The Patricia and John Roche Collection | September 18

the patricia & john roche collection september 18, 2017

the patricia & john roche collection

auction Sale 1582 Monday, September 18, 2017 at 12pm 1808 Chestnut Street, Philadelphia PA 19103 Cover Image: Lot 95, Inside Front Cover: Lot 68 (detail), Inside Back Cover: Lot 7 (detail)

the patricia & john roche collection

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the patricia & john roche collection

fine art department Alasdair Nichol Chairman, Head of Department American Art anichol@freemansauction.com 267.414.1211

Dunham Townend Head of Department Modern & Contemporary Art dtownend@freemansauction.com 267.414.1221

Anne Henry Senior Specialist Modern & Contemporary Art ahenry@freemansauction.com 267.414.1220

Shannon Jeffers Cataloguer | Department Administrator Modern & Contemporary Art sjeffers@freemansauction.com 267.414.1231

David Weiss Senior Vice President, Head of Department European Art dweiss@freemansauction.com 267.414.1214

RaphaĂŤl Chatroux Junior Cataloguer Fine Art rchatroux@freemansauction.com 215.414.1253

exhibitions Wednesday, September 13

10am-5pm

Thursday, September 14

10am-5pm

Friday, September 15

10am-5pm

Saturday, September 16

12pm-5pm

Sunday, September 17

12pm-5pm

By appointment only on the morning of the sale

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

Melissa Arundel Post-Sale Administrator marundel@freemansauction.com 267.414.1226

Joslyn Moore Bidding Registration jmoore@freemansauction.com 267.414.1207

Lot 97 (detail)

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the patricia & john roche collection

foreword

F

reeman’s is pleased to present The Patricia and John Roche Collection, which includes paintings, prints, and watercolors from highly regarded European and American artists.

Proceeds from the sale of the collection will go to fund the Patricia Kelly Roche Scholarship

at St. John’s University in New York. Mrs. Roche was herself the beneficiary of a scholarship to St. John’s, awarded by the Catholic Diocese of Brooklyn. She was the first of her family to go to college, an opportunity that would not have been possible without the financial assistance her scholarship provided.

Patricia and John Roche were married just out of college in 1957. After graduating from Harvard Law School, Mr. Roche began his legal career at the firm of Shearman & Sterling in New York in 1963. He became a partner in 1971, specializing in banking law. In 1989, Mr. Roche left Shearman & Sterling to become the chief legal officer of Citicorp and Citibank.

He retired in 2000 as the co-general counsel of Citigroup.

Mrs. Roche received a Master’s degree in English from New York University. It was while raising their two children, Janet and Keith, and reading to them at the family’s home in Brooklyn Heights, that Mrs. Roche discovered she wanted to tell stories of her own. She took courses in art and writing children’s books at the New School and, combining her

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interest in drawing and painting, began to write and illustrate stories for children, many of which were inspired by her deep love for her own son and daughter. Mrs. Roche found a receptive editor at Dial Press in New York, and began her career as an author. She has since published seven books.

Later, as her interest turned to landscape painting in watercolors, the couple began collecting watercolors and prints. On their trips to London for vacation or for Mr. Roche’s business, Mrs. Roche visited art galleries and fell in love with the work of artists of the 19th century, the “golden age” of English watercolors. Mr. Roche was a willing partner in acquiring what was to become a large and varied collection of artists such as William Lionel Wyllie, Charles Bentley, and William Cornwallis Harris. Her interest was also sparked by contemporary artists in England, Scotland, and the United States. Soon, their collection expanded to include works

by American painter Wayne Thiebaud and, in a nod to Mrs. Roche’s background in children’s book, the drawings of Maurice Sendak.

After decades of collecting, Mr. and Mrs. Roche have decided to part with their lovingly curated collection and, with the proceeds, fund a scholarship in Mrs. Roche’s name, as it was her artistic talent that was the guiding force behind the selection of many of the individual works.

They wish to acknowledge the invaluable help of Joy Soodik of Clarfeld Financial Advisors in planning this auction and scholarship.

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the patricia & john roche collection

S

t. John’s University was founded in 1870

learning process and the development of

in Brooklyn with the aim of providing the

lifelong learning. Our core curriculum in the

city’s youth with both an intellectual and

liberal arts and sciences aims to enrich lives

moral education. It has steadfastly advanced

as well as professions and serves to unify the

its core mission while continuing to grow into

undergraduate experience. Graduate and

a global institution. With four campuses in

professional schools express our commitment

New York, as well as locations in Rome and

to research, rigorous standards, and innovative

in Paris, St. John’s serves both local and

application of knowledge. We aim not only to

international communities, sharing its values

be excellent professionals with an ability to

with a truly diverse student body.

analyze and articulate clearly what is, but also to develop the ethical and aesthetic values to

St. John’s University defines its purpose as

imagine and help realize what might be.”

a commitment to “academic excellence and the pursuit of wisdom, which flows

For more information about

from free inquiry, religious values, and human

St. John’s University, please contact:

experience. We strive to preserve and

Nicholas A. Legakis ’97SVC, ’07MPS Director of Development, St. John’s College Office of Advancement St. John’s University T: 718.390.4146 | C: 917.476.6418 legakisn@stjohns.edu

enhance an atmosphere in which scholarly research, imaginative methodology, global awareness, and an enthusiastic quest for truth serve as the basis of a vital teaching-

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the patricia & john roche collection lots 1-100

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the patricia & john roche collection 1 JOHN SELL COTMAN (british, 1782-1842) “TREES IN A HILLY LANDSCAPE” Pencil and grey wash on paper laid down to mat at edges.

Executed circa 1803.

11 3/4 x 8 3/4 in. (29.8 x 22.2cm) provenance: Lowell Libson Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2002).

$1,200-1,800

(detail)

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2 JOHN VARLEY THE ELDER, O.W.S. (british, 1778-1842) “CASTLE ON THE SEA” Watercolor and graphite on paper.

3 1/4 x 4 5/8 in. (8.3 x 11.7cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2004).

$300-500

3 WILLIAM WYLD, R.I. (british, 1806-1889) ST PETER’S AND CASTEL SAINT ANGELO, ROME Signed bottom right, watercolor and tempera on paper laid down to mat at edges. image: 6 1/2 x 10 1/2 in. (16.5 x 26.7cm) sheet: 11 1/8 x 15 in. (28.3 x 38.1cm) provenance: Spink & Son Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2001).

$600-1,000

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4 JOHN VARLEY THE ELDER, O.W.S. (british, 1778-1842) “THE OLD CASTLE TOWER” Signed and dated 1833 bottom left, watercolor on paper.

3 5/8 x 5 1/8 in. (9.2 x 13cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York. exhibited: “Chris Beetles Summer Show,” London, United Kingdom, 2002 (exhibition catalogue no. 16, illustrated).

$300-500

5 WALTER FREDERICK ROOFE TYNDALE, R.I. (british, 1855-1943) “BACKWATER NEAR BATH” Signed bottom right, inscribed and located ‘Bath’ verso, watercolor on heavy paper.

5 5/8 x 7 5/8 in. (14.3 x 19.4cm) provenance: The Collection of Lady Norah Hodgson.

Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 1999).

$300-500

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6 ARTHUR ANDERSON FRASER (british, 1861-1904) “COOKHAM ON THAMES” Signed and dated 83 bottom right, titled verso, watercolor on wove paper laid down to mat at edges. image: 10 1/2 x 14 11/16 in. (26.7 x 37.3cm) sheet: 14 3/4 x 18 7/8 in. (37.5 x 47.9cm) provenance: Spink & Son Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2001).

$600-1,000

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the patricia & john roche collection 7 EDWARD LEAR (british, 1812-1888) “BETHANY” Signed bottom left and titled bottom right, watercolor with brown ink on paper laid down to mat at edges. image: 6 1/8 x 9 1/8 in. (15.6 x 23.2cm) sheet: 10 1/2 x 14 1/16 in. (26.7 x 35.7cm) provenance: George Clive Esq., Herefordshire, England.

By descent in the family.

Private Collection.

Spink & Son Limited, London, United Kingdom.

Patricia & John Roche, New York, New York.

$4,000-6,000

(detail)

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the patricia & john roche collection 8 WILLIAM HENRY HUNT (british, 1790-1864) PEAR, APPLE AND HOLLY Signed with initials bottom right, watercolor and gouache on heavy paper laid down to card.

4 3/8 x 5 1/2 in. (11.1 x 13.8cm) Unframed provenance: Patricia & John Roche, New York, New York.

$300-500

9 WILLIAM HENRY HUNT (british, 1790-1864) “STUDY OF TWO SHELLS” Signed bottom right, watercolor and gouache on heavy paper.

3 1/4 x 5 1/4 in. (8.3 x 13.3cm) provenance: Chris Beetles Gallery Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2004). exhibited: “Chris Beetles Summer Show,” London, United Kingdom, 2002 (exhibition catalogue no. 24, illustrated). note: A very similar work is in the collection of the Fogg Art Museum in Boston, Massachusetts. Entitled “Shells,” it was originally painted for John Ruskin and exhibited at the Old Watercolor Society in 1855.

$400-600

10 JOHN SHERRIN, R.W.S. (british, 1819-1896) “ROSE AND BIRDS NEST” Signed bottom left, watercolor and gouache on paper.

7 1/8 x 8 11/16 in. (18.1 x 22.1cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York.

