Modern & Contemporary | Nov 7 by Freeman's

MODERN & CONTEMPORARY ART NOVEMBER 7, 2017

modern & contemporary art auction Sale 1590 Tuesday, November 7 at 12pm 1808 Chestnut Street, Philadelphia PA 19103 Cover Image: Lot 111, Inside Front Cover: Lot 106 (detail), Inside Back Cover: Lot 92 (detail)

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

Shannon Jeffers Junior Specialist | Cataloguer sjeffers@freemansauction.com 267.414.1231

exhibitions Thursday, November 2

10:00am-5:00pm

Friday, November 3

10:00am-5:00pm

Saturday, November 4

12:00pm-5:00pm

Sunday, November 5

12:00pm-5:00pm

Monday, November 6

10:00am-5:00pm

By appointment only on the morning of the sale

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

Joslyn Moore Bidding Registration jmoore@freemansauction.com 267.414.1207

Lot 97 (detail) 3

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

modern & contemporary art lots 1-166

Lot 113 (detail) 5

1 HENRI MATISSE (french, 1869-1954) “ORIENTALE À LA CROIX TRIFOLIÉE” 1929, pencil signed and annotated ‘Essai’ (one of 8 trial proofs aside from the regular edition of 50 plus ten artist’s proofs), with wide margins. Lithograph on Arches. image: 21 1/4 x 17 3/4 in. (54 x 45.1cm) sheet: 25 1/2 x 19 5/8 in. (64.8 x 49.8cm) [Duthuit, 516] $10,000-15,000

2 HENRI MATISSE (french, 1869-1954) “CALYPSO” from “ulysses” 1935, pencil signed and numbered 135/150 (there were also 10 artist’s proofs), with wide margins, Limited Editions Club, New York, publisher. Etching on wove paper. image: 11 9/16 x 9 1/16 in. (29.4 x 23cm) sheet: 15 15/16 x 12 7/16 in. (40.5 x 31.6cm) [Duthuit, 235] $2,500-4,000

3 HENRI MATISSE (french, 1869-1954) “POLYPHÈME from “ulysses” 1935, pencil signed and numbered 135/150 (there were also 10 artist’s proofs), with wide margins, Limited Editions Club, New York, publisher. Etching on Arches. image: 11 3/16 x 8 7/8 in. (30 x 22.5cm) sheet: 16 x 12 7/16 in. (40.6 x 31.6cm) [Duthuit, 239] $2,500-4,000

4 HENRI MATISSE (french, 1869-1954) “CIRCÉ” from “ulysses” 1935, pencil signed and numbered 135/150 (there were also 10 artist’s proofs), with wide margins, Limited Editions Club, New York, publisher. Etching on wove paper. image: 11 1/8 x 8 7/16 in. (28.3 x 22.5cm) sheet: 16 x 12 3/8 in. (40.6 x 31.4cm) [Duthuit, 237] $2,500-4,000

5 HENRI MATISSE (french, 1869-1954) “OLIVARÈS” 1914, signed in ink and numbered 11/15 (there were no artist’s proofs), with full margins. Etching on Chine appliqué to wove paper. image: 6 1/8 x 2 3/16 in. (15.5 x 5.5cm) sheet: 10 13/16 x 7 3/8 in. (27.4 x 18.7cm) [Duthuit, 41] $3,000-5,000

6 HENRI MATISSE (french, 1869-1954) “LOULOU - MASQUE” 1914/15, signed in ink and numbered 7/15 (there were no artist’s proofs), with wide margins. Etching on Chine appliqué to wove paper. image: 6 1/16 x 2 3/16 in. (15.4 x 5.5cm) sheet: 10 13/16 x 7 3/8 in. (27.5 x 18.8cm) [Duthuit, 48] $3,000-5,000

works from the croquez family collection lots 07-11

7 JAMES ENSOR (belgian, 1860-1949) “PÉCHÉS CAPITAUX DOMINÉS PAR LA MORT” FROM “LES SEPT PÉCHÉS CAPITAUX” (“the deadly sins dominated by death” from “the seven deadly sins”) 1904, pencil signed, titled and dedicated ‘J’offre à Albert Croquez ces vilains péchés et je les lui souhaite en réduction,’ bottom left and inscribed ‘Epreuve rehaussée de ma main,’ signed again and numbered 127 verso, with wide margins, etching extensively hand-colored with watercolor and gouache on Japan mounted to Holland paper. image: 3 1/4 x 5 1/4 in. (8.3 x 13.3cm) plate: 3 1/2 x 5 1/2 in. (8.9 x 14cm) sheet: 9 3/16 x 11 1/4 in. (23.3 x 28.6cm) [Delteil, Croquez, Taevernier, 126; Elesh, 131] provenance: The Artist. The Collection of Albert Croquez, Paris, France. By family descent. Private Collection, Pennsylvania. note: We are grateful to Mr. Xavier Tricot for his assistance cataloguing the present lot, as well as lots 8-11. $25,000-40,000

n 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 suite includes seven individual etchings illustrating each sin, as well as a frontispiece - “Péchés Capitaux Dominés Par La Mort” – in which a skeletal angel of death hovers menacingly above seven hideous figures, allegories for the sins ridiculed therein. The present work is an extraordinary hand-colored proof of this frontispiece. In it, the artist has made extensive use of watercolor and gouache over the original etching, reworking the image in remarkably vibrant colors. His hand can also be seen in the small and thoughtful details he has brought to bear on his figures, which bring their grotesque personas into sharp focus. He adds shades of red and pink to ruddy their cheeks and noses, satirizing their gluttonous, temporal and passionate pursuits. He accentuates their wrinkles and ugliness with lines of brown and red hashing. And, with subtle shading, he adds depth and dimension to the face of death, imbuing him with even greater menace. Juxtaposed against a lush, cobalt blue background, the figures vibrate with energy in a truly captivating scene. As noted by writer and Ensor scholar Eugene Demolder, the artist’s hand-colored prints have “a particularly singular brilliance…[acquiring] warm, gilded tones that make them particularly precious.”1 This work is signed by the artist and inscribed verso, “proof enhanced by my hand.” On its front, it is signed and dedicated to Albert Croquez, who was both a scholar of Ensor’s work and his dear friend. The translated dedication reads, “I am offering these nasty sins to Albert Croquez and I wish them to be softer.” 11

1 Xavier Tricot, James Ensor: The Complete Prints, 2011.

8 JAMES ENSOR (belgian, 1860-1949) “AFFICHE DE LA PLUME” 1898, pencil signed, with margins. Color lithographic poster on wove paper laid down to paperboard. image: 21 x 14 5/8 in. (53.3 x 37.1cm) sheet: 24 15/16 x 17 7/8 in. (63.3 x 45.4cm) [Delteil, Croquez, 131; Taevernier, 141; Elesh, 136; Tricot, 138] provenance: The Artist. The Collection of Albert Croquez, Paris, France. By family descent. Private Collection, Pennsylvania. note: The design of the present work was created by James Ensor in conjunction with his first one-man show, held at the Salon des Cents in Paris from December 15, 1898 - January 15, 1899. It was published in a special issue of the French art review, La Plume for this occasion. $3,000-5,000

9 JAMES ENSOR (belgian, 1860-1949) “AFFICHE POUR LE CARNAVAL D’OSTENDE” 1931, signed and dedicated ‘Pour mon ami Albert Croquez/ ces masques Ostendais’ in black ink, stamp numbered 933, with the official City of Ostende Carnival Committee stamp, with margins. Color lithographic poster on thin wove paper. image: 16 1/4 x 11 3/8 in. (41.2 x 28.9cm) sheet: 18 3/8 x 12 3/4 in. (46.7 x 32.4cm) [Delteil, Croquez, Taevernier, 142; Elesh, 136; Tricot, 143] provenance: The Artist. The Collection of Albert Croquez, Paris, France. By family descent. Private Collection, Pennsylvania. $5,000-8,000

10 JAMES ENSOR (belgian, 1860-1949) “LES ROMAINS DE LA DÉCADENCE” Pencil signed and dated 1890 bottom left, colored pencil, graphite and watercolor on paper. 7 5/8 x 11 in. (19.4 x 27.9cm) provenance: The Artist. The Collection of Albert Croquez, Paris, France. By family descent. Private Collection, Pennsylvania. literature: Grégoire Le Roy, James Ensor, Brussels/Paris: G. Van Oest & Cie (p. 112, illustrated). exhibited: “Retrospective James Ensor,” Palais des Beaux-Arts, Brussels, Belgium, 1929. “James Ensor,” Museum of Modern Art, New York, New York, September 25 - October 28, 1951, in collaboration with : the Institute of Contemporary Art, Boston, Massachusetts; the Cleveland Museum of Art, Cleveland, Ohio; and the City Art Museum of Saint Louis (exhibition checklist no. 99). note: According to the inscription verso written in the hand of Albert Croquez, who was a close personal friend of the artist and an ardent collector of his works, this present work was the first of an ultimately unrealized series of drawings entitled Le Satyrical, inspired by the writings of French anarchist and satirist Laurent Tailhade, who translated the Satyricon by the Roman writer Petronius. $20,000-30,000

11 JAMES ENSOR (belgian, 1860-1949) “BUSTE” 1887, pencil signed and dated, with wide margins. Drypoint in sanguine on Japan. image: 5 1/8 x 3 1/2 in. (13 x 8.9cm) sheet (uneven): 9 3/8 x 6 3/8 in. (23.8 x 16.1cm) [Delteil, Croquez, 18;Tricot, 15a] provenance: The Artist. The Collection of Albert Croquez, Paris, France. By family descent. Private Collection, Pennsylvania. note: Inscribed by Albert Croquez on cardboard backing of frame, verso, “Cette pointe-sèche ne se rencontre pas communément. La planche est à peu près effacée et ne donne plus. Cette épreuve ancienne, sur Japon, à la cuve, tirée en sanguine, est une rareté. Croquez” The subject of this drypoint is a bronze bust which decorated the mantle of Ernest Rousseau, a close friend of the artist. As Croquez’s inscription indicates, this particular print is a rare example. Only a few early proofs were printed in sanguine, and show crisp, velvety burr as here. $1,000-1,500

12 RAOUL DUFY (french, 1877-1953) “LE HAVRE” Circa 1930, pencil signed and indistinctly numbered 134/1_0, with narrow margins. Color lithograph on thin laid paper. image: 18 11/16 x 25 15/16 in. (47.5 x 65.9cm) sheet: 19 13/16 x 25 15/16 in. (50.3 x 65.9cm) $2,500-4,000

13 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: The 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. $18,000-25,000

14 MOÏSE KISLING (french/polish, 1891-1953) “SAGUNTO” Signed and dated 1916 bottom right, signed and dated again and titled verso, oil on canvas. 6 x 14 in. (15.1 x 35.6cm) provenance: The Collection of Mr. and Mrs. Béla Kalman. By family descent. Private Collection, Massachusetts. 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. $7,000-9,000

15 two prints (one hand-colored) JACQUES LIPCHITZ (american/french, 1891-1973) “DANSEUSE ET COQ” (HAND-COLORED) Signed, dedicated and dated ‘A mon cher Curs cette épreuve de travail en souvenir de nos calamités de 1948’ in pencil, with wide margins, Éditions Jeanne Bucher, Paris, publisher. Aquatint and engraving with hand-coloring in ink and wash on wove paper. image: 6 11/16 x 5 3/8 in. (17 x 13.7cm) sheet: 13 1/16 x 9 13/16 in. (33.2 x 25cm) and: “DANSEUSE ET COQ” from “jacques lipchitz” 1947, pencil signed and numbered 19/50, with wide margins, Éditions Jeanne Bucher, Paris, publisher. Aquatint and engraving on wove paper. image: 6 3/4 x 5 3/8 in. (17.1 x 13.7cm) sheet: 12 x 8 15/16 in. (30.5 x 22.7cm) (2, framed together) $2,000-3,000

16 MAX ERNST (german, 1891-1976) “DEUX OISEAUX” Signed bottom right, oil on slate. Executed in 1926. 9 x 6 in. (22.7 x 15.1cm) provenance: Sidney Janis Gallery, New York, New York. Sotheby Parke-Bernet, New York, Sale #4304, lot 957, November 9, 1979, lot 957. Private Collection, Pennslyvania. Freeman’s, Philadelphia, “Modern & Contemporary Art,” May 15, 2011, lot 44. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above sale). literature: Werner Spies and G. Metken, Max Ernst: Werke 1925-1929, Cologne, Germany, 1976, no. 1053 (p. 135, illustrated). note: While confined to bedrest during an illness in 1925, Max Ernst is said to have noticed and studied the patterns emerging from wood grains and other natural surfaces in his home. This prompted experimentation in a new technique, “frottage” in which he rubbed surfaces with graphite or crayon and explored what images would suggest themselves. In 1926 he took this a step further by applying paint and scraping it away when it was nearly dry, leaving a textured surface which he termed “grattage.” The present work, executed that same year and depicting a quintessential Ernst subject, is a fascinating look into the artist’s evolving technique that was so influential to the surrealist movement as a whole. $80,000-120,000

