Modern & Contemporary Art

11/01/15

www.freemansauction.com 1808 Chestnut Street Philadelphia Pennsylvania 19103 T 215.563.9275 | F 215.563.8236 MODERN & CONTEMPORARY ART

Modern & Contemporary Art 11/01/15

Modern & Contemporary Art

Auction Sale 1527 Sunday, November 1, 2015 at 2pm 1808 Chestnut Street, Philadelphia PA 19103 Exhibitions Philadelphia Wednesday, October 28 Thursday, October 29 Friday, October 30 Saturday, October 31

10:00am-5:00pm 10:00am-5:00pm 10:00am-5:00pm 12:00pm-5:00pm

New York* The Cosmopolitan Club, 122 E. 66 Street, New York NY Tuesday, October 20 12:00pm-4:00pm Wednesday, October 21 10:00am-3:00pm *Select highlights only, please contact department for list of works to be included in this exhibition.

Catalogue $35 in the gallery $41 domestic mail $47 international mail Inside Front Cover: Lot 67 Inside Back Cover: Lot 126 Visit www.freemansauction.com/catalogue-subscriptions 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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v2.2015

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

Dunham Townend Associate Specialist dtownend@freemansauction.com 267.414.1221

Client Services

Shannon Jeffers Department Administrator sjeffers@freemansauction.com 267.414.1231

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

Whitney Long Bids Department wlong@freemansauction.com 267.414.1207

Modern & Contemporary Art Lots 1-157

Lot 52

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(recto)

(verso)

1 152240/2 PABLO PICASSO (spanish, 1881-1973) “CLOCK WITH TONGUE/ FAUNS WITH FLOWER” 1956, numbered 50/100, with the ‘EMPREINTE ORIGINALE DE PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside, white earthenware clay dish with engobes under glaze on the underside. diameter: 16 5/8 in. (42.2cm) [Ramié, 328] $8,000-12,000

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2 151625/1 PABLO PICASSO (spanish, 1881-1973) “‘POMONA’ WOMAN’S FACE” 1968-69, numbered 44/100, with the ‘EMPREINTE ORIGINALE DE PICASSO’ and ‘MADOURA PLEIN FEU’ stamps verso, red earthenware clay square plaque with engobe ground and engraving enhanced with oxides under partial brushed glaze.

12 3/8 x 12 3/8 in. (31.4 x 31.4cm) [Ramié, 592] $5,000-8,000

3 152025/1 PABLO PICASSO (spanish, 1881-1973) “FACE NO. 111” 1963, numbered 215/500 and inscribed ‘EDITION PICASSO’, ‘MADOURA’ and ‘No 111’ on the underside, white earthenware clay plate with decoration in engobes and enamel under glaze. diameter: 9 15/16 in. (25.2cm) [Ramié, 476] $5,000-8,000

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4 158094/1 PABLO PICASSO (spanish, 1881-1973) “WOMAN’S FACE” 1953, from the edition of 400, with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside, white earthenware clay platter with decoration in engobes and knife engraved under glaze.

14 3/4 x 12 1/4 in. (37.5 x 31.1cm) [Ramié, 220] $18,000-25,000

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5 151625/2 PABLO PICASSO (spanish, 1881-1973) “GOAT’S HEAD IN PROFILE” 1952, from the edition of 250, with the ‘EMPREINTE ORIGINALE DE PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside, white earthenware clay dish, partially glazed with decoration in engobes.

12 5/6 x 20 1/8 in. (31.6 x 51cm) [Ramié, 145] $10,000-15,000

6 151557/24 PABLO PICASSO (spanish, 1881-1973) “SMALL OWL JUG” 1955, from the edition of 500, inscribed ‘EDITION PICASSO’ and ‘MADOURA’ and with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside, white earthenware clay pitcher with decoration in oxides and engraved by knife on white enamel. height: 10 5/8 in. (27cm) [Ramié, 293] $5,000-8,000

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7 151557/27 PABLO PICASSO (spanish, 1881-1973) “JACQUELINE’S PROFILE” 1956, from the edition of 500, with the ‘EMPREINTE ORIGINALE DE PICASSO’ and the ‘MADOURA PLEIN FEU’ stamps verso, white earthenware clay plaque, with engraving accentuated with oxidized paraffin and glaze bath. diameter: 7 1/4 in. (18.4cm) [Ramié, 383] $3,000-5,000

8 151557/26 PABLO PICASSO (spanish, 1881-1973) “PICADOR” 1952, from the edition of 500, inscribed ‘EDITION PICASSO’ and with the ‘EDITION PICASSO’ and the ‘MADOURA PLEIN FEU’ stamps on the underside, white earthenware clay plate, with oxidized paraffin decoration and white enamel. diameter: 7 7/16 in. (18.9cm) [Ramié, 160] $2,000-3,000

9 151557/25 PABLO PICASSO (spanish, 1881-1973) “BULL UNDER THE TREE” 1952, from the edition of 500, inscribed ‘EDITION PICASSO’ and with the ‘EDITION PICASSO’ and the ‘MADOURA PLEIN FEU’ stamps on the underside, white earthenware clay plate, with oxidized paraffin decoration and white enamel. diameter: 8 1/2 in. (21.6cm) [Ramié, 159] $2,000-3,000

10 151617/1 PABLO PICASSO (spanish, 1881-1973) “TOROS” 1952, from the edition of 500, inscribed ‘EDITION PICASSO’ and with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside, white earthenware clay plate, with engobes, oxidized paraffin and white enamel. diameter: 7 5/8 in. (19.4cm) [Ramié, 161] $1,500-2,500

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11 151648/2 PABLO PICASSO (spanish, 1881-1973) “PERSONNAGES ET COLOMBE” 1954, pencil signed and numbered 27/50, the full sheet. Lithograph on Arches. sheet: 19 13/16 x 25 9/16 in.

(50.2 x 64.8cm) [Bloch, 758; Mourlot, 254] $5,000-8,000

12 151648/1 PABLO PICASSO (spanish, 1881-1973) “LE MODÈLE” 1965, pencil signed and numbered 32/50 (there were also 15 artist’s proofs), Galerie Louise Leiris, Paris, publisher. Aquatint and etching on heavy wove paper with indistinguishable watermark (Baer calls for Richard de Bas). image: 14 7/8 x 10 3/4 in.

(37.7 x 27.2cm) sheet: 22 13/16 x 17 1/8 in.

(57.9 x 43.5cm) [Bloch, 1200; Baer, 1182] $6,000-8,000

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13 151695/1 PABLO PICASSO (spanish, 1881-1973) “EXPOSITION 1958 VALLAURIS” 1958, signed in blue crayon and numbered 101/175 in pencil (there were also 25 artist’s proofs and 100 unsigned impressions on offset vellum), with wide margins. Color linoleum cut on wove paper. image: 25 1/4 x 20 7/8 in.

(64.1 x 53cm) sheet: 39 x 25 1/2 in.

(99.1 x 64.8cm) [Bloch, 1284; Baer, 1050; see Czwiklitzer, 27] $2,000-3,000

15 151952/1 JOAN MIRÓ (spanish, 1893-1983) “LA BAGUE D’AURORE” plate 135 1957, pencil signed and numbered 56/60 (there were also 17 on Japon nacré and the bound book edition of 130), Louis Broder, Paris, publisher.

Color etching and aquatint on BFK Rives. image: 5 1/2 x 4 1/2 in.

(14 x 11.4cm) sheet: 14 7/8 x 11 1/4 in.

(37.8 x 28.6cm) [Dupin, 135; see Cramer books, 45) $2,000-3,000

14 151801/5 (AFTER) GEORGES BRAQUE (french, 1882-1963) “L’OISEAU ET SON NID” 1956, pencil signed and numbered 67/300, with wide margins, Maeght Éditeur, Paris, publisher.

Color lithograph on wove paper. image: 13 x 18 5/8 in.

(33 x 47.3cm) sheet: 14 3/4 x 19 in.

(37.5 x 48.3cm) [Maeght, 1024] $800-1,200

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16 151625/17 JOAN MIRÓ (spanish, 1893-1983) “L’OISEAU MONGOL” 1969, signed and numbered 42/75 in white pencil, the full sheet, Maeght Éditeur, Paris, publisher.

Color etching, aquatint and carborundum on Arches. sheet: 40 7/8 x 27 5/8 in.

(103.8 x 70.2cm) [Dupin, 513] $10,000-15,000

17 152004/5 JOAN MIRÓ (spanish, 1893-1983) “SCULPTURES ET CÉRAMIQUES” 1973, pencil signed and numbered 18/150 (there was also a poster edition of 5,000 with text), the full sheet, Fondation Maeght, SaintPaul-de-Vence, publisher. Color lithograph on wove paper (Mourlot calls for Arches). sheet: 33 3/4 x 23 3/16 in.

(85.7 x 58.9cm) [Mourlot, 917] $2,000-3,000

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18 152234/4 MARC CHAGALL (french/russian, 1887-1985) “LE MARIAGE” 1968, pencil signed and numbered 31/50 (there were also 50 with color), with wide margins, Gérald Cramer, Geneva, publisher. Etching and aquatint on wove paper. image: 24 x 17 1/2 in. (61 x 44.4cm) sheet: 29 5/8 x 21 1/2 in.

(75.2 x 54.6cm) [Cramer, 32] Unframed $4,000-6,000 19 152234/3 AFTER MARC CHAGALL (french/russian, 1887-1985) “NICE SOLEIL FLEURS (LA BAIE DES ANGES)” 1962, from the edition of 5000, the full sheet, Mourlot, Paris, publisher. Color lithographic poster on wove paper. sheet: 39 1/4 x 24 1/4 in.

(99.7 x 61.6cm) [See Mourlot, 350; Sorlier, 38] Unframed $1,500-2,500

20 154021/3 HENRI MATISSE (french, 1869-1954) “MADELEINE-ÉTUDE” 1950-51, pencil signed and numbered 91/200 (there were also 15 artist’s proofs). Lithograph on Chine appliqué paper on Arches support. image: 8 7/16 x 7 3/4 in.

(21.4 x 19.7cm) support: 15 9/16 x 11 1/2 in.

(39.5 x 29.2cm) [Duthuit, 645] $2,000-3,000

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21 151295/3 SALVADOR DALÍ (spanish, 1904-1989) “PETITS NUS D’APOLLINAIRE” (VIGNETTES) the complete set of eight etchings with hand coloring 1967, all pencil signed and with the Artist’s blindstamp signature, all numbered 11/95 (published separately from the “Poèmes secrets d’Apollinaire” portfolio which was published in a total edition of 525, of which 380 included these same vignettes), all with wide margins, Pierre Argillet, Paris, publisher. The complete set of 8 signed and numbered etchings with drypoint and watercolor on Japan. images: 4 11/16 x 3 1/2 in.

(11.9 x 8.9cm) (5 plates); images: 7 1/16 x 3 1/8 in.

(17.9 x 7.9cm) (2 plates); images: 5 7/8 x 4 5/16 in.

(14.9 x 11cm) (1 plate) all sheets approx.: 15 x 11 1/8 in.

(38.1 x 28.3cm) [Michler & Löpsinger, 199-206] (8) note: The authenticity of these works has been confirmed by Frank Hunter, Director of the Salvador Dali Archives Ltd. $8,000-12,000

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22 151992/1 EUGENE BERMAN (american/russian, 1899-1972) “LA FUITE EN EGYPTE” Signed, titled and dated ‘Mars 1938’ bottom right, oil on canvas.

21 1/4 x 29 1/8 in. (54 x 74cm) provenance: The Estate of a Houston Collector.

Private Collection, Texas (acquired directly from the above). $8,000-12,000

23 151813/2 JEAN DE BOTTON (american, 1898-1978) NUDE RECLINING Signed and dated 26 bottom left, oil on canvas.

