Modern & Contemporary Art by Freeman's

MODERN & CONTEMPORARY ART MAY 8, 2018

modern & contemporary art auction Sale 1602 Tuesday, May 8 at 12pm 1808 Chestnut Street, Philadelphia PA 19103 Cover Image: Lot 44 (detail), Inside Front Cover: Lot 26 (detail), Inside Back Cover: Lot 15 (detail)

modern & contemporary art department Dunham Townend Head of Department dtownend@freemansauction.com 267.414.1231

Anne Henry Senior Specialist ahenry@freemansauction.com 267.414.1220

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

exhibitions Thursday, May 3

10:00am-5:00pm

Friday, May 4

10:00am-5:00pm

Saturday, May 5

12:00pm-5:00pm

Sunday, May 6

12:00pm-5:00pm

Monday, May 7

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 37 (detail)

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

modern & contemporary art lots 1-114

Lot 113 (detail) 5

1 MARC CHAGALL (french/russian, 1887-1985) “THE TRAMPLED FLOWERS” from “daphnis and chloe” 1960, pencil signed and numbered 18/60, with wide margins, Tériade, Paris, publisher. Color lithograph on Arches. image: 16 1/2 x 12 5/8 in. (41.9 x 32.1cm) sheet: 21 3/16 x 15 in. (53.8 x 38.1cm) [Mourlot, 342; see Cramer books, 46] $7,000-10,000

2 JOAN MIRÓ (spanish, 1893-1983) “LE DANDY” 1969, pencil signed and annotated ‘HC’ (an hors commerce proof aside from the regular edition of 75), with wide margins, Maeght Editeur, Paris, publisher. Color etching, aquatint and carborundum on Madeure rag paper. image: 16 5/16 x 17 1/4 in. (41.4 x 43.8cm) sheet: 29 1/8 x 23 1/8 in. (74 x 58.7cm) [Dupin, 492] $4,000-6,000

3 JOAN MIRÓ (spanish, 1893-1983) “BARCELONA” plate 6 1972-1973, pencil signed and numbered 49/50 (there were also 10 hors commerce proofs in Roman numerals), the full sheet, Sala Gaspar, Barcelona, publisher and with their watermark and black ink stamp verso. Color etching, aquatint and carborundum on Guarro. sheet: 41 1/8 x 27 1/2 in. (104.5 x 69.9cm) [Dupin, 597] $5,000-8,000

4 JOAN MIRÓ (spanish, 1893-1983) “GAUDI V” 1979, pencil signed and numbered 45/50 (there were also 15 not for sale copies in Roman numerals), with wide margins, Maeght Editeur, Barcelona, publisher. Color etching and aquatint on wove appliqué to Arches. image: 15 1/4 x 15 9/16 in. (38.7 x 39.5cm) sheet: 25 11/16 x 19 11/16 in. (65.2 x 50cm) [Dupin, 1064] $6,000-10,000

5 JEAN (HANS) ARP (french, 1886-1966) UNTITLED from “le soleil recerclé” 1966, pencil signed and numbered 11/60 (aside from the total edition of 185 called for by Arntz), with wide margins, Louis Broder, Paris, publisher. Color woodcut on wove paper. image: 10 x 8 5/8 in. (25.4 x 21.9cm) sheet (approx): 20 1/8 x 16 3/4 in. (51.1 x 42.5cm) [Arntz, 265] $800-1,200

6 MAN RAY (american, 1890-1976) INTERIEUR DE MARIE-LAURE DE NOAILLES Pencil signed, inscribed ‘Noailles place Etats Unis,’ dedicated indistinctly and dated ‘July 9 1926’ on mount. Gelatin silver print mounted to paper. print: 8 7/16 x 11 in. (21.4 x 27.8cm) mount: 12 3/16 x 14 1/2 in. (31 x 36.8cm) Unframed note: This photograph captures the interior of Villa Noailles, the modernist villa built by architect Robert Mallet-Stevens for art patrons Charles and Marie-Laure de Noailles between 1923 and 1927. It is located in the hills above Hyères, in southeastern France. The couple were avid patrons of the arts and collected works by Dali, Lipchitz and Giacometti among many others. They also financed three cinematic works, one of which was Man Ray’s 1929 surrealist film, “Les Mystères du Château du Dé,” filmed in the Villa Noailles. provenance: The Estate of Ira Genstein, Philadelphia, Pennsylvania. By family descent. Private Collection, Philadelphia, Pennsylvania. $2,000-3,000

7 LUDWIG MEIDNER (german, 1884-1966) UNTITLED (PORTRAIT OF A MAN) Signed and dated 1918 bottom right, ink on paper. 17 3/4 x 12 7/8 in. (45.1 x 32.7cm) provenance: Elsa Koppel, Bochum, Germany (acquired circa 1930s). By family descent. Private Collection, Washington, D.C. (acquired in 1965). By family descent. Private Collection, Needham, Massachusetts (acquired in 2017). $2,000-3,000

8 ANTONIO GATTORNO (cuban, 1904-1980) “CLASSICISM VERSUS BUFFOONERY” Signed and dated 43 center left, oil on canvas. 42 x 32 in. (106.7 x 81.3cm) Unframed provenance: The Artist. Private Collection, Levittown, Pennsylvania (acquired directly from the above circa 1944).

note: This work is accompanied by a certificate of authenticity signed by Terri Cabral, President of The Antonio Gattorno Foundation and dated February 10, 2018. $10,000-15,000

maria-mela muter (french/polish, 1876-1967) Maria-Mela Muter is considered one of the first Polish women to successfully achieve an internationally recognized career in painting. Born in Warsaw in 1876, she married in 1899 and moved with her family to Paris in 1900. Although she briefly attended various art schools in Paris, she left before completing her studies. In later years, she would say that she was influenced by fellow École de Paris artists and was largely self-taught. Her early technique, marked by her careful use of color and short, energetic brushtrokes, reflects her own distinctive style and reveals the influence of the post-impressionist and fauvist painters to whom she would surely have been exposed during this time. In spite of her relocation to Paris, Muter remained intimately connected to her Polish roots as she worked intensively on her career. Her first individual exhibition took place in Warsaw in 1902 at the Society for the Promotion of Fine Arts. This was only the second presentation by a woman artist in the history of the institution. She also participated in exhibitions at the Society for the Friends of Fine Arts in Krakow and Lvov. In Paris she showed her work in exhibitions organized by Societé Nationale des Beaux Arts, Salon des Indépendents, Salon d’Automne and Salon des Tuileries. The present work, Waldspaziergang (A Walk In The Woods) was executed in the early 1920’s, during what was a turbulent time both for the artist personally and for Europe as a whole, given the upheaval caused by World War I. A few years prior she had met an intellectual and socialist activist, Raymond Lefebvre, with whom she formed a relationship that would precipitate the demise of her marriage in 1919. Along with Lefebvre, Muter surrounded herself with other left-wing French intellects like Romain Rolland, Anatole France and Henri Barbusse, and began publishing pacifist drawings for the magazine, “Clarté.” The present work, a serene depiction of two figures traveling a meandering path through colorful woods dappled with sunlight, belies the dark, political backdrop of the post-war era.

9 MARIA-MELA MUTER (french/polish, 1876-1967) WALDSPAZIERGANG (A WALK IN THE WOODS) Signed bottom left, signed again verso, oil on canvas. Executed circa 1920. 34 7/8 x 31 1/4 in. (88.6 x 79.4cm) provenance: The Artist. Maxwell Galleries, Ltd., San Francisco, California (acquired directly from the above circa 1960). Richard Litfin, California (acquired directly from the above in 1966). By family descent. Private Collection, Missoula, Montana. exhibited: “Mela Muter: First One Man Exhibition in America of an Illustrious French Painter,” Maxwell Galleries, Ltd., San Francisco, California, July 5 - August 6, 1966 (illustrated in the exhibition pamphlet). note: We are grateful to Ms. Urszula Lazowski for confirming the authenticity of this work. $30,000-50,000

10 CYRIL POWER (british, 1874-1951) “THE SHIPYARD” Circa 1930s, pencil signed and titled, inscribed ‘pinx et imp’, with wide margins. Color monotype on wove paper. image: 8 13/16 x 11 3/4 in. (22.4 x 29.8cm) sheet (approx.): 11 3/16 x 15 1/4 in. (28.4 x 38.7cm) provenance: Jeffrey M. Kaplan, Washington, D.C. $2,500-4,000

11 CYRIL POWER (british, 1874-1951) “THE WHARF NO. 1” Circa 1930, pencil signed and titled, inscribed ‘pinx et imp’, with margins. Color monotype on wove paper. image: 11 7/8 x 8 13/16 in. (30.2 x 22.4cm) sheet (approx.): 15 1/4 x 11 7/8 in. (38.7 x 30.2cm) provenance: Jeffrey M. Kaplan, Washington, D.C. $2,500-4,000

12 AFTER PABLO PICASSO (spanish, 1881-1973) “IMAGINARY PORTRAITS” plate i 1969, pencil numbered A57/250 from the American edition, there was also a French edition of 250 marked F, the full sheet, Harry N. Abrams, New York, publisher. Color offset lithograph on wove paper. sheet: 26 x 19 11/16 in. (66 x 50cm) $1,000-1,500

13 AFTER PABLO PICASSO (spanish, 1881-1973) “IMAGINARY PORTRAITS” plate ii 1969, pencil numbered A57/250 from the American edition, there was also a French edition of 250 marked F, the full sheet, Harry N. Abrams, New York, publisher. Color offset lithograph on wove paper. sheet: 25 13/16 x 20 1/4 in. (64 x 51.4cm) $1,000-1,500

14 PABLO PICASSO (spanish, 1881-1973) “SALA GASPAR” the complete portfolio of two lithographs 1961, both pencil signed and numbered 25/50 (there were also 10 hors commerce proofs), both with wide margins, Sala Gaspar, Barcelona, publisher, pencil numbered justification within the original grey cloth-covered portfolio with tie-strings and lettering on the front. The complete set of two transfer lithographs on Guarro loose (as issued) and individually framed. B. 1018 (image): 9 1/16 x 7 1/8 in. (23 x 18cm) B. 1010 (image): 11 3/8 x 4 1/16 in. (29 x 10.3cm) album: 19 1/8 x 14 5/8 in. (48.6 x 37.1cm) [Cramer Books, 111; Bloch, 1018, 1010; Mourlot, 338, 341] including: “Portada Catalogo” and “Espectadores.” (2 + album) note: The present portfolio was published on the occasion of Picasso’s exhibition of drawings held at Galerie Gaspar, Barcelona in April 1961. $3,000-5,000