17 PABLO PICASSO (spanish, 1881-1973) “FEMME NUE DEVANT UNE STATUE” from “la suite vollard” 1931 (printed in 1939), pencil signed, from the edition of 260 (there was also an edition of 50 on larger paper), with full margins, Ambroise Vollard, Paris, publisher. Etching on Montval laid paper with Picasso watermark. image: 12 1/4 x 8 3/4 in. (31.1 x 22.2cm) sheet: 17 1/2 x 13 3/8 in. (44.5 x 34cm) [Bloch, 139; Baer, 205 Bd] $10,000-15,000

18 PABLO PICASSO (spanish, 1881-1973) “LE BAIN” from “la suite des saltimbanques” 1905 (printed in 1913), from the edition of 250 (there were also 27 or 29 proofs on Japan), with wide margins, Ambroise Vollard, Paris, publisher. Drypoint on wove paper. image: 13 1/2 x 11 3/8 in. (34.3 x 28.9cm) sheet: 20 13/16 x 17 3/4 in. (52.9 x 45.1cm) [Bloch, 12; Baer, 14] $2,500-4,000

19 AFTER PABLO PICASSO (spanish, 1881-1973) “TÊTE DE FAUN” 1958, pencil signed and numbered 158/300, with wide margins, Atelier Crommelynck, Paris, publisher. Color soft-ground etching and aquatint on wove paper. image: 11 7/8 x 9 7/8 in. (30.2 x 25.1cm) sheet: 16 3/8 x 13 7/8 in (41.6 x 45.4cm) $3,000-5,000

20 PABLO PICASSO (spanish, 1881-1973) “FACE NO. 130” 1963, numbered 219/500 and inscribed ‘EDITION PICASSO’, ‘MADOURA’ and ‘No 130’ on the underside, white earthenware clay plate with decoration in engobes and enamel under glaze. diameter: 9 13/16 in. (24.9cm) [Ramié, 479] $5,000-8,000

21 PABLO PICASSO (spanish, 1881-1973) “OWL” 1954, from the edition of 500, with the ‘D’APRES PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside, white earthenware clay pitcher with decoration in oxides on white enamel. height: 10 in. (25.4cm) [Ramié, 253] $5,000-8,000

22 PABLO PICASSO (spanish, 1881-1973) “FLUFFY-HAIRED WOMAN” 1964, numbered 33/100, with the ‘EMPREINTE ORIGINALE DE PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. Red earthenware clay plaque. 12 15/16 x 10 in. (32.9 x 25.4cm) [Ramié, 520] $10,000-15,000

23 PABLO PICASSO (spanish, 1881-1973) “CORRIDA” 1953, from the edition of unknown but small size (Ramié notes very few copies were produced), with the ‘EMPREINTE ORIGINALE DE PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay round dish with oxidized paraffin decoration and white enamel bath. diameter: 17 1/4 in. (43.7cm) [Ramié, 182] $6,000-10,000

24 PABLO PICASSO (spanish, 1881-1973) “BUNCH” 1955, from the edition of 450, with the ‘EMPREINTE ORIGINALE DE PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay dish with decoration in engobes and knife engraved under glaze. length: 14 1/16 in. (35.7cm) width: 11 3/4 in. (29.8cm) [Ramié, 254] $6,000-10,000

25 HUGÓ SCHEIBER (hungarian, 1873-1950) STILL LIFE Signed bottom right, gouache on paper. 19 5/8 x 14 1/8 in. (47.3 x 35.9cm) provenance: Christie’s, New York, ‘Impressionist & Modern Art,’ September 20, 2011, lot 107. Private Collection, New York, New York (acquired directly from the above sale). $2,000-3,000

26 GABOR F. PETERDI (american, 1915-2001) “BLACK BULL” the complete portfolio of seven prints 1939, each pencil signed and numbered 25/57, title, preface/text page ink-signed by Sherry Mangan, and signed and numbered justification page where one of the engravings appears in-texte, Jeanne Bucher Editions, Paris, publisher. The complete set of seven engravings, loose (as issued) in original purple covered boards and slipcase with engraved title on red label. album: 13 1/2 x 18 1/4 in. (34.3 x 46.4cm) [album] $3,000-5,000

27 GABOR F. PETERDI (american, 1915-2001) “HERALDS OF AWAKENING” 1952, pencil signed, titled, dedicated and dated, numbered 30/35, with wide margins. Color etching, engraving and aquatint on wove paper. image: 19 3/4 x 23 3/4 in. (50.2 x 60.3cm) sheet: 22 5/16 x 27 1/2 in. (56.7 x 69.9cm) [Johnson, 71] Unframed $1,000-2,000

28 JOAN MIRÓ (spanish, 1893-1983) “GRAND DUC II” 1965, pencil signed and numbered 44/75, with wide margins, Maeght Éditeur, Paris, publisher. Color etching on Arches. image: 26 7/8 x 20 7/8 in. (68.3 x 53cm) sheet: 35 7/16 x 25 in. (90 x 63.5cm) [Dupin, 395] $1,500-2,500

29 JOAN MIRÓ (spanish, 1893-1983) “MA DE PROVERBIS” plate 3 1970, pencil signed and numbered 11/75 (there was also a deluxe edition of 25 in Roman numerals on Japan), the full sheet, Edicions Polígrafa, Barcelona, publisher. Color lithograph on Arches. sheet: 22 x 30 in. (55.9 x 76.2cm) [Mourlot, 675; see Cramer books, 139] $1,500-2,500

30 JOAN MIRÓ (spanish, 1893-1983) “UBU AUX BALEARES” plate 12 1971, pencil signed and numbered 10/120 (there were also 6 hors commerce proofs in Roman numerals), with wide margins,Tériade, Paris, publisher. Color lithograph on Arches. image: 17 3/8 x 21 1/2 in. (44.1 x 54.6cm) sheet: 19 7/8 x 26 in. (50.5 x 66cm) [Mourlot, 768; see Cramer books, 146] $1,200-1,800

31 THÉO TOBIASSE (french, 1927-2012) “JERUSALEM MATIN DU MONDE” Signed bottom center right and titled top left, oil and collage on canvas. 38 x 51 in. (96.5 x 129.5cm) provenance: Opera Gallery, New York, New York. Private Collection, New York, New York. note: We are grateful to Catherine Faust-Tobiasse for confirming the authenticity of this work. A certificate may be purchased directly from Ms. Faust-Tobiasse by the successful bidder. $18,000-25,000

32 MARC CHAGALL (french/russian, 1887-1985) “L’ARC-EN-CIEL” 1969, pencil signed and numbered 6/75, with wide margins, Éditions des Musées Nationaux, Paris, publisher. Color lithograph on Arches. image: 27 1/4 x 27 1/4 in. (69.2 x 69.2cm) sheet: 36 x 28 1/4 in. (91.4 x 71.8cm) [Mourlot, 596] $15,000-25,000

33 MARC CHAGALL (french/russian, 1887-1985) “LES DEUX RIVES” 1980, pencil signed and numbered 37/50 (there were also an unknown number of artist’s proofs), with wide margins, Maeght Éditeur, Paris, publisher. Color lithograph on Arches. image: 36 13/16 x 23 3/8 in. (93.5 x 59.4cm) sheet: 45 1/2 x 29 3/8 in. (115.6 x 74.6cm) [Mourlot, 974] $15,000-25,000

property from a fine estate, virginia beach, virginia lots 34 – 68 34 MARC CHAGALL (french/russian, 1887-1985) “AM TISCH (AT THE TABLE)” 1922, pencil signed and numbered 19/35 (there were also 2 artist’s proofs), with wide margins. Lithograph on laid paper. image: 4 3/4 x 6 in. (11.9 x 15.1cm) sheet: 10 3/8 x 13 15/16 in. (26.3 x 35.3cm) [Mourlot, 14] provenance: Creighton-Davis Gallery, San Marcos, California, Auction, March 6, 2012, lot 117. $1,500-2,500

35 MARC CHAGALL (french/russian, 1887-1985) “DER TALMUDLEHRER,” from “mein leben” 1923, pencil signed and numbered 105/110 (there was also an unnumbered edition of 110), with wide margins, Paul Cassirer, Berlin, publisher. Etching on laid paper. image: 9 3/4 x 7 1/4 in. (24.7 x 18.4cm) sheet: 17 5/8 x 13 3/4 in. (44.8 x 34.9cm) [Kornfeld, 9 c; see Cramer books, 2] provenance: Christie’s, New York, “American & Modern Prints & Illustrated Books,” November 6, 1996, lot 98. $2,000-3,000

36 MARC CHAGALL (french/russian, 1887-1985) “SELF-PORTRAIT IN STRIPED SHIRT” 1922 (printed in 1956), pencil signed and numbered 4/7, with wide margins. Lithograph on wove paper. image: 10 x 7 3/4 in. (25.4 x 19.6cm) sheet: 13 7/8 x 10 7/8 in. (35.2 x 27.6cm) [Mourlot, 26] provenance: Sotheby’s, New York, “Old Master, 19th and 20th Century Prints,” April 30, 1998, lot 329. $4,000-6,000

37 MARCH CHAGALL (french/russian, 1887-1985) “DER RABBI” from “mein leben” 1923, pencil signed and numbered 14/110, the second (final) state (there were also 26 proofs on Japan and 84 proofs on Vergé), with margins (trimmed), Paul Cassirer, Berlin, publisher. Etching on Japan. image: 9 3/4 x 7 1/4 in. (24.7 x 18.3cm) sheet: 12 7/8 x 9 7/16 in. (32.7 x 24cm) [Kornfeld, 21 IIb] provenance: Sotheby’s, New York, “19th & 20th Century Prints,” May 11, 1995, lot 318. $2,000-3,000

38 MARC CHAGALL (french/russian, 1887-1985) “DIE REITERIN” (“L’ÉCUYÈRE”) Circa 1926-27 (printed in 1963), pencil signed and numbered 24/50, the second state of three (there was also an edition of 25 in Roman numerals), with full margins, Paul Haasen, Paris, printer. Etching and drypoint on Vergé d’Auvergne Richard de Bas. image: 12 13/16 x 9 3/8 in. (32.5 x 23.8cm) sheet: 21 13/16 x 16 in. (55.4 x 40.6cm) [Kornfeld, 72 IIc] provenance: Sotheby’s, New York, “19th and 20th Century Prints,” November 10, 1994, lot 155. $1,500-2,500

39 MARC CHAGALL (french/russian, 1887-1985) “MADAME SOBAKÉVITCH” plate xxxiii from “les ames mortes” 1924-1928, pencil signed and inscribed ‘Essai’ (presumably a trial proof aside from the edition of 368), with wide margins, Tériade, Paris, publisher. Etching on wove paper watermark ‘MBM’. image: 10 7/8 x 8 5/16 in. (27.6 x 21.1cm) sheet: 14 15/16 x 11 in. (37.9 x 27.9cm) [Cramer books, 17] provenance: Sotheby’s, New York, “19th and 20th Century Prints,” November 15, 1990, lot 154. $1,000-2,000

40 MARC CHAGALL (french/russian, 1887-1985) “LA BRITCHKA S’EST RENVERSÉE” plate xiv from “les ames mortes” 1948, pencil signed (from the total edition of 368), with wide margins, Tériade, Paris, publisher. Etching on Arches. image: 8 x 11 11/16 in. (20.2 x 29.4cm) sheet: 11 x 14 3/4 in. (27.8 x 37.4cm) [Cramer books, 17] provenance: Sotheby’s, New York, “19th and 20th Century Prints,” February 14, 1992, lot 104. $1,000-2,000

41 MARC CHAGALL (french/russian, 1887-1985) “le cheval brun” 1952, pencil signed and numbered 70/200, the full sheet, Maeght Éditeur, Paris, publisher. Color lithograph on wove paper. sheet: 14 7/8 x 21 13/16 in. (37.8 x 55.4cm) [Mourlot, 61] provenance: Sotheby’s, New York, “Old Master, 19th and 20th Century Prints,” May 15, 1997, lot 336. $2,000-3,000

42 MARC CHAGALL (french/russian, 1887-1985) “QUAI AUX FLEURS” 1954, pencil signed and numbered 34/75, with narrow margins, published in Derrière le Miroir by Maeght, Paris. Color lithograph on Arches. image: 13 3/4 x 10 9/16 in. (34.9 x 26.8cm) sheet: 14 5/8 x 10 11/16 in. (37.2 x 27.2cm) [Mourlot, 99; see Cramer Books, 24] provenance: Sotheby’s, New York, “Prints,” May 3, 2002, lot 74. $2,000-3,000

43 MARC CHAGALL (french/russian, 1887-1985) “la nuit” 1956, pencil signed and numbered 8/20, with wide margins. Lithograph on Arches. image: 18 1/2 x 12 1/2 in. (47 x 31.8cm) sheet: 25 3/4 x 19 13/16 in. (65.4 x 50.3cm) [Mourlot, 160] provenance: Sotheby’s, New York, “19th and 20th Century Prints,” November 2, 2000, lot 90. $2,500-4,000

44 MARC CHAGALL (french/russian, 1887-1985) “MATERNITÉ AU CENTAURE” 1957, pencil signed and numbered 40/90, with wide margins, Maeght Éditeur, Paris, publisher. Color lithograph on wove paper. image: 9 1/4 x 9 3/8 in. (23.5 x 23.8cm) sheet: 14 3/4 x 13 1/4 in. (37.4 x 33.6cm) [Mourlot, 195] provenance: Michael Hittleman Gallery, Los Angeles, California (acquired by the present owner in 1991). $2,000-3,000

