signed and dated 2002 verso, acrylic on canvas. overall: 28 x 28 in. (71.1 x 71.1cm) provenance: Kravets/Wehby Gallery, New York, New York.

Private Collection. $15,000-25,000

102 www.freemansauction.com

150 LORDAN BUNCH (american, b. 1967) UNTITLED Signed and dated ‘01 on outer edge, oil on canvas.

22 x 16 in. (55.9 x 40.6cm) Unframed provenance: Schroeder Romero, Brooklyn, New York.

Private Collection. $1,000-2,000

151 JOHANNES HÜPPI (german, b. 1965) “FRAU IM MEER” Signed, dated ‘21.8.2007’ and inscribed ‘Basel’ verso, oil on panel.

13 x 13 in. (33 x 33cm) Unframed provenance: Kravets/Wehby Gallery, New York, New York.

Private Collection. $1,000-2,000

152 JOHANNES HÜPPI (german, b. 1965) “UNTITLED (SALOME 1)” Signed, dated ‘24.5.2007’ and ‘29.Sept.2007’ and inscribed ‘Basel’ verso, oil on panel.

24 x 15 1/2 in. (60.8 x 39.3cm) Unframed provenance: Kravets/Wehby Gallery, New York, New York.

Private Collection. $1,200-1,800

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153 SUZANNE CAPORAEL (american, b. 1949) “BLUE WAVES II” 1991, pencil signed, dated and inscribed ‘S.C. monoprint.2’ verso (probably one of two unique prints), with full margins, Segura Publishing Company, Tempe, Arizona, publisher. Unique color monoprint on wove paper. image: 28 x 20 in. (71 x 50.7cm) sheet: 36 1/2 x 27 3/4 in.

(92.7 x 70.5cm) Unframed $2,000-3,000

154 CECILY BROWN (british, b. 1969) “STUDY AFTER AN ELECTION BY WILLIAM HOGARTH” 2004, pencil signed, dated and numbered 9/120 (there were also 12 artist’s proofs), the full sheet, published by Gemini G.E.L., Ltd., Los Angeles to benefit America Coming Together (ACT). Color lithograph on Rives BFK. sheet: 16 5/8 x 13 1/2 in.

(42.2 x 34.3cm) $1,000-2,000

155 JUDY CHICAGO (american, b. 1939) “NINE FRAGMENTS FROM THE DELTA OF VENUS” the complete set of 9 prints All pencil signed and dated 2004, each numbered 23/45 and sequentially lettered A-I (there were also 3 artist’s proofs for all), all with full margins, Flanders Graphics, Minneapolis, publisher. The prints loose (as issued), with printed and folded title/colophon within embossed red velvet heart-shaped candy box by Jill Jevne (as issued).

The complete set of nine color aquatints with letterpress text on Somerset Satin. each image: 7 1/2 x 5 1/2 in.

(19.1 x 14cm) each sheet: 10 1/4 x 7 5/8 in.

(26 x 19.4cm) box: 18 x 17 1/2 x 1 1/2 in.

(45.7 x 44.5 x 3.8cm) $1,200-1,800

104 www.freemansauction.com

156 EDNA ANDRADE (american, 1917-2008) “BATHERS” Signed with monogram recto and signed, titled and dated 49 verso, oil on panel.

11 x 26 3/8 in. (27.9 x 67cm) provenance: Freeman’s, “Fine American & European Paintings,” December 3, 2006, lot 134.

Private Collection. $2,500-3,500

157 JAMES HAVARD (american, b. 1937) “SHAWNEE NO.2” Signed, titled and dated 76 verso, acrylic on canvas.

48 x 53 in. (121.9 x 134.6cm) Unframed provenance: Private Collection. $2,000-3,000

158 PAUL KEENE (american, 1920-2009) “EPONA” Signed, dated 1984 and titled on stretcher, acrylic on canvas.

60 x 50 in. (152.4 x 127cm) provenance: Benjamin Mangel Gallery, Bala Cynwyd, Pennsylvania.

A Prominent Philadelphia Estate. $1,200-1,600

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159 ELIZABETH OSBORNE (american, b. 1936) “OCEAN SERIES II” Signed, titled and dated 1970 verso, watercolor on paper.