$400-600

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the patricia & john roche collection 11 two watercolors WILLIAM FRASER GARDEN (british, 1856-1921) “NEAR BROMHAM HALL” Signed and dated 89 bottom right, watercolor on heavy paper.

11 1/8 x 7 3/4 in. (28.3 x 19.7cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York. exhibited: “Chris Beetles Summer Show,” Chris Beetles Limited, London, United Kingdom, 2010 (exhibition catalogue no. 61). literature: Charles Lane, The Fraser Family, London: Chris Beetles Limited, 2010, p. 75 (illustrated). and “HEMINGFORD ABBOTS CHURCH AND VILLAGE” Signed and dated 94 bottom center left, watercolor with traces of pen on paper.

6 3/8 x 10 15/16 in. (16.2 x 27.8cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York.

$300-500

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the patricia & john roche collection 12 NEWTON (SMITH LIMBIRD) FIELDING (british, 1799-1856) “SUNSET” Signed and dated 1831 bottom center left, watercolor and gouache on paper laid down to card at edges.

4 3/4 x 7 1/2 in. (12.1 x 19.1cm) provenance: The David Moore Collection, Sydney, Australia.

Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York. exhibited: “Bliss Was It In That Dawn To Be Alive: British Watercolors and Drawings 1750-1850,” Chris Beetles Limited, London, United Kingdom, October, 2008 (exhibition catalogue no. 263, illustrated).

$400-600

13 CHARLES BENTLEY (british, 1806-1854) LAKE SCENE Signed with initials and dated illegibly bottom right, watercolor on paper.

3 7/8 x 6 in. (9.8 x 15.2cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York.

$300-500

14 CECIL ARTHUR HUNT, V.P.R.W.S., R.B.A. (british, 1873-1965) “GLASTONBURY TOR” Signed bottom left, titled verso, watercolor and gouache on paper.

11 1/8 x 15 in. (28.3 x 38.1cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York. exhibited: Frost & Reed Limited, London, United Kingdom, 1955 (exhibition no. 2).

“Cecil Arthur Hunt : V.P.R.W.S., R.B.A., 1873-1965,” Chris Beetles Limited, London, United Kingdom, October 1966 (exhibition catalogue no. 2). note: As per label verso, Hunt visited and sketched Glastonbury Tor in 1922, 1928 and again in 1930.

$100-150

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15 HERCULES BRABAZON BRABAZON, N.E.A.C. (british, 1821-1906) “THE CORNFIELD, A SOUVENIR OF CONSTABLE” Watercolor and gouache on paper laid down to mat at edges. image: 9 1/2 x 6 5/8 in. (24.1 x 16.8cm) sheet: 13 1/2 x 10 5/8 in. (34.3 x 27cm)

provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York. exhibited: “Hercules Brabazon Brabazon, N.E.A.C. (1821-1906),” Chris Beetles Limited, London, United Kingdom, May 10-26, 1989 (exhibition catalogue no. 18, illustrated).

$600-1,000

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16 THOMAS SHOTTER BOYS (british, 1803-1874) “ST ETIENNE DU MONT AND THE PANTHEON” Signed and dated 1833 bottom right, watercolor and wash on paper.

12 11/16 x 9 1/2 in. (32.2 x 24.1cm) provenance: Patricia & John Roche, New York, New York. literature: Patrick Noon, British Art and the French Romantics London: Tate Publishing, 2003, p. 245 (exhibition catalogue no. 150, illustrated).

Patrick Noon, Crossing the Channel: British and French Painting in the Age of Romanticism, Minneapolis Institute of Arts in association with Tate Publishing, 2003, p. 245 (exhibition catalogue no. 150, illustrated). note: According to Patrick Noon, this watercolor was likely exhibited at the 1834 Paris Salon.

$800-1,200

17 HERCULES BRABAZON BRABAZON, N.E.A.C. (british, 1821-1906) “THE GATE, DAMASCUS” Signed with initials bottom right, inscribed ‘Damaskus’ verso, watercolor and gouache over traces of pencil on paper.

6 3/8 x 9 in. (16.2 x 22.9cm) provenance: Bonham’s, London, sale of June 14th, 2000, lot 94.

Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2001).

$500-800

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18 WALTER FREDERICK ROOFE TYNDALE, R.I. (british, 1855-1943) “A BACK STREET IN CAIRO” Signed bottom left, titled verso, watercolor on paper laid down to heavy paper. image: 9 5/8 x 6 1/4 in. (24.4 x 15.9cm) sheet: 9 7/8 x 6 3/8 in. (25.1 x 16.2cm)

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provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2001). exhibited: “Chris Beetles Summer Show,” Chris Beetles Limited, London, United Kingdom, 2001 (exhibition no. 267).

$1,000-2,000 (detail) www.freemansauction.com

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19 ALBERT GOODWIN, R.W.S. (british, 1845-1932) “ALI BABA AND THE FORTY THIEVES” Signed and dated 1905 bottom right and titled bottom left, watercolor and gouache on heavy paper with ink drawn border on three sides.

14 3/4 x 10 1/2 in. (37.5 x 26.7cm) provenance: Sotheby’s, London, sale of June 12th, 2003, lot 271.

Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2004). exhibited: “Albert Goodwin and Hercules Brabazon Brabazon,” Chris Beetles Limited, London, United Kingdom, April 27 - May 22, 2004 (exhibition no. 196).

$3,000-5,000

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20 JOSEPH MALLORD WILLIAM TURNER, R.A. (british, 1775-1851) “STANGATE CREEK ON THE RIVER MEDWAY” Pencil signed, titled and inscribed ‘Th. Lupton/Engraver/1827’ and ‘Engraver’s Proof,’ the third or fourth state of four, with wide margins, William Bernard Cooke, London, publisher. Mezzotint on India laid down to wove paper. image: 6 1/4 x 9 3/8 in. (15.9 x 23.8cm) sheet: 12 1/8 x 16 7/8 in. (30.8 x 42.9cm) [Rawlinson, 766] Unframed

provenance: Patricia & John Roche, New York, New York. literature: Eric Shanes, Turner’s Rivers, Harbours and Coasts, London: Book Club Associates, 1981.

Ian Warrell, Turner, The Fourth Decade: Watercolors 1820 - 1830, London: Tate Gallery, 1991. note: The present work is part of a mezzotint series entitled ‘The Rivers of England,’ which seems to have been planned by publisher William Bernard Cooke in the early 1820s.

Of the twenty-one plates published, only sixteen were after designs made by Turner.

$500-700

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the patricia & john roche collection 21 HERCULES BRABAZON BRABAZON, N.E.A.C. (british, 1821-1906) “CA’D’ORO AND GRAND CANAL, VENICE” Signed with initials bottom right, watercolor and gouache on paper laid down to mat at edges.

4 9/16 x 6 5/8 in. (11.6 x 16.8cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2002). exhibited: “Chris Beetles Summer Show,” Chris Beetles Limited, London, United Kingdom, 2001 (exhibition catalogue no. 55, illustrated).

$500-800

(1 of 3 shown)

22 three watercolors WILLIAM CORNWALLIS HARRIS (british, 1807-1848) “BRIG ‘LEBANON’ OF AMBLE” Titled and inscribed ‘199 Tons Nett Reg. 350 Tons D. W. L. 93. 6 B. 24. 4 D. 13. 9/350 T D W’ bottom center, watercolor and bodycolor heightened with white over traces of pencil on wove paper.

Executed in 1820.

10 x 12 3/8 in. (25.4 x 31.4cm)

and “LADY STANLEY” Titled and inscribed ‘333 Tons Nett Reg. 525 Tons D. W. L. 104. 0 B. 24. 4 D. 16.

5/525-D W’ bottom center, watercolor and bodycolor heightened with white over traces of pencil on wove paper with ink drawn border.

Executed in 1820.

10 1/8 x 12 1/8 in. (25.7 x 30.8cm)

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and “BRIG ‘DANUBE’ OF WHITBY” Inscribed with title and ‘207 Tons Reg. L 92. 0 B 24.0 D 14. 5’ bottom center, watercolor and bodycolor heightened with white over traces of pencil on wove paper with ink drawn border.

9 15/16 x 13 7/16 in. (25.2 x 34.1cm) provenance: Patricia & John Roche, New York, New York.

$600-1,000

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23 ATTRIBUTED TO RICHARD PARKES BONINGTON (british, 1802-1828) “SHIPPING OFF THE COAST OF FRANCE” Inscribed with artist’s initials bottom left, watercolor on paper laid down to card at edges.

Executed circa 1824-5. image: 5 3/16 x 7 1/8 in. (13.2 x 18.1cm) sheet: 7 9/16 x 9 1/2 in. (19.2 x 24.1cm) provenance: Agnews Gallery, London, United Kingdom.

Spink-Leger Pictures, London, United Kingdom.

Patricia & John Roche, New York, New York. note: We are grateful to Mr. Patrick Noon for his assistance in cataloguing this work. It is included in his catalogue raisonné of paintings, Richard Parkes Bonington: the complete paintings, Yale University Press, 2008, no. 102.

$3,000-5,000

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24 GEORGE WEATHERILL (british, 1810-1890) “MOONLIGHT - FROM THE PIER WHITBY” Titled bottom center, inscribed illegibly and ‘no. 4’ verso, watercolor heightened with white on card with pencil drawn border. image: 3 11/16 x 5 9/16 in. (9.4 x 14.1cm) sheet: 6 1/4 x 8 1/8 in. (15.9 x 20.6cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2005).