45 MARC CHAGALL (french/russian, 1887-1985) “l’echelle” from “chagall” 1957, pencil signed and numbered 80/90 (there was also an unsigned book edition of 6000), with wide margins, Maeght Éditeur, Paris, publisher. Color lithograph on Arches. image: 9 1/2 x 7 in. (24 x 17.8cm) sheet: 14 11/16 x 10 3/4 in. (37.2 x 27.2cm) [Mourlot, 200; see Cramer books, 34] $800-1,200

46 MARC CHAGALL (french/russian, 1887-1985) “DE MAUVAIS SUJETS” plate 3 1958, pencil signed and numbered 5/9 (there was also an edition of 153 on Arches), with wide margins, Les Bibliophiles de l’Union Française, Paris, publisher, and with their blindstamp. Color etching and aquatint on Japan Nacré. image: 14 1/2 x 10 3/4 in. (36.8 x 27.3cm) sheet: 16 3/4 x 12 3/4 in. (42.5 x 32.4cm) [Cramer books, 35] provenance: Christie’s, New York, “Nineteenth and Twentieth Century Prints,” November 2, 1999, lot 202. $2,000-3,000

48 MARC CHAGALL (french/russian, 1887-1985) “THE CLOWN WITH FLOWERS” from volume ii of the “lithographs of chagall” 1963, pencil signed and numbered 21/40 (one of 40 artist’s proofs aside from the edition of 150), with wide margins, André Sauret, Paris, publisher. Color lithograph on Arches. image: 12 1/2 x 9 1/4 in. (31.6 x 23.5cm) sheet: 18 3/16 x 12 13/16 in. (46.2 x 32.5cm) [Moulot, 399] provenance: Pucker Gallery, Boston, Massachusetts (acquired by the present owner in 1992). $5,000-8,000

47 MARC CHAGALL (french/russian, 1887-1985) “MAYAKOVSKI” 1963, pencil signed and inscribed ‘H.C.’ (an hors commerce proof aside from the edition of 15 plus 5 artist’s proofs in Roman numerals), with wide margins. Color lithograph on Arches. image: 19 x 12 1/2 in. (48.2 x 31.7cm) sheet: 25 11/16 x 18 1/2 in. (65.2 x 47cm) [Mourlot, 389] provenance: Sotheby’s, New York, “Old Master, Modern and Contemporary Prints,” May 4, 2000, lot 207. $2,000-3,000

49 after MARC CHAGALL (french/russian, 1887-1985) “THE TRIBE OF JUDAH” from “twelve maquettes of stained glass windows for jerusalem” by charles sorlier 1964, pencil signed and numbered 75/150 (there was also an edition of 75 in Roman Numerals plus 10 artist’s proofs), with full margins, Editions Fernand Mourlot, Paris, publisher. Color lithograph on Arches. image: 24 5/16 x 18 1/8 in. (61.8 x 46cm) sheet: 29 1/4 x 20 13/16 in. (74.3 x 52.9cm) [Charles Sorlier, 15; see Cramer books, 57] provenance: Christie’s, New York, “Nineteenth and Twentieth Century Prints,” November 2, 1998, lot 178. $4,000-6,000

51 MARC CHAGALL (french/russian, 1887-1985) “LE VILLAGE” 1967, pencil signed and annotated E.A. (an artist’s proof aside from the edition of 35), with wide margins. Etching on Japan. image: 13 5/8 x 9 3/4 in. (34.6 x 24.8cm) sheet: 20 1/2 x 15 5/8 in. (52.1 x 39.7cm) [Cramer, 17] provenance: Christie’s, New York, “American and Modern Prints & Illustrated Books,” November 6, 1995, lot 120. $2,000-3,000

50 MARC CHAGALL (french/russian, 1887-1985) “SUR LA NEIGE” 1964, pencil signed and numbered 4/30, with full margins. Lithograph on Arches. image: 25 1/2 x 19 1/2 in. (64.8 x 49.5cm) sheet: 29 15/16 x 22 1/8 in. (76 x 56.2cm) [Mourlot, 424] provenance: Sotheby’s, New York, Old Master, “19th/20th Century & Contemporary Prints,” May 10, 1991, lot 255. $1,500-2,500

52 MARC CHAGALL (french/russian, 1887-1985) “AUTOPORTRAIT” 1968, pencil signed and numbered 19/50 (there were also 50 without color aquatint), with wide margins. Etching and aquatint on wove paper with partial watermark of artist’s hand and leaves. image: 12 x 9 3/8 in. (30.4 x 23.8cm) sheet: 19 3/8 x 14 13/16 in. (49.2 x 37.7cm) [Cramer, 28] provenance: Christie’s, New York, Old Master, American and Modern Prints & Books, April 29, 1996, lot 193. $2,000-3,000

53 MARC CHAGALL (french/russian, 1887-1985) “POÈMES” plate 18 1968, pencil signed and numbered 1/26 (there was also an edition of 238), with wide margins, Cramer Éditeur, Geneva, publisher. Woodcut on Japon Impérial. image: 12 1/2 x 9 in. (31.7 x 22.8cm) sheet: 20 5/16 x 13 1/2 in. (51.6 x 34.2cm) [Cramer books, 75] $2,000-3,000

54 MARC CHAGALL (french/russian, 1887-1985) “POÈMES” plate 20 1968, pencil signed and numbered 1/26 (there was also an edition of 238), with wide margins, Cramer Éditeur, Geneva, publisher. Woodcut on Japon Impérial. image: 13 x 9 3/4 in. (33 x 34.8cm) sheet: 20 5/16 x 13 1/2 in. (51.6 x 34.2cm) [Cramer books, 75] $2,000-3,000

55 MARC CHAGALL (french/russian, 1887-1985) BOUQUET OF FLOWERS WITH ROOSTER 1968, pencil signed, annotated E.A. (an artist’s proof aside from the regular edition) and dedicated ‘Pour Jacques Frélaut’ verso, with full margins. Etching on laid Japan. image: 7 7/8 x 5 7/8 in. (20 x 14.9cm) sheet: 13 7/16 x 9 11/16 in. (34.1 x 24.6cm) provenance: Sotheby’s, New York, “Prints,” November 8, 2002, lot 205. $2,000-3,000

56 MARC CHAGALL (french/russian, 1887-1985) “CELUI QUI DITS LES CHOSES SANS RIEN DIRE” plate 5 1975-76, pencil signed and numbered 15/25 (there was also an edition of 225 on Rives), with wide margins, Maeght Éditeur, Paris, publisher. Etching and aquatint on Japon Impérial. image: 15 5/8 x 11 3/4 in. (39.7 x 29.8cm) sheet: 18 1/2 x 14 1/16 in. (47 x 35.7cm) [Cramer books, 99] provenance: Sotheby’s, New York, “19th and 20th Century and Contemporary Prints,” February 11, 1999, lot 136A. $2,000-3,000

57 MARC CHAGALL (french/russian, 1887-1985) “CELUI QUI DITS LES CHOSES SANS RIEN DIRE” plate 13 1976, pencil signed and numbered 2/25 (there was also an edition of 225 on Rives), with wide (slightly uneven) margins, Maeght Éditeur, Paris, publisher. Color etching and aquatint on Japon Impérial. image: 15 5/8 x 11 3/4 in. (39.7 x 29.8cm) sheet: 18 1/2 x 14 1/8 in. (47 x 35.8cm) [Cramer books, 99] provenance: Sotheby’s, New York, “Prints,” November 1, 2007, lot 83. $2,000-3,000

58 MARC CHAGALL (french/russian, 1887-1985) “LA FENÊTRE ENTROUVERTE” 1975, pencil signed and numbered 14/50, with wide margins. Color lithograph on Japan. image: 14 5/8 x 10 5/8 in. (37.1 x 27cm) sheet: 23 1/4 x 17 1/16 in. (59.1 x 43.3cm) [Mourlot, 738] $5,000-8,000

59 MARC CHAGALL (french/russian, 1887-1985) “FRONTISPIECE” from “les atéliers de chagall” 1976, pencil signed and numbered 95/250 (there were also 20 in Roman numerals), with wide margins, Editions Fernand Mourlot, Paris, publisher. Color lithograph on Arches, the text page folded back along the right sheet edge and with printed text ‘Les Ateliers de Chagall’ on the reverse (as issued). image: 14 x 9 1/2 in. (33 x 24.1cm) sheet (as folded): 17 x 12 3/4 in. (43.2 x 32.4cm) [Mourlot, 899] provenance: Sotheby’s, New York, “Old Master, 19th and 20th Century Prints,” May 14, 1993, lot 519. $3,000-5,000

60 MARC CHAGALL (french/russian, 1887-1985) “MOÏSE” 1979, pencil signed and numbered 18/50, with wide margins. Color lithograph on Japon Nacré. image: 20 1/2 x 15 1/4 in. (52.1 x 38.7cm) sheet: 25 3/8 x 18 3/4 in. (64.5 x 47.6cm) [Mourlot, 937] provenance: Sotheby’s, New York, “19th and 20th Century Prints,” November 7, 1997, lot 160. $2,000-3,000

61 MARC CHAGALL (french/russian, 1887-1985) “ART FLOWERS” 1983, pencil signed and numbered 11/50, with full margins. Color lithograph on Arches. image: 19 7/16 x 13 3/16 in. (49.3 x 33.5cm) sheet: 25 9/16 x 18 7/8 in. (64.9 x 47.9cm) [Mourlot, 1006] provenance: Sotheby’s, New York, “19th and 20th Century and Contemporary Prints,” February 11, 1993, lot 100. $5,000-8,000

62 MARC CHAGALL (french/russian, 1887-1985) “ENGAGEMENT AT THE CIRCUS” 1983, pencil signed and numbered 16/50 (there were also 12 artist’s proofs in black), with wide margins. Color lithograph on Arches. image: 17 3/4 x 13 1/2 in. (45.1 x 34.3cm) sheet: 25 7/8 x 18 5/8 in. (65.7 x 47.3cm) [Mourlot, 1016] $4,000-6,000

63 MARC CHAGALL (french/russian, 1887-1985) “NUDE WITH BOUQUET” 1984, pencil signed and numbered 20/50 (there were also 12 artist’s proofs without colors), with full margins. Color lithograph on Arches. image: 12 1/4 x 9 1/4 in. (31 x 23.3cm) sheet: 21 3/8 x 16 13/16 in. (54.2 x 42.6cm) [Mourlot, 1027] $2,000-3,000

64 MARC CHAGALL (french/russian, 1887-1985) “L’ÎLE DE POROS” 1980, pencil signed and numbered 8/50, the full sheet, Mourlot, Paris, publisher and with their blindstamp. Color lithograph on Arches. image: 17 1/2 x 14 3/8 in. (44.5 x 36.5cm) sheet: 25 3/16 x 18 3/4 in. (64 x 47.6cm) [Mourlot, 963] provenance: Sotheby’s, New York, “Prints,” April 30, 2004, lot 72. $10,000-15,000

65 FRIEDENSREICH HUNDERTWASSER (austrian, 1928-2000) “THE EXPULSION” 1967, signed, dated, inscribed ‘656’ and located ‘Genève’ in black ink, numbered 36/154, with wide margins, Galerie Krugier and Moos, Geneva, Switzerland, publisher. Color lithograph on Arches. image: 26 3/8 x 31 3/8 in. (67 x 79.7cm) sheet: 27 15/16 x 35 1/4 in. (71 x 89.5cm) [Koschatzky, 28] $2,000-3,000

66 FRIEDENSREICH HUNDERTWASSER (austrian, 1928-2000) “GREEN POWER” 1972, signed, inscribed ‘690’ and dated 1976 in black ink, numbered Prova XXXV/XXXVI, numbered again in pencil and inscribed ‘probedruck,’ (a working proof, presumably dated later; there was also an edition of 249 in Arabic numerals), with pencil notations on colors in the lower margin, with wide margins, Gruener Janura AG, Glarus, Switzerland, publisher and with their metallic embossed stamp. Color screenprint with metal imprints on thick wove paper. image: 30 x 22 in. (76.2 x 55.9cm) sheet: 32 3/4 x 25 in. (83.2 x 63.5cm) [Koschatzky, 57] $4,000-6,000

67 FRIEDENSREICH HUNDERTWASSER (austrian, 1928-2000) “NIGHT TRAIN” 1978, signed and dated in black ink, numbered 186/285 (there were also 90 proofs and collages in Roman numerals), Gruener Janura AG, Glarus, Switzerland, publisher and with their metallic embossed stamp. Color screenprint with metal imprints on Fabriano. sheet: 21 7/8 x 28 7/8 in. (55.6 x 73.3cm) [Koschatzky, 72] $2,000-3,000

68 FRIEDENSREICH HUNDERTWASSER (austrian, 1928-2000) “BLUE TEARS” 1997, signed and dated in black ink, numbered 108/282, with wide margins, published by Gruener Janura, Glarus, Switzerland in 2001 and with their metallic embossed stamp. Color screenprint with metallic imprints on Fabriano. image: 29 7/8 x 19 15/16 in. (75.9 x 50.6cm) sheet: 35 7/16 x 23 9/16 in. (90 x 59.8cm) $2,000-3,000