15 PABLO PICASSO (spanish, 1881-1973) “PORTRAIT DE JACQUELINE AU CHAPEAU DE PAILLE” (TÊTE DE FEMME) 1962-63, pencil signed and numbered 8/50, with wide margins, Galerie Louise Leiris, Paris, publisher. Color linocut on Arches. image: 25 1/8 x 20 3/4 in. (63.8 x 52.7cm) sheet: 29 1/2 x 24 5/16 in. (74.9 x 61.8cm) [Bloch, 1067; Baer, 1279 IVB] note: This linocut features a colorful depiction of Picasso’s second wife Jacqueline, the muse and prime inspiration for his prolific output in his later years. Captivated by her large almond-shaped eyes, classical profile and long elegant neck, Picasso created more works of art based on Jacqueline than any of his other lovers. Indeed, she was his principal subject during the last two decades of his life, a period that has since been referred to as ‘L’Epoque Jacqueline’. The 72 year old artist first encountered the 27 year old salesgirl while she was working at the Madoura pottery studio in the South of France, where he made his ceramics. At the time, he was living with Francoise Gilot and their two children, but he and Jacqueline kindled a romantic relationship that would endure until the artist’s death in 1973. $50,000-80,000

16 PABLO PICASSO (spanish, 1881-1973) “WOOD OWL” 1968, numbered 297/500, incised ‘EDITION PICASSO R.141’ and with the ‘MADOURA PLEIN FEU’ and ‘EDITION PICASSO’ stamps on the underside. White earthenware clay vase with engraving and decorations in engobes under partial brushed glaze and black patina. height: 11 5/8 in. (29.5cm) [Ramié, 543] $10,000-15,000

17 PABLO PICASSO (spanish, 1881-1973) “DOVE SUBJECT” 1959, numbered 41/500, inscribed ‘EDITION PICASSO’ and ‘MADOURA’ and with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay pitcher with decoration in engobes and engraving on enamel. height: 6 3/4 in. (17.2cm) [Ramié, 435] $3,000-5,000

18 PABLO PICASSO (spanish, 1881-1973) “FACE” 1969, dated ‘9.1.69’ and numbered 329/500, incised ‘EDITION PICASSO’ and ‘MADOURA’ and with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay pitcher with engraving and decoration in engobes under partial glaze. height: 12 in. (30.5cm) [Ramié, 611] $6,000-10,000

19 PABLO PICASSO (spanish, 1881-1973) “VALLAURIS” 1953, from the edition of 400, with the ‘EMPREINTE ORIGINALE DE PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay plate with engraving and oxidized paraffin under white enamel. diameter: 8 1/8 in. (20.6cm) [Ramié, 179] $3,000-5,000

20 PABLO PICASSO (spanish, 1881-1973) “FULL-FACE FACE” 1960, numbered 54/100, with the ‘MADOURA EMPREINTE ORIGINAL DE PICASSO’ stamp on the underside. White earthenware clay bowl with engraving and oxidized paraffin under glaze. diameter: 7 in. (17.7cm) [Ramié, 454] $1,500-2,500

21 PABLO PICASSO (spanish, 1881-1973) “FOUR ENLACED PROFILES” Conceived in 1949 and executed in an edition of 35, this work is a variant in color and design with decoration on the underside, and with the ‘EMPREINTE ORIGINALE DE PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay plate with decoration in engobes under glaze. diameter: 10 5/8 in. (27cm) [Ramié, 84] $10,000-15,000

22 PABLO PICASSO (spanish, 1881-1973) “BIRD ON BRANCH” 1952, from the edition of 500, incised ‘EDITION PICASSO’ and with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay ashtray with oxidized paraffin decoration and white enamel. diameter: 6 in. (15.2cm) [Ramié, 175] $1,000-1,500

23 PABLO PICASSO (spanish, 1881-1973) “BULL UNDER THE TREE” 1952, from the edition of 500, inscribed ‘EDITION PICASSO’ and with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay plate with oxidized paraffin decoration and white enamel. diameter: 7 7/8 in. (20cm) [Ramié, 159] $2,000-3,000

24 PABLO PICASSO (spanish, 1881-1973) “JACQUELINE AT THE EASEL” 1956, numbered 103/200, with the ‘EMPREINTE ORIGINALE DE PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay round dish with decoration in engobes under partial brushed glaze. diameter: 16 5/8 in. (42.2cm) [Ramié, 333] $20,000-30,000

emil nolde (german, 1867-1956) Expressionist painter Emil Nolde first began to explore watercolor in the 1890s while attempting to capture the fleeting beauty of a vibrant red sunrise in his native Germany. His subsequent experimentation with the medium played a significant role in the development of his artistic identity, as it allowed for the intense use of color and gestural impasto which have come to define his style. He preferred using absorbent Japan paper, which he moistened slightly before saturating it with paint-soaked brushes, applied with varying degrees of pressure. As a result, the colors would blossom on the paper, overlapping with each other and revealing luminous depth, subtle transitions and nuanced tones. In the words of his wife, “when painting, he is lavish with his watercolors. He is little troubled if splotches fall from his brush…I have often marveled at how reckless he is with the wet brushes, even though he could fear at any moment one of the threatening drips might fall… he takes that danger in his stride and accordingly is free to work in a rush, with no inhibitions…” After decades of such exploration and experimentation with the medium, painting with watercolor developed into what the artist referred to as an ‘inner need.’ The spontaneous and fluid nature of the medium allowed him to explore his natural impulses and instinctive creativity. He would start each painting without any preliminary drawings, and instead yielded to the organic inspiration of his imagination. “I like to avoid all prior contemplation (...) The product emerges through the work of our hands,” he wrote. These two intensely colored works are representative of the artist’s fascination with the natural world and are fine examples of his most revisited themes: seascapes and still lifes. Nolde painted the Fisherman on a Lake around the years 1925 - 1930, likely during a journey to Switzerland. Nolde preferred to work directly from the natural environment, often choosing to venture out in all weather in order to experience first-hand the natural forces of his immediate surroundings, thus imbuing his paintings with an inherent and visceral energy. Nolde’s landscapes are said to be expressions of his own emotions. They are an attempt at transmitting not just the visual sensation of the landscape before him, but also the physical and emotional effect this environment instills in man. Nolde executed Bowl of Flowers with Fuchsia around the year 1930. The flowers shown in this composition were likely arranged by his wife Ada at their home in at Seebüll where they cultivated lush gardens. Full of radiant color and vitality, the artist’s emotional preoccupation with nature is evident here. For Nolde, flowers were a symbol of happiness, and painting them provided solace from the anxieties of his political realities, transporting him into a vibrant world of color. 1. S. Koja, “A Notion Solely of Radiance and Color,” in Emil Nolde: In Radiance and Color, ed. A. Husslein-Arco and S. Koja (Munich: Hirmer, 2013), 223. 2. E Nolde, Watercolors and Graphics, (New York & Leipzig: 1995), p. 19. 3. W. Haftmann, Emil Nolde: Unpainted Pictures, (New York: Praeger, 1965).

25 EMIL NOLDE (german, 1867-1956) BOWL OF FLOWERS WITH FUCHSIA Signed bottom left, watercolor on Japan. Executed circa 1930. 15 x 17 3/4 in. (38.1 x 43.8cm) provenance: The Artist. Elsa Koppel, Bochum, Germany (acquired directly from the above circa 1930). By family descent. Private Collection, Washington, D.C. (acquired in 1965). By family descent. Private Collection, Needham, Massachusetts (acquired in 2017). note: This lot is accompanied by a photo-certificate of authenticity signed by Professor Dr. Manfred Reuther and dated 14 März 2018. $50,000-80,000

26 EMIL NOLDE (german, 1867-1956) FISHERMAN ON A LAKE Signed bottom right, watercolor on Japan. Executed circa 1925-1930. 13 x 17 3/4 in. (33 x 43.8cm) provenance: The Artist. Elsa Koppel, Bochum, Germany (acquired directly from the above circa 1930). By family descent. Private Collection, Washington, D.C. (acquired in 1965). By family descent. Private Collection, Needham, Massachusetts (acquired in 2017). note: This lot is accompanied by a photo-certificate of authenticity signed by Professor Dr. Manfred Reuther and dated 14 März 2018. $40,000-60,000

27 SALIBA DOUAIHY (lebanese, 1915-1994) MOUNTAIN SCENE IN LEBANON Signed bottom right, inscribed indistinctly verso, oil on canvas. Executed circa 1937. 22 1/2 x 30 in. (57.2 x 76.2cm) provenance: The Artist. Ms. Mary Mokarzel (gifted from the above). By family descent. Private Collection, Swarthmore, Pennsylvania (acquired in 2008). note: This painting has been authenticated by the Saliba Douaihy Foundation, Inc., a 501 (c)(3) Non-Profit Public Charity dedicated to promoting the Arts in the name of Saliba Douaihy. $18,000-25,000

28 PAUL AÏZPIRI (french, 1919-2016) “FLEURS, FOND ORANGE POT ITALIEN” Signed bottom right, inscribed with title on stretcher bar verso, oil on canvas. 39 3/8 x 31 7/8 in. (100 x 81cm) provenance: Wally Findlay Galleries, Inc., Chicago, Ilinois. Private Collection (acquired directly from the above circa 1985). By family descent. Private Collection, Minneapolis, Minnesota.

note: This lot is accompanied by a copy of a certificate of authenticity issued by Wally Findlay Galleries, Inc. and dated July, 1985. $12,000-18,000

29 RUFINO TAMAYO (mexican, 1899-1991) “TORSE DE FEMME” from “mujeres” 1969, pencil signed and numbered 61/150, with wide margins, Touchstone Publishers, Ltd., New York, publisher. Color lithograph on wove paper. image: 27 1/4 x 20 7/8 in. (69.2 x 53cm) sheet: 29 7/8 x 22 3/8 in. (75.9 x 56.8cm) [Pereda, 108] $1,000-1,500

30 RENÉ PORTOCARRERO (cuban, 1912-1985) COLORFUL FIGURES Signed and dated 63 bottom right, ink and goauche on paper. 9 7/8 x 12 3/8 in. (25.1 x 31.4cm) Unframed provenance: Private Collection, Davie, Florida. $3,000-5,000

31 OSWALDO GUAYASAMÍN (ecuadorian, 1919-1999) “ROTRO Y MANOS” Signed bottom right, oil on paper laid down to paper board. Executed in 1973. 29 x 22 1/8 in. (73.7 x 56.2cm) provenance: Private Collection, Bala Cynwyd, Pennsylvania. note: This lot is accompanied by a certificate of authenticity issued by the Fundación Guayasamín, dated 20 Marzo 2018 and signed by Verenice Guayasamín, Presidenta Fundación Guayasamín. $6,000-10,000

32 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

33 HARRY BERTOIA (american, 1915–1978) UNTITLED (DOUBLE BUSH) Copper and bronze with patina. Executed circa 1965. height: 8 1/2 in. (21.6cm) width: 10 1/2 in. (26.7cm) depth: 9 in. (22.9cm) provenance: Mangel Gallery, Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above). note: This lot is accompanied by a certificate of authenticity issued by the Harry Bertoia Foundation and signed by Celia Bertoia, Director. $20,000-30,000