22 1/2 x 28 1/2 in. (57.2 x 72.4cm) provenance: Felix Estate, Penn Valley, Pennsylvania. $1,000-2,000

160 ROBERT KULICKE (american, 1924-2007) FLORAL STILL LIFE Signed and dated 73 bottom center, oil on panel. sight: 8 x 8 in. (20.3 x 20.3cm) provenance: Private Collection, Pennsylvania. $4,000-6,000

106 www.freemansauction.com

161 BO BARTLETT (american, b. 1955) “QUIET HOUSE (SELF PORTRAIT)” Signed, titled, inscribed ‘IGN’ and dated 03 verso, oil on masonite.

20 x 16 in. (50.8 x 40.6cm) provenance: The artist.

Private Collection. $3,000-5,000

162 BEN KAMIHIRA (american, b. 1925) “SEATED WOMAN WITH POSTERS” Signed bottom right, oil on canvas.

Executed in 1987.

72 x 58 in. (182.9 x 147.3cm) provenance: The artist.

Urban Research Center, New York, New York.

Private Collection, New York. exhibited: “Ben Kamihira: Paintings,” October 6November 7, 1987, Urban Research Center, New York. literature: Exhibition catalogue for above show, numbered 24, illustrated p. 21. $3,000-5,000

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163 BO BARTLETT (american, b. 1955) “M” Signed twice, dated 1999 and inscribed ‘IGN’ in black marker on the stretcher and frame verso, oil on canvas.

61 3/4 x 39 3/4 in. (156.8 x 101cm) provenance: Private Collection. $10,000-15,000

END OF SALE

108 www.freemansauction.com

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

signatures & dates

After an artist is in our opinion a copy of any date after a work by that artist; e.g. After Charles Willson Peale.

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.

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Index Acconci, V., 140 Afro, 25 Andrade, E., 156 Arabshahi, M., 37 Avery, March, 56 Avery, Milton, 55 Avery, S., 62-64 Baj, E., 27 Bartlett, B., 161, 163 Benglis, L., 137 Bertoia, H., 65-72 Bleckner, R., 145 Boonma, M., 36 Botello, A., 50 Bottex, J., 43 Bourgeois, L., 135, 136 Brown, C., 154 Bruskin, G., 143 Bunch, L., 150 Calder, A., 58-60 Caporael, S., 153 Castañeda, F., 46, 48 Chagall, M., 5, 6 Charreton, V., 3 Chicago, J., 155 Chihuly, D., 107 Dalí, S., 9, 10 Dam, V.C., 34 De Kooning, W., 121 Dine, J., 95, 115, 117, 130 Diulgheroff, N., 28 Domond, W., 45 Dubuffet, J., 114 Dufy, J., 1, 2 Francis, S., 125 Frankenthaler, H., 128 Fujita, G., 146, 147

Gargallo, P., 8 Gisson, A., 33 Gray, C., 61 Grooms, R., 132, 133 Guston, P., 79 Harari, H., 57 Haring, K., 96, 97 Havard, J., 157 Hodgkin, H., 77 Hüppi, J., 151, 152 Husain, M.F., 40 Hyppolite, H., 41

Obin, P., 42 Osborne, E., 159 Paik, N.J., 141, 142 Picasso, P., 11-23 Poliakoff, S., 113 Rauschenberg, R., 122 Reinhardt, A., 83 Rickey, G., 75 Rivera, D., 52, 53 Rivers, L., 78 Rockburne, D., 119 Rubin, R., 39

Ihlenfeld, K., 73, 74 Jenkins, P., 92 Johns, J., 81, 118, 129 Kamihira, B., 162 Katz, A., 87-92, 94, 139 Kayun, I.N., 35 Keene, P., 158 Kelly, E., 82, 124 Koons, J., 144 Kulicke, R., 160 Lewitt, S., 84 Lichtenstein, R., 98, 99, 105, 106, 116 Lurçat, J., 4 Mangold, R., 85 Miotte, J., 76 Miró, J., 7, 111 Motherwell, R., 126, 127 Nesbitt, L., 80 Nevelson, L., 120 Oldenburg, C., 131