69 ALBERTO GIACOMETTI (swiss, 1901–1966) “L’HOMME QUI MARCHE” 1957, pencil signed and numbered 109/200, with full margins, Maeght Éditeur, Paris, publisher. Lithograph on Arches. image: 13 1/4 x 7 3/4 in. (33.6 x 19.6cm) sheet: 30 1/8 x 22 5/8 in. (76.5 x 57.4cm) [Lust, 202] $2,000-3,000

70 LÉONARD TSUGUHARU FOUJITA (french/japanese, 1886-1968) LE CHAT Signed and dated ‘19 Sep 1958’ bottom right, ink on paper. 5 1/2 x 9 1/2 in. (14 x 24.2cm) provenance: Jesus Fuentes, Rome, Italy. By family descent. Private Collection, Philadelphia, Pennsylvania. note: We are grateful to Ms. Sylvie Buisson for confirming the authenticity of this work. $1,500-2,500

71 MANUEL CARBONELL (cuban, 1918-2011) DANCER Incised ‘M.C I III’ on bottom edge, polished bronze on marble base. height (with base): 18 in. (45.7cm) provenance: Private Collection, Morristown, New Jersey. $1,000-2,000

72 ANTONIO GREDIAGA KIEFF (canadian/spanish, b. 1936) “FADO” Incised with signature and numbered 8/9, polished bronze on marble base. height (with base): 11 1/2 (29.2 cm) provenance: Private Collection, Morristown, New Jersey. $1,000-2,000

ow widely recognized as one of the pioneers of the ‘Op Art’ movement, Victor Vasarely first developed what he termed ‘Optical Kinetism’ in his studies of Checkerboards, Harlequins, Zebras, Tigers, Prisoners and Martians as early as the 1930’s. Within the pa-

rameters of these recognizable subjects, the artist developed his trademark contrasting shapes and patterns depicted in dizzying waves and undulations that created a jarring and instant impression of movement within the eyes of the viewer. Critical to the artist during this period was the “aggressiveness with which [the subjects’] structures struck the retina.” This visual language of sharply contrasting forms and patterns devoid of shadow and tone was a metaphorical quest: “I am opting for a world-view according to which ‘good and evil,’ ‘beautiful and ugly’ and ‘physical and psychological’ are inseparable, complimentary opposites, two sides of the same coin…. Therefore black and white means to transmit and propagate messages more effectively, to inform, to give.” 1 Some thirty years later, Vasarely’s work was included along with over 100 other artists in the expansive 1965 exhibition, “The Responsive Eye,” at the Museum of Modern Art in New York. The show included works by dozens of emerging artists such as Yaacov Agam, Bridget Riley and Frank Stella, alongside established figures like Josef Albers, Wojciech Fangor, Agnes Martin and Ellsworth Kelly. The show cast international attention upon opticality and kinetism and made ‘Optical Art’ the first broadly recognized art movement to follow World War II. Vasarely is now widely credited with being one of the earliest to develop this movement that has so influenced contemporary art into the 21st Century. The present work, conceived as early as 1940, is squarely placed in the artist’s early years of ‘Optical Kinetism’ in its composition, yet with its green background, hints at the colorful abstractions of the 1950’s forward. The overlapping and intertwined forms create a tangle of dizzying pattern and stripes that create a classic Op-Art tension between black and white, stability and motion, figuration and abstraction. Even though this work was executed many years after its initial conception, it retains and reflects many of the central tenets of Vasarely’s early black and white paintings. “Zepar” has been in the same private collection for nearly three decades, and is only the second oil on canvas of this subject to appear at auction in at least the last twenty years.

1 Victor Vasarely, Notes Brutes, New York, 1979.

73 VICTOR VASARELY (french/hungarian, 1906-1997) “ZEPAR” Signed bottom right, signed again, titled twice, inscribed ‘P. 1270 Vasarely’ and ‘No. 1233,’ and dated 1940-1980 verso, oil on canvas. Concieved between 1940-1980; executed circa 1988. 52 x 42 1/2 in. (132.1 x 108cm)

provenance: Private Collection, Philadelphia, Pennsylvania. note: The authenticity of the present work has been confirmed by Pierre Vasarely, President of the Fondation Vasarely, universal legatee and the moral right holder of Victor Vasarely. This work will be included in the forthcoming Catalogue Raisonné de l’Oeuvre Peint de Victor Vasarely, which is currently being compiled by the Fondation Vasarely, Aix-en-Provence. According to Pierre Vasarely, this work was conceived between 1940 and 1980, and executed circa 1988. $60,000-100,000

74 VICTOR VASARELY (french/hungarian, 1906-1997) “ZURR” Signed bottom right, signed again, titled and dated 1939 verso, acrylic on paperboard. Concieved in 1939; executed circa 1989. 16 x 14 1/2 in. (40.6 x 36.8cm) provenance: Circle Gallery, Atlantic City, New Jersey. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above in 1990). note: The authenticity of the present work has been confirmed by Pierre Vasarely, President of the Fondation Vasarely, universal legatee and the moral right holder of Victor Vasarely. This work will be included in the forthcoming Catalogue Raisonné de l’Oeuvre Peint de Victor Vasarely, which is currently being compiled by the Fondation Vasarely, Aix-en-Provence. According to Pierre Vasarely, the present work was conceived in 1939 and executed circa 1989. $12,000-18,000

75 VICTOR VASARELY (french/hungarian, 1906-1997) “BOHÔTZ” Signed bottom center, signed again, titled and dated 1986 verso, acrylic on paperboard. image: 13 3/16 x 9 5/8 in. (33.5 x 24.4cm) overall: 18 x 14 1/2 in. (45.7 x 36.8cm) provenance: Circle Gallery, Atlantic City, New Jersey. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above in 1990). note: The authenticity of the present work has been confirmed by Pierre Vasarely, President of the Fondation Vasarely, universal legatee and the moral right holder of Victor Vasarely. This work will be included in the forthcoming Catalogue Raisonné de l’Oeuvre Peint de Victor Vasarely, which is currently being compiled by the Fondation Vasarely, Aix-en-Provence. $6,000-10,000

76 RUFINO TAMAYO (mexican, 1899-1991) “TORSE DE FEMME” from “mujeres” 1969, pencil signed and numbered 48/150, the full sheet, Touchstone Publishers, New York, publisher. Color lithograph on wove paper. sheet: 29 13/16 x 22 3/8 in. (75.7 x 56.8cm) [Pereda, 108] $800-1,200

77 RUFINO TAMAYO (mexican, 1899-1991) “HOMBRE CON SOMBRERO” 1976, pencil signed and numbered HC 22/30 (an hors commerce proof aside from the regular edition of 100), the full sheet, Taller de Gráfica Mexicana, Mexico City, publisher and with their blindstamp. Color lithograph on Arches. sheet: 29 1/8 x 21 9/16 in. (74 x 54.8cm) [Pereda, 189] note: This lot is being sold to benefit Project HOME in its mission to break the cycle of homelessness and poverty in Philadelphia. $2,000-3,000

78 DIEGO RIVERA (mexican, 1886-1957) “GUARDANTE SILENTE DE LA VERDAD, EN EL TRAMO DE LA ‘REVELACIÓN DEL CAMINO’” study for chapingo mural, chapel Pencil signed bottom right, graphite on paper laid down to cardboard. Executed circa 1925. 22 7/8 x 23 3/4 in. (58.1 x 60.3cm) provenance: Private Collection, Philadelphia, Pennsylvania. By family descent. Private Collection, Philadelphia, Pennsylvania. literature: Luis-Martín Lozano and Juan Rafael Coronel Rivera, Diego Rivera, The Complete Murals, Taschen, 2008 (pp. 182 and 189, final mural version illustrated). note: We are grateful to Professor Luis-Martín Lozano for his assistance cataloguing this work. $12,000-18,000

he present drawing is a working study for one of the famous true fresco murals at Escuela Nacional de Agricultura in Chapingo, Mexico (today known as the Universidad Nacional Autónoma de Chapingo). Between 1923 and 1928, Rivera began the ambitious project that covered over 700 square

meters of the walls and ceilings of the school’s entrance hall, staircase, administration offices and Assembly Hall in the Ex Chapel. Rivera’s two main subjects were “Song to the Earth and Those Who Work the Land” and “And to Those who Struggle to Make it a Place Conducive to Life and Freedom of the Human Genre”. These murals reflected the school’s creed, “To teach the exploitation of the Land, not the exploitation of Men.” The final version of the present work, “Silent Guardian of the Truth,” is one of several male figures shown in the ceiling vault surrounding the central scene, “Revelation of the Road to Follow.” The figures are depicted in architectural ‘squinch’ areas that support and surround the domed ceiling above the recumbent image of Mother Nature in “The Liberated Earth with The Powers of Nature Controlled by Man.” He is one of the two main Guardians, who with a vigilant attitude and machete in hand, will defend the goals of the Mexican Revolution that will bring social change to the country and its people. Working drawings for murals for the Chapingo series come rarely to auction, and Freeman’s is delighted to present this work on behalf of a private family collection where it was enjoyed for over 40 years.

79 LEON KELLY (american, 1901-1982) “ABSTRACTION” Signed bottom right, inscribed twice in two different hands with the artist’s name and title, and dated 1935 verso, oil on masonite. 9 1/4 x 12 1/2 in. (23.5 x 31.8cm) provenance: The Estate of the Artist. By family descent. Private Collection, Massachusetts. $3,000-5,000

80 FRANZ KLINE (american, 1910-1962) SEATED FIGURE Signed with the artist’s monogram and dated 45 bottom right, ink and wash on paper laid down to paperboard. 6 3/4 x 5 5/16 in. (17.1 x 13.5cm) provenance: Private Collection, Philadelphia, Pennsylvania. $1,500-2,500

81 HANS HOFMANN (german, 1880-1966) “THE MALE” Oil on panel. Executed in 1950. 8 1/2 x 11 in. (21.6 x 27.8cm) [HH no. 1080-1950; Estate no. M-0866] provenance: The Estate of the Artist. André Emmerich Gallery, New York, New York (acquired from the above in 1974). Harcus Krakow Gallery, Boston, Massachusetts (acquired from the above in 1974). The Collection of Mr. and Mrs. Béla Kalman (acquired from the above in 1974). By family descent. Private Collection, Massachusetts. literature: Suzi Villiger, Hans Hofmann Catalogue Raisonné of Paintings, Volume II: Catalogue Entries P1-P846 (1901-1951), Burlington: Lund Humphries, 2014, catalogue no. P766 (p. 469, illustrated). $25,000-40,000

ans Hofmann was an acclaimed Abstract Expressionist artist and teacher. Praised as the most important art teacher of the twentieth century by seminal art historian and critic

Clement Greenberg, Hofmann bridged the gap between the School of Paris, led by titans and particular role models Pablo Picasso, Georges Braque, Robert Delaunay and Henri Matisse, and the nascent group of abstract painters in Post-War New York. Many of these artists, such as Helen Frankenthaler, Lee Krasner, Jackson Pollock and Frank Stella, were students of Hofmann and his influence can be seen in their significant and varied bodies of work. His style synthesized elements of Fauvism, Cubism and Expressionism, while incorporating his own innovative abstract theory which relied on the “push and pull” of interacting colors and form. “The Male” was painted in 1950, a pivotal and highly productive year for the seventy year old painter. It is widely considered the apex of his artistic career, when he fully refined his now signature aesthetic. Comprised of dynamic brushstrokes, a wide color palette and varying textures, this painting is characteristic of Hofmann’s artistic output during this period. “The Male” belonged to the Estate of the Artist until 1974 when it was acquired by thelegendary André Emmerich Gallery, and later that year by the Harcus Krakow Gallery in Boston. It has remained with the same private collection ever since.