34 HERBERT FERBER (american, 1906-1991) “INTERLOKEN” Signed, titled and dated 79 verso, acrylic on canvas (relief). 62 x 89 x 13 1/2 in. (157.5 x 226.1 x 34.3cm) provenance: M. Knoedler & Co., Inc., New York, New York. Irving Galleries, Palm Beach, Florida. Private Collection, McLean, Virginia (acquired directly from the above in 1983). $2,000-3,000

35 GYORGY KEPES (american/hungarian, 1906-2001) GLOW Signed, titled indistinctly and dated 1974 verso, acrylic on canvas. 59 1/2 x 47 1/2 in. (151.1 x 120.7cm) provenance: The Collection of Mr. and Mrs. Béla Kalman. By family descent. Private Collection, Massachusetts. $4,000-6,000

36 DOUG OHLSON (american, 1936-2010) UNTITLED (HONEYBEE) Signed and dated 1981 verso, oil on canvas. 65 1/2 x 69 in. (166.4 x 175.3cm) Unframed provenance: The Collection of the late Gloria G. Einbender, Philadelphia, Pennsylvania. $8,000-12,000

JACK HAMILTON BUSH

(canadian, 1909-1988)

One of Canada’s most celebrated artists, John Hamilton “Jack” Bush was born in Toronto, Ontario in 1909. He developed a talent and interest in art at a young age, studying at both The Royal Canadian Academy and The Ontario College of Art, while also pursuing a career as a commercial artist. Early on, he was influenced by the work of Charles Comfort as well as the Group of Seven – a coalition of prominent Canadian landscape painters of the 1920s and 1930s. It was not until later, in the 1950s, that Bush was first exposed to a more radical style of abstraction. During this time, he made frequent visits to New York City and grew familiar with the avant-garde work of the Abstract Expressionists, whose bold and experimental style captivated Bush, prompting a dramatic evolution of his own artistic philosophies. He left behind the representational subjects of his past work and began to explore abstraction in earnest. In 1953, together with ten other like-minded artists, he formed the Painter’s Eleven, an affiliation of artists who shared a common commitment to abstract painting. The group held their first solo exhibition – organized by Bush – in 1954 at the Roberts Gallery in Toronto, marking the first major commercial exhibition of abstract art in Canada. Soon thereafter, Bush’s work drew the attention and admiration of Clement Greenberg, the legendary art critic and champion of Abstract Expressionism, with whom Bush would share a lifelong friendship and who served as a mentor of sorts, encouraging the artist to explore and develop his style and vision. The present work, “Summer Gone,” is an exquisite example of the artist’s color-field paintings of the 1970’s, a particularly accomplished and esteemed period in his career. Indeed, in 1972 – just four years before “Summer Gone” was painted – Bush was awarded a solo exhibition at the Museum of Fine Arts, Boston. The noted New York Times art critic Hilton Kramer praised the show, noting “[Bush] is indeed a painter of enormous eloquence who has found in the vocabulary of color abstraction the means of articulating a range of feeling all his own”. “Summer Gone” is emblematic of the artist’s exceptional output during these last years of his life. Its gently mottled background, rendered in soft neutral tones, provides a compelling counterpoint to the energetic, colorful bursts of brushstrokes that dance across the surface. This elegant, lyrical and expressive painting, executed on a rare dynamically shaped canvas, is surely a very important work from the artist’s latter years. Purchased from the Barbara Divver Gallery in 1981, this painting has remained in the same private family collection for over thirty-five years.

37 JACK HAMILTON BUSH (canadian, 1909-1977) “SUMMER GONE” Signed, titled, dated ‘Aug 1976’ and inscribed ‘Toronto’ and ‘Acrylic Polymer W.B.’ verso, acrylic on shaped canvas. 30 x 61 1/2 in. (76.2 x 156.2cm) provenance: The Estate of the Artist. Barbara Divver Gallery, New York, New York. Charles and Marcia McCrae, Pennsylvania (acquired directly from the above in 1981). By family descent. note: This painting is confirmed by Dr. Sarah Stanners to be included in the forthcoming publication Jack Bush Paintings: A Catalogue Raisonné. $50,000-80,000

38 ROBERT GOODNOUGH (american, 1917-2010) “UPLIFT #1” Signed bottom right, signed again, titled and dated 1989 verso, acrylic on canvas. 48 x 84 in. (121.9 x 213.4cm) provenance: Private Collection, Greenwich, Connecticut. $5,000-8,000

39 PAUL JENKINS (american, 1923-2012) “PHENOMENA MANOLLETE RED” Signed bottom center, presumably signed again, dated 1979 and titled verso, watercolor on paper. 42 x 30 in. (106.7 x 76.2cm) provenance: Irving Galleries, Palm Beach, Florida. Private Collection, McLean, Virginia (acquired directly from the above in 1980). $5,000-8,000

40 LARRY ZOX (american, 1936-2006) “LOFTEN BASIN” Acrylic on canvas. Executed in 1973. 77 x 50 3/4 in. (195.6 x 128.9cm) provenance: André Emmerich Gallery, New York, New York. Christie’s East, New York, “Contemporary Art,” February 21, 1995, lot 283. Private Collection, Miami Beach, Florida (acquired directly from the above sale). $10,000-15,000

41 JUDITH GODWIN (american, b. 1930) ROCKS Signed bottom center, signed again on stretcher bar verso, acrylic on canvas. 36 x 46 1/4 in. (91.4 x 117.5cm) provenance: Private Collection, Glen Allen, Virginia. $3,000-5,000

42 JAMES HIROSHI SUZUKI (american, b. 1932) “THE CASCADE” Signed bottom right, signed again, titled and dated 1960 verso, oil on canvas. 28 x 21 1/2 in. (71.1 x 54.6cm) provenance: The Artist. Mr. Larry Aldrich, New York, New York. By family descent. Private Collection. Private Collection, New York, New York (acquired directly from the above). $2,000-3,000

43 DAN CHRISTENSEN (american, 1942-2007) “ARIEL” Signed, titled and dated 1972 verso, acrylic on canvas. 86 x 43 in. (218.4 x 109.2cm) provenance: André Emmerich Gallery, New York, New York. Christie’s East, New York, “Contemporary Art,” February 21, 1995, lot 277. Private Collection, Miami Beach, Florida (acquired directly from the above sale). $8,000-12,000

zao wou-ki (chinese/french, 1920-2013) Zao Wou-Ki, the Chinese-French master of postwar abstraction, created a unique visual language that drew from both western modernism and Chinese aesthetics. His artistic journey began at age fifteen when he enrolled in the art academy at Hangzhou, continued during wartime in Chongqing, and eventually led him to Paris in 1948, an anticipated twoyear visit that lasted a lifetime. Within a few years of arriving in Paris, his modernist aesthetic was recognized in Europe, America, and Asia, and today Zao Wou-Ki is celebrated as an early exemplar of global abstraction. “15.04.80 - Triptyque” captures the artist at the height of his mature style. Zao’s early explorations with Chinese calligraphy gave way to pure abstraction in 1957, and by the late 1960s, Zao softened the hard edges of abstraction with the sensibilities and structural nuances of his earliest artistic training: ink painting. One sees that shift in “15.04.80 Triptyque.” Its complex evocation of space oscillates between abstraction and tangibility, and at once suggests crashing waves, misty landscape forms, and cosmic forces made visible. The painting’s power can be attributed to Zao’s masterful color sense, and to his muscular application of pigments. The soft palette here deviates from the vibrant colors of many of Zao’s paintings. Indeed, “15.04.80 - Triptyque.” completed in early April, suggests the pale colors of springtime -- yellow, pink, blue -- veiled in mist, and punctuated by occasional passages of darker pigment. The richly textured surface, another distinctive feature of Zao’s paintings, further animates the work. Thickly applied pigments reach a crescendo in the central panel, giving every indication of having been applied with crumpled paper or cloth rather than swept on with conventional brushstrokes. Throughout his long career, Zao set continual artistic challenges for himself. He experimented with different media, moving between oils and watercolors, and mastered a variety of printing processes. He also experimented with scale, working on ever-larger compositions from the mid-1950s. And beginning in 1966, he tried working with multiple panels, which offered a means of increasing scale. Some of them -- diptychs, triptychs, quadriptychs – achieved near-monumental size. “15.04.80 - Triptyque,” though, is not one of these. Instead, it is one of a handful of smallscale triptychs, a format that Zao turned to occasionally beginning in the mid-1970s. While multiple canvases made perfect sense for enlarging overall compositional size, why these small ones? The answer may lie in the challenge they posed for him. “15.04.80 - Triptyque” cannot be understood merely as a reduction of a larger work. Instead, it required that Zao create a harmonious composition on an entirely different scale, one that made sense structurally and visually, given the three-canvas format. Balance and proportion needed to be accommodated. Furthermore, the bold gestural marks that are a hallmark of Zao’s large works required more restraint here, and yet needed to achieve similar visual impact – which they do. Arthur Hartman acquired Zao Wou-Ki’s “15.04.80 - Triptyque” shortly after its creation. As American ambassador to France, Hartman and Zao moved in the same cultural circles and came to know one another well. Given Zao Wou-Ki’s wide-ranging interests and magnetic personality, it comes as no surprise that the two forged a warm friendship, with this painting a physical manifestation of their bond. Melissa Walt Colby College -Co-curator and co-author of "No Limits: Zao Wou-Ki," The Asia Society, New York, 2017

44 ZAO WOU-KI (chinese/french, 1920-2013) “15.04.80 - TRIPTYQUE” Signed and signed in Chinese bottom right, signed again, titled, dated ‘15.4.80,’ inscribed with dimensions and dedicated ‘Pour Donna et Arthur A. Hartman / Amitiés, de Françoise et Zao Wou-Ki’ verso, oil on three joined canvases. triptych: 13 5/8 x 28 3/16 in. (34.6 x 71.6cm) provenance: The Artist. The Ambassador Arthur Hartman & Mrs. Donna Hartman, Paris, France (acquired directly from the above circa 1980). By family descent. literature: Jean Leymarie, Zao Wou-Ki, Paris : Éditions Cercle d’Art; Barcelona: Ediciones Poligrafia, 1986, no. 535 (p. 351, illustrated). note: This lot is accompanied by a photo-certificate of authenticity issued by the Fondation Zao Wou-Ki, dated 12 Mars 2018 and signed by Françoise Marquet, the artist’s widow and President of the Fondation Zao Wou-Ki. We are grateful to Mr. Yann Hendgen for his assistance cataloguing and researching this work. $600,000-800,000

(Chinese/French, 1920-2013)