38 1/2 x 64 in. (97.8 x 162.6cm) provenance: Gallery Jean-Jacques Dutko, Paris, France.

Private Collection, Marblehead, Massachusetts (acquired directly from the above circa 1980). $5,000-7,000

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24 148049/1 PABLO GARGALLO (spanish, 1881-1934) “PETITE FAUNESSE DEBOUT” Incised with the Artist’s initials 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).

25 151883/5 two prints HENRY MOORE (british, 1898-1986) “ADAM” AND “EVE” 1980, both pencil signed and titled, numbered V/XV (aside from the editions of 50 in Arabic numerals), with margins, Raymond Spencer Company Ltd. for the Henry Moore Foundation, Much Hadham, publisher. Two color lithographs on wove paper. both images approx.: 10 1/4 x 13 1/2 in.

(26 x 34.9cm) both sheets: 21 x 24 1/8 in.

(53.3 x 61.3cm) [Cramer, 574-75] (2) $1,500-2,500

“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 photo-certificate dated October, 1985 accompanies this lot. $10,000-15,000

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26 148106/3 MARK TOBEY (american, 1890-1976) SEATED WOMAN IN RED Signed and dated 29 bottom right, oil on canvas.

47 x 32 in. (119.4 x 81.3cm) Unframed provenance: Private Collection, New York, New York.

Private Collection (purchased from the above circa 1970). note: Achim Moeller of the Mark Tobey Project LLC has confirmed the authenticity of this work, which is listed in the archive under number 190-8-5-15. $3,000-5,000

27 148106/13 MARK TOBEY (american, 1890-1976) SELF-PORTRAIT Oil on canvas.

22 x 17 in. (55.9 x 43.2cm) Unframed provenance: Private Collection, New York, New York.

Private Collection (purchased from the above circa 1970). note: Achim Moeller of the Mark Tobey Project LLC has confirmed the authenticity of this work, which is listed in the archive under number 189-8-5-15. $1,500-2,500

28 148106/15 MARK TOBEY (american, 1890-1976) UNTITLED (PORTRAIT OF A MAN) Oil on canvas.

34 1/4 x 23 in. (87 x 58.4cm) Unframed provenance: Private Collection, New York, New York.

Private Collection (purchased from the above circa 1970). note: Achim Moeller of the Mark Tobey Project LLC has confirmed the authenticity of this work, which is listed in the archive under number 188-8-5-15. $1,500-2,500

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29 151801/1 LYNN CHADWICK (british, 1914-2003) “WINGED FIGURES VERSION II” Stamp signed with the Artist’s initials, numbered 2/6 and 660S and with the foundry mark, bronze with black and polished patina.

Executed in 1973. height: 26 3/4 in. (67.9cm) [Farr & Chadwick, 660S] provenance: Artcurial Centre d’Art Plastique Contemporain, Paris, France.

Property of a New England collector (acquired from the above in 1987). literature: D. Farr & E. Chadwick, Lynn Chadwick: Sculptor, Aldershot: Lund Humphries, 2006, p. 290, catalogue no. 660s (660 illustrated). note: This lot is accompanied by a photo-certificate signed by the Artist. $80,000-100,000 With a boldly distinctive style and an innovative working method, Lynn Chadwick became one of the twentieth-century’s most celebrated British artists. Only six years after his first solo exhibition at Gimpel Fils in 1950, Chadwick was awarded the International Sculpture Prize at the XXVII Venice Biennale in 1956. With it, his reputation as a master of Modern sculpture was established. Whether working in steel, iron or bronze, Chadwick manipulated his medium in new and inventive ways and was able to render sculptures that communicate both weight and fragility at once, displaying the heavily textured yet delicate surfaces that have become a hallmark of his oeuvre.

A fine example of the artist’s multi-figure compositions, Winged Figures Version II displays many elements of Chadwick’s unique visual language.

Utilizing his own pictorial code, he assigns the female figure a triangular head and the male figure a rectangular one. And like a draftsman with a pencil, Chadwick seemingly draws in metal, creating figures whose sharp angles and skeletal shapes activate and engage the space around them. Yet, there remains a certain intimacy to the relationship between the two figures in the present work, their abstracted faces turned toward one another, their bodies connected at their center even as they twist slightly away from each other. Winged Figures Version II exhibits Chadwick’s enduring interest in spatial relationships and precise geometric forms, as well as his particular ability to convey charged and often enigmatic subjective content.

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30 151504/1 ALLAN HOUSER (american, 1914-1994) “RIO GRANDE MAIDEN I” Signed, dated and numbered ‘Allan Houser © 1991 3/6’ bottom verso, bronze with brown patina and concrete base.

67 x 21 x 11 in. (170.2 x 53.3 x 27.9cm) With base: 76.5 x 12 x 12 in. (194.3 x 53.3 x 30.5cm) provenance: Glenn Green Galleries, Scottsdale, Arizona.

Private Collection, Washington, DC (acquired directly from the above in 1996). $15,000-25,000

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31 151625/33 FRANCISCO ZÚÑIGA (mexican, 1912-1998) DOS MUJERES Signed and dated 1970 bottom right, watercolor and charcoal on paper.

19 5/8 x 25 5/8 in. (49.8 x 65.1cm) provenance: The Estate of Adele Lebowitz, McLean, Virginia. note: 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

32 151625/32 FRANCISCO ZÚÑIGA (mexican, 1912-1998) MUJER Signed and dated 1976 bottom right, pastel and charcoal on paper.

19 13/16 x 27 9/16 in.

(50.3 x 70cm) provenance: The Estate of Adele Lebowitz, McLean, Virginia. note: 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. $2,000-3,000

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33 151563/1 ROMEO V. TABUENA (filipino, b. 1921) “VENDORS” Signed and dated 1966 bottom right, acrylic on masonite.

34 1/4 x 39 1/4 in. (87 x 99.7cm) provenance: Galeria Central de Arte Moderno Misrachi, Mexico City, Mexico.

Property from a Virginia Estate (likely acquired directly from the above). $6,000-10,000

34 141602/2 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. $4,000-6,000

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35 151625/20 RICARDO MARTINEZ (mexican, 1918-2009) “HIJO PRODIGO III” Signed and dated 1968 bottom right, oil on canvas.

79 1/8 x 41 1/4 in. (201 x 109.9cm) provenance: The Estate of Adele Lebowitz, McLean, Virginia. exhibited: “Pintura de Ricardo Martinez,” Museo de Arte Moderno, Mexico City, Mexico, February- April 1969, exhibition no. 37 (illustrated). $50,000-70,000 By the 1940s, Mexico’s art scene was dominated by popular figures such as Diego Rivera, Francisco Zúñiga, David Alfaro Siqueiros, and José Clemente Orozco, leaders of an artistic style unique to the post-revolutionary nation. This overtly political and figurative style consolidated a nationalistic identity by rejecting European Modernism, instead focusing on indigenous tradition and choosing national heroes as subjects.

When Ricardo Martinez emerged onto the scene in the early 1940s, he represented a new group of painters who sought to improve upon the art of their Revolutionary predecessors by concentrating on the importance of color in formal easel painting- a factor whose significance had previously been overlooked. Martinez’s work shows his sensitivity to, and creative manipulation of color, as well as his skillful employ of light and shadow in order to provoke emotion and illicit introspection. His simplified, voluptuous figures vaguely allude to preHispanic artistic tradition yet purposefully eschew specific historical references.

Inspired by the Surrealist movement in Europe, Martinez painted his subjects into mystical, dream-like spaces which evoked memories and emotions buried deep within the viewer’s subconscious. The figures in Hijo Prodigo III occupy just this type of temporally-ambiguous space.

Desolation, angst and fear are expressed in their poses, and are amplified by colors of violent reds, melancholy blues and somber ochres.

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36 151625/11 RUFINO TAMAYO (mexican, 1899-1991) “SANDÍA #1” from “mujeres” 1969, pencil signed and inscribed ‘artist’s proof’ (the total edition was 150 in Arabic numerals and 50 in Roman numerals), with full margins, Touchstone Publishers, New York, publisher. Color lithograph on Japan. image: 20 13/16 x 27 5/8 in.

(52.9 x 70.2cm) sheet: 22 7/16 x 30 in.

(57 x 76.2cm) [Pereda, 118] $2,000-3,000

37 151625/69 RUFINO TAMAYO (mexican, 1899-1991) “PERFIL SOBRE ESTUCO” 1977, pencil signed and numbered 50/100 (there was also a deluxe edition of 25 in Roman numerals and 10 artist’s proofs in Roman numerals), the full sheet, Taller de Gráfica Mexicana, Mexico City, publisher. Color mixograph on Arches. sheet: 27 5/8 x 19 5/8 in.

(70.2 x 49.8cm) [Pereda, 235] $1,500-2,500

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38 151625/35 FRITZ SCHOLDER (native american, 1937-2005) “NEW MEXICO #4” Signed bottom right and inscribed with the Artist’s name, titled and dated 1965 verso, oil on canvas.

42 1/2 x 31 1/2 in. (115.6 x 80cm) provenance: Lee Nordness Galleries, New York, New York.

Harcourts Gallery, San Francisco, California.

The Estate of Adele Lebowitz, McLean, Virginia. $2,000-4,000

39 152123/1 ELIZABETH CATLETT (american, 1915-2012) “I AM THE BLACK WOMAN” [PLATE 2] from “i am the black woman” 1946-1947, presumably printed in 1989, pencil signed, titled and dated, inscribed A/P in another hand (aside from the edition of 20), with wide margins, Robert Blackburn Printmaking Workshop, New York, publisher.

Linoleum cut printed in brown and black on wove paper. image: 5 3/16 x 3 15/16 in. (13.2 x 10cm) sheet: 14 7/8 x 11 in. (37.8 x 27.9cm) Unframed $2,000-3,000

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40 151625/13 MILTON AVERY (american, 1885-1965) “FANTAIL PIGEON” 1953, pencil signed and dated, numbered 10/30 (there was also an edition of 20 in black and an edition of 25 in brown and black), with wide margins. Color woodcut in blue and black on tissue-thin wove paper. image: 10 x 9 3/4 in. (25.4 x 24.8cm) sheet: 18 x 12 in. (45.7 x 30.5cm) [Lunn, 47ii] $1,000-2,000

41 141097/50 SALLY AVERY (american, 1902-2003) “SURF WATCHER” Signed and dated 1972 bottom left, signed, titled and dated verso, oil on canvas.

41 1/2 x 49 1/2 in. (105.4 x 125.7cm) provenance: The Artist.

Private Collection. $6,000-8,000

42 141097/60 SALLY AVERY (american, 1902-2003) “STRIPED DRAPE” Signed and dated 1981 bottom right, signed, titled and dated verso, oil on canvas panel.

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

Private Collection. $2,000-3,000

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43 151625/15 MARCH AVERY (american, b. 1932) “GULF OF GAETA” Signed and dated 80 bottom left, titled and dated on stretcher verso, oil on canvas.

38 x 60 in. (96.5 x 152.4cm) provenance: The Estate of Adele Lebowitz, McLean, Virginia. $3,000-5,000

44 151639/1 MARCH AVERY (american, b. 1932) “WARM BAY” Signed and dated 63 bottom right, signed, titled and dated verso, oil on canvas.

18 x 24 in. (45.7 x 61cm) provenance: Private Collection, Pennsylvania. $1,000-2,000

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45 152240/1 HANS HOFMANN (german, 1880-1966) UNTITLED 1941, ink signed and dated bottom right, mixed media on paper.

14 x 10 7/8 in. (35.6 x 27.6cm) provenance: André Emmerich, New York, New York.

Riva Yares Gallery, Scottsdale, Arizona.