82 LLOYD RAYMOND NEY (american, 1893-1964) NEW HOPE MODERNIST ABSTRACT Signed and dated 55 bottom left, oil on canvas. 30 x 30 in. (76.2 x 76.2cm) provenance: “American Art,” Doyle, New York, May 26, 2004, lot 162. Private Collection, New York (acquired directly from the above sale). $2,500-4,000

83 AFTER ALEXANDER CALDER (american, 1898-1976) “FLOATING CIRCLES” 1974, embroidered with the artist’s initials and date, bears numbering 14/100, C.A.C. Publications and Catalina Meyer for Bon Art, New York, co-publishers. Wove jute fiber wall-hanging. 85 x 56 1/4 in. (215.9 x 142.9cm) $4,000-6,000

84 ALEXANDER CALDER (american, 1898-1976) “3 CIRCLES” Signed and dated 64 bottom right, gouache and ink on paper. 11 x 14 7/8 in. (27.9 x 37.8cm) provenance: The Artist. Mr. Nicholas Guppy, London, United Kingdom (acquired directly from the above circa 1964). Obelisk Gallery, Boston, Massachusettes (acquired directly from the above circa 1970). The Private Collection of Mr. and Mrs. Béla Kalman (acquired directly from the above circa 1970). By family descent. Private Collection, Massachusetts. note: This work is registered in the archives of the Calder Foundation under identification number A14260. $10,000-15,000

85 CHARLES SEARLES (american, 1937-2004) “THREE SPIRIT FORMS” Signed and dated 79 bottom right, signed again, titled and dated verso, acrylic on canvas. 30 x 30 in. (76.2 x 76.2cm) provenance: Private Collection, Philadelphia, Pennsylvania. $5,000-8,000

86 ROBERT BLACKBURN (american, 1920-2003) “ROOT TOOT #1” 1969, pencil signed and dated, numbered 17/20, with wide margins. Color lithograph on wove paper. image: 22 5/8 x 17 3/16 in. (57.5 x 43.7cm) sheet: 24 3/4 x 19 in. (62.9 x 48.3cm) Unframed $1,000-2,000

87 CLAUDE C.F. CLARK (american, 1915-2001) THE MARKETPLACE Signed and dated ‘61 bottom center, oil on masonite. 24 x 18 in. (61 x 45.7cm) provenance: The Artist. Private Collection, Pennsylvania (acquired from the above circa 1961). $1,500-2,500

88 SALLY MICHEL AVERY (american, 1902-2003) “CALEB AND FRIENDS” Signed and dated 1978 bottom right, signed again, titled and dated 1977 verso, oil on canvas. 38 x 50 in. (96.5 x 127cm) provenance: The Artist. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above circa 1978). note: According to the present owner, who was close friends with the artist, this painting features Sally and Milton’s daughter March, as well as Ellie, March’s sister-in-law, and Caleb, Sally’s six-toed cat. $6,000-10,000

89 SALLY MICHEL AVERY (american, 1902-2003) “SAILS IN SUNSET SEA” Signed and dated 1982 bottom right, signed again and titled verso, oil on artist’s board. 9 x 12 in. (22.9 x 30.5cm) provenance: The Artist. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above circa 1985). $2,500-4,000

90 SALLY MICHEL AVERY (american, 1902-2003) STILL LIFE WITH TULIPS Signed and dated 1981 bottom right, acrylic on canvas. 38 x 30 in. (96.5 x 76.2cm) provenance: Private Collection, New Jersey. $4,000-6,000

91 SALLY MICHEL AVERY (american, 1902-2003) MOUNTAIN SCENE Signed and dated 1963 bottom right, oil on canvas laid down to board. 20 x 24 in. (50.8 x 61cm) provenance: Private Collection, New Jersey. $2,000-3,000

ean-Pierre Cassigneul is best known for his striking female subjects and the vibrantly colored gardens which often serve as their setting. Born in Paris in 1935, his first private exhibition was held in 1952 at the Galerie Lucy Krogh in Paris, after

which he entered the Academie Charpentier. Soon after, he joined the École des Beaux Arts in Paris to study under Professor Jean Souverbie. Cassigneul is an appointed member of the Salon d’Automne and has been represented by the Wally Findlay Galleries since 1968. His work has been extensively exhibited throughout the world, particularly in Western Europe, the United States, and Japan. Cassigneul’s style follows in the tradition of the early 20th century Post-Impressionist group called Les Nabis, which was comprised of notable French artists like Pierre Bonnard, Edouard Vuillard, Maurice Denis and Felix Vallatton. Named for the Hebrew word meaning “prophets,” Les Nabis were an avant-garde brotherhood that grew out of a shared interpretation of Paul Gauguin’s aesthetic message that sought to free form and color from their traditional descriptive functions in order to express spiritual truth and personal emotion. The core objective of the movement was the creation of a completely subjective work of art that was deeply rooted in the soul of the artist. According to member Charles Chassé, “a picture had meaning only when it possessed style… when the artist had succeeded in changing the shape of the objects he was looking at and imposing on them contours or a color that expressed his own personality.”1 These artists were therefore known for their bright color palette, as well as their compressed interpretation of space and incorporation of stylistic elements characteristic of Japanese woodblock prints, which had attained mainstream popularity on the Continent during that period. Cassigneul integrates these components into his paintings harmoniously, celebrating the vibrant Nabis aesthetic by organizing his compositions into bright, flat spaces that are defined by dark outlines reminiscent of woodblock imagery. Cassigneul was also greatly influenced by Dutch Expressionist and Fauvist painter Kees Van Dongen, who was known both for his sensuous portraits of red-district bohemian women, as well as his more elegant portrayal of the societal elite. The elongated figures, pale complexions and large blackened eyes of Cassigneul’s female subjects bear a striking resemblance to those of Van Dongen, though without the latter’s blatantly sexual and provocative overtones. Van Dongen’s use of intense, unblended color has also greatly influenced Cassigneul’s aesthetic. The vibrant scene here is an extraordinary example of Cassigneul’s striking portraits of young society women that are both dramatically contemporary and classically elegant. Speaking about his choice of subject, the artist says, “women and gardens, those two subjects are a natural choice for me.”2

92 JEAN-PIERRE CASSIGNEUL (french, b. 1935) “UN APRES-MIDI D’ÉTÉ” Signed bottom left and inscribed with title on stretcher bar verso, oil on canvas. Executed in 1977. 32 x 24 in. (81.3 x 61cm) provenance: Wally Findlay Galleries, Inc., New York, New York. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above in 1978). note: We are grateful to Jean-Pierre Cassigneul for confirming the authenticity of this work, which will be accompanied by a certificate signed by the artist. $60,000-100,000

1 “Les Nabis,” The Art Story, 2017. 2 Kees Van Dongen Art website, 2015.

93 HARRY BERTOIA (american, 1915-1978) SONAMBIENT Beryllium copper rods silvered to brass base. Executed in 1975. height: 18 in. (45.7cm) width: 5 1/4 in. (13.3cm) depth: 5 1/4 in. (13.3cm) provenance: Mangel Gallery, Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania. (acquired directly from the above in 1991). note: This lot will be accompanied by a certificate of authenticity issued by the Harry Bertoia Foundation and signed by Celia Bertoia, Director. $15,000-25,000

94 HARRY BERTOIA (american, 1915-1978) “KINETIC, SPRAY” Bronze. Executed circa 1970. height: 39 1/2 in. (100.3cm) width: 17 in. (43.2cm) depth: 17 in. (43.2cm) provenance: “Doyle + Design,” Doyle, New York, November 18, 2014, lot 59. Private Collection, New York (acquired directly from the above sale). note: This lot will be accompanied by a letter issued by the Harry Bertoia Foundation and signed by Celia Bertoia, Director. $12,000-18,000

95 HARRY BERTOIA (american, 1915-1978) SONAMBIENT Beryllium copper rods and bronze cattails silvered to brass base. Executed circa 1973. height: 41 1/2 in. (105.4cm) width: 10 in. (25.4cm) depth: 10 in. (25.4cm) provenance: The Artist. Private Collection, Pennsylvania (acquired directly from the above circa 1973). note: This lot will be accompanied by a certificate of authenticity issued by the Harry Bertoia Foundation and signed by Celia Bertoia, Director. $50,000-80,000

96 HARRY BERTOIA (american, 1915-1978) UNTITLED Stainless steel rods silvered to stem with steel base. Executed circa 1970. height 39 in. (99.1cm) width: 10 in. (25.4cm) depth: 3 in. (7.6cm) provenance: Private Collection. Artnet Auctions, May 25, 2010, lot 25982. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above sale). note: This lot will be accompanied by a certificate of authenticity issued by the Harry Bertoia Foundation and signed by Celia Bertoia, Director. This stainless steel sculpture is a transitional piece between a Sonambient sounding sculpture and a willow-type sculpture. Stainless steel was never used for the tonal sculptures, but usually for the willows. $15,000-25,000

97 HARRY BERTOIA (american, 1915-1978) SINGLE ROW SONAMBIENT Beryllium copper rods and nickel cattails silvered to brass base. Executed circa 1973. height: 12 3/4 in. (32.4cm) width: 12 in. (30.5cm) depth: 4 1/2 in. (11.4cm) provenance: The Artist. Private Collection, Pennsylvania (acquired directly from the above circa 1973). note: This lot will be accompanied by a certificate of authenticity issued by the Harry Bertoia Foundation and signed by Celia Bertoia, Director. $18,000-25,000

98 SAM GILLIAM (american, b. 1933) “EAST II” Signed, titled and dated 67 on the canvas overhang verso, acrylic and aluminum dust on canvas. 37 x 41 in. (94 x 104.1cm) Unframed provenance: The Artist. Barbara Silby, Potomac, Maryland (acquired directly from the above). note: We are grateful to the Gilliam Studio for their assistance in cataloguing this work. $25,000-40,000

hroughout his long and prolific career, Sam Gilliam has been variously associated with Color Field Painting, Abstract Expressionism and Lyrical Abstraction. Continuously exploring new aesthetic possibilities and

employing experimental working techniques, the artist has defied strict characterization, drawing inspiration from each of these movements, while pushing his own artwork ever forward. Gilliam first became interested in Color Field painting upon meeting Thomas Downing in 1963. Downing was a prominent member of the Washington Color School, a group which also included Kenneth Noland, Howard Mehring, Morris Louis, Paul Reed and Gene Davis. Together, these artists were interested in color as a primary subject, often applying it in large, flat planes and utilizing innovative methods to transfer it to the canvas. Gilliam, who had previously been largely influenced by the German Expressionists he had studied at the University of Louisville, was inspired by the group’s philosophy and began to work on large-scale colorful paintings of his own. By the mid-1960’s, Gilliam had begun to undertake the work that has come to be considered his seminal achievement – his drape paintings. In them, he liberated the canvas from its stretcher, pouring and staining it with acrylic and metallic paints that spread and mingled as he manipulated the fabric. He then draped the canvas from a wall or a ceiling, allowing it to hang, fold or move in ways not previously conceived. In so doing, the work became both painting and sculpture, forever altering the way we perceive the picture plane and its limitations. As the artist recalled, “paint and surface took on an added, third-dimensional reality. Now the canvas was not only the means to, but a primary part of, the object. The suspended paintings began by celebrating the working process and ended with the involvement of the wall, the floor, and the ceiling. The year 1968 was one of revelation and determination - something was in the air, and it was in that spirit that I did the drape paintings.”1 “Idylls I” is an excellent painting from this critical period of Gilliam’s career. Painted in 1970, the work exhibits wide swaths of expressive color that move gently across the canvas. The glimmering highlights of metallic paint highlight the artist’s interest in light and its effect on the colors and textures woven into his paintings. Hanging from two rawhide ropes at its upper corners and energized by the volumes of its folds, the sculptural quality of the work is unmistakable, reflecting Gilliam’s unique and lasting artistic contributions. Barbara Silby acquired “Idylls I” in 1972 from Jefferson Place Gallery in Washington, D.C. At the time, she was working at the gallery, where she came to greatly admire the artist’s work. Her collection also included “East II” (lot 98). Barbara would come to be friends with Gilliam and his then-wife, Dorothy, all of whom were residents of the Washington, D.C. area. Freeman’s is pleased to bring these treasured works to the market. 1 Sam Gilliam, with Annie Gawlak, “Solids and Veils,” Art Journal, 50:1 (Spring, 1991), 10.

99 SAM GILLIAM (american, b. 1933) “IDYLLS I” Signed and dated 70 verso, acrylic, metallic paint, traces of crayon and rawhide on unstretched canvas. installed (variable): 76 x 61 in. (193 x 154.9cm) provenance: Jefferson Place Gallery, Washington, D.C. Barbara Silby, Potomac, Maryland (acquired directly from the above in 1972). note: This lot will be sold along with the artist’s original sketch of the work. We are grateful to the Gilliam Studio for their assistance in cataloguing this work. $50,000-80,000

100 ANTON ROOSKENS (dutch, 1906-1976) UNTITLED Signed and dated 58 bottom left, ink, watercolor, gouache and crayon on paper. 13 x 15 5/8 in. (33 x 39.7cm) provenance: Marian Locks Gallery, Philadelphia, Pennsylvania. exhibited: “Anton Rooskens,” Marian Locks Gallery, Philadelphia, Pennsylvania, May 13 - April 5, 1969. $1,500-2,500

101 GYORGY KEPES (american/hungarian, 1906-2001) CACTUS Signed and dated 1990 bottom right, dated again and inscribed illegibly verso, oil and sand on canvas. 18 x 14 in. (45.7 x 35.6cm) provenance: The Artist. The Collection of Mr. and Mrs. Béla Kalman. By family descent. Private Collection, Massachusetts. $2,000-3,000

102 CLEVE GRAY (american, 1918-2004) “ROCKS AND WATER #17” Signed, titled and dated ‘83 verso, acrylic on canvas. 50 x 80 in. (127 x 203.2cm) provenance: Mangel Gallery, Philadelphia, Pennsylvania. Private Collection, Bryn Mawr, Pennsylvania (acquired from the above in 1983). $6,000-10,000

