American Art & Pennsylvania Impressionists by Freeman's

american art & pennsylvania impressionists featuring the collection of perry & june ottenberg

june 3, 2018

AMERICAN ART & PENNSYLVANIA IMPRESSIONISTS FEATURING THE COLLECTION OF PERRY & JUNE OTTENBERG

AUCTION Sale 1605 Sunday, June 3, 2018 at 2:00pm 1808 Chestnut Street, Philadelphia PA 19103 Cover Image: Lot 91, Inside Front Cover: Lot 77 (detail) Â© 2018 Jamie Wyeth / Artists Rights Society (ARS), New York Inside Back Cover: Lot 114 (detail)

AMERICAN ART & PENNSYLVANIA IMPRESSIONISTS DEPARTMENT Alasdair Nichol Chairman | Head of Department anichol@freemansauction.com 267.414.1211

David Weiss Senior Vice President | Specialist dweiss@freemansauction.com 267.414.1214

RaphaÃ«l Chatroux Junior Cataloguer | Fine Art rchatroux@freemansauction.com 267.414.1253

EXHIBITIONS Wednesday, May 30

10:00am-5:00pm

Thursday, May 31

10:00am-5:00pm

Friday, June 1

10:00am-5:00pm

Saturday, June 2

12:00pm-5:00pm

By appointment only on the morning of the sale

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

Lot 100 (detail)

Joslyn Moore Bidding Registration jmoore@freemansauction.com 267.414.1207

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

AMERICAN ART lots 1-95

Lot 12 (detail)

1 LEVI WELLS PRENTICE (american 1851–1935) APPLES IN A BASKET Signed ‘L.W. Prentice’ on the rim of the basket center left, oil on canvas 11 7/8 x 18 in. (30.2 x 45.7cm) provenance: Private Collection, Alabama. By descent in the family. Private Collection, Alabama. $12,000-18,000

2 DAVID JOHNSON (american 1827–1908) “ON TOP OF THE TORN MOUNTAIN RAMAPO (STUDY) Signed with artist’s initial and dated ‘D/74’ bottom right; also inscribed with title, artist and date verso; also inscribed with title on upper stretcher verso, oil on canvas 15 1/2 x 11 1/2 in. (39.4 x 29.2cm) provenance: Collection of Leopold S. Moreno, Virginia. $5,000-8,000

3 HERMANN HERZOG (american/german 1832–1932) “FISHING FOR SALMON BY MOONLIGHT” Signed ‘H. Herzog’ bottom right, oil on canvas 20 x 12 1/8 in. (50.8 x 30.8cm) provenance: The Artist. The Estate of the Artist (as no. 994 in the Checklist). Auslew Gallery, Norfolk, Virginia. Acquired directly from the above. Collection of Leopold S. Moreno, Virginia. $3,000-5,000

4 ALFRED THOMPSON BRICHER (american 1837-1908) “COAST SCENE WITH LIGHTHOUSE” Signed with conjoined letters and dated (twice) ‘ABricher 1876-77’ bottom left, oil on canvas 17 x 22 in. (43.2 x 55.9cm) provenance: Collection of Leopold S. Moreno, Virginia. exhibited: “Proud Possessions: A Community Collects,” Chrysler Museum, Norfolk, Virginia, May 29-July 19, 1992. $5,000-8,000

5 ASHER BROWN DURAND (american 1796–1886) FOREST POOL IN THE CATSKILLS Signed with artist’s initials ‘ABD’ bottom left; also with the ‘Durand Estate Sale’ verso, oil on canvas 17 x 24 in. (43.2 x 61cm) provenance: Private Collection, Massachusetts. $15,000-25,000

6 WILLIAM KEITH (american 1838-1911) BY THE POND Signed ‘Keith’ bottom right, oil on canvas 14 1/4 x 20 1/4 in. (36.2 x 51.4cm) provenance: Collection of Leopold S. Moreno, Virginia. $2,000-3,000

7 CHARLES WILSON KNAPP (american 1823-1900) STREAM CROSSING Signed ‘C.W. Knapp’ bottom left, oil on canvas 20 x 36 in. (50.8 x 91.4cm) provenance: Collection of Dr. James Lee, New Jersey. $3,000-5,000

8 GEORGE HETZEL (american 1826–1899) A STOP BY THE RIVER Signed and dated ‘Geo Hetzel/1884’ bottom right, oil on canvas 15 x 24 1/8 in. (38.1 x 61.3cm) provenance: Private Collection, Pennsylvania. $4,000-6,000

9 JOHN FREDERICK PETO (american 1854–1907) “HARPER’S FERRY” Titled and signed verso, oil on canvas 10 1/4 x 14 1/4 in. (26 x 36.2cm) provenance: Collection of Leopold S. Moreno, Virginia. exhibited: “Important Information Inside: The Art of John F. Peto and the Idea of StillLife Painting in Nineteenth-Century America,” National Gallery of Art, Washington D.C., January 16-May 29, 1983; and Amon Carter Museum, Fort Worth, Texas, July 15-September 18, 1983 (traveling exhibition), no. 20 (illustrated in the exhibition catalogue p. 23). $6,000-10,000

10 RALPH ALBERT BLAKELOCK (american 1847–1919) AUTUMN IN THE CATSKILLS Signed ‘Blakelock’ bottom left, oil on canvas 12 1/4 x 10 1/4 in. (31.1 x 26cm) provenance: The Artist. Acquired directly from the above. Private Collection, New Gretna, New Jersey. By descent in the family. M. Knoedler & Co., New York, New York. Collection of Leopold S. Moreno, Virginia. exhibited: M. Knoedler & Co., New York, New York, 1972 (per label verso). note: This painting is registered at the University of Nebraska, in the “Blakelock Inventory” with the number 689-CLASS II. We wish to thank Jenny Lyubomudrova at Questroyal Fine Art, for her kind assistance in cataloguing this lot. $5,000-8,000

11 EDMUND DARCH LEWIS (american 1835-1910) “IN THE VALLEY” Signed and dated ‘Edmund D. Lewis 1866’ bottom left, oil on canvas 39 1/2 x 62 in. (100.3 x 157.5cm) provenance: Christie’s, New York, sale of October 11, 2000, lot 33. Acquired directly from the above sale. Private Collection, New Jersey. $10,000-15,000

opposite page 12 JOHN FREDERICK KENSETT (american 1816–1872) “SPOUTING ROCK BEACH, NEWPORT” Signed with artist’s initials and dated ‘J.K/54’ bottom right; also titled, signed and dated verso, oil on board 10 1/2 x 17 in. (26.7 x 43.2cm) provenance: Private Collection, Germany. exhibited: “Shock of the Old: Epic Visions in 19th Century Art,” Babcock Galleries, New York, New York, May 12-June 24, 2016. note: We wish to thank Dr. John Driscoll for his kind assistance in cataloguing this lot. The painting will be included in the forthcoming John Frederick Kensett Catalogue Raisonné being prepared under the direction of Dr. John Driscoll. $60,000-100,000

“T

his Newport subject painting by John F. Kensett, recently rediscovered and authenticated, will enter the catalogue raisonné of Kensett’s work as one of the artist’s earliest and key Newport subject paintings: a superb example of his ability to capture the wind and mist of a cloudy day on the beach. “Spouting Rock Beach, Newport” is exactly the kind of picture, with its fluent brushwork, subtle exploration of tonal modulation and of light’s subtle articulation of form that enhanced Kensett’s reputation as an influential master of 19th century painting. This is without doubt one of the Newport paintings James W. Field referred to in an October 7, 1854 letter to Jasper F. Cropsey: “Kensett has been the most industrious of men lately & has collected a group of beautiful sketches.” Kensett’s friends and colleagues knew that the 1854 Newport paintings represented a breakthrough for Kensett and this example is one of those important paintings. This is a painting of iconic subject matter, masterfully conceived and executed and fully manifesting Kensett’s intimate, new and evolving artistic vision which has come to be known as ‘Luminism’. As an unusual if not unique variation on other Kensett Newport paintings, it is also

intimately related to his Shrewsbury River paintings and, an 1854 drawing of Lake Pepin on the Mississippi River done earlier in the summer (now in a Private Collection). All of these works are important because they occur at the very moment that he is exploring an advanced Luminist style, technique and vision, beyond that of Thomas Cole, Asher B. Durand and other artists from the Hudson River School. It is the moment in which he separates himself from his peers and embarks on a vision for painting that would have generational impact on painters of his own and subsequent times. This is an important transformational painting in Kensett’s career and must be taken into account in any thorough study of his work. The painting survives in nearly perfect condition with surface impasto beautifully intact. It also has, at lower right, Kensett’s classic “JFK” monogram and the date “54.”Additionally, the reverse of the painting has two inscriptions, both in Kensett’s readily recognizable handwriting: “Spouting Rock Beach, Newport/a study by J. F. Kensett 1854” (in graphite) and “To be ret’d to Mr Kensett” (in ink). The painting is accompanied by old period frame, possibly of European origin, and possibly original to the picture”.

john driscoll, phd

13 JOHN LAFARGE (american 1835–1910) “THE RAPE OF GANYMEDE” Signed with artist’s initials ‘J.L.F.’ bottom right, watercolor on paper laid down to cardboard Sheet size: 23 1/2 x 11 3/4 in. (59.7 x 29.8cm) provenance: The Milch Galleries, New York, New York. Auslew Gallery, Norfolk, Virginia. Acquired directly from the above. Collection of Leopold S. Moreno, Virginia. note: The present work is based on “Ganymede Abducted by the Eagle” by Antonio da Correggio, now in the Kunsthistorisches Museum in Vienna, Austria. $4,000-6,000

14 ARTHUR BOWEN DAVIES (american 1862-1928) “TO HESPERAS” Signed ‘A.B. Davies’ bottom left, oil on canvas 22 x 17 in. (55.9 x 43.2cm) provenance: Collection of Leopold S. Moreno, Virginia. $2,000-3,000

15 HERMANN HERZOG (american/german, 1832–1932) “SUNSET ON A HOLLAND CANAL” Signed ‘H. Herzog’ bottom left, oil on canvas 13 x 16 in. (33 x 40.6cm) provenance: The Artist. The Estate of the Artist (as no. 376 in the Checklist). Auslew Gallery, Norfolk, Virginia. Acquired directly from the above. Collection of Leopold S. Moreno, Virginia. $3,000-5,000

16 HERMANN HERZOG (american/german 1832–1932) “STORM ON THE FRIESLAND COAST” Signed ‘H. Herzog’ bottom left, oil on canvas 21 x 29 1/8 in. (53.3 x 74cm) provenance: The Artist. The Estate of the Artist (as no. 923 in the Checklist). Auslew Gallery, Norfolk, Virginia. Acquired directly from the above. Collection of Leopold S. Moreno, Virginia. $3,000-5,000

17 JAMES HAMILTON (american 1819-1978) “SUNSET AT SEA” Signed ‘J. Hamilton’ bottom right, oil on canvas 24 x 40 in. (61 x 101.6cm) provenance: Collection of Leopold S. Moreno, Virginia. exhibited: “Proud Possessions: A Community Collects,” Chrysler Museum, Norfolk, Virginia, May 29-July 19, 1992 (per label verso). literature: John Wilmerding, “Fitz Hugh Lane: Imitations & Attributions,” in American Art Journal, vol. III, Fall 1971, fig. 9 (illustrated). $3,000-5,000

homas Eakins was born in Philadelphia in 1844. He started his career in a very traditional way, first enrolling at the Pennsylvania Academy of Fine Arts, and then studying at the École des Beaux-Arts in Paris. Upon his return to Philadelphia in 1870, Eakins developed a taste for portraiture, depicting his family and friends, and exhibiting the finished portraits at local salons and fairs. The portraits of Eakins convey a striking sense of energy and vitality. As a professor, he encouraged his students to draw and paint directly from the nude models in order to capture the essence of their physical structure. Anatomy and dissection courses became part of his curriculum, and as a young student himself, Eakins attended anatomy lectures at Jefferson Medical College. Eakins’ fascination with the human form may be what connected him with the family of the present sitter, Mrs. Ruth Leonard, the wife of the Philadelphia physician and noted X-ray pioneer and specialist, Dr. Charles Lester Leonard. Regrettably, the finished portrait for which the present lot is a study, no longer exists. When Lloyd Goodrich, Eakins’ first biographer, contacted the couple’s only daughter about it, she replied: “Unfortunately this portrait met with an accident and is no longer in existence.” Depicted in a three-quarter length format, Mrs. Charles Leonard here sits quietly on a chair, her hands joined in her laps. Dressed in a crimson dress with brown fur around the shoulders, she stands out against the dark brown background, almost like an apparition. The even grid which appears on the portrait suggests it was the final study used to transfer the work to canvas.

