Modern & Contemporary Art by Freeman's

MODERN & CONTEMPORARY ART NOVEMBER 13, 2018

modern & contemporary art auction Sale 1616 Tuesday, November 13th at 12pm 1808 Chestnut Street, Philadelphia PA 19103 Cover Image: Lot 88 (detail), Inside Front Cover: Lot 114 (detail), Inside Back Cover: Lot 23 (detail)

modern & contemporary art department Dunham Townend Head of Department dtownend@freemansauction.com 267.414.1221

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

Anne Henry Senior Specialist 267.414.1231

exhibitions Thursday, November 08

10:00 am - 5:00 pm

Friday, November 09

10:00 am - 5:00 pm

Saturday, November 10

12:00 pm - 5:00 pm

Sunday, November 11

12:00 pm - 5:00 pm

Monday, November 12

10:00 am - 5:00 pm

By appointment only on the morning of the sale

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

Joslyn Moore Bidding Registration jmoore@freemansauction.com 267.414.1207

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

Lot 79 (detail) ÂŠ 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York

modern & contemporary art lots 1-151

Lot 131

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1 HENRI MATISSE (french, 1869–1954) “TROIS FIGURES” 1930, pencil signed and annotated ‘Essai’ (one of 5 known proofs), with margins. Lithograph on Japan. image: 17 15/16 x 23 5/8 in. (45.6 x 60cm) sheet: 19 9/16 x 25 7/16 in. (49.7 x 64.6cm) [Duthuit, 524] provenance: Henri Matisse Estate. Lumley Cazalet Ltd., London, United Kingdom. Alan Cristea Gallery, London, United Kingdom. Private Collection (acquired directly from the above in 1986). Alan Cristea Gallery, London, United Kingdom (acquired directly from the above in 1994). Carl Schlosberg Fine Arts, Sherman Oaks, California. Private Collection, Los Angeles, California. Carl Schlosberg Fine Arts, Sherman Oaks, California. Private Collection, Washington, D.C. (acquired from the above in 2002). $12,000-18,000

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2 ÉDOUARD VUILLARD (french, 1868–1940) “NU BLOND DANS UN FAUTEUIL CRAPAUD” Stamped bottom right with initials ‘E.V.’ (Lugt, 909c), pastel on beige laid paper laid down to board. Executed circa 1912. sheet: 17 1/4 x 12 in. (43.8 x 30.5cm) board: 20 5/8 x 15 1/16 in. (52.4 x 38.3cm) provenance: Private Collection, Paris, France. note: The present work was authenticated on December 7, 2005 by Mr. Antoine Salomon. $10,000-15,000

douard Vuillard was a French Post-Impressionist painter who – along with Pierre Bonnard and Maurice Denis – was an influential member of the Nabis, a group of avant-garde painters working in Paris in the late 19th century. He is perhaps best known for his paintings of interior scenes, most often depicting women in domestic settings. Indeed, the prevalence of these scenes within his oeuvre has led many to label Vuillard as an “intimist.” The present work, which dates from 1912, is an example of such intimate scenes. Portraying a nude woman lounging languidly in an ornamented armchair, this pastel is rendered in subdued tones and suggests a quiet moment of rest happened upon by both artist and viewer.

3 GUSTAVE LOISEAU (french, 1865–1935) “LA MAISON DES SOEURS, PONTOISE” Signed and dated 1924 bottom right, dated again verso, oil on canvas. 21 3/8 x 25 5/8 in. (54.2 x 65.1cm) provenance: The Artist. Durand-Ruel & Galerie Georges Petit, Paris, France (acquired directly from the above in 1924). Wally Findlay Galleries, Inc., New York, New York. Private Collection, Florida (acquired directly from the above in 1977). Sotheby’s, New York, “Impressionist and Modern Art,” February 11, 2004, lot 13. Private Collection (acquired directly from the above sale). Sotheby’s, New York, “Impressionist and Modern Art,” November 5, 2014, lot 260. Private Collection, Pennsylvania (acquired directly from the above sale). exhibited: “Loiseau,” Galerie Durand-Ruel, Paris, France, November 21 - December 20, 1963, no. 28. $15,000-25,000

4 GEORGES MANZANA-PISSARRO (french, 1871–1961) “BORD DE SEINE” Signed and dated 1902 bottom right, oil on canvas. 21 3/8 x 25 3/4 in. (54.3 x 62.9cm) provenance: Private Collection. Sotheby’s, New York, “Impressionist & Modern Art, Including Russian Art,” March 14, 2012, lot 16. Private Collection, Pennsylvania (acquired directly from the above sale). note: We wish to thank Mme. Lélia Pissarro for confirming the authenticity of the present work. A certificate of authenticity may be purchased directly from Mme. Pissarro by the successful bidder. $15,000-25,000

5 GEORGI ALEXANDROVICH LAPCHINE (russian, 1885–1950) “LA VOILE ROUGE” Signed bottom right, oil on canvas. 21 3/4 x 32 in. (55.2 x 81.3cm) provenance: Private Collection. Sotheby’s, New York, “Impressionist & Modern Art, Including Russian Art,” March 14, 2012, lot 89. Private Collection, Pennsylvania (acquired directly from the above sale). $10,000-15,000

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6 ÉDOUARD LÉON CORTÈS (french, 1882-1969) “PARIS, BOULEVARD ANIMÉ” (PRÈS DE MONTMARTRE) Signed bottom left, oil on canvas. Executed circa 1905. 21 1/2 x 25 3/4 in. (54.6 x 65.4cm) provenance: Private Collection, France. Private Collection, United States. Anderson Galleries, LLC, Beverly Hills, California. Private Collection, California. literature: Nicole Verdier, Édouard Cortès, Catalogue Raisonné de l’Oeuvre Peint, Contexte, Paris, 2002, p. 184, no. 193 (illustrated). $20,000-30,000

7 ÉDOUARD LÉON CORTÈS (french, 1882-1969) “PORTE SAINT DENIS, SOIR DE NEIGE” Signed bottom left, gouache on paper. 10 5/8 x 17 5/8 in. (27 x 44.8cm) provenance: The Collection of Jules Depaquit. The Collection of Reynald Gorgeot (acquired from the above in 1962). Private Collection, Pennsylvania. note: We wish to thank Ms. Nicole Verdier for confirming the authenticity of the present work. This painting will be included in the forthcoming volume of the catalogue raisonné of the artist’s work, and will be accompanied by a certificate of authenticity. $8,000-12,000

8 ÉDOUARD LÉON CORTÈS (french, 1882-1969) “BOULEVARD DE LA MADELEINE, SOIR DE NEIGE” Signed bottom right, oil on canvas. Executed circa 1955. 18 x 22 in. (45.7 x 55.9cm) provenance: Klein Art Gallery, West Hollywood, California. Private Collection, California. note: We wish to thank Ms. Nicole Verdier for confirming the authenticity of the present work. This painting will be included in the forthcoming volume of the catalogue raisonné of the artist’s work, and will be accompanied by a certificate of authenticity. $15,000-25,000

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9 ANTOINE BLANCHARD (french, 1910-1988) “PLACE DU THÉÂTRE DE LA COMÉDIE FRANÇAISE” Signed bottom right, oil on canvas. Executed circa 1970. 13 x 18 in. (32 x 45.7cm) provenance: Omell Gallery, London, United Kingdom. Maraney Collection, London, United Kingdom. Rehs Galleries, Inc., New York, New York. Private Collection, California. note: We wish to thank Amy Rehs for confirming the authenticity of the present work. A certificate may be purchased directly from Rehs Gallery by the successful bidder. $3,000-5,000