$1,000-1,500

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25 GEORGE WEATHERILL (british, 1810-1890) “WHITBY FROM THE RAILWAY STATION; MOONLIGHT” Titled bottom center, inscribed illegibly and ‘no. 8’ verso, watercolor heightened with white on card with pencil drawn border. image: 3 7/8 x 5 1/4 in. (9.8 x 13.3cm) sheet: 5 15/16 x 7 3/8 in. (15.1 x 18.7cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2005).

$1,000-1,500

26 GEORGE WEATHERILL (british, 1810-1890) “VESSELS LEAVING WHITBY HARBOUR” Signed bottom right and titled bottom center, watercolor on heavy paper with pencil drawn border. image: 3 5/8 x 5 7/16 in. (9.2 x 13.8cm) sheet: 5 11/16 x 7 5/16 in. (14.4 x 18.6cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2005).

$1,000-1,500

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27 CHARLES BENTLEY, O.W.S. (british, 1806-1854) “SHIPPING OFF A COASTLINE” Watercolor over pencil heightened with white on paper.

Executed circa 1840.

7 1/2 x 10 3/8 in. (19.1 x 26.4cm) provenance: Spink & Son Limited, London, United Kingdom.

Patricia & John Roche, New York, New York.

$1,000-2,000

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the patricia & john roche collection 28 HERCULES BRABAZON BRABAZON, N.E.A.C. (british, 1821-1906) “A SEAPIECE, AFTER TURNER” Pencil signed with initials bottom left, pastel on paper.

3 1/7 x 6 1/8 in. (8 x 15.6cm) provenance: Patricia & John Roche, New York, New York. exhibited: “Hercules Brabazon Brabazon, Exhibition of Watercolors and Pastels,” Chris Beetles Limited, London, United Kingdom, November 12 - December 18, 1982 (exhibition no. 66).

$300-500

29 HERCULES BRABAZON BRABAZON, N.E.A.C. (british, 1821-1906) BOATS ON THE WATER Signed with initials bottom right, inscribed illegibly verso, watercolor and gouache on paper laid down to paper board.

3 7/8 x 7 5/8 in. (9.8 x 19.4cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York.

$500-800

30 HERBERT MENZIES MARSHALL (british, 1841-1913) “SUNSET ON THE THAMES” Signed with initials and dated 1890 bottom left, also inscribed ‘Yours very truly/Herbert Marshall’ bottom right, watercolor on paper with drawn border. image: 3 3/16 x 6 9/16 in. (8.1 x 16.7cm) sheet: 11 5/16 x 8 1/2 in. (28.7 x 21.6cm) provenance: The Leicester Gallery, London, United Kingdom.

Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York. exhibited: “The Illustrators: The British Art of Illustration 1800-1997,” Chris Beetles Limited, London, United Kingdom, 1997 (exhibition catalogue no. 102, illustrated).

$500-800

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albert goodwin, r.w.s.

B

orn in Maidstone, Kent, Albert Goodwin was a landscape painter whose abundant output of paintings in watercolor and oil spans from the age of the Pre-Raphaelites to

the 1930s. His artistic ability was recognized early on and, at the age of 15, he exhibited at the Royal Academy. In 1869, Goodwin moved to London where he was introduced to the critic John Ruskin, who shortly after made him his protégé. A few years later, Ruskin took Goodwin on a three month tour through Switzerland and Italy to produce sketches, which he would later turn into watercolors of buildings that were threatened by restoration.

Like Ruskin, Goodwin’s style was characterized by his objective realism, but he was more eclectic in his interpretation of landscape than his mentor. In his later years he looked increasingly to the example of Turner, but also utilized more personal and experimental techniques. Perhaps the most notable of these was his use of ink over watercolor to achieve effects of fleeting light that characterize his greatest works. Goodwin was a highly prolific artist, and traveled extensively throughout Britain and Europe, even as far as the South Seas and India, in search of diverse and often exotic landscapes.

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31 ALBERT GOODWIN, R.W.S. (british, 1845-1932) “THE WAY TO CHIOGGIA, VENICE” Signed and dated 1912 bottom right, titled bottom left, watercolor and gouache on heavy paper. image: 14 x 20 1/2 in. (35.6 x 52.1cm) sheet: 14 1/2 x 21 in. (36.8 x 53.3cm) provenance: Richard Howarth, Blackburn, United Kingdom.

Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York.

$1,500-2,500

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32 ALBERT GOODWIN, R.W.S. (british, 1845-1932) “GULF OF SUEZ” Signed bottom right and titled bottom left, watercolor and gouache on wove paper laid down to card at edges with ink drawn border.

Executed in 1912. image: 10 1/4 x 14 in. (26 x 25.6cm) sheet: 14 3/16 x 16 3/4 in. (36 x 42.5cm) provenance: Kingfisher Fine Art Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2000).

$1,000-1,500

33 ALBERT GOODWIN, R.W.S. (british, 1845-1932) “THE COMING OF THE FLEET” Signed and dated 1908 bottom right, titled bottom left and inscribed ‘Is it peace Jehu?’ bottom center right, watercolor and gouache on paper.

10 3/8 x 14 7/8 in. (26.4 x 37.8cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 1999). exhibited: “Royal Society of Painters in Water-Colors,” London, United Kingdom, Summer 1908 (exhibition no. 247).

“Chris Beetles Summer Show,” Chris Beetles Limited, London, United Kingdom, 1999 (exhibition no. 140).

$1,000-1,500

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34 ALBERT GOODWIN, R.W.S. (british, 1845-1932) “BRISTOL, ST. MARY REDCLIFFES” Signed with artist’s monogram and dated 86 bottom right, titled bottom left, watercolor over red pen on paper laid down to brown paper with ink drawn decorative border. image: 4 13/16 x 6 3/4 in. (12.2 x 17.1cm) sheet: 7 1/2 x 9 3/8 in. (19.1 x 28.8cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York. exhibited: “Chris Beetles Summer Show,” Chris Beetles Limited, London, United Kingdom, 2008 (exhibition catalogue no. 5, illustrated).

$600-1,000

35 ALBERT GOODWIN, R.W.S. (british, 1845-1932) “LINCOLN” Signed and dated 1891 bottom right, titled upper left, watercolor and pen on paper with ink drawn decorative borders. image: 5 11/16 x 4 5/16 in. (14.4 x 11cm) sheet: 6 7/16 x 8 3/8 in. (16.4 x 21.3cm) provenance: Alyson Charles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2000). exhibited: “Chris Beetles Summer Show,” Chris Beetles Limited, London, United Kingdom, 2000 (exhibition no. 153).

$600-1,000

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the patricia & john roche collection 36 WILLIAM LIONEL WYLLIE, R.A. R.I. R.E. (british, 1851-1931) “TREES AND REFLECTION” Inscribed illegibly verso, watercolor on paper laid down to card at edges. image: 2 3/16 x 7 7/8 in. (5.6 x 20cm) sheet: 6 x 11 7/16 in. (15.2 x 29.1cm) provenance: The Artist.

Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York.

$500-800

37 WILLIAM LIONEL WYLLIE, R.A., R.I., R.E. (british, 1851-1931) “BEFORE THE START, SEAVIEW” Titled and signed bottom left, watercolor over traces of pencil on paper with pencil drawn border.

7 3/8 x 13 1/4 in. (18.8 x 33.7cm) provenance: The Artist’s Daughter.

Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York.

$300-500

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38 WILLIAM LIONEL WYLLIE, R.A. R.I. R.E. (british, 1851-1931) “LES SEPT ÎLES” Inscribed illegibly verso, watercolor on paper laid down to card at edges. image: 2 1/16 x 8 1/4 in. (5.2 x 21cm) sheet: 6 x 11 7/16 in. (15.2 x 29.1cm) provenance: The Artist.

Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York.

$500-800

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(1 of 4 shown)

39 four watercolors WILLIAM A. MACDONALD (british, 1861-1948) “VENICE” Signed bottom right, bears title bottom left, watercolor on paper.

3 3/4 x 7 3/8 in. (9.4 x 8.8cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2001). and

DUTCH BOATS Signed and dated 1904 bottom left, watercolor on paper.

5 1/2 x 8 7/8 in. (13.9 x 22.5cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 1999).

and

“IN MESSINA HARBOUR” Signed, titled and dated ‘30 Dec. 1902’ bottom right, watercolor on paper.

6 x 8 5/16 in. (15.2 x 22.7cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York. and

“STUDIES OF BOATS AND A CHURCH” Watercolor on paper.

5 3/8 x 4 in. (13.7 x 10.2cm) provenance: Chris Beetles, Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (all acquired directly from the above in 1999).

$1,000-1,500

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Illustrat ion Art Lots 40-51

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40 THOMAS ROWLANDSON (british, 1756-1827) “ORNITHOLOGY-THAT BRANCH OF ZOOLOGY WHICH TREATS ON BIRDS” Titled bottom center right, ink and wash over traces of pencil on paper laid down to card.

5 1/4 x 8 1/2 in. (13.3 x 21.6cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York.

$1,000-1,500

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41 ARTHUR RACKHAM (british, 1867-1939) DEER Signed and dated 99 bottom right, ink on paper laid down to card at edges.

4 1/16 x 5 1/2 in. (10.3 x 14cm) Unframed provenance: Patricia & John Roche, New York, New York.

$500-800

42 ERNEST H. SHEPARD, O.B.E., M.C. (british, 1879-1976) “CHRISTMAS GREETINGS FROM NORAH AND ERNEST SHEPARD” Inscribed with title bottom center, graphite on paper.

