Modern & Contemporary Art

MODERN & CONTEMPORARY ART DECEMBER 6, 2016

MODERN & CONTEMPORARY ART

AUCTION Sale 1558 Tuesday, December 6, 2016 at 12:00pm 1808 Chestnut Street, Philadelphia PA 19103 Cover Image: Lot 27, Inside Front Cover: Lot 108, Inside Back Cover: Lot 69

MODERN & CONTEMPORARY ART DEPARTMENT Dunham Townend Head of Department dtownend@freemansauction.com 267.414.1221

Anne Henry Senior Specialist ahenry@freemansauction.com 267.414.1220

EXHIBITIONS Wednesday, November 30

10:00am-5:00pm

Thursday, December 1

10:00am-5:00pm

Friday, December 2

10:00am-5:00pm

Saturday, December 3

12:00pm-5:00pm

Sunday, December 4

12:00pm-5:00pm

Monday, December 5

10:00am-5:00pm

By appointment only on the morning of the sale

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

Lot 53 (detail)

Melissa Arundel Bidding Registration marundel@freemansauction.com 267.414.1208

Shannon Jeffers Cataloguer | Department Administrator sjeffers@freemansauction.com 267.414.1231

MODERN & CONTEMPORARY ART lots 1-141

Lot 58 (detail)

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1 151858/23 HENRI MATISSE (french, 1869-1954) “CORBEILLE DE BEGONIAS I” 1938, pencil signed, dated ‘23/8 38,’ inscribed ‘Bon á tirer’ and dedicated ‘á Jean-Gabriel Daragnès avec mes remerciements cordiaux’ (presumably one of seven trial proofs before the edition of 25 plus 5 artist’s proofs), with wide margins. Linoleum cut on wove paper with partial watermark ‘VM France.’ image: 7 13/16 x 9 in. (19.7 x 22.8cm) sheet: 15 1/8 x 15 5/8 in. (38.3 x 39.7cm) [Duthuit, 718] note: We are grateful to Wanda de Guébriant for her assistance in cataloguing this work.

Jean-Gabriel Daragnès was a master printer and engraver as well as publisher of books. In 1938 and 1939, he and Matisse worked together

extensively on an ultimately unrealized edition of ‘Les Fleurs du Mal.’ Although unrelated to this project, the present work and its affectionate dedication to Daragnès date from the time of this collaboration and mutual admiration.

Composed at summer’s end in 1938, a pot of Begonias may have served as a meditation on simple pleasures and was executed in a medium that was much loved by the artist. During this anxious time just before the eruption of World War II, many artists had begun stockpiling painting materials knowing that resources soon would be scarce. Matisse however, was likely comforted by his genuine love of making prints and glad for the work. Illustrating books required less creative energy in that a narrative was provided, and yet the work fully occupied the famously hardworking and prolific artist. Indeed, a few months after the war began he wrote, “I hope I shall start painting again soon, but that overwhelms me so— I have to invent and that

takes great effort for which I must have something in reserve.”1 For prints of this period, linoleum engraving was the print medium usually chosen by the artist.

Clearly Matisse appreciated the senstive nature of the form which responded readily to nuances of artistic touch. It was, he said, “a true medium predestined for the painter-illustrator ... I have often thought that this very simple medium is comparable to a violin with its bow: a surface, a gouge — four taut strings and a tuft of horsehair.

The gouge, like the bow, directly reflects the engraver’s sensitivity . . . the least distraction during the drawing of a line brings, involuntarily, a slight pressure from the fingers to the gouge, which adversely affects the line. Likewise, one has only to tense slightly the fingers holding the bow in order for the violin’s sound to change its character — soft becomes loud.”2 $7,000-10,000

1 Alfred H. Barr, Jr., Matisse: His Art and His Public, (New York: Museum of Modern Art, 1951) p. 256.

2 Henri Matisse, “Comment j’ai fait mes livres,” in Anthologie du livre illustre par les peintres et sculpteurs de l’Ecole de Paris (Geneva: Editions Albert Skira, 1946) p. xxiv.

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2 160628/6 HENRI DE TOULOUSE-LAUTREC (french, 1864-1901) “BABYLON D’ALLEMAGNE” 1894, pencil signed bottom right and inscribed ‘à M. Cheret,’ Wittrock’s state A (of B), with wide margins, Victor Joze, Paris, publisher. Color lithograph on wove paper laid down later to linen backing. image: 46 1/2 x 32 1/2 in.

(118.1 x 81.3cm) sheet: 47 1/8 x 34 5/8 in.

(119.7 x 87.9cm) [Delteil, 351; Wittrock, P12; Adriani, 58] $18,000-25,000

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3 161074/1 WASSILY KANDINSKY (russian, 1866-1944) “KLEINE WELTEN X” 1922, pencil signed, from the edition of 200 (there were also 30 on Japan), with full margins, Propyläen Verlag, Berlin, publisher. Drypoint on wove paper. image: 9 1/4 x 7 3/4 in.

(23.5 x 19.7cm) sheet: 11 7/8 x 10 7/16 in.

(30.2 x 26.5cm) [Roethel, 173] $3,000-5,000

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Works from the Croquez Family Collection Freeman’s is pleased to offer the following four works of art from the distinguished collection of the Croquez family.

These works have descended in the family from patriarch Albert Croquez, a venerable lawyer, historian, writer and art connoisseur. Born in France in 1886, Albert was an accomplished and admired figure. In addition to his successful law career, Croquez wrote extensively on French history, and was recognized with awards from institutions like the Académie Française. He counted Félix Labisse, Moïse Kisling and James Ensor amongst his closest friends, and authored the first monograph on Ensor as a printmaker, all the while remaining an active collector of Ensor’s work. His fine, discerning eye for art led Croquez to build an extensive and important collection and we are honored to present a part of that legacy.

Albert Croquez, James Ensor & Ensor’s butler

Albert Einstein, Marcel Abraham, Anatole de Monzie, Albert Croquez and James Ensor

James Ensor, Anatole de Monzie & Albert Croquez in front of an Ensor mural

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4 160883/3 double-sided drawing JAMES ENSOR (belgian, 1860-1949) “LA PARESSE” and “LA LUXURE” Signed bottom left on each side, inscribed with the name ‘Albert Croquez’ upper left on “La Luxure,” pencil on paper.

Executed circa 1888-1902.

6 11/16 x 8 13/16 in. (17 x 22.4cm) provenance: The Artist.

Collection of Albert Croquez, Paris, France.

By family descent.

Private Collection, Pennsylvania. literature: Albert Croquez, l’Oeuvre Gravé de James Ensor, Geneva/Brussels: Éditions Pierre Cailler, 1947, no. 119 (illustrated). note: This lot is accompanied by a photocertificate of authenticity issued by Xavier Tricot and dated 22 October 2016.

In 1904, James Ensor published a portfolio of etchings entitled “The Seven Deadly Sins,” a series of satirical prints based upon the traditional Christian themes of morality. The artist began work on the first of these prints as early as 1888, and continued his investigation of the subject until the portfolio’s ultimate release 16 years later. The present double-sided drawing depicts Ensor’s original pencil studies for the sins of “Sloth” (“La Paresse”) and “Lust” (“La Luxure”).

Interestingly, the etching for “Lust” dates from 1888 and the etching for “Sloth” dates from 1902. It is possible that Ensor created both of the present drawings in 1888, and returned to this study when he began work on the “Sloth” print 14 years later.

Alternatively, perhaps the artist drew “Lust” in 1888, and used the back of that sheet of paper for a second sketch in 1902. Whether Ensor completed these drawings contemporaneously or over the course of his multi-year exploration of the seven deadly sins, the present drawing offers an exceptional and intimate glimpse into the working method of the artist. $18,000-25,000

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5 160883/4 MOÏSE KISLING (french/polish, 1891-1953) “LE PORT DE SAINT TROPEZ” Signed bottom left, oil on canvas.

Executed in 1918.

9 x 10 3/4 in. (22.9 x 27.3cm) provenance: Collection of Albert Croquez, Paris, France.

By family descent.

Private Collection, Pennsylvania. note: This lot will be accompanied by a certificate of authenticity issued by Jean Kisling and Marc Ottavi and will be included in “Volume IV et Additifs aux Tomes I, II et III“ of the catalogue raisonné currently in preparation. $30,000-50,000

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6 160883/1 RAOUL DUFY (french, 1877-1953) “CHEZ LE PACHA” Signed bottom right, watercolor on paper.

Executed in 1926.

20 x 26 in. (50.8 x 66cm) provenance: Galerie Jean-Claude Bellier, Paris, France.

Collection of Albert Croquez, Paris, France.

By family descent.

Private Collection, Pennsylvania. literature: Fanny Guillon-Laffaille, Raoul Dufy, Catalogue raisonné des aquarelles, gouaches et pastels, Paris, 1982, vol. II, catalogue no. 340 (illustrated). $60,000-100,000

Raoul Dufy first travelled to Morocco in 1925, along with famed French couturier Paul Poiret.

Dufy and Poiret shared an enduring creative relationship, frequently collaborating on textile patterns and designs. Like many artists of the time, both men were enthralled by the imagined exoticism of the Far East and the promise of the myriad visual inspirations it could provide. When they arrived in Morocco, Dufy and Poiret were greeted as guests by the Pacha of Marrakech, Thami El Glaoui. Wealthy, powerful and famously charming, he was widely renowned for his hospitality and entertaining, and he welcomed the artists into his home.

Both men were surely dazzled by the Pacha’s extravagant lifestyle, but the architecture and arts of Morocco would likely have had an even

more significant resonance for them. Dufy in particular painted multiple works depicting his time in Marrakech. Many of these – like the present example – specifically record the magnificently adorned interiors of the traditional Moroccan home of the lavish leader. Devoted to rhythmic lines, evocative color and decorative surface effects, Dufy would have found fertile creative ground amongst the patterns and designs he observed in Marrakech. This inspiration is clearly evident in “Chez Le Pacha.”

The balletic lines of its archways, the use of brilliant colors and the delicate, staccato arabesques of the mosaics that embellish the walls all point to Dufy’s joy in reveling in the unique beauty that surrounded him in this exotic land.

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7 160883/2 GUSTAVE DE SMET (belgian, 1877-1943) “PETIT PAYSAGE” Signed bottom left, oil on panel.

10 3/8 x 14 in. (26.4 x 35.6cm) provenance: Walter Schwarzenberg, Brussels, Belgium.

Galerie George Giroux, Brussels, Belgium.

Collection of Albert Croquez, Paris, France.

By family descent.

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

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8 151858/21 RAOUL DUFY (french, 1877-1953) “LE HAVRE” Circa 1930, pencil signed and numbered 50/170. Color lithograph on thin laid paper. sheet: 19 13/16 x 25 7/8 in.

(50.3 x 65.7cm) $2,500-3,500

9 160952/1 PIERRE LESIEUR (french, 1922-2011) “LA CHEMINÉE BLANCHE” Signed and dated 56 bottom left, oil on canvas.

46 1/2 x 44 7/8 in. (118.1 x 114cm) provenance: Arthur Lenars & Cie, Paris, France.

Ernest Brown & Phillips Ltd., London, United Kingdom.

Findlay Galleries, New York, New York.

Private Collection. exhibited: “The First Exhibition in England of Paintings by Pierre Lesieur,” Ernest Brown & Phillips Ltd., London, United Kingdom, November 1956, exhibition catalogue no. 14. $2,000-3,000

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10 161046/10 VU CAO DAM (french, 1908-2000) MATERNITÉ Signed and dated 1963 bottom left, oil on canvas.