10 ANTOINE BLANCHARD (french, 1910-1988) “PARIS, LE CHÂTELET” Signed bottom right, oil on canvas. 16 x 21 in. (40.6 x 53.3cm) provenance: Rehs Galleries, Inc., New York, New York. Private Collection. Private Collection, California. note: We wish to thank Amy Rehs for confirming the authenticity of the present work. A certificate may be purchased directly from Rehs Gallery by the successful bidder. $3,000-5,000

11 ANTOINE BLANCHARD (french, 1910-1988) “BOULEVARD DE LA MADELEINE EN 1900” Signed bottom right, signed again and titled verso, oil on canvas. 24 x 36 1/4 in. (61 x 92.1cm) provenance: Galerie Castiglione, Paris, France. Internationale Art Transport, Paris, France. Private Collection, Glen Allen, Virginia. note: We wish to thank Amy Rehs for confirming the authenticity of the present work. A certificate may be purchased directly from Rehs Gallery by the successful bidder. $5,000-8,000

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12 LYONEL FEININGER (american/german, 1871–1956) “STADTKIRCHE, HALLE II, 1929” Signed bottom left, titled ‘StadtKirche, Halle, II’ bottom center and dated ‘Juli 1929’ bottom right, charcoal on paper. 11 5/16 x 15 1/4 in. (28.7 x 38.7cm) provenance: The Artist. Städtisches Museum für Kunst und Kunstgewerbe, Halle (Saale), Germany. The Reich Ministry of Public Enlightenment and Propaganda, Berlin, Germany (acquired directly from the above in 1937). Castle Schönhausen (Depot Schloß Schönhausen), Berlin, Germany. Bernhard A. Böhmer, Güstrow, Germany (purchased from the German Reich in 1940). Private Collection. Janet Fleisher Gallery, Philadelphia, Pennsylvania. Private Collection, Pennsylvania (acquired directly from the above in 1979).

literature: Wolfgang Büche, Lyonel Feininger. Die Halle-Bilder, Munich: Hirmer Verlag, 2010, p. 63 (illustrated). Wolfgang Büche, Andreas Hüneke and Peter Romanus, eds., Lyonel Feininger. Die HalleBilder, Munich: Prestel-Verlag, 1991, p. 70, no. 14 (illustrated). Andreas Hüneke, Das schöpferische Museum. Eine Dokumentation zur Geschichte der Sammlung moderner Kunst 1908-1949, Halle (Saale): Stiftung Moritzburg - Kunstmuseum des Landes Sachsen-Anhalt, 2005, p. 185, no. 264 (illustrated). Andreas Hüneke, Die faschistische Aktion. ‘Entartete Kunst’ 1937 in Halle. 1, Schriftenreihe zur Geschichte der Staatlichen Galerie Moritzburg Halle, Halle: Staatliche Galerie Moritzburg Halle, 1987, p. 53, no. 88 (illustrated). note: Achim Moeller, Managing Principal of The Lyonel Feininger Project LLC, New York - Berlin has confirmed the authenticity of this work, which is registered under no. 149507-05-18. $8,000-12,000

13 GEORGES ROUAULT (french, 1871–1958) “ORPHÉE” Signed and dated 1930 bottom right, inscribed with the title verso, oil pastel, watercolor and india ink wash on paper. 14 1/2 x 14 1/4 in. (36.8 x 36.2cm) provenance: Demotte, Inc., New York, New York. Private Collection, Worcester, Massachusetts (acquired directly from the above in 1935). A Private Estate, San Francisco, California. note: We wish to thank the Fondation Georges Rouault for confirming the authenticity of the present work, which will be accompanied by a certificate of authenticity issued by the Fondation. $20,000-30,000

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14 PIERRE EUGÈNE MONTÉZIN (french, 1874–1946) “CAVALIERS AU BOIS” Signed bottom right, oil on panel. 12 3/4 x 16 in. (32.4 x 40.6cm) provenance: Sotheby’s, London, “Impressionist and Modern Art,” October 23, 2001, lot 129. Waterhouse & Dodd, London, United Kingdom (acquired directly from the above sale). The Estate of Jeff Hunter, New York, New York (acquired directly from the above in 2001). note: This work will be accompanied by a certificate of authenticity issued by JeanPierre Klein-Montézin and dated July 20, 2001. It will also be included in the forthcoming catalogue raisonné being prepared by Cyril Klein-Montézin. $5,000-8,000

15 GEN PAUL (french, 1895-1975) CANNES Signed and inscribed ‘Cannes’ bottom right, oil on paper. 19 3/4 x 25 1/2 in. (50.2 x 64.8cm) provenance: A Private Estate, Philadelphia, Pennsylvania. $1,500-2,500

16 JEAN DUFY (french, 1888–1964) “PORT DU HAVRE” Signed and dated 24 bottom right, ink on paper. 17 1/4 x 19 1/2 in. (43.8 x 49.5cm) provenance: Private Collection. By family descent. Private Collection, Key West, Florida. note: We wish to thank Mr. Jacques Bailly for confirming the authenticity of the present work, which will be accompanied by a certificate of authenticity. $1,500-2,500

17 JEAN DUFY (french, 1888–1964) “LE CIRQUE” Circa 1950, pencil signed and numbered 118/220, with margins, Guilde de la Gravure, Paris, publisher and with their blindstamp. Color lithograph on BFK Rives. image: 19 x 25 in. (48.3 x 63.5cm) sheet: 21 1/8 x 29 in. (53.7 x 73.7cm) provenance: From the Estate of Alma Cohen, Philadelphia, Pennsylvania. $1,000-1,500

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18 RAOUL DUFY (french, 1877–1953) “ANÉMONES” Signed, dated and dedicated ‘Souvenir du 29 Avril 1950 à Madame F. Homburger / Raoul Dufy’ bottom left, watercolor and gouache on paper. 19 11/16 x 26 in. (50 x 66cm) provenance: The Artist. Dr. Freddy and Regina T. Homburger. Connaught Brown, London, United Kingdom. Private Collection, Amherst, Massachusetts (acquired from the above in 2004). Property of a Philadelphia-based Nonprofit Organization. exhibited: “Selections from the Collection of Freddy and Regina T. Homburger, A Loan Exhibition,” Fog Art Museum, Cambridge, April 1971, pp. 76-77, no. 33 (illustrated in the exhibition catalogue). “Raoul Dufy: A Retrospective,” Ringling Museum of Art, Sarasota, Florida, December 1978 - February 1979, p. 24, no. 31 (illustrated in the exhibition catalogue). “Raoul Dufy, A Retrospective,” McNay Art Museum, San Antonio, May – June 1980, no. 55. literature: F. Guillon-Laffaille, Raoul Dufy: Catalogue raisonne des aquarelles, gouaches et pastels, Paris, 1982, vol. II, p. 82, no. 1275 (illustrated). $25,000-40,000

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19 MARC CHAGALL (french/russian, 1887–1985) “ST. PAUL AT NIGHT” 1980, pencil signed and numbered 48/50, with wide margins, Mourlot, Paris, publisher and with their blindstamp. Color lithograph on Arches. image: 19 11/16 x 15 1/16 in. (50 x 38.2cm) sheet: 25 3/16 x 18 3/4 in. (63.9 x 47.7cm) [Mourlot, 958] $2,500-4,000

20 MARC CHAGALL (french/russian, 1887–1985) “A DAY IN MAY” 1972, pencil signed and numbered 37/50, with wide margins. Color lithograph on wove paper. image: 24 5/8 x 14 7/8 in. (62.4 x 37.8cm) sheet (approx.): 28 1/16 x 18 1/16 in. (71.3 x 45.9cm) [Mourlot, 654] $5,000-8,000