103 FRIEDEL DZUBAS (american/german, 1915-1994) “DAY BREAK” Inscribed ‘Day Breack’ in ink bottom right, and with other various notations, acrylic on unstretched canvas. Executed in 1974. 10 5/8 x 11 1/4 in. (27 x 28.6cm) provenance: Private Collection, Massachusetts. Harcus Gallery, Boston, Massachusetts. Private Collection, Philadelphia, Pennsylvania. note: We are grateful to the Dzubas Estate for their assistance cataloguing this work. According to the artist’s estate, the present work was a sketch made in preparation for a larger painting. The pencil inscriptions around the edges - 175 + B/74 + 72” x 72” - represent the artist’s filing system. The ‘72 x 72’ inches, the size of the planned painting, and the ‘74’ indicates the date the sketch was completed. $2,500-4,000

104 ROBERT MOTHERWELL (american, 1915-1991) “AUTOMATISM A” 1965-66, pencil signed and numbered 69/100 (there was also an unrecorded number of artist’s proofs), the full sheet, Hollander’s Workshop, New York, publisher and with their blindstamp. Lithograph on BFK Rives. sheet: 27 7/8 x 21 1/4 in. (70.8 x 54cm) [Belknap, 6; Engberg & Banach, 19] $3,000-5,000

105 ROBERT MOTHERWELL (american, 1915-1991) “AUTOMATISM B” 1965-66, pencil signed and numbered 7/100 (there was also an unrecorded number of artist’s proofs), the full sheet, Hollander’s Workshop, New York, publisher and with their blindstamp. Lithograph on BFK Rives. sheet: 27 7/8 x 21 3/8 in. (70.8 x 54.3cm) [Belknap, 7; Engberg & Banach, 20] $3,000-5,000

lfonso Ossorio was a central figure in the advancement of art after World War II as well as the cross-cultural dialogue between American and European artists. Born into great wealth

in the Philippines in 1916, Ossorio was first known for his importance as a collector, particularly of Abstract Expressionism, Art Brut and Surrealist art. Most notably, he was close personal friends with artists Jackson Pollock and Jean Dubuffet, amassing hundreds of works by each over the years and drawing influence from their ideas and techniques for his own artwork. His kinship, generosity and patronage fostered their experimentation and played a pivotal role in their artistic development. While this altruism was highly impactful art historically, it has perhaps overshadowed Ossorio’s influence as an artist in his own right. Ossorio was extremely experimental as a painter, his style purposefully eclectic and indefinable. 106 ALFONSO OSSORIO (american/filipino, 1916-1990) UNTITLED Signed with the artist’s monogram, dated 70 bottom left and incised indistinctly bottom right, ink, wash and wax on Howell paper. 33 1/2 x 22 1/8 in. (85.1 x 56.2cm) provenance: Mrs. Barbara Hale, New York, New York. By family descent. Private Collection, Philadelphia, Pennsylvania. exhibited: “Alfonso Ossorio: 1940-1980,” Guild Hall Museum, East Hampton, New York, July 19 – August 17, 1980 (exhibition catalogue no. 73, illustrated). $40,000-60,000

He created his own mode of expression by synthesizing a range of influences including Abstract Expressionism, Art Brut and Surrealism, as well as his Catholic, Hispanic and Asian cultures. “Untitled” exemplifies this atypical and original fusion - the dynamic yet organized complexity of Expressionism and the archaic, raw qualities of Art Brut, both of which are dominant forces within his work. Furthermore, the intensive wax-resist technique which he used to create this work was inspired by Surrealist painter and sculptor Victor Brauner. This process involved the use of wax in combination with watercolor or ink. The artist would first rub a candlestick onto the paper’s surface, which would resist the subsequently applied water-based media painted on top, causing it to run as it attempted to adhere to the paper. 68

107 WILLEM DE KOONING (american/dutch, 1904-1997) “THE MAN AND THE BIG BLONDE” 1982, numbered CXXIII/CL, from the unsigned edition of 150 in Roman numerals (there was also a signed edition of 150 in Arabic numerals), with full margins, The Rainbow Art Foundation, New York, publisher and with their blindstamp. Color offset lithograph on wove paper. image: 21 1/4 x 26 7/8 in. (54 x 68.3cm) sheet: 26 1/2 x 36 in. (67.3 x 91.4cm) $2,000-3,000

108 VICTOR PASMORE (british, 1908-1998) “ANXIOUS MOMENTS” 1986, pencil signed and dated 85, numbered 6/90 (there were also 15 artist’s proofs), with wide margins, co-published by Marlborough Fine Art Ltd., London, and 2RC Edizioni d’Arte, Rome and with their blindstamp. Color etching and aquatint on Fabriano. image: 39 1/8 x 27 11/16 in. (99.4 x 70.3cm) sheet: 57 3/4 x 39 15/16 in. (146.7 x 101.4cm) [Lynton, 42] $3,000-5,000

109 ROBERT MOTHERWELL (american, 1915-1991) “TRICOLOR” 1973, pencil signed and numbered 124/125 (there were also 15 artist’s proofs), with wide margins, XXe Siècle Magazine, Paris, publisher. Color offset lithograph on Arches Cover. image: 12 1/4 x 9 in. (31.1 x 22.9cm) sheet: 22 1/8 x 13 15/16 in. (56.2 x 35.4cm) [Engberg & Banach, 137; Belknap app., 24] note: This lot is being sold to benefit Project HOME in its mission to break the cycle of homelessness and poverty in Philadelphia. $800-1,200

110 ROBERT MOTHERWELL (american, 1915-1991) “LONDON SERIES I: UNTITLED” 1971, pencil signed and numbered 79/150 (there were also 10 artist’s proofs), with full margins, Marlborough Graphics, Inc., New York, publisher. Color screenprint on J.B. Green mould-made Double Elephant paper and with the blindstamp of the artist. image: 36 x 24 1/16 in. (91.4 x 61.4cm) sheet: 41 1/8 x 27 1/16 in. (104.5 x 68.7cm) [Engberg & Banach, 91; Belknap, 61; W.A.C., 89-93] $1,200-1,800

dolph Gottlieb was a first generation Abstract Expressionist painter, and a leading figure amongst the burgeoning group of downtown artists known as The New York School. Along with fellow larger-than-life figures like Pollock, de

Kooning and Rothko, by the 1950’s the group would come to capture the attention of the world, cementing America’s, and particularly New York’s, influence as the center of the creative avant-garde. Gottlieb’s impact within the Abstract Expressionist movement specifically, was powerful. Along with Mark Rothko, he penned an impassioned letter, published in The New York Times in 1943, that is widely considered to be the movement’s manifesto. “We favor the simple expression of complex thought,” they wrote. “We wish…to destroy illusion and reveal truth”. Gottlieb expressed this philosophy to tremendous effect in his exceptional output of artwork. Though his oeuvre is varied, he is best known for his widely celebrated series of ‘Burst’ paintings, which he began in the mid-1950’s and continued to explore until his death in 1974. These works display smooth, round areas of color suspended above vigorously gestural brushstrokes, a synthesis of Color Field painting and gestural abstraction. “Brown on Black” is an excellent example from this series and is emblematic of the artist’s iconic visual lexicon. Set against an inky black background, a vibrant red orb radiates with energy. Its smooth and diffuse lines serve as a dynamic counterpoint to the painterly brushstrokes found in the background and the amorphous brown shape hovering below. A wonderful exploration of color, shape, line and texture, “Brown on Black” is also a captivating expression of Gottlieb’s ability to portray feeling through abstraction. Originally purchased at Marlborough Gallery in 1971, “Brown on Black” has been in the same private collection for over 45 years.

111 ADOLPH GOTTLIEB (american, 1903-1974) “BROWN ON BLACK” Signed and dated 1970 bottom right, signed and dated again on the mylar backing verso, oil and acrylic on paper mounted to fiberglass fabric with a mylar backing. 20 x 15 in. (50.8 x 38.1cm) provenance: Marlborough Gallery, New York, New York. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above in 1971). exhibited: “Adolph Gottlieb: Works on Paper 1970,” Marlborough Gallery, New York, New York, February 11 - March 6, 1971 (exhibition checklist no. 7). note: The Gottlieb Foundation lists this work as #7039 in their archives. $80,000-120,000

A letter from Mark Rothko and Adolph Gottlieb to the Art Editor of the New York Times, June 7, 1943

112 HELEN FRANKENTHALER (american, 1928-2011) “TALES OF GENJI IV” from “tales of genji” 1998, pencil signed and numbered 24/30 (there were also 12 artist’s proofs), the full sheet, Tyler Graphics, Ltd., Mount Kisco, New York, publisher and with their blindstamp. Color woodcut and pochoir on TGL handmade paper. sheet: 47 x 42 in. (119.4 x 106.7cm) $25,000-35,000

113 HELEN FRANKENTHALER (american, 1928-2011) “TALES OF GENJI III” from “tales of genji” 1998, pencil signed and numbered 31/36 (there were also 14 artist’s proofs), the full sheet, Tyler Graphics, Ltd., Mount Kisco, New York, publisher and with their blindstamp. Color woodcut and pochoir on TGL handmade paper. sheet: 46 3/4 x 41 1/2 in. (118.7 x 105.4cm) $30,000-50,000

114 ROBERT INDIANA (american, b. 1928) “THE AMERICAN EAT COMPANY” Signed and dated ‘62 bottom right, inscribed ‘A/E 28 XII 61’ bottom left, frottage in graphite on wove paper. 25 1/8 x 19 in. (63.8 x 48.3cm) provenance: Stable Gallery, New York, New York. Barbara Silby, Potomac, Maryland (acquired directly from the above in 1962). $12,000-18,000

115 ANDY WARHOL (american, 1928-1987) “PORTRAIT OF DOUGLAS WITH ORANGE” Signed bottom right and inscribed ‘Douglas’ bottom left, ink and Dr. Martin’s Analine dye on paper. Executed in 1954. 13 x 11 3/4 in. (33 x 29.8cm) provenance: Collection of Douglas Sackfield. Private Collection, New York, New York. exhibited: “Success is a Job in New York: The Early Art and Business of Andy Warhol,” Grey Art Gallery and Study Center, New York University, New York, March 14 - April 29, 1989; the Carnegie Museum of Art, Pittsburgh, Pennsylvania, June 24 - August 13, 1989; Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Pennsylvania, October 12 - November 26, 1989 (an exhibition catalogue, checklist no. 34; plate 23A, illustrated). $15,000-25,000

116 TOM WESSELMANN (american, 1931-2004) “STUDY FOR GREAT AMERICAN NUDE NO. 53” Signed and dated 63 bottom right, inscribed ‘GAN #53 (8’ x 10’)’ and dated again verso, pencil, pastel and crayon with painted collage elements on paper. 10 x 8 in. (25.4 x 20.3cm) provenance: The Artist. Barbara Silby, Potomac, Maryland (acquired directly from the above circa 1963). note: This work is registered in the archives of the Tom Wesselmann Estate. $40,000-60,000

leading figure in the American Pop Art movement, Tom Wesselmann employed a visual vocabulary that is one of the most iconic and instantly recognizable of any artist working in the twentieth century. He rose to prominence in the 1960’s, working in a style that uniquely blended

contemporary images and pop culture with classical representation. He interpreted traditional subjects like the still life, landscape and female nude in new and innovative ways that reflected his own singular vision. He is perhaps best known for his “Great American Nude” series of the early 1960’s, in which the female nude is portrayed in bold, often-patriotic colors and exaggerated flattened forms. According to the Tom Wesselmann Estate, the present work is a study for the artist’s major 1964 painting, “Great American Nude No. 53.” It is quite an elaborate study, rendered in pencil, crayon, pastel and painted collage elements. This working method harkens to other examples from the series that also include collage and mixed-media components. This study is a fine example of Wesselmann’s style in this defining period. In it, he focuses closely on an alluring nude woman, whose figure dominates the composition. He concentrates his attention on her mouth and breasts, highlighting these sexualized elements of the female form. She is placed beside a still life of fruit and flowers, which can be read as a symbol of fertility and abundance, further adding to the sensuality of the scene. In the early 1960’s, Barbara Silby worked for the Albright-Knox Art Gallery in Buffalo, New York. While working on behalf of the museum, she often visited galleries in Manhattan. A particular favorite was the famed Green Gallery, run by legendary art dealer Dick Bellamy. According to her recollection, Bellamy introduced her to Wesselmann and she was able to visit his studio. Unable to afford a major work at the time, she found this study on the studio floor and asked to purchase it. Wesselmann sold it to her for $125, and allowed her to pay it off for $5 a month over the course of two years. Barbara’s discerning eye, along with the personal relationships she built with the artists whose work she admired, led her to build a collection of exceptional quality, its ultimate value matched only by its personal significance. It is with great pleasure that Freeman’s presents this beloved work. 77

117 SUNDAY B. MORNING (AFTER ANDY WARHOL) “MARILYN PORTFOLIO” the complete set of 10 color screenprints From the editions of unknown sizes, Sunday B. Morning, publisher and with their blue ink-stamp verso. Color screenprints on museum board. each sheet: 35 3/4 x 35 13/16 in. (90.8 x 91cm) (10) $2,000-3,000

118 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

119 ROY LICHTENSTEIN (american, 1923-1997) “MODERN PRINT” 1971, pencil signed and dated, numbered 65/200 (there were also 15 artist’s proofs), with wide margins, co-published by the artist and Gemini G.E.L., Los Angeles for the Museum of Modern Art and with the Gemini blindstamps and inkstamp. Color lithograph and screenprint on Special Arjomari paper. image: 24 x 24 in. (61 x 61cm) sheet: 30 15/16 x 30 7/8 in. (78.6 x 78.4cm) [Corlett, 103] $6,000-10,000