21 3/4 x 18 1/4 in. (55.3 x 46.4cm) provenance: Private Collection, Pennsylvania. $15,000-20,000

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11 160824/3 MARC CHAGALL (french/russian, 1887-1985) “PHILÉTAS’ LESSON” from “daphnis and chloé” 1961, from the unsigned edition of 250 (there was also a signed and numbered edition of 60 with margins), the full sheet, Tériade, Paris, publisher. Color lithograph on wove paper. sheet: 16 1/2 x 12 5/8 in. (41.9 x 32.1cm) [Mourlot, 323; see Cramer Books, 46] $2,000-3,000

12 151858/24 MARC CHAGALL (french/russian, 1887-1985) “GREEN AND BLUE COUPLE” 1976, pencil signed and numbered 33/50 (there were also 10 artist’s proofs in Roman numerals), with wide margins, Éditions Maeght, Paris, publisher. Color lithograph on wove paper. image: 14 1/2 x 13 in. (36.8 x 33cm) sheet: 25 1/4 x 19 5/16 in. (64.1 x 49.1cm) [Mourlot, 841] $5,000-7,000

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13 160244/15 MARC CHAGALL (french/russian, 1887-1985) “THEY WERE IN FORTY PAIRS” plate 2 from “four tales from the arabian nights” 1948, pencil signed and inscribed ‘Pl. 2,’ numbered 69/90 (there was also an edition of 10 in Roman numerals and an edition of 11 lettered A-K), with wide margins, Pantheon Books, New York, publisher. Color lithograph on laid paper. image: 14 1/2 x 11 in.

(36.8 x 27.9cm) sheet: 16 7/8 x 12 13/16 in.

(45.4 x 32.5cm) [Mourlot, 37; see Cramer Books, 18] $10,000-15,000

14 161046/18 MARC CHAGALL (french/russian, 1887-1985) “LOVER’S HEAVEN” from “chagall lithographe 1957-1962” 1963, pencil signed and numbered 24/40 (there was also an edition of 150), with wide margins, André Sauret Éditeur, Paris, publisher. Color lithograph on Arches. image: 12 3/4 x 9 3/4 in. (32.4 x 24.8cm) sheet: 18 1/8 x 12 5/8 in. (46 x 32.1cm) [Mourlot, 393; see Cramer books, 53] $1,500-2,500

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15 160628/3 MARC CHAGALL (french/russian, 1887-1985) “NOW THE KING LOVED SCIENCE AND GEOMETRY” plate 10 from “four tales from the arabian nights” 1948, pencil signed and inscribed ‘Pl. 10,’ numbered 34/90 (there was also an edition of 10 in Roman numerals and an edition of 11 lettered A-K), with wide margins, Pantheon Books, New York, publisher. Color lithograph on laid paper. image: 14 5/8 x 11 in. (37.1 x 27.8cm) sheet: 16 13/16 x 13 in. (42.6 x 33cm) [Mourlot, 45; see Cramer Books, 24] $10,000-15,000

16 160628/4 MARC CHAGALL (french/russian, 1887-1985) “LOVERS IN GREY” 1957, pencil signed and numbered 27/90, with wide margins, Maeght Éditeur, Paris, publisher.

Color lithograph on Arches. image: 10 5/8 x 8 11/16 in. (27 x 22cm) sheet: 18 3/4 x 14 7/8 in. (47 9/16 x 37 7/8cm) [Mourlot, 194] $3,000-5,000

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17 160920/2 BERNARD BUFFET (french, 1928-1999) “TÊTE DE FEMME” Signed and dated 53 upper right, colored pencil on Arches.

25 x 19 1/2 in. (63.5 x 49.5cm) provenance: Private Collection, Pound Ridge, New York. note: This work is recorded in the Bernard Buffet archives at the Galerie Maurice Garnier. $18,000-25,000

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18 160612/4 AFTER PABLO PICASSO (spanish, 1881-1973) DORA MAAR (FEMME ASSISE) 1955, pencil signed and numbered 12/100, with wide margins, Musée des Arts Decoratifs, Paris, publisher.

Color lithograph on BFK Rives. image: 36 x 23 1/2 in.

(91.4 x 59.6cm) sheet: 40 5/8 x 27 in.

(103.2 x 68.5cm) [Czwiklitzer, 92] $20,000-30,000

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19 160920/7 PABLO PICASSO (spanish, 1881-1973) “PICADOR ET CHEVAL” 1959, printed in 1960, pencil signed, presumably 1 of 20 artist’s proofs aside from the numbered edition of 50, with wide margins, Galerie Louise Leiris, Paris, publisher. Linoleum cut in brown and black on Arches. image: 25 x 21 in. (63.5 x 53.3cm) sheet: 29 1/2 x 24 3/8 in. (74.9 x 61.9cm) [Bloch, 912; Baer, 1237Bb] provenance: Pace Editions Inc., New York, New York.

Private Collection, Pound Ridge, New York (acquired directly from the above in 1986). $6,000-10,000

20 160902/6 PABLO PICASSO (spanish, 1881-1973) “LA DANSE DES FAUNES” 1957, with the artist’s stamp signature (as issued), from the unsigned edition of 1000 (there was also a signed edition of 200), with wide margins, La Patriote, Cannes, publisher. Lithograph on wove paper. image: 16 x 20 7/8 in. (40.6 x 53cm) sheet: 18 x 22 1/8 in. (45.7 x 56.2cm) [Bloch, 830] $1,000-2,000

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21 151858/19 PABLO PICASSO (spanish, 1881-1973) “FEMME NUE AU FAUTEUIL” 1966, pencil signed and numbered 17/50 (there were also 15 artist’s proofs), with full margins, Galerie Louise Leiris, Paris, publisher. Aquatint on Rives. image: 14 7/8 x 10 9/16 in. (37.8 x 26.8cm) sheet: 21 x 15 3/4 in. (53.3 x 40cm) [Bloch, 1393; Baer, 1415Bb] $3,000-5,000

22 160716/2 PABLO PICASSO (spanish, 1881-1973) “LE PEINTRE ET SON MODÈLE IMAGINANT UNE ÉTREINTE” 1967, with the artist’s stamp signature, numbered in pencil 43/50 (the total edition was 70), Galerie Louise Leiris, Paris, publisher. Etching on wove paper. image: 12 1/2 x 8 11/16 in. (31.8 x 22.1cm) sheet: 19 3/4 x 14 3/4 in. (50.2 x 37.5cm) [Bloch, 1450; Baer, 1485Ba] $2,000-3,000

23 160716/1 PABLO PICASSO (spanish, 1881-1973) “AU THÉÂTRE: LE RAPT” 1966, with the artist’s stamp signature, numbered in pencil 42/50 (the total edition was 70), Galerie Louise Leiris, Paris, publisher.

Etching and aquatint on wove paper. image: 9 11/16 x 14 7/8 in. (24.6 x 37.8cm) sheet: 14 7/8 x 19 3/4 in. (37.8 x 50.2cm) [Bloch, 1405; Baer, 1418Ba] $2,000-3,000

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(reverse view) 24 160646/1 PABLO PICASSO (spanish, 1881-1973) “FACE AND OWL” 1958, numbered 12/200, with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside, white earthenware clay vase with decoration in engobes and knife engraved under partial brushed glaze. height: 9 3/4 in. (24.8cm) width: 8 3/4 in. (22.2cm) [Ramié, 407] $25,000-35,000

25 160646/2 PABLO PICASSO (spanish, 1881-1973) “SPECKLED BLACK FACE” 1948, numbered 181/200, inscribed ‘EDITION PICASSO’ and ‘MADOURA’ and with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside, white earthenware clay with decoration in engobes under glaze. height: 12 1/4 in. (31.1cm) width: 15 1/4 in. (38.7cm) [Ramié, 49] $8,000-12,000

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26 160642/1 ZAO WOU-KI (chinese/french, 1921–2013) “SANS TITRE” (ASSISI) Signed and dated ‘51, inscribed ‘Assisi’ bottom right and in Chinese bottom center, Chinese ink on paper.

12 3/16 x 15 13/16 in. (32.5 x 40.1cm) provenance: Private Collection.

By family descent.

Private Collection, Philadelphia, Pennsylvania. exhibited: “French Painting at Mid-Century,” San Francisco Museum of Art, San Francisco, California, May 21- June 13, 1954. note: This lot is accompanied by a photo-certificate of authenticity issued by the Fondation Zao Wou-Ki and dated 10 October 2016.

Painted in 1951, just three years after Zao Wou-Ki left his native China, the present drawing is an early example by an artist who reconciled his eastern and western thoughts and aesthetics with awe-inspiring results. Zao WouKi was artistically trained at the Hangzhou School of Fine Arts under Lin Fengmian, but in 1949, he made Paris his second home. There, Zao was embraced by artists like Alberto Giacometti, Joan Miro and Paul Klee, and first learned of Abstract Expressionism. His best known, mature style was dubbed the epitome of “lyrical abstractionism” and melds this contemporary, western abstraction with the delicate execution of eastern art that is grounded deeply in landscape and calligraphy. The present work is a rare, early landscape painted in the ink-wash and calligraphic style of this Chinese heritage and hints only slightly at the aesthetic evolution to come.

Zao’s delicately rendered Italian hillside and scripted dedication reveal a genuine love and respect for nature and landscape. Roughly translated the inscription reads, “People who grow up in the mountain areas loves mountain, people who draws mountain loves people who grow up in the mountain areas.” $25,000-40,000

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27 160920/9 BALTASAR LOBO (spanish, 1910-1993) “FEMME ASSISE MAIN CROISÉES GRANDE TAILLE” Signed and numbered 8/8 (there were also 4 artist’s proofs), incised with the foundry mark ‘Susse Fondeur Paris’ on the base. Bronze with green patina.

Conceived in 1983-1984.

Executed in 1987. height: 52 3/4 in. (134cm) width: 34 1/2 in. (87.6cm) depth: 21 1/2 in. (54.6cm) provenance: The Artist, Paris, France.

Galería Freites, Caracas, Venezuela.

Private Collection, Pound Ridge, New York. literature: Lobo: Skulpturen, Zeichnungen. Galerie Nathan, Zurich, Switzerland, April 23 - July 13, 1985 (exhibition catalogue, another cast illustrated).

Lobo. Galerie Daniel Malingue, Paris, France, May 27 July 9, 1988 (exhibition catalogue no. 46, another cast illustrated).

Baltasar Lobo: Exposicion. Museo de Arte Contemporáneo, Caracas, Venezuela, November 1989 (exhibition catalogue, another cast illustrated).

Baltasar Lobo Skulpturen. Galerie Nathan, Zurich, Switzerland, 1995-1996 (exhibition catalogue, another cast illustrated).

Lobo 1910-1993: Esculturas y Dibujos. Iglesia de la Encarnacion, Zamora, Spain, December 1995 January 1996 (exhibition catalogue, another cast illustrated).

Baltasar Lobo: Esculturas Monumentales. Traveling exhibition: Valladolid, Madrid, Sevilla, Lisboa, Spain, 2007-2010 (exhibition catalogue, another cast illustrated p. 49).

Baltasar Lobo: Conmemorando el centenario de su nacimiento. Galería Freites, Caracas, Venezuela, March 14 - May 30, 2010 (exhibition catalogue, another cast illustrated p. 54).