21 MARC CHAGALL (french/russian, 1887–1985) “THE WHITE CLOWN” 1964, pencil signed and numbered 45/75, with full margins, Maeght, Paris, publisher. Lithograph on Arches. image: 15 1/2 x 10 3/4 in. (39.7 x 27.3cm) sheet: 22 11/16 x 16 3/4 in. (57.6 x 42.5cm) [Mourlot, 411] provenance: From the Estate of Alma Cohen, Philadelphia, Pennsylvania. $1,200-1,800

22 AFTER PABLO PICASSO (spanish, 1881–1973) “LA DANSEUSE NAINE” from “barcelona suite” 1966, pencil signed and numbered 31/60 (before the poster edition with printed text), with wide margins, Museo Picasso, Palacio Aguilar, Barcelona, publisher and with their blindstamp. Color offset lithograph on wove paper. image: 22 1/2 x 12 1/2 in. (57.2 x 31.8cm) sheet: 29 1/2 x 21 1/2 in. (74.9 x 54.6cm) [see Czwiklitzer, 234] $1,500-2,500

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23 AMÉDÉE OZENFANT (french, 1886-1966) “NATURE MORTE - LE PICHET BLANC” Signed bottom right, pastel and gouache on paper. Executed in 1921. overall (approx.): 13 3/8 x 12 in. (34 x 30.5cm) provenance: The Artist. Galerie Percier, Paris, France (acquired directly from the above in 1928). Private Collection Bérès, Cannes, France. Galerie Mazarine, Paris, France (acquired directly from the above in 1974). Private Collection, France. note: We wish to thank Mr. Pierre Guéneguan for confirming the authenticity of this work, which will also be included in the forthcoming supplement to the Ozenfant catalogue raisonné. A certificate of authenticity may be purchased directly from Mr. Guéneguan by the successful bidder. $25,000-40,000

contemporary of Picasso, Matisse, Léger and Lipchitz in pre-war Paris, artist, writer and theorist Amédée Ozenfant is perhaps best known as a founding father of the Purist art movement, which he created along with Swiss architect Charles-Edouard Jeanneret (“Le Corbusier”). The two artists first met in the French capital in 1917 and together developed the doctrines of Purism, which they articulated in their 1918 treatise Après le Cubisme and continued in the periodical L’Esprit Nouveau between the years 1920-1925. Perhaps in response to the chaotic social and political climate following WWI, the painter and the architect rejected the unstructured spontaneity and ornamental style of the dominant Cubist movement. Instead, they sought a purer art form, one that was rooted in the industry and technology of the current age, yet universal and timeless such that it could transcend its era. Governed by the laws of science, this “modern classicism” approached the construction of pure beauty through mathematical order and logic, rigor and coherence. Inspired by the techniques of industrial design, they called for carefully balanced compositions of controlled geometric forms and flat, juxtaposed planes of simple colors. As products of the machine age, the ideal subjects of their paintings were common utilitarian items such as glasses, bottles and instruments, which Ozenfant and Le Corbusier believed to be the perfect “object prototypes” due to their timeless and permanent nature. Composed of such timeless objects and other precisely rendered geometric forms, the present work perfectly encapsulates this Purist ethos. With its harmonious and rational arrangement, “Nature Morte – Le Pichet Blanc” is a static expression of stability, a poetic celebration of an industrial civilization.

24 PABLO PICASSO (spanish, 1881–1973) “FEMME COUCHÉE, HOMME À LA GUITARE” 1959 (published in 1960), pencil signed and numbered 27/50 (there were also approximately 20 artist’s proofs), with wide margins, Galerie L. Leiris, Paris, publisher. Color linocut on Arches. image: 20 7/8 x 25 1/4 in. (53 x 64.1cm) sheet: 24 7/16 x 29 9/16 in. (62 x 75cm) [Bloch, 916; Baer, 1234 IIB] $18,000-25,000

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25 PABLO PICASSO (spanish, 1881-1973) “WOOD-OWL WOMAN” 1951, from the edition of 500, with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay turned vase with engobes, paraffin decoration and white enamel. height: 11 1/8 in. (27.9cm) [Ramié, 119] $4,000-6,000

26 PABLO PICASSO (spanish, 1881-1973) “FACE” 1955, from the edition of 500, inscribed ‘EDITION PICASSO’ and with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay turned pitcher with decoration in engobes. height: 12 1/8 in. (30.8cm) [Ramié, 288] $5,000-8,000

27 PABLO PICASSO (spanish, 1881-1973) “SPANISH DISH WITH TOROS” 1957, numbered 52/100, incised ‘EDITION PICASSO’ and ‘MADOURA’ and with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. Red earthenware clay dish with black patina, glaze decoration and knife engraving. diameter: 16 1/2 in. (41.9cm) [Ramié, 403] $6,000-10,000

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28 PABLO PICASSO (spanish, 1881–1973) “FACE WITH LEAVES” 1956, numbered 53/100, incised with workshop number ‘C108’ and with the ‘EMPREINTE ORIGINALE DE PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White ceramic clay dish with decoration in engobes under brushed glaze. diameter: 16 1/2 in. (41.9cm) [Ramié, 324] $6,000-10,000

29 PABLO PICASSO (spanish, 1881–1973) “OWL” 1954, from the edition of 500, inscribed ‘EDITION PICASSO’ and ‘MADOURA’ and with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay pitcher with decoration in oxides on white enamel. height: 9 in. (22.9cm) [Ramié, 253] $5,000-8,000

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

31 PABLO PICASSO (spanish, 1881-1973) “BIRD ON A BRANCH” 1952, from the edition of 500, inscribed ‘EDITION PICASSO’ and with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay ashtray with oxidized paraffin decoration and white enamel. diameter: 6 in. (15.2cm) [Ramié, 175] $1,000-2,000

32 PABLO PICASSO (spanish, 1881-1973) “TOROS” 1952, from the edition of 500, inscribed ‘EDITION PICASSO’ and with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay plate with engobes, oxidized paraffin and white enamel. diameter: 7 1/2 in. (19.1cm) [Ramié, 161] provenance: From the Estate of Alma Cohen, Philadelphia, Pennsylvania. $1,200-1,800

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33 JOAN MIRÓ (spanish, 1893–1983) “LA FILLE DU JARDINIER” 1963, pencil signed and numbered 39/90, Maeght, Paris, publisher. Color lithograph on BFK Rives. sheet: 17 7/16 x 23 5/8 in. (44.3 x 60cm) [Mourlot, 349] $1,500-2,500

34 JOAN MIRÓ (spanish, 1893–1983) “EL INNOCENTE” one plate 1974, pencil signed and numbered 13/15 (the total edition was 170 plus 25 hors commerce proofs), with wide margins, RLD, Paris, publisher. Color etching and aquatint on pearl Japan. image: 9 1/4 x 5 3/4 in. (23.5 x 14.6cm) sheet (approx.): 12 1/2 x 9 9/16 in. (31 .8 x 24.3cm) [Dupin, 684] $1,000-1,500

35 JOAN MIRÓ (spanish, 1893–1983) “JOAN MIRÓ GRAPHICS” philadelphia museum of art exhibition poster 1966, pencil signed and numbered 138/150 (before the poster edition with printed text), with full margins, Philadelphia Museum of Art, Philadelphia, publisher. Color lithograph on Arches. image: 26 1/2 x 21 in. (67.3 x 53.3cm) sheet: 29 15/16 x 22 1/8 in. (70 x 56.2cm) [Mourlot, 502] provenance: From the Estate of Alma Cohen, Philadelphia, Pennsylvania. $1,500-2,500