18 THOMAS EAKINS (american 1844–1916) “STUDY FOR THE PORTRAIT OF MRS. CHARLES L. LEONARD” Signed with artist’s initials ‘T.E.’ bottom right; also inscribed ‘Study by/Thomas Eakins’ bottom right, oil on board 14 1/8 x 11 in. (35.9 x 27.9cm) provenance: The Artist. The Estate of the Artist. The Artist’s wife, Susan Macdowell Eakins, Philadelphia, Pennsylvania. A gift from the above. Collection of Charles Bregler, Philadelphia, Pennsylvania. Collection of Joseph Katz, Baltimore, Maryland. Knoedler & Co., New York, New York, by 1961. Acquired directly from the above in 1961. Collection of Joseph H. Hirshhorn, New York, New York. Gifted from the above in 1966. Hirshhorn Museum & Sculpture Garden, Washington D.C. Christie’s, New York, sale of March 3, 2001, lot 108. Acquired directly from the above sale. Private Collection, New York, New York. Acquired directly from the above. Private Collection, New York, New York. exhibited: “Thomas Eakins Centennial Exhibition, 1844-1944,” Philadelphia Museum of Art, Philadelphia, Pennsylvania, April 8-May 14, 1944, no. 48; and Knoedler & Co., New York, New York, June 5-July 31, 1944, no. 52; and Carnegie Institute, Pittsburgh, Pennsylvania, April 26-June 1, 1945, no. 99 (traveling exhibition). “The Thomas Eakins Collection of the Hirshhorn Museum and Sculpture Garden,” Smithsonian Institution, Hirshhorn Museum & Sculpture Garden, Washington, D.C., May 24-September 5, 1977, no. 82 (illustrated pp. 151-152 in the exhibition catalogue). literature: Alan Burroughs, “Catalogue of the Work of Thomas Eakins (1869-1916),” The Arts, June 1924, vol. 5, p. 330. Lloyd Goodrich, Thomas Eakins: His Life and Work, Whitney Museum of American Art, New York, New York, 1933, p. 186, no. 286 (illustrated). Gordon Hendricks, The Life and Work of Thomas Eakins, Grossman, New York, 1974, p. 322, no. 77 (illustrated). $15,000-25,000

n the early 1880s, Thomas Eakins found solace by trading the confines of modern Philadelphia for the quietude of the Pennsylvania countryside. There, he enjoyed an American pastoral idyll, which he tried to immortalize by photographing himself and his friends, most often nude, in various poses inspired by classical models. Some of the photographs were used as studies for subsequent paintings, including “The Swimming Hole” (Amon Carter Museum of American Art, Austin, Texas) and “Arcadia” (Metropolitan Museum of Art, New York, New York), which are all a reflection of Eakins’ strong commitment to the nude; and yearning for simpler, more natural times. Eakins’ fascination with the classical nude is not wholly surprising, as he was trained in the most rigorous Art Academies of the United States and France, where antiquity was the core of instruction and the filter through which modern life was evaluated. While in Paris, Eakins studied with Jean-Léon Gérome, whose 1848 “Anacreon” explored a variant of antique peacefulness and tranquility. While Eakins was working on his arcadian series, other artists worked on their own utopian images, including William Adolphe Bouguereau, Lawrence Alma-Tadema, John Abbott McNeill Whistler and Pierre Puvis de Chavannes. The present piece portrays a young woman in profile. Set against a green background, she is wearing a low-neck gown, a reminder of the classic attire. Her face lies almost completely in the shadow, adding to the pervasive, yet understated melancholy which characterizes the portrait. An open-air study, the portrait’s palette is dominated by intense dark greens and earth tones. The figure’s neck is anchored by some of the bright yellow-greens that show prominently in other arcadian sketches by Eakins. The female figure depicted here may very well be Susan Macdowell, the artist’s wife. It is most likely a direct transcription of a nude photograph Eakins took of her around 1880. The reverse of the present piece depicts an oil study of a horse, which Thomas Eakins had in mind for the painting “A May Morning in the Park (The Fairman Rogers Four-in-Hand),” executed between 1879-1880 and now at the Philadelphia Museum of Art.

Photograph by Thomas Eakins (detail) Circa 1880 Scanned from The Photographs of Thomas Eakins by Gordon Hendricks, 1972.

19 THOMAS EAKINS (american 1844–1916) “WOMAN IN SHADE” (ARCADIAN STUDY); WITH A STUDY OF A HORSE VERSO Oil on panel 9 15/16 x 7 15/16 in. (25.2 x 20.2cm) Executed circa 1883. provenance: The Artist. The Artist’s wife, Susan Macdowell Eakins, Philadelphia, Pennsylvania, 1916. Babcock Galleries, New York, New York, 1938. Collection of Mr. and Mrs. Albert Hackett, New York, New York 1943. Private Collection, Los Angeles, California, 1961. Private Collection, New York, New York. exhibited: “Exhibition of Sketches, Studies and Intimate Paintings by Thomas Eakins, 1844-1916,” Babcock Galleries, New York, New York, October 31-November 25, 1939, no. 1 or 2. literature: Lloyd Goodrich, Thomas Eakins: His Life and Work, Whitney Museum of American Art, New York, 1933, p. 186, no. 181 (illustrated as “Head of a Girl”). $15,000-25,000

20 ANTONIO JACOBSEN (american /DANISH 1850-1921) “COROCORO” Signed and dated ‘Antonio Jacobsen 1897’ bottom right, oil on canvas 22 x 36 1/4 in. (55.9 x 92.1cm) provenance: Private Collection, New York, New York. literature: Harold S. Snifen, Antonio Jacobsen - The Checklist: Paintings and Sketches by Antonio N. G. Jacobsen 1850-1921, The Sanford & Patricia Smith Galleries Ltd., New York, New York; In Association with The Mariner’s Museum Newport News, Newport, Virginia, 1984, no. 30. $5,000-8,000

21 JAMES MCDOUGAL HART (american 1828–1901) “LANDSCAPE WITH COWS” Signed and dated ‘James M. Hart 1879’ bottom left, oil on canvas 22 1/8 x 34 1/4 in. (56.2 x 87cm) provenance: Roberto Freitas American Antiques & Decorative Arts, Stonington, Connecticut. Private Collection, Wyoming. $3,000-5,000

22 WILLIAM BAXTER CLOSSON (american 1848–1926) THE STORY OF PETER PAN Signed ‘Baxter Closson’ bottom right, oil on panel 8 x 10 in. (20.3 x 25.4cm) provenance: Private Collection, Virginia. $1,500-2,500

23 HUGH BOLTON JONES (american 1848–1927) “NEAR STOCKBRIDGE” Signed ‘H. Bolton Jones’ bottom right, oil on board 30 x 30 1/4 in. (76.2 x 76.8cm) provenance: The Estate of John Rufus Rhamstine, Larchmont, New York. Private Collection, New York. $6,000-10,000

24 HUGH BOLTON JONES (american 1848–1927) THE STREAM UP IN THE MOUNTAIN Signed ‘H. Bolton Jones’ bottom left, oil on canvas 14 1/4 x 20 1/4 in. (36.2 x 51.4cm) provenance: Collection of Leopold S. Moreno, Virginia. $4,000-6,000

25 CHILDE HASSAM (american 1859-1935) “RAIN AND MIST, GLOUCESTER HARBOR” Signed ‘Childe Hassam’ bottom left, watercolor on paper Sheet size: 14 x 20 in. (35.6 x 50.8cm) Executed circa 1890. provenance: Collection of Garrett Chatfield Pier, New Haven, around 1910. By descent in the family. Skinner, Boston, sale of May 14, 1999, Lot 150. Acquired directly from the above sale. Private Collection, Washington D.C. exhibited: (Possibly) “First Annual Exhibition,” New York Watercolor Club, New York, New York, 1890, no. 179. (Possibly) “Exhibition and Private Sale of Oil Paintings and Watercolors and Pastel Drawings by Childe Hassam,” Doll & Richards Gallery, Boston, Massachusetts, 1891, no. 36. (Possibly) “28th Annual Exhibition,” American Watercolor Society, New York, New York, 1895, no. 471.

note: A pioneering figure of American Impressionism, Frederick Childe Hassam was born in Boston in 1859. His inherent artistic talent first appeared during his early childhood, through the watercolor and drawing lessons he took at school. In the early 1880s, Hassam began taking painting classes, though by then his preference for watercolor had overtaken other media. His first solo exhibition was held in 1882, where he exhibited close to fifty watercolors at a gallery in Boston. While Hassam’s New England roots are evident in his body of work, they are never more apparent than in the paintings and watercolors he produced during his trips to the coastal towns of Gloucester, Old Lyme, Newport, and Provincetown. His numerous depictions of Gloucester, the idyllic seaside Massachusetts town, including the present work, are emblematic of his Impressionistic style. “Rain And Mist, Gloucester Harbor,” executed circa 1980, features a muted color palette of pale and blues and muted earth tones. A lone sailboat sits delicately on the still surface of the water, its reflection ripples below. This present work will be included in Stuart P. Feld and Kathleen M. Burnside’s forthcoming Catalogue Raisonné of the artist’s work. We wish to thank Kathleen M. Burnside for her kind assistance in cataloguing this lot. $30,000-50,000

26 CHILDE HASSAM (american 1859-1939) “NEWBURGH, NEW YORK” Signed and dated ‘Childe Hassam/1914’ upper right, watercolor on paper Sheet size: 15 1/8 x 21 15/16 in. (38.4 x 55.7cm) provenance: Private Collection, New York. Private Collection, Chicago, Illinois. Private Collection, New York, New York. note: Between his frequent trips to Europe throughout his career, Hassam almost always returned to New York City. Equally adept at capturing urban life as sumptuous rural landscapes, he made several trips to Newburgh, the quiet commuter town nestled on the west bank of Hudson River,

about sixty miles north of Manhattan. Reachable by ferry from across the river at Beacon, Newburgh’s hilly terrain provided gorgeous vistas of the Hudson and a striking backdrop against which to paint. Hassam made several watercolors and oil paintings of the town, its architecture and environs, including the present piece, which he executed in 1914. This present work will be included in Stuart P. Feld and Kathleen M. Burnside’s forthcoming Catalogue Raisonné of the artist’s work. We wish to thank Kathleen M. Burnside for her kind assistance in cataloguing this lot. $15,000-25,000

hilde Hassam first visited Europe in the summer of 1883, at the age of twenty-four, spending two months traveling the continent while studying and producing art. He returned again in 1886, settling in Paris where he would stay for three years. While in Europe, Hassam made several excursions to Broadstairs, the coastal Kent town at the southeastern tip of England, just across the channel from Dunkirk. During Roman times the region was an island - indeed, it is still known as the Isle of Thanet - but the channel that separated it from the mainland became silted in the 17th century. Hassam created a series of watercolors of local life and landscapes in Broadstairs and its environs. His frequent depictions of this quaint seaside village demonstrate a deep affinity for the area, which encompasses the small hamlet of St. Peter’s. The present piece was executed in 1889, towards the end of the artist’s stint in Europe. It depicts an overgrown, verdant garden on a small rise towards a traditional English cottage, masked by a screen of greenery. A plume of smoke rises from the chimney, becoming indiscernible amongst the sharp white clouds. True to Hassam’s style, the dappled flowers and leaves that dominate the scene - painted from a lowered perspective - are quickly and roughly applied. This unrecorded work will be included in Stuart P. Feld and Kathleen M. Burnside’s forthcoming Catalogue Raisonné of the artist’s work. We wish to thank Kathleen M. Burnside for her kind assistance in cataloguing this rediscovered piece.

(verso)

27 CHILDE HASSAM (american 1859-1939) “SAINT PETER’S, NEAR BROADSTAIRS” (THE SHALLOWS); WITH A LANDSCAPE SKETCH VERSO Signed ‘Childe Hassam’ bottom left, watercolor on heavy paper Sheet size: 15 7/16 x 11 3/16 in. (39.2 x 28.4cm) provenance: The Artist. Acquired directly from the above. Collection of Allen M. Sumner, Boston, Massachusetts. By descent in the family. Private Collection, Virginia. $25,000-40,000

28 HARRIET WHITNEY FRISHMUTH (american 1880-1980) “THE DANCERS, PAS DE DEUX” Signed and dated ‘Harriet W. Frishmuth © 1921’ on the base; also with ‘GORHAM CO. FOUNDERS / QBOS’ stamp on the rim of the base. Edition of 58, bronze with brown patina and green highlights Height (including base): 17 1/8 in. (43.5cm) Width: 24 1/8 in. (61.3cm) On Black Belgian marble base Modeled in 1921, cast in 1922-1923. provenance: Private Collection, Lynn Hallman, Little Rock, Arkansas. By descent in the family. Private Collection, San Francisco, California. Freeman’s, Philadelphia, sale of June 22, 2008, lot 74. Acquired directly from the above sale. Private Collection, Connecticut.

literature: Charles N. Aronson, Sculptured Hyacinths, New York, 1973, pp. 122-123, 202 and 208 (another cast illustrated). Javis C. Conner, Joel Rosenkranz and David Finn, Rediscoveries in American Sculpture: Studio Works 1893-1939, Austin, Texas, 1989, pp. 35 and 40 (another cast illustrated). Thayer Tolles, American Sculpture in the Metropolitan Museum of Art: A Catalogue of Works by Artists Born between 1865 and 1885, New York, 2001, vol. II, p. 641. Jannis Conner, Frank L. Hohmann IIII, Leah Rosenblatt Lembeck and Thayer Tolles, Captured Motion, The Sculpture of Harriet Whitney Frishmuth, A Catalogue of Works, New York, 2006, no. 1921: 4 pp. 158-159, and 241 (another cast illustrated). note: The present sculpture was modeled by Desha Delteil and Léon Barté and is considered “the most open and dramatic of Frishmuth’s male and female composition” (Conner, Lehmbeck and Tolles, op.cit., p. 158). $20,000-30,000

29 CHARLES DEMUTH (american 1883–1935) “BATHING BEACH” Signed ‘C. Demuth’ bottom left, watercolor over traces of pencil on paper Sheet size: 8 x 13 in. (20.3 x 33cm) provenance: Kraushaar Galleries, New York, New York. Zabriskie Gallery, New York, New York. Kennedy Galleries, New York, New York. Berta Walker Gallery, Provincetown, Massachusetts. Doyle, New York, sale of May 24, 2005, lot 164. Private Collection, New York, New York. exhibited: The Saint Louis Art Museum, Saint Louis, Missouri, n.d. (per label verso). “Over Here: Modernism, The First Exile, 1914-1919” David Winton Bell Gallery, Brown University, Providence, Rhode Island, April 15-May 29, 1989. “Town & Country: In Pursuit of Life’s Pleasures,” Nassau County Museum of Art, Roslyn Harbor, New York, May 12-August 11, 1996. $12,000-18,000

30 ALBERT FRANCIS KING (american 1854–1945) PEACHES IN A BAG Signed ‘A.F. King’ bottom right, oil on canvas 14 x 20 in. (35.6 x 50.8cm) provenance: Wunderly Brothers, Pittsburgh, Pennsylvania. Private Collection, Pennsylvania. $3,000-5,000

31 GEORGE COCHRAN LAMBDIN (american, 1830–1896) ROSES Signed ‘Geo C. Lambdin’ bottom right, oil on panel 28 x 12 in. (71.1 x 30.5cm) provenance: Collection of Leopold S. Moreno, Virginia. $1,500-2,500

32 AARON HARRY GORSON (american 1872–1933) ROWING SCENE AT PANTHER HOLLOW, PITTSBURGH Signed ‘A.H. Gorson’ bottom left, oil on canvas 18 x 22 1/8 in. (45.7 x 56.2cm) provenance: Private Collection, Pennsylvania. $3,000-5,000

33 FRANCIS LEE JAQUES (american 1887-1969) GEESE IN FLIGHT Signed ‘F.L. Jaques’ bottom right, oil on canvas 30 x 42 in. (76.2 x 106.7cm) provenance: Private Collection, Nebraska. $5,000-8,000