Baltasar Lobo. Instituto Valenciano de Arte Moderno, Valencia, Spain, March 15 - May 1, 2011 (exhibition catalogue, another cast illustrated).

Baltasar Lobo, 1910-1993. University of Zaragoza, España, May 18 - July 17, 2011 (exhibition catalogue, another cast illustrated).

note: We are grateful to Galería Freites for their assistance in researching and compiling the bibliographic references for this work, which is to be included in the forthcoming Baltasar Lobo catalogue raisonné under reference no. 8408. A certificate of authenticity may be obtained from them by the successful bidder.

Baltasar Lobo’s greatest legacy to modern sculpture is his lifelong dedication to and re-interpretation of a classic art-historical theme: the female form.

Throughout his career, Lobo focused almost exclusively on the single figure of a woman as his subject, all the while exploring the varied nature of womanhood by experimenting with a range of gestures and poses. He sought to depict feminine sensuality through simplicity of form, eschewing a naturalistic imitation of the female figure in favor of an increasingly stylized yet dynamic treatment. Lobo continually experimented with this relationship between figuration and abstraction, for he believed that the true essence of femininity was achieved by a perfect balance between the two. In Lobo’s own words,“my present work is, as always, figurative; that is to say, abstract. Obligatorily it begins with figuration and becomes an abstraction which is simplified, synthesized”. Baltasar Lobo, as quoted in María Bolaños, Baltasar Lobo. 1910/1993. El silencio del escultor, (Leon: Junta de Castilla y Leon, 2000, p.151). $100,000-150,000

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28 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. $6,000-10,000

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29 161016/1 SALVADOR DALÍ (spanish, 1904–1989) “VISIONS OF CHICAGO” the complete set of four color drypoints 1972, all pencil signed and annotated ‘EA’ (one of 100 artist’s proofs, aside from the editions of 100 in Arabic numerals on Arches and 50 in Roman numerals on Japan), with wide margins, Merrill Chase Publishing Association, Chicago, publisher. The complete set of four color drypoints with stencil on BFK Rives. images: 19 1/8 x 12 3/8 in. (48.6 x 31.4cm) sheets: 25 7/8 x 19 1/2 in. (65.7 x 49.5) [Michler & Löpsinger, 529-532] (4) note: This lot is accompanied by a certificate of authenticity issued by Merrill Chase. $3,000-5,000

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30 161046/8 JOAN MIRÓ (spanish, 1893-1983) “LE COURTISAN GROTESQUE” plate 11 1974, signed in black crayon and pencil numbered 5/12 (the total edition was 110), Iliazd, Paris, publisher. Color etching and aquatint on Japan. sheet: 16 x 22 1/2 in. (40.6 x 57.1cm) [Dupin, 670] $3,000-5,000

31 168043/12 JOAN MIRÓ (spanish, 1893-1983) “ALBUM 19” plate 17 1961, pencil signed with initial and numbered X/XV (an artist’s proof, aside from the regular edition of 75 in Arabic numerals), the full sheet, Galerie Maeght, Paris, publisher.

Color lithograph on BFK Rives. sheet: 26 x 20 1/8 in. (66 x 51.1cm) [Mourlot, 328] note: The main motif for this composition had already been used for the poster of the exhibition, Poets, Painters, Sculptors at the Galerie Maeght. $1,200-1,800

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32 151858/22 JOAN MIRÓ (spanish, 1893-1983) “BRONZES” hayward gallery, london exhibition poster 1972, pencil signed and numbered 145/150 (from the edition before lettering), with wide margins, Arts Council, London publisher. Color lithograph on Arches. image: 27 x 20 1/2 in. (68.5 x 52cm) sheet: 34 3/4 x 24 5/16 in. (86.3 x 61.7cm) [Mourlot, 846] $2,000-3,000

33 151858/20 JOAN MIRÓ (spanish, 1893-1983) “L’ÉTUDIANT” 1975, pencil signed and numbered 23/50, with wide margins, published by the artist for the creation of a chair in the History of Art at Columbia University for Professor Meyer Shapiro. Color lithograph on Arches. image: 30 1/2 x 21 1/4 in. (77.4 x 54cm) sheet: 33 3/8 x 22 11/16 in. (84.7 x 57.6cm) [Mourlot, 1022] $2,000-3,000

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34 160372/1 MILTON AVERY (american, 1885-1965) “RECLINING NUDE” 1941, pencil signed and dated, numbered 48/100, with wide margins.

Drypoint on wove paper. image: 3 9/16 x 7 1/4 in. (9.1 x 18.5cm) sheet: 13 x 14 13/16 in. (33 x 37.6cm) [Lunn, 22] $2,500-4,000

35 160993/1 LOUISA MATTHÍASDÓTTIR (american, 1917-2000) “WHITE AND BLACK SHEEP” Signed bottom left, oil on canvas.

Executed circa 1982.

13 x 15 in. (33 x 38.1cm) provenance: Gross McCleaf Gallery, Philadelphia, Pennsylvania.

Private Collection, New Jersey (acquired from the above in 1983). exhibited: “Four Painters/Recent Work,” Gross McCleaf Gallery, Philadelphia, Pennsylvania, July 19 - August 5, 1983. $5,000-8,000

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36 141097/56 SALLY AVERY (american, 1902-2003) WATER’S EDGE Signed and dated 1987 bottom right, watercolor on paper.

24 x 18 in. (61 x 45.7cm) provenance: The Artist.

Private Collection. $2,000-3,000

37 141097/61 SALLY AVERY (american, 1902-2003) FLORAL STILL LIFE Signed and dated 1987 bottom right, watercolor on paper.

18 x 24 in. (45.7 x 61cm) provenance: The Artist.

Private Collection. $2,000-3,000

34 www.freemansauction.com

38 160480/57 ROMARE BEARDEN (american, 1911-1988) “FALL OF TROY” from “the odysseus suite” 1979, pencil signed and annotated H.C. (an hors commerce proof, aside from the regular edition of 125), with wide margins, HMK Fine Arts, New York, publisher. Color screenprint on Lana. image: 17 7/8 x 23 3/4 in. (45.4 x 60.3cm) sheet: 21 11/16 x 29 1/16 in. (55 x 73.8cm) [Gelburd & Rosenberg, 45] $1,500-2,500

39 160480/58 ROMARE BEARDEN (american, 1911-1988) “ODYSSEUS LEAVES” from “the odysseus suite” 1979, pencil signed and annotated A/P (an artist’s proof, aside from the regular edition of 125), with wide margins, HMK Fine Arts, New York, publisher. Color screenprint on Lana. image: 18 1/4 x 23 3/4 in. (46.3 x 60.3cm) sheet: 21 15/16 x 29 7/16 in. (55.7 x 74.7cm) [Gelburd & Rosenberg, 44] $1,500-2,500

40 160480/4 ROMARE BEARDEN (american, 1911-1988) “SIREN’S SONG” from “the odysseus suite” 1979, pencil signed and numbered 123/125, with wide margins, HMK Fine Arts, New York, publisher and with their blindstamp.

Color screenprint on Lana. image: 17 7/8 x 23 7/8 in. (45.4 x 60.6cm) sheet: 21 11/16 x 29 1/8 in. (55 x 73.9cm) [Gelburd & Rosenberg, 48] $1,500-2,500

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41 160244/2 ROMARE BEARDEN (american, 1911-1988) “FIREBIRDS” 1979, pencil signed and numbered 175/300, with wide margins, Transworld Art, Inc., New York, publisher and with their blindstamp.

Color lithograph on Arches. image: 21 11/16 x 15 in. (55 x 38cm) sheet: 28 x 20 7/8 in. (71.3 x 53cm) [Gelburd & Rosenberg, 11] Unframed $2,000-3,000

42 160244/12 WALTER H. WILLIAMS (american, 1920-died after 1998) “HARVEST” 1963, pencil signed, titled, dated and inscribed “imp,” numbered 174/210. Color woodcut on thin wove paper. image: 11 1/2 x 23 7/8 in. (29.2 x 60.6cm) sheet: 15 1/16 x 27 7/8 in. (38.3 x 70.8cm) $800-1,200

43 160731/2 JOHN RHODEN (american, 1918-2001) THE ASTRONOMER Incised with the artist’s signature at figure’s right ankle, bronze with brown patina. height: 29 1/2 in. (74.9cm) width: 4 3/4 in. (12.1cm) depth: 9 in. (22.9cm) provenance: Private Collection, Missoula, Montana. $2,500-4,000

36 www.freemansauction.com

44 160748/1 RICHARD POUSETTE-DART (american, 1916-1992) UNTITLED Signed, dated 61 and numbered 127 verso, oil on panel.

9 1/2 x 10 1/2 in. (24.2 x 26.7cm) provenance: The Artist.

Mr. Israel Katz, Rockland County, New York.

Mr. Arthur Joel Katz, New York, New York (gifted from the above). $20,000-30,000

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45 161046/60 HARRY BERTOIA (american, 1915-1978) BUSH Welded phosphorous bronze with patina.

Executed circa 1975. height: 7 1/4 in. (18.4cm) width: 8 1/2 in. (21.6cm) depth: 8 1/2 in. (21.6cm) provenance: Private Collection, Pennsylvania. note: We are grateful to Val Bertoia of the BertoiaStudio for confirming the authenticity of this work. $8,000-12,000

46 161046/61 HARRY BERTOIA (american, 1915-1978) BUSH Welded phosphorous bronze with patina.

Executed circa 1975. height: 5 1/2 in. (14cm) width: 9 in. (22.9cm) depth: 9 in. (22.9cm) provenance: Private Collection, Pennsylvania. note: We are grateful to Val Bertoia of the BertoiaStudio for confirming the authenticity of this work. $8,000-12,000

38 www.freemansauction.com

Harry Bertoia was a pioneering and prolific master of Modern Arts and Design. His diverse oeuvre includes sculpture, furniture, design, jewelry, prints and drawings.

Bertoia first rose to prominence through his work with the renowned furniture and design company, Knoll, Inc. Hans and Florence Knoll had taken notice of Bertoia’s work while he was a student at The Cranbrook Academy of Art in Bloomfield Hills, Michigan and invited him to join their eponymous firm. Bertoia enjoyed tremendous success with Knoll, particularly upon the design and production of his now famous “Diamond Chair,” which has become an icon of mid-century Modernism. Soon, with his reputation firmly established and his roots solidly planted in his Bally, Pennsylvania studio, Bertoia turned his interest and attention toward creating the dynamic and elegant sculptures for which he is so well-known today.

Throughout his career, Bertoia was heavily influenced by nature and organic patterns, and created many bush-like pieces. Sea Anemone (Bush) is a particularly successful example of these works. Its dense concentration of branches lends it a certain solidity, while - conversely - the delicacy of the individual stems conveys a gentle elegance. Asymmetrical, the form surges and swells around its axis, activating and engaging the empty space around it with a dynamic energy.

47 160628/1 HARRY BERTOIA (american, 1915-1978) SEA ANEMONE (BUSH) Bronze with patina.

Executed circa 1970. height: 21 in. (53.3cm) width: 19 1/2 in. (49.5cm) depth: 19 1/2 in. (49.5cm) provenance: Collection of Jim & Nan Morrissey, Wyomissing, Pennsylvania. note: We are grateful to Val Bertoia of the BertoiaStudio for confirming the authenticity of this work. $50,000-80,000

40 www.freemansauction.com

48 161102/1 HARRY BERTOIA (american, 1915–1978) SPRAY Stainless steel.