36 JOAN MIRÓ (spanish, 1893–1983) “LES PERSEIDES” plate v 1970, pencil signed and numbered 60/75 (there were also 25 artist’s proofs in Roman numerals), the full sheet, L. Broder, Paris, publisher. Color lithograph on wove paper watermark LB. sheet: 26 x 20 1/8 in. (66 x 51cm) [Mourlot, 660] $3,000-5,000

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37 JOAN MIRÓ (spanish, 1893–1983) “LA FRONDE” 1969, signed and numbered 70/75 in white crayon (there were also some hors commerce copies), the full sheet, Maeght, Paris, publisher. Color etching, aquatint and carborundum on Arches. image: 40 7/8 x 27 11/16 in. (103.8 x 70.3cm) sheet: 41 3/4 x 27 11/16 in. (106.1 x 70.3cm) [Dupin, 501] $20,000-30,000

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

note: We wish to thank Professor Luis-Martín Lozano for his assistance cataloguing this work. The present drawing is a working study for one of the famous true fresco murals at Escuela Nacional de Agricultura in Chapingo, Mexico (today known as the Universidad Nacional Autónoma de Chapingo). Between 1923 and 1928, Rivera began the ambitious project that covered over 700 square meters of the walls and ceilings of the school’s entrance hall, staircase, administration offices and Assembly Hall in the Ex Chapel. Rivera’s two main subjects were “Song to the Earth and Those Who Work the Land” and “And to Those who Struggle to Make it a Place Conducive to Life and Freedom of the Human Genre”. These murals reflected the school’s creed, “To teach the exploitation of the Land, not the exploitation of Men. The final version of the present work, “Silent Guardian of the Truth,” is one of several male figures shown in the ceiling vault surrounding the central scene, “Revelation of the Road to Follow.” The figures are depicted in architectural ‘squinch‘ areas that support and surround the domed ceiling above the recumbent image of Mother Nature in “The Liberated Earth with The Powers of Nature Controlled by Man.” He is one of the two main Guardians, who with a vigilant attitude and machete in hand, will defend the goals of the Mexican Revolution that will bring social change to the country and its people. Working drawings for murals for the Chapingo series come rarely to auction, and Freeman’s is delighted to present this work on behalf of a private family collection where it was enjoyed for over 40 years. $8,000-12,000

39 RUFINO TAMAYO (mexican, 1899–1991) “PERRO” from “rufino tamayo 15 aquafuertes” 1979, signed in white pencil and numbered 42/99 (there were also 15 artist’s proofs in Roman numerals), the full sheet, Ediciones Polígrafa, Barcelona, publisher. Color etching on Guarro. sheet: 21 3/4 x 29 5/8 in. (55.3 x 75.2cm) [Pereda, 261] $2,000-3,000

40 RUFINO TAMAYO (mexican, 1899–1991) “MANOS EN ROJO” from “rufino tamayo 15 aquafuertes” 1979, signed in black crayon and numbered 42/99 (there were also 15 artist’s proofs in Roman numerals), the full sheet, Ediciones Polígrafa, Barcelona, publisher. Color etching on Guarro. sheet: 21 7/8 x 29 3/4 in. (55.5 x 75.5cm) [Pereda, 263] $2,000-3,000

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41 RUFINO TAMAYO (mexican, 1899–1991) “FIGURA DE HOMBRE EN AZUL CON FONDO GRIS” from “rufino tamayo 15 aquafuertes” 1979, signed in black crayon and numbered 42/99 (there were also 15 artist’s proofs in Roman numerals), the full sheet, Ediciones Polígrafa, Barcelona, publisher. Color etching on Guarro. sheet: 29 7/8 x 21 7/8 in. (75.8 x 55.5cm) [Pereda, 251] $1,500-2,500

42 RUFINO TAMAYO (mexican, 1899–1991) “CABEZA EN FONDO GRIS” from “rufino tamayo 15 aquafuertes” 1979, signed in black crayon and numbered 42/99 (there were also 15 artists proofs in Roman numerals), the full sheet, Ediciones Polígrafa, Barcelona, publisher. Color etching on Guarro. sheet: 29 3/4 x 21 7/8 in. (75.7 x 55.8cm) [Pereda, 252] $1,500-2,500

43 EDUARDO KINGMAN (ecuadorian, 1913–1997) “S/T” Signed and dated 65 bottom right, oil on canvas mounted to board. 39 1/2 x 20 in. (100.3 x 50.8cm) provenance: Treadway & Toomey, “20th Century Art and Design,” March 4th, 2012, lot 609. Private Collection, Haverford, Pennsylvania (acquired directly from the above sale) note: The present work will be accompanied by a certificate of authenticity issued by the Posada de las Artes Kingman, dated April 4, 2012 and signed by Soledad Kingman. $3,000-5,000

44 HAROLD WESTON (american, 1894–1972) “INTIMACY” (NIGHT) Signed with initial and dated 27 top right, dated again verso and inscribed with the artist’s name and title on stretcher bar verso, oil on canvas in artist’s frame. 18 x 24 in. (45.7 x 61cm) provenance: The Artist. The Collection of Faith B. Weston (gifted directly from the above in 1938). Private Collection, Philadelphia, Pennsylvania (acquired from the above on the occasion of the artist’s Philadelphia Art Alliance Retrospective in 1980). exhibited: Montross Gallery, New York, November, 1930, exhibition checklist no. 38. Phillips Memorial Gallery, Washington, D.C., 1932, exhibition checklist no. 72. Mellon Galleries, Philadelphia, November, 1933, exhibition checklist no. 20. Museum of Modern Art, New York, 1933. New Gallery, Wellfleet, Massachusetts, 1935. Philadelphia Art Alliance, Philadelphia, 1979 (illustrated in the exhibition catalogue). $2,000-3,000

45 MILTON AVERY (american, 1885–1965) “YOUNG GIRL NUDE” 1935, pencil signed and dated, numbered 64/100, with wide margins. Drypoint on wove paper. image: 9 7/8 x 4 1/4 in. (25.1 x 10.8cm) sheet: 14 7/8 x 13 in. (37.8 x 33cm) [Lunn, 7] $2,000-3,000

46 HANS HOFMANN (american/german, 1880–1966) UNTITLED Signed in ink bottom center, ink on paper. Executed in 1930. 8 x 11 in. (21.6 x 27.9cm) [Estate no. M-0933/90] provenance: The Estate of the Artist. Ameringer/Howard Gallery, New York, New York. Private Collection, Montecito, California (acquired directly from the above in 2001). Private Collection, Williamsburg, Virginia (acquired from the above in 2002). $4,000-6,000

47 DOROTHY DEHNER (american, 1901-1994) “NORTH COUNTRY WATCHER” Incised with signature and dated 69 at bottom edge, cast bronze with dark brown patina. height: 25 3/8 in. (64.5cm) width: 22 in. (55.9cm) depth: 11 in. (27.9cm) provenance: Marian Locks Gallery, Philadelphia, Pennsylvania. Mr. & Mrs. Herbert Lee, Philadelphia, Pennsylvania (acquired directly from the above in 1977). Woodmere Art Museum, Philadelphia, Pennsylvania (gifted from the above in 2018). note: This work is being sold to benefit Woodmere Art Museum’s Education Department. $5,000-8,000