34 ALDRO THOMPSON HIBBARD (american 1886-1972) STREAM IN WINTER Signed ‘A.T. Hibbard N.A.’ bottom left, oil on canvas laid down to board 17 5/8 x 24 3/4 in. (44.8 x 62.9cm) provenance: Private Collection, Virginia. $3,000-5,000

35 PAULINE PALMER (american 1867–1938) “A GLIMPSE OF SEA” (CAPE COD) Signed ‘Pauline Palmer’ bottom right; also inscribed (twice) with title verso, oil on board 19 7/8 x 23 7/8 in. (50.5 x 60.6cm) Executed circa 1934. provenance: Private Collection, Canada. exhibited: “Pauline Palmer In Retrospect,” Lakeview Museum, Peoria, Illinois, 1984 (per label verso). $6,000-10,000

36 JOHN WHORF (american 1903–1959) OCEAN SURF IN MAINE Signed and dated ‘John Whorf ‘41’ bottom right, watercolor on paper Sheet size: 22 x 30 1/2 in. (55.9 x 77.5cm) provenance: The Artist. Acquired directly from the above. Private Collection, Connecticut. Private Collection, Pennsylvania. $3,000-5,000

37 GIFFORD BEAL (american 1879–1956) “MOUNT MONADNOCK” Signed ‘Gifford Beal’ bottom center left; also inscribed with title and artist verso, oil on canvas 18 x 28 1/4 in. (45.7 x 71.8cm) provenance: Phillips Gallery, Washington D.C. Kraushaar Galleries, New York, New York. Collection of Dr. James Lee, New Jersey. exhibited: San Francisco Museum of Art, San Francisco, California, 1953 (per label verso). $3,000-5,000

38 ANTHONY THIEME (american 1888-1954) “PALMS” Signed ‘A. Thieme’ bottom right; also inscribed with title and with ‘Copyright Reserved’ stamp verso, oil on canvasboard 15 7/8 x 19 7/8 in. (40.3 x 50.5cm) provenance: Private Collection, Virgina. By descent in the family to the present owner since 1960. $2,500-4,000

39 EMILE ALBERT GRUPPE (american 1896-1978) “SHRIMP BOATS, ST. AUGUSTINE” Signed ‘Emile A. Gruppe’ bottom right; also inscribed with title on upper stretcher verso, oil on canvas 20 x 24 in. (50.8 x 61cm) provenance: Private Collection, Canada. $4,000-6,000

40 MAX KUEHNE (american 1880–1968) “SAILBOATS RACING” Signed ‘Kuehne’ bottom right, oil on board 7 1/2 X 9 1/2 in. (19.1 x 24.1cm) provenance: McCarty Gallery, Pennsylvania. Private Collection, Pennsylvania. Acquired directly from the above. Private Collection, Pennsylvania. $1,500-2,500

41 CARL LAWLESS (american 1894–1934) “A CONNECTICUT FARM” Signed ‘Carl Lawless’ bottom right, oil on canvas 30 x 30 in. (76.2 x 76.2cm) provenance: Private Collection, Pennsylvania. exhibited: “The One Hundred Eighteenth Annual Exhibition,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1923, no. 295. $4,000-6,000

42 CARL RUDOLPH KRAFFT (american 1884–1938) “AT WILDWOOD” Signed ‘Carl R. Krafft’ bottom left; also inscribed (twice) with artist and title on labels verso, oil on canvas 24 1/8 x 27 1/8 in. (61.3 x 68.9cm) provenance: Private Collection, Florida. $2,000-3,000

43 ROBERT EMMETT OWEN (american 1878–1957) “MAPLES AT SOUTH WILLIAMSON, MASSACHUSETTS” Signed ‘R. Emmett Owen’ bottom left; also inscribed with title on upper stretcher verso, oil on canvas 25 x 30 in. (63.5 x 76.2cm) provenance: Private Collection, New York, New York. $2,000-3,000

44 ERIC SLOANE (american 1905–1985) “MIDWINTER” Signed ‘Eric Sloane’ bottom left; also inscribed with title verso, oil on board 15 1/8 x 28 3/8 in. (38.4 x 72.1cm) provenance: Private Collection, New York, New York. exhibited: “Sloane Show,” Deeley Gallery, Manchester, Vermont, 1972 (per label verso). $4,000-6,000

45 HENRY MARTIN GASSER (american 1909-1981) “SUMMER COVE” Signed ‘H. Gasser’ bottom left, oil on board 11 1/8 x 14 1/8 in. (28.3 x 35.9cm) provenance: Collection of Dr. James Lee, New Jersey. $1,500-2,000

46 HENRY MARTIN GASSER (american 1909-1981) “OUTSKIRTS” Signed ‘H. Gasser’ bottom right; also inscribed with title and artist on upper stretcher verso, oil on canvas 20 x 28 1/4 in. (50.8 x 71.8cm) provenance: Collection of Dr. James Lee, New Jersey. $1,500-2,500

47 CHARLES HAROLD DAVIS (american 1856-1933) “SUMMER CLOUDS” Signed ‘C.H. Davis’ bottom left, oil on canvas 50 1/2 x 77 1/2 in. (128.3 x 196.9cm) Executed circa 1900. provenance: Sotheby’s, New York, sale of May 24, 2001, lot 36. Acquired directly from the above sale. Private Collection, New Jersey. exhibited: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1901, no. 311 (won Walter Lippincott Prize). The Pan American Exposition, Buffalo, New York, 1901 (won Silver Medal). The Universal Exposition, Saint Louis, Missouri, 1904 (won Silver Medal). note: With its ambitious size and dazzling effects of sunlight and shadow over the New England coast, “Summer Clouds” gathered general acclaim when it was exhibited in Philadelphia in 1901. In a review of the Pan American Exposition the same year, Mary Brown Hartt described the painting as “full of feeling for the modeled firmness of sunlit knoll and hollow, for opulent sunshine and rich shadows; for the clear brilliancy of summer seas and skies. This single canvas makes an impression of Davis’s mingled strength and subtlety not soon to be forgotten”. $20,000-30,000

34 34

48 RICHARD HAYLEY LEVER (american 1876-1958) “SAINT IVES, 1908” Signed ‘Hayley Lever’ bottom right; also inscribed with title and artist on stretcher verso, oil on canvas laid down to board 6 1/8 x 9 1/8 in. (15.6 x 23.2cm) provenance: Private Collection, New York. $3,000-5,000

49 RICHARD HAYLEY LEVER (american 1876-1958) “SAINT IVES, 1907” Signed ‘Hayler Lever’ bottom right; also inscribed with title and artist on stretcher verso, oil on canvas 6 1/2 x 9 1/2 in. (16.5 x 24.1cm) provenance: Private Collection New York. $3,000-5,000

50 JULIUS BLOCH (american 1888-1966) “THE PROFILE” Signed ‘Bloch’ upper left; also inscribed with title and date on upper strecther verso, oil on canvas 10 x 8 in. (25.4 x 20.3cm) Executed in 1954. provenance: Dixon-Hall Fine Art, Pennsylvania. Private Collection, Pennsylvania. $1,000-1,500

51 RICHARD HAYLEY LEVER (american 1876-1958) “SUNSET, GLOUCESTER” Oil on canvas 6 x 9 1/2 in. (15.2 x 24.1cm) provenance: Spanierman Gallery, New York, New York. Irvin Brenner Fine Paintings, New York. Private Collection, Pennsylvania. $2,000-3,000

52 ERNEST LAWSON (american/CANADIAN, 1873–1939) “STRIPLING BIRCHES” Signed ‘E. Lawson’ bottom left, oil on canvas 6 1/2 x 4 3/4 in. (16.5 x 12.1cm) provenance: Collection of Frederic E. Church, New York, New York. Collection of Leopold S. Moreno, Virginia. $2,000-3,000

53 HARRIET RANDALL LUMIS (american 1870-1953) “BEARD GRASS” Signed ‘Harriet R. Lumis’ bottom left, oil on canvas 18 x 20 in. (45.7 x 50.8cm) Executed circa 1921. provenance: Gratz Gallery, Pennsylvania. Private Collection, Pennsylvania. $2,500-4,000

illiam McGregor Paxton was a leading member of the Boston School during the first quarter of the 20th century, along with his fellow artists Frank Weston Benson and Edmund C. Tarbell. Inspired by the domestic interiors of Dutch Master Johannes Vermeer, Paxton created a method called “binocular vision,” wherein the central area of the composition is sharply defined, contrary to the background, which is kept blurry. Paxton was a master at depicting idealized, refined figures, often in beautiful and elegant interiors, in a precisely rendered manner that showcased a particular attention to the effects of light. About his work, Paxton said: “I let the surfaces flow into one another in a supple envelope of light and paint.” The present piece is characterized by a sense of quietude and introspection. It is the most significant work of a series of nudes Paxton created in 1930. The classical and idealized nudes sit and lie in repose, one turned away from the viewer; the other leading our eye with her languid pose and her right arm extended behind her head. The placement of the two models seems carefully arranged. The artist must have had Jean-AugusteDominique Ingres’ “L’Odalisque à l’Esclave” in mind when he set the two figures against these crimson and blue harmonies. The foreground figure is a direct quotation from the painting, which was owned by Paxton’s friend and fellow artist Carroll S. Tyson. However, instead of suggesting exotic eroticism like Ingres, Paxton appears more interested in the formal possibilities of the nude and the relationships of flesh tones on maroon, blue and white draperies. Here, Paxton pays meticulous attention to the effects of light as well as flesh and fabric, hence charging the two nudes with tactile and supple qualities. The result is “one of the finest of all Paxton’s nudes” (Art and Archeology, 1931), an opinion with which the public concurred, voting the painting the Popular Prize at the Corcoran Biennial in 1931.

(detail)

54 WILLIAM MCGREGOR PAXTON (american 1869-1941) “INTERIOR WITH TWO NUDES” Signed ‘PAXTON’ bottom right, oil on canvas 32 x 38 in. (81.3 x 96.5cm) In a Harer frame. provenance: James C. Howe, Boston, Massachusetts. Shaw Gallery, Boston, Massachusetts. Collection of Victor D. Spark, New York, New York, 1966 Joan Michelman, Ltd., New York, New York, 1978. The Regis Corporation, Minneapolis, Minnesot, 1978. Private Collection, Wyoming. exhibited: “Twelfth Biennial Exhibition of Contemporary American Oil Paintings,”The Corcoran Gallery of Art, Washington, D.C., November 30, 1930-January 11, 1931, no. 369 (won Popular Prize).

“Three Centuries of the American Nude,” The New York Cultural Center, New York, New York, May 9-July 13, 1975; and The Minneapolis Institute of Arts, Minneapolis, Minnesota, August 6-September 21; and The University of Houston Fine Art Center, Houston, Texas, October 3-November 16, 1975, no. 55 (traveling exhibition, exhibited as “Interior with Two Nude Models”). “William McGregor Paxton, 1869-1941,” Indianapolis Museum of Art, Indianapolis, Indiana, August 16-October 1, 1978; and El Paso Museum of Art, El Paso, Texas, October 12-December 3, 1978; and Joslyn Art Museum, Omaha, Nebraska, January 5-February 11, 1979; and Museum of Fine Arts, Springfield, Massachusetts, March 24-May 6, 1979, no. 62 (traveling exhibition, exhibited and illustrated as “Two Models” p. 144). literature: Art and Archeology, XXXI, 1, January 1931, pp. 11, 14 and 48 (illustrated p. 13). Arts, XLIX, 10, June 1975, p. 42 (illutrated as “Interior with Two Nude Models). $100,000-150,000

55 THOMAS HART BENTON (american 1889-1975) “THE LITTLE FISHERMAN” 1967. Edition of 300. Pencil signed ‘Thomas Benton’ in the margin bottom right, lithograph Image size: 14 1/8 x 9 15/16 in. (35.9 x 25.2cm) Sheet size: 17 13/16 x 12 7/8 in. (45.2 x 32.7cm) Associated American Artists, publisher. [Fath 80] provenance: Private Collection, Maryland. $2,000-3,000

56 THOMAS HART BENTON (american 1889–1975) “A DRINK OF WATER” 1937. Edition of 250. Pencil signed ‘Thomas Benton’ in the margin bottom right; also numbered ‘16’ in the margin bottom left, lithograph Image size: 10 x 14 3/8 in. (25.4 x 36.5cm) Sheet size: 11 3/4 x 16 1/16 in. (29.8 x 40.8cm) Associated American Artists, publisher. [Fath 15] Unframed. provenance: Collection of Jeffrey M. Kaplan, Washington D.C. $1,500-2,500

57 GERALD KENNETH GEERLINGS (american 1897–1998) “CIVIC INSOMNIA” 1932. Edition of 38, second trial state of five. Pencil signed ‘Gerald Geerlings’ in the margin bottom right; also titled in the margin bottom left, aquatint Image size: 10 15/16 x 14 1/8 in. (27.8 x 35.9cm) Sheet size: 13 11/16 x 18 5/16 in. (34.8 x 46.5cm) [Czestochowski 28] provenance: Private Collection, Philadelphia, Pennsylvania. $3,000-5,000

58 FRANK EARLE SCHOONOVER (american 1877–1972) “I’M GOING TO BE MARRIED” Signed ‘Schoonover’ bottom right, oil on canvas laid down to board 24 x 21 1/2 in. (61 x 54.6cm) provenance: Private Collection, Virginia. $6,000-10,000

59 ROBERT RIGGS (american 1896–1970) THE BURR-HAMILTON DUEL Signed ‘Riggs’ bottom right, oil on panel 25 1/2 x 19 1/4 in. (64.8 x 48.9cm) provenance: Private Collection, Pennsylvania. note: The Burr-Hamilton duel is one of the most famous rivalries in American History. It took place on July 11, 1804 in Weehawken, New Jersey, at a time when such practice was forbidden in the northern part of the United States. The duel was the end point of a ten-year long conflict, which started when Alexander Hamilton’s father-in-law lost his seat at the Senate to Aaron Burr. Hamilton was the first one to shoot at his ennemy, only to miss and hit a tree. Burr quickly responded, mortally wounding Hamilton. The latter was carried away to the home of his close friend William Bayard, where he died the next day. $6,000-10,000