Private Collection, Michigan. note: With the “Estate of Hans Hofmann” ink stamp on verso of frame, numbered ‘441/5’ in marker. $8,000-12,000

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46 151557/29 HERBERT FERBER (american, 1906-1991) UNTITLED Signed and dated ‘Ferber 67’ on plaque affixed to base, patinated bronze on bronze base with thin lucite second base (presumably as issued). height: 36 in. (91.4cm) width: 42 in. (106.7cm) depth: 27 in. (68.6cm) provenance: The Estate of Philip H. Hamerslough, Jr. (1920-2013) and Edith Hamerslough (1921-2015), Rye, New York. $10,000-15,000

47 151557/28 SEYMOUR LIPTON (american, 1903-1986) THE WHEEL Bronze on monel metal. height: 9 in. (22.9cm) width: 14 1/2 in. (36.8cm) depth: 13 in. (33cm) provenance: Estate of Philip H. Hamerslough, Jr. (1920-2013) and Edith Hamerslough (1921-2015), Rye, New York. $10,000-15,000

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48 151713/2 BEVERLY PEPPER (american, b. 1922) “VULCI COLUMN” Iron and steel.

Executed 1979-80. height: 44 1/2 in. (113cm) width: 8 in. (20.3cm) depth: 8 in. (20.3cm) provenance: Makler Gallery, Philadelphia, Pennsylvania.

Private Collection, Philadelphia, Pennsylvania (acquired directly from the above in 1981). $10,000-15,000

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49 151713/1 BEVERLY PEPPER (american, b. 1922) “TERNANA WEDGE COLUMN” Iron and steel.

Executed 1979-80. height: 19 in. (48.3cm) width: 8 3/8 in. (21.3cm) depth: 6 3/4 in. (17.1cm) provenance: Makler Gallery, Philadelphia, Pennsylvania.

Private Collection, Philadelphia, Pennsylvania (acquired directly from the above in 1981). $4,000-6,000

50 151702/1 SOREL ETROG (canadian, 1933-2014) “HINGED SPIRIT” 1978, signed and numbered 1/7 on base, bronze. height: 12 3/4 in. (32.4cm) width: 4 1/4 in. (10.8cm) depth: 3 in. (7.6cm) provenance: Hokin Gallery, Palm Beach, Florida.

Private Collection, Philadelphia, Pennsylvania (acquired directly from the above in 1992). $5,000-8,000

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51 152232/1 ALEXANDER CALDER (american, 1898-1976) “THE ANCIENT MARINER�

Ink signed and dated 65 bottom right, gouache and ink on paper.

29 1/2 x 42 1/2 in. (74.9 x 108cm) provenance: The Artist.

Brook Street Gallery, London, United Kingdom (purchased from the above in 1965).

Flair Gallery, Cincinnati, Ohio (acquired from the above in 1967).

Private Collection, St. Louis, Missouri.

Nelson Gallery/Atkins Museum, Kansas City, Missouri.

Private Collection, Kansas City, Missouri (acquired from the above in 1968).

Burchard Galleries, Inc., St. Petersburg, Florida.

Private Collection, Florida (acquired from the above in 2006). exhibited: Nelson Gallery/Atkins Museum, Kansas City, Missouri, October 3, 1968- October 20, 1968. note: This work is registered in the archives of the Calder Foundation under identification number A27659. $30,000-50,000

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52 151727/1 HARRY BERTOIA (american, 1915-1978) UNTITLED (STEEL CONSTRUCTION) Brass melt-coated steel plates mounted on central steel tube stem.

Executed circa 1950. height approx.: 51 in. (129.4cm) provenance: Sotheby’s, New York, “Modern and Contemporary Art,” February 24, 1995, lot 367.

Private Collection, Philadelphia (acquired from the above sale). note: We are grateful to Val Bertoia of the BertoiaStudio for confirming the authenticity of this work. $30,000-50,000

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53 HARRY BERTOIA (amercan, 1915-1978) SONAMBIENT SCULPTURE Beryllium copper silvered to brass.

Executed circa 1960s. height: 34 3/4 in. (88.3cm) width: 8 in. (20.3cm) depth: 8 in. (20.3cm) provenance: Mangel Gallery, Philadelphia, Pennsylvania.

Private Collection, Philadelphia (acquired from the above in 1986). note: We are grateful to Val Bertoia of the BertoiaStudio for confirming the authenticity of this work. $15,000-25,000

The Collection of Jerome and Elaine Kurtz For the daughers of Jerome and Elaine Kurtz, art was a defining element of their parents’ marriage and the family landscape. “They were always looking, and always interested.” The family homes were filled with art defined by warm tones and organic media, and included paintings by William Scott and Antoni Tàpies and sculpture by Pablo Picasso, George Rickey and Harry Bertoia- works that were as loved and familiar to the family as were Elaine’s own paintings that hung beside them. Freeman’s is honored to present here twenty-six works from the Kurtz Collection in which this diverse collection of cherished works – spanning from Modernism to Minimalism- is presented.

Jerome and Elaine Kurtz both grew up in Philadelphia, and married after he completed law school at Harvard, and she art school at the Philadelphia Museum School of Industrial Art (now The University of the Arts). Jerome went on to become the Commissioner of the Internal Revenue Service in the Carter Administration and was considered a leading tax expert of his time. Elaine became an accomplished artist with gallery representation in Washington, Philadelphia and New York. Her career was recently highlighted with a retrospective exhibition at Philadelphia’s own Woodmere Art Museum in 2012. The couple’s first shared exposure to the arts occurred soon after they married when the army transferred Jerome to Paris in 1956. According to their daughters, these were formative years in which the two first were exposed to Modernism, and may have made their first acquisitions- a Picasso lithograph and a drawing by André Marchand.

After the birth of two children, Elaine decided to pursue further artistic training, and studied for two years at the Barnes Foundation.

During this time, the couple enjoyed relationships with Elaine’s fellow art school friends and teaching colleagues such as noted Philadelphia artist Edna Andrade. Close friendships with local artists and friends centered around their “Gourmet Association of Philadelphia” in which members hosted elaborate gourmet meals (on one occasion, Elaine served a turkey that had been covered with gold leaf), announced with elaborate, handmade invitations. When the couple moved to Washington, D.C. in 1966 for Jerome’s position with the Treasury, Elaine studied painting at the Corcoran Gallery of Art, where, according to her daughters, she became interested in color field artists like Josef Albers and Mark Rothko.

Through all these years, Elaine kept a separate studio, working diligently at her career. “She was the hardest working person I’ve ever known,” commented one of her daughters recently. Beginning in the 1960s, her work evolved from studies of color and light in careful, linear canvases- often executed in cool and light tones- to later works, “Alluvials,” which are executed in organic, warm earth

tones, characterized by the use of sand mixed with pigment which swirls and flows with the force and movement of water or natural elements. Freeman’s is delighted to offer a few examples from both phases of Elaine’s artistic oeuvre in this auction as well.

Represented by the Martha Jackson Gallery, and later the David Anderson Gallery in New York, Elaine would occasionally trade her own works with her dealers. For example, in one remarkable transaction in 1981, Elaine exchanged a few of her own paintings for the Antoni Tàpies and William Scott paintings which are part of this wonderfully diverse and intimate collection. Surely, collage elements of Tàpies’ canvas and Scott’s warm palate spoke to Elaine’s organic interpretation of nature. Elaine died in 2003, and in 2013 Jerome moved from their loft space and into a light-filled apartment on New York’s Lower West Side. There, Elaine’s paintings hung alongside the works by modern and contemporary masters.

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54 HARRY BERTOIA (american, 1915-1978) “FOUR RODS OF SOUND” Beryllium copper and brass.

Executed circa 1970s. height: 90 in. (228.6cm) provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. note: We are grateful to Val Bertoia of the BertoiaStudio for confirming the authenticity of this work. $40,000-60,000

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55 151741/8 GEORGE RICKEY (american, 1907-2002) “THREE UP, ONE DOWN” Signed and dated 66 on base, stainless steel on marble base. height: 48 in. (121.9cm) provenance: Staempfli Gallery, New York, New York.

The Estate of Jerome and Elaine Kurtz, New York, New York (acquired from the above in 1966). note: This lot is accompanied by a copy of a letter written by the Artist to Mr. and Mrs. Kurtz dated November 7, 1966 as well as a copy of the Artist’s typed “Instructions for Vertical & Horizontal Blade Sculptures.” $30,000-50,000

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56 151741/5 PABLO PICASSO (spanish, 1881-1973) “FACE WITH CIRCLES” 1969, dated and numbered 45/500, inscribed ‘EDITION PICASSO’ and ‘MADOURA’ and with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside, white earthenware clay pitcher with decoration in engobes under partial brushed glaze with grey patina. height: 12 3/16 in. (31cm) width: 8 3/8 in. (21cm) [Ramié, 612] provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. $5,000-8,000

57 151741/6 PABLO PICASSO (spanish, 1881-1973) “OVAL WITH EYE B” 1971, numbered 5/500 and with the ‘MADOURA PLEIN FEU’ and ‘POINÇOINS ORIGINAL DE PICASSO’ stamps verso, red earthenware clay plaque.

5 3/4 x 5 5/8 in. (14.6 x 14.3cm) [Ramié, 624] provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. $1,000-2,000

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58 151741/7 ANDRÉ MARCHAND (french, 1907-1998) WOMAN IN PROFILE Signed bottom right, charcoal on wove paper.

18 1/4 x 15 in. (46.4 x 38.1cm) provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. $1,000-2,000

59 151741/23 HENRI MATISSE (french, 1869-1954) “POÈMES DE CHARLES ORLÉANS” the complete album including 54 lithographs and text 1950, the complete set of 54 unsigned color lithographs, in- and hors-texte, pencil signed by the Artist on the justification, copy 519 from the edition of 1200 (there were also 30 copies in Roman numerals), title, text by Charles D’Orleans and justification, the full sheets, on Arches, Tériade, Paris, publisher.

Loose and with the central vertical folds as issued, within blue papercovered boards with text on spine. overall: 16 1/2 x 11 in.

(41.9 x 27.9cm) [Duthuit books, 28] (album) $5,000-8,000

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60 151741/9 WILLIAM SCOTT (british, 1913-1989) “CHANGE BACK” Signed and dated 69 verso, oil on canvas.

24 x 24 in. (61 x 61cm) [Whitfield, 661] provenance: Martha Jackson Gallery, New York, New York.

David Anderson Gallery, New York, New York (by descent).

The Estate of Jerome and Elaine Kurtz, New York, New York (acquired from the above in 1981). exhibited: “Scott and Hultberg, Paintings and Drawings,” Martha Jackson Gallery, New York, September 29- October 27, 1979. literature: Sarah Whitfield, William Scott: Catalogue Raisonné of Oil Paintings. vol. 4, 1969 - 1989, London: Thames and Hudson, 2013, no. 661 (illustrated p. 37). $50,000-80,000

British artist William Scott’s much celebrated oeuvre included many subjects, but the artist returned again and again to the classic ‘still life’ as his favored subject. In his early 30’s, he attended a 1946 Parisian exhibition entitled A Thousand Years of Still Life Painting, which left him “really overwhelmed by the fact that the subject had hardly changed for 1000 years, and yet each generation in turn expressed its own period and feelings and time within this terribly limited narrow range of the still life.” [1] Indeed, by the 1950s, Scott had developed his own unique treatment of this time-honored subject. Although friendly with American contemporaries such as abstract expressionists Mark Rothko and Willem de Kooning, Scott’s work was distinctly set apart--grounded in European tradition and defined by his own reductive, simplified treatment of form. By the 1960’s he was one of Britain’s most celebrated painters with works in major shows in London, Tokyo, Paris, Brussels, Copenhagen, Oslo and Rotterdam. As he described of his own work, “I am an abstract artist in the sense that I abstract. I cannot be called non-figurative while I am still interested in the modern magic of space, primitive sex forms, the sensual and the erotic, disconcerting contours, the things of life.” [2] [1] Scott, quoted in Norbert Lynton, William Scott, 2004, p.61.