9 7/8 x 6 5/8 in. (25.1 x 16.8cm) provenance: Patricia & John Roche, New York, New York. exhibited: “The British Art of Illustration 1800-1989,” Chris Beetles Limited, London, November 19 - December 15, 1989 (exhibition catalogue no. 257, illustrated). note: Ernest H. Shepard is best known for his illustrative work on beloved classics such as Winnie-the-Pooh, and The Wind in the Willows, two characters from which are featured in the present lot.

$200-300

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arthur rackham

A

rguably the most celebrated artist of the British Golden Age of Illustration (1850-1914), Arthur Rackham started out as a clerk

in an insurance company before illustrating his first book in 1893. Although he is best known for his imaginative black and white illustrations, Rackham also published witty and brash full color plates which helped increase his popularity amongst the public, and catered to the contemporary demand for high quality illustrated books. In 1913, he illustrated The Old Nursery Rhymes, a well-known collection of fairy tales and nursery rhymes attributed to the fictional archetypal character “Mother Goose.” Executed in a subtle color palette, the present work demonstrates Rackham’s ability to inject a sense of humor into a haunting, dream-like scene. Used as the book’s frontispiece, the watercolor shows a witch-like Mother Goose flying her oversized goose in the London sky, a clear reference to the first verse of her aponymous tale: “Old Mother Goose,/When she wanted to wander, /Would ride through the air/On a very fine gander”.

43 ARTHUR RACKHAM (british, 1867-1939) “MOTHER GOOSE” Signed bottom right, pen and ink with watercolor and chalk on paper laid down to heavy paper. image: 6 3/8 x 6 3/8 in. (16.2 x 16.2cm) sheet: 10 5/8 x 10 5/8 in. (27 x 27cm) provenance: Phillips, London, sale of November 10, 1998, lot 108.

Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 1999). exhibited: “The Illustrators: The British Art of Illustration, 1800-1999,” Chris Beetles Limited, London, United Kingdom, 1999 (exhibition catalogue no. 238, illustrated). literature: Mother Goose, The Old Nursery Rhymes, London: William Heinemann, 1913 (illustrated on the frontispiece).

$8,000-12,000 $8,000-12,000

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44 EDWARD ARDIZZONE, C.B.E., R.A. (british, 1900-1979) “THE BIRDS” Signed with initials bottom left, pen and ink on paper with collaged printed text. image: 3 x 4 in. (7.6 x 10.2cm) sheet: 7 7/8 x 5 1/4 in. (20 x 13.3cm) provenance: Chris Beetles, Limited, London, United Kingdom.

Patricia & John Roche, New York, New York. exhibited: “The Illustrators: The British Art of Illustration, 1800-1986,” Chris Beetles Limited, London, May, 1986 (exhibition no. 7).

$500-800

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the patricia & john roche collection 45 EDWARD ARDIZZONE, C.B.E., R.A. (british, 1900-1979) “WHEN IT BEGAN TO FEEL HUNGRY AGAIN, IT CAME WADDLING UP TO THE CITY” Signed in ink bottom left and annotated in pencil bottom center, pen and ink on wove paper with collage of printed text. image: 3 3/4 x 7 1/2 in. (9.5 x 19.1cm) sheet: 7 1/8 x 9 7/8 in. (18.1 x 25.1cm) provenance: Sally Hunter Fine Art, London, United Kingdom.

Patricia & John Roche, New York, New York. exhibited: “Edward Ardizzone,” Sally Hunter Fine Art, London, December, 1994 (exhibition no. 103).

$500-800 46 EDWARD ARDIZZONE, C.B.E., R.A. (british, 1900-1979) “A COURTSHIP” an illustration for “the dragon” by archibald marshall Signed with initials bottom left, watercolor and ink on paper.

7 1/8 x 9 3/4 in. (18 x 24.6cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York. exhibited: “The Illustrators: The British Art of Illustration, 1800-1986,” Chris Beetles Limited, London, May, 1986 (exhibition no. 6).

$800-1,200

47 HELEN OXENBURY (british, b. 1938) BOY RESCUING A PIG Signed and dated ‘14 * 9 * 92’ along right vertical edge, watercolor and graphite on paper.

5 7/8 x 7 1/2 in. (14.9 x 19.1cm) provenance: Patricia & John Roche, New York, New York.

$800-1,200

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A

nother renowned and greatly cherished illustrator represented in the Roche Collection is Maurice Sendak. Though best remembered for his award-winning children’s book

Where the Wild Things Are, his artistic and literary output was prolific, and throughout his career, he produced over fifty books. Within the Roche collection are examples of drawings related to such beloved classics as Little Bear, Really Rosie, Nutshell Library, Some Swell Pup, Hector Protector and As I Went Over The Water, and Mr. Rabbit and the Lovely Present. Set in imaginary, fantastical worlds, Sendak’s stories are often philosophical and, though rooted in hope, speak unvarnished truths about the darker and difficult nature of life.

For these reasons, the wisdom and magic of Sendak’s storytelling has captivated children and adults alike. As Sendak himself once mused, “there are so many adults who enjoy a book for children but are vaguely embarrassed at enjoying it, as though only their children should enjoy it and there’s something strange about them enjoying it — which is such an odd twisting and distortion of the pleasure of having your child self intact and alive and something to be proud of.”

48 MAURICE SENDAK (american, 1928-2012) EINHORN Pencil signed and numbered 111/125, with wide margins.

Photolithograph on wove paper. image: 6 1/2 x 5 1/2 in. (16.5 x 14cm) sheet: 16 15/16 x 13 in. (43 x 33cm)

provenance: Patricia & John Roche, New York, New York. note: The present work is a reproduction of a watercolor created for an exhibition dedicated to Sendak at Galerie Daniel Keel in Zurich in the early 1970s.

Daniel Keel was Sendak’s European publisher for German Language books. $500-800

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49 MAURICE SENDAK (american, 1928-2012) EIGHT PENCIL STUDIES FOR “NUTSHELL LIBRARY” Inscribed with various notations, pencil on tracing paper. largest: 4 x 5 1/2 in. (10.2 x 13.7cm) smallest: 4 x 2 1/2 in. (10.2 x 6.4cm) Unframed (8) provenance: The Artist.

Justin G. Schiller, Ltd., New York, New York.

Patricia & John Roche, New York, New York.

$5,000-8,000

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50 four ink drawings MAURICE SENDAK (american, 1928-2012) REALLY ROSIE WITH ARMS OUTSTRETCHED Signed bottom center, ink on semi-glossy paper. image: 5 1/2 x 4 3/4 in. (14 x 12.1cm) sheet: 6 3/4 x 5 5/8 in. (17.1 x 14.3cm) Unframed

and MR. RABBIT (AND THE LOVELY PRESENT) Signed bottom center, ink on paper. image: 5 1/4 x 3 in.

(13.3 x 7.6cm) sheet: 6 3/4 x 4 7/8 in.

(17.1 x 12.4cm) Unframed

and BIRD (HECTOR PROTECTOR AND AS I WENT OVER THE WATER) Signed bottom center, ink on paper. image: 3 1/4 x 3 1/4 in.

(8.3 x 8.3cm) sheet: 5 1/2 x 6 in.

(14 x 15.2cm) Unframed

and OLD WOMAN Signed bottom center, ink on paper. image: 4 3/4 x 3 3/4 in.

(12.1 x 9.5cm) sheet: 7 1/2 x 5 3/4 in.

(19.1 x 14.6cm) Unframed provenance: Patricia & John Roche, New York, New York.

$3,000-5,000

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51 three ink drawings MAURICE SENDAK (american, 1928-2012) “TIL JENNIE” Signed bottom center, ink on paper. image: 3 1/4 x 4 1/2 in. (8.3 x 11.4cm) sheet: 5 x 6 1/2 in. (12.7 x 16.5cm) Unframed

and LITTLE BEAR Signed bottom center, titled in Arabic upper center and inscribed in Arabic verso, ink on paper. image: 3 1/4 x 3 1/2 in. (8.3 x 8.9cm) sheet (uneven): 5 3/8 x 5 5/8 in.

(13.7 x 14.3cm) Unframed

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and THE BOY (SOME SWELL PUP) Signed bottom center, ink on paper. image: 5 1/2 x 4 3/4 in. (14 x 12.1cm) sheet: 7 11/16 x 6 3/4 in. (19.5 x 17.2cm) Unframed provenance: Patricia & John Roche, New York, New York.

$3,000-5,000

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52 two photographs SNOWDON (british, 1930-2017) “J.R.R. TOLKEIN, BOURNEMOUTH” 1972, signed in black marker and numbered 11/50, stamped with the photographer’s copyright verso. Gelatin silver print. image: 18 1/8 x 18 1/8 in. (46 x 46cm) sheet: 23 5/8 x 19 13/16 in. (60 x 50.3cm) Unframed provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2007).

and BERLIN WALL Signed in black marker and numbered 2/50.

Gelatin silver print. image: 13 11/16 x 20 1/8 in. (34.8 x 51.1cm) sheet: 16 3/8 x 23 7/8 in. (41.6 x 60.6cm) Unframed provenance: Patricia & John Roche, New York, New York.

$800-1,200 (detail, 1 of 2 shown)

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53 ANNE REDPATH, O.B.E., A.R.A. (scottish, 1895-1965) “CAP D’AIL” Signed bottom right, watercolor, graphite and crayon on paper.

12 3/8 x 8 in. (31.4 x 20.3cm) provenance: Ewan Mundy Fine Art Limited, Glasgow, Scotland.