60 ELLING WILLIAM GOLLINGS (american 1878-1932) “THE FEAR OF THE GREAT SPIRIT” Signed and dated ‘Gollings 1912’ with artist’s cipher bottom center right; also inscribed with title verso, oil on canvas 24 1/8 x 34 1/8 in. (61.3 x 86.7cm) provenance: The Artist. Acquired directly from the above. Private Collection, New Jersey. By descent in the family. Private Collection, New Jersey. note: Elling William Gollings spent the beginning of his adult life traveling through the Midwestern United States. He immersed himself in the expansive landscapes of South Dakota, Montana, and Wyoming, capturing the waning years of the storied Old West in his numerous depictions of Native Americans and cowboys. Gollings arrived in South Dakota in 1896. Much like the artist Charles M. Russell, who was also enchanted by the disappearing saga of the wild American west, Gollings’ work harkens back to the folkloric narrative of the heyday of the Old West: bucking broncos and the fabled cowboys and Native Americans

who lived amidst the scrubby, unchartered mountainous terrain. “The Fear of the Great Spirit” was completed in 1912, and demonstrates the artist’s intimate knowledge of the techniques and quotidian livelihoods of the actual inhabitants in the remote, sprawling reaches of the country. In 1930, Gollings took an inventory of all his studio paintings and decided, foolhardily, to destroy those he was not fond of, with the intention of redoing them based upon his improved painting skills from years of practice. After his death, many of the remaining paintings were stored in Gollings’ studio before being inventoried by his estate’s executors. The present lot was designated #47 of this inventory and was originally sold at an estate auction for $60.00. “The Fear of the Great Spirit” has been kept in the same family since its initial purchase, and is fresh to market after quite some time. We wish to thank Mr. Gary L. Temple for his kind assistance in cataloguing this lot. Mr. Temple owns and operates The Meadowlark Gallery in Joliet, Montana. $15,000-25,000

61 MAGNUS COLCORD HEURLIN (american 1895-1986) ESKIMO FAMILY Signed ‘C. Heurlin’ bottom right, oil on canvas 24 x 36 in. (61 x 91.4cm) Unframed. provenance: The Artist. Acquired directly from the above. By descent to the present owners, circa 1960. Private Collection, Maryland. $6,000-10,000

62 JOSEPH STELLA (american 1877–1946) “TREE FORM” Signed (twice) ‘Joseph Stella’ bottom right, watercolor and gouache over traces of pencil on paper laid down to board Sheet size: 40 7/8 x 27 7/8 in. (103.8 x 70.8cm) provenance: Richard York Gallery, New York, New York. William Vareika Fine Arts Ltd., Newport, Rhode Island. Hirschl & Adler Galleries, Inc., New York, New York. Private Collection, Delaware. note: Though Italian-born, Joseph Stella is considered one of the great American Modernists, and is widely credited with bringing Futurism to the United States. Best known for his depictions of the Brooklyn Bridge, Stella rose to prominence following the 1913 Armory Show. Upon his arrival to New York in 1896, he studied as a draftsman at the Art Students League under William Merritt Chase. Stella traveled extensively throughout his career, returning often to his native Muro Lucano in southern Italy, and incorporating into his work inspiration gathered at each new - or familiar locale before filtering it through his own distinct perspective. In the late 1920’s, after his travels to the West Indies and Africa, Stella embarked on a series of works on paper featuring colorful flowers, birds, and still-lifes, a departure from the solidly linear man-made structures with which his work had become synonymous to that point. While continuing his foray into the natural landscape, “Tree Form” retains the sense of geometry present in the Precisionist and Futurist cityscapes Stella produced of Lower Manhattan. His dynamic use of scale renders the winding tree trunk an imposing force. He employs a dramatically darkened color palate, making the present piece a skillful combination of his earlier work and the more experimental, exotic nature themes developed through his Caribbean voyages. The landscape has fragmented earth tones, the shapes of each demarcated region drawing the eye in at every turn. “Tree Form” is as alive as its subject, with an urgency and power that highlights Stella’s background as a draftsman and his capacity as a colorist. $15,000-25,000

63 CHARLES EPHRAIM BURCHFIELD (american 1893-1967) “HIGH NOON” Signed and dated ‘Chas Burchfield 1916’ bottom right; also inscribed ‘Summer 1915’ verso, watercolor over traces of pencil on paper 20 x 13 15/16 in. (50.8 x 35.4cm) provenance: Hirschl & Adler Galleries, New York, New York. Southern Bell Corporation, Houston, Texas. Martha Parrish & James Reinish, New York, New York. Acquired directly from the above in 2005. Collection of Jeffrey M. Kaplan, Washington D.C. exhibited: “The Age of Innocence: American Impressionism and Its Influence,” San Antonio Museum of Art, San Antonio, California, June 29-September 1, 1996. “American Images: The SBC Collection of Twentieth-Century American Art,” Central Methodist College, The Ashby-Hodge Gallery of American Art, Fayette, Missouri, October 17-December 9, 1999, pl. 14 (illustrated in the exhibition catalogue). $8,000-12,000

64 JOHN MARIN (american 1870-1953) “SMALL POINT, MAINE” Signed and dated ‘Marin 15’ bottom left, watercolor on paper laid down to card Sheet size: 19 1/8 x 16 3/8 in. (48.6 x 41.6cm) provenance: The Artist. The Estate of the Artist. Bernard Danenberg Galleries, New York, New York. Private Collection, New York. Mark Borghi Fine Art, New York, New York. Acquired directly from the above in 2007. Collection of Jeffrey M. Kaplan, Washington D.C. literature: Sheldon Reich, John Marin: Catalogue Raisonné, Tucson, Arizona, 1970, vol. II, no. 15.43, p. 411. $8,000-12,000

65 JOHN GRAHAM (american 1886–1961) “HORSE AND RIDER” Dedicated and signed ‘To friend Betty/Graham’ upper left, graphite and colored pencil on paper Sheet size: 9 3/4 x 13 7/8 in. (24.8 x 35.2cm) Executed circa 1945. provenance: Private Collection, New York, New York. $1,500-2,500

66 CARL ROBERT HOLTY (american 1900–1973) “CUP OF THE SEA” Signed ‘Carl Holty’ bottom left; also signed, titled and dated ‘1947’ verso, oil on canvas 30 x 38 in. (76.2 x 96.5cm) provenance: Herbert Palmer Gallery, Los Angeles, California. Wright, Chicago, sale of May 14, 2002, lot 139. Private Collection, New York, New York. $3,000-5,000

67 EDWARD MIDDLETON MANIGAULT (american 1887–1922) “STILL LIFE WITH FLOWERS” Signed ‘Manigault’ bottom right; also dated ‘1918’ bottom left, oil on canvas 34 x 30 in. (86.4 x 76.2cm) provenance: Private Collection, New York, New York. exhibited: “Middleton Manigault: Visionary Modernist,” Colombus Museum of Art, Colombus, Ohio, January 15-March 31, 2002; and Hollis Taggart, New York, New York, May 23-July 19, 2002; and University of Delaware, September 5-October 25, 2002; and Gibbes Museum of Art, Charleston, South Carolina, November 22, 2002-January 28, 2003 (traveling exhibition). $5,000-8,000

68 JEROME S. BLUM (american 1884–1956) “STILL LIFE WITH EGGPLANT” Signed ‘Jerome Blum’ bottom right, oil on canvas 20 x 26 in. (50.8 x 66cm) Executed in 1920. provenance: Wright, Chicago, sale of June 1, 2003, lot 194. Acquired directly from the above sale. Private Collection, Illinois. Private Collection, New York, New York. exhibited: “Paintings of Many Lands By Jerome Blum,” Anderson Galleries, New York, New York, 1924. $3,000-5,000

69 ROBERT REID (american 1862-1929) PORTRAIT OF MISS MARION WILMA SELLS (YOUNG GIRL WITH DOLLS) Signed and dated ‘Robert Reid ‘24’ bottom left, oil on canvas 37 1/4 x 40 1/4 in. (94.6 x 102.2cm) provenance: The Artist. Acquired directly from the above. Collection of Miss Marion Wilman Sells. By descent in the family. Private Collection, Philadelphia. Freeman’s, Philadelphia, sale of December 9, 2001, lot 87. Acquired directly from the above sale. Private Collection, New Jersey. Private Collection, New Jersey. note: This work depicts Miss Marion Wilma Sells during her convalescence in Colorado Springs, Colorado. Clearly noticeable in the background of the composition is Pike’s Peak, a famous Colorado landmark. $15,000-25,000

70 RICHARD STONE REEVES (american 1919-2005) “FISHERMAN” Signed ‘Richard Stone Reeves’ bottom right, oil on canvas 20 x 32 1/8 in. (50.8 x 81.6cm) provenance: Collection of Dr. James Lee, New Jersey. $5,000-7,000

71 RICHARD STONE REEVES (american 1919-2005) “ALDANITI” Signed and dated ‘Richard Stone Reeves ‘96’ bottom right; also titled bottom left, oil on panel 14 x 18 in. (35.6 x 45.7cm) provenance: Collection of Dr. James Lee, New Jersey. $4,000-6,000

72 RICHARD STONE REEVES (american 1919-2005) “CANONERO” Signed and dated ‘Richard Stone Reeves ‘75’ bottom right, oil on canvas 10 x 12 in. (25.4 x 30.5cm) provenance: Collection of Dr. James Lee, New Jersey. $3,000-5,000

74 RICHARD STONE REEVES (american 1919-2005) “BALLYMOSS” Signed and dated ‘Richard Stone Reeves ‘58’ bottom right; also titled bottom left; also inscribed with title verso, oil on panel 10 x 12 in. (25.4 x 30.48cm) provenance: Collection of Dr. James Lee, New Jersey. $3,000-5,000

73 RICHARD STONE REEVES (american 1919-2005) “INDIAN CHIEF” Signed and dated ‘Richard Stone Reeves 1970’ bottom right; also titled bottom left, oil on Masonite 20 x 23 1/2 in. (52.7 x 59.7cm) provenance: Sorelle Gallery, New York. Collection of Dr. James Lee, New Jersey. $4,000-6,000

ndrew Wyeth, son of American illustrator N.C. Wyeth and father of artist Jamie Wyeth, is arguably one of the most famous American artists of the 20th century. Working in a realist style, he is best known for drawings and paintings of his environs and the people who surrounded him. Wyeth’s works of art were often closely associated with people in his direct social sphere. The present lot depicts Helga Testorf, Andrew Wyeth’s neighbor in Chadds Ford, and very much his muse. Wyeth first asked Testorf to pose for him in 1971. Until his death in 1985, he is said to have made forty-five paintings and over two hundred drawings of her. Such close attention to one model over so long a period of time is remarkable, if not singular, in the history of American art; it offers the opportunity to see intertwined images of Helga’s physical and biological changes, as well as Wyeth’s artistic growth. The two various poses and features that Wyeth here depicts are a way of exploring Helga’s different moods and aspects of her personality.

75 ANDREW WYETH (american 1917–2009) “NUDE: A DOUBLE-SIDED WORK” Pencil signed ‘A. Wyeth’; also with ‘Strathmore Paper Company’ stamp in the upper right corner, pencil on paper Sheet size: 23 3/16 x 29 in. (58.9 x 73.7cm) Executed in 1973. provenance: The Artist. Acquired directly from the above. Collection of Leonard E.B. Andrew, Malvern, Pennsylvania, 1986. Private Collection, Tokyo, Japan, 1989. Pacific Sun Trading Company, Massachusetts, 2005. With Frank E. Fowler, Lookout Mountain, Tennessee. Acquired directly from the above in 2006. Private Collection, New Jersey.

exhibited: “Andrew Wyeth: The Helga Pictures,” National Gallery of Art, Washington, D.C., May 24-September 27, 1987 (traveling exhibition), nos. 81 and 82. “Andrew Wyeth: Helga on Paper,” Adelson Galleries, New York, New York, November 3-December 22, 2006, plates 32 and 34 (both illustrated in the exhibition catalogue). “A Collector’s Passion: Three Generations of Wyeth Art, 1938-2004,” Pollak Gallery, Monmouth University, West Long Branch, New Jersey, March 19-21, 2007. “Art of the Wyeth Family,” Heather James Fine Art, Palm Desert, California, January 30-June 15, 2017. literature: John Wilmerding, Andrew Wyeth: The Helga Pictures, Harry N. Abrams, New York, New York, 1987, p. 86, nos. 81 and 82 (both illustrated). Joyce Hill Stoner, A Collector’s Passion: Three Generations of Wyeth Art, 19382004, West Long Branch, New Jersey, 2007. $20,000-30,000

he present pair is a set of two drawings from a suite of over thirtyfive works executed over the course of fifteen years. While they are considered studies for the seminal painting, “Barracoon,” they are quite significant in that many of them are very much refined, polished, finished works in their own right. The title of the works comes from the term used to describe the prison in which slaves were shown before being sold. Here again, the subject of the suite is Helga Testorf. In the final painting however, Wyeth hid the identity of his model by depicting her as an African American. The bodily elements in the painting are in fact an amalgamation of the Wyeth family’s maid, Betty Hammond, as well as Helga and Wyeth himself. This modern interpretation of the classic odalisque harkens back to the time-honored tradition of the reclining female nude within the art historical canon. The sensual nature of the female nude in two different recumbent positions is at once sumptuous and melancholic. In Thomas Hoving’s autobiography on the artist, Wyeth referred to the painting as his “best nude” (1995, p. 108), and these studies reflect the importance of the painting, as well as their own great worth within the artist’s body of work.