45 ROBERT MOTHERWELL (american, 1915-1991) “ELEGY (STUDY)” 1979, pencil signed with initials and numbered 42/98 (there were also 12 artist’s proofs in Roman numerals), the full sheet, Brooke Alexander Inc., New York, publisher and with the artist’s blindstamp. Lithograph on Twinrocker handmade paper. sheet: 24 7/8 x 37 1/4 in. (63.2 x 94.6cm) [Belknap, 209; Engberg & Banach, 240] $4,000-6,000

46 BRICE MARDEN (american, b. 1938) “TU FU/THIRTY-SIX POEMS” the complete set of one etching and one book 1987, the etching pencil signed and dated, numbered 33/140 (there were also two printer’s proofs), with wide margins, loose (framed separately from the accompanying book, “Thirty-Six Poems by Tu Fu translated by Kenneth Rexroth with reproductions of 25 etchings by Brice Marden”), Peter Blum Editions, New York, publisher. Etching and aquatint on BFK Rives and cloth-covered book within original blue cardboard slipcase. image: 6 3/4 x 4 9/16 in. (17.1 x 11.6cm) sheet: 9 1/2 x 6 7/8 in. (24.1 x 17.5cm) book: 9 3/4 x 7 1/4 in. (24.8 x 18.4cm) [Lewison, 41] (2) $1,500-2,500

47 JEAN DUBUFFET (french, 1901-1985) “LES PASSANTS” 1982, pencil signed with initials and dated, numbered 16/50 (there were also 7 hors commerce proofs in Roman numerals), with full margins, Pace Editions, New York, publisher. Color lithograph on Arches. image: 26 x 39 in. (66 x 99.1cm) sheet: 31 1/2 x 45 1/8 in. (80 x 114.6cm) [Webel, 1270] $5,000-8,000

48 JASPER JOHNS (american, b. 1930) “PAINT BRUSHES” from “1st etchings, 2nd state” 1967 (printed in 1969), pencil signed and dated ‘67-’69, numbered 34/40 (there were also 9 artist’s proofs), with full margins, ULAE, West Islip, New York, publisher and with their blindstamp. Etching and aquatint on laid Auvergne. image: 17 5/16 x 11 5/8 in. (44 x 29.5cm) sheet: 25 3/4 x 19 1/2 in. (65.4 x 49.5cm) [Field, 81; ULAE, 58] $5,000-8,000

49 JASPER JOHNS (american, b. 1930) “CUPS 4 PICASSO” 1972, pencil signed and dated, numbered ‘Printer’s Proof 2/2’ (a printer’s proof aside from the regular edition of 39, plus 5 artist’s proofs), the full sheet, ULAE, West Islip, New York, publisher and with their blindstamp. Color lithograph on Hanga. sheet: 22 1/4 x 32 1/4 in. (56.5 x 82cm) [ULAE, 122] $3,000-5,000

50 ROBERT RAUSCHENBERG (american, 1925-2008) “LEVEL (ROOKERY MOUNDS)” 1979, pencil signed and dated, numbered 19/50 (there were also 11 artist’s proofs), the full sheet, Gemini G.E.L., Los Angeles, publisher and with their blindstamp. Color lithograph on Twinrocker handmade paper. sheet: 40 3/4 x 31 in. (103.5 x 78.7cm) [Gemini, 852] $2,000-3,000

51 CHRISTO AND JEANNE-CLAUDE (american, b. 1935) “CORRIDOR STORE FRONT, PROJECT” 1968, pencil signed and dated, numbered 15/100 (there were also 25 artist’s proofs), the full sheets, Verlag Gerd Hatje, Stuttgart, publisher. Two-part color screenprint mounted on board and Plexiglas, with hinges to be opened. overall: 27 3/4 x 22 1/4 in. (70.5 x 56.5cm) (closed) [Axsom & Platzker, 6] $1,000-1,500

52 FRIEDENSREICH HUNDERTWASSER (austrian, 1928-2000) “TEARS OF AN ARTIST” from “midori no namida” 1974 (published in 1975), signed in ink, dated and located ‘Vienna 8 January 1976’ and inscribed with the work number ‘90’, numbered 148/200 (there were also 18 surplus prints in Roman numerals), with wide margins, Gruener Janura AG, Glarus, Switzerland, publisher. Color woodcut on Japan. image: 17 7/8 x 12 3/4 in. (45.4 x 32.4cm) sheet: 22 5/16 x 16 5/8 in. (56.7 x 42.2cm) [Koschatzky, 64] $2,000-3,000

53 FRIEDENSREICH HUNDERTWASSER (austrian, 1928-2000) “TENNOS FLY WITH HATS” 1985 (printed in 1987), signed in ink, dated and located ‘30 April 1987 Vienna,’ inscribed with the work number ‘844A’ and with five Japanese ink stamps, numbered 35/300, with full margins. Color woodcut on Japan. image: 19 3/4 x 16 in. (50.2 x 40.6cm) sheet: 22 3/8 x 16 3/8 in. (56.8 x 41.6cm) [Koschatsky, 89] $2,000-3,000

54 CHUCK CLOSE (american, b. 1940) “SELF-PORTRAIT/SCRIBBLE/ETCHING” 2000, pencil signed and dated, numbered 17/60, with full margins, Pace Editions, New York, publisher. Color etching on wove paper. image: 9 3/4 x 8 1/8 in. (24.8 x 20.6cm) sheet: 18 3/16 x 15 1/4 in. (46.2 x 38.7cm) $4,000-6,000

55 CLAES OLDENBURG (american, b. 1929) “BROKEN BUTTON” 1981, pencil signed and dated, numbered 2/100 (there were also 14 artist’s proofs), Multiples, Inc., New York, publisher, for the patrons of The Institute of Contemporary Art, Philadelphia. Dyed and cast paper, color screenprint, mat board and wood multiple in Plexiglas box. dimensions (including box): 16 1/4 x 14 1/4 x 6 3/8 in. (41.3 x 36.2 x 16.5cm) [Axsom & Platzker, 175] $3,000-5,000

56 PETER SAUL (american, b. 1934) “TAMPA” Signed and dated 62 bottom right, oil pastel and pastel on paper. 29 1/2 x 28 3/16 in. (74.9 x 71.6cm) provenance: Allan Frumkin Gallery, Chicago, Illinois. Private Collection, New York. By family descent. $5,000-8,000

57 ANDY WARHOL (american, 1928-1987) “THE AUTOBIOGRAPHY OF ALICE B. SHOE” from “à la recherche du shoe perdu” Circa 1955, pencil signed, with wide margins. Offset lithograph with hand-coloring on wove paper. 9 11/16 x 13 5/8 in. (24.6 x 34.6cm) [Feldman & Schellmann, IV.76] Unframed provenance: Todd Brassner, New York, New York. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above in 1979). $6,000-10,000

58 ANDY WARHOL (american, 1928-1987) “THE STAR” from “myths” 1981, pencil signed and numbered ‘TP 24/30’ (a trial proof aside from the regular edition of 200 plus 30 artist’s proofs), the full sheet, Ronald Feldman Fine Arts, Inc., New York, publisher and with the publisher and the artist’s copyright inkstamp on the reverse. Color screenprint with diamond dust on Lenox Museum Board. sheet: 38 x 38 in. (96.5 x 96.5cm) [Feldman & Schellmann, IIB.258] $40,000-60,000

59 ANDY WARHOL (american, 1928-1987) “SAN FRANCISCO SILVERSPOT” from “endangered species” 1983, pencil signed and numbered ‘TP 25/30’ (a unique trial proof aside from the regular edition of 150 plus 30 artist’s proofs), the full sheet, Ronald Feldman Fine Arts, Inc., New York, publisher and with the publisher and the artist’s copyright inkstamp on the reverse. Color screenprint on Lenox Museum Board. sheet: 37 15/16 x 37 15/16 in. (96.4 x 96.4cm) [Feldman & Schellmann, IIB.298] $30,000-50,000

60 ROBERT INDIANA (american, b. 1928) “DECADE” the complete set of ten color screenprints 1971, all pencil signed, dated and with the artist’s copyright inkstamp, numbered XIV/XXV (artist’s proofs aside from the regular edition of 200 in Roman numerals), all with wide margins, Multiples, Inc., New York and Los Angeles, publisher. The complete set of ten color screenprints on Schoellers Parole (lacking the original cloth-covered portfolio box and accompanying title page, colophon, table of contents and explanatory pages). images: various sizes all sheets (approx.): 38 15/16 x 31 15/16 in. (98.9 x 81.1cm) [Sheehan, 62-73] (10) $8,000-12,000

61 ROBERT INDIANA (american, b. 1928) “FOUR PANEL LOVE” the complete set of four color screenprints 1972, pencil signed and dated, numbered 37/150 at bottom right of “E” sheet, (there were also 25 artist’s proofs in Roman numerals), the full sheets, Galerie Denise René, New York, publisher. The complete set of four color screenprints on heavy wove paper. all sheets (approx.): 31 7/16 x 31 7/16 in. (79.9 x 79.9cm) [Sheehan, 75] (4) $12,000-18,000

62 ELLSWORTH KELLY (american, 1923-2015) “BLACK CURVE” 1996-1997, pencil signed and numbered 28/56 (there were also 10 artist’s proofs), with wide margins, published by Gemini G.E.L., Los Angeles to benefit the Guggenheim Museum. Lithograph on BFK Rives. image: 16 x 19 1/2 in. (40.6 x 49.5cm) sheet: 22 x 24 7/8 in. (55.9 x 63.2cm) [Axsom, 273; Gemini, 1709] $3,000-5,000

63 ELLSWORTH KELLY (american, 1923-2015) “UNTITLED” from “the new york collection for stockholm” 1973, pencil signed with initials and numbered 25/300 (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

64 ZEVS (french, b. 1977) “LIQUIDATED CHANEL” 2013, signed in metallic ink and numbered 16/20 (there were also 2 artist’s proofs), the full sheet, published by the artist. Silver leaf on wove paper. sheet: 40 x 28 1/4 in. (101.6 x 71.6cm) $1,000-2,000

65 THOMAS CHIMES (american, 1921-2009) “NO. 31” Signed bottom right, oil on canvas. Executed in 1962. 16 1/2 x 22 in. (41.9 x 55.9cm) Unframed provenance: The Artist. Mr. Larry Aldrich, New York, New York. By family descent. Private Collection. Private Collection, New York, New York (acquired directly from the above). exhibited: “Thomas Chimes: A Retrospective Exhibition,” a traveling exhibition: Ringling Museum, Sarasota, Florida, November 18 - December 22, 1968; Jacksonville Art Museum, Jacksonville, Florida, January 4 - March 2, 1969, exhibition catalogue no. 30 (illustrated). $4,000-6,000

66 SALLY MICHEL AVERY (american, 1902-2003) “REFLECTED MOUNTAIN” Signed and dated 1978 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). $2,500-4,000