120 ROBERT INDIANA (american, b. 1928) “THE AMERICAN FOUR” 1970, pencil signed, titled and dated, numbered 26/200 (there were also 25 artist’s proofs in Roman numerals), with full margins, The Museum of Modern Art, New York, publisher. Color screenprint on white Schoellers Parole double paper. image: 23 7/8 x 23 7/8 in. (60.6 x 60.6cm) sheet: 26 3/8 x 26 1/4 in. (67 x 66.7cm) [Sheehan, 59] $1,000-1,500

121 SAUL STEINBERG (american, 1914-1999) “DREAM OF E” Signed and dated 1960 bottom right, ink, watercolor, crayon and graphite on paper (folded in half). 14 1/2 x 11 1/2 in. (36.8 x 29.2cm) (folded) provenance: Obelisk Gallery, Boston, Massachusetts. The Collection of Mr. and Mrs. Béla Kalman (acquired circa 1965). By family descent. Private Collection, Massachusetts. note: The present drawing is a variant of Steinberg’s May 25, 1963 New Yorker cover, of which there are several known versions. $10,000-15,000

122 ROBERT RAUSCHENBERG (american, 1925-2008) “FLIRT” 1979, pencil signed and dated, numbered 83/100, (there were also 15 hors commerce proofs), the full sheet, Institute of Contemporary Art, Philadelphia, publisher. Color screenprint and collage on wove paper. sheet: 31 5/8 x 22 1/8 in. (80.3 x 56.2cm) $1,500-2,500

123 ROBERT RAUSCHENBERG (american, 1925-2008) “ROSE BAY” from “rookery mounds” 1979, pencil signed and dated, numbered 19/54 (there were also 11 artist’s proofs), the full sheet, Gemini G.E.L., Los Angeles, publisher and with their blindstamps. Color lithograph on Twinrocker handmade paper. sheet: 41 x 31 1/4 in. (104.1 x 79.4cm) $2,000-3,000

124 JASPER JOHNS (american, b. 1930) “M.D.” 1974, pencil signed and dated, numbered AP 9/30 (an artist’s proof aside from the regular edition of 100), Castelli Graphics and Multiples, Inc., New York, publisher and with their blindstamp. Die-cut on buff colored card. sheet: 22 1/8 x 17 15/16 in. (56.3 x 45.7cm) [ULAE, 148] $2,500-3,500

125 BRICE MARDEN (american, b. 1938) “#6” FROM “UNTITLED PRESS SERIES” 1972, pencil signed and dated, numbered 42/46 (there were also 5 artist’s proofs), with full margins, United Press Inc., Captiva Island, Florida, publisher and with their blindstamp. Color lithograph on Italia. image: 8 x 10 1/2 in. (20.3 x 26.7cm) sheet: 26 1/8 x 19 3/16 in. (66.4 x 48.8cm) [Lewison, 21.6] $2,000-3,000

126 JASPER JOHNS (american, b. 1930) UNTITLED from “harvey gantt portfolio” 1990, pencil signed and dated, numbered 133/250 (there were also 50 artist’s proofs), with full margins, Gemini G.E.L., Los Angeles, publisher and with their blindstamp. Color lithograph on Arches 88. image: 6 x 4 3/4 in. (15.2 x 12.1cm) sheet: 10 7/16 x 8 in. (26.5 x 20.3cm) [Gemini, 1456; ULAE, 252] $1,500-2,500

127 JASPER JOHNS (american, b. 1930) “BETWEEN THE CLOCK AND THE BED” 1989, pencil signed and dated, numbered 2/32 (there were also 11 artist’s proofs), with wide margins, ULAE, West Islip, New York, publisher and with their blindstamp, also with the Friends of the Philadelphia Museum of Art watermark. Color lithograph on John Koller HMP paper. image: 19 3/4 x 34 in. (50.2 x 86.4cm) sheet: 28 13/16 x 41 5/8 in. (73.2 x 105.8cm) [ULAE, 245] Unframed $20,000-30,000

128 JASPER JOHNS (american, b. 1930) “TARGET” 1960, pencil signed and dated, numbered 4/30 (there were also 3 artist’s proofs), with full margins, ULAE, West Islip, New York, publisher and with their blindstamp. Lithograph on Japan. image: 12 x 12 in. (30.5 x 30.5cm) sheet: 22 5/8 x 17 9/16 in. (57.5 x 44.6cm) [ULAE, 1; Field, 1] $40,000-60,000

129 LOUISE NEVELSON (american, 1899-1988) “SUN-SET” 1981, incised with the artist’s signature, title and date, numbered 104/125 on publisher’s metal plate verso (there were also 25 artist’s proofs), Pace Editions, Inc., New York, publisher. Cast polyester resin multiple. 12 3/8 x 18 x 2 1/2 in. (31.4 x 45.7 x 6.4cm) provenance: The Art Sales Gallery at The Philadelphia Museum of Art, Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above in 1987). $4,000-6,000

130 ELLSWORTH KELLY (american, 1923-2015) “UNTITLED” from “the new york collection for stockholm” 1973, pencil signed with initials and numbered 21/300 (there were also 25 artist’s proofs), the full sheet, Experiments in Art and Technology, Inc., New York, publisher. Screenprint on wove paper. sheet: 12 x 9 in. (30.5 x 22.9cm) [Axsom, 92] $1,500-2,500

131 AGNES MARTIN (american/canadian, 1912-2004) “PAINTINGS AND DRAWINGS: STEDELIJK MUSEUM PORTFOLIO” the complete portfolio of ten works plus two part exhibition catalogue 1990-1991, from the edition of 2,500 printed by Lecturis, Eindhoven and published by Nemela & Lenzen GmbH, Monchengladback and Stedelijk Museum, Amsterdam for Agnes Martin’s 1991 retrospective at the Stedelijk Museum, the complete portfolio 10 loose lithographs (as issued) within original slipcase and accompanied by a two-part catalogue produced for the exhibition. sheets: 11 3/4 x 11 3/4 in. (29.8 x 29.8cm) album: 12 x 12 in. (30.5 x 30.5cm) (10 + album) $4,000-6,000

132 ELLSWORTH KELLY (american, 1923-2015) “LEAF IX” 1978, pencil signed and titled, annotated ‘PP II’ (one of two printer’s proofs aside from the edition of 20, there were also 9 artist’s proofs), with full margins, Gemini G.E.L., Los Angeles, publisher and with their blindstamps and inkstamp on the reverse. Lithograph on Arches 88. image: 17 1/2 x 24 1/2 in. (44.5 x 62.2cm) sheet: 29 3/4 x 42 3/8 in. (75.6 x 107.6cm) [Gemini, 811; Axsom, 174] $4,000-6,000

133 ELLSWORTH KELLY (american, 1923-2015) “YELLOW OVER YELLOW” 1964-65, pencil signed and numbered 40/75 (there were also 8 artist’s proofs), with wide margins, Maeght Éditeur, Paris, publisher. Color screenprint on BFK Rives. image: 22 7/16 x 15 1/2 in. (57 x 39.4cm) sheet: 35 3/16 x 23 5/16 in. (89.4 x 59.2cm) [Axsom & Platzker, 25] $3,000-5,000

134 ROBERT MANGOLD (american, b. 1937) “CURVED PLANE / FIGURE VII, STUDY A” Signed and dated 1995 bottom left, acrylic, graphite and black pencil on two sheets of joined paper. Executed in 1995. 30 x 61 1/2 in. (76.2 x 156.2cm) provenance: PaceWildenstein, New York, New York. Private Collection, Chicago, Illinois (acquired from the above in 1995). Private Corporate Collection, Philadelphia, Pennsylvania. exhibited: “Robert Mangold: Curved Plane / Figure Paintings,” PaceWildenstein, New York, New York, October 28 - November 25, 1995 (exhibition checklist no. 17). $40,000-60,000

135 AFTER JOSEF ALBERS (german-american, 1888-1976) SAMPLE PORTFOLIO (WHITE LINE SQUARES I-XIII) 1966, each sequentially stamp numbered in the bottom margin, with wide margins. The complete set of eight reproductive color prints on wove paper, used to promote the release by Gemini G.E.L., Los Angeles of the lithographs, individually framed, with original embossed paper slipcase and informational sheet. all sheets approx.: 7 1/2 x 7 1/2 in. (19.1 x 19.1cm) [8 + slipcase] $3,000-5,000

136 AFTER ROY LICHTENSTEIN (american, 1923-1997) SAMPLE PORTFOLIO (SEVEN HAYSTACK AND SIX CATHEDRAL PRINTS) 1969, all the full sheets and with the ‘© Copyright Gemini G.E.L. 1969’ stamp at the lower sheet edges. The complete set of 13 reproductive color prints used to promote the release of these prints in 1969, framed individually, with original printed paper slipcase and informational insert. all sheets: 6 3/8 x 9 3/8 in. (16.2 x 23.8cm) [13 + slipcase] $3,000-5,000

137 AFTER ELLSWORTH KELLY (american, 1923-2015) SAMPLE PORTFOLIO (TEN WORKS) 1970, all with margins and with the ‘© Copyright Gemini G.E.L. 1970’ stamp at the lower sheet edges. The complete set of ten reproductive color prints used to promote the release of the lithographs in 1970, framed individually, with original printed paper slipcase and informational inserts. all sheets: 9 3/8 x 6 3/8 in. (23.8 x 16.2cm) [10 + slipcase] $3,000-5,000

138 FRANK STELLA (american, b. 1936) “SINJERLI VARIATION 1A” from “sinjerli variations” 1977, pencil signed and dated, numbered 51/100 (there were also 20 artist’s proofs), with wide margins, Petersburg Press, New York, publisher. Color offset lithograph and screenprint on wove paper. image: 25 x 25 in. (63.5 x 63.5cm) sheet: 31 15/16 x 42 3/16 in. (81.1 x 107.2cm) [Axsom, 114] $5,000-8,000

139 CHRISTO AND JEANNE-CLAUDE (american, b. 1935) “TEXAS MASTABA, PROJECT FOR 500,000 STACKED OIL DRUMS” from “america: the third century” 1975, pencil signed and numbered 146/200 (there were also 25 artist’s proofs), the full sheet, APC Editions, Chermayeff and Geismer Associates, New York, publishers. Color lithograph and screenprint collage on thick paper board. sheet: 22 3/8 x 30 in. (56.8 x 76.2cm) [Schellmann, 85] $1,500-2,500

140 LARRY RIVERS (american, 1923-2002) “BALD EAGLE GEORGE AND PART OF THE CONSTITUTION” 1987, pencil signed and dated, numbered 50/52 (there were also 10 artist’s proofs), with full margins, ULAE, West Islip, New York, publisher and with their blindstamp. Color lithograph on HMP handmade paper. image: 30 3/8 x 23 7/8 in. (77.2 x 60.6cm) sheet: 31 3/4 x 23 7/8 in. (80.6 x 60.6cm) $1,500-2,500

141 ED RUSCHA (american, b. 1937) “ANY TOWN IN THE U.S.A.” 1981, pencil signed and dated, numbered 28/150 (there were also 33 artist’s proofs), with full margins, published by the artist for the re-election campaign of Ohio Senator, Howard Metzenbaum and with the blindstamp of the printer, Wasserman Silkscreen Co., Santa Monica. Color screenprint on white Stonehenge. image: 8 x 12 in. (20.3 x 30.5cm) sheet: 30 1/16 x 24 1/8 x in. (76.4 x 61.3cm) [Enberg, 115] $3,000-5,000

142 ED RUSCHA (american, b. 1937) “ANGEL” 1991, pencil signed and dated, numbered 39/68 (there was also an edition of 10 in Roman numerals), the full sheet, Tamarind Institute, Albuquerque, New Mexico, publisher and with their blindstamp. Color lithograph on Arches. sheet: 11 15/16 x 16 in. (30.3 x 40.6cm) [Engberg, 211] $4,000-6,000

143 DEBORAH KASS (american, b. 1952) “2 RED BARBRAS (JEWISH JACKIE SERIES)” Signed, dated 93, titled and dedicated ‘for Robineau - with love for 18 more years’ verso, color screenprint on canvas. 29 3/4 x 20 in. (75.6 x 50.8cm) Unframed provenance: The Artist. Private Collection, Pennsylvania (gifted directly from the above). note: In 1992, Kass began work on “The Warhol Project,” a multi-year exploration of and response to the work of Andy Warhol. “The Jewish Jackie” series was a specific response to Warhol’s iconic portraits of Jackie Kennedy. Kass, however, was inspired by Barbra Streisand, a Jewish celebrity whom Kass greatly admired and to whom she could more closely identify. $4,000-6,000

144 JAMES NARES (british, b. 1953) UNTITLED Signed and dated 2008 verso, oil on canvas. 14 x 14 in. (35.6 x 35.6m) Unframed provenance: Paul Kasmin Gallery, New York, New York. Artnet Auction, to benefit the Children’s Cancer and Blood Foundation, New York, October 8, 2009, lot 15637. Private Collection, New Jersey. $4,000-6,000