Executed circa 1965. height: 58 in. (147.3cm) base: 12 x 12 in. (30.5 x 30.5cm) provenance: The Artist.

Sandy Sugarman, Philadelphia, Pennsylvania.

By family descent.

Private Collection, Philadelphia, Pennsylvania. note: We are grateful to Val Bertoia of the BertoiaStudio for confirming the authenticity of this work. $15,000-25,000

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49 160992/1 HARRY BERTOIA (american, 1915-1978) WILLOW TREE Stainless steel wire bundles, stem and base.

Executed circa 1960. height: 72 in. (182.9cm) width: 60 in. (152.4cm) depth: 14 in. (35.6cm) provenance: Private Collection, Pennsylvania. note: We are grateful to Val Bertoia of the BertoiaStudio for confirming the authenticity of this work. $18,000-25,000

42 www.freemansauction.com

50 160628/2 HARRY BERTOIA (american, 1915-1978) UNTITLED (SONAMBIENT) Beryllium copper silvered to brass base.

Executed circa 1970. height: 17 in. (43.2cm) width: 6 1/2 in. (16.5cm) depth: 3 3/8 in. (8.6cm) provenance: The Reading Hospital Art Fair, Reading, Pennsylvania.

Collection of Jim & Nan Morrissey, Wyomissing, Pennsylvania (acquired directly from the above). note: We are grateful to Val Bertoia of the BertoiaStudio for confirming the authenticity of this work. $18,000-25,000

51 161046/62 HARRY BERTOIA (american, 1915-1978) UNTITLED (SONAMBIENT) Beryllium copper and bronze silvered to brass base.

Executed circa 1975. height: 15 3/4 in. (40cm) width: 7 7/8 in. (20cm) depth: 3 7/8 in. (9.8cm) provenance: Private Collection, Pennsylvania. note: We are grateful to Val Bertoia of the BertoiaStudio for confirming the authenticity of this work. $15,000-20,000

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52 161106/1 HARRY BERTOIA (american, 1915–1978) UNTITLED (SONAMBIENT) Monel metal silvered to brass base.

Executed circa 1975. height: 84 1/4 in. (214cm) width: 12 in. (30.5cm) depth: 12 in. (30.5cm) provenance: The Artist.

Private Collection, Pennsylvania (acquired directly from the above circa 1975). note: We are grateful to Val Bertoia of the BertoiaStudio for confirming the authenticity of this work. $70,000-100,000

44 www.freemansauction.com

53 160903/1 LOUISE NEVELSON (american, 1899-1988) “RAIN GARDEN CRYPTIC IX” Black painted wood.

Executed circa 1970. closed: 17 1/4 x 9 3/4 x 4 3/4 in. (43.8 x 24.8 x 12.1cm) open: 17 1/4 x 19 1/2 x 4 3/4 in. (43.8 x 49.5 x 12.1cm) provenance: Pace Gallery, New York, New York.

Makler Gallery, Philadelphia, Pennsylvania.

Private Collection, Philadelphia, Pennsylvania (acquired directly from the above in 1979). $12,000-18,000

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54 160968/1 LOUISE NEVELSON (american, 1899-1988) “SUN-SET” 1981, incised with the artist’s signature, title and date, numbered 25/125 on publisher’s metal plate verso (there were also 25 artist’s proofs), Pace Editions, Inc., New York, publisher. Cast polyester resin multiple.

12 7/8 x 17 13/16 x 2 9/16 in.

(32.7 x 45.2 x 6.5cm) $4,000-6,000

55 160646/3 JOSEF ALBERS (american/german, 1888-1976) “KG” 1966, pencil signed, titled and dated, numbered 13/350, with wide margins, published by Ives-Sillman, Inc., New Haven for Kestner Gesellschaft, Hanover. Color screenprint on Mohawk Superfine Bristol. image: 11 x 11 in. (27.9 x 27.9cm) sheet: 16 15/16 x 16 7/8 in. (43 x 42.9cm) [Danilowitz, 170] $1,500-2,500

46 www.freemansauction.com

56 160912/1 EDNA ANDRADE (american, 1917-2008) “GARDEN” Signed with initials and dated 62 bottom right and signed, titled and dated verso, watercolor on paper.

18 x 21 5/8 in. (45.7 x 54.9cm) provenance: Locks Gallery, Philadelphia, Pennsylvania.

Private Collection, South Orange, New Jersey. $2,500-3,500

57 168064/1 EDNA ANDRADE (american, 1917-2008) “CRATERS/PINK SKY/THREE MOONS” Signed and dated 83 bottom left and signed, titled and dated verso and on the support, acrylic-painted mulberry papers collaged on thick paper.

10 x 10 in. (25.4 x 25.4cm) provenance: Collection of Elizabeth Lawson, Charlottesville, Virginia. $1,500-2,500

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58 161027/1 EDNA ANDRADE (american, 1917-2008) UNTITLED Signed with initials bottom left and signed and dated 4/76 verso, acrylic on canvas.

42 x 42 in. (106.7 x 106.7cm) provenance: The Artist.

Private Collection, New York, New York. $8,000-12,000

48 www.freemansauction.com

59 160359/5 LARRY POONS (american, b. 1937) “UNTITLED” from “x + x (ten works by ten painters)” 1964, from the edition of 500, with wide margins, Wadsworth Atheneum, Hartford, Connecticut, publisher. Screenprint in black and white on wove paper within paper wrapper printed with artist’s name (as issued). image: 15 7/8 x 15 15/16 in.

(40.4 x 40.5cm) sheet: 24 x 20 1/16 in.

(61 x 50.9cm) Unframed $1,000-1,500

60 160902/2 VICTOR VASARELY (hungarian, 1906-1997) “PLANETARY FOLKLORE PARTICIPATIONS NO. 1” 1969, signed in pen and numbered 232 (from the edition of 3000) on a plaque on the reverse of the original metal box, William Wise and Éditions Pyra, Switzerland in collaboration with Éditions Denise René, Paris, publishers. Multiple made of plastic, metal and paper parts in its original metal box with its original paper instructions. portfolio: 20 x 20 in. (50 x 50cm) $3,000-5,000

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61 160460/4 KARL STANLEY BENJAMIN (american, 1925-2012) “#2” Inscribed with the artist’s name, titled and dated 1968 on the stretcher verso, oil on canvas.

51 x 51 in. (129.4 x 129.4cm) provenance: Henri Gallery, Washington, D.C. Private Collection, Philadelphia, Pennsylvania (acquired from the above in 1969). $15,000-25,000

50 www.freemansauction.com

62 152231/1 RICHARD JOSEPH ANUSZKIEWICZ (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, Texas (acquired directly from the above in 1977). $18,000-25,000

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63 160480/7 TOM WESSELMANN (american, 1931-2004) “SMOKER” 1976, pencil signed and dated, numbered 2/75 (there were also 12 artist’s proofs), with full margins, Multiples, Inc., New York, publisher and with their blindstamp. Color lithograph with embossing on Arches. image: 14 5/16 x 23 in. (36.4 x 58.4cm) sheet: 22 1/2 x 30 in. (57.2 x 76.2cm) $5,000-8,000

64 160480/3 TOM WESSELMANN (american, 1931-2004) “NUDE WITH ROSE” 1976, pencil signed and dated, numbered 2/75, with full margins, Styria Studios, New York, publisher and with their blindstamp.

Color lithograph and screenprint with embossing on wove paper. image: 13 1/8 x 23 1/2 in. (33.3 x 59.7cm) sheet: 22 5/16 x 29 7/8 in. (56.7 x 75.9cm) $4,000-6,000

52 www.freemansauction.com

65 160966/1 AFTER ANDY WARHOL (american, 1928-1987) “SOUPER DRESS” Circa 1965, from the edition of unknown size, with ‘The Souper Dress’ label at the neck and original order form/receipt contained within brown paper envelope stamped ‘MEDIUM.’ Color screenprint on a cotton paper A-line dress. overall: 36 x 22 in. (91.4 x 55.9cm) [Not in Feldman & Schellmann] Unframed provenance: Private Collection, Philadelphia, Pennsylvania. $2,000-3,000

66 160451/1 AFTER ANDY WARHOL (american, 1928-1987) MARILYN (CASTELLI GALLERY INVITATION) 1981, signed in black felt-tip pen, from the edition of approximately 250, the full sheet and folded (as issued), published by Castelli Gallery, New York, as an announcement for the exhibition: “Andy Warhol: A Print Retrospective” (November 21-December 22, 1981).

Color offset lithograph on smooth wove paper, with text printed on the reverse. folded: 6 15/16 x 6 15/16 in.

(17.6 x 17.6cm) unfolded: 6 15/16 x 13 7/8 in.

(17.6 x 35.2cm) Unframed $5,000-8,000

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67 160921/1 ANDY WARHOL (american, 1928-1987) “MICK JAGGER” one print 1975, pencil signed by the artist, felt-pen signed by the subject, numbered 54/250 (there were also 50 artist’s proofs), the full sheet, Seabird Editions, London, publisher and with their copyright inkstamp verso. Color screenprint on Arches Aquarelle. sheet: 43 1/2 x 28 13/16 in.

(110.5 x 73.2cm) [Feldman & Schellmann, II.139] provenance: Allstate Art, New York, New York.

Private Collection (purchased from the above in 1979). $25,000-40,000

54 www.freemansauction.com

68 160921/3 ANDY WARHOL (american, 1928-1987) “MICK JAGGER” one print 1975, pencil signed by the artist, felt-pen signed by the subject, numbered 54/250 (there were also 50 artist’s proofs), the full sheet, Seabird Editions, London, publisher and with their copyright inkstamp verso. Color screenprint on Arches Aquarelle. sheet: 43 5/8 x 28 13/16 in.

(110.8 x 73.2cm) [Feldman & Schellmann, II.142] provenance: Allstate Art, New York, New York.

Private Collection (purchased from the above in 1979). $25,000-40,000

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69 160921/2 ANDY WARHOL (american, 1928-1987) “MICK JAGGER” one print 1975, ink signed by the artist, feltpen signed by the subject, numbered 54/250 (there were also 50 artist’s proofs), the full sheet, Seabird Editions, London, publisher and with their copyright inkstamp verso. Color screenprint on Arches Aquarelle. sheet: 43 1/2 x 28 3/4 in.

(110.5 x 73cm) [Feldman & Schellmann, II.140] provenance: Allstate Art, New York, New York.