67 SALLY MICHEL AVERY (american, 1902-2003) “SETTING SUN” Signed, titled and dated 1981 verso, oil on canvas. 40 x 50 in. (101.6 x 127cm) provenance: The Artist. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above). $6,000-10,000

68 ALEX KATZ (american, b. 1927) “BLUE BLOUSE” Signed and dated 05 verso, oil on panel. 15 3/8 x 11 3/8 in. (39.1 x 28.9cm) provenance: Scott White Contemporary Art, San Diego, California. Private Collection, Chestnut Hill, Pennsylvania (acquired directly from the above circa 2007). $20,000-30,000

69 JACK BEAL (american, 1931-2013) STILL LIFE WITH THREE PEARS Signed bottom right, oil on canvas. 26 x 28 in. (66 x 71cm) provenance: The Artist. Private Collection, Princeton, New Jersey (acquired directly from the above circa 1970). By family descent. Liza Sevin, Penn Valley, Pennsylvania. $3,000-5,000

70 JACK BEAL (american, 1931-2013) STILL LIFE Signed upper right, oil on canvas. 49 1/4 x 46 1/4 in. (125 x 117.5cm) provenance: The Artist. Private Collection, Princeton, New Jersey (acquired directly from the above circa 1970). By family descent. Liza Sevin, Penn Valley, Pennsylvania. $4,000-6,000

71 ARNALDO ROCHE RABELL (puerto rican, b. 1955) “TOCADO” Signed and dated 1989 bottom right, oil on paper mounted to panel. 48 1/4 x 36 3/4 in. (122.6 x 93.4cm) provenance: George Adams Gallery, New York, New York. Private Collection, New Jersey (acquired directly from the above in 1996). $15,000-25,000

72 LEONARD NELSON (american, 1912-1993) SPIRITUALS Signed, dated ‘90-91’ and with the artist’s estate inkstamp and estate number ‘419’ verso, acrylic on canvas. 52 x 50 in. (132 x 127cm) Unframed provenance: Private Collection, Philadelphia, Pennsylvania. $8,000-12,000

73 JANE PIPER (american, 1916-1991) STILL LIFE WITH FRUIT Signed and dated 85 bottom left, oil on canvas. 40 x 44 in. (101.6 x 111.8cm) provenance: Private Collection, Philadelphia, Pennsylvania. exhibited: “Jane Piper: Recent Work,” Gross McCleaf Gallery, Philadelphia, October 9 - 26, 1985. $4,000-6,000

74 JANE PIPER (american, 1916-1991) “COMPOTE WITH ORANGES” Inscribed with title and date on canvas overhang verso, oil on canvas. Executed in 1990. 38 x 42 in. (96.5 x 106.7cm) provenance: The Artist. The Estate of Dr. Aileen Ward, Santa Monica, California (acquired directly from the above in 1990). exhibited: “Jane Piper, Selected Paintings 1976 - 1990,” New York Studio School, New York, January 24 February 23, 1991, exhibition catalogue no. 14. $2,000-3,000

selections from the collection of perry & june ottenberg | lots 75-82

Perry and June Ottenberg were married for sixty-five years and together they built an exceptional art collection, much of it focused on the artists and craftsmen of their native Philadelphia. They were ardent supporters of some of the city’s most important artists and institutions, including the Philadelphia Museum of Art, Woodmere Art Museum, Pennsylvania Academy of the Fine Arts, Moore College of Art, and Tyler School of Art. Dr. Ottenberg served on the board of Moore College of Art, as well as the Pennsylvania Academy, to which he ultimately donated a major collection of papers of Philadelphia artist Arthur B. Carles. In this way, the Ottenbergs extended their personal interest in art into a public service of some of the city’s most important institutions. Their collection reflects their particular regional interest and includes an impressive array of works by local contemporary artists such as Jane Piper, Elizabeth Osborne and Warren Rohrer, several fine examples of which are being offered here. However, it is the work of the noted American modernist Arthur B. Carles that seems to have captivated them most of all. Carles, a native Philadelphian, was featured in the 1913 vanguard Armory Show in New York, which introduced modern art to the American public for the first time. The importance of his inclusion in this landmark exhibition and his influence both as an artist and teacher cannot be overstated. The Ottenbergs recognized his significance and their collection includes a large number of oil paintings and works on paper in various media by the artist. Many of these works will be offered in Freeman’s American Art & Pennsylvania Impressionist Auction, to be held on June 3rd. In addition to fine art, the Ottenbergs were deeply engaged with modern craft and design. Among the most important collectors of Rudolf Staffel’s porcelain, the Ottenbergs lent or donated works to dozens of museums and exhibitions, including landmark shows at the Philadelphia Museum of Art. Excellent examples of Staffel porcelain, important pieces of George Nakashima furniture and other fine works of design will be offered in Freeman’s Modern Design Auction, to be held on June 4th.

75 JANE PIPER (american, 1916-1991) “COSMOS WITH CHESS BOARD” Signed and dated ‘88 and ‘89 bottom right, titled on stretcher bar verso, oil on canvas. 36 x 44 in. (91.4 x 111.8cm) provenance: The Mangel Gallery, Philadelphia, Pennsylvania. The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania (acquired directly from the above in 1989). exhibited: “Jane Piper: Recent Paintings,” Mangel Gallery, Philadelphia, October 14 - November 3, 1989, exhibition no. 15. $3,000-5,000

76 JANE PIPER (american, 1916-1991) “DOMINANCE OF BLUE” Signed bottom right, oil on canvas. Executed in 1961. 30 x 35 3/4 in. (76.2 x 90.8cm) provenance: McCleaf Gallery, Philadelphia, Pennsylvania. The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania (acquired directly from the above circa 1972. exhibited: “Paintings by Jane Piper,” The McCleaf Gallery, Philadelphia, October 8 - 25, 1972. “Jane Piper Retrospective: Paintings 1940-1985,” a traveling exhibition: Sawhill Art Gallery, Duke Fine Arts Center, James Madison University, Harrisonburg, Virginia, June 16 - August 8, 1986; Peale House Galleries, The Pennsylvania Academy of the Fine Arts, Philadelphia, October 8 - November 2, 1986; Tyler Art Gallery, State University of New York, College at Oswego, Oswego, New York, January 24 - February 10, 1987, exhibition no. 16. “The Art of Jane Piper,” Woodmere Art Museum, Philadelphia, April 30 - July 2, 1995, exhibition no. 10. $2,000-3,000

77 ELIZABETH OSBORNE (american, b. 1936) STILL LIFE WITH FLOWERS AND SHELLS Signed and dated ‘77 upper right, dedicated ‘for Perry, Love, Liz’ bottom left, watercolor on Arches. 22 1/4 x 30 in. (56.5 x 76.2cm) provenance: Perakis Gallery, Philadelphia, Pennsylvania. The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. $1,500-2,500

78 ELIZABETH OSBORNE (american, b. 1936) SEASCAPE WITH FLOWERS Signed and dated ‘87 bottom right, watercolor on paper. 9 x 10 7/8 in. (22.9 x 27.6cm) provenance: The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. $600-1,000

79 ELIZABETH OSBORNE (american, b. 1936) “INTERIOR” Inscribed with artist’s name, titled and dated 1969 on stretcher bar verso, oil on canvas. 60 x 66 in. (152.4 x 167.6cm) provenance: Makler Gallery, Philadelphia, Pennsylvania. The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. exhibited: “The Color of Light,” The Pennsylvania Academy of the Fine Arts, Philadelphia, June 26 - September 20, 2009. $6,000-10,000

80 JIMMY LUEDERS (american, 1927-1994) STILL LIFE WITH FLOWERS Signed and dated ‘87 bottom right, acrylic on canvas. 40 x 30 in. (101.6 x 76.2cm) provenance: The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. $1,500-2,500

81 WARREN ROHRER (american, 1927-1995) “SETTLEMENT: GREEN TO VIOLET” Inscribed with artist’s name, titled and dated 1981 on the canvas overhang verso, oil on canvas. 60 x 60 in. (152.4 x 152.4cm) provenance: The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. $8,000-12,000

82 PIETRO CONSAGRA (italian, 1920–2005) “RACCONTO DEL DEMONIO NO.5: TALE OF THE DEVIL NO.5” Incised with the artist’s stamped signature and dated 63 on the base, from the unnumbered edition of 2. Bronze with brown patina. height: 33 9/16 in. (85.2cm) width: 22 1/4 in. (56.5cm) base: 6 1/2 x 13 1/4 in. (16.5 x 33.7cm) provenance: The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. exhibited: “Consagra (Exhibition 112),” Galleria dell’Ariete, Milan, June 1965, exhibition no. 12 (another example exhibited). “12 Italienische bildhauer,” Museum Folkwang, Essen, Germany, September 19 November 7, 1965 (a traveling exhibition). “I Bronzi di Consagra,” Galleria Il Millennio, Rome, Italy, May 26 - June 30, 1989 (p. 19 in the exhibition catalogue).

note: This lot is accompanied by a certificate of authenticity issued by the Archivio Consagra and will be included in their forthcoming catalogue raisonne. According to the Archivio, the present lot is the second sculpture created by the artist from this edition of two. Rather than using moulds to cast his sculpture, Consagra constructed his creations by hand. Therefore, the two pieces in this edition differ from one another slightly. The present example, executed in 1963, includes details within the arrangement of the welded bronze bars at top left that differ somewhat from those in the first edition, which was created in 1962. $25,000-40,000

flash british photography from the collection of jeffrey m. kaplan 78

flash: british photography from the collection of jeffrey m. kaplan | lots 83-114 A true renaissance man, Mr. Kaplan’s life and experiences have led him to pursue many areas of collecting, rather than limiting himself to a specific genre or medium. As a result, he has assembled an extensive and eclectic collection that spans centuries and continents, including European prints, Chinese ceramics, American modernist works on paper and 20th century design. Freeman’s had the privilege of offering over 500 works from this impressive collection on April 6th, 2017, which were received with great enthusiasm by collectors, dealers and advisors as evidenced by the sale’s 96% sell-through rate. It is with great pleasure that we now present an additional selection of artwork from a collecting category that Mr. Kaplan amassed with great passion: British photography, of the 1950s and 1960s.The artists featured here are some of Britain’s most well-recognized photographers and their work has come to define the visual culture of the 20th century, both in the United Kingdom and beyond. Their photographs, which have graced the pages of iconic publications such as The Sunday Times, British Vogue, Queen, and Harper’s Bazaar, showcase their quintessential interpretation of fashion, celebrity, and landscape through the British lens.