[2] Scott, as quoted by The Estate of William Scott, “Biography,” William Scott.org, 2011.

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61 151741/3 OLIVIER GAGNÈRE (french, b. 1952) “VASE PETIT” White glazed terracotta. height: 14 in. (35.6cm) width: 6 1/8 in. (15.6cm) provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. literature: Jacques Chaban-Delmas, Jacqueline du Pasquier, Françoise Guichon & Gerard-Georges Lemaire, Olivier Gagnère: Verreries et Terres cuites, Maeght Éditeur, Paris, 1990 (illustrated p. 72).

“Olivier Gagnère,” La Musa Inquientante/ Galeria Maeght, Milan, 1988 (illustrated adjacent to introduction page). $1,000-2,000

62 151741/4 OLIVIER GAGNÈRE (french, b. 1952) “VASE MOYEN” White glazed terracotta. height: 13 1/2 in. (34.3cm) width: 7 3/8 in. (18.7cm) provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. literature: Jacques Chaban-Delmas, Jacqueline du Pasquier, Françoise Guichon & Gerard-Georges Lemaire, Olivier Gagnère: Verreries et Terres cuites, Maeght Éditeur, Paris, 1990 (illustrated p. 73). $1,000-2,000

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63 151741/11 ELLSWORTH KELLY (american, b. 1923) “YELLOW OVER YELLOW” 1964-65, pencil signed and numbered 36/75 (there were also 8 artist’s proofs), with wide margins, Maeght Éditeur, Paris, publisher.

Color lithograph on BFK Rives. image: 22 7/16 x 15 1/2 in. (57 x 39.4cm) sheet: 34 7/8 x 23 1/8 in. (88.6 x 58.7cm) [Axsom & Platzker, 25] provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. $4,000-6,000

64 151741/17 LOUISE NEVELSON (american, 1899-1988) “NIGHT LEAF” 1969, incised with the Artist’s initials and numbered 46/150 verso, signed and numbered again on the Pace label verso (there were also 25 artist’s proofs), Pace Editions, New York, publisher. Black opaque Plexiglas and resin multiple. multiple: 12 1/2 x 12 1/2 x 2 1/8 in. (31.8 x 31.8 x 5.4cm) Plexiglas box: 17 x 17 x 3 1/2 in. (43.2 x 43.2 x 8.9cm) [Baro, 121] provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. $2,000-3,000

65 151741/18 FRANCIS SOBRINO (spanish, b. 1932) UNTITLED Signed and numbered 19/25, stainless steel. height: 16 11/16 in. (42.4cm) width: 16 3/4 in. (42.5cm) depth: 11 1/8 in. (28.3cm) provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. $1,500-2,500

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66 151741/32 FRANÇOIS MORELLET (french, b. 1926) “SPHÈRE-TRAMES” Stainless steel.

Executed in 1966.

This work is number 10 from an edition of 25. diameter: 23 5/8 in. (60cm) provenance: Éditions Denise René, Paris, France.

The Estate of Jerome and Elaine Kurtz, New York, New York (acquired directly from the above in 1972). note: This lot is accompanied by a photo-certificate issued by Éditions Denise René, numbered 10/25 and signed by the Artist. $15,000-25,000

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67 151741/10 ANTONI TÀPIES (spanish, 1923-2012) “FELTRE AMB BANDA NEGRA” Signed bottom right, paint and pencil on felt mounted on wood.

Executed in 1977.

26 7/8 x 21 3/4 in. (68.3 x 55.3cm) [Agusti, 3185] provenance: Martha Jackson Gallery, New York, New York.

David Anderson Gallery, New York, New York (by descent).

The Estate of Jerome and Elaine Kurtz, New York, New York (acquired from the above in 1981). exhibited: “Tàpies. Obra recent,” Galerie Maeght, Barcelona, December 12, 1978–January 30, 1979, exhibition catalogue no. 43. literature: Anna Agusti, Tàpies: The Complete Works, Vol. 4, 1976-1981, Barcelona: Fundació Antoni Tàpies, 1996, catalogue no. 3185. note: This lot is accompanied by a photocertificate issued by Martha Jackson Gallery (inventory no. 19212). $40,000-60,000

"Sometimes people have the idea that art should be highly refined. But I always believed that one could make art out of simple, humble things. Small things can be transcendental. They can change our way of looking at the world. I think it's important to make art out of almost anything."

Antoni Tàpies in an interview with The Telegraph’s Martin Gayford, March 25, 2006.

Antoni Tàpies was supremely interested in materials. A pioneering figure in the Matter Painting movement, he often mixed conventional media like oil with dust, dirt, marble powder and other natural substances. Not only did this give his paintings texture and dimension, but it also satisfied his desire to experiment with and undermine traditional modes of fine art, and connected his work to some of the grittier realities of Post-War Europe and his home country of

Spain most specifically. By upending customary expectations of media, surface and subject matter, he offered his works up as objects of meditation and contemplation.

Feltre Amb Banda Negra elicits just such a contemplative response. Its organic color palette and multidimensional surface are both inviting and challenging. The artist’s incorporation of enigmatic symbols such as the cruciform at upper right begs many questions as to his

intent – is the symbol intended to invoke a religious response, is it a reference to the politically-dissident graffiti so often observed under the Franco regime, or - as asked by journalist Martin Gayford - is it a “T” meant as a signature or a way by which the artist could literally insert himself into his work? Tàpies provides no answer, and allows the viewer alone to ponder this thought-provoking yet elegant painting.

Elaine Kurtz may well have been influenced by Tàpies in her later work, such as Alluvial Diptych with Obsidian (lot 79), in which the sand the artist herself collected was incorporated into the large canvases that evoke natural elements and organic motion. Interestingly, both artists were represented by Martha Jackson Gallery in New York City, which gave Tàpies his first Manhattan exhibition.

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68 151741/14 NATHAN OLIVEIRA (american, b. 1928) “ELEVATED HEAD” Signed in pencil upper right and dated in ink 2-20-69, ink and watercolor on Raffaello Fabriano.

26 x 19 in. (66 x 48.3cm) provenance: Martha Jackson Gallery, New York, New York.

The Estate of Jerome and Elaine Kurtz, New York, New York. exhibited: “Art on Paper,” Weatherspoon Art Gallery at the University of North Carolina, Greensboro, North Carolina, 1971. $1,000-2,000

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69 151741/19 ROLPH SCARLETT (american, 1891-1984) “UNTITLED, #(30)” Signed with the Artist’s initials bottom right and annotated 37/8 bottom center, gouache on paper.

Executed in 1940.

5 1/8 x 3 7/8 in. (13 x 9.8cm) provenance: Joan Washburn Gallery, New York, New York.

The Estate of Jerome and Elaine Kurtz, New York, New York (acquired from the above in 1982). exhibited: “Rolph Scarlett: Works from circa 1940,” Washburn Gallery, New York, January 12- February 6, 1982. $1,000-2,000

70 151741/16 JAMES HAVARD (american, b. 1937) “EAGLE DANCE” Pencil signed, titled and dated 73, mixed media on paper.

17 15/16 x 23 15/16 in.

(45.6 x 60.8cm) provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. $1,000-1,500

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71 151741/15 CLAIRE FALKENSTEIN (american, 1908-1997) FUSION Copper and glass. height: 4 1/8 in. (10.5cm) width: 9 1/2 in. (24.1cm) depth: 4 1/2 in. (11.4cm) provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. note: Claire Falkenstein is best celebrated for her organic works combining a variety of media, including Murano glass and copper. She lived and worked in California most of her life, but completed numerous public commissions around the world. She is perhaps best known for the gates of the Palazzo Venier dei Leoni in Venice (now in the Peggy Guggenheim Collection, Venice, Italy).

Falkenstein like Elaine Kurtz, was represented by the Martha Jackson Gallery in the 1960’s, and this work was likely acquired or traded during this time. $4,000-6,000

72 151741/12 BEN SHAHN (american, 1898-1969) “TV ANTENNA” 1953, signed in red and numbered in black 84/100 (the total known edition was 102, including artist’s proofs), with wide margins.

Screenprint on Unbleached Arnold. image: 16 1/8 x 36 3/4 in.

(41 x 93.4cm) sheet: 25 x 38 1/4 (63.5 x 97.2cm) [Prescott, 20] provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. $1,000-2,000

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73 151741/43 ROBERT INDIANA (american, b. 1928) “NUMBERS” the complete portfolio of ten color screenprints 1968, pencil signed by the Artist and Poet and numbered 145/250 on the justification (there were also 35 artist’s proofs in Roman numerals), title, poems by Robert Creeley in German and English, the full sheets, bound (as issued), Edition Domberger, Stuttgart and Galeria Schmela, Dusseldorf, Germany, publishers. The complete set of 10 color screenprints on Schollers Parole paper in original cardboard covers and brown paper dust-jacket. all images: 23 9/16 x 19 1/2 in. (59.8 x 49.5cm) all sheets/album: 25 1/2 x 19 1/2 in. (64.8 x 74.9cm) [Sheehan, 56] (album) provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. $8,000-12,000

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74 151741/42 ROY LICHTENSTEIN (american, 1923-1997) “FORMS IN SPACE” 1985, pencil signed and dated, numbered 62/125 (there were also 20 artist’s proofs), with margins, the Artist for the Institute of Contemporary Art, Philadelphia, publisher. Color screenprint on wove paper. image: 31 1/8 x 47 7/16 in. (79.1 x 120.5cm) sheet: 35 7/16 x 51 7/8 in. (90.1 x 131.8cm) [Corlett, 217] provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. $30,000-50,000

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75 151741/22 ANDY WARHOL (american, 1928-1987) “WILD RASPBERRIES� the complete portfolio of 18 offset lithographs with recipes by suzie frankfurt 1959, the complete set of 18 offset lithographs, three with hand-coloring, (one of which is a double plate), printed title page and two blank pages (as issued), recipes by Suzie Frankfurt, all on laid paper, the full sheets, bound (as issued) with original fuchsia tissue overlays and fuchsia buckram board covers. all sheets/album: 17 1/2 x 11 3/8 in. (44.4 x 28.9cm) [Feldman & Schellmann IV, 126A-143A] (album) provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. $12,000-18,000

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76 151741/21 EDNA ANDRADE (american, 1917-2008) “ROTATION NO. 1” Signed with the Artist’s initials bottom right, acrylic on canvas.

16 x 16 in. (40.6 x 40.6cm) provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. $5,000-8,000

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Elaine Kurtz at work in her studio, circa 1970.

77 151741/34 ELAINE KURTZ (american, 1928-2003) “STUDY FOR EARTH AND SKY” Signed verso, acrylic on canvas.

Executed circa 1970.

30 1/4 x 30 1/4 in. (76.8 x 76.8cm) provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. $600-1,000

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78 151741/41 ELAINE KURTZ (american, 1928-2003) “WHITE CHEVRON” Signed, dated 76 and titled twice on verso, acrylic on canvas.

50 x 60 in. (127 x 152.4cm) Unframed provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. $1,000-2,000 79 151741/44 ELAINE KURTZ (american, 1928-2003) “ALLUVIAL DIPTYCH WITH OBSIDIAN” Signed and dated 99 on right panel verso, titled and dated on left panel verso, oil, mixed media and sand on two canvases (diptych). each panel: 72 x 48 in. (182.9 x 243.8cm) overall: 72 x 96 in. (182.9 x 121.9cm) Unframed (2) provenance: The Estate of Jerome and Elaine Kurtz, New York, New York. $1,500-2,500

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80 152149/1 GEORGE RICKEY (american, 1907-2002) “SPACE CHURN WITH CAMS VARIATION I” Signed and dated 1977, numbered 5/5 on base, stainless steel kinetic sculpture. height: 13 1/4 in. (33.6cm) width: 8 1/4 in. (21cm) depth: 8 1/4 in. (21cm) provenance: Makler Gallery, Philadelphia, Pennsylvania.