76 ANDREW WYETH (american 1917–2009) “STUDY FOR BARRACOON I” Pencil signed ‘Andrew Wyeth’ bottom right, pencil on paper Sheet size:17 7/8 x 23 7/8 in. (45.4 x 60.6cm) together with: “STUDY FOR BARRACOON II” Pencil signed ‘A. Wyeth’ bottom right, pencil on paper Sheet size: 17 15/16 x 24 in. (45.6 x 61cm) (2) provenance: The Artist. Acquired directly from the above. Collection of Leonard E.B. Andrew, Malvern, Pennsylvania, 1986. Private Collection, Tokyo, Japan, 1989. With Frank E. Fowler, Lookout Mountain, Tennessee. Acquired directly from the above in 2006. Private Collection, New Jersey.

exhibited: “Andrew Wyeth: The Helga Pictures,” National Gallery of Art, Washington, D.C., May 24-September 27, 1987 (traveling exhibition), nos. 81 and 82. “A Collector’s Passion: Three Generations of Wyeth Art, 1938-2004,” Pollak Gallery, Monmouth University, West Long Branch, New Jersey, March 19-21, 2007. “Andrew Wyeth: A Survey,” Goodwin Fine Art, Denver, Colorado, October 30-November 20, 2015. literature: John Wilmerding, Andrew Wyeth: The Helga Pictures, Harry N. Abrams, New York, New York, 1987, p. 112, no. 127 and 128 (both illustrated). Joyce Hill Stoner, A Collector’s Passion: Three Generations of Wyeth Art, 1938-2004, West Long Branch, New Jersey, 2007. $20,000-30,000

77 JAMIE WYETH (american b. 1946) “COMMODORE ALONZO TREADWELL III” Signed ‘J. Wyeth’ bottom left; with ‘Gelatine’ stamp bottom right, mixed media on paper Sheet size: 21 5/8 x 29 1/2 in. (54.9 x 74.9cm) provenance: Forum Gallery, New York, New York. M.B.N.A. American Bank, Wilmington, Delaware. With Frank E. Fowler, Lookout Mountain, Tennessee. Acquired directly from the above. Private Collection, New Jersey. exhibited: “A Century of Wyeths,” William A. Farnsworth Library and Art Museum, Rockland, Maine, May 29-October 17, 1999. “Monhegan,” William A. Farnsworth Library and Art Museum, Rockland, Maine, May 13-August 6, 2000. “A Collector’s Passion: Three Generations of Wyeth Art, 1938-2004,” Pollak Gallery, Monmouth University, West Long Branch, New Jersey, March 19-21, 2007. literature: Joyce Hill Stoner, A Collector’s Passion: Three Generations of Wyeth Art, 1938-2004, West Long Branch, New Jersey, 2007. note: We wish to thank Ms. Mary Beth Dolan, Jamie Wyeth’s assistant, for her kind assistance in cataloguing this lot. $50,000-80,000

he present piece depicts the home of Dr. Alonzo Tredwell on Monhegan Island in 1907. Entitled “Four Winds,” the property was adjacent to the piece of land that Rockwell Kent had purchased for his mother. About Dr. Tredwell, Jamie Wyeth said: “He‘s not a commodore, I just named it that because I liked all of his flags. It’s sort of a portrait of him. One of the fishermen on Monhegan built this very elaborate flagpole for him in the winter. That summer he put up all these flags and of course we had a windstorm and the whole thing blew down.”

78 RONALD FRONTIN (american b. 1964) CLAM DIGGERS Signed ‘Fronton’ bottom left, oil on canvas 26 x 34 in. (66 x 86.4cm) provenance: The Artist. Acquired directly from the above. Private Collection, New Jersey. $3,000-5,000

79 RONALD FRONTIN (american b. 1964) “KATHY” Signed ‘Frontin’ bottom left, oil on panel 19 1/4 x 29 1/8 in. (48.9 x 74cm) provenance: The Artist. Acquired directly from the above. Private Collection, New Jersey. $2,000-3,000

80 DAVID A. LEFFEL (american b. 1931) “SELF-PORTRAIT” Signed and dated ‘Dal/68’ bottom right, oil on canvas 42 1/8 x 33 3/16 in. (107 x 84.3cm) provenance: The Estate of Walter McDaniel, Pennsylvania. exhibited: “Rendezvous,” The Gilcrease Museum, Tulsa, Oklahoma, April 28-July 9, 1995. literature: David A. Leffel, Self-Portraits: A Visual Journey of Insight, Bright Light Publishing, El Prado New Mexico, 2009, p. 82 (illustrated). note: This self-portrait was completed at a time when David Leffel had difficulty finishing paintings and was considering giving up. The artist vividly recalls the genesis of this painting: “One day my eye, casting around the studio in desperation seeking any kind of succor, happened on this painting. I had started it some time before and had abandoned it, when, once again, my interest in painting had waned. Regarding it almost as a swan song, I thought to go out in a blaze of desperation- I would put as much paint on the canvas as I could: gobs and slathers of it. Almost before I had time to take in what was happening, I was having great fun. I was using paint in a new way with more paint than even before, and it had triggered a breakthrough. I could not get enough paint on the canvas. The joy had returned-I didn’t have to get a job! I was manipulating paint and making it stand for skin and hair and scarf; it was as though I had a magic brush in my hand. I felt I reached a new plateau.” $5,000-8,000

81 ALLAN D’ARCANGELO (american 1930–1998) “CONSTELLATION #10” Signed ‘© A. DArcangelo’, located, dated ‘1970’ and titled verso, acrylic on canvas 84 x 84 in. (213.4 x 213.4cm) Unframed. provenance: Private Collection, New York, New York. $12,000-18,000

82 THEODOROS STAMOS (american/GREEK 1922–1997) “UNTITLED #64” Signed ‘Stamos’ bottom left, watercolor on paper Sheet size: 12 1/4 x 9 3/8 in. (31.1 x 23.8cm) Executed circa 1947. provenance: Private Collection, New York, New York. $2,000-3,000

83 JACK TWORKOV (american 1900–1982) “UNTITLED” Torn paper collage Sheet size: 14 15/16 x 19 15/16 in. (37.9 x 50.6cm) Executed circa 1962-1963. provenance: The Artist. The Estate of the Artist. Acquired directly from the above. Mitchell-Innes & Nash, New York, New York. Ameringer & Yohe Fine Art, New York, New York. Phillips de Pury & Company, New York, sale of May 13, 2011, lot 179. Private Collection, New York, New York. exhibited: “Jack Tworkov: Red, White and Blue,” Mitchell-Innes & Nash, New York, New York, March 6-April 13, 2002, plate 32 (illustrated in the exhibition catalogue). $5,000-8,000

84 THEODOROS STAMOS (american/GREEK 1922–1997) “THE LAMP LIGHTER” Signed, located and dated ‘T. Stamos/NYC/’45 bottom left; also signed, titled and dated verso, oil on Masonite 24 x 30 in. (61 x 76.2cm) provenance: Private Collection, New York, New York. $25,000-40,000

the collection of

june ottenberg lots 85 - 98

Above: Lot 91

Represented above: Lot 91 (middle), Lot 90 (right).

remembering perry and june ottenberg

first saw the Ottenberg’s collection in 1974 when I came to Philadelphia to decide if I wanted to focus on Arthur B. Carles for my doctoral dissertation. Their welcoming house in Merion filled with colorful canvases by Carles, his students, and other Philadelphia painters, along with ceramics decorated with nudes, and Nakashima furniture which served them and their four children so well. Most of all their enthusiasm for Carles that evening helped clinch my decision to work on him, and their interest helped sustain me over the years it took and through two major Carles exhibitions in 1983 and 2000. Their decades of friendship and encouragement, their continued collecting of paintings by Carles, and their acquisition of and commitment to archive a treasure trove of his letters, sketches, and prints enlarged understanding the artist. Perry told of having once seen Carles in the home of a girl he was dating in high school, whose parents were Carles collectors, the foundation of a vision of a home he would later recreate. He began to purchase paintings from Carles’ widow in the late 1950s. Dr. Ottenberg wrote about Carles from his perspective as a psychiatrist, associated with the University of Pennsylvania and the Institute of Pennsylvania Hospital. He bought pictures he responded to, always believing in their authenticity. June, herself a pianist and opera historian, was in charge of the music library at Temple University. She had made pottery with Rudy Staffel, the impetus for their stunning collection of his ethereal porcelain vessels. She was a partner in collecting and supporting artists and exhibitions. I have vivid memories of the trip to France I took with them to see the places Carles lived and painted in Paris, Voulangis, and Annecy, including recorded in sketches in their collection . Especially after they moved into Center City, Perry took on various board and committee roles in the Philadelphia Museum of Art, Pennsylvania Academy of Fine Art, and the Moore College of Art. His love for art was deep and genuine. He was attracted to vivid color, as seen in paintings by Carles and his students, the contemporary paintings they owned, and glass bowls. Their curiosity was wide, fulfilled by many archaeological trips. Perry once wrote “On Being a Collector” for the brochure for the Distinguished Collector Series exhibition at the Woodmere Art Museum in 2000: “The collection in our home reflects the genius of Philadelphia in contemporary arts and crafts. . . . It is wonderful to live with omnipresent beauty that one can touch and feel.” I always admired June and Perry Ottenberg’s joie de vivre and the enjoyment they got from their collection.

barbara a. wolanin Carles Scholar 64

Represented above, from left to right: Lot 96, Lot 89, Lot 88.

â&#x20AC;&#x153;the collection in our home reflects the genius of philadelphia in contemporary arts and crafts. . . . it is wonderful to live with omnipresent beauty that one can touch and feel.â&#x20AC;?

Represented above, from left to right: Lot 95, Lot 93 (top), Lot 98 (bottom).

“if there’s one thing in all the world i believe, it’s painting with color. so damn few people paint with color, and what on earth else is painting for?” Arthur B. Carles, quoted in Joe Mielziner, “Arthur Carles: The Man Who Paints with Color,” in Creative Art II, February, 1928, p. 35. 66

rthur Beecher Carles, Jr. was born in Philadelphia in 1882. At the age of eighteen, he enrolled at the Pennsylvania Academy of the Fine Arts, studying for a total of six-and-a-half years under the tutelage of Thomas Anshutz, William Merritt Chase, and Cecilia Beaux. While at the Academy, Carles received two Cresson Travel Scholarships, which allowed him travel to Europe. While on his second trip to the ‘Old World’ in June of 1907, he decided to extend his stay and did not come back to the United States until three years later. Carles experimented with styles from late Impressionism to Cubism, and at the end prophesied abstract expressionism. Unfortunately, his later active years were marred by bouts of alcoholism. However, he continued to teach and exhibit, and in 1939 he received the J. Henry Scheidt Prize for his “Abstract Still Life,” executed the year before. Carles suffered a stroke in 1941, effectively ending his ability to paint or care for himself for his last eleven years before his death in 1952 at the age of seventy years old. Carles’ paintings were shown in retrospectives at the Philadelphia Museum of Art in 1946, the Pennsylvania Academy of the Fine Arts in 1953, the Graham Gallery in 1959, the Pennsylvania Academy of Fine Arts, the National Academy of Design, and the Corcoran Gallery of Art in 1983-1984, as well as Hollis Taggart Galleries in New York, and the Woodmere Art Museum in 2000 where works by his students and part of the Ottenberg Collection were also on view.

Arthur B. Carles photographed in his Chestnut Street studio by his student Marion M. Cohee, circa 1939. Courtesy of Barbara A. Wolanin.

Left: Lot 88 (detail)

on perry ottenberg, arthur b. carles, and painting In high school I frequently visited the painter Jane Piper in her Pine Street studio. While showing me paintings still in progress, she sometimes would speak about her former teacher, Arthur B. Carles. I was about to leave high school when Jane arranged for me to visit her friends Perry and June Ottenberg one evening at their Merion home. I went alone and was very nervous, which Perry realized. He greeted me enthusiastically and showed me several paintings by Jane before offering a tour of the rest of his collection. I hadn’t yet seen so many Carles paintings together in one place. Carles was certainly at the core of what fueled Perry’s curiosity and love of painting. He wrote and lectured about Carles and acquired everything he could find: paintings, preparatory works, drawings, and etchings, as well as photographs and archival materials. In Merion, and later when he moved to Philadelphia, his collection hung from floor to ceiling in a way that I felt echoed the installation of the paintings at the Barnes Foundation. I soon learned that Carles was what many people referred to as “a painter’s painter.” His work was bound to go in and out of style as tastes and fashions changed, but in the eyes of the older artists I met, his work would remain timeless. An earlier generation of influential art patrons in Philadelphia, including David Bortin, R. Sturgis Ingersoll, and Samuel and Vera White, strongly advocated for Carles and bought his canvases, some of which they later donated to the Philadelphia Museum of Art. The people who loved Carles and his work, in hindsight, saw him as the precursor of the abstract expressionists, while also believing him to be as important to the cultural vitality of Philadelphia as Thomas Eakins had once been. Yet, the painter Charles Sheeler observed when he and Carles were young artists that “Life in Philadelphia seemed much like being shipwrecked on a desert island.” Perhaps it was because he didn’t live in New York, but for as long as I have known about Carles, his work seemed always on the cusp of finally being heralded as a milestone in the history of art while simultaneously teetering on the brink of total obscurity.

Right: Lot 85 (detail)

“perry soon became the metaphorical guardian and true champion for carles’s posthumous life. “

By all accounts, Carles was charming and seductive, yet also extremely difficult and self-sabotaging. I think Perry loved all of this and I felt he was as fascinated by Carles’s creative experimentation as he was attracted to his complexity as a man: his failures, his ups and downs, and Carles’s “unsuccessful attempts to achieve greater personal freedom by challenging society’s conventions.” About a decade after Carles died, Perry began collecting his work. At first he bought directly from Carles’s second wife, Caroline Robinson Carles, who still lived in Chestnut Hill and whose portrait (lot 91) was one of Perry’s earliest acquisitions. Perhaps unwittingly, Perry soon became the metaphorical guardian and true champion for Carles’s posthumous life. In my last year or so as a student at the Pennsylvania Academy of the Fine Arts, I was a representative on a committee that selected artists for exhibitions in the Peale House Gallery (now the Morris Gallery). Perry was a longtime member of the committee and I enjoyed watching as he would pose questions, endorse, and sometimes try to discourage interest in the artists whose works were presented. He was well versed in contemporary art and collected widely, often directly from the artists. His Philadelphia home was filled with George Nakashima furniture and, in addition to the paintings by Jane Piper, he owned works by Francis McCarthy, Warren Rohrer, Doris Staffel, Rudolf Staffel, Morris Blackburn, and others. Over the years he lent to a number of important exhibitions at the Philadelphia Museum of Art, Woodmere Art Museum, the Academy, and other institutions. When he acquired several of my etchings and three paintings, I was flattered that my work would be in such prominent company. He visited everyone’s exhibitions and, when I started showing in New York, he always wrote kind letters of congratulation. Perry seemed to love interacting with visual artists. He and June, for example, sometimes hired the abstract painter Brian Boutwell to drive them places, including New Hampshire, where they had a summerhouse. Boutwell remembers being impressed with Perry’s passion for art and his willingness to spend time showing him and talking with him about paintings. Another artist friend remembers being equally impressed because “Perry was of a generation of men and women who were all passionate about art even though they themselves were not artists.”

bill scott Bill Scott is a painter living in Philadelphia. He is represented in New York by Hollis Taggart Galleries.