48 MARK TOBEY (american, 1890–1976) “CIRCULAR COMPOSITION” Signed and dated 58 bottom right, tempera and mixed media on paper laid down to card. paper: 8 3/4 x 11 7/8 in. (21 x 29.2cm) support (approx.): 11 7/8 x 14 7/8 in. (30.2 x 37.8cm) provenance: Willard Gallery, New York, New York. Private Estate, San Francisco, California. note: Achim Moeller, Managing Principal of the Mark Tobey Project LLC, has confirmed the authenticity of this work, which is registered in the Mark Tobey archive with the number MT [245-9-21-18]. $10,000-15,000

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49 HARRY BERTOIA (american, 1915–1978) UNTITLED (SONAMBIENT) Beryllium copper rods with bronze cattails silvered to brass base. Executed circa 1975. height: 16 1/2 in. (41.9cm) width: 12 in. (30.5cm) depth: 4 7/8 in. (12.4cm) provenance: From the Estate of Alma Cohen, Philadelphia, Pennsylvania. note: This lot is accompanied by a certificate of authenticity issued by the Harry Bertoia Foundation and signed by Celia Bertoia, Director. $18,000-25,000

50 HARRY BERTOIA (american, 1915–1978) UNTITLED (SONAMBIENT) Beryllium copper rods with bronze cattails silvered to brass base. Executed circa 1975. height: 10 1/2 in. (26.7cm) width: 12 in. (30.5cm) depth: 3 in. (7.6cm) provenance: The Artist. Private Collection, Pennsylvania (acquired directly from the above). note: This lot is accompanied by a certificate of authenticity issued by the Harry Bertoia Foundation and signed by Celia Bertoia, Director. $20,000-30,000

51 HARRY BERTOIA (american, 1915-1978) UNTITLED (SONAMBIENT) Beryllium copper rods with bronze cattails silvered to brass base. Executed circa 1968. height: 34 1/4 in. (87cm) width: 7 3/4 in. (19.7cm) depth: 7 3/4 in. (19.7cm) provenance: The Artist. Private Collection, Reading, Pennsylvania (acquired through a charity auction at the Reading Hospital late 1960s). note: This lot is accompanied by a certificate of authenticity issued by the Harry Bertoia Foundation and signed by Celia Bertoia, Director. $30,000-50,000

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52 HARRY BERTOIA (american, 1915-1978) UNTITLED (BUSH) Bronze with green patina welded to a copper stem. Executed circa 1970. height: 18 in. (45.7cm) width: 17 1/2 in. (44.5cm) depth: 18 1/2 in. (47cm) provenance: The Artist. The son of the Artist. Private Collection, Pennsylvania (acquired directly from the above). note: This lot is accompanied by a certificate of authenticity issued by the Harry Bertoia Foundation and signed by Celia Bertoia, Director. $50,000-80,000

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53 HARRY BERTOIA (american, 1915–1978) UNTITLED (TWO COLUMN SONAMBIENT) Beryllium copper rods with beryllium copper tops silvered to bronze base. Executed circa 1974. height: 39 in. (99.1cm) width: 8 in. (20.3cm) depth: 8 in. (20.3cm) provenance: From the Estate of Alma Cohen, Philadelphia, Pennsylvania. note: This lot is accompanied by a certificate of authenticity issued by the Harry Bertoia Foundation and signed by Celia Bertoia, Director. $30,000-50,000

54 HARRY BERTOIA (american, 1915–1978) UNTITLED (V SONAMBIENT) Beryllium copper rods silvered to bronze base. Executed circa 1974. height: 15 3/8 in. (39.1cm) width: 11 in. (27.9cm) depth: 6 1/2 in. (16.5cm) provenance: From the Estate of Alma Cohen, Philadelphia, Pennsylvania. note: This lot is accompanied by a certificate of authenticity issued by the Harry Bertoia Foundation and signed by Celia Bertoia, Director. $12,000-18,000

55 HARRY BERTOIA (american, 1915-1978) UNTITLED (BUSH) Bronze with green patina. Executed circa 1965. height: 11 in. (27.9cm) width: 14 in. (35.6cm) depth: 13 in. (33cm) provenance: The Artist. Private Collection, Reading, Pennsylvania (acquired through a charity auction at the Reading Hospital late 1960s). note: This lot is accompanied by a certificate of authenticity issued by the Harry Bertoia Foundation and signed by Celia Bertoia, Director. $20,000-30,000

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56 ANDRÉ HAMBOURG (french, 1909-1999) “LES VOILIERS, LES VOILES BLEUES” Signed bottom left, signed again with initials and titled verso, oil on canvas. 19 3/4 x 28 3/4 in. (50.2 x 73cm) provenance: Wally Findlay Galleries, New York, New York. Private Collection, Glen Allen, Virginia. note: We wish to thank “L’Association Les Amis d’André Hambourg” for confirming the authenticity of the present work, which will be included in the forthcoming volume of the catalogue raisonné currently being prepared. $15,000-20,000

57 ANDRÉ HAMBOURG (french, 1909-1999) “À MARÉE BASSE, LE MATIN” (TROUVILLE) Signed bottom left, signed again with initials and titled verso, oil on canvas. 19 3/4 x 28 3/4 in. (60.3 x 73cm) provenance: Wally Findlay Galleries, New York, New York. A Private Estate, Philadelphia, Pennsylvania (acquired directly from the above in 1968). note: We wish to thank “L’Association Les Amis d’André Hambourg” for confirming the authenticity of the present work, which will be included in the forthcoming volume of the catalogue raisonné currently being prepared. $20,000-30,000

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58 GERARD SEKOTO (south african, 1913-1993) MARKET SCENE Signed bottom right, oil on canvas. Executed circa 1950-1955. 25 1/2 x 31 1/8 in. (64.8 x 79.1cm) provenance: Private Collection (acquired late 1950s). By family descent. A Private Estate, Philadelphia, Pennsylvania. note: We wish to thank Barbara Lindop of the Gerard Sekoto Foundation for confirming the authenticity of the present work. $15,000-20,000

59 VU CAO DAM (french, 1908–2000) “LES CHEVAUX” Signed and dated 78 bottom right, signed twice (once in Vietnamese), titled and dated again verso, oil on canvas. 16 1/4 x 13 1/4 in. (41.3 x 33.7cm) provenance: Wally Findlay Galleries, Palm Beach, Florida. Private Collection, Florida (acquired directly from the above in 1978). $10,000-15,000

60 JACQUES TRUPHÉMUS (french, b. 1922) “REFLETS” Signed and dated ‘60 bottom right, oil on canvas. 25 3/4 x 32 in. (65.4 x 81.3cm) provenance: Galerie Romanet, Paris, France. Private Collection, New York, New York. $5,000-8,000

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61 LE PHO (french/vietnamese, 1907–2001) “SUR LA TERRASSE” Signed twice bottom right (once in Vietnamese), inscribed with title verso, oil on canvas. Executed in 1964. 32 x 39 1/2 in. (81.3 x 100.3cm) provenance: The Artist’s Studio. Wally Findlay Galleries, Chicago, Illinois (acquired directly from the above in 1967). Private Collection, Chicago, Illinois (acquired directly from the above in 1967). By family descent. Private Collection, Michigan. note: The present work will be accompanied by a certificate of authenticity issued by the Findlay Institute. $30,000-50,000

est known for his poetic depictions of domestic scenes, elegant women and lusciously painted flora, Le Pho shares with his viewers glimpses from his memories of his upbringing in Hanoi in the early 1900s. These works present a romanticized view of Vietnamese life yet unmarred by the local infighting and political violence soon to come. The son of the Viceroy of Tonkin in Vietnam, Le Pho was raised in a privileged and cultured environment. He studied painting at the Fine Arts College of Indochina under the close instruction of the founder of the school, Victor Tardieu, one of the only French nationals at the time who encouraged the exploration of the Vietnamese cultural identity in the artwork of his students. A student of Matisse’s in Paris, Tardieu imparted to Le Pho the fundamentals of European painting traditions and techniques. These traditions formed the basis of Le Pho’s now distinct style of painting, in which he merged a unique ideology with these European influences. With their distinctive elegance, rich colors, and delicately ethereal ambiance, the present paintings are exceptional examples of the artist’s oeuvre and depict the subjects most pleasing to artist- impressionistically rendered flowers and figures that hearken back to his childhood.