Private Collection (purchased from the above in 1979). $25,000-40,000

56 www.freemansauction.com

70 160675/1 ANDY WARHOL (american, 1928-1987) “COMMITTEE 2000” 1982, pencil signed, numbered ‘AP 174/200’ (the edition was 2000), with full margins, Committee 2000, Munich, publisher and with the artist’s copyright inkstamp verso. Color screenprint on Lenox Museum Board. image: 21 x 19 3/4 in. (53.3 x 50.2cm) sheet: 30 x 20 in. (76.2 x 50.7cm) [Feldman & Schelmann, II.289] $4,000-6,000

71 160359/4 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), published by the Museum of Modern Art, New York as a poster for the 1989 Warhol retrospective and with their stamps, also with the Estate of Andy Warhol copyright stamp. Color screenprint on wove paper. sheet: 33 1/2 x 29 1/2 in. (85.1 x 74.9cm) [see Feldman & Schellmann, III.125a] Unframed $1,200-1,800

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72 160828/9 ANDY WARHOL (american, 1928-1987) “KIKU” the complete set of three color screenprints 1983, all pencil signed, all numbered 189/300 (there were also 30 artist’s proofs for all), the full sheets, Gendai Hanga Center, Tokyo, Japan, publisher and with their blindstamps, each also ink-stamped with the artist’s name, copyright and date verso. The complete set of three color screenprints on BFK Rives. all sheets: 16 5/8 x 25 7/8 in. (42.2 x 65.7cm) [Feldman & Schellmann, II.307-309] (3) $20,000-30,000

58 www.freemansauction.com

73 160902/1 ANDY WARHOL (american, 1928-1987) “GOLDA MEIR” 1971, signed in felt-tip pen, numbered 411/550 on label affixed verso, the American Friends of the Israel Museum, New York, publisher. Color screenprint on felt. sheet: 6 3/4 x 6 7/8 in. (17.1 x 17.4cm) [Feldman & Schellmann, 153A] $1,500-2,500

74 160828/3 CLAES OLDENBURG (american, b. 1929) “STUDY FOR SNEAKER LACE - WHITE” 1991, pencil signed and numbered 22/35 (there were also 10 artist’s proofs), Gemini, G.E.L., Los Angeles, publisher and with their blindstamp, also with the ‘© 1991 C.O.’ blindstamp. Color lithograph on Arches. image: 52 1/2 x 30 in. (133.4 x 76.2cm) sheet: 66 3/4 x 41 1/2 in. (169.6 x 105.4cm) [Axsom & Platzker, 228] $1,000-2,000

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75 160480/6 JASPER JOHNS (american, b. 1930) “SOUVENIR I” 1972, pencil signed and dated, numbered 4/63 (there were also 9 artist’s proofs), with full margins, Gemini G.E.L, Los Angeles, publisher and with their blindstamps. Color lithograph on Angoumois à la main. image: 26 3/8 x 21 in.

(67 x 53.3cm) sheet: 38 1/2 x 29 1/2 in.

(97.8 x 74.9cm) [Gemini, 343; ULAE, 111] $4,000-6,000

77 160920/16 ROBERT RAUSCHENBERG (american, 1925-2008) “DOCTORS OF THE WORLD” 1997, pencil signed and dated, numbered 37/100, the full sheet.

Color lithograph on wove paper. sheet: 39 1/2 x 29 1/2 in.

(100.3 x 74.9cm) $1,200-1,800

76 160480/5 JASPER JOHNS (american, b. 1930) “SKETCH FROM UNTITLED II” from “casts from untitled” 1974, pencil signed and dated, numbered 30/50 (there were also 9 artist’s proofs), with full margins, Gemini G.E.L., Los Angeles, publisher and with their blindstamps. Color lithograph on Japan. image: 28 1/4 x 19 in.

(71.8 x 48.3cm) sheet: 36 1/2 x 25 3/4 in.

(92.7 x 65.4cm) [Gemini, 499; ULAE, 131] $3,000-5,000

60 www.freemansauction.com

78 160828/7 ROY LICHTENSTEIN (american, 1923-1997) “CUBIST CELLO” 1997, pencil signed and dated 1998

by Dorothy Lichtenstein, numbered 71/75 (there were also 25 artist’s proofs), the full sheet, published by the Estate of Roy Lichtenstein and Noblet Serigraphie, Inc., New York, for the benefit of the American Friends of the Tel Aviv Museum of Art. Color screenprint on wove paper. image: 40 5/8 x 30 3/8 in.

(103.2 x 77.2cm) sheet: 50 11/16 x 39 1/2 in.

(128.7 x 100.3cm) [Corlett, 311] $12,000-18,000

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79 160828/1 ROY LICHTENSTEIN (american, 1923-1997) “REFLECTIONS ON CONVERSATION” from “reflections series” 1990, pencil signed and dated, numbered AP 11/16 (an artist’s proof, aside from the regular edition of 68), with full margins, Tyler Graphics, Mount Kisco, New York, publisher and with their blindstamp. Color lithograph, screenprint, woodcut and metalized PVC collage with embossing on Somerset. image: 47 1/8 x 60 3/4 in. (119.9 x 154.3cm) sheet: 53 13/16 x 66 13/16 in. (136.7 x 169.7cm) [Corlett, 240] $60,000-100,000

62 www.freemansauction.com

80 160993/2 ROBERT MOTHERWELL (american, 1915-1991) “GESTURE I (STATE I)” 1976-77, pencil signed and numbered 42/75 (there were also 10 artist’s proofs in Roman numerals), with wide margins, published by the artist and with his blindstamp, released

by Brooke Alexander, Inc., New York. Color aquatint and etching on wove paper. image: 19 3/8 x 15 1/2 in. (49.2 x 39.4cm) sheet: 34 7/8 x 26 1/8 in. (88.6 x 66.4cm) [Belknap, 167; Walker Art Center, 203] $5,000-8,000

81 160418/4 ALEX KATZ (american, b. 1927) “BIRCH 2” 2004, pencil signed and numbered 1/45 (there were also 10 artist’s proofs), the full sheet, published by the artist. Linoleum cut on Iyo Glazed paper. image: 12 x 8 3/16 in. (30.4 x 20.7cm) sheet: 17 5/8 x 13 1/4 in. (44.7 x 33.5cm) $800-1,200

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82 161106/4 VARIOUS ARTISTS “NEW YORK, NEW YORK: EIGHT CONTEMPORARY ARTISTS CELEBRATE THEIR CITY” the complete set of 8 prints 1983, all signed and numbered 71/250 (there were also 25 artist’s proofs, and the total deluxe edition of 45 in Roman numerals), the full sheets or with full margins, New York Graphic Society, Ltd, publisher. Eight prints in various media on various papers, title page, text and justification page (lacking the original portfolio box). largest sheet: 29 3/4 36 1/2 in. (75.5 x 92.7cm) smallest sheet: 29 1/2 x 22 in. (75 x 56.1cm) Unframed (8)

Including: RED GROOMS, “Subway Riders” (Knestrick, 97); ROBERT INDIANA, “Brooklyn Bridge” (Sheehan, 132); ALEX KATZ, “Bicycling in Central Park” (Maravall, 130); R.B. KITAJ, “Performing Arts Center”; ROBERT MOTHERWELL, New York Cultural Institutions (Walker Arts Center, 293); ROBERT RAUSCHENBERG, “Statue of Liberty”; LARRY RIVERS, Bronx Zoo; and JAMES ROSENQUIST, Communications Center (Glenn, 200). $5,000-8,000

83 160828/2 ALEX KATZ (american, b. 1927) “UNFAMILIAR IMAGE” 2001, pencil signed and numbered 87/100 (there were also 13 artist’s proofs), the full sheet, Alberico Cetti Serbelloni Editore, Milan, publisher. Color screenprint on heavy wove paper. sheet: 29 7/8 x 44 in. (75.9 x 111.8cm) $1,000-2,000

64 www.freemansauction.com

84 160480/2 CHRISTO AND JEANNE-CLAUDE (american, b. 1935) “YELLOW STORE FRONT, PROJECT” 1980, pencil signed and numbered 93/100 (there were also 23 artist’s proofs), the full sheet, Abrams Original Editions, New York, publisher. Color lithograph with collage of acetate and cloth on heavy paper mounted to museum board (as issued). sheet: 31 7/8 x 23 3/8 in. (81 x 59.4cm) [Schellmann, 104] $2,000-3,000

85 160199/2 JIM DINE (american, b. 1935) “DOUBLE VENUS IN THE SKY AT NIGHT” 1984, pencil signed and dated, numbered 6/50 (there were also 6 artist’s proofs), with wide margins, Pace Editions, Inc., New York, publisher and with their label on the support verso. Color lithograph and screenprint on William Morris Nonesuch. image: 39 1/8 x 28 1/4 in. (99.4 x 71.8cm) sheet: 41 1/16 x 30 1/4 in. (104.3 x 76.8cm) [D’Oench & Feinberg, 166] $5,000-8,000

86 160460/6 JIM DINE (american, b. 1935) “THE HENRY STREET ROBES” 2006, pencil signed and dated, numbered 23/50, Pace Editions, Inc., New York, publisher. Aquatint over digital color print on cardboard. image: 13 1/4 x 21 1/2 in. (33.7 x 54.6cm) sheet: 17 5/8 x 25 5/16 in. (44.8 x 64.3cm) $2,000-3,000

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87 160628/5 MARINO MARINI (italian, 1901-1980) “MARINO FROM SHAKESPEARE I” plate 5 1977, pencil signed and numbered XIX/L (there was also an edition of 75 in Arabic numerals and 20 artist’s proofs), the full sheet, ZWR, London, publisher and with their blindstamp. Color etching, drypoint and aquatint on Arches (Guastalla calls for BFK Rives). image: 18 1/2 x 12 13/16 in. (47 x 32.5cm) sheet: 29 13/16 x 22 1/8 in. (75.7 x 56.2cm) [Guastalla, A191] $1,200-1,800

88 161046/56 ENRICO DONATI (american/italian, 1909-2008) “THE CYCLOPS” from “universe series” Signed, titled and dated 1986 verso, mixed media on canvas.

40 x 50 in. (101.6 x 127cm) provenance: Private Collection, Pennsylvania. $3,000-5,000

66 www.freemansauction.com

89 161046/51 ALAN DAVIE (scottish, 1920-2014) “ARAB POEM NO. 6” Signed, titled and dated ‘5 78’ bottom right, gouache on paper.

23 1/8 x 32 7/8 in. (58.7 x 83.5cm) provenance: Private Collection, Pennsylvania. $4,000-6,000

90 161046/57 MARTIN BRADLEY (british, b. 1931) “ROMAN ICE CREAM PARLOUR: NINETEEN FIFTY MUSIC” Signed and dated 1983 upper right and titled upper center, oil on canvas.

47 1/2 x 47 1/2 in. (120.7 x 120.7cm) provenance: Private Collection, Pennsylvania. $1,500-2,500

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91 168043/10 ITZCHAK TARKAY (israeli, b. 1935) “DELILA” Signed bottom right, acrylic on canvas.

Executed in 1993.

40 x 32 in. (101.6 x 81.3cm) provenance: Park West Gallery, Southfield, Michigan.

Private Collection, Virginia (acquired directly from the above in 1994).

World Pediatric Project, Richmond, Virginia (donated from the above in 2015). note: This lot is accompanied by a certificate of authenticity issued by the Park West Gallery and is being sold to benefit the World Pediatric Project in its mission to provide lifesaving surgical care to children in need. $2,000-3,000

92 168043/7 ITZCHAK TARKAY (israeli, b. 1935) “PENSIVE FRIENDS” Signed bottom left, acrylic on canvas.

Executed in 1990.

20 x 16 in. (50.8 x 40.6cm) provenance: Park West Gallery, Southfield, Michigan.

Private Collection, Virginia (acquired directly from the above in 1995).

World Pediatric Project, Richmond, Virginia (donated from the above in 2015). note: This lot is accompanied by a certificate of authenticity issued by the Park West Gallery and is being sold to benefit the World Pediatric Project in its mission to provide lifesaving surgical care to children in need. $1,200-1,800

68 www.freemansauction.com

93 160828/4 DALE CHIHULY (american, b. 1941) REED DRAWING Signed bottom center, acrylic on heavy wove paper.