85 ARTHUR BEECHER CARLES (american 1882-1952) “FLOWERS” Signed ‘CARLES’ bottom right, monotype and pastel on paper Sheet size: 20 x 17 in. (50.8 x 43.2cm) Executed in 1914. provenance: Collection of Leopold G. Seyffert. To his son, Richard Seyffert. Acquired directly from the above. The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. exhibited: (Possibly) “Exhibition of Paintings and Drawings Showing the Later Tendencies In Art,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, April 16-May 15, 1921, no. 88 (exhibited as “Monotype”). “Arthur B. Carles (1882-1952): Painting with Color,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, September

23-November 27, 1983; and The Corcoran Gallery of Art, Washington D.C., April 28-June 17, 1984; and The National Academy of Design, New York, New York, September 11-November 4, 1984, no. 37 (traveling exhibition, illustrated in the exhibition catalogue p. 63). “The New Society of American Artists in Paris, 1908-1912,” The Queens Museum, New York, New York, February 1-April 6, 1986; and Terra Museum of American Art, Evanston, Illinois, May 2-June 20, 1986 (traveling exhibition). “Over Here: Modernism, The First Exile, 1914-1919” David Winton Bell Gallery, Brown University, Providence, Rhode Island, April 15-May 29, 1989. “To Be Modern: American Encounters with Cézanne & Co.,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, June 15-September 29, 1996. “The Orchestration of Color: The Paintings of Arthur B. Carles,” Hollis Taggart Galleries, New York, New York, February 10-March 18, 2000. $3,000-5,000

86 ARTHUR BEECHER CARLES (american 1882-1952) PORCH WITH FIGURES Oil on panel 13 x 9 1/4 in. (33 x 23.5cm) provenance: The Artist. The Artist’s widow, Mrs. Arthur B. Carles. Bequeathed from the above. Collection of Dr. and Mrs. Karl Fischer, Philadelphia, Pennsylvania. Vendo Nubes, Philadelphia, Pennsylvania. The Hahn Gallery, Germantown, Pennsylvania. The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. exhibited: Vendo Nubes Gallery, Philadelphia, Pennsylvania, 1975, no. 25. $1,000-1,500

87 ARTHUR BEECHER CARLES (american 1882-1952) “SEATED NUDE” Oil on canvas 21 7/8 x 17 7/8 in. (55.6 x 45.4cm) provenance: The Artist. The Artist’s widow, Mrs. Arthur B. Carles. Bequeathed from the above. Collection of Dr. and Mrs. Karl Fischer. Vendo Nubes Gallery, Philadelphia, Pennsylvania. The Hahn Gallery, Germantown, Pennsylvania. Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. $2,500-4,000

88 ARTHUR BEECHER CARLES (american 1882-1952) “CHAMONIX” Oil on canvas laid down to Masonite 32 x 39 1/4 in. (81.3 x 100cm) Executed between 1908-1910. provenance: Collection of Dr. and Mrs. Norman H. Taylor, Philadelphia, Pennsylvania. Collection of Mrs. Leo Asbell. Acquired directly from the above. The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. exhibited: “Arthur B. Carles (1882-1952): Painting with Color,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, September 23-November 27, 1983; and The Corcoran Gallery of Art, Washington D.C., April 28-June 17, 1984; and The National Academy of Design, New York, New York, September 11-November 4, 1984, no. 18 (illustrated in the exhibition catalogue p. 43). “The New Society of American Artists in Paris, 19081912,” The Queens Museum, New York, New York, February 1-April 6, 1986; and Terra Museum of American Art, Evanston, Illinois, May 2-June 20, 1986 (traveling exhibition). note: The present painting may have been painted while the artist was in Annecy during his first trip to France in 1908-1910. The mountain is built with distinct brushstrokes moving in various directions across the surface of the canvas, energizing the sky, the clouds and the hills with incredible vigor. By applying the pigments in wide brushes, Carles produces impastos in the clouds and the mountains, whose curves echo each other. Patches of deep blue, green and lavender brilliantly contrast with vivid yellow hues and touches of red and orange. $15,000-25,000

89 ARTHUR BEECHER CARLES (american 1882-1952) “PORTRAIT OF ANGÈLE” Oil on canvas 13 x 16 1/4 in. (33 x 41.3cm) Executed circa 1921-1922. provenance: Collection of Dr. and Mrs. Norman H. Taylor, Philadelphia, Pennsylvania. Walter Baum Gallery, Sellersville, Pennsylvania. Collection of Mr. and Mrs. Arthur Beren, Philadelphia, Pennsylvania. The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. exhibited: “Crosscurrents: Americans In Paris, 1900-1940,” Hirschl & Adler, New York, New York, February 6-March 13, 1993, no. 13 (illustrated pp. 25 and 45 in the exhibition catalogue). “The Orchestration of Color: The Paintings of Arthur B. Carles,” Hollis Taggart Galleries, New York, New York, February 10-March 18, 2000; and Woodmere Art Museum, Philadelphia, Pennsylvania, April 16-June 25, 2000 (traveling exhibition). “The Work of Arthur B. Carles,” Demuth Museum, Lancaster, Pennsylvania, April 1-May 29, 2005 (illustrated on the cover of the brochure).

note: Carles travelled to France for the third time in 1921. As he was preparing to leave in June, he wrote to his friend Alfred Stieglitz: “I am going to France this summer. I’m as excited as a honeymooner.” The Carles family lived in Edward Steichen’s house in Voulangis, not far from Paris. While on a train ride to the French capital, the artist’s first wife met Angèle, and pursuaded her to pose for her husband. The French model rapidly accepted the offer. Angèle had long and thick, dark red hair. She had the kind of pale skin which boosted Carles’ interest in color play. He did many paintings of her in 19211922, including the following lot in the sale, “Green Nude”. The present piece is a striking profile portrait with pronounced green, blue, and purple hues shadowing Angèle’s eyes, chin and neck. Her orange-red and yellow hair contrast intensely with the sand-like background. The overall format, along with the closeness to the model make her stand out like an apparition, contributing to the dramatic effect of the portrait. $2,500-4,000

90 ARTHUR BEECHER CARLES (american 1882-1952) “GREEN NUDE” Oil on canvas 22 1/8 x 18 in. (56.2 x 45.7cm) Executed circa 1921-1922. provenance: The Artist. The Artist’s wife, Mrs. Caroline Robinson Carles. Acquired directly from the above in 1965. The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania.

exhibited: “Arthur B. Carles (1882-1952): Painting with Color,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, September 23-November 27, 1983; and The Corcoran Gallery of Art, Washington D.C., April 28-June 17, 1984; and The National Academy of Design, New York, New York, September 11-November 4, 1984, no. 54 (traveling exhibition, illustrated in the exhibition catalogue p. 75). $4,000-6,000

caroline robinson carles

n 1925, Carles filed for divorce against Mercedes de Cordoba, with whom he had only lived for short periods of time since their marriage in Paris in 1909. The divorce became final in 1926, and Carles married Caroline Robinson in April 1927. Robinson came from a well-to-do family from Chestnut Hill. Blond with blue eyes, she was sixteen years younger than Carles. Well educated, she shared Carles’ love of music, playing the cello herself. Unfortunately, she had little to no understanding of his art and the marriage was not happy. The present piece is an early portrait Carles made of Caroline, the first fully finished. It was probably painted after the two met in 1924. Carles created a solid contrast between Caroline’s bold pink sweater and white shirt. Set against a multicolored curtain, Caroline stands out through her wide-set blue eyes and her timid white smile. The black cloche on her head matches her skirt. Created as an homage to Édouard Manet’s brilliant blacks, which Carles admired, the hat is truly the focus of the painting.

91 ARTHUR BEECHER CARLES (american 1882-1952) “PORTRAIT OF CAROLINE ROBINSON CARLES” Oil on canvas 28 3/4 x 27 3/4 in. (73 x 70.5cm) Executed circa 1924. provenance: The Artist. The Artist’s widow, Mrs. Arthur B. Carles. Acquired directly from the above. The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. exhibited: “Arthur B. Carles (1882-1952): Painting with Color,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, September 23-November 27, 1983; and The Corcoran Gallery of Art, Washington D.C., April 28-June 17, 1984; and The National Academy of Design, New York, New York, September 11-November 4, 1984, no. 61 (traveling exhibition, illustrated in color in the exhibition catalogue p. 85). “Distinguished Collector Series: Focus on the Dr. and Mrs. Perry Ottenberg Collection of the Art and Archives of Arthur B. Carles,” Woodmere Museum, Philadelphia, Pennsylvania, April 16-June 25, 2000. “The Work of Arthur B. Carles,” Demuth Museum, Lancaster, Pennsylvania, April 1-May 29, 2005. $20,000-30,000

92 ARTHUR BEECHER CARLES (american 1882-1952) “LOUNGING NUDE” Oil on cardboard Sheet size: 13 x 10 in. (33 x 25.4cm) Executed circa 1913. provenance: The Artist. The Artist’s widow, Mrs. Arthur B. Carles. Acquired didrectly from the above in 1965. The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. exhibited: “Arthur B. Carles (1882-1952): Painting with Color,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, September 23-November 27, 1983; and The Corcoran Gallery of Art, Washington D.C., April 28-June 17, 1984; and The National Academy of Design, New York, New York, September 11-November 4, 1984, no. 31 (traveling exhibition, illustrated in the exhibition catalogue p. 167). “Over Here: Modernism, The First Exile, 1914-1919” David Winton Bell Gallery, Brown University, Providence, Rhode Island, April 15-May 29, 1989. $2,000-3,000

93 ARTHUR BEECHER CARLES (american 1882-1952) STEEPLE IN THE VALLEY Oil on canvas laid down to board 10 x 12 in. (25.4 x 30.5cm) provenance: The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. $2,000-3,000

94 ARTHUR BEECHER CARLES (american 1882-1952) “RECLINING NUDE” Oil on canvas 20 1/8 x 24 1/8 in. (51.1 x 61.3cm) provenance: The Artist. The Artist’s widow, Mrs. Arthur B. Carles. Bequeathed from the above. Collection of Dr. and Mrs. Karl Fischer. Vendo Nubes Gallery, Philadelphia, Pennsylvania. The Hahn Gallery, Germantown, Pennsylvania. The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. exhibited: “The Work of Arthur B. Carles,” Demuth Museum, Lancaster, Pennsylvania, April 1-May 29, 2005 (illustrated). $1,000-1,500

fter Jane Piper died in 1991, Perry and I became friendlier. We would continue to sometimes butt heads, yet I came to understand that this was his way of making me treat him without deference or politeness, of making me say what I truly felt. In 1999, while he was in New Hampshire, Perry called and asked if I would go to the suburbs to see Carles’s “Autumn Still Life,” (Lot 95) a painting he had the opportunity to purchase. The man who was selling it told me how his father had acquired it directly from Carles in exchange for a cash loan that the artist had neglected to repay. The collector, then just a little boy, and his father had gone to the Chestnut Street studio where, to Carles’s chagrin, they picked this painting. Carles returned with them by taxi to their house. The collector recalled sitting in the back seat next to Carles, who wept at having to relinquish a painting he said was among his best. I offered Perry my evaluation of the extraordinary canvas and he startled me as he hemmed and hawed in an unforeseen attempt to avoid acquiring it. Encouragement was not working, so I think I chided him, called him a fool, and said if he passed on it that I would take it. As it turned out, this was exactly the right thing to say to him. He startled me again when he called a few weeks later to thank me for having challenged him. It was the challenge, he said, that convinced him to purchase the work. Another time, Perry asked me to help him rearrange and hang many of the paintings in his Philadelphia house. I loved that he let me place the works in the way I wanted to experience them. Consciously or subconsciously, I hope that Perry knew I considered his requests and invitations, while not always easy, to be wonderful gifts that resonate even more today than they did then.“

bill scott

“

95 ARTHUR BEECHER CARLES (american 1882-1952) “AUTUMN BOUQUET” Signed ‘CARLES’ bottom left, oil on canvas 32 1/2 x 36 1/4 in. (82.6 x 92.1cm) In a Harer frame. provenance: The Artist. A gift from the above. Mr. Meyer Speiser, Philadelphia, Pennsylvania. By descent in the family. Collection of Edward Speiser. Acquired directly from the above in 1999. The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. exhibited: “The Work of Arthur B. Carles,” Demuth Museum, Lancaster, Pennsylvania, April 1-May 29, 2005 (illustrated in the brochure). $20,000-30,000

96 ARTHUR BEECHER CARLES (american 1882-1952) THE MULTICOLORED HOUSE Oil on canvas 13 1/4 x 16 1/8 in. (33.7 x 41cm) provenance: The Artist. The Artist’s widow, Mrs. Arthur B Carles. Acquired directly from the above in 1965. The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. $3,000-5,000

97 ARTHUR BEECHER CARLES (american 1882-1952) “THE BLUE LADY” Pastel on blue paper 25 1/4 x 20 1/6 (64.1 x 51cm) Executed circa 1932. provenance: Collection of Mercedes Matter, the Artist’s daughter. The Philadelphia Museum of Art ‘Art Sales and Rental Gallery’, with Harold Diamond, Philadelphia, Pennsylvania. Acquired directly from the above in 1969. The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania.

exhibited: “Arthur B. Carles (1882-1952): Painting with Color,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, September 23-November 27, 1983; and The Corcoran Gallery of Art, Washington D.C., April 28-June 17, 1984; and The National Academy of Design, New York, New York, September 11-November 4, 1984, no. 83 (traveling exhibition, illustrated in the exhibition catalogue). “The Work of Arthur B. Carles,” Demuth Museum, Lancaster, Pennsylvania, April 1-May 29, 2005. $2,000-3,000

98 ARTHUR BEECHER CARLES (american 1882-1952) “SAILS” Oil on canvas 24 1/4 x 29 3/4 in. (61.6 x 75.6cm) Executed circa 1930. provenance: The Artist. Collection of Dr. Norman H. Taylor. Walter Baum Gallery, Sellersville, Pennsylvania. Collection of Mrs. Leo Asbell. Acquired directly from the above. The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. exhibited: “Pennsylvania Academy Moderns, 1910-1940,” National Collection of Fine Arts, Smithsonian Institution, Washington D.C., May 9-July 6, 1975; and Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, July 30-September 6, 1975 (traveling exhibiton), no. 12 (illustrated in the exhibition catalogue). $10,000-15,000

PENNSYLVANIA IMPRESSIONISTS lots 99-145

Lot 123 (detail)