62 LE PHO (french/vietnamese, 1907–2001) “LES PAVOTS ET LES TOYKOS” Signed twice bottom right (once in Vietnamese), inscribed with title on stretcher bar verso, oil on canvas. Executed in 1979. 51 3/16 x 38 3/16 in. (130 x 97cm) provenance: The Artist’s Studio. Wally Findlay Galleries, New York, New York (acquired directly from the above in 1979). Private Collection, Palm Beach Gardens, Florida (acquired directly from the above in 1979). By family descent. Private Collection, Massachusetts. note: The present work will be accompanied by a certificate of authenticity issued by the Findlay Institute. $20,000-30,000

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63 LE PHO (french/vietnamese, 1907–2001) ITALIAN STILL LIFE WITH FLOWERS Signed twice bottom right (once in Vietnamese), oil on canvas. 29 x 21 1/2 in. (73.7 x 54.6cm) provenance: The Artist’s Studio. Florence Art Gallery. Private Collection, Chicago, Illinois. By family descent. Private Collection, Michigan. note: The present work will be accompanied by a certificate of authenticity issued by the Findlay Institute. $20,000-30,000

64 LE PHO (french/vietnamese, 1907–2001) “LES TULIPES ROUGES” Signed twice bottom right (once in Vietnamese), inscribed with title on stretcher bar verso, oil on canvas. Executed in 1982. 36 1/4 x 28 3/4 in. (92.1 x 73cm) provenance: The Artist’s Studio. Wally Findlay Galleries, New York, New York (acquired directly from the above in 1982). Private Collection, Palm Beach Gardens, Florida (acquired directly from the above in 1983). By family descent. Private Collection, Massachusetts. note: The present work will be accompanied by a certificate of authenticity issued by the Findlay Institute. $20,000-30,000

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65 SALLY MICHEL AVERY (american, 1902-2003) STILL LIFE WITH TULIPS Signed and dated 1981 bottom right, acrylic on canvas. 38 x 30 in. (96.5 x 76.2cm) provenance: Private Collection, New Jersey. $2,500-4,000

66 SALLY MICHEL AVERY (american, 1902–2003) STILL LIFE ON BLUE Signed and dated 1987 bottom right, watercolor on paper. 10 3/16 x 14 1/8 in. (25.9 x 35.9cm) provenance: The Artist. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above). $1,500-2,500

67 SALLY MICHEL AVERY (american, 1902–2003) “PINK FIELD - DARK MOUNTAIN” Signed and dated 1980 bottom right, signed again, dated and titled verso, oil on canvas. 41 x 50 in. (104 x 127cm) provenance: The Artist. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above). $6,000-10,000

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the collection of betty lou davis lots 68 - 75

n 1955, a young Andy Warhol was on the cusp of an explosively successful artistic career. He actively cultivated high profile social connections and made art, even while continuing to work full time in graphic design. Indeed, that year he began an exclusive two-year print advertising design campaign for I. Miller & Sons Shoes, creating drawings of expensive women’s footwear that would appear in fashion magazines, The New York Times and Herald Tribune society pages each week. The ads were wildly successful for both the store and the artist. As a result, Warhol was given increasing leeway in his imagery, with one ad featuring rows of embellished heels (hinting at later recurrent themes of repetition) and another featuring only a pear tree to invoke associations with a new pear–colored spring shoe. Around the same time, Warhol self-published a series of portfolios, prints and books which were often lettered by his mother, and hand-colored by himself or friends, and given away as gifts or self-promotion. One of these, “À la Recherche du Shoe Perdu” included delicate and colorful shoes with witty titles and allusions to the rich and famous. A year or two later, a young aspiring pianist named Betty Lou Saxton made her way from a small town in Ohio to Manhattan to study classical piano at Julliard and academics at Columbia. She shared an apartment with five other young women and was quickly enveloped into a lively and diverse artistic social community. Betty Lou’s mother had every intention that her daughter would become a talented pianist, but once Betty Lou arrived in New York, her interest in music waned as her love of the city and its lifestyle bloomed. Betty Lou, a present day resident of suburban Philadelphia, happily declares of her jettisoned musical career, “It was worth it – it got me to New York!” Betty Lou quickly found herself immersed in a ready-made social world comprised of fellow musicians, artists and illustrators. Betty Lou was thusly introduced to Andy Warhol who by then had concluded the I. Miller print campaign and was designing the shop windows for the high end department store, Bonwit Teller. Through this friendship, Betty Lou came to know Warhol’s mother, Julia Warhola, and remembers regularly visiting their residence at 34th Street and Lexington Avenue. As Betty Lou recalls, Andy Warhol in those years made a daily circuit from his home to Bonwit Teller and finally to the public library, where he would spend hours perusing their picture and print archives for inspiration. Indeed, as art historians have noted, Warhol was insatiable in his quest for inspiration, which he drew from art history, design, friends and of course, popular culture. In these years, Warhol’s nickname for Betty Lou was “Marigold” as “he thought I should marry gold” Betty Lou warmly recalls now. Julia Warhola, Betty remembers, was a petite older woman who always wore a babushka and lived in the top floor of the brownstone with her many cats. Betty Lou and Julia struck up their own friendship, and one day Julia presented Betty Lou with an ink drawing entitled, “Purr, Purr, Purr….” Betty Lou asked Julia to sign the drawing, and the artist complied, penning ‘Andy Warhol’s Mother.’ “Even then, based on the company he was keeping, she had some sense of who he would become,” Betty Lou explains. In 1989, Grey Gallery borrowed this work for the exhibition, “Success is a Job in New York” which toured to the Carnegie Museum of Art, Pittsburgh; Serpentine Gallery, London and the Institute of Contemporary Art, Philadelphia. For four or five years, Betty Lou’s social orbit included Andy Warhol, John Ardoin, the composer-turned-editor and photographer for ‘Musical America,’ Theodate Johnson, owner and publisher of the magazine and sister of renowned architect Philip Johnson, and many others. Betty Lou became romantically involved with Ivan Davis, a classical pianist who went on to study in Italy on a Fulbright, and later toured with the New York Philharmonic and many other illustrious orchestras. Betty Lou maintained her friendship with Julia Warhola during these years, and knowing of their close relationship, Warhol gave a copy of his mother’s book, “Holy Cats by Andy Warhol’s Mother” dedicated to both “Betty Lou Pie and Ivan Pie.” Because of their friendship with Theodate Johnson, in 1960, the two were married at Philip Johnson’s Glass House in New Canaan, Connecticut. This network of artists and musicians were fixtures at the now famous Serendipity 3, where Warhol’s parties and openings were often photographed by John Ardoin. Betty Lou also recalls Andy entertaining at Café Nicholson, a southern-style restaurant also frequented in those years by Harper Lee, Tennessee Williams and Truman Capote. Davis attended Warhol’s dinner and coloring parties where the artist’s offset lithographic books were hand-colored by friends and given as gifts. Offered for sale in Betty Lou’s collection are three group-lots of such prints from the “Shoe” book, a group of recipes from “Wild Raspberries” and a complete and bound copy of the hand-colored book “25 Cats Name[d] Sam.” Additionally, two ink and watercolor drawings of cats are offered, along with the aforementioned drawing and book by Julia Warhola. These books, prints and drawings have served as intimate reminders of happy memories for their original owner for over sixty years, and speak to a pivotal moment that foreshadowed the artist’s style, themes and fame that ensued for decades thereafter.