83 CECIL BEATON (british, 1904-1980) “MRS. CHARLES JAMES, NEW YORK” 1955 (printed 2009). Inscribed in pencil with title and date, numbered 1/50, and with the signature credit and Sotheby’s Studio Archive copyright reproduction limitation stamps verso. Gelatin silver print. image: 18 1/2 x 18 3/8 in. (47 x 46.7cm) sheet: 22 3/4 x 19 7/8 in. (57.8 x 50.5cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2009). exhibited: “Cecil Beaton,” Chris Beetles Gallery, London, April May, 2009, exhibition no. 49. literature: Philippe Garner & David Mellor, Cecil Beaton, London: Jonathan Cape, 1994, p. 214. $600-1,000

84 CECIL BEATON (british, 1904-1980) “LESLIE CARON ON THE SET OF ‘GIGI’” August 1957 (printed 2009). Inscribed in pencil with title and date, numbered 1/50, and with the signature credit and Sotheby’s Studio Archive copyright reproduction limitation stamps verso. Gelatin silver print. image: 22 7/16 x 15 3/16 in. (57 x 38.6cm) sheet: 23 15/16 x 19 3/8 in. (60.8 x 49.2cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2009). exhibited: “Cecil Beaton,” Chris Beetles Gallery, London, April - May, 2009, exhibition no. 57. literature: Terence Pepper, Beaton Portraits, London: National Portrait Gallery, 2004, pl. 124. $600-1,000

cecil beaton

85 CECIL BEATON (british, 1904-1980) “AUDREY HEPBURN” January 1960 (printed 2009). Inscribed in pencil with title and date, numbered 1/50, and with signature credit and Sotheby’s Studio Archive copyright reproduction limitation stamps verso. Gelatin silver print. image: 18 1/2 x 18 5/16 in. (47 x 46.5cm) sheet: 22 11/16 x 19 7/8 in. (57.6 x 50.5cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2009). exhibited: “Cecil Beaton,” Chris Beetles Gallery, London, April - May, 2009, exhibition no. 59. $800-1,200

Born in the Hampstead neighborhood of London in 1904, Sir Cecil Walter Hardy Beaton was a renowned photographer, as well as an award-winning theater, costume and interior designer. Beaton began working as a photographer for British Vogue in 1927, and was later appointed by Queen Elizabeth II to the Ministry of Information, where he served as a war photographer during WWII. He frequently photographed the Queen and other members of the Royal Family, and it is his portraits of celebrities and the aristocracy for which he is best known. Beaton received Knighthood in 1972.

86 TERRY O’NEILL (british, b. 1938) “AUDREY HEPBURN” 1966 (printed later). Signed in ink and numbered 21/50 in the margin. Archival pigment print. image: 27 1/4 x 18 in. (69.2 x 45.7cm) sheet: 29 7/8 x 19 15/16 in. (75.9 x 50.6cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006). exhibited: “Terry O’Neill in St. James’s, The Art of Photography,” Chris Beetles Gallery, London, February - March, 2006, exhibition no. 6. $2,000-3,000

87 CECIL BEATON (british, 1904-1980) “MARLENE DIETRICH” 1935 (printed 2009). Inscribed in pencil with title and date, numbered 2/50, and with the signature credit and Sotheby’s Studio Archive copyright reproduction limitation stamps verso. Gelatin silver print. image: 18 15/16 x 14 15/16 in. (48.1 x 37.9cm) sheet: 23 13/16 x 19 13/16 in. (60.5 x 50.3cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2009). exhibited: “Cecil Beaton,” Chris Beetles Gallery, London, April - May, 2009, exhibition no. 23. literature: Cecil Beaton, Cecil Beaton’s Scrapbook, London: B T Batsford, 1937, p. 40 (illustrated). $600-1,000

terry o’neill 88 TERRY O’NEILL (british, b. 1938) “CATHERINE DENEUVE ON THE SET OF ‘MAYERLING’” 1968 (printed later). Signed in silver ink and numbered 1/50 in the margin. Archival pigment print. image: 18 x 12 in. (45.7 x 30.5cm) sheet: 21 1/8 x 17 1/16 in. (53.7 x 43.3cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2007). $1,500-2,500

Terence O’Neill was born in London in 1938. He quickly found his niche in the world of fashion and celebrity that so dominated the English capital in the 1960s. O’Neill photographed many famous subjects, most of whom he knew personally, such as pop legends like The Beatles, Elton John and The Rolling Stones, as well as film icons Audrey Hepburn and Brigitte Bardot. O’Neill is best known for the spontaneous, casual and candid nature of his photography, which he achieved with a 35mm camera that required less distance and a higher degree of intimacy between him and his subjects. O’Neill is an Honorary Fellow of the Royal Photographic Society, and his work is included in the permanent collection of the National Portrait Gallery in London.

89 TERRY O’NEILL (british, b. 1938) “BRIGITTE BARDOT” 1965 (printed later). Signed in ink and numbered 2/50 in the margin. Archival pigment print. image: 18 x 27 in. (45.7 x 68.6cm) sheet: 19 15/16 x 29 7/8 in. (50.6 x 75.cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006). exhibited: “Terry O’Neill in St. James’s, The Art of Photography,” Chris Beetles Gallery, London, February - March, 2006, exhibition no. 39. $2,000-3,000

90 CECIL BEATON (british, 1904-1980) “MARILYN MONROE, AMBASSADOR HOTEL, NEW YORK” February 22, 1956 (printed 2009). Inscribed in pencil with subject’s name and date, numbered 5/50, and with signature credit and Sotheby’s Studio Archive copyright reproduction limitation stamps verso. Gelatin silver print. image: 18 1/2 x 18 1/4 in. (47 x 46.4cm) sheet: 23 7/8 x 19 7/8 in. (60.6 x 50.5cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2009). exhibited: “Cecil Beaton,” Chris Beetles Gallery, London, April - May, 2009, exhibition no. 54. literature: Terence Pepper, Beaton Portraits, London: National Portrait Gallery, 2004, pl. 123. $800-1,200

91 TERENCE DONOVAN (british, 1936–1996) “JULIE CHRISTIE I” 1962 (printed 2007). Inscribed in pencil with title and date, numbered 2/50, and with copyright credit stamp verso. Gelatin silver print. image: 19 9/16 x 12 13/16 in. (49.7 x 32.5cm) sheet: 23 13/16 x 19 7/8 in. (60.5 x 50.5cm) provenance: The Estate of Terence Donovan. Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2007). exhibited: “Terence Donovan: Image Maker and Innovator,” Chris Beetles Gallery, London, September October, 2007, exhibition no. 2. $2,000-3,000

92 TERENCE DONOVAN (british, 1936–1996) “JULIE CHRISTIE II” 1962 (printed 2007). Inscribed in pencil with title and date, numbered 12/50, and with copyright credit stamp verso. Gelatin silver print. image: 20 1/16 x 13 in. (51 x 33cm) sheet: 23 7/8 x 19 7/8 in. (60.6 x 50.5cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2007). exhibited: “Terence Donovan: Image Maker and Innovator,” Chris Beetles Gallery, London, September - October, 2007, exhibition no. 17. $2,000-3,000

terence donovan Terence Donovan was born in the East End of London in 1936, and first experimented with photography at the age of 11 when he enrolled in the London School of Photo-Engraving. Along with photographer Brian Duffy (Lot 95), Donovan was instrumental in documenting the cultural and fashion movement which occurred in London in the 1960s, known as ‘Swinging London.’ His close associations with prominent actors, musicians, and royalty elevated Donovan to a celebrity status of his own. Donovan was known for the irreverent and sensual quality of his photographs, which were regularly featured in publications such as Vogue and Harper’s Bazaar. Often choosing to capture his models in offbeat locations, such as the war-ravaged streets of London, or in industrial settings, against steelworks and iron bridges, his gritty black-and-white style sometimes resembled reportage more than fashion photography. This new visual language was unlike anything that came before and eventually earned him the highest distinction of Fellow in the Royal Photographic Society.

93 TERENCE DONOVAN (british, 1936–1996) “JOANNA LUMLEY, FASHION SHOOT FOR SELFRIDGES” 1966 (printed 2007). Inscribed in pencil with title and date, numbered 3/50, and with the copyright credit stamp verso. Gelatin silver print. image: 17 15/16 x 18 in. (45.6 x 45.7cm) sheet: 23 13/16 x 19 15/16 in. (60.5 x 50.6cm) provenance: The Estate of Terence Donovan. Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2007). exhibited: “Terence Donovan: Image Maker and Innovator,” Chris Beetles Gallery, London, September - October, 2007, exhibition no. 35. $1,500-2,500

patrick lichfield Patrick Anson, known professionally by the name of his inherited earldom, was born in 1939. After serving in the British Army for three years beginning in 1959, Lichfield started his career as a photographer’s assistant before establishing his own reputation independently. He championed digital photography, adopting the medium quickly and pioneering its eventual acceptance as the professional standard. Known for his portraits of high society, Lichfield’s aristocratic upbringing—his mother was Princess Anne of Denmark—afforded him access to the British Royal Family. He was the official photographer at the wedding of Prince Charles and Diana Spencer in 1981.

94 PATRICK LICHFIELD (british, 1939-2005) “SUSANNAH YORK ON THE SET OF ‘DUFFY,’ SPAIN” September 3rd, 1967 (printed 2008). Archive credit blindstamp in the margin; inscribed in pencil with the title and date, numbered 3/50, and with the Archive credit and reproduction limitation stamps verso. Digital bromide print. image: 20 x 13 1/4 in. (50.8 x 33.7cm) sheet: 23 1/8 x 15 15/16 in. (58.7 x 40.4cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above 2008). exhibited: “Lichfield,” Chris Beetles Gallery, London, May - June, 2008. $800-1,200

brian duffy Brian Duffy was born in London in 1933 into an Irish family. Despite a childhood marred by the upheaval and uncertainty of WWII, coupled with a resistance to formal schooling, Duffy entered Saint Martin’s School of Art in 1950 to study painting. Upon graduating, he worked briefly as an assistant to a fashion designer before transitioning to photography, and later as a studio assistant to other established artists. Duffy was hired by British Vogue in 1957, and, along with photographer Terry Donovan, photographed the fashions and celebrities of the ‘Swinging Sixties’ in London.