Private Collection, Philadelphia, Pennsylvania (acquired from the above in 1980). exhibited: Makler Gallery, Philadelphia, Pennsylvania, November 5December 3, 1977. note: We are grateful to the George Rickey Foundation for their assistance in researching this work. $15,000-20,000

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81 152149/2 GEORGE RICKEY (american, 1907-2002) “FOUR PLANES HANGING THREE FEET” Titled and annotated ‘Cat. no 22’ on verso of each plate, stainless steel kinetic mobile (hanging) sculpture.

Executed in 1967. overall: 37 1/2 x 37 1/2 in. (95.3 x 95.3cm) provenance: Makler Gallery, Philadelphia, Pennsylvania.

Private Collection, Philadelphia, Pennsylvania (acquired from the above in 1980). exhibited: “George Rickey,” Haus am Waldsee, Berlin, Germany, February 15- March 30, 1969.

“Biennale 1969 Nürnberg–Konstruktive Kunst: Elemente und Prinzipien,” Nuremberg, Germany, April 18- August 3, 1969.

“George Rickey Mobile Skulpturen,” Kunstverein, Munich, Germany, August 20September 28, 1969.

“Recent Kinetic Sculpture by George Rickey,” Whatcom Museum of History and Art, Bellingham, Washington, April 25-June 15, 1970.

“George Rickey Retrospective Exhibition 1951-71,” UCLA Art Galleries, University of California, Los Angeles, 1971.

Makler Gallery, Philadelphia, Pennsylvania, November 5- December 3, 1977. note: We are grateful to the George Rickey Foundation for their assistance in researching this work. $25,000-40,000

58 www.freemansauction.com

82 151625/3 SAM GILLIAM (american, b. 1933) “CLUSTER�

Signed, titled and dated 1967 verso, acrylic and aluminum bronze dust on canvas.

86 x 22 1/8 inches (218.4 x 56.2cm) Unframed provenance: The Estate of Adele Lebowitz, McLean, Virginia. note: We are grateful to The Gilliam Studio for confirming the authenticity of this work. $8,000-12,000

83 151625/58 SAM GILLIAM (american, b. 1933) TALES Watercolor and aluminum powder on fiberglass paper.

Executed in 1967.

18 1/8 x 23 5/8 in. (46 x 60cm) provenance: The Estate of Adele Lebowitz, McLean, Virginia. note: We are grateful to the Gilliam Studio for confirming the authenticity of this work. $2,000-4,000

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84 158075/1 JOHN HOYLAND (british, 1934-2011) “9.1.75” Signed and titled verso, acrylic on canvas.

Executed in 1975.

78 x 60 in. (198.1 x 152.4cm) provenance: Private Collection, New York, New York.

Private Collection, Vero Beach, Florida (acquired from the above in 1993).

By family descent.

Marybeth and Chuck Cunningham, Vero Beach, Florida. exhibited: Galerie André Emmerich, Zurich, Switzerland.

Waddington Gallery, London, United Kingdom. note: We are grateful to the Hoyland Studio for their assistance in researching this work. $20,000-30,000

60 www.freemansauction.com

85 151446/1 four puzzle sculptures MIGUEL BERROCAL (spanish, 1933-2006) “SALVADOR Y DALILA” 1974-1978, incised with the Artist’s signature and numbered 119/2000, polished bronze and steel in 17 parts. height: 11 1/8 in. (28.3cm) and “PORTRAIT DE MICHÈLE” 1969, incised with the Artist’s signature and numbered 5079 (from the edition of 9500), nickel-plated brass with enamel in 17 parts. height: 4 in. (10.2cm) and “MINI-MARIA” 1968-1969, incised with Artist’s signature and numbered 4731 (from the edition of 9500), metal chrome in 23 parts with rhinestone. height: 1 3/4 in. (4.4cm)

86 151801/2 ARNALDO POMODORO (italian, b. 1926) “SFERA” Incised with the Artist’s stamped signature and numbered 95/150 (there was also an edition of 4 in Roman numerals and 6 artist’s proofs), Artcurial, publisher and with their stamp, gilded bronze.

Executed in 1983. diameter: 5 5/8 in. (14.3cm) note: This work is registered in the Archivio Arnaldo Pomodoro, Milan, under number M/82/2. $10,000-15,000

and “MINI-DAVID” 1968, incised with the Artist’s signature and numbered 5158 (from the edition of 9500), nickel-plated aluminum alloy in 22 parts height: 5 5/8 in. (14.3cm) (4) note: This lot will be accompanied by two companion assembly books for “Mini-Maria” and “Mini-David” and one photocopy of the companion assembly book for the “Portrait de Michèle.” $4,000-6,000

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87 152103/1 SONIA DELAUNAY-TERK (ukranian, 1885-1979) “LAMELLES” Circa 1970, pencil signed and numbered 41/125, with margins.

Color lithograph on Arches. image: 19 1/2 x 18 3/8 in.

(49.5 x 46.7cm) sheet: 29 5/8 x 21 1/8 in.

(75.2 x 53.7cm) $1,000-1,500

88 152103/3 SONIA DELAUNAY-TERK (ukranian, 1885-1979) UNTITLED (COMPOSITION WITH TRIANGLES AND CIRCLES) Circa 1970, pencil signed and numbered 80/125, with margins.

Color etching and aquatint on Arches. image: 19 1/2 x 15 5/8 in.

(49.5 x 39.7cm) sheet: 25 7/8 x 19 3/4 in.

(65.7 x 50.2cm) $1,000-1,500

89 152138/4 JEAN DUBUFFET (french, 1901-1985) “EPIPHANOR” from “présences fugaces” 1973, pencil signed with initials and dated, numbered 13/100 (there were also 20 hors-commerce proofs in Roman numerals), with wide margins, Pace Editions Inc., New York, publisher. Color screenprint on Hollandais. image: 19 11/16 x 13 3/8 in. (50 x 34cm) sheet: 29 13/16 x 21 7/8 in. (75.7 x 55.6cm) [Webel, 1163] $5,000-8,000

62 www.freemansauction.com

90 152217/1 FRANK STELLA (american, b. 1936) “ANGRIFF” from “conspiracy: the artist as witness” 1971, pencil signed and dated, inscribed ‘AP’ (there were 25 artist’s proofs, the edition was 150), with full margins, David R. Godine Publishers and the Center for Constitutional Rights, New York, publishers. Screenprint on Fabriano. image: 10 1/2 x 10 1/2 in. (26.7 x 26.7cm) sheet: 18 x 24 in. (45.7 x 61cm) [Axsom Appendix, IC] $1,000-1,500

91 152217/2 FRANK STELLA (american, b. 1936) “UNTITLED (RABAT)” from “ten works x ten painters” 1964, from the unsigned edition of 500 (there were also 10 artist’s proofs), with full margins, Wadsworth Atheneum, Hartford, Connecticut, publisher. Color screenprint on wove paper within original paper folder printed with the Artist’s name. image: 18 x 18 in. (45.7 x 45.7cm) sheet: 24 x 20 in. (61 x 50.8cm) [Axsom Appendix, 1A] Unframed $800-1,200

92 152004/6 SOL LEWITT (american, 1928-2007) “BLACK WITH WHITE LINES, VERTICAL, NOT TOUCHING” from “conspiracy: the artist as witness” 1970, pencil signed and numbered 68/150 verso (there were also an unknown number of trial proofs), the full sheet, Chicago 7, Chicago, Illinois, publisher. Lithograph on wove paper. sheet: 16 15/16 x 23 3/8 in. (43 x 59.4cm) [Krakow, 1970.7] $1,500-2,500

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93 151855/1 DONALD JUDD (american, 1928-1994) “UNTITLED IN CADMIUM YELLOW DEEP” 1988-1990, pencil signed and numbered IX/XV (there was also an edition of 25 in Arabic numerals and 10 artist’s proofs), with wide margins, Kölnischer Kunstverein, Cologne, publisher. Color woodcut in cadmium yellow deep on Japan. sheet: 23 1/2 x 31 1/4 in.

(59.7 x 79.4cm) [Schellmann, 191] $5,000-8,000

94 151855/2 DONALD JUDD (american, 1928-1994) “UNTITLED IN CADMIUM YELLOW DEEP” 1988-1990, pencil signed and numbered IX/XV (there was also an edition of 25 in Arabic numerals and 10 artist’s proofs), the full sheet, Kölnischer Kunstverein, Cologne, publisher. Color woodcut in cadmium yellow deep on Japan. sheet: 23 1/2 x 31 5/16 in.

(59.7 x 79.5cm) [Schellmann, 192] $5,000-8,000

64 www.freemansauction.com

95 152231/1 RICHARD JOSEPH ANUSKIEWICZ (american, b. 1930) “BISECTED WITH REDS NO. 492” Signed, dated 1976 and annotated 492 verso, acrylic on canvas.

36 x 48 in. (91.4 x 121.9cm) provenance: Wenger Gallery, La Jolla, California.

Private Collection, Montana (acquired directly from the above in 1977). $25,000-40,000

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96 151433/1 (AFTER) ANDY WARHOL (american, 1928-1987) CAMPBELL’S TOMATO SOUP CAN Signed in black felt tip pen, Campbell’s Tomato Soup can (inside a Plexiglas box). height: 4 in. (10.2cm) width: 2 5/8 in. (6.7cm) depth: 2 5/8 in. (6.7cm) [Not in Feldman & Schellmann] provenance: Fuller’s Fine Art Auctions, Philadelphia, “Fine Art Auction including Art Glass, Ceramics and Decorative Arts,” May 8, 2010, lot 186.

Private Collection, Philadelphia, Pennsylvania (acquired directly from the above sale). $1,500-2,500

97 152253/1 ANDY WARHOL (american, 1928-1987) “FLOWERS” 1964, ink signed and inscribed 65, from the edition of 300, with full margins, Leo Castelli Gallery, New York, publisher. Color offset lithograph on wove paper. image: 22 x 22 in. (55.9 x 55.9cm) sheet: 23 x 23 in. (58.4 x 58.4cm) [Feldman & Schellmann, II.6] $20,000-30,000

66 www.freemansauction.com

98 151928/1 ANDY WARHOL (american, 1928-1987) “FLOWERS” 1970, signed in ball-point pen and rubber stampnumbered 71/250 verso (there were also 26 artist’s proofs lettered A-Z), Factory Additions, New York, publisher. Color screenprint on wove paper. sheet: 35 13/16 x 35 15/16 in. (91 x 91.3cm) [Feldman & Shellmann, II.64] $25,000-35,000

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99 151928/2 ANDY WARHOL (american, 1928-1987) “FLOWERS” 1970, ink signed and rubber stamp-numbered 71/250 verso (there were also 26 artist’s proofs lettered A-Z), Factory Additions, New York, publisher. Color screenprint on wove paper.