60 x 40 in. (152.4 x 101.6cm) provenance: Private Collection, Philadelphia, Pennsylvania. $1,000-2,000

94 161046/55 PAUL JENKINS (american, 1923-2012) “PHENOMENA TORCH LIGHTS” Signed bottom left, watercolor on paper.

43 1/4 x 31 in. (109.9 x 78.7cm) provenance: Carone Gallery, Fort Lauderdale, Florida.

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

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95 160244/14 ERIC FREEMAN (american, b. 1970) UNTITLED (COLOR STUDY) Signed and dated 1999 twice verso, oil on linen. sheet: 24 x 24 in. (61 x 61cm) Unframed provenance: Private Collection, New York, New York. $1,500-2,500

96 160828/8 FRANK STELLA (american, b. 1936) THE CANDLES (STAPLING DOWN AND CUTTING UP) from “swan engravings” 1992, pencil signed and dated, numbered 33/65 (there were also 10 artist’s proofs), the full sheet, Tyler Graphics, New York, publisher and with their blindstamp. Color collage, lithograph and screenprint on TGL handmade paper. image: 57 11/16 x 38 15/16 in. (146.5 x 98.9cm) sheet: 58 x 38 3/4 in. (147.3 x 98.4cm) $6,000-10,000

70 www.freemansauction.com

97 161046/63 ANGEL BOTELLO (puerto rican, 1913-1986) “MOTHER & CHILD” Signed and stamped with foundry mark, numbered 6/12 near the base. Bronze with patina.

Executed in 1970. height: 12 1/2 in. (31.8cm) width: 7 1/2 in. (19.1cm) depth: 6 in. (15.2cm) provenance: Private Collection, Pennsylvania. note: We are grateful to Juan Botello for confirming the authenticity of this work. $6,000-10,000

98 161046/64 ANGEL BOTELLO (puerto rican, 1913-1986) “FRANÇOISE WITH PIGTAILS” Signed and numbered 2/6.

Executed circa 1975.

Bronze with silver patina. height: 18 1/2 in. (47cm) width: 14 in. (35.6cm) depth: 6 in. (15.2cm) provenance: Private Collection, Pennsylvania. note: We are grateful to Juan Botello for confirming the authenticity of this work. $8,000-12,000

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99 168047/1 OLGA DE AMARAL (colombian, b. 1932) “MURO DE CALICANTO” Signed, inscribed ‘Amaral 258P’ and dated 1977 on a faded label sewn on the reverse, woven wool and horse hair tapestry on iron hanging rod.

97 x 105 in. (246.4 x 266.7cm) provenance: The Artist.

Ruth Kaufmann Gallery, New York, New York.

Private Collection, Virginia Beach, Virginia (acquired from the above in 1978). note: This lot is recorded in the Artist’s archives with the reference number OA257A. This piece was originally intended to hang in the atrium of a Times Square hotel designed by the influential architect and developer John Portman. However, ultimately, this hotel project was not realized and “Muro de Calicanto” was sold to its current owner by Olga de Amaral’s agent, Ruth Kaufmann. $20,000-30,000

100 160731/1 MARGO HOFF (american, 1912-2008) “WEEP FOR LORCA” Signed bottom left, oil on masonite.

32 3/4 x 24 in. (83.2 x 61cm) provenance: Private Collection, Missoula, Montana. note: This painting references the poem entitled “Weeping” by Federico Garcia Lorca. $3,000-5,000

72 www.freemansauction.com

101 161046/50 ROBERTO MATTA (chilean, 1911-2002) “L’UCCELLO PROFETA - SCHUMANN” Signed bottom right, pastel on paper on canvas.

Executed in 1980.

30 5/8 x 29 1/4 in. (77.8 x 74.3cm) provenance: Carone Gallery, Fort Lauderdale, Florida.

Private Collection, Pennsylvania. note: This lot is accompanied by a certificate of authenticity signed

by Germana Matta Ferrari of the Archives de l’Oeuvre de Matta and dated 19 October 2016. $10,000-15,000

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102 161046/48 ROBERTO MATTA (chilean, 1911-2002) UNTITLED Signed center right, pastel, crayon, colored pencil and graphite on Fabriano.

Executed circa 1965.

19 x 25 7/8 in. (48.3 x 65.7cm) provenance: Carone Gallery, Fort Lauderdale, Florida.

Private Collection, Pennsylvania. note: This lot is accompanied by a certificate of authenticity signed by Germana Matta Ferrari of the Archives de l’Oeuvre de Matta and dated 19 October 2016. $8,000-12,000

74 www.freemansauction.com

103 161050/1 CARLOS LUNA (cuban, b. 1969) “AY MAMÁ LLORÓN” Signed bottom right and signed, titled and dated 17-2-97 verso, oil on canvas.

47 1/4 x 59 in. (120 x 149.9cm) provenance: The Artist.

Private Collection, New Jersey (acquired directly from the above in 1997). exhibited: “Carlos Luna: Yo Traigo de Todo,” Casa de los Muñecos, Museo Universitario, Universidad Autónoma de Puebla, Puebla, Mexico, December 10, 1997-January 25, 1998 (illustrated p. 49). note: We are grateful to Carlos Luna for his assistance in cataloguing this work, which is accompanied by a certificate of authenticity with his signature. $25,000-40,000

“Ay Mamá Llorón” is a powerful and provocative image. Striking in its scale and animated by intense color, the painting is composed of bold geometric forms and a dramatically flattened picture plane. These formal devices inject the painting with an arresting immediacy that both demands and captivates the viewer’s attention. Its subject matter is also rich in symbolic meaning that invites interpretation and stimulates further contemplation. The painting depicts the Rape of Europa, the ancient myth in which Zeus, the king of the gods, transforms himself into a bull in order to abduct a beautiful maiden of whom he was enamored. In his reinterpretation, Luna uses the myth as a metaphor, seizing upon the pathos of this classic story in order to comment on the political anguish of his native Cuba. Here, the bull represents Cuba’s dictator who has long held captive the beautiful island, embodied by the vulnerable woman who lay at his feet. Yet he portrays the bull with a single tear, shed as a result of the woman’s indifference to him. The two main subjects of the painting are surrounded by water with the fortress “El Morro de la Habana” in the distance- a further reference to Cuba.

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104 161050/2 CARLOS LUNA (cuban, b. 1969) “BONITO BONITO” Signed bottom right and signed twice, titled and dated 2002 verso, oil on canvas.

39 3/8 x 31 1/2 in. (100 x 80cm) provenance: The Artist.

Private collection, New Jersey (acquired directly from the above). note: This lot is accompanied by a certificate of authenticity signed by the Artist. $15,000-25,000

105 161050/3 CARLOS LUNA (cuban, b. 1969) “ENCUENTRO” Signed bottom center, oil on canvas laid down to board.

Executed in 1997. canvas: 19 1/4 x 15 in. (48.9 x 38.1cm) board: 22 3/4 x 18 3/4 in. (57.8 x 47.6cm) provenance: The Artist.

Private Collection, New Jersey (acquired directly from the above in 1997). exhibited: “Carlos Luna: Yo Traigo de Todo,” Casa de los Muñecos, Museo Universitario, Universidad Autónoma de Puebla, Puebla, Mexico, December 10, 1997-January 25, 1998 (illustrated p. 41). note: This lot is accompanied by a certificate of authenticity signed by the Artist. $4,000-6,000

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106 161050/7 GUNTHER GERZSO (mexican, 1915-2000) “SEMBLANTES” Signed, dated 94 and numbered 3/6 along the bottom edge. Bronze with green patina. height: 23 in. (58.4cm) width: 30 11/16 in. (77.9cm) depth: 2 1/4 in. (5.7cm) provenance: Christie’s, New York, “Latin American Art,” November 20, 2002, lot 34.

Private Collection, New Jersey (acquired from the above sale). $15,000-25,000

107 161050/5 ARNALDO ROCHE RABELL (puerto rican, b. 1955) “TOCADO” Signed and dated 1989 bottom right, oil on paper mounted on panel.

48 1/4 x 36 3/4 in. (122.6 x 93.4cm) provenance: George Adams Gallery, New York, New York.

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

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108 161050/4 ARNALDO ROCHE RABELL (puerto rican, b. 1955) “VEGETALES III�

Signed and dated 1990 bottom right, oil on canvas.

60 x 82 3/4 in. (152.4 x 210.2cm) provenance: Galeria Alejandro Gallo, Guadalajara, Mexico.

Private Collection, New Jersey (acquired directly from the above). note: This lot is accompanied by a certificate of authenticity issued by the Galeria Alejandro Gallo and dated September 25, 1997. $20,000-30,000

78 www.freemansauction.com

109 161050/6 LUIS CRUZ AZACETA (american/cuban, b. 1942) “JOURNEY IX” Signed bottom left and signed, titled and dated 1991 verso, acrylic on canvas.

30 1/8 x 20 in. (76.5 x 50.8cm) provenance: Private Collection, New York.

Christie’s, New York, “The Latin American Sale: Important Paintings, Drawings & Sculpture,” May 29, 1998, lot 92.

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

110 160587/422815 RICHARD BOSMAN (american, b. 1944) “SQUALL” Signed and dated 87 verso, acrylic on three joined canvases. overall: 90 1/4 x 66 in.

(229.2 x 167.6cm) provenance: Dart Gallery, Chicago, Illinois.

The Estate of Daniel W. Dietrich II. $3,000-5,000

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111 160418/3 ROSS BLECKNER (american, b. 1949) SUNFLOWER Signed and dated 1996 verso, watercolor on paper.

22 x 29 3/4 in. (55.9 x 75.6cm) provenance: Private Collection, Washington, D.C. $5,000-8,000

112 160635/1 JONATHAN BOROFSKY (american, b. 1942) “2740475” the complete set of six etchings and seven screenprints 1982, all pencil signed and numbered 2/50 (there were also 10 artist’s proofs), Peter Blum Editions, New York, publisher. The complete set of six etchings and seven screenprints on wove paper. sheets: 30 x 22 in. (76 x 56cm) (13) $2,000-3,000

113 160835/1 ED RUSCHA (american, b. 1937) “SWARM OF RED ANTS” from “insects” 1972, pencil signed and dated, numbered 10/100 (there were also 15 artist’s proofs in Roman numerals), the full sheet, Multiples, Inc., New York, publisher. Color screenprint on Fabriano. sheet: 20 x 27 in. (50.8 x 68.6cm) [Engberg, 62] $1,500-2,500

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114 160460/9 WILLIAM T. WILEY (american, b. 1937) “CRY ONYX” Acrylic and mixed media on canvas.

Executed in 1991.

67 x 72 1/4 in. (170.2 x 183.5cm) provenance: Marsha Mateyka Gallery, Washington, D.C. Private Collection, Philadelphia, Pennsylvania (acquired from the above in 1992). exhibited: “William Wiley: What is Not Dancing in Time,” L.A. Louver Gallery, Venice, California, March 15- April 13, 1991. $8,000-12,000

115 160418/1 ELAINE KURTZ (american, 1928-2003) “STUDY - WARM AND COOL ALLUVIAL SERIES II” Signed, titled and dated ‘90 verso, obsidian, sand and acrylic on canvas.