95 BRIAN DUFFY (british, 1933-2010) “JEAN SHRIMPTON” 1961. Dated and inscribed ‘Vogue’ in pencil verso. Gelatin silver print on glossy card. image: 10 11/16 x 8 1/8 in. (27.1 x 20.6cm) sheet: 14 15/16 x 11 11/16 in. (37.9 x 29.7cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2009). exhibited: “Duffy,” Chris Beetles Gallery, London, October - November, 2009, exhibition no. 24. $1,000-2,000

96 TERENCE DONOVAN (british, 1936–1996) “TERENCE STAMP ON THE SET OF JOHN SCHLESINGER’S ‘FAR FROM THE MADDING CROWD’” 1967 (printed 2007). Inscribed in pencil with title and date, numbered 2/50, with the copyright credit stamp verso. Gelatin silver print. image: 17 7/8 x 18 in. (45.4 x 45.7cm) sheet (approx.): 20 15/16 x 19 1/14 in. (53.2 x 48.9cm) provenance: The Estate of Terence Donovan. Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2007). literature: ‘Madding Crowd Assembled,’ Vogue, July 1967 (illustrated). Diana Donovan & David Hillman (ed), Terence Donovan: ‘The Photographs,’ London: Little Brown & Co., 2000. $1,200-1,800

97 TERRY O’NEILL (british, b. 1938) “JEAN SHRIMPTON & TERENCE STAMP, LONDON” 1963 (printed later). Signed in ink and numbered 21/50 in the margin. Gelatin silver print. image: 13 5/16 x 20 1/16 in. (33.8 x 51cm) sheet: 19 7/8 x 23 7/8 in. (50.5 x 60.6cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006). exhibited: “Terry O’Neill in St. James’s, The Art of Photography,” Chris Beetles Gallery, London, February - March, 2006, exhibition no. 1. $1,200-1,800

98 TERENCE DONOVAN (british, 1936–1996) “SIR RALPH RICHARDSON, LORD LAURENCE OLIVIER & ALEC GUINNESS” 1980 (printed 2007). Inscribed in pencil with title and date, numbered 2/50, and with the copyright credit stamp verso. Gelatin silver print. image: 20 3/16 x 15 7/8 in. (51.3 x 40.3cm) sheet: 23 7/8 x 19 7/8 in. (60.6 x 50.5cm) provenance: The Estate of Terence Donovan. Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2007). exhibited: “Terence Donovan: Image Maker and Innovator,” Chris Beetles Gallery, London, September - October, 2007, exhibition no. 53. literature: Diana Donovan & David Hillman (ed), Terence Donovan: ‘The Photographs,’ London: Little Brown & Co., 2000. $1,200-1,800

99 TERRY O’NEILL (british, b. 1938) “ORSON WELLES FILIMING ‘CASINO ROYALE’” 1967. Signed in ink and inscribed with title in pencil verso. Gelatin silver print. image/sheet: 9 1/2 x 14 3/8 in. (24.1 x 36.5cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2010). exhibited: “Terry O’Neill: New & Unseen,” Chris Beetles Gallery, London, February March, 2010, exhibition no. 10. $2,000-3,000

100 PATRICK LICHFIELD (british, 1939-2005) “CHARLIE CHAPLIN AND MARLON BRANDO AT THE PREMIERE PARTY FOR ‘A COUNTESS FROM HONG KONG,’ SAVOY HOTEL, LONDON” January 5, 1967 (printed 2008). Archive credit blindstamp in the margin; inscribed in pencil with title and date, numbered 3/50, and with the Archive credit and reproduction limitation stamps verso. Gelatin silver print. image: 19 15/16 x 15 3/8 in. (50.6 x 39.1cm) sheet: 23 3/8 x 18 1/4 in. (59.4 x 46.4cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2008). exhibited: “Lichfield: A Retrospective,” Dimbola Lodge, Isle of Wight, United Kingdom, May - June, 2007. “Lichfield,” Chris Beetles Gallery, London, May - June, 2008. literature: Charles Mosley, Lichfield: In Retrospect, London: Weidenfeld & Nicolson, 1988, p. 61. $800-1,200

101 TERRY O’NEILL (british, b. 1938) “CHRISTOPHER LEE, VINCENT PRICE, JOHN CARRADINE AND PETER CUSHING IN COSTUME FOR ‘THE HOUSE OF LONG SHADOWS,’ HAMPSHIRE, ENGLAND” 1982. Credited, dated and with copyright notation in red crayon verso. Gelatin silver print. image (approx.): 19 x 15 7/16 in. (48.3 x 39.2cm) sheet: 19 15/16 x 15 13/16 in. (50.6 x 40.2cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2010). exhibited: “Terry O’Neill: New & Unseen,” Chris Beetles Gallery, London, February - March, 2010, exhibition no. 35. literature: Terry O’Neill, Legends, London: Jonathan Cape, 1985, p. 99 (illustrated). Terry O’Neill, Celebrity: The Photographs of Terry O’Neill, London: Little, Brown, 2003, p. 33 (illustrated). $1,000-2,000

102 TERRY O’NEILL (british, b. 1938) “PAUL MCCARTNEY AT RINGO STARR’S WEDDING, LONDON” 1981 (printed later). Ink signed and numbered 9/50 in the margin. Gelatin silver print. image: 19 15/16 x 15 7/8 in. (50.7 x 40.3cm) sheet: 23 7/8 x 18 1/2 in. (60.7 x 47cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006). exhibited: “Terry O’Neill in St. James’s, The Art of Photography,” Chris Beetles Gallery, London, February - March, 2006, exhibition no. 40. $1,500-2,500

103 PATRICK LICHFIELD (british, 1939-2005) “JACQUELINE BISSETT, WILTON PLACE, LONDON” May 1, 1964 (printed 2008). Archive credit blindstamp in the margin; inscribed in pencil with title and date, numbered 1/50, and with the Archive credit and reproduction limitation stamps verso. Gelatin silver print. image: 19 15/16 x 13 3/8 in. (50.6 x 34cm) sheet: 23 13/16 x 15 13/16 in. (60.5 x 40.2cm)

provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2008). exhibited: “Lichfield,” Chris Beetles Gallery, London, May - June, 2008. literature: Charles Mosley, Lichfield: In Retrospect, London: Weidenfeld & Nicolson, 1988, p. 32. $800-1,200

104 CECIL BEATON (british, 1904-1980) “PRINCESS ELIZABETH AGED 16 WEARING INSIGNIA OF THE GRENADIER GUARDS WHOSE COMMANDER-IN-CHIEF SHE BECAME IN 1942” 1942 (printed later). Inscribed in pencil with title and date, and with credit stamp verso. Gelatin silver print. image/sheet: 9 15/16 x 7 15/16 in. (25.2 x 20.2cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2009). exhibited: “Cecil Beaton,” Chris Beetles Gallery, London, April - May, 2009, exhibition no. 43. $600-1,000

105 CECIL BEATON (british, 1904-1980) “COLETTE, PARIS” Circa 1950 (printed 2009). Inscribed in pencil with title and date, numbered 1/50, and with signature credit and Sotheby’s Studio Archive copyright reproduction limitation stamps verso. Gelatin silver print. image: 18 x 13 15/16 in. (45.7 x 35.4cm) sheet: 22 7/8 x 19 1/8 in. (58.1 x 48.6cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2009). exhibited: “Cecil Beaton,” Chris Beetles Gallery, London, April - May, 2009, exhibition no. 52. literature: Cecil Beaton & Kenneth Tynan, Persona Grata, London: Allan Wingate, 1953, pp. 28-29 (illustrated). $600-1,000

106 SNOWDON (british, 1930-2017) “RALPH RICHARDSON” 1981 (printed later). Signed in ink and numbered 2/50 in the margin. Gelatin silver print. image: 18 1/8 x 18 1/4 in. (46 x 46.4cm) sheet: 23 13/16 x 19 7/8 in. (60.5 x 50.5cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006). exhibited: “Snowdon,” Chris Beetles Gallery, London, exhibition no. 58. $600-1,000

snowdon Anthony Armstrong-Jones was born in 1930 into the aristocracy, the son of a barrister and the Countess of Rosse. An established fashion photographer and portraitist, he served as the art adviser for The Sunday Times Magazine, and his work was regularly featured in Vogue and the Daily Telegraph. In 1957, he photographed the official portraits for both Queen Elizabeth II and the Duke of Edinburgh for their Canadian tour. It was through his marriage just three years later to the Queen’s sister, Princess Margaret, that he was granted the title Earl of Snowdon, which he would use professionally for the rest of his career, despite the couple’s divorce in 1978.

107 SNOWDON (british, 1930-2017) “JEREMY IRONS” 1981 (printed later). Signed in ink and numbered 2/50 in the margin. Gelatin silver print. image: 20 x 16 in. (50.8 x 40.6cm) sheet: 23 7/8 x 19 7/8 in. (60.6 x 50.5cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006). exhibited: “Snowdon,” Chris Beetles Gallery, London, September 19th - October 14th, 2006, exhibition no. 59. $600-1,000

100

108 SNOWDON (british, 1930-2017) “RUDOLPH NUREYEV, ROYAL BALLET, LONDON” 1963 (printed later). Signed in ink and numbered 2/50 in the margin. Gelatin silver print. image: 20 3/16 x 13 11/16 in. (51.2 x 34.8cm) sheet: 23 15/16 x 19 13/16 in. (60.8 x 50.3cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006). exhibited: “Snowdon,” Chris Beetles Gallery, London, September 19th - October 14th, 2006, exhibition no. 42. $600-1,000

101

109 SNOWDON (british, 1930-2017) “TOM STOPPARD, ROTHERHITHE, LONDON” 1967 (printed later). Signed in ink and numbered 2/50 in the margin. Gelatin silver print. image: 20 1/8 x 13 1/8 in. (51.1 x 34.6cm) sheet: 23 13/16 x 20 in. (60.5 x 50.8cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006). exhibited: “Snowdon,” Chris Beetles Gallery, London, September 19th - October 14th, 2006, exhibition no. 50. $600-1,000

110 TERRY O’NEILL (british, b. 1938) “ISABELLA ROSSELLINI, PUBLICITY STILL FOR ‘WHITE NIGHTS,’ LONDON” 1984 (printed later). Signed in ink and numbered 12/50 in the margin. Gelatin silver print. image: 18 x 18 in. (45.7 x 45.7cm) sheet: 23 7/8 x 19 13/16 in. (60.6 x 50.3cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006). exhibited: “Terry O’Neill in St. James’s, The Art of Photography,” Chris Beetles Gallery, London, February - March, 2006, exhibition no. 43. $800-1,200

102

111 TERRY O’NEILL (british, b. 1938) “MICHELLE PFEIFFER, PORTUGAL” 1990 (printed later). Signed and numbered 3/50 twice in ink verso. Archival pigment print. image: 18 1/16 x 17 15/16 in. (45.9 x 45.6cm) sheet: 23 13/16 x 19 7/8 in. (60.5 x 50.5cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006). exhibited: “Terry O’Neill in St. James’s, The Art of Photography,” Chris Beetles Gallery, London, February - March, 2006, exhibition no. 56. $800-1,200

103

112 SNOWDON (british, 1930-2017) “NOEL COWARD, TRAFALGAR SQUARE, LONDON” 1970 (printed later). Signed in ink and numbered 2/50 in the margin. Gelatin silver print. image: 18 1/8 x 18 3/16 in. (46 x 46.2cm) sheet: 23 13/16 x 19 7/8 in. (60.5 x 50.5cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006). exhibited: “Snowdon,” Chris Beetles Gallery, London, September 19 - October 14, 2006, exhibition no. 52. $600-1,000

edwin smith

113 EDWIN SMITH (british, 1912-1971) “ROOFSCAPE, WHITBY, NORTH YORKSHIRE” 1959 (printed 2010). Inscribed in pencil with title and date, numbered 3/50, and with the artist’s estate stamp and the ‘RIBA’ copyright credit stamp verso. Gelatin silver print. image: 20 1/8 x 14 1/2 in. (51.1 x 36.8cm) sheet: 23 3/4 x 19 15/16 in. (60.3 x 50.6cm) provenance: Chris Beetles Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2010). literature: Robert Elwall, Evocations of Place: The Photography of Edwin Smith, London: Merrell, 2007 (illustrated on the frontispiece). $500-800

Born in London in 1912, Edwin Smith was a prominent photographer and artist. Beginning in 1935, he was a freelance photographer for Vogue, although his interests ultimately lay outside the glamorous realm of fashion and celebrity. The son of a stonemason and an architect by training, he was more fascinated by the English landscape and craftsmanship of its architecture. Lured out of the capital city into the countryside, Smith toured the nation photographing small mining communities, cathedrals and abbeys, farm yards, docks and follies.