68 ANDY WARHOL (american, 1928–1987) “PURR, PURR, PURRRR” Watercolor and ink on paper, with title and dedication lettering ‘Betty Lou’. Executed circa 1954. 14 x 15 in. (35.6 x 38.1cm) provenance: The Artist. The Collection of Betty Lou Davis, Pennsylvania (acquired directly from the above). note: This work may have been a working study for a page from the artist’s book, “25 Cats Name[d] Sam and One Blue Pussy” (see F.&S. IV. 62B), but the present example is significantly larger and bears several small differences in its composition. $12,000-18,000

pictured on following pages 69 ANDY WARHOL (american, 1928–1987) “25 CATS NAME[D] SAM AND ONE BLUE PUSSY” Circa 1954, the complete set of 18 hand-colored offset lithographs (including front cover), ink-signed on the colophon and numbered 52 (from the edition of 190), dedicated to ‘Alfred’ on the cover, written by Charles Lisanby, all on laid paper and bound with boards (as issued). book (overall): 9 1/4 x 6 1/8 in. (23.5 x 15.6cm) [Feldman & Schellmann, IV.52B - 68B] provenance: The Artist. The Collection of Betty Lou Davis, Pennsylvania (acquired directly from the above). $50,000-80,000

lot 69, see cataloguing, previous page

70 ANDY WARHOL (american, 1928–1987) “ONE BLUE PUSSY NAME[D] SAM” Ink signed and titled, watercolor and ink on paper. Executed circa 1954. 19 7/8 x 14 in. (50.5 x 35.6cm) provenance: The Artist. The Collection of Betty Lou Davis, Pennsylvania (acquired directly from the above). $12,000-18,000

71 JULIA WARHOLA (american, 1892 - 1972) “PURR...PURR...PURR [CAT LYING ON SIDE]” Signed ‘Andy Warhols Mother’ bottom center, ink on paper. Executed circa 1956. 16 x 20 in. (40.6 x 50.8cm) provenance: The Artist. The Collection of Betty Lou Davis, Pennsylvania (acquired directly from the above). exhibited: “‘Success is a Job in New York...’ The Early Art And Business Of Andy Warhol,” April 29, 1989, Grey Gallery, New York, exhibition checklist no. 66, p. 78. $3,000-5,000

72 ANDY WARHOL (american, 1928–1987) “HOLY CATS BY ANDY WARHOL’S MOTHER” The complete set of 20 offset lithographs (two with hand-coloring) including the hand-colored front cover, dedicated ‘To Betty Lou Pie and ivan Pie’, from the edition of unknown size, on various colored papers, bound (as issued). book overall: 9 1/8 x 5 7/8 in. (23.2 x 14.9cm) [Not in Feldman & Schellmann] provenance: The Artist. The Collection of Betty Lou Davis, Pennsylvania (acquired directly from the above). $4,000-6,000

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73 two prints from “à la recherche du shoe perdu” ANDY WARHOL (american, 1928–1987) “BEAUTY IS SHOE, SHOE BEAUTY” Circa 1955, from the edition of unknown size, in collaboration with Ralph Pomeroy, with lettering by Julia Warhola, with margins (trimmed). Offset lithograph with hand-coloring on wove paper. image: 1 3/4 x 2 1/2 in (4.5 x 6.4cm) sheet: 7 9/16 x 8 15/16 in. (19.2 x 22.7cm) [Feldman & Schellmann, IV. 71A] and “SHOE BRIGHT, SHOE LIGHT” Circa 1955, from the edition of unknown size, in collaboration with Ralph Pomeroy, with lettering by Julia Warhola, with margins (trimmed slightly). Offset lithograph with hand-coloring on wove paper. image: 7 x 9 in. (17.8 x 22.9cm) sheet: 9 x 12 in. (22.8 x 30.4cm) [Feldman & Schellmann, IV. 82A] (2) provenance: The Artist. The Collection of Betty Lou Davis, Pennsylvania (acquired directly from the above). $2,500-4,000

74 three prints from “à la recherche du shoe perdu” ANDY WARHOL (american, 1928–1987) “À LA RECHERCHE DU SHOE PERDU [COVER RECTO]” Circa 1955, with the artist’s name and title in ballpoint pen by the artist’s mother, Julia Warhola, from the edition of unknown size, in collaboration with Ralph Pomeroy, with margins (cover page right only, page left has been trimmed and is missing here). Offset lithograph with hand-coloring on wove paper. image: 9 x 10 in. (22.9 x 25.4cm) sheet: 16 x 12 1/16 in. (40.6 x 30.6cm) (Feldman & Schellmann, IV .69-84A Cover Recto) and “WHEN I’M CALLING SHOE” Circa 1955, from the edition of unknown size, in collaboration with Ralph Pomeroy, with lettering by Julia Warhola, with margins (trimmed). Offset lithograph with hand-coloring on wove paper. image: 3 1/4 x 2 3/4 in. (76.8 x 7cm) sheet: 7 11/16 x 9 in. (19.5 x 22.9cm) [Feldman & Schellmann, IV.80A] and “SHOE FLY BABY” Circa 1955, from the edition of unknown size, with margins (trimmed), in collaboration with Ralph Pomeroy with lettering by Julia Warhola. Offset lithograph with handcoloring on wove paper. image: 5 x 9 in. (12.6 x 22.9cm) sheet: 9 x 11 15/16 in. (22.8 x 30.3cm) [Felman & Schellmann, IV. 84A] (3) provenance: The Artist. The Collection of Betty Lou Davis, Pennsylvania (acquired directly from the above). $3,000-5,000

75 six prints ANDY WARHOL (american, 1928-1987) “WILD RASPBERRIES”: TITLE PAGE PLUS FIVE PRINTS 1959, from the edition of unknown size, created in collaboration with Suzie Frankfurt, lettering by Julia Warhola. Six offset lithographs, five with hand-coloring on laid paper. all approx.: 16 7/8 x 10 1/8 in. (42.9 x 25.7cm) (5); and 17 1/8 x 21 5/8 in. (43.5 x 54.9cm) (Piglet). [Feldman & Schellman, IV. Cover; 126B; 130B; 133B; 134B; and 139B] (6) provenance: The Artist. The Collection of Betty Lou Davis, Pennsylvania (acquired directly from the above). including: Cover, “Salade de Alf Landon,” “Torte a la Dobosch,” “Omelet Greta Garbo,” “Piglet,” and “Dorothy Killgallens Gateau of Marzipan.” $6,000-10,000

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76 ANDY WARHOL (american, 1928–1987) COW (WALLPAPER) 1966 (printed in 1971), from the unlimited edition (100 were stamp signed), published by the artist for an exhibition at Leo Castelli Gallery, New York. Color screenprint on wallpaper. sheet: 45 7/8 x 29 1/2 in. (116.5 x 74.9cm) [Feldman & Schellman, II.11] Unframed $1,500-2,500