35 7/8 x 36 in. (91.1 x 91.4cm) [Feldman & Schellmann, 11.73] $18,000-25,000

68 www.freemansauction.com

100 152013/1 ANDY WARHOL (american, 1928-1987) “DRACULA” from “myths” 1981, pencil signed and numbered 134/200 (there were also 30 artist’s proofs), Ronald Feldman Fine Arts, Inc., New York, publisher. Color screenprint on Lenox Museum Board. sheet: 38 x 37 7/8 in. (96.5 x 96.2cm) [Feldman & Shellmann, II.264] $10,000-15,000

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101 152004/3 JONATHAN BOROFSKY (american, b. 1942) “WORKERS ON PLANET EARTH 2941341” 1985, pencil signed and numbered 10/125, the full sheet, co-published by the Artist and Simca Print Artists, Inc., New York and with their blindstamp. Color screenprint with hand-numbering in red on Arches. sheet: 30 1/8 x 22 1/4 in. (76.5 x 56.5cm) $500-800

103 151813/1 ALEXANDER NEY (american/russian, b. 1939) SAXOPHONE PLAYER Stamp signed and dated ‘ALNEY © 77’ twice on the underside of the figure and stamped variously on the underside of the circular support base, pink terracotta. height: 29 1/2 in. (74.9cm) width: 17 1/2 in. (44.5cm) depth: 15 in. (38.1cm) provenance: Private Collection, Marblehead, Massachusetts. $4,000-6,000

102 151116/3 KEITH HARING (american, 1958-1990) “KUTZTOWN CONNECTION” 1984, pencil signed and numbered 106 in black ink verso, with full margins, The New Arts Program, Kutztown, publisher and with their blindstamp and also with a letter on the reverse of the mount signed by the director of the New Arts Program stating the work is no. 106 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 x 20 in. (83.8 x 50.8cm) $1,500-2,000

70 www.freemansauction.com

104 141965/5 NICOLA SIMBARI (italian, 1927-2012) UNTITLED Signed and dated 80 bottom right 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. $4,000-6,000

105 141965/4 NICOLA SIMBARI (italian, 1927-2012) “D’APRÈS CARAVAGGIO” Signed and titled bottom right, oil on canvas.

39 1/4 x 47 1/4 in. (99.7 x 120cm) Unframed provenance: The Artist.

Private Collection. $2,000-3,000

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106 152187/1 NICOLA SIMBARI (italian, 1927-2012) “THE SEINE, INSTITUT DE FRANCE” Signed bottom right and titled on stretcher verso, oil on canvas.

Executed circa 1966.

23 3/16 x 23 3/16 in.

(58.9 x 58.9cm) provenance: Wally Findlay Galleries, New York, New York.

Private Collection, Canada.

By descent.

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

107 158031/1 ITZCHAK TARKAY (israeli, b. 1935) WOMEN AT A CAFÉ Signed bottom right, oil on canvas.

52 1/2 x 77 in. (133.4 x 195.6cm) provenance: Private Collection, Boca Raton, Florida. $4,000-6,000

72 www.freemansauction.com

108 151625/59 ZAO WOU-KI (chinese/french, 1921-2013) UNTITLED 1959, pencil signed and dated, numbered 75/140 (Âgerup calls for an edition of 95), with wide margins, L’Oeuvre Gravée, Zurich, publisher and with their blindstamp.

Color lithograph on BFK Rives. image: 19 5/8 x 17 7/8 in.

(49.8 x 45.4cm) sheet: 24 x 19 3/8 in.

(61 x 49.2cm) [Âgerup, 121] $2,000-3,000

109 151422/16 THANOS TSINGOS (greek, 1914-1965) ABSTRACTION Signed and dated 55 bottom right, oil on canvas.

51 x 37 1/2 in. (129.4 x 95.3cm) provenance: Property from a New York Collection. $5,000-8,000

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110 151625/55 SAM FRANCIS (american, 1923-1994) UNTITLED from “memoire de la liberté portfolio” 1991, pencil signed and inscribed ‘AP’ (one of 70 artists proofs, the edition was 100), the full sheet, Art Multi et Editions Sedcome, Paris, publisher. Color lithograph on wove paper.

29 15/16 x 46 1/8 in. (76 x 117.2cm) [Sam Francis, 346] Unframed $2,000-3,000

111 152138/1 GREGORY AMENOFF (american, b. 1948) “SLOW BURN” Signed, titled and dated 10/80 verso, oil on canvas.

38 x 44 in. (96.5 x 111.8cm) Unframed provenance: Robert Miller Gallery, New York, New York.

Sotheby’s, New York, “Impressionist, Modern and Contemporary Paintings, Drawings and Sculpture,” November 6, 1997, lot 482.

Private Collection, New York, New York (acquired directly from the above sale). $2,000-3,000

112 151801/4 NANCY GRAVES (american, 1939-1995) “RADIX” 1987, pencil signed and numbered 6/36 (there were also 9 artist’s proofs), with full margins, 2RC Edizioni d’Arte, Rome, publisher and with their blindstamp. Color etching and aquatint on Fabriano Artistico. image: 23 1/2 x 30 11/16 in. (59.7 x 77.9cm) sheet: 35 3/8 x 44 in. (89.9 x 111.8cm) $1,500-2,500

74 www.freemansauction.com

113 151801/3 LOUISE NEVELSON (american, 1899-1988) “NIGHT TREE” from “lead intaglio series” 1972, pencil signed, titled and dated, numbered 123/150, with wide margins, Pace Editions, Inc., New York, publisher. Lead intaglio collage print on heavy wove paper. image: 23 1/4 x 13 1/2 in.

(59.1 x 34.3cm) sheet: 29 13/16 x 24 7/8 in.

(75.7 x 63.2cm) [Baro, 112] $1,000-1,500

114 151481/7 ROSS BLECKNER (american, b. 1949) BIRD IN FLIGHT Signed and dated 1975 verso, oil on canvas.

10 x 8 in. (25.4 x 20.3cm) provenance: The Artist.

Private Collection, New York (gifted from the above). $4,000-6,000

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115 158061/1 LOUIS LE BROCQUY (irish, 1916-2012) “STUDY OF SAMUEL BECKETT” Pencil signed, dated 1981 and dedicated bottom right, signed, titled and dated again verso, watercolor on paper.

23 7/8 x 18 1/16 in.

(60.6 x 45.7cm) Unframed note: This lot will be sold together with: “STUDY OF SAMUEL BECKETT,” Pencil signed and numbered 65/100, with wide margins. Color lithograph on BFK Rives. image: 15 11/16 x 15 7/16 in.

(39.9 x 39.2) sheet: 25 9/16 x 19 5/8 in.

(64.9 x 49.9cm) Unframed (2) provenance: The Artist.

Private Collection (gifted from the above in 1981).

By family descent.

Private Collection, Virginia. $8,000-12,000

76 www.freemansauction.com

116 151916/22 JENNIFER BARTLETT (american, b. 1941) “IN THE GARDEN #190” 1982, pencil signed and dated, numbered 49/52 on right sheet (there were also 7 artist’s proofs), presumably with full margins, Simca Print Artists Inc., New York, publisher and with their blindstamp. Color screenprint and woodblock on two sheets of handmade paper. images (together): 16 1/8 x 44 5/8 in. (41 x 113.4cm) sheets (together): 17 1/4 x 45 1/2 in. (43.8 x 108cm) $1,500-2,500

117 152239/1 JOAN NELSON (american, b. 1958) UNTITLED two prints 1990, both pencil signed and dated, numbered ‘TP 2’ and ‘AP 7’ respectively (the edition was 45 plus 12 artist’s proofs), with full margins, Cirrus Editions, Los Angeles, publisher. Two color lithographs with screenprinted glaze on BFK Rives. images: 8 x 8 1/8 in. (20.3 x 20.6cm) sheets: 16 x 16 in. (40.6 x 40.6cm) [Cirrus Editions, 324-5] (2) $1,200-1,800

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118 152004/1 HELEN FRANKENTHALER (american, 1928-2011) “SUNSHINE AFTER RAIN” 1987, pencil signed and dated, numbered 24/67 (there were also 8 artist’s proofs), presumably with full margins, 2RC Edizioni d’Arte, Rome, publisher and with their blindstamp.

Color etching, aquatint and drypoint on White Fabriano. image: 33 1/4 x 27 5/16 in.

(84.5 x 69.4cm) sheet: 46 1/4 x 36 1/2 in.

(117.5 x 92.7cm) [Harrison, 126] $6,000-10,000

119 152004/4 HELEN FRANKENTHALER (american, 1928-2011) “MIDNIGHT” 1987, pencil signed and dated, numbered 46/71 (there were also 8 artist’s proofs), with full margins, 2RC Edizioni d’Arte, Rome, publisher and with their blindstamp. Color aquatint and drypoint on White Magnani. image: 19 7/16 x 15 3/4 in.

(49.4 x 40cm) sheet: 31 7/8 x 25 1/4 in.

(81 x 64.1cm) [Harrison, 123] $4,000-6,000

78 www.freemansauction.com

120 152153/1 ERIC FISCHL (american, b. 1948) “HOLY MAN” Signed, titled and dated 1990 verso, oil on linen.

98 x 74 in. (248.9 x 188cm) Unframed provenance: The Artist.

Mary Boone Gallery, New York, New York.

Private Collection (acquired directly from the above in November 1990). exhibited: “Eric Fischl,” Mary Boone Gallery, New York, New York, November 17 December 22, 1990 (illustrated).

“Cleveland Collects Contemporary Art,” Cleveland Art Museum, Cleveland, Ohio, November 8, 1998 - January 10, 1999. $50,000-80,000 When first exhibited in 1990 at the Mary Boone Gallery, Eric Fischl’s new series of paintings was met with much critical enthusiasm.

Executed after a trip to India, the paintings depicted both traditional and modern elements of the nation, sometimes jarringly, and sometimes harmoniously juxtaposed within the same scene. Although the subject matter presented a stark shift from the familiar scenes of middle-class Americans, as Michael Kimmelman observed, Fischl had “always made alienation of one sort or another the focus of his art. In these latest paintings, he has found a more richly associative way of developing this psychological theme.” [1] “Holy Man” depicts just two elements - a single, anonymous holy figure with his head buried in the sand adjacent to an empty beggar’s bowl; a reminder of 20th century reality brought into sharp focus.

Rendered in warm ochres, the artist seems to have embraced the colors and feel of India in his familiar, painterly hand, but in this slightly unresolved image, “never loses sight of the distance between cultural insider and outsider.”

[1] Michael Kimmelman, “Eric Fischl Paints India, Exotic and Mundane,” New York Times, November 23, 1990.

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121 152027/2 MARIO SEGUNDO PÉREZ (argentine, b. 1960) “BAILE” Signed bottom right, signed, titled and dated 1998 verso, oil on canvas.

39 x 32 in. (99 x 81.3cm) Unframed provenance: Praxis Gallery, New York, New York.

Private Collection (acquired directly from the above at the Art Basel Miami Beach Art Fair in 2000). $4,000-6,000

122 152027/1 MARIO SEGUNDO PÉREZ (argentine, b. 1960) “PESCADORES” Signed bottom left, signed, titled and dated 2000 verso, oil on canvas.

36 x 28 in. (91.4 x 71.1cm) Unframed provenance: Praxis Gallery, New York, New York.

Private Collection (acquired directly from the above at Art Basel Miami Beach Art Fair in 2000). $4,000-6,000

80 www.freemansauction.com

123 151625/14 JACOB KAINEN (american, 1909-2001) “PILOT XXXV” Signed, titled and dated 1990 verso, oil on canvas.

72 x 54 inches (182.9 x 137.2cm) provenance: Nancy Drysdale Gallery, Washington, DC. The Estate of Adele Lebowitz, McLean, Virginia. exhibited: “Jacob Kainen,” The National Museum of American Art, Smithsonian Institution, Washington DC, September 1993 - January 1994, exhibition catalogue no. 97 (illustrated). $3,000-5,000

124 151916/26 SANTI MOIX (american, b. 1960) “SYSTEM DICTIONARY” Signed, titled and dated 1999 verso, oil on linen.

29 1/4 x 36 1/4 in. (74.3 x 92.1cm) provenance: Paul Kasmin Gallery, New York, New York.

Private Collection, New York, New York (acquired directly from the above in 2000). $1,000-2,000

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125 151916/4 TONY FEHER (american, b. 1956) UNTITLED 9 Mylar bags and push pins.

Executed in 2004. dimensions variable. provenance: D’Amelio Terras, New York, New York.

Private Collection, New York, New York (acquired directly from the above). exhibited: “Tony Feher: The Wart on the Bosom of Mother Nature,” D’Amelio Terras, New York, New York, May 8 – July 2, 2004. $8,000-12,000

82 www.freemansauction.com

126 151916/1 ROXY PAINE (american, b. 1966) “GROUP #7” Polymer, oil, lacquer, wood and glass.