Scharl, J., 54 Schoultz, A., 148 Simbari, N., 29-31 Soulages, P., 24, 112 Steinberg, S., 134 Stella, F., 108, 123, 138 Tabrizi, S., 38 Tsingos, T., 26 Venard, C., 32 Venet, B., 86 Vital, P., 44 Warhol, A., 100-104, 109, 110 Wesselmann, T., 93 Wiley, K., 149 Yazbek, C., 51 Zúñiga, F., 47, 49

Jewelry & Watches Auction 11/03/14 Exhibition opens Wednesday, October 29 Michael Larsen, GG 818.205.3608 mlarsen@freemansauction.com Virginia Salem, GG 267.414.1233 vsalem@freemansauction.com Visit our website to purchase a catalogue or call 267.414.1256.

A 9.69 carat pear shape diamond set in a platinum ring with triangular-cut diamond accents $75,000-$95,000

www.freemansauction.com

EVANS POWELL ESHERICK NAKASHIMA The Pennsylvania Sale Auction 11/12/14 Exhibition Opens Friday, November 7, 2014 at 10am Tim Andreadis 267.414.1215 tandreadis@freemansauction.com

To be offered November 12 Wharton Esherick (1887-1970) Important cocobolo sculpture “Essie/”Rebecca” 1933 Carved signature WHARTON ESHERICK 1933, inscribed GENESIS . XXVI . 16.

H: 69, W: 15, D: 13 in., Exhibited: Hedgerow Theater, Rose Valley, PA, 1934, 129th Annual Exhibtion of Oil Paintings and Sculpture, Pennsylvania Academy of the Fine Arts, Philadelphia, PA, 1934; Published: Mansfield Bascom, Wharton Esherick: The Journey of A Creative Mind, New York: Abrams, 2010. P.131 $60,000-80,000

Photo courtesy Estate of Wharton Esherick

www.freemansauction.com

American Art & Pennsylvania Impressionists Auction 12/07/14 Exhibition opens Wednesday, December 3

Alasdair Nichol 267.414.1211 anichol@freemansauction.com

Catalogue 267.414.1256 catalogues@freemansauction.com

David Weiss 267.414.1214 dweiss@freemansauction.com Andrew Huber 267.414.1210 ahuber@freemansauction.com

GEORGE WILLIAM SOTTER (american 1879-1953) “THE HILL ROAD, WINTER” Signed ‘G W Sotter’ lower right, with unidentified label verso, oil on canvas 36 x 40 in. (91.4 x 101.6cm) In a Bernard Badura frame $100,000-150,000 (detail)

to preview, bid or consign visit us at

www.freemansauction.com

www.freemansauction.com 113

Purchase removal, shipping and offsite storage information To ensure the safety of your property Freeman’s requests removal within 10 business days of the sale date.

Collection hours are Monday–Friday, 9:30am–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 contract or invoice, 3rd party authorization is required. Please mail or fax, 215.599.2240, a signed letter stating receipt/item(s) or sale/lot(s) and name of third party collecting property.

Freeman’s does not handle packing or shipping. The shippers listed 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.

Aiston Fine Art Service P.O. Box 3434 Grand Central Station New York, NY 10163 212.715.0629 Fax: 718.361.8569 info@aistonart.com

The Packaging Store Duane Freed 2333 West Main Street Lansdale, PA 19446 215.361.6940 Fax: 215.361.6941 hello@packandshipnow.com

Atelier Art Services 103 East Sharpnack Street Philadelphia, PA 19144 215.842.3500 info@atelierartservices.com

UPS Store John Bohach 51 North 3rd Street Philadelphia, PA 19106 215.629.4990 Fax: 215.629.4992 store4242@theupsstore.com

Mr. C’s Charles Cohen 267.977.9567 mrcees61@gmail.com Cadogan Tate Fine Art Cadogan House, 41-20 39th Street Sunnyside, New York 11104 718.706.7999 Fax: 718.707.2847 michael@cadogantate.com Crozier Fine Art 212.741.2024 transportation@crozierfinearts.com www.crozierfinearts.com

VG Packaging LLC Gordon G Murray II 12 Salem Road Schwenksville, PA 19473 484.552.8741 Fax: 484.552.8744 quotes@vgpackagingllc.com Furniture & Larger Items For larger pieces where delivery time is not the primary concern, we suggest getting your items freighted. www.plyconvanlines.com www.nwdelivery.com www.freightquote.com

A. Mastrocco Jr. Moving & Storage Roseanne Gebler 1060 Louis Drive Warminster, PA 18991 215.491.0346 Fax: 215.444.9327 r.gebler@mastroccomovers.com

v2.2014

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 $75,000 of the hammer price of each lot, 20% on the portion from $75,001 through $1,500,000, and 12% thereafter.