99 FERN ISABEL COPPEDGE (american 1883–1951) “FISHING BOATS GLOUCESTER” Signed ‘F. Coppedge’ bottom right; also inscribed with title and artist verso, oil on canvasboard 12 x 16 in. (30.5 x 40.6cm) provenance: Private Collection, California. $15,000-25,000

100 SUSETTE INLOES SCHULTZ KEAST (american 1892-1932) “LUMBERVILLE NEIGHBORS” Signed ‘S. Keast’ bottom left, oil on canvasboard 9 7/8 x 7 7/8 in. (25.1 x 20cm) In a Badura frame. provenance: Plymouth Meeting Gallery, Pennsylvania. Private Collection, Pennsylvania. $6,000-10,000

101 ARTHUR MELTZER (american 1893–1989) “BARN NEAR NEW HOPE’ Signed ‘Arthur Meltzer’ bottom left; also inscribed with title verso, oil on Masonite 8 x 10 in. (20.3 x 25.4cm) provenance: The Artist. Acquired directly from the above. By descent in the family. Private Collection, Philadelphia, Pennsylvania. $1,200-1,800

102 ALBERT VAN NESSE GREENE (american 1877-1971) “THE CANAL AT WASHINGTON D.C., WINTER” Signed ‘AVan Nesse Greene’ bottom right; also inscribed with title on upper stretcher verso, oil on canvas 23 5/8 x 28 1/2 in. (60 x 72.4cm) provenance: Plymouth Meeting Gallery, Plymouth Meeting, Pennsylvania. Acquired directly from the above. Private Collection, Pennsylvania. exhibited: “One Hundred Twenty-Sixth Annual Exhibition,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1931, no. 106. $3,000-5,000

103 DELLA J. BARBER (american B. 20TH CENTURY) “NEW HOPE CANAL” Signed ‘Della Barber’ bottom right, oil on canvas 10 x 12 in. (25.4 x 30.5cm) Executed circa 1940 In a Badura frame. provenance: Gratz Gallery, Pennsylvania. Private Collection, Pennsylvania. $2,500-4,000

104 ANTONIO PIETRO MARTINO (american 1902-1989) “FISHING BOATS” Signed and dated ‘A.P. Martino 1929’ bottom right; also inscribed with title, artist and date on upper stretcher verso, oil on canvas 25 1/8 X 30 1/8 in. (63.8 x 76.5cm) provenance: Jim’s of Lambertville, Lambertville, New Jersey. Private Collection, Pennsylvania. literature: James M. Alterman, New Hope for American Art: A Comprehensive Showing of Important 20th Century Paintings Surrounding the New Hope Art Colony, Jim’s of Lambertville, Lambertville, New Jersey, 2005, p. 290 (illustrated). James McCleeland, The Martinos: A Legacy of Art, Pennsylvania Historical and Museum Commission, Harrisburg, Pennsylvania, 2010, p. 24 (illustrated). $6,000-10,000

105 ANTONIO PIETRO MARTINO (american 1902-1989) SNOWY STREET IN MANAYUNK Signed ‘Antonio P. Martino’ bottom right, oil on canvas 30 x 40 in. (76.2 x 101.6cm) provenance: Private Collection, Pennsylvania. Freeman’s, Philadelphia, sale of June 22, 2008, lot 132. Acquired directly from the above sale. Private Collection, Philadelphia, Pennsylvania. $6,000-10,000

106 KENNETH R. NUNAMAKER (american 1890–1957) “FIELD STONE” Signed ‘K. Nunamaker’ bottom right, oil on board 8 x 10 in. (20.3 x 25.4cm) provenance: Private Collection, Maryland. $4,000-6,000

107 MELVILLE F. STARK (american 1903-1987) “PUDDLES IN THE STREET” Signed ‘M. Stark’ bottom right, oil on canvas 24 x 30 in. (61 x 76.2cm) provenance: The Artist. Acquired directly from the above in the 1970s. Private Collection, Tennessee. Dr. Tom Folk’s Art Gallery, New Jersey. Private Collection, Pennsylvania. $2,000-3,000

108 WALTER ELMER SCHOFIELD (american 1867-1944) “WOODLAND STREAM” Signed ‘Schofield’ bottom right; also inscribed with title verso, oil on canvas 26 1/8 x 29 7/8 in. (66.4 x 75.9cm) provenance: Private Collection, Pennsylvania. $8,000-12,000

109 ARTHUR MELTZER (american 1893-1989) HOUSES IN A SNOWY LANDSCAPE Signed and dated ‘Arthur Meltzer 28’ bottom left, oil on canvas 24 7/8 x 30 1/16 in. (61.3 x 76.4cm) provenance: The Artist. Acquired directly from the above. Private Collection, Pennsylvania. $15,000-25,000

110 EDWARD WILLIS REDFIELD (american 1869–1965) HARBOR SCENE Signed ‘E.W. Redfield’ bottom right, oil on canvas 18 3/8 x 21 5/8 in. (46.7 x 54.9cm) provenance: Private Collection, Virginia. note: The present piece will be accompanied by a letter of authenticity from Dr. Thomas Folk and will be included in his forthcoming Catalogue Raisonné of the artist’s work. $20,000-30,000

111 HENRY BAYLEY SNELL (american 1858-1943) “GLOUCESTER HARBOR, MASSACHUSETTS” Signed ‘Henry B. Snell’ bottom left, oil on board 11 x 14 in. (27.9 x 35.6cm) provenance: M.M.E. Fine Art, New York, New York. Private Collection, Pennsylvania. $3,000-5,000

112 HARRY LEITH-ROSS (american 1886–1973) “A CATSKILL BARN” Signed ‘Leith-Ross’ bottom left; also inscribed with title and artist verso, and on bottom stretcher verso, oil on canvas laid down to board 8 1/4 x 9 3/4 in. (21 x 24.8cm) provenance: Private Collection, Maryland. $5,000-8,000

113 CARL BUERGERNISS (american 1877-1956) “PICKING A ROSE” Signed and dated ‘Carl Buergerniss 1928’ bottom right, oil on canvas 16 x 22 in. (40.6 x 55.9cm) provenance: Jim’s of Lambertville, Lambertville, New Jersey. Private Collection, Pennsylvania. literature: James M. Alterman, New Hope for American Art: A Comprehensive Showing of Important 20th Century Paintings Surrounding the New Hope Art Colony, Jim’s of Lambertville, Lambertville, New Jersey, 2005, p. 74 (illustrated). $2,500-4,000

114 FERN ISABEL COPPEDGE (american 1883-1951) “THE ROAD TO LUMBERVILLE” Signed ‘Fern I Coppedge’ bottom center right; also inscribed with title on upper stretcher verso, oil on canvas 20 x 24 in. (50.8 x 61cm) In a Harer Frame. provenance: Private Collection, Pennsylvania. $50,000-80,000

115 SUSETTE INLOES SCHULTZ KEAST (american 1892–1932) GLOUCESTER STREET Signed and dated ‘S. Keast 22’ bottom right, oil on board 12 x 10 in. (30.5 x 25.4cm) provenance: The Artist. By descent in the family. Private Collection, Oregon. $5,000-8,000

Susette Inloes Schultz Keast was born in 1892 in Philadelphia. The grandniece of Franz Xavier Winterhalter, court painter to Emperor Napoleon III of France, she showed an early aptitude for art, attending the Philadelphia School of Design for Women (now Moore College of Art & Design) and the Pennsylvania Academy of the Fine Arts. At PAFA, she studied under Thomas Anshutz and William Merritt Chase, and in 1911, at the age of 19, she received the prestigious Cresson European Fellowship, which Daniel Garber received sometime before. Not limited by geography, Keast’s work was influenced by the landscapes of Massachusetts, Canada, her time in Europe, as well as the Far East, including China, Japan, and Korea. She lived with her husband, the Philadelphia architect W.R. Morton Keast, in a townhouse on Rittenhouse Square, where her home studio was designed to resemble the palace of a Chinese Emperor. Keast was a member of The Philadelphia Ten, a group comprised of students of the Philadelphia School of Design whose efforts were to exhibit their work independently, having been barred from many public institutions based on their gender. Fern Coppedge, one of the most significant female Pennsylvania Impressionists and a fellow student at PAFA, was also a member, and the two would have crossed paths professionally and socially during their involvement with the group. Keast died in 1932 at the age of 40, finalizing what was already an extensive, exemplary oeuvre. This set of three paintings, all fresh to the market, come from a family collection now belonging to one of the three granddaughters of the artist.

116 SUSETTE INLOES SCHULTZ KEAST (american 1892–1932) “OLD PORTUGUESE CHURCH” Signed and dated ‘Susette Keast 1924’ bottom right, oil on canvas 28 x 26 in. (71.1 x 66cm) provenance: The Artist. By descent in the family. Private Collection, Oregon. $2,000-3,000

117 SUSETTE INLOES SCHULTZ KEAST (american 1892–1932) “CHINESE STILL LIFE” Signed and dated ‘S. Keast ‘23’ bottom right, oil on canvas 28 1/2 x 26 in. (72.4 x 66cm) provenance: The Artist. By descent in the family. Private Collection, Oregon. exhibited: “One Hundred Eighteenth Annual Exhibition,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, February 4-March 25, 1923, no. 325. $3,000-5,000

118 GEORGE J. STENGEL (american 1872-1937) “LOOKING SEAWARD” Signed ‘G.J. Stengel’ bottom left, oil on panel 8 x 10 in. (20.3 x 25.4cm) provenance: Salmagundi Club, New York, New York. Questroyal Fine Art, New York, New York. Private Collection, Pennsylvania. $2,500-4,000

119 HARRY G. BERMAN (american 1900-1932) “SPRING” Signed and dated ‘H.G. Berman ‘28’ bottom right, oil on canvasboard 12 x 14 in. (30.5 x 35.6cm) provenance: Dixon-Hall Fine Art, Pennsylvania. Private Collection, Pennsylvania. $1,500-2,500

120 KENNETH R. NUNAMAKER (american 1890–1957) STUDY OF A HOUSE Signed ‘K. Nunamaker’ bottom right, oil on canvasboard 11 7/8 x 15 15/16in. (30.2 x 40.5cm) provenance: Private Collection, Pennsylvania. $3,000-5,000

121 JOHN FULTON FOLINSBEE (american 1892-1972) “AN AFTERNOON NAP” Signed ‘John Folinsbee’ bottom right, oil on canvas 16 x 20 in. (40.6 x 50.8cm) Executed circa 1930. provenance: Private Collection, Maryland. note: The present painting is number 1340 in the John F. Folinsbee online Catalogue Raisonné prepared by Dr. Kirsten Jensen. $12,000-18,000

101

122 CLARENCE RAYMOND JOHNSON (american 1894–1981) THE ARCHED BRIDGE AT SUNSET Signed ‘C. Johnson’ bottom right, oil on canvas 32 1/4 x 42 1/4 in. (81.9 x 107.3cm) provenance: Christie’s, New York, sale of March 2, 2006, lot 92 (sold as “Pennsylvania Landscape”). Acquired directly from the above sale. Private Collection, Maryland. $12,000-18,000

102

123 EDWARD WILLIS REDFIELD (american 1869-1965) “NEW CENTER BRIDGE” Signed ‘E.W. Redfield’ bottom right; also inscribed with title and artist on upper stretcher verso, oil on canvas 32 x 40 1/8 in. (81.3 x 101.9cm) provenance: The Artist. Acquired directly from the above. History House. Acquired directly from the above. The Artist’s son and daughter-in-law, Laurent and Dorothy Redfield. By descent in the family. The Artist’s great-grandson, New York, New York; and his great granddaughter, Phoenix, Arizona.

note: As a plein-air artist, Redfield would often travel to the town of Center Bridge, trudging through the snow to set up a canvas or strapping one to a tree in order to capture the landscape around him with his vigorously bold brushwork and rich impasto. He soon became a familiar figure in the area, and his charismatic presence attracted many other artists, including George Sotter, Fern Coppedge, John Folinsbee, Daniel Garber, Harry Leith-Ross, and Kenneth Nunamaker, many of whom were directly influenced by his work and his methods. The present winter scene depicts the “New” Center Bridge, which was completed in 1926 and built upon the remaining piers and abutments of the original bridge that was destroyed by the fire of 1923. It is believed that Dorothy Redfield bought the painting to enrich her collection of images of the bridge before, during, and after the fire. The present painting will be included in the forthcoming Catalogue Raisonné of Edward Redfield’s work, compiled by Dr. Thomas Folk. $100,000-150,000

103

124 JOHN FABIAN CARLSON (american/swedish 1875-1947) “ICEBOUND RIVER” Signed ‘John F. Carlson’ bottom left; also inscribed with artist, title, located ‘New York’ and dated ‘1931’ on stretcher verso, oil on canvas 25 x 30 in. (63.5 x 76.2cm) provenance: Private Collection, Connecticut. Freeman’s, Philadelphia, sale of December 4, 2016, lot 32. Acquired directly from the above sale. Private Collection, Massachusetts. $10,000-15,000

104

125 ANTONIO PIETRO MARTINO (american 1902–1989) “BACKSTREETS, MANAYUNK” Signed ‘Antonio P. Martino’ bottom right; also inscribed with title verso, oil on board 15 x 20 in. (38.1 x 50.8cm) provenance: Alderfer’s, Hatfield, sale of March 7, 2008, lot 3013. Acquired directly from the above sale. Private Collection, Delaware. $3,000-5,000

126 BERNARD BADURA (american 1896-1986) “RED BARN” Signed ‘Bernard Badura’ bottom right; also inscribed with title, artist, location and date ‘40’ verso, oil on board 8 1/2 x 10 1/2 in. (21.6 x 26.7cm) In a Badura frame. provenance: Private Collection, New Jersey. Freeman’s, Philadelphia, sale of December 3, 2006, lot 104. Acquired directly from the above sale. Private Collection, Pennsylvania. $1,000-1,500

127 MORRIS HALL PANCOAST (american 1877-1963) “RAIN AND THE MIST” Signed ‘Morris Hall Pancoast’ bottom left, oil on canvas 16 x 20 in. (40.6 x 50.8cm) In a Laughlin frame. provenance: Newman Galleries, Philadelphia, Pennsylvania. Private Collection, Pennsylvania. $2,500-4,000

105

128 PAULETTE VICTORINE J. VAN ROEKENS (american 1896–1988) “CURTAIN CALL” Signed ‘P. Van Roekens’ bottom left; also titled, signed, dated ‘Aug. 196*’ and dedicated “To Harold R. Rice/Love and affection/*** for many more years’ verso, oil on canvas laid down to board 10 x 8 in. (25.4 x 20.3cm) provenance: Private Collection, New York, New York. $2,000-3,000