36 x 16 in. (91.4 x 40.5cm) provenance: Private Collection, Washington, D.C. $600-1,000

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116 160460/8 JENNIFER BARTLETT (american, b. 1941) “THE FOUR SEASONS” autumn, winter, spring, summer 1990-93, all pencil signed and variously dated, numbered 3/62 (except ‘Summer’ which is numbered 3/63 in error, there were also 12, 17, 18 and 18 artist’s proofs respectively), with full margins, the artist and Simca Print Artists, New York, co-publishers and each with the Simca blindstamp. Four color screenprints on Kurotani Hosho. all images: 31 5/8 x 31 5/8 in. (79.6 x 79.6cm) all sheets: 33 x 34 3/4 in. (83.8 x 88.3cm) [Orlando Museum, 17-20] (4) provenance: Paula Cooper Gallery, New York, New York (label indicates that Summer is numbered 3/63 in error).

Locks Gallery, Philadelphia, Pennsylvania. exhibited: “Floral Fantasy,” Susquehanna Art Museum, Harrisburg, Pennsylvania, June 13-August 31, 1996. $3,000-5,000

117 160460/7 JENNIFER BARTLETT (american, b. 1941) “BRIDGE, BOAT AND DOG” three prints 1997, pencil numbered 29/50 and annotated respectively “1 of 3,” “2 of 3,” and “3 of 3,” with full margins, Pace Editions Inc., New York, publisher. Three color aquatints on Hahnemule. all images: 23 3/4 x 23 3/4 in. (60.3 x 60.3cm) all sheets: 27 3/4 x 27 3/4 in. (70.4 x 70.4cm) (3) $2,000-3,000

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118 160430/2 STUART SHILS (american, b. 1954) “COTTAGE WITH TREES FROM THE ROAD TO GORTMORE” Signed and dated 96 bottom left and signed, titled and dated verso, oil on paper mounted on museum board.

9 3/4 x 10 5/8 in. (24.8 x 27cm) provenance: Tibor de Nagy, New York, New York.

Collection of Richard Gerst, Wenonah, Pennsylvania (acquired directly from the above). $1,000-1,500

119 160430/1 STUART SHILS (american, b. 1954) “HOUSES IN A STORMY LIGHT” Signed and dated 96 bottom left and signed, titled and dated verso, oil on paper mounted on museum board.

12 3/4 x 12 1/8 in. (32.4 x 30.8cm) provenance: Tibor de Nagy, New York, New York.

Collection of Richard Gerst, Wenonah, Pennsylvania (acquired directly from the above). $1,000-1,500

120 160430/3 STUART SHILS (american, b. 1954) “STRONG LIGHT ON STUCCO WALLS AND TREE TRUNK” Signed and dated 97 bottom left and signed, titled and dated verso, oil on paper on museum board.

11 5/8 x 11 3/4 in. (29.5 x 29.8cm) provenance: Mangel Gallery, Philadelphia, Pennsylvania.

Collection of Richard Gerst, Wenonah, Pennsylvania (acquired directly from the above). $1,000-1,500

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121 160874/1 HARRY SEFARBI (american, 1917-2009) CARD PLAYERS Signed at all four corners, oil on panel.

Executed circa 1989.

22 1/2 x 18 3/4 in. (57.2 x 47.6cm) provenance: McClees Gallery, Philadelphia, Pennsylvania.

Private Collection, Philadelphia, Pennsylvania (acquired directly from the above). $1,000-2,000

122 160946/1 JIMMY LUEDERS (american, 1927-1994) UNTITLED (ABSTRACT FIGURE) Signed bottom left, oil on canvas.

42 x 40 3/16 in. (106.7 x 102.1cm) provenance: The Artist.

Cheltenham Art Center, Cheltenham, Pennsylvania.

Private Collection, Rydal, Pennsylvania (acquired from the above circa 1958). $1,000-1,500

84 www.freemansauction.com

123 161103/1 JIMMY LUEDERS (american, 1927-1994) ZINIAS ON A PINK TABLE CLOTH Signed and inscribed ‘J C Lueders / 6819 Greene St. / Phila. Penna’ verso and also signed on stretcher, oil on canvas.

60 x 60 in. (152.4 x 152.4cm) provenance: Freeman’s, Philadelphia, “PAFA Artists,” December 8, 2002, lot 189.

Private Collection, Bala Cynwyd, Pennsylvania (acquired from the above sale). $3,000-5,000

124 160923/3 JANE PIPER (american, 1916-1991) “SUMMER” Signed and dated 83 bottom left, oil on canvas with collage elements.

50 x 43 3/4 in. (127 x 111.1cm) provenance: Gross McCleaf Gallery, Philadelphia, Pennsylvania.

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

125 160869/1 QUITA BRODHEAD (american, 1901-2002) “RELECTION” Signed bottom right, oil on canvas.

Executed in 1980.

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

Private Collection, Pennsylvania (acquired directly from the above). exhibited: “Quita Brodhead: Peintures a l’huile,” Sherry Barbier, Paris, France, October 6-20, 1982 (reproduced in color on exhibition invitation). $3,000-5,000

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126 160440/1 ELIZABETH OSBORNE (american, b. 1936) “BLAZE IV” Signed and dated 05 bottom left, oil on panel.

25 1/2 x 24 in. (64.8 x 61cm) provenance: Locks Gallery, Philadelphia, Pennsylvania.

Private Collection, Philadelphia, Pennsylvania. $5,000-8,000

127 160440/2 ELIZABETH OSBORNE (american, b. 1936) “SLEA HEAD SERIES VI” Signed and dated 99 bottom left, acrylic on panel.

8 x 8 in. (20.3 x 20.3cm) provenance: Locks Gallery, Philadelphia, Pennsylvania.

Private Collection, Philadelphia. exhibited: “Elizabeth Osborne: Vantage,” Locks Gallery, Philadelphia, Pennsylvania, September 8October 7, 2000. $2,500-4,000

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128 161106/3 JOSEPH STABILITO (american, b. 1936) ABSTRACTION Signed and dated 82 bottom right, acrylic on canvas.

68 x 68 in. (172.7 x 172.7cm) provenance: The Artist.

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

129 160587/422818 WARREN ROHRER (american, 1927-1995) UNTITLED #9 Graphite rubbing and gouache on Rives 100% rag.

Executed 1988-1994.

19 x 26 in. (48.3 x 66cm) provenance: Locks Gallery, Philadelphia, Pennsylvania.

The Estate of Daniel W. Dietrich II. $1,000-1,500

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130 160587/395024 WARREN ROHRER (american, 1927-1995) “WHITE SHIFT SERIES, I” Signed, titled and dated 1978 verso, oil on canvas.

12 x 12 in. (30.5 x 30.5cm) provenance: The Estate of Daniel W. Dietrich II. $1,000-1,500

131 161106/2 JAMES HAVARD (american, b. 1937) UNTITLED Signed and dated 71 on interior of bottom edge, acrylic on reverse Plexiglas.

57 5/8 x 57 5/8 in. (146.4 x 146.4cm) Unframed provenance: The Artist.

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

88 www.freemansauction.com

132 160647/2 BO BARTLETT (american, b. 1955) “STUDY FOR R.” Signed, titled and dated Sept. 1986 bottom center, signed again with the artist’s ‘IGN’ stamp bottom right, charcoal, pastel and pencil on paper.

15 x 22 in. (38.1 x 55.9cm) provenance: The Artist.

Private Collection, California (acquired directly from the above circa 1992). $800-1,200

133 160647/1 BO BARTLETT (american, b. 1955) “NUDE” Signed twice bottom right (once with the artist’s name and once with his ‘IGN’ inscription), signed again with the artist’s ‘IGN’ stamp, titled and dated 1985 bottom left, charcoal, pastel and pencil on paper.

29 7/8 x 22 in. (75.9 x 55.9cm) provenance: The Artist.

Private Collection, California (acquired directly from the above circa 1992). $1,000-1,500

134 160925/5 GIDEON BOK (american, b. 1967) “LAMONT AT NORFOLK” Signed on the canvas verso, oil on canvas.

Executed in 1997.

45 x 43 in. (114.3 x 109.2cm) Unframed provenance: Alpha Gallery, Boston, Massachusetts.

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

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135 160925/8 RICHARD MAURY (american, b. 1935) “MY PICTURE OF BOYLE” Oil on canvas mounted on panel.

Executed in 1996.

27 5/8 x 31 1/2 in. (70.2 x 80cm) provenance: Gerold Wunderlich & Co., New York, New York.

Forum Gallery, New York, New York.

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

136 160925/7 PHILIP GEIGER (american, b. 1956) “THE CALL” Signed bottom left, oil on board.

24 x 32 in. (61 x 81.3cm) provenance: Reynolds Gallery, Richmond, Virginia.

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

90 www.freemansauction.com

137 160664/2 JEFF KOONS (american, b. 1955) “PUPPY” 1999, pencil signed and dated, numbered 47/75 (there were also 15 artist’s proofs), with full margins. Offset lithograph and screenprint on ivory stock card. image: 38 1/2 x 22 1/2 in. (97.8 x 57.2cm) sheet: 42 x 25 1/2 in. (106.7 x 64.8cm) $2,000-3,000

138 160664/1 JEFF KOONS (american, b. 1955) “PUPPY” 1998, incised with signature and date on the underside, numbered 742/3000, Art of this Century, New York and Paris, publisher and with their incised stamp. Glazed white ceramic vase. height: 17 1/2 in. (44.5cm) Including: The original cardboard printed box. $7,000-10,000

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139 161049/1 VARIOUS ARTISTS “BAM (BROOKLYN ACADEMY OF MUSIC) PORTFOLIO II” the complete set of eight prints 1997-2003, variously signed and numbered AP 7/12 (artists’ proofs, aside from the regular edition of 40), the full sheets or with full margins, Serge Sorokko Gallery, San Francisco, publisher. Eight prints in various media on various papers, title page, list of plates and justification page. In original linen covered portfolio box. sheet (each): 24 x 30 in. (61 x 76.2cm) Unframed (8)

Including: JOHN BALDESSARI, “Woman with Pillow” (Coplan Hurowitz, 133); LILLIAN BASSMAN, “Times Square: The Night Fantastic”; VANESSA BEECROFT, “vb47.364.dr”; WILLIAM EGGLESTON “Untitled (Greenwood Mississippi)”; SALLY MANN, “Untitled, 1999”; SHEILA METZNER, “Black Tulip”; THOMAS STRUTH, “Sao Francisco de Xavier, Brazil 2001”; WOLFGANG TILLMANS, “Carciofo”. $10,000-15,000

92 www.freemansauction.com

140 160828/6 EDWARD BURTYNSKY (canadian, b. 1955) “SHIPBREAKING #3, CHITTAGONG, BANGLADESH 2000” 2001, ink signed on identifying label affixed verso, artist proof 1 (1 of 2 artist’s proofs, aside from the regular edition of 5), chromogenic print on Fuji Crystal Archive paper mounted to paper support, (as issued). image: 39 x 49 1/2 in. (99.1 x 125.7cm) support: 52 x 62 in. (132.1 x 157.5cm) provenance: Charles Cowles Gallery Inc., New York, New York.

Private Collection, Philadelphia, Pennsylvania. $6,000-10,000

Edward Burtynsky’s “Shipbreaking” series depicts grounded tankers that are in the process of being deconstructed. Rich in color and complex in their artful compositions, these images portray a beauty that belies their subject. At the same time, the grand scale of these photographs forces the viewer to confront the impact of industrialization on the earth in the 21st Century.