Patricia & John Roche, New York, New York.

$2,500-4,000

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54 PETER BLAKE, C.B.E., R.D.I., R.A. (british, b. 1932) “DEAD TREE” Signed, titled and dated 1977 bottom right, watercolor and pencil on paper.

16 1/4 x 10 1/4 in. (41.3 x 26cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2004). exhibited: “Chris Beetles Summer Show,” Chris Beetles Limited, London, United Kingdom, 2000 (exhibition no. 82).

$6,000-8,000

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55 THÉODORE ROUSSEL (french, 1914-1989) “THE STREET, CHELSEA EMBANKMENT” 1899, pencil signed on the tab at bottom left, the first (only) state (from the edition of about 40), the full sheet. Etching on wove paper.

6 x 8 1/7 in. (15.2 x 20.7cm) [Hausberg, 26] provenance: Patricia & John Roche, New York, New York.

$500-800

56 PETER BLAKE, C.B.E., R.D.I., R.A. (british, b. 1932) “SYLVIA BEACH AND JAMES JOYCE IN FRONT OF HER BOOKSHOP, ‘SHAKESPEARE & COMPANY’” from “james joyce in paris” 1983-84, pencil signed and numbered 67/75, with full margins, Waddington Graphics, London, publisher.

Etching and aquatint on wove paper. image: 7 x 5 in. (17.7 x 12.7cm) sheet: 13 x 9 7/8 in. (32.8 x 25cm) provenance: Patricia & John Roche, New York, New York.

57 JOSEPH PENNELL (american, 1860-1926) “THE BIG TREE, CHEYNE WALK” 1906, signed and inscribed ‘Great Tree Chelsea,’ (from the edition of about 50 impressions), with wide margins.

Etching on laid paper. image: 10 7/8 x 8 5/16 in. (27.6 x 21.1cm) sheet: 12 1/2 x 10 9/16 in. (31.8 x 26.8cm) [Wuerth, 434] provenance: Patricia & John Roche, New York, New York. $300-500

$800-1,200

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58 JAMES ABBOTT MCNEILL WHISTLER (american, 1834-1903) “LES BONNES DU LUXEMBOURG” 1894, the second (final) state (presumably from the published edition of 3000), with margins, published by J.S. Virtue and Co., Ltd., London and Patterson and Neilson, New York for the Art Journal, 46, no. 120. Transfer lithograph on smooth wove paper. image: 8 x 6 1/4 in. (20.3 x 15.8cm) sheet: 9 1/2 x 7 1/8 in. (24.1 x 18.1cm) [Way, 48; Spink, 81; Levy, 79] provenance: Patricia & John Roche, New York, New York.

$800-1,200

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john la farge

I

n 1881, financier John Pierpont Morgan commissioned John La Farge to create a stained-

glass window design for his house on Madison Avenue in New York. Based off of a painting the artist executed in 1863, the window would feature several stems of hollyhock staged in a single plane, similar to the style of Japanese woodblock prints, which La Farge himself collected. This watercolor is a variation study La Farge completed for Morgan’s window. According to Hollis Taggart, the proportions and shape of this study imply that it was made for a transom, or at least the upper part of a larger screen. Although the ultimate composition of the window is unknown, it is clear from La Farge’s use of shading and bold, contrasting colors that he imagined how rays of light would be cast through the window panes – an effect he knew was crucial to the window’s success.

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59 JOHN LA FARGE (american, 1835-1910) “HOLLYHOCKS: ALTERNATIVE STUDY FOR GLASS FOR HOUSE OF JOHN PIERPONT MORGAN, NEW YORK” Inscribed ‘No. 4/prepared for/J.P. Morgan’ in upper, left and bottom margins respectively, watercolor over traces of pencil on paper.

Executed circa 1881. image: 5 3/4 x 2 3/4 in. (14.6 x 7cm) sheet: 4 x 7 1/8 in. (10.2 x 18.1cm)

provenance: The Artist.

American Art Association, New York, sale of March 29-31, 1911, lot 864.

The Collection of Otto Weir Heinigke Senior, New York, New York (acquired directly from the above).

By descent in the family.

The Collection of Frederick L. Leuchs, Massachusetts.

Hollis Taggart Galleries, New York, New York.

Patricia & John Roche, New York, New York (acquired directly from the above in 1996). exhibited: “John La Farge: An American Master (1835-1910),” William Vareika Fine Arts, Newport, Rhode Island, July 14 - September 30, 1989 (exhibition no. 43).

“American Artists in Japan,” Hollis Taggart Galleries, New York, New York, May 21 - June 29, 1996.

$8,000-12,000

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60 LYONEL FEININGER (american/german, 1871-1956) “TRUMPETERS” 1918-42, pencil signed, titled and dated (presumably one of two known proofs documented by Prasse), with wide margins. Woodcut on tissue-thin brown paper. image: 4 5/8 x 3 7/8 in. (11.8 x 9.8cm) sheet: 8 5/8 x 11 11/16 in. (21.9 x 29.7cm) [Prasse, W56; F., 1842] provenance: Associated American Artists, New York, New York.

Patricia & John Roche, New York, New York (acquired directly from the above in 1978). note: With the Feininger Estate Stamp bottom right, pencil numbered G W No. 605.

$600-1,000

61 LYONEL FEININGER (american/german, 1871-1956) “CHURCH WITH HOUSES, TREE AND STAR, DEEP” 1933, pencil signed and annotated 3302 (one of several proofs, there was no formal edition), with wide margins. Woodcut on tissue-thin ochre laid Japan. image: 2 3/8 x 2 3/4 in. (6 x 7cm) sheet: 5 3/8 x 5 1/4 in. (13.7 x 13.3cm) [Prasse, W275; F., 3303] provenance: American Associated Artists, New York, New York.

Patricia & John Roche, New York, New York (acquired directly from the above in 1972).

$800-1,200

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62 LYONEL FEININGER (american/german, 1871-1956) “LOCOMOTIVE ON THE BRIDGE” 1918, pencil signed, Prasse’s first state of two (a rare proof including the casing of the small window of the last car, before the published editions of 50 and 30), with wide margins. Woodblock on tissue-thin ochre paper. image: 3 5/8 x 4 9/16 in. (9.2 x 11.6cm) sheet (uneven): 9 x 11 1/2 in. (22.9 x 29.2cm) [Prasse, W81 I; F., 1866]

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provenance: Associated American Artists, New York, New York.

Patricia & John Roche, New York, New York (acquired directly from the above in 1972). note: With the Feininger Estate Stamp bottom right, pencil numbered G W No. 637 and inscribed i/ii.

$3,000-5,000

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63 JOHN STRICKLAND GOODALL (british, 1908-1996) “IT’S ALRIGHT” Signed bottom left, titled verso, watercolor and graphite on paper.

5 15/16 x 7 5/8 in. (15 x 19.3cm) provenance: Taggart, Jorgensen & Putman, Washington, D.C. Patricia & John Roche, New York, New York.

$200-300

64 LEONARD ROSOMAN, O.B.E., R.A. (british, 1913-2012) “SELF-PORTRAIT, FLORENCE” Signed bottom right and dated 2002 bottom left, acrylic on paper.

7 1/2 x 11 3/4 in. (19 x 29.7cm) provenance: The Fine Art Society, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2002). exhibited: “Summer Exhibition 2002,” Royal Academy of Arts, London, United Kingdom, June - August, 2002 (exhibition catalogue no. 30, illustrated).

$400-600

65 CHARLES KNIGHT, R.O.I., R.W.S. (british, 1901-1990) “MOUSEHOLE CORNWALL” Inscribed ‘Cornwall’ bottom right, watercolor and pencil on paper.

10 1/2 x 15 1/2 in. (26.7 x 39.4cm) provenance: Alyson Charles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2005). exhibited: “Chris Beetles Autumn Show,” Chris Beetles Limited, London, United Kingdom, September, 2005 (exhibition no. 96).

$500-800

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66 PAMELA KAY (british, b. 1939) “A LA FREGATE. PARIS. THE PUDDING TABLE” Pencil signed bottom right and titled at bottom right edge, watercolor and bodycolor on paper.

14 3/4 x 21 1/2 in. (37.5 x 54.6cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York. exhibited: “Chris Beetles Autumn Show,” Chris Beetles Limited, London, United Kingdom, September, 2005 (exhibition no. 47).

$300-500

67 EILEEN ALICE SOPER (british, 1905-1990) “STILL LIFE WITH A DUCK” Watercolor and bodycolor on paper.

15 3/4 x 12 3/8 in. (38.7 x 31.4cm) provenance: Chris Beetles, London, United Kingdom.

The Estate of George and Eileen Soper.

Patricia & John Roche, New York, New York. exhibited: “The Art of George and Eileen Soper,” Chris Beetles Limited, London, United Kingdom, June 3 - June 30, 1995.

$300-500

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dame elizabeth blackadder o.b.e., r.a., r.s.a., r.s.w., r.g.i.

D

ame Elizabeth Blackadder is a Scottish painter and printmaker who currently lives and works in Edinburgh. She is best known for her delicate and lyrical botanical watercolors,

eclectic table-top still lives, and lush, abstract landscapes. As the recipient of multiple travel scholarships, Blackadder’s education and artistic inspiration were centered around her travels - first as a student when she studied classical and Byzantine art in Greece and Italy, then as a developing artist in France, Spain, Portugal and throughout Scotland where she acquired her reputation for her energetic and colorful paintings of landscapes and flowers.