Executed in 2004. height: 11 3/4 in. (29.8cm) width: 20 in. (50.8cm) depth: 16 in. (40.6cm) provenance: James Cohan Gallery, New York, New York.

Private Collection, New York, New York (acquired directly from the above in 2004). $20,000-30,000

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127 151916/11 JIM HODGES (american, b. 1957) “UNTITLED, (FOR CREATIVE TIME)” 2006, pencil signed and dated, numbered 34/50, the full sheet, produced in honor of the Artist’s 2005 collaboration with Creative Time for Art on the Plaza at the Ritz Carlton in Battery Park City, New York. Archival inkjet pigment, glassine, archival cardboard, plotter cut paper and screenprint on two sheets of overlapping Arches. sheet: 30 3/16 x 22 3/8 in.

(76.7 x 56.8cm) provenance: Private Collection, New York, New York (purchased in 2007). $2,500-4,000

128 151916/19 TAM VAN TRAN (american/vietnamese, b. 1966) UNTITLED Mixed media on paper.

13 3/4 x 11 in. (35 x 27.9cm) provenance: Private Collection, New York, New York. $1,000-2,000

84 www.freemansauction.com

129 152138/2 POLLY APFELBAUM (american, b. 1955) “COLOR EXERCISES - WARM & COOL” 2002, pencil signed and dated, numbered 19/60, the full sheet, Durham Press, Inc., Durham, Pennsylvania, publisher. Color screenprint on Lana Royale. image: 9 1/4 x 27 1/4 in.

(23.5 x 69.2cm) sheet: 22 1/4 x 38 3/8 in.

(56.5 x 97.5cm) $1,500-2,500

130 152138/3 POLLY APFELBAUM (american, b. 1955) “COLOR EXERCISES - SIMPLE AND BINARY” 2002, pencil signed and dated, numbered 15/60, with wide margins, Durham Press, Inc., Durham, Pennsylvania, publisher.

Color screenprint on Lana Royale. image: 8 3/8 x 26 1/4 in.

(21.3 x 66.7cm) sheet: 22 1/8 x 29 1/4 in.

(56.2 x 74.3cm) $1,500-2,500

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131 151916/5 POLLY APFELBAUM (american, b. 1955) “THE ENIGMA MACHINE” Synthetic crushed stretch velvet and dye.

Executed from 1993-95. two possible formats: 9 stacks: 35 x 5 x 2 in.

(88.9 x 12.7 x 5.1cm); or 72 stacks: 35 x 62 x 1/2 in.

(88.9 x 157.5 x 1.3cm) provenance: D’Amelio Terras, New York, New York.

Private Collection, New York, New York (acquired directly from the above in 2004). exhibited: “Stacked,” D’Amelio Terras, New York, New York, January 11 – February 15, 2003.

note: “At the time of The Enigma Machine I was still working in what would be more conventionally considered sculpture. But I began with dyed fabric, 2-d stuff. So the ideas of stacking and folding were important in going from two to three dimensions, allowing works to open and close. It is interesting given that The Enigma Machine is a coding device, something that opens or shuts off meaning. Other themes had to do with habits and order, routines and reiteration. Folding, stacking or re-arranging were all simple devices I used to create formal possibilities for my work.” – Polly Apfelbaum, 2003 (as quoted in the press release for the exhibition “Stacked” at D’Amelio Terras, New York). $2,000-3,000

132 151916/6 DANIEL PFLUMM (swiss, b. 1968) UNTITLED From the edition of 5. Aluminum and colored Plexiglas light box.

Executed in 1999. height: 12 in. (30.5cm) width: 42 5/8 in. (108.3cm) depth: 6 1/2 in. (16.5cm) provenance: Greene Naftali, Inc., New York, New York.

Private Collection, New York, New York (acquired directly from the above in 2002). $3,000-5,000

86 www.freemansauction.com

133 151916/21 CAROL K. BROWN (american, b. 1945) “ENCOUNTERS (04-019 A&B)” Signed and partially titled on support verso, acrylic on two sheets of paper (diptych).

Executed in 2004. together: 7 x 10 in. (17.8 x 25.4cm) provenance: Ambrosino Gallery, Miami, Florida.

Private Collection, New York, New York (acquired from the above in 2004). $800-1,200

134 151916/14 YUN-FEI JI (chinese, b. 1963) “EDGE OF THE RIVER” Mineral pigments on Mulberry paper.

Executed in 2003.

29 1/2 x 24 1/2 in. (74.9 x 62.2cm) provenance: Pierogi, Brooklyn, New York.

Private Collection, New York, New York (acquired directly from the above). $2,500-4,000

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135 151916/25 ROBYN O’NEIL (american, b. 1977) “THEY WALK, FALL, CONTINUE AND DIE 22” Signed, titled and dated 2003 verso, graphite on paper.

7 1/2 x 9 1/2 in. (19.1 x 24.1cm) provenance: Inman Gallery, Houston, Texas.

Private Collection, New York, New York. $1,200-1,800

136 151916/23 ROBYN O’NEIL (american, b. 1977) “THE FIRST DISRUPTION” Presumably signed, titled and dated verso, graphite on paper.

Executed in 2005.

9 1/4 x 25 in. (23.5 x 63.5cm) provenance: Inman Gallery, Houston, Texas.

Private Collection, New York, New York. $3,000-5,000

88 www.freemansauction.com

137 151916/7 DIKE BLAIR (american, b. 1952) “UNTITLED” Signed and dated ‘04 verso, gouache and pencil on paper.

23 3/4 x 18 in. (60.3 x 45.7cm) provenance: Feature Inc., New York, New York.

Private Collection, New York, New York. $2,500-4,000

138 151916/8 DIKE BLAIR (american, b. 1952) “UNTITLED” 2004, signed, titled, dated and numbered 3/3. Color lithograph on wove paper. image: 12 x 16 in. (30.5 x 40.6cm) sheet: 17 7/8 x 23 7/8 in.

(20 x 60.6cm) provenance: Feature Inc., New York, New York.

Private Collection, New York, New York. $1,000-2,000

www.freemansauction.com 89

139 151916/2 FRED SANDBACK (american, 1943-2003) UNTITLED Signed and dated 2000 on right sheet, shellac on two sheets of Mylar (diptych). overall: 11 x 17 1/8 in.

(27.9 x 43.5cm) provenance: Lawrence Markey Inc., New York, New York.

Private Collection, New York, New York (acquired directly from the above). $10,000-15,000

90 www.freemansauction.com

140 151916/15 two prints MARTINA MULLANEY (irish, b. 1972) “TURN IN SERIES: NO. 1 AND NO. 9” 2002, both signed, titled and dated in black ink on label affixed to verso, numbered 5/9 and 1/9 respectively, two c-prints. both: 27 7/8 x 27 7/8 in. (70.8 x 70.8cm) (2) provenance: Yossi Milo Gallery, New York, New York.

Private Collection, New York, New York (acquired directly from the above). $1,500-2,500

141 151916/16 two prints MARTINA MULLANEY (irish, b. 1972) “TURN IN SERIES: NO. 11 AND NO. 22” 2002, both signed, titled and dated in black ink on label affixed to verso, both numbered 1/9, two c-prints. both: 27 7/8 x 27 7/8 in. (70.8 x 70.8cm) (2) provenance: Yossi Milo Gallery, New York, New York.

Private Collection, New York, New York (acquired directly from the above). $1,500-2,500

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142 151916/3 GREGORY CREWDSON (american, b. 1962) UNTITLED (BUTTERFLIES AND SHED) 2001-2002, presumably from the edition of 10, digital color coupler print mounted on aluminum.

48 x 60 in. (121.9 x 152.4cm) provenance: Luhring Augustine, New York, New York.

Private Collection, New York, New York (acquired directly from the above). literature: Rick Moody, Twilight: Photographs by Gregory Crewdson, New York: Abrams, 2002, no. 16.

Martin Hochleitner, Urs Stahel, Stephan Berg & Martin Hentschel, Gregory Crewdson: 1985-2005, Ostfildern and Berlin: Hatje Cantz, 2005-06, plate no. 47 (another example illustrated). $12,000-18,000

92 www.freemansauction.com

143 151916/17 LUIS GONZÁLEZ PALMA (guatemalan, b. 1957) “MISS EXOTICA” 2000, pencil signed, titled and dated, numbered 3/15, the full sheet, hand-painted gelatin silver print and embroidered brocade collage. overall: 19 1/2 x 39 1/4 in. (49.5 x 99.7cm) provenance: Private Collection, New York, New York. $3,000-5,000

144 152183/1 BARBARA KRUGER (american, b. 1945) “YOU’RE RIGHT (AND YOU KNOW IT AND SO SHOULD EVERYONE ELSE)” 2010, pencil signed with initials and dated, numbered 49/200 (there were also 50 artist’s proofs), the full sheet, Editions and Artists Book Fair, New York, publisher. Color lithograph on paper. sheet: 8 7/8 x 23 7/8 in. (22.5 x 60.6cm) $1,500-2,500

www.freemansauction.com 93

145 151916/18 LAURIE SIMMONS WITH PETER WHEELWRIGHT (american, b. 1949) “THE KALEIDOSCOPE HOUSE” Plexiglas and plastic dollhouse construction including toy modern furniture designed by Dakota Jackson, Karim Rashid, Ron Arad, and Robert Kitchen and replica toy paintings, photographs and sculpture by Peter Halley, Carroll Dunham, Laurie Simmons, Cindy Sherman, Mel Kendrick, Mel Bochner and realistic “action figures” of the Artist, architect, family and friends, a collaborative project with Bozart Toys. overall: 19 x 24 x 35 in. (48.2 x 61 x 88.39cm) provenance: Private Collection, New York, New York. note: “The Kaleidoscope House” is decorated with miniature artwork and furniture produced by contemporary artists and designers, including Simmons’ husband Carroll Dunham and other friends of the artist and her collaborator, architect Peter Wheelwright. Simmons went on to photograph the dollhouse extensively, resulting in a successful series of photographs depicting various interior scenes of the house and its occupants. $800-1,200

146 151916/20 ASSUME VIVID ASTRO FOCUS (brazilian, b. 1968) and (french, b. 1973) “CHAIN” Presumably signed and numbered, from the edition of 5. Color HiFi print.

60 x 33 1/2 in. (152.4 x 85.1cm) provenance: Private Collection, New York, New York. $800-1,000

94 www.freemansauction.com

The following three lots are being sold to benefit The Print Center, Philadelphia which was founded in 1915 as one of the first venues in this country dedicated to the appreciation of prints. Celebrating its centennial this year, the Center’s mission remains vibrant and relevant: to encourage the growth and understanding of photography and printmaking as vital contemporary arts through exhibitions, publications and education programs. Freeman’s and the patrons who donated these works are pleased to donate all proceeds for the benefit of The Print Center.

147 152219/2 SOL LEWITT (american, 1928-2007) “WAVY LINES WITH BLACK BORDER” 1997, pencil signed and numbered IX/X (the regular edition was 60), with full margins, Editions Schellmann, New York and Munich, publisher. Color etching and aquatint on rag paper. image: 16 1/8 x 20 in. (41 x 50.8cm) sheet: 21 x 25 in. (53.3 x 63.5cm) note: Sold to benefit The Print Center, Philadelphia, Pennsylvania. $1,500-2,500

148 152219/1 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 note: Sold to benefit The Print Center, Philadelphia, Pennsylvania. $1,200-1,800

www.freemansauction.com 95

149 152219/3 DOUGLAS W. MELLOR (american, b. 1947) “STILL LIFE WITH BROKEN GLASS, AMSTERDAM” 1998, signed, titled and dated in pencil on the reverse of the support. Gelatin silver print. image: 9 3/4 x 11 7/8 in. (24.8 x 30.2cm) support: 16 x 20 in. (40.6 x 50.8cm) Unframed note: Sold to Benefit The Print Center, Philadelphia, Pennsylvania. $1,000-2,000

150 151818/2 TOM PALMORE (american, b. 1945) “KIKI WITH TURN OF THE CENTURY LANDSCAPE” Oil on canvas.