145 JEFF KOONS (american, b. 1955) “BALLOON DOG (RED)” 1995, numbered 1607/2300 on the label verso, Museum of Contemporary Art, Los Angeles, publisher. Metallic porcelain multiple mounted to support within Plexiglas box. sculpture: 10 1/2 x 10 1/2 in. (26.7 x 26.7cm) Plexiglas box: 15 7/16 x 15 7/16 in. (39.2 x 39.2cm) $6,000-10,000

146 CECILY BROWN (british, b. 1969) “BACCHANAL” 2002, pencil signed and dated 2001 verso, with the full sheet, Two Palms Press, New York, publisher. Color monoprint on wove paper. sheet: 22 x 29 7/8 in. (55.9 x 75.9cm) $5,000-8,000

147 WARREN ROHRER (american, 1927-1995) “HORNET’S NEST” Signed, titled and dated 1969 on the stretcher bar verso, oil on linen. 54 x 60 in. (137.2 x 152.4cm) provenance: Makler Gallery, Philadelphia, Pennsylvania. Private Collection, North Carolina (acquired directly from the above circa 1969). Private Collection, Pennsylvania (acquired directly from the above in 1996). exhibited: “Warren Rohrer,” Makler Gallery, Philadelphia, December 5 - 31, 1969. “Warren Rohrer: The Breakthrough Years,” Locks Gallery, Philadelphia, October 4 - December 9, 1996 (illustrated in the exhibition catalogue, p. 20). literature: David Carrier and Elaine Mehalakes, Warren Rohrer, Allentown and Philadelphia: Allentown Art Museum and Locks Art Publications, 2016 (p. 15, illustrated). note: The present work is number 148 in the Warren Rohrer Estate Catalogue. $3,000-5,000

148 two prints GEORG BASELITZ (german, b. 1938) “TAMA I” AND “TAMA II” 2002, each pencil signed and dated, numbered 22/50 and 16/50 respectively, each with full margins, ACS Editions, Milan, New York, London, publisher. Color etchings and aquatints on Somerset. images: 19 9/16 x 13 1/8 in. (49.7 x 33.3cm) sheets: 29 5/8 x 22 1/2 in. (75.2 x 57.2cm) (2) $4,000-6,000

149 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. $3,000-5,000

150 JOHN EDWARD HELIKER (american, 1909-2000) “STILL LIFE WITH BOOK” Signed bottom right, oil on canvas. 30 x 30 in. (76.2 x 76.2cm) provenance: Kraushaar Galleries, New York, New York. James A. McGirr & Dr. Charles Lothridge, Bucks County, Pennsylvania. $2,000-3,000

151 NICOLA SIMBARI (italian, 1927-2012) SHIPS AT HARBOR Signed bottom right, acrylic on paper. 27 1/2 x 32 3/4 in. (69.9 x 83.2cm) provenance: Wally Findlay Galleries. Private Collection, Morristown, New Jersey. $800-1,200

152 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

153 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

154 RUTH SCHLOSS (israeli, b. 1922) SEATED BOY Signed in English and again in Hebrew bottom left, oil on canvas. 25 1/2 x 21 1/4 in. (64.8 x 54cm) provenance: Private Collection, Morristown, New Jersey. $2,000-3,000

155 PATRICIA TOBACCO FORRESTER (american, 1940-2011) “TROPICAL MOUNTAINSIDE” Signed bottom right, watercolor on paper. 40 x 60 in. (101.6 x 152.4cm) provenance: The Artist. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above). $800-1,200

156 PATRICIA TOBACCO FORRESTER (american, 1940-2011) “EYE ON ROCK CREEK” Signed bottom right, watercolor on paper. Executed in 2004. 40 x 60 in. (101.6 x 152.4cm) provenance: The Artist. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above). $800-1,200

157 ALEXIS ROCKMAN (american, b. 1962) UNTITLED (SPIDER AND ITS WEB) Signed in pencil and dated 87 bottom right, watercolor on paper. 29 7/8 x 22 3/4 in. (75.9 x 57.8cm) provenance: Private Collection, Philadelphia, Pennsylvania. $800-1,200

158 JANE PIPER (american, 1916-1991) “TULIPS - FULL BLOOM” Signed and dated ‘82 center right, oil on museum board. 32 x 40 in. (81.3 x 101.6cm) provenance: Gross McCleaf Gallery, Philadelphia, Pennsylvania. Private Collection, Sarasota, Florida. exhibited: “Jane Piper: Paintings and Works on Paper, 1962 - 1982,” Community Arts Center, Wallingford, Pennsylvania, April 2 - 26, 1982. “Drawings 1982,” Landmark Gallery, New York, New York, May 29 - June 17, 1982. “Jane Piper: Small Paintings and Works on Paper,” Gross McCleaf Gallery, Philadelphia, Pennsylvania, August 11 September 1, 1982 (exhibition no. 14). $1,500-2,500

159 STUART SHILS (american, b. 1954) “KENSINGTON ROWHOUSES, MORNING LIGHT” Signed and dated 96 bottom left, oil on paper mounted on board. 10 1/8 x 12 3/8 in. (25.7 x 31.4cm) provenance: Tibor de Nagy Gallery, New York, New York. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above in 1996). $1,000-1,500

160 STUART SHILS (american, b. 1954) “ROXBOROUGH STREETS” Signed and dated 95 bottom right, oil on paper. 10 3/8 x 12 1/2 in. (26.4 x 31.6cm) provenance: The Artist. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above circa 1996). $1,000-1,500

100

161 HARRY SEFARBI (american, b. 1917) “BOUQUET” Signed bottom right, signed again and dated ‘01 verso, oil on masonite within artist’s frame. 18 x 14 in. (45.7 x 35.6cm) overall: 22 x 18 in. (55.9 x 45.7cm) provenance: The Artist. Private Collection, New Jersey (acquired directly from the above). $1,000-2,000

162 HARRY SEFARBI (american, b. 1917) SUSANNA Signed and dated 66, signed again and dated 66 - 01 verso, oil on masonite. 18 x 24 in. (45.7 x 61cm) provenance: The Artist. Private Collection, New Jersey (acquired directly from the above). $1,000-2,000

163 DIANE BURKO (american, b. 1945) “ETRETAT DROITE I” AND “ETRETAT DROITE II” Each signed and dated 1/88 bottom center right, oil on two canvases (diptych). each: 18 x 24 in. (45.7 x 61cm) overall: 18 x 48 in. (45.7 x 122cm) (2)

provenance: Marian Locks Gallery, Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania. exhibited: “Diane Burko: Recent Works 1985-1988,” Marian Locks Gallery, Philadelphia, April 1 - 29, 1988. $800-1,200

101

164 ROBERT REMSEN VICKREY (american, 1926-2011) UNTITLED (CAR IN A FIELD) Signed bottom right, tempera on masonite. 18 1/2 x 24 in. (47 x 61cm) provenance: Midtown Galleries, New York, New York. James A. McGirr & Dr. Charles Lothridge, Bucks County, Pennsylvania. $3,000-6,000

165 ROBERT REMSEN VICKREY (american, 1926-2011) “SANTORINI STAIRWAY” Signed and dated ‘88 bottom left, tempera on board. 7 1/4 x 11 7/8 in. (18.4 x 30.2cm) provenance: James A. McGirr & Dr. Charles Lothridge, Bucks County, Pennsylvania. $1,000-1,500

166 two drawings BO BARTLETT (american, b. 1955) “STUDY FOR MELONIE ON WHITE SHEETS, SOUTH HAMPTON, L.I., N.Y” Signed with the artist’s ‘IGN’ monogram in pencil and dated 1983 bottom right, signed again with the artist’s ‘IGN’ stamp bottom left, pencil on paper. 23 x 29 in. (58.4 x 73.7cm) and “MELONIE” Signed with the artist’s IGN’ monogram in pencil bottom left, titled and dated August 1982 bottom center, pencil on paper. 18 x 22 3/4 in. (45.7 x 57.8cm) (2) provenance: Marian Locks Gallery, Philadelphia. Private Collection, Pennsylvania. $2,000-3,000

102

index ALBERS, J.,

135

KOONS, J.,

145

AVERY, S.,

99-91

LICHTENSTEIN, R.,

119, 136

BARTLETT, B.,

166

LIPCHITZ, J.,

BASELITZ, G.,

148

MANGOLD, R.,

134

BERTOIA, H.,

93-97

MARDEN, B.,

125

BLACKBURN, R.,

MARTIN, A.,

131

BLECKNER, R.,

149

MATISSE, H.,

1-6

BROWN, B.,

146

MIRÓ, J.,

28-30

BURKO, D.,

163

MOTHERWELL, R.,

104, 105, 109, 110

CALDER, A.,

83, 84

NARES, J.,

144

CARBONELL, M.,

NEVELSON, L.,

129

CASSIGNEUL, J-P.,

NEY, L.,

CHAGALL, M.,

32-64

OSSORIO, A.,

106

CHRISTO AND JEANNE-CLAUDE,

139

PASMORE, V.,

108

CLARK, C.,

PETERDI, G.,

26, 27

DE KOONING, W.,

107

PICASSO, P.,

17-24

DUFY, R.,

PIPER, J.,

158

DZUBAS, F.,

103

RAUSCHENBERG, R.,

122, 123

ENSOR, J.,

7-11

RIVERA, D.,

ERNST, M.,

RIVERS, L.,

140

FORRESTER, P.,

155

ROCKMAN, A.,

157

FOUJITA, L.,

ROHRER, W.,

147

FRANKENTHALER, H.,

112, 113

ROOSKENS, A.,

100

GIACOMETTI, A.,

RUSCHA, E.,

141, 142

GILLIAM, S.,

98, 99

SCHEIBER, H.,

GOTTLIEB, A.,

111

SCHLOSS, R.,

154

GRAY, C.,

102

SEARLES, C.,

HELIKER, J.,

150

SEFARBI, H.,

161

HOFMANN, H.,

SHILS, S.,

159, 160

HUNDERTWASSER, F.,

65-68

SIMBARI, S.,

151

INDIANA, R.,

114, 120

STEINBERG, S.,

121

JOHNS, J.,

124, 126-128

STELLA, F.,

138

KASS, D.,

143

SUNDAY B. MORNING,

117

KELLY, E.,

130, 132, 133, 137

TAMAYO, R.,

76, 77

KELLY, L.,

TARKAY, I.,

152, 153

KEPES, G.,

101

TOBIASSE, T.,

KIEFF, A.,

VASARELY, V.,

73-75

KISLING, M.,

13, 14

VICKREY, R.,

164

KLINE, F.,

WARHOL, A.,

115, 118

WESSELMANN, T.,

116

glossary any statement as to authorship, attribution, origin, date, age, provenance and condition is a state of opinion and is not to be taken as a statement or representation of face. freeman’s reserves that right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. names

attributed to

Forename(s) and surname of painter is in our

school of

School accompanied by the name of a place or country

opinion a work by that artist; e.g. Charles Willson

and a date means that we believe the picture was

Peale. When an artist’s forename(s) is not known, a

executed at that time and in that location; e.g. Italian

series of asterisks followed by the surname of the

School, 18th Century. After an artist is in our opinion a

artist, wether preceded by an initial or not, indicates

copy of any date after a work by that artist; e.g. After

that in our opinion the work is by the artist named.

Charles Willson Peale.

Refers to probably a work by the artist; e.g.

after an artist

Attributed to 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/

studio of

circle of

Refers to a work from the studio of the artist which

or a date and/or an inscription means that we believe

may or may not have been executed under his

the artist’s name and/or date and/or inscription have

direction; e.g. Studio of Charles Willson Peale.

been added by another hand.

Circle of..... refers to a work of the period of the

signatures & dates

artist executed under his immediate influence; e.g.

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

Circle of Charles Willson Peale. measurements 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

103 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.

Dimensions are given height before width.

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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. 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.

104 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.

105 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 (signature required to execute your bids)

q id confirmed

106 v2.2016

Directory Officers

Specialist Departments

Representatives

Alasdair Nichol Chairman

20th Century Design Tim Andreadis tandreadis@freemansauction.com

New England Kelly Wright kwright@freemansauction.com

Margaret D. Freeman Director Emeritus Paul S. Roberts President Hanna Dougher Chief Operating Officer Samuel T. Freeman III Senior Vice President

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

Departments

Asian Arts Benjamin Farina bfarina@freemansauction.com

Appraisals Amy Parenti aparenti@freemansauction.com

Books, Maps & Manuscripts Benjamin Truesdale btruesdale@freemansauction.com

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

British & European Furniture & Decorative Arts Nicholas B. A. Nicholson nnicholson@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

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

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

107 v3.2016

european art & old masters

FIKRET MUALLA (turkish 1903-1967) STILL LIFE WITH FRUITS AND VEGETABLES Signed and dated ‘F. Mualla/52’ bottom left, oil on canvas 15 x 18 1/4 in. (38.1 x 46.4cm) provenance: Étude Morel, Paris, sale of April 27, 1990, lot 122. Private Collection, Pennsylvania. $10,000-15,000

Auction 01/23/18 David Weiss | +1 267.414.1214 dweiss@freemansauction.com

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www.freemansauction.com 1808 Chestnut Street Philadelphia Pennsylvania 19103