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. v1.2014

bidding & registration form SALE NO

BIDDER NO

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A Buyer’s Premium will be will added the successful bid price andbid is payable by the buyer as part of the total as purchase Buyer’s Premium shall be: Buyer’s 25% on the first $50,000 of the hammer price of each A Buyer’s Premium betoadded to the successful price and is payable by the buyer part ofprice. the The total purchase price.

The Premium shall be: 25% on the first $75,000 lot, of 20% the portion fromof$50,001 through and 12% on $75,001 that portion of the hammer price exceeding must be paid for and within 10 days. 10 days. theonhammer price each lot, 20%$1,000,000, on the portion from through $1,500,000, and 12%$1,000,000. thereafter.All Alllots lots must be pair forremoved and removed within

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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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

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ID CONFIRMED

(signature required to execute your bids)

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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

08/14

08/14

Directory Officers

Samuel M. Freeman II Chairman

Specialist Departments

Alasdair Nichol Vice Chairman

American Art & Pennsylvania Impressionists Alasdair Nichol anichol@freemansauction.com American Furniture, Folk & Decorative Arts Lynda Cain lcain@freemansauction.com

Margaret D. Freeman Vice Chairman Paul S. Roberts President

American Silver Samuel M. Freeman II beaufreeman@freemansauction.com

Hanna Dougher Chief Operating Officer

Asian Arts Richard A. Cervantes rcervantes@freemansauction.com Departments

Appraisals Amy Parenti aparenti@freemansauction.com

Books, Manuscripts, Maps & Ephemera David Bloom dbloom@freemansauction.com

Business Development Thomas B. McCabe IV tmccabe@freemansauction.com

English & Continental Furniture & Decorative Arts David Walker dwalker@freemansauction.com

Client Services Mary Maguire Carroll mmaguire@freemansauction.com

European Art & Old Masters David M. Weiss dweiss@freemansauction.com

Finance Mark Beckerman mbeckerman@freemansauction.com

Jewelry & Watches Michael Larsen, GIA GG mlarsen@freemansauction.com

Marketing & Communication Tara Theune Davis ttdavis@freemansauction.com

Virginia B. Salem, GIA GG vsalem@freemansauction.com

Museum Services Thomas B. McCabe IV tmccabe@freemansauction.com

Modern & Contemporary Art Anne Henry ahenry@freemansauction.com

Photography Elizabeth Field efield@freemansauction.com

Oriental Rugs & Tapestries Richard A. Cervantes rcervantes@freemansauction.com

Press & Media Melissa Geller mgeller@freemansauction.com

Photographs & Photobooks Christiana Scavuzzo cscavuzzo@freemansauction.com

Shipping & Receiving Bethany Mobbs bmobbs@freemansauction.com

Prints Anne Henry ahenry@freemansauction.com

Trust & Estates Samuel T. Freeman III sfreeman@freemansauction.com

Representatives

Silver & Objets de Vertu David Walker dwalker@freemansauction.com

New England Kelly Wright kwright@freemansauction.com

Southeast Colin Clarke cclarke@freemansauction.com

West Coast Michael Larsen mlarsen@freemansauction.com

Mid-Atlantic Matthew Wilcox mwilcox@freemansauction.com

Mid-West William Rudd wrudd@freemansauction.com

Main Line Gabrielle Aruta garuta@freemansauction.com

v5.2014

JEAN DUBUFFET (french, 1901-1985) “SITE DE MEMOIRE II” Signed and numbered 9/10 bottom center (there were also 3 horscommerce copies in Roman numerals), Pace Editions, Inc., New York, publisher. Screenprint on canvas.

Executed in 1979.

84 x 58 in. (213.4 x 147.3cm) Unframed

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