Her later experiences in Japan inspired an interest in Eastern techniques and profoundly affected her artistic aesthetic, which influenced by the Zen principles of empty space. In addition to her many other allocades, Blackadder is the first woman in history to be an elected member of both the Royal Academy of Art and Royal Scottish Academy.

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68 DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I. (scottish, b. 1931) PURPLE IRISES Signed and dated 1994 bottom right, watercolor and pencil on paper.

22 3/8 x 31 1/2 in. (56.8 x 80cm) provenance: Mercury Gallery, London, United Kingdom.

Patricia & John Roche, New York, New York.

$8,000-12,000

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69 DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I. (scottish, b. 1931) CRABS Signed and dated 1999 bottom right, watercolor and pencil on paper.

10 x 9 13/16 in. (25.4 x 24.9cm) provenance: Ewan Mundy Fine Art Limited, Glasgow, Scotland.

Patricia & John Roche, New York, New York (acquired directly from the above in 2001).

$1,000-1,500 $1,000-1,500

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70 GERALDINE GIRVAN (scottish, b. 1947) “GARDEN POND” Signed and dated 01 bottom left, signed, titled, dated ‘8.01.01’ and located ‘Edinburgh’ verso, watercolor and gouache on paper.

10 1/2 x 12 in. (26.7 x 30.5cm) provenance: Chris Beetles Limited, London, United Kingdom.

Patricia & John Roche, New York, New York (acquired directly from the above in 2001).

$500-800

71 JOHN SERGEANT (british, 1937-2010) UNTITLED Dated 2000 upper right, crayon, pastel and pencil on paper.

6 1/4 x 9 7/16 in. (15.9 x 24cm) provenance: Patricia & John Roche, New York, New York.

$300-500

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72 two works on paper GARY ANDERSON (scottish, b. 1960) “HARE (BLACK AND WHITE)” Signed and dated 95 bottom right, signed, titled and dated on the reverse of the frame, mixed media on paper.

14 5/8 x 13 1/2 in. (37.1 x 34.3cm) and “STUDY FOR POULTRY (PARTRIDGE PERKIN)” Signed and dated 92 bottom right, signed, titled and dated on the reverse of the frame, mixed media on paper. sight: 4 7/8 x 4 7/8 in. (12.3 x 12.3cm) provenance: Ewan Mundy Fine Art Limited, Glasgow, Scotland.

Patricia & John Roche, New York, New York.

$600-1,000

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the patricia & john roche collection (detail)

73 GARY ANDERSON (scottish, b. 1960) “SEPTEMBER BLOOM” Signed and dated ‘00’ bottom right, signed and dated again on the reverse of the frame, mixed media on wove paper.

9 1/4 x 9 7/8 in. (23.5 x 25.1cm) provenance: Ewan Mundy Fine Art Limited, Glasgow, Scotland.

Patricia & John Roche, New York, New York (acquired directly from the above in 2001).

$500-800

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74 two works on paper GARY ANDERSON (scottish, b. 1960) “WATERCOLOR AND CHINESE PAPER” Signed and dated 91 bottom right, signed, titled and dated on the underside of the overmat and again on the reverse of the frame, mixed media on paper.

11 5/8 x 7 3/8 in. (29.5 x 18.7cm) provenance: Arthire, Glasgow, Scotland.

Ewan Mundy Fine Art Limited, Glasgow, Scotland.

Patricia & John Roche, New York, New York. and

“JUST A LITTLE GOLD (BOB)” Signed and dated 94 bottom right, signed and dated again on the reverse of the frame, mixed media on paper mounted to board.

7 x 7 in. (17.8 x 17.8cm) provenance: Ewan Mundy Fine Art Limited, Glasgow, Scotland.

Patricia & John Roche, New York, New York.

$600-1,000

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75 two mixed media constructions GARY ANDERSON (scottish, b. 1960) “SEEING MR. MERRICK” Signed and dated 92 bottom right, signed, titled and dated on the reverse of the frame, mixed media construction.

23 1/2 x 9 in. (59.7 x 22.9cm) and “GLIMPSES” Signed and dated 92 bottom right, signed, titled and dated on reverse of frame, mixed media construction.

7 x 7 in. (17.9 x 17.9cm) provenance: Ewan Mundy Fine Art Limited, Glasgow, Scotland.

Patricia & John Roche, New York, New York.

$1,000-1,500

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76 GLEN HANSEN (american, b. 1961) “LIBRA” from “ancient venetian sundial series” Signed, titled and dated 2000 verso, oil on panel.

24 x 24 3/8 in. (61 x 61.9cm) provenance: Bernarducci Meisel Gallery, New York, New York.

Patricia & John Roche, New York, New York (acquired directly from the above in 2001). exhibited: “Glen Hansen, Ancient Venetian Sundial Series,” Bernarducci Meisel Gallery, New York, New York, May 1 - June 2, 2001.

“Photorealism : Painting and Sculpture,” Nassau County Museum of Art, Roslyn Harbor, New York, January 18 - April 25, 2004.

$400-600

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77 GARY ANDERSON (scottish, b. 1960) “CONEY ISLAND ROLLER COASTER” no. iii from “new york sketches” Signed and dated 94 bottom right, signed, titled and dated on the reverse of the frame, mixed media on paper. sight: 3 3/4 x 3 3/4 in. (9.5 x 9.5cm) provenance: Ewan Mundy Fine Art Limited, Glasgow, Scotland.

Patricia & John Roche, New York, New York.

$300-500

78 GARY ANDERSON (scottish, b. 1960) “VIEW FROM THE EMPIRE STATE” no. i from “new york sketches” Signed and dated 94 bottom right and again on the reverse of the frame, signed and dated 96 on label affixed to the reverse of the frame, mixed media on paper. sight: 3 3/4 x 3 7/8 in. (9.5 x 9.8cm) provenance: Ewan Mundy Fine Art Limited, Glasgow, Scotland.

Patricia & John Roche, New York, New York.

$400-600

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79 DAVID LEVINE (american, 1926-2009) “WRECK OF THE THUNDERBOLT” Signed and dated 89 bottom right, titled verso, watercolor on paper board.

15 x 11 in. (38.1 x 27.9cm) provenance: Patricia & John Roche, New York, New York.

$300-500

80 NANCY GRAY (american, b. 1950) “BROADWAY EXPRESS” 1975, pencil signed and titled, numbered 44/250. Screenprint on wove paper. image: 11 7/8 x 8 3/4 in. (30.2 x 22.2cm) sheet: 16 1/4 x 12 3/4 in. (41.3 x 32.4cm) provenance: Patricia & John Roche, New York, New York.

$200-300

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81 RICHARD HAAS (american, b. 1936) “METROPOLITAN MUSEUM, CENTRAL PARK” 1979, pencil signed, titled and dated, numbered 24/50, with full margins, The Metropolitan Museum of Art, New York, publisher.

Color etching and aquatint on wove paper. image: 17 3/4 x 35 in. (45.1 x 88.9cm) sheet: 23 5/8 x 41 1/4 in. (60 x 104.8 cm) provenance: Metropolitan Museum of Art, New York, New York.

Patricia & John Roche, New York, New York.

$400-600 82 two prints RICHARD HAAS (american, b. 1936) “PETRIE COURTYARD, METROPOLITAN MUSEUM” 1991, pencil signed, titled and dated, numbered 10/50 (there were also 10 artist’s proofs), with full margins, The Metropolitan Museum of Art, New York, publisher and with their embossed stamp bottom right. Color etching and aquatint on BFK Rives. image: 14 1/4 x 18 in. (36.2 x 45.7cm) sheet: 20 1/3 x 24 1/4 in. (51.6 x 61.6cm) and “ENGELHARD COURTYARD, METROPOLITAN MUSEUM” 1991, pencil signed, titled and dated, numbered 10/50 (there were also 10 artist’s proofs), with full margins, The Metropolitan Museum of Art, New York, publisher and with their embossed stamp bottom right. Color etching and aquatint on wove paper. image: 14 1/4 x 19 in. (36.2 x 48.3cm) sheet: 20 1/2 x 25 1/2 in. (52.1 x 64.8cm) provenance: The Metropolitan Museum of Art, New York, New York.

Patricia & John Roche, New York, New York (both acquired directly from the above in 1993).

$800-1,200

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83 RICHARD HAAS (american, b. 1936) HOUSE ON THE LAKE Watercolor and graphite on wove paper.

15 15/16 x 11 15/16 in. (40.5 x 30.3cm) provenance: Patricia & John Roche, New York, New York.

$1,000-1,500

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the patricia & john roche collection (detail)

84 RICHARD ESTES (american, b. 1932) “STUDY VI, NEW YORK HARBOR” 1997, pencil signed and numbered 43/45 (there were also 10 artist’s proofs), with full margins, published by Marlborough Graphics, New York and printed by Shigemitsu Tsukaguchi and with his blindstamp. Color woodcut on Echizen-Kozo paper. image: 9 3/4 x 7 5/8 in. (24.8 x 19.4cm) sheet: 17 3/4 x 13 3/4 in. (45.1 x 34.9cm) Unframed provenance: Hirschl & Adler Galleries, Inc., New York, New York.

Patricia & John Roche, New York, New York (acquired directly from the above in 2001).

$1,500-2,500

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the patricia & john roche collection 85 MARY REILLY (american, b. 1963) “SEASHELLS” Pencil signed and dated ‘9.03’ bottom right, graphite on paper.