104

105

herbert ponting Expedition photographer Herbert Ponting was born in Wiltshire, England, in 1870. He was already an established photographer, having traveled extensively throughout Asia and Europe as a professional photojournalist, when he embarked on a three-year expedition to Antarctica. In 1911, he joined the Terra Nova to Cape Evans, Ross Island, where he took glassplate photographs and short movies—called cinematographs, at the time—of the barren, hostile tundra. Ponting’s work captures the southernmost tip of the globe during what is considered to be the “Heroic Age of Antarctic Exploration.”

114 HERBERT GEORGE PONTING (british, 1871-1935) “GROTTO IN BERG, TERRA NOVA IN THE DISTANCE” January 5, 1911 (printed 2012). Scott Polar Research Institute blindstamp in margin; presumably numbered 16/30 and annotated in pencil verso. Platinum palladium print. image: 19 9/16 x 14 3/16 in. (49.7 x 36cm) sheet: 23 11/16 x 18 5/16 in. (60.2 x 46.5cm) provenance: Chris Beetles Fine Photography, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. exhibited: “The Photographers 2012,” Chris Beetles Fine Photography, London, October 17 - November 9, 2012. $2,000-3,000

106

INDEX AÏZPIRI, P.,

MARDEN, B.,

ARP, J.,

MEIDNER, L.,

AVERY, S.M.,

66, 67

MIRÓ, J.,

2-4

BEAL, J.,

69, 70

MOTHERWELL, R.,

BEATON, C.,

83-85, 87, 90, 104, 105

MUTER, M.,

BERTOIA, H.,

NELSON, L.,

BUSH, J.H.,

NOLDE, E.,

25, 26

CALDER, A.,

OHLSON, D.,

CHAGALL, M.,

OLDENBURG, C.,

CHRISTENSEN, D.,

O’NEILL, T.,

86, 88, 89, 97, 99, 101, 102, 110, 111

CLOSE, C.,

OSBORNE, E.,

77-79

CONSAGRA, P.,

PICASSO, P.,

12-24

DONOVAN, T.,

91-93, 96, 98

PIPER, J.,

73-76

DOUAIHY, S.,

PONTING, H.G.,

114

DUBUFFET, J.,

PORTOCARRERO, R.,

DUFFY, B.,

POWER, C.,

10, 11

FERBER, H.,

RABELL, A.R.,

GATTORNO, A.,

RAUSCHENBER, R.,

GODWIN, J.,

RAY, M.,

GOODNOUGH, R.,

ROHRER, W.,

GUAYASAMÍN, O.,

SAUL, P.,

HUNDERTWASSER, F.,

52, 53

SMITH, E.,

113

INDIANA, R.,

60, 61

SNOWDON

106-109, 112

JEANNE-CLAUDE, C.,

SUZUKI, J.H.,

JENKINS, P.,

TAMAYO, R.,

JOHNS, J.,

48, 49

THOMAS CHIMES, T.,

KATZ, A.,

WARHOL, A.,

57-59

KELLY, E.,

62, 63

WOU-KI, Z.,

KEPES, G.,

ZEVS

LICHFIELD, P.,

94, 100, 103

ZOX, L.,

LUEDERS, J.,

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

107 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.

PURCHASE REMOVAL, SHIPPING AND OFFSITE STORAGE INFORMATION To ensure the safety of your property Freeman’s requests removal within 10 business days of the sale date. Collection hours are Monday–Friday, 9:30am–4:30pm. For larger items, please email Juwan Muse at loadingdock@freemansauction.com to schedule a loading dock appointment. For purchase release to persons not listed on your contract or invoice, 3rd party authorization is required. Please mail or fax, 215.599.2240, a signed letter stating receipt/item(s) or sale/lot(s) and name of third party collecting property. Freeman’s does not handle packing or shipping. The shippers listed have worked with Freeman’s clients in the past and will be happy to provide you with quotes for the packing and shipping of your property. Annie Hauls Jules Smith Doylestown, PA 18901 215.230.8123 email@anniehauls.com Art In Transit Nick Clarke 314 North 12th Street Philadelphia, PA 19107 540.550.7080 nclarke@artintransit.net Atelier Art Services ‡ Lynn Smith 1330 North 30th Street Philadelphia, PA 19144 215.235.0402 | Fax: 215.235.0421 info@atelierartservices.com Aiston Fine Art Service ‡ Mark Aiston P.O. Box 3434 Grand Central Station New York, NY 10163 212.715.0629 | Fax: 718.361.8569 info@aistonart.com Cadogan Tate Fine Art ‡ Stacey Ferguson Cadogan House 41-20 39th Street Sunnyside, NY 11104 718.706.7999 | Fax: 718.707.2847 s.ferguson@cadogantate.com Crozier Fine Arts Catherine Erickson New York, NY 10011 212.741.2024 / Fax: 212.741.5513 shipping@crozierarts.com Mr. C’s Charles Cohen 1615 North 10th Street Philadelphia, PA 19122 267.977.9567 mrcees61@gmail.com

Malca Amit ‡ Christine Duke 153-66 Rockaway Blvd New York, NY 11434 718.525.6100 | Fax: 718.425.3703 maa.nyc@malca-amit.com A. Mastrocco Jr. Moving & Storage Roseanne Gebler 1060 Louis Drive Warminster, PA 18991 215.491.0346 | Fax: 215.444.9327 mastroccomovers@snip.net The Packaging Store ‡ Alex Long 2333 Welsh Road Lansdale, PA 19446 215.361.6940 | Fax: 215.361.6941 hello@packandshipnow.com UPS Store 3263 ‡ Colin McCarry Philadelphia, PA 19103 auctionpackship@gmail.com 484.879.6678 U.S. Art ‡ Jessica Pierce 37-11 48th Avenue Long Island City, NY 11101 800.472.5784 | Fax:718.472.5785 jpierce@usart.com FURNITURE & LARGE ITEMS For larger pieces where delivery time is not the primary concern, we suggest getting your items freighted: www.plyconvanlines.com www.freightquote.com ‡ Shippers that can fulfill international deliveries

IMPORTANT INFORMATION FOR BUYERS Registration All potential buyers must register for the sale prior to placing a bid. Registration information may be submitted in person at our reception desk, by fax or through our website at www.freemansauction.com. We will require proof of identification and residence and may require a credit card and/or a bank reference. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted Freeman’s Terms and Conditions of Sale. Buyer’s Premium A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, and 12% thereafter. Sales Tax All items in the catalogue are subject to the 8% Pennsylvania and Philadelphia sales tax. Dealers purchasing for resale must register their tax numbers on current PA forms. Forms should be submitted to our Client Services office on the second floor. Catalogue Descriptions All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. If potential buyers are unable to inspect lots in person, our specialists will be happy to prepare detailed Condition Reports on individual lots as quickly as possible. These are for guidance only, and all lots will be sold “as is” as per our Terms and Conditions of Sale. Bidding At the sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. The auctioneer will not mistake a random gesture for a bid. By phone A limited number of telephone lines are available for bidding by phone through a Freeman’s representative. Phone lines must be reserved in advance. Requests must be submitted no later than 24 hours prior to the scheduled start of the sale. In writing Bid forms are available in the sale room and at the back of the catalogue. These should be submitted in person, by mail or by fax no later than one hour prior to the scheduled start of the sale. The auctioneer will bid on your behalf up to the limit. On the internet A fully-illustrated catalogue is available on-line at www.freemansauction.com. Registered bidders may leave absentee bids through the website and will receive email confirmation of their bid. Freeman’s is not responsible for errors or failure to execute bids. Payment Payment is due within ten (10) working days of the sale. Lots purchased will not be released until we have received full payment. Payment may be made in cash, by check, money order, or debit card. Payments by check must clear the bank before goods will be released. Removal of Purchases Deliveries will not be made during the time of the sale unless otherwise indicated by the auctioneer. All items must be paid for and removed within ten (10) working days of the sale. Purchases not so removed may be turned over to a licensed warehouse at the expense and risk of the purchaser. Shipping and Packing Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. Upon request, Freeman’s will provide the purchaser with names of professional packers and shippers known to us. Endangered Species Lots marked * are manufactured in whole or in part of restricted materials that may include tortoiseshell, ivory, mother-of-pearl, coral, rhinoceros horn, whalebone or marine ivory. Such materials may require specific licenses, certificates, or CITES documentation for import, export, moving between states in the U.S., or resale. Obtaining these documents may require scientific, laboratory or other expert analysis, in order to establish which species or genus the material came from. Freeman’s is unable to provide this information, and the obligation is on the purchaser of a lot containing any of these materials to ensure that they are able to obtain all the necessary or required documents should they need to, prior to bidding on the lot. If proper documentation or licenses etc. cannot be obtained for a purchased lot, the purchaser will still be required to make an on time payment for the lot as per our standard terms and conditions. Freeman’s cataloguing of the lots marked with this symbol * represents the best of our opinion, and the absence of this symbol from any lot description does not form a warranty that the lot will be free from any licensing or certification restrictions.

108 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.

109 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

110 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

111 v3.2016

Pennsylvania Academy of the Fine Arts

Jingsi Li (MFA 2017), 6 PM in a day (detail), Mixed media on wood panel, 18x24 in.

117TH ANNUAL STUDENT EXHIBITION May 11 - June 3, 2018

PREVIEW PARTY

Thursday, May 10, 2018 4 - 8:30 p.m. (Entry times vary)

Hosted by the Womenâ&#x20AC;&#x2122;s Board of the Pennsylvania Academy of the Fine Arts.

118-128 N. Broad Street Philadelphia, PA 215-972-7600 pafa.org/ase @PAFAcademy

www.freemansauction.com 1808 chestnut street philadelphia pennsylvania 19103