The artist first photographed these scenes after hearing that insurance companies would no longer insure single-hulled tankers in the wake of the Exon-Valdez crisis. Many of these decommissioned ships were brought to the beaches of India and Bangladesh where they were taken apart piece by piece, their metals corroding and staining the beaches and ocean in the process. However, the artist retains some optimism: “For Burtynsky, nature itself, over time, can reclaim even the most ambitious of human incursions into the land. As long as human needs and desires change, so too will the landscape.”1 1 The artist’s website: www.edwardburtynsky.com

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141 160828/5 EDWARD BURTYNSKY (canadian, b. 1955) “SHIPBREAKING #24, CHITTAGONG, BANGLADESH 2000” 2002, ink signed on identifying label affixed verso, edition 3/5 (printed on label affixed verso), chromogenic print on Fuji Crystal Archive paper mounted to paper support, (as issued). image: 40 x 50 in. (101.6 x 127cm) support: 50 x 60 in. (127 x 152.4cm) provenance: Charles Cowles Gallery, Inc., New York, New York.

Private Collection, Philadelphia, Pennsylvania. $6,000-10,000

94 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, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named.

attributed to

Refers to probably a work by the artist; e.g. Attributed to Charles Willson Peale.

studio of

Refers to a work from the studio of the artist which may or may not have been executed under his direction; e.g. Studio of Charles Willson Peale.

circle of

Circle of..... refers to a work of the period of the artist executed under his immediate influence; e.g. Circle of Charles Willson Peale.

follower of

Follower of..... refers to a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil; e.g.

Follower of Charles Willson Peale.

manner of

Manner of..... refers to a work in a style related to that of the artist, but of a later date; e.g. Manner of Charles Willson Peale.

school of

School accompanied by the name of a place or country and a date means that we believe the picture was executed at that time and in that location; e.g. Italian School, 18th Century.

after an artist

signatures & dates

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

Signed and/or dated and/or inscribed means that we believe the signature and/or date and/or inscription are from the hand of the artist.

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

All references to signature, inscriptions and dates refer to the present state of the work.

measurements

Dimensions are given height before width.

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INDEX Albers, J., 55 Andrade, E., 56-58 Anuszkiewicz, R.J., 62 Avery, M., 34 Avery, S., 36, 37 Azaceta, L.C., 109 Bartlett, B., 132, 133 Bartlett, J., 116, 117 Bearden, R., 38-41 Benjamin, K.S., 61 Bertoia, H., 45-52 Bleckner, R., 111 Bok, G., 134 Borofsky, J., 112 Bosman, R., 110 Botello, A., 97, 98 Bradley, M., 90 Brodhead, Q., 125 Buffet, B., 17 Burtynsky, E., 140, 141 Cao Dam, V., 10 Chagall, M., 11-16 Chihuly, D., 93 Christo and Jeanne-Claude, 84 Dalí, S., 28, 29 Davie, A., 89 De Amaral, O., 99 De Smet, G., 7 Dine, J., 85, 86 Donati, E., 88 Dufy, R., 6, 8 Ensor, J., 4

Freeman, E., 95 Geiger, P., 136 Gerzso, G., 106 Havard, J., 131 Hoff, M., 100 Jenkins, P., 94 Johns, J., 75, 76 Kandinsky, W., 3 Katz, A., 81, 83 Kisling, M., 5 Koons, J., 137, 138 Kurtz, E., 115 Lesieur, P., 9 Lichtenstein, R., 78,79 Lobo, B., 27 Lueders, J., 122, 123 Luna, C., 103-105 Marini, M., 87 Matisse, H., 1 Matta, R., 101, 102 Matthíasdóttir, L., 35 Maury, R., 135 Miró, J., 30-33 Motherwell, R., 80 Nevelson, L., 53, 54 Oldenburg, C., 74 Osborne, E., 126, 127

Picasso, P., 18-25 Piper, J., 124 Poons, L., 59 Pousette-Dart, R., 44 Rabell, A.R., 107, 108 Rauschenberg, R., 77 Rhoden, J., 43 Rohrer, W., 129, 130 Ruscha, E., 113 Sefarbi, H., 121 Shils, S., 118-120 Stabilito, J., 128 Stella, F., 96 Tarkay, I., 91, 92 de Toulouse-Lautrec, H., 2 Various Artists (New York), 82 Various Artists (B.A.M.) 139 Vasarely, V., 60 Warhol, A., 65-73 Wesselmann, T., 63, 64 Wiley, W.T., 114 Williams, W.H., 42 Wou-Ki, Z., 26

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 Darren Joyner at djoyner@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.

Annie Hauls Jules Smith Doylestown, PA 18901 215.230.8123 email@anniehauls.com Art In Transit Nick Clarke 314 North 12th Street Philadelphia, PA 19107 540.550.7080 nclarke@artintransit.net Atelier Art Services ‡ Lynn Smith 1330 North 30th Street Philadelphia, PA 19144 215.235.0402 | Fax: 215.235.0421 info@atelierartservices.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 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 Crozier Fine Arts Catherine Erickson New York, NY 10011 212.741.2024 / Fax: 212.741.5513 shipping@crozierarts.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 A. Mastrocco Jr. Moving & Storage Roseanne Gebler 1060 Louis Drive Warminster, PA 18991 215.491.0346 | Fax: 215.444.9327 mastroccomovers@snip.net The Packaging Store ‡ Alex Long 2333 Welsh Road Lansdale, PA 19446 215.361.6940 | Fax: 215.361.6941 hello@packandshipnow.com UPS Store 3263 ‡ Colin McCarry Philadelphia, PA 19103 auctionpackship@gmail.com 484.879.6678 U.S. Art ‡ Jessica Pierce 37-11 48th Avenue Long Island City, NY 11101 800.472.5784 | Fax:718.472.5785 jpierce@usart.com FURNITURE & LARGE ITEMS For larger pieces where delivery time is not the primary concern, we suggest getting your items freighted: www.plyconvanlines.com www.freightquote.com ‡ Shippers that can fulfill international deliveries

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

Buyer’s Premium A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, and 12% thereafter.

Sales Tax All items in the catalogue are subject to the 8% Pennsylvania and Philadelphia sales tax. Dealers purchasing for resale must register their tax numbers on current PA forms.

Forms should be submitted to our Client Services office on the second floor.

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

Bidding At the sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. The auctioneer will not mistake a random gesture for a bid.

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

In writing Bid forms are available in the sale room and at the back of the catalogue.

These should be submitted in person, by mail or by fax no later than one hour prior to the scheduled start of the sale. The auctioneer will bid on your behalf up to the limit.

On the internet A fully-illustrated catalogue is available on-line at www.freemansauction.com. Registered bidders may leave absentee bids through the website and will receive email confirmation of their bid. Freeman’s is not responsible for errors or failure to execute bids.

Payment Payment is due within ten (10) working days of the sale. Lots purchased will not be released until we have received full payment. Payment may be made in cash, by check, money order, or debit card. Payments by check must clear the bank before goods will be released.

Removal of Purchases Deliveries will not be made during the time of the sale unless otherwise indicated by the auctioneer. All items must be paid for and removed within ten (10) working days of the sale. Purchases not so removed may be turned over to a licensed warehouse at the expense and risk of the purchaser.

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

Endangered Species Lots marked * are manufactured in whole or in part of restricted materials that may include tortoiseshell, ivory, mother-of-pearl, coral, rhinoceros horn, whalebone or marine ivory. Such materials may require specific licenses, certificates, or CITES documentation for import, export, moving between states in the U.S., or resale.

Obtaining these documents may require scientific, laboratory or other expert analysis, in order to establish which species or genus the material came from. Freeman’s is unable to provide this information, and the obligation is on the purchaser of a lot containing any of these materials to ensure that they are able to obtain all the necessary or required documents should they need to, prior to bidding on the lot.

If proper documentation or licenses etc. cannot be obtained for a purchased lot, the purchaser will still be required to make an on time payment for the lot as per our standard terms and conditions. Freeman’s cataloguing of the lots marked with this symbol * represents the best of our opinion, and the absence of this symbol from any lot description does not form a warranty that the lot will be free from any licensing or certification restrictions.

v4.2016

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 $200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, 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.

v2.2016

bidding & registration form sale no

bidder no

name

1808 Chestnut Street, Philadelphia PA 19103 Tel-215.563.9275 Fax-215.599.2240 e-mail: bids@freemansauction.com www.freemansauction.com

client no

business name

address city

state

zip code

e-mail

phone (primary)

phone (secondary)

country

fax

resale / tax identification

state

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 $200,000 of hammer price of each lot, 20% on the hammer from $200,001 through $3,000,000, and 12% thereafter. All lots must be paid for and removed within 10 days.

lot no

description

maximum bid

please adhere to the bidding increments $10 until $200 is reached $25 until $500 is reached $50 until $1,000 is reached $100 until $3,000 is reached $250 until $5,000 is reached $500 until $10,000 is reached $1,000 until $30,000 is reached $2,500 until $50,000 is reached $5,000 until $100,000 is reached over $100,000 auctioneer’s discretion

bank reference bank name

account no

contact name

telephone

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

signed

q id confirmed

(signature required to execute your bids) v2.2016

DIRECTORY Officers

Specialist Departments

Representatives

Samuel M. Freeman II Chairman

20th Century Design Tim Andreadis tandreadis@freemansauction.com

New England Kelly Wright kwright@freemansauction.com

Alasdair Nichol Vice Chairman Margaret D. Freeman Director Emeritus 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 Client Services Mary Maguire Carroll mmaguire@freemansauction.com Finance Whitney Long wlong@freemansauction.com Marketing & Communications Susannah McGovern smcgovern@freemansauction.com Museum Services Thomas B. McCabe IV tmccabe@freemansauction.com Photography Thomas Clark tclark@freemansauction.com Shipping & Receiving Stephanie Parker sparker@freemansauction.com Trust & Estates Amy Parenti aparenti@freemansauction.com

American Art & Pennsylvania Impressionists Alasdair Nichol anichol@freemansauction.com American Furniture, Folk & Decorative Arts Lynda Cain lcain@freemansauction.com Asian Arts Lee Young, International Director lyoung@freemansauction.com Books, Maps & Manuscripts Benjamin Truesdale btruesdale@freemansauction.com

Mid-Atlantic Matthew Wilcox mwilcox@freemansauction.com Southeast Colin Clarke cclarke@freemansauction.com West Coast Michael Larsen mlarsen@freemansauction.com Main Line Thomas McCabe tmccabe@freemansauction.com

British & European Furniture & Decorative Arts Nicholas B. A. Nicholson nnicholson@freemansauction.com European Art & Old Masters David M. Weiss dweiss@freemansauction.com Jewelry & Watches Virginia Salem, GIA GG vsalem@freemansauction.com Modern & Contemporary Art Dunham Townend dtownend@freemansauction.com Musical Instruments Frederick Oster foster@freemansauction.com Oriental Rugs & Carpets Michael Farmer mfarmer@freemansauction.com Prints Anne Henry ahenry@freemansauction.com Silver & Objets de Vertu Nicholas B. A. Nicholson nnicholson@freemansauction.com

v3.2016

live and life will give you pictures

MASTERWORKS of french photography

Ilse Bing. Self-Portrait with Leica, 1931. Collection of Michael Mattis and Judy Hochberg. Š Estate of Ilse Bing

through january 9

#liveandlifephoto

www.freemansauction.com 1808 Chestnut Street Philadelphia Pennsylvania 19103