18 x 13 1/2 in. (45.7 x 34.3cm) provenance: DFN Gallery, New York, New York.

Patricia & John Roche, New York, New York (acquired directly from the above in 2005). exhibited: “New Drawings,” DFN Gallery, New York, New York, 2005.

$300-500

86 REEVE SCHLEY (american, b. 1936) “FLOOD” Signed bottom right, titled and dated ‘June 28 2006’ bottom center, watercolor on paper.

10 1/4 x 7 1/4 in. (26.3 x 18.4cm) provenance: James Graham & Sons, New York, New York.

Patricia & John Roche, New York, New York (acquired directly from the above in 2007). exhibited: “Reeve Schley,” James Graham & Sons, New York, New York, May 4 - June 9, 2007.

$100-200

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john beerman

A

contemporary painter and print-maker of the American Landscape, John Beerman grew up in North Carolina and studied art at the Rhode Island School of Design.

His marriage to a New York native brought him to Nyack, New York where he quickly became captivated by the raw and powerful beauty of the Hudson River Valley. As a result of this newfound inspiration, he abandoned his previous abstract style for one inspired by the American Luminist painters of the 19th century. Often painting en-plein-air and incorporating expansive skies, subdued brushwork and a limited, yet rich color palette, Beerman sought to capture the effect of light on the landscape from which he painted.

He eliminated almost all descriptive detail in order to imbue his paintings with an ethereal, almost magical luminosity. In the words of the artist, “what I hope to convey in my work is a great spirit, God, or whatever you want to call it; but something beyond just a representational work of nature, something that hints at things that aren’t seen. I feel that all true art reaches this point. It transcends the subject matter that it’s representing and speaks to you in other ways, emotionally and spiritually.”

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87 JOHN BEERMAN (american, b. 1958) “QUIT THE FALSE GOOD” Signed with initials and dated bottom right, oil on panel within artist’s painted Plexiglas frame.

10 5/8 x 10 5/8 in. (27 x 27cm) overall: 21 1/2 x 20 1/2 in. (54.6 x 52.1cm) provenance: Lorence-Monk Gallery, New York, New York.

Dart Gallery, Chicago, Illinois.

Patricia & John Roche, New York, New York.

$2,000-3,000

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88 JOHN BEERMAN (american, b. 1958) “OUTSIDE MY WINDOW” Signed with initials and dated 88 bottom right, oil on panel in artist’s frame.

12 1/4 x 12 1/4 in. (31.1 x 31.1cm) overall: 16 x 16 in. (40.6 x 40.6cm) provenance: Lorence-Monk Gallery, New York, New York.

Patricia & John Roche, New York, New York.

$2,000-3,000

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89 JOHN BEERMAN (american, b. 1958) “THE SOUND OF THE TREES, NO. 11” Signed with initials and dated 91 bottom left, oil on canvas.

16 1/4 x 16 1/4 in. (41.3 x 41.3cm) provenance: Lorence-Monk Gallery, New York, New York.

Patricia & John Roche, New York, New York. exhibited: “John Beerman: The Sound of Trees,” Lorence-Monk Gallery, New York, New York, November 9 - December 21, 1991.

$2,000-3,000

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90 JOHN BEERMAN (american, b. 1958) “SANDIA MOUNTAIN #2” Signed and dated 90 bottom right, acrylic and oil on linen.

33 7/8 x 84 3/4 in. (86 x 212.7cm) provenance: Hiram Butler Gallery, Houston, Texas.

Lorence-Monk Gallery, New York, New York.

Patricia & John Roche, New York, New York.

$8,000-12,000

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the patricia & john roche collection 91 JOHN BEERMAN (american, b. 1958) “UNTITLED 2” 1993, pencil signed and dated, numbered 1/1, with wide margins. Color monoprint on wove paper. image: 15 x 15 in. (38.1 x 38.1cm) sheet: 29 x 25 in. (73.7 x 63.5cm) provenance: David Beitzel Gallery, New York, New York.

Patricia & John Roche, New York, New York (acquired directly from the above in 1993).

$400-600

(detail)

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92 four prints JOHN BEERMAN (american, b. 1958) “VINALHAVEN” 1986, pencil signed, dated and titled, numbered XI, with full margins. Color lithograph on BFK Rives. image: 14 3/8 x 22 1/8 in. (36.5 x 56.2cm) sheet: 22 1/4 x 29 15/16 in. (56.5 x 76cm) Unframed and UNTITLED 1986, pencil signed, dated and annotated B.A.T, with full margins. Color etching and aquatint on wove paper. image: 10 3/4 x 8 1/2 in. (27.3 x 21.6cm) sheet: 17 7/8 x 14 in. (45.4 x 35.6cm) Unframed and UNTITLED LANDSCAPE WITH GOLD BORDER 1989, pencil signed, dated and numbered 8/36, with full margins, Hudson River Editions, South Nyack, New York, publisher and with their blindstamp. Color etching and aquatint with gold leaf border on wove paper. image: 7 3/4 x 9 7/8 in. (19.7 x 25.1cm) sheet: 15 5/16 x 21 in. (38.9 x 53.3cm) Unframed including: A second print from the same edition, numbered 1/36. provenance: Patricia & John Roche, New York, New York.

$1,200-1,800 (3 of 4 shown)

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john moore

J

ohn Moore is a careful constructor of thoughtfully built worlds. His meticulously composed paintings display a rigorous formalism, rife with geometric variation, complex

perspective, subtle color combinations, and richly textured surfaces. Whether painting city scenes, interiors or post-industrial landscapes, Moore combines views that he has observed with scenes remembered or imagined. The resulting works are much more than realistic representations of the world around us, but rather present complex and often enigmatic narratives that engage and challenge the very idea of how and what we see.

John Moore has enjoyed a long and illustrious career. An elected member of the National Academy of Design, he has received numerous honors, including awards from the American Academy of Arts and Letters, and the National Endowment for the Arts. He served for a decade as the Chair of the Department of Fine Arts at the University of Pennsylvania, and previously headed the graduate painting program at Boston University. His paintings are included in the collections of such major institutions as The Metropolitan Museum of Art, The Art Institute of Chicago, The Philadelphia Museum of Art, The San Francisco Museum of Modern Art, the Pennsylvania Academy of Fine Art and the Museum of Fine Arts, Boston.

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93 JOHN MOORE (american, b. 1941) “CLAUDE GLASS” Signed and dated 04 bottom left, oil on canvas.

30 x 30 in. (76.2 x 76.2cm) provenance: Hirschl & Adler Modern, New York, New York.

Patricia & John Roche, New York, New York (acquired directly from the above in 2005). exhibited: “John Moore,” Hirschl & Adler Modern, New York, New York, April 28 - June 3, 2005 (exhibition catalogue no. 2, illustrated).

$8,000-12,000

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94 HOWARD HODGKIN (british, 1932-2017) “TURKISH DELIGHT” 2004, pencil signed with initials and dated, numbered 24/80 (there were also 10 artist’s proofs), the full sheet, The Metropolitan Museum of Art, New York, publisher and with their blindstamp. Carborundum etching with hand coloring on Two Rivers Somerset handmade paper. sheet: 9 3/4 x 11 1/2 in. (24.8 x 29.2cm)

provenance: The Mezzanine Gallery, New York, New York.

Patricia & John Roche, New York, New York (acquired directly from the above in 2006).

$3,000-5,000

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wayne thiebaud lots 95-100

A

notable highlight of the Roche collection is six

In his forward to a 2013 exhibition showcasing his

works on paper by California artist, Wayne

hand-colored prints, Thiebaud writes, “When is a

Thiebaud. Comprised of one woodcut, one lithograph,

work finished? And how does that differ from work

three hand-colored etchings, and one unique

that feels complete?”1 The Roche collection also

monotype, the group covers a wide range of the

includes four works that seem indicative of the

artist’s explorations in printmaking. In terms of subject,

artist’s quest to answer these questions. One work,

Thiebaud’s brightly colored and expertly rendered

‘Untitled (Reflected Palm Tree),’ is a monotype

compositions would certainly have resonated with

which, by virtue of its process yields only one-of-

Patricia Roche’s sensibilities as a children’s book

a-kind print. To arrive at this singular image, the

author and illustrator. With rare exceptions, Thiebaud

artist employed gouache, watercolor, watersoluble

chose for his subjects the colorful, sweet, patterned

crayons and pencils in a studious exploration of the

and familiar small pleasures in life.

interplay of reflection, color and light upon a pool of water. Three additional works – ‘Pet Bird’, ‘Glassed

Two such quintessential Thiebaud images, ‘Bow

Candy’ and ‘California Ridge,’ - are executed in

Ties’ and ‘Dark Cake,’ are prints from published

watercolor, gouache or other media over existing

editions. Executed in lithography, the first is a typical

printed matrices. Each of the three represents the

composition by the artist, featuring rows of brightly

artist’s return to a ‘finished’ print, and because of

patterned subjects. The medium showcases

his hand-additions, is exactly like no other. In one,

Thiebaud’s skill as a draftsman, and presents his

a single songbird momentarily poised on a perch

delight in color and repetition, a style also emblematic

has been hand-colored with a deeply darkened

of fellow pop artist, Andy Warhol. Packed tightly

background that focuses attention on the bird itself.

together and extending beyond the picture plane,

In another, an etched California hillside is brought

the ties are offered up like so many bespoke

to life with the artist’s watercolored rendition of

cupcakes or desserts for our delectation. ‘Dark

bright light and sky. And finally, in what may well be

Cake’ is another joyful exercise for the artist. This

the jewel of the collection, a glass jar of glistening,

time, however, he executes the print in a lush, richly

old fashioned candy sticks pops off the paper

layered woodcut process which showcases both the

in a brightly colored watercolor over etching

luminosity of the medium and the three dimensionality

entitled, ‘Glassed Candy.’

of the subject.