129 PAULETTE VICTORINE J. VAN ROEKENS (american 1896–1988) “REHEARSAL” Signed ‘P. Van Roekens’ bottom left; also titled, signed, dated ‘Aug. 1963’ and dedicated “To Thelma R. Rice/With love and affection’ verso, oil on canvas laid down to board 10 x 8 in. (25.4 x 20.3cm) provenance: Private Collection, New York, New York. $2,000-3,000

130 LAURENCE A. CAMPBELL (american b. 1939) “TALL SHIPS, PENN’S LANDING” Signed ‘Laurence A. Campbell’ bottom right; also inscribed with title and artist on upper stretcher verso, oil on canvas 16 x 19 7/8 in. (40.6 x 50.5cm) provenance: Private Collection, Pennsylvania $4,000-6,000

106

131 ARTHUR MELTZER (american 1893-1989) THE SNOWY ROAD Signed ‘Arthur Meltzer’ bottom left, oil on canvas 22 1/8 x 31 7/8 in. (56.2 x 81cm) provenance: The Artist. Acquired directly from the above. Private Collection, Pennsylvania. $10,000-15,000

107

132 STANLEY LAURENCE RECKLESS (american 1892-1955) “BUCKS COUNTY SPRINGHOUSE” Oil on canvas laid down to board 8 1/4 x 10 1/4 in. (21 x 26cm) Executed circa 1920. In a Yates frame. provenance: The Artist. By descent in the family. Acquired directly from the above. Gratz Gallery, Pennsylvania. Private Collection, Pennsylvania. $2,000-3,000

133 STANLEY LAURENCE RECKLESS (american 1892-1955) “BUCKS COUNTY SPRINGHOUSES” Oil on canvas laid down to board 8 1/4 x 10 1/4 in. (21 x 26cm) Executed circa 1920. In a Yates frame. provenance: The Artist. By descent in the family. Acquired directly from the above. Gratz Gallery, Pennsylvania. Private Collection, Pennsylvania. $2,000-3,000

134 HENRY BAYLEY SNELL (american 1858-1943) “HARLEM SCHOONER” Signed ‘Henry B. Snell’ bottom right, oil on canvas laid down to board 6 1/2 x 8 5/8 in. (16.5 x 21.9cm) provenance: Private Collection, Pennsylvania. exhibited: Worcester Art Museum, Worcester, Massachusetts, n.d. (per label verso). $2,000-3,000

108

135 ARTHUR MELTZER (american 1893-1989) “HILLS OF STONEY RUN” Signed ‘Arthur Meltzer’ bottom right; also with title on label verso, oil on canvas 25 1/8 x 30 1/8 in. (63.8 x 76.5cm) provenance: From the Collection of a Philadelphia Lady. $5,000-8,000

136 JOHN FABIAN CARLSON (american/swedish 1875–1947) “SNOW BOUND BROOK” Signed ‘John F. Carlson’ bottom right, oil on canvas 18 x 24 in. (45.7 x 61cm) provenance: Private Collection, Florida. $5,000-8,000

109

137 FERN ISABEL COPPEDGE (american 1883–1951) “WINTER IN POINT PLEASANT” Signed ‘Fern I. Coppedge’ bottom center left; also inscribed with title on upper stretcher verso, oil on canvas 14 x 16 in. (35.6 x 40.6cm) provenance: Property of an Estate, Florida. $20,000-30,000

110

138 FERN ISABEL COPPEDGE (american 1888-1951) “SNOW AND SUNSHINE” Signed ‘Fern I Coppedge’ bottom right; also inscribed with title on upper stretcher verso, oil on canvas 25 1/4 x 30 1/4 in. (64.1 x 76.5cm) provenance: The Artist. Acquired directly from the above in 1944. Private Collection, Pennsylvania. By descent in the family. Freeman’s, Philadelphia, sale of June 24, 2007, lot 123. Acquired directly from the above sale. Private Collection, Maryland. $60,000-100,000

111

139 JOHN FULTON FOLINSBEE (american 1892-1972) “BAIT DIGGERS” Signed ‘John F. Folinsbee’ bottom right, oil on Masonite 10 x 14 in. (25.4 x 35.6cm) provenance: Private Collection, Pennsylvania. note: The present painting will be included in the forthcoming Catalogue Raisonné of the artist’s work prepared by Dr. Kirsten Jensen. We wish to thank Nikki Hayes for her assistance in cataloguing this lot. $6,000-10,000

140 ALFRED NUNAMAKER (american 1915–1988) “PIER 64” Signed ‘A. Nunamaker’ bottom left, oil on canvas 24 x 36 in. (61 x 91.4cm) provenance: Newman Galleries, Philadelphia, Pennsylvania. $5,000-8,000

112

141 DANIEL GARBER (american 1880–1958) “MANCHESTER, VERMONT” Signed ‘Daniel Garber’ bottom right, oil on board 14 x 22 in. (35.6 x 55.9cm) Executed in August 1931. provenance: The Artist. The Estate of the Artist, 1958. The Artist’s wife, Mary Franklin Garber, by 1968. The Estate of Mary Franklin Garber, 1968. The Artist’s daughter, Tanis Garber Page, December 1976. The Artist’s great-grandson, 1980. Private Collection, Centre Hall, Pennsylvania. Newman Galleries, Philadelphia, Pennsylvania. Christie’s, New York, sale of May 25, 1989, lot 305. Acquired directly from the above sale. Collection of Mathew Hooshmand, M.D., Pennsylvania. Christie’s, New York, sale of May 21, 1998, lot 158. Acquired directly from the above sale. Jim’s Antiques Fine Art Gallery, Lambertville, New Jersey. Collection of Bruce and Doronna Wendel, Pennsylvania. Private Collection, New Jersey.

113

exhibited: “Paintings and Etchings by Daniel Garber, 1880-1958,” Richard Stuart Gallery, Pipersville, Pennsylvania, November 22-December 20, 1981. literature: Letter from the Artist to his wife, Mary Franklin Garber, Garber Family Archives, August 1931. “Sunday” Postcard from the Artist to his wife, Mary Franklin Garber, Garber Family Archives, August 3, 1931. note: The present piece is the only depiction of mountain scenery by Daniel Garber. The artist painted it while in Vermont, where he was commissioned to paint “Main Street, Manchester-In-The-Mountains, Vermont”. The descriptive title does not seem to be the artist’s, nor one designated by his heirs. On his journey to Manchester, Garber informed his wife that he “went on over the Taconic Trail - pushed down a farm lane and worked over three hours - to see if [he] could do anything with the spaciousness of mountains.” $25,000-40,000

142 FRED WAGNER (american 1861–1940) RED HOUSE BY THE CANAL Signed ‘Fred Wagner’ bottom left, oil on Masonite 26 1/8 x 36 in. (66.4 x 91.4cm) provenance: Newman Galleries, Philadelphia, Pennsylvania. $6,000-10,000

143 ANTONIO PIETRO MARTINO (american 1902–1989) “THE CROOKED ROAD” Signed ‘A. P. Martino’ bottom left, oil on canvas 30 x 45 1/4 in. (76.2 x 114.9cm) provenance: Private Collection, Pennsylvania. exhibited: “The One Hundred Thirty-First Annual Exhibition,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, January 26-March 1, 1936, no. 277. “Forty-Seventh Annual Exhibition of American Paintings and Sculpture,” The Art Institute of Chicago, Chicago, Illinois, 1936 (per label verso). $5,000-8,000

144 WALTER EMERSON BAUM (american 1884–1956) “BRANCH CREEK” Signed ‘Baum’ bottom right, oil on board 25 x 29 7/8 in. (63.5 x 75.9cm) Executed in 1915. provenance: Private Collection, Pennsylvania. exhibited: “Fourth Annual Art Exhibition,” Carnegie Library, Perkiomen School, Pennsburg, Pennsylvania, November 5-21 and December 2-3, 1950, no. 7. $3,000-5,000

114

145 FERN ISABEL COPPEDGE (american 1883-1951) GLOUCESTER HARBOR Signed ‘Fern I. Coppedge’ on upper stretcher verso, oil on canvas 19 3/4 x 24 in. (50.2 x 61cm) provenance: Private Collection, Maryland. $25,000-40,000

115

INDEX BADURA, B.,

126

GREENE, A.V.N.,

102

MARIN, J.,

BARBER, D.J.,

103

GRUPPE, E.A.,

MARTINO, A.P.,

104, 105, 125, 143

BAUM, W.E.,

144

HAMILTON, J.,

MELTZER, A.,

101, 109, 131, 135

BEAL, G.,

HART, J.M.,

NUNAMAKER, A.,

140

BENTON, T.H.,

55, 56

HASSAM, C.,

25-27

NUNAMAKER, K.R.,

106, 120

BERMAN, H.G.,

119

HERZOG, H.,

3, 15, 16

OWEN, R.E.,

BLAKELOCK, R.A.,

HETZEL, G.,

PALMER, P.,

BLOCH, J.,

HEURLIN, M.C.,

PANCOAST, M.H.,

127

BLUM, J.S.,

HIBBARD, A.T.,

PAXTON, W.M.,

BRICHER, A.T.,

HOLTY, C.R.,

PETO, J.F.,

BUERGERNISS, C.,

113

JACOBSEN, A.,

PRENTICE, L.W.,

BURCHFIELD, C.E.,

JAQUES, F.L.,

RECKLESS, S.L.,

132, 133

CAMPBELL, L.A.,

130

JOHNSON, C.R.,

122

REDFIELD, E.W.,

110, 123

CARLES, A.B.

85-98

JOHNSON, D.,

REEVES, R.S.,

70-74

CARLSON, J.F.,

124, 136

JONES, H.B.,

23, 24

REID, R.,

CLOSSON, W.B.,

KEAST, S.I.S,

100, 115-117

RIGGS, R.,

COPPEDGE, F.I.,

99, 114, 137, 138, 145

KEITH, W.,

SCHOFIELD, W.E.,

108

D’ARCANGELO, A.,

KENSETT, J.F.,

SCHOONOVER, F.E.,

DAVIES, A.B.,

KING, A.F.,

SLOANE, E.,

DAVIS, C.H.,

KNAPP, C.W.,

SNELL, H.B.,

111, 134

DEMUTH, C.,

KRAFFT, C.R.,

STAMOS, T.,

82, 84

DURAND, A.B.,

KUEHNE, M.,

STARK, M.F.,

107

EAKINS, T.,

18, 19

LAFARGE, J.,

STELLA, J.,

FOLINSBEE, J.F.,

121, 139

LAMBDIN, G.C.,

STENGEL, G.J.,

118

FRISHMUTH, H.W.,

LAWLESS, C.,

THIEME, A.,

FRONTIN, R.,

78, 79

LAWSON, E.,

TWORKOV, J.,

GARBER, D.,

141

LEFFEL, D.A.,

VAN ROEKENS, P.V.J.,

128, 129

GASSER, H.M.,

45, 46

LEITH-ROSS, H.,

112

WAGNER, F.,

142

GEERLINGS, G.K.,

LEVER, R.H.,

48, 49, 51

WHORF, J.,

GOLLINGS, E.W.,

LEWIS, E.D.,

WYETH, A.,

75, 76

GORSON. A.H.,

LUMIS, H.R.,

WYETH, J.,

GRAHAM, J.,

MANIGAULT, E.M.,

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 fact. 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

Forename(s) and surname of painter is in our

manner of

Manner of..... refers to a work in a style related to

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

that of the artist, but of a later date; e.g. Manner of

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

Charles Willson Peale.

series of asterisks followed by the surname of the school of

artist, wether preceded by an initial or not, indicates

School accompanied by the name of a place or country and a date means that we believe the picture was

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

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

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

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

Attributed to Charles Willson Peale.

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

studio of

Refers to a work from the studio of the artist which after an artist

may or may not have been executed under his

Signed and/or dated and/or inscribed means that we believe the signature and/or date and/or inscription are

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

from the hand of the artist. Bears a signature and/ circle of

follower of

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

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

artist executed under his immediate influence; e.g.

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

Circle of Charles Willson Peale.

been added by another hand. signatures & dates

Follower of..... refers to a work by a painter working

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

in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil; e.g. measurements

Follower of Charles Willson Peale.

116

Dimensions are given height before width.

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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.

U.S. Art ‡ Jessica Pierce 37-11 48th Avenue Long Island City, NY 11101 800.472.5784 | Fax:718.472.5785 jpierce@usart.com

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.

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

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TERMS & CONDITIONS All property offered and sold (“property”) through Samuel T. Freeman & Co, (“Freeman’s”) shall be offered and sold on the terms and conditions set forth below which constitutes the complete statement of the terms and conditions on which all property is offered for sale. By bidding at the auction, whether present in person or by agent, by written bid, telephone, internet or other means, the buyer agrees to be bound by these terms and conditions.

1 Unless otherwise indicated, all Property will be offered by Freeman’s as agent for the Consignor. 2 Freeman’s reserves the right to vary the terms of sale and any such variance shall become part of these Conditions of Sale. 3 Buyer acknowledges that it had the right to make a full inspection of all Property prior to sale to determine the condition, size, repair or restoration of any Property. Therefore, all property is sold “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.

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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

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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

Departments Appraisals Amy Parenti aparenti@freemansauction.com Business Development Thomas B. McCabe IV tmccabe@freemansauction.com Client Services Mary Maguire Carroll mmaguire@freemansauction.com Finance Whitney Long wlong@freemansauction.com Marketing & Communications Micah Dornfeld mdornfeld@freemansauction.com Museum Services Thomas B. McCabe IV tmccabe@freemansauction.com Photography Thomas Clark tclark@freemansauction.com Shipping & Receiving Stephanie Parker sparker@freemansauction.com Trust & Estates Amy Parenti aparenti@freemansauction.com

Mid-Atlantic Matthew Wilcox mwilcox@freemansauction.com

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

Southeast Colin Clarke cclarke@freemansauction.com

American Furniture, Folk & Decorative Arts Lynda Cain lcain@freemansauction.com

West Coast Michael Larsen mlarsen@freemansauction.com

Asian Arts Benjamin Farina bfarina@freemansauction.com

Main Line Thomas McCabe tmccabe@freemansauction.com

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

120 v3.2016

www.freemansauction.com 1808 Chestnut Street Philadelphia Pennsylvania 19103