42 x 48 in. (106.7 x 121.9cm) provenance: Cadme Gallery, Philadelphia, Pennsylvania.

Private Collection, Philadelphia, Pennsylvania (acquired directly from the above in 1986). note: We are grateful to the Artist for confirming the authenticity of this work. $4,000-6,000

96 www.freemansauction.com

151 151908/4 STUART SHILS (american, b. 1954) “LOWER END OF DUCK ISLAND A.M.” Signed and dated 83 bottom left, signed, titled and dated verso, oil on paper mounted to rag board.

11 1/4 x 13 1/4 in. (28.6 x 33.7cm) provenance: The Artist.

Dr. Benjamin Hammond, Villanova, Pennsylvania (acquired directly from the above circa 1983). $1,000-1,500

152 151908/1 STUART SHILS (american, b. 1954) DOUBLE STEEPLE Oil on board.

14 1/4 x 15 1/4 in. (36.2 x 38.7cm) provenance: The Artist.

Dr. Benjamin Hammond, Villanova, Pennsylvania (acquired directly from the above circa 1983). $1,500-2,000

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153 152004/2 JAMES HAVARD (american, b. 1937) “NEW MEXICO HISTORY PAGE” Signed, dated 91 and inscribed ‘NMHP’ top right, mixed media on paper.

12 3/4 x 11 in. (32.4 x 27.9cm) provenance: Private Collection, Pennsylvania. $600-1,000

154 151818/1 JIMMY LUEDERS (american, 1927 - 1995) “SURFACE IV” Signed and dated 79 bottom left, acrylic on canvas.

96 x 80 in. (243.8 x 203.2cm) provenance: Cadme Gallery, Philadelphia, Pennsylvania.

Private Collection, Philadelphia, Pennsylvania (acquired directly from the above in 1985). $4,000-6,000

98 www.freemansauction.com

155 152099/1 JANE PIPER (american, 1916-1991) STILL LIFE IN WHITE Acrylic on canvas.

Executed in 1972.

48 x 54 1/4 in. (121.9 x 137.8cm) provenance: A Philadelphia Collection. exhibited: “Paintings by Jane Piper,” The McCleaf Gallery, Philadelphia, Pennsylvania, October 8-25, 1972. $5,000-8,000

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156 152005/1 BILL SCOTT (american, b. 1956) “PEONIES” Signed and dated 1999 bottom right and verso, acrylic on museum board.

24 7/8 x 20 1/8in. (63.2 x 51.1cm) provenance: Private Collection, Philadelphia, Pennsylvania. $1,500-2,000

157 151697/1 BILL SCOTT (american, b. 1956) “MY GARDEN II” Signed and dated 1996 bottom right and verso, acrylic on paper.

32 x 20 in. (81.3 x 50.8cm) provenance: The Artist.

Mangel Gallery, Philadelphia, Pennsylvania.

A Philadelphia Collector (acquired directly from the above in 1996). exhibited: “Bill Scott: Paintings,” Mangel Gallery, Philadelphia, Pennsylvania, May 3-June 1, 1996, no. 20. $1,500-2,000 END OF SALE

100 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.

www.freemansauction.com 101

Index Amenoff, G., 111 Andrade, E., 76 Anuskiewicz, R., 95 Apfelbaum, P., 129-131 AVAF, 146 Avery, March, 43, 44 Avery, Milton, 40 Avery, S., 41, 42 Bartlett, J., 116 Berman, E., 22 Berrocal, M., 85 Bertoia, H., 52-54 Blair, D., 137, 138 Bleckner, R., 114 Borofsky, J., 101 Braque, G., 14 Brown, C., 133 Calder, A., 51 Castañeda, F., 34 Catlett, E., 39 Chadwick, L., 29 Chagall, M., 18, 19 Crewdson, G., 142 Dalí, S., 21 De Botton, J., 23 Delaunay-Terk, S., 87, 88 Dubuffet, 89 Etrog, S., 50 Falkenstein, C., 71 Feher, T., 125 Ferber, H., 46 Fischl, E., 120 Francis, S., 110 Frankenthaler, H., 118, 119

Gagnère, O., 61, 62 Gargallo, P., 24 Gilliam, S., 82, 83 Graves, N., 112 Haring, K., 102 Havard, J., 70, 153 Hodges, J., 127 Hofmann, H., 45 Houser, A., 30 Hoyland, J., 84 Indiana, R., 73 Ji, Y., 134 Judd, D., 93, 94

Nevelson, L., 64, 113 Ney, A., 103

Warhol, A., 75, 96-100, 148 Wou-Ki, Z., 108

Oliveira, N., 68 O'Neil, R., 135, 136

Zúñiga, F., 31, 32

Paine, R., 126 Palma, L., 143 Palmore, T., 150 Pepper, B., 48, 49 Pérez, M., 121, 122 Pflumm, D., 132 Picasso, P., 1-13, 56, 57 Piper, J., 155 Pomodoro, A., 86 Rickey, G., 55, 80, 81

Kainen, J., 123 Kelly, E., 63 Kruger, B., 144 Kurtz, E., 77-79 Le Brocquy, L., 115 Lewitt, S., 92, 147 Lichtenstein, R., 74 Lipton, S., 47 Lueders, J., 154 Marchand, A., 58 Martinez, R., 35 Matisse, H., 20, 59 Mellor, D., 149 Miró, J., 15-17 Moix, S., 124 Moore, H., 25 Morellet, F., 66 Mullaney, M., 140, 141 Nelson, J., 117

Sandback, F., 139 Scarlett, R., 69 Scholder, F., 38 Scott, B., 156, 157 Scott, W., 60 Shahn, B., 72 Shils, S., 151, 152 Simbari, N., 104-106 Simmons, L. and Peter Wheelwright, 145 Sobrino, F., 65 Stella, F., 90, 91 Tabuena, R., 33 Tamayo, R., 36, 37 Tàpies, A., 67 Tarkay, I., 107 Tobey, M., 26-28 Tsingos, T., 109 Van Tram, T., 128

NORMAN ROCKWELL (american, 1894-1978) “TWO OLD MEN AND DOG: CHECKERS” Signed with initials ‘N R’ lower right, pencil on paper 18 1/4 x 19 in. (46.4 x 48.3cm) $60,000-100,000

American Art & Pennsylvania Impressionists Auction 12/06/15 Inquiries: Alasdair Nichol | 267.414.1211 anichol@freemansauction.com

#autumnauctions

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Art + Design Auction 02/27/16 Now inviting consignments Tim Andreadis | 267.414.1215 tandreadis@freemansauction.com

SONIA DELAUNAY-TERK (ukranian, 1885-1979) RYTHME COULEUR Color lithograph on Arches. $1,000-1,500

Shannon Jeffers | 267.414.1231 sjeffers@freemansauction.com

JAMES LEE HANSEN (american, 1925) MYTHIC RIDER Patinated bronze $1,500-2,500

www.freemansauction.com

Jewelry & Watches Auction 11/02/15 Michael Larsen | 267.414.1227 mlarsen@freemansauction.com Virginia Salem | 267.414.1233 vsalem@freemansauction.com Visit our website or call 267.414.1256 to purchase a catalogue.

An impressive round brilliant-cut diamond weighing 18.98 carats set in a platinum ring, $200,000-$300,000

#autumnauctions

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www.freemansauction.com 7

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.

Art In Transit Nick Clarke 314 North 12th Street Philadelphia, PA 19107 540.550.7080 nclarke@artintransit.net

A. Mastrocco Jr. Moving & Storage Roseanne Gebler 1060 Louis Drive Warminster, PA 18991 215.491.0346 | Fax: 215.444.9327 mastroccomovers@snip.net

Atelier Art Services ‡ Lynn Smith 1330 North 30th Street Philadelphia, PA 19144 215.235.0402 | Fax: 215.235.0421 info@atelierartservices.com

The Packaging Store ‡ Duane Freed 2333 Welsh Road Lansdale, PA 19446 215.361.6940 | Fax: 215.361.6941 hello@packandshipnow.com

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

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

Cadogan Tate Fine Art ‡ Stacey Ferguson Cadogan House 41-20 39th Street Sunnyside, NY 11104 718.706.7999 | Fax: 718.707.2847 s.ferguson@cadogantate.com Mr. C’s Charles Cohen 1615 North 10th Street Philadelphia, PA 19122 267.977.9567 mrcees61@gmail.com Malca Amit ‡ Christine Duke 153-66 Rockaway Blvd New York, NY 11434 718.525.6100 | Fax: 718.425.3703 maa.nyc@malca-amit.com

U.S. Art ‡ Jessica Pierce 37-11 48th Avenue Long Island City, NY 11101 800.472.5784 | Fax:718.472.5785 jpierce@usart.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 & LARGE ITEMS For larger pieces when delivery time is not a rush, we suggest: www.plyconvanlines.com www.nwdelivery.com www.freightquote.com ‡ Shippers that can fulfill international deliveries

v1.2015

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 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 $100,000 of the hammer price of each lot, 20% on the portion from $100,001 through $2,000,000, 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 is 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. v1.2015

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A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $100,000 of hammer price of each lot, 20% on the hammer from $100,001 through $2,000,000, and 12% thereafter. All lots must be paid for and removed within 10 days.

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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

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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.

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Directory | 215.563.9275 | www.freemansauction.com Officers

Specialist Departments

Representatives

Samuel M. Freeman II Chairman

20th Century Design Tim Andreadis tandreadis@freemansauction.com

New England Kelly Wright kwright@freemansauction.com

American Art & Pennsylvania Impressionists Alasdair Nichol anichol@freemansauction.com

Mid-Atlantic Matthew Wilcox mwilcox@freemansauction.com

Alasdair Nichol Vice Chairman Margaret D. Freeman Vice Chairman Paul S. Roberts President Hanna Dougher Chief Operating Officer

Departments Appraisals Amy Parenti aparenti@freemansauction.com Business Development Thomas B. McCabe IV tmccabe@freemansauction.com

American Furniture, Folk & Decorative Arts Lynda Cain lcain@freemansauction.com American Silver Samuel M. Freeman II beaufreeman@freemansauction.com Asian Arts Richard A. Cervantes rcervantes@freemansauction.com

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

Finance Mark Beckerman mbeckerman@freemansauction.com

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

Marketing & Communication Tara Theune Davis ttdavis@freemansauction.com

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

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

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

Press & Media Melissa Geller mgeller@freemansauction.com Shipping & Receiving Bethany Mobbs bmobbs@freemansauction.com Trust & Estates Samuel T. Freeman III sfreeman@freemansauction.com

West Coast Michael Larsen mlarsen@freemansauction.com Main Line Lisa DiCarlo ldicarlo@freemansauction.com

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

Client Services Mary Maguire Carroll mmaguire@freemansauction.com

Photography Elizabeth Field efield@freemansauction.com

Southeast Colin Clarke cclarke@freemansauction.com

Modern & Contemporary Art Anne Henry ahenry@freemansauction.com Musical Instruments Frederick Oster foster@freemansauction.com Oriental Rugs & Carpets Richard A. Cervantes rcervantes@freemansauction.com Photographs & Photobooks Christiana Scavuzzo cscavuzzo@freemansauction.com Prints Anne Henry ahenry@freemansauction.com Silver & Objets de Vertu David Walker dwalker@freemansauction.com

v3.2015

11/01/15

www.freemansauction.com 1808 Chestnut Street Philadelphia Pennsylvania 19103 T 215.563.9275 | F 215.563.8236 MODERN & CONTEMPORARY ART

Modern & Contemporary Art 11/01/15