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A

ccording to the publisher’s documentation sheet, this print was one of four projects that Crown Point Press produced in Japan with the idea of giving

Western trained artists the opportunity to work with Eastern traditional master craftsmen. For ‘Dark Cake,’ Thiebaud worked with master printer, Tadashi Toda who won his government’s highest award for craftsmanship and was part of a 200-year family tradition of ukiyo-e printing. In this age-old method, the artist produces a drawing which is translated into wood by craftsmen. The artist and printer then work together to refine and finish the work. Printed on handmade Japanese paper, ‘Dark Cake’ was executed in this manner with 28 woodblocks layering over 18 watercolor inks to produce the rich and layered yet delicate and luminous image.

95 WAYNE THIEBAUD (american, b. 1920) “DARK CAKE” Pencil signed and dated 1983, numbered 54/200 (there were also 20 artist’s proofs), with full margins, Crown Point Press, San Francisco, publisher and with their blindstamps. Color woodcut on Tosa Kozo handmade paper. image: 15 x 17 1/2 in. (38.1 x 44.5cm) sheet: 20 5/16 x 22 5/16 in. (51.6 x 56.7cm) provenance: Patricia & John Roche, New York, New York.

$20,000-30,000

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D

uring the summer of 1991, Wayne Thiebaud made approximately 100 monotypes at Crown Point Press in San Francisco. Of these, only 15 were selected to be titled, signed

and formally published. A monotype is a unique work transferred to paper from another plate or hard surface upon which the artist has executed the composition. Once this transfer has occurred, new ink can be applied or a ‘ghost’ image printed, but this results in a new version, such that each work is singular. According to Crown Point Press, this particular image of the palm tree was the only one executed in the published monotype series.

The present work is a remarkable example of ‘the back of the brushstroke,’ a description Thiebaud affectionately said of the monotype process. A quintessential California image of a palm tree’s play on water, it presents a vivid and colorful exploration of the interplay between light and shadow, the natural and mandmade, the subjective and the abstract.

96 WAYNE THIEBAUD (american, b. 1920) “UNTITLED (REFLECTED PALM TREE)” Pencil signed and dated 1991 in the lower margin, with full margins. Crown Point Press, San Francisco, publisher and with their blindstamp. Color monotype executed in gouache, watercolor, watersoluble artists’ crayons and watersoluble color pencils on Arches. image: 13 15/16 x 10 15/16 in. (35.4 x 27.8cm) sheet: 23 1/2 x 19 3/8 in. (59.7 x 49.2cm) provenance: John Berggruen Gallery, San Francisco, California.

Patricia & John Roche, New York, New York.

$30,000-50,000

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97 WAYNE THIEBAUD (american, b. 1920) “GLASSED CANDY” Pencil signed and dated ‘1965/1985,’ annotated ‘a/ Proof’ and titled in the lower margin, with full margins. Watercolor over etching on Rives (the regular edition without hand-work was 25). image: 5 3/8 x 6 3/4 in. (13.7 x 17.2cm) sheet: 11 13/16 x 10 15/16 in. (30 x 27.8cm) provenance: Allan Stone Gallery, New York, New York.

Patricia & John Roche, New York, New York.

$150,000-250,000

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98 WAYNE THIEBAUD (american, b. 1920) “PET BIRD” Pencil signed, dated 1986 and titled in the lower margin, with full margins. Mixed media hand-coloring over etching on wove paper (the regular edition entitled “Bird on a Swing” from “Recent Etchings I” without hand-work was 50). image: 9 7/8 x 12 1/2 in. (25.1 x 31.8cm) sheet: 22 1/2 x 17 5/8 in. (57.2 x 44.8cm) provenance: Allan Stone Gallery, New York, New York.

Patricia & John Roche, New York, New York.

$30,000-50,000

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99 WAYNE THIEBAUD (american, b. 1920) “CALIFORNIA RIDGE” Pencil signed, dated 1988 and inscribed ‘Etching overworked in watercolor (unique)’ in the lower margin, with wide margins. Watercolor over etching on wove paper. image: 8 13/16 x 11 5/8 in. (22.3 x 29.5cm) sheet: 14 7/8 x 17 13/16 in. (37.8 x 45.2cm) provenance: Patricia & John Roche, New York, New York.

$100,000-150,000

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100 WAYNE THIEBAUD (american, b. 1920) “BOW TIES” Pencil signed and dated 1990 in the bottom right margin, numbered ‘A.P. 4/5’ (artist’s proof, the edition was 50), with wide margins, CampbellThiebaud Gallery, San Francisco, publisher. Color lithograph on wove paper. image: 8 1/2 x 13 13/16 in. (21.6 x 35.1cm) sheet: 22 x 20 3/4 in. (55.9 x 52.7cm) provenance: Patricia & John Roche, New York, New York.

$20,000-30,000

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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 “AS-IS”.

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.

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.

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.

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 5 less than the standard commission rate where Freeman’s or its representative is a successful Unless otherwise announced by the auctioneer at the time of sale, bidder on behalf of the Consignor. Where the Consignor is indebted to Freeman’s, Freeman’s all bids are per lot as numbered in the printed catalogue. Freeman’s may have an interest in the offered lots and the proceeds therefrom, other than the broker’s reserves the right to determine any and all matters regarding the order, precedence or appropriate increment of bids or the constitution Commissions, and all sales are subject to any such interest. of lots.

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

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.

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 9 and handling of purchased lots is at the responsibility of the buyer and is at the entire risk of No lot may be removed from Freeman’s premises until the buyer has the buyer. paid in full the purchase price therefor including Buyer’s Premium or 16 has satisfied such terms that Freeman’s, in its sole discretion, shall In no event shall any liability of Freeman’s to the buyer exceed the purchase price actually paid. 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 17 sale and, if not so removed, may be sold by Freeman’s, or sent by No claimed modification or amendment of this Agreement on the part of any party shall Freeman’s to a public warehouse, at the sole risk and charge of the be deemed extant, enforceable or provable unless it is in writing that has been signed by buyer(s), and Freeman’s may prohibit the buyer from participating, the parties to this Agreement. No course of dealing and no delay or omission on the part of directly or indirectly, as a bidder or buyer in any future sale or sales. In Freeman’s in exercising any right under this Agreement shall operate as a waiver of such right addition to other remedies available to Freeman’s by law, Freeman’s or any other right and waiver on any one or more occasions shall not be construed as a bar to reserves the right to impose a late charge of 1.5% per month of the or waiver of any right or remedy of Freeman’s on any future occasion. total purchase price on any balance remaining ten (10) days after the 18 day of sale. If Property is not removed by the buyer within ten (10) These Conditions of Sale and the buyer’s, the Consignor’s and Freeman’s rights under these days, a handling charge of 1% of the total purchase price per month Conditions of Sale shall be governed by, construed and enforced in accordance with the from the tenth day after the sale until removal by the buyer shall be laws of the Commonwealth of Pennsylvania and Consignor and Buyer agree to the exclusive payable to Freeman’s by the buyer; Freeman’s shall charge 1.5% of jurisdiction of the Philadelphia, Pennsylvania Court of Common Pleas and the United States the total purchase price per month for any property not so removed District98 Court for the Eastern District of Pennsylvania.

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important information for buyers Registration All potential buyers must register for the sale prior to placing a bid. Registration information may be submitted in person at our reception desk, by fax or through our website at www. freemansauction.com. We will require proof of identification and residence and may require a credit card and/or a bank reference.

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted Freeman’s Terms and Conditions of Sale.

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

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.

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.

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directory Officers Alasdair Nichol Chairman Margaret D. Freeman Director Emeritus Paul S. Roberts President Hanna Dougher Chief Operating Officer

Specialist Departments

Representatives

20th Century Design Tim Andreadis

New England Kelly Wright

tandreadis@freemansauction.com

kwright@freemansauction.com

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

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 Micah Dornfeld mdornfeld@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

Asian Arts Benjamin Farina bfarina@freemansauction.com Books, Maps & Manuscripts Benjamin Truesdale btruesdale@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 Andrew Taggart ataggart@freemansauction.com Prints Anne Henry ahenry@freemansauction.com Silver & Objets de Vertu Nicholas B. A. Nicholson nnicholson@freemansauction.com

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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

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modern & contemporary art auction 11/07/17 Dunham Townend | 267.414.1221 dtownend@freemansauction.com 101

ADOLPH GOTTLIEB (american, 1903-1974) “Brown on Black” Signed and dated 1970 bottom right, acrylic on paper laid on canvas 20 x 15 in. (50.8 x 38.1cm) $80,000-$120,000

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american art & pennsylvania impressionists auction 12/03/17 Alasdair Nichol | 267.414.1211 anichol@freemansauction.com 102

Maurice Sendak (american 1928-2012) “READING IS FUN!” Signed and dated ‘Maurice Sendak ‘79’ bottom right, ink, watercolor on paper image area, 20 3/4 x 17 13/16 inches; sheet size, 24 5/8 x 21 3/8 inches $40,000-60,000

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www.freemansauction.com 1808 Chestnut Street Philadelphia Pennsylvania 19103