77 ANDY WARHOL (american, 1928–1987) “MAO (WALLPAPER)” 1974 (printed in 1989), from the edition of unknown size (there was also a signed edition of 100 printed in 1979), published by the Museum of Modern Art, New York as a poster for the 1989 Warhol retrospective and with their stamps, also with the Estate of Andy Warhol copyright stamp. Color screenprint on wove paper. sheet: 25 x 29 3/4 in. (63.5 x 75.6cm) [see Feldman & Schellmann, III.125a] Unframed $1,000-2,000

78 ANDY WARHOL (american, 1928-1987) “CAMPBELL’S SOUP CAN (TOMATO)” 1966, from the unlimited edition (an unknown number were signed), the Institute of Contemporary Art, Boston, publisher. Color screenprint on paper shopping bag. image: 16 5/8 x 9 3/8 in. (42.2 x 23.8cm) bag: 19 5/8 x 17 1/16 in. (49.8 x 43.3cm) [Feldman & Schellmann, II.4A] Unframed $1,000-2,000

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79 ANDY WARHOL (american, 1928-1987) “$ (9)” 1982, pencil signed and numbered 25/35 (there were also 10 artist’s proofs), with thread margins at left, right and bottom edges, published by the artist and with his inkstamp verso, with the blindstamp of Rupert Jasen Smith, printer, New York. Unique color screenprint on Lenox Museum Board. sheet: 32 x 29 15/16 in. (81.3 x 76cm) [see Feldman & Schellmann, IIA.285-286] $80,000-120,000

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80 ANDY WARHOL (american) “GRACE KELLY” 1984, pencil signed and numbered 122/225 (there were also 30 artist’s proofs), the full sheet, with artist’s copyright, the publisher’s, and subject’s Foundation black inkstamp verso, Institute of Contemporary Art, Philadelphia, Pennsylvania, publisher. Color screenprint on Lenox Museum Board. sheet: 40 x 32 in. (101.5 x 81.2cm) [Feldman & Schellmann, II.305] provenance: The Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Pennsylvania. Private Collection, Florida (acquired directly from the above in 1984). $80,000-100,000

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81 ROY LICHTENSTEIN (american, 1923–1997) “SUNRISE” 1965, pencil signed, from the edition of unknown size, with full margins, Leo Castelli Gallery, New York, publisher. Color offset lithograph on wove paper. image: 17 5/16 x 23 1/4 in. (43.9 x 59cm) sheet: 18 5/16 x 24 5/16 in. (46.5 x 61.8cm) [Corlett, II.7] $4,000-6,000

82 ALEX KATZ (american, b. 1927) “LUNA PARK 2” 1973, pencil signed and numbered 60/60 (there were also 10 artist’s proofs), the full sheet, Brooke Alexander, Inc., New York and Marlborough Graphics, Inc., New York, co-publishers. Color screenprint on wove paper. sheet: 39 7/8 x 30 in. (101.3 x 76.2cm) $2,000-3,000

83 ROY LICHTENSTEIN (american, 1923–1997) “FORMS IN SPACE” 1985, pencil signed and dated, numbered 102/125 (there were also 20 artist’s proofs), with full margins, published by the artist for the Institute of Contemporary Art, University of Pennsylvania, Philadelphia. Color screenprint on wove paper. image: 31 x 47 1/2 in. (78.8 x 120.6cm) sheet: 35 3/4 x 52 in. (90.8 x 132.1cm) [Corlett, 217] provenance: The Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Pennsylvania for Rally ‘Round the Flag, an annual fundraising benefit. Private Collection, Florida (acquired directly from the above in 1985). $40,000-60,000

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84 ERNEST TINO TROVA (american, 1927–2009) “STUDY/FALLING MAN (SHADOW FIGURE)” 1971, signed with the artist’s initials and dated, numbered 31/150, Pace Editions, New York, publisher and with the fabricator’s mark. Nickelplated bronze in Plexiglas box. overall: 7 x 11 1/2 x 7 1/2 in. (17.8 x 29.2 x 19.1cm) provenance: From the Estate of Alma Cohen, Philadelphia, Pennsylvania. $1,200-1,800

85 ERNEST TINO TROVA (american, 1927–2009) “STUDY/FALLING MAN (FLOWERMAN VARIANT)” Signed with the artist’s initials and stamped ‘F.M. 70 (1)’, and with the fabricator’s mark, a unique polished bronze sculpture. Executed in 1970. height: 13 in. (33cm) width: 3 in. (7.6cm) depth: 3 in. (7.6cm) (variable) provenance: From the Estate of Alma Cohen, Philadelphia, Pennsylvania. $6,000-10,000

86 JOHN ERSKINE MILNE (british, 1931-1978) “ORACLE” 1971, signed with initials, dated and numbered 3/9 on the underside of the base. Patinated bronze on black soapstone base. height: 31 in. (78.7cm) width: 8 in. (20cm) depth: 4 in. (10.2cm) provenance: Benjamin Mangel Gallery, Philadelphia, Pennsylvania. Mr. and Mrs. Herbert Lee, Philadelphia, Pennsylvania (acquired directly from the above in 1977). Woodmere Art Museum, Philadelphia, Pennsylvania (gifted from the above in 2018). literature: J.P. Hodin, “John Milne: Sculptor,” London: Latimer New Dimensions Ltd., 1977, fig. 21 (illustrated). note: This work is being sold to benefit Woodmere Art Museum’s Education Department. $5,000-8,000

87 JOHN ERSKINE MILNE (british, 1931-1978) “RESURGENCE” 1976, signed with initials and dated, numbered 2/9. Polished bronze on black soapstone base. height: 19 in. (48.3cm) width: 7 in. (17.8cm) depth: 1 in. (2.5cm) provenance: Benjamin Mangel Gallery, Philadelphia, Pennsylvania. Mr. and Mrs. Herbert Lee, Philadelphia, Pennsylvania (acquired directly from the above in 1977). Woodmere Art Museum, Philadelphia, Pennsylvania (gifted from the above in 2018). literature: J.P Hodin, “John Milne: Sculptor,” London: Latimer New Dimensions Ltd., 1977 (illustrated on the front cover). note: This work is being sold to benefit Woodmere Art Museum’s Education Department. $2,500-3,500

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88 JACK HAMILTON BUSH (canadian, 1909-1977) “SCROLL” Signed, titled, dated ‘May 1973’ and located ‘Toronto’ verso, acrylic on canvas. 77 x 17 in. (195.6 x 43.2cm) provenance: André Emmerich Gallery, New York, New York. Charles and Marcia McCrae, Pennsylvania (acquired directly from the above in 1977). By family descent. Private Collection, Berwyn, Pennsylvania. note: This painting is confirmed by Dr. Sarah Stanners to be included in the forthcoming publication, Jack Bush Paintings: A Catalogue Raisonné. $50,000-80,000

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89 ANTONI TÀPIES (spanish, 1923–2012) “CHIFFRES ET FLÊCHES” 1976, pencil signed and numbered 24/50 (there were also 15 hors commerce copies in Roman numerals), the full sheet, Galeria Maeght, Barcelona, publisher. Color etching and aquatint on Arches. sheet: 24 15/16 x 35 3/4 in. (63.3 x 90.8cm) [Galfetti, 590] $2,000-3,000

90 three prints EDOUARDO CHILLIDA (spanish, 1924–2002) “HARVARD I-III” 1977, all pencil signed and numbered 6/50 (the total edition was 65, including an unknown number of artists proofs), with full margins, Harvard University, Carpenter Center, Cambridge, Massachusetts publisher. Three woodcuts on handmade Richard de Bas. image (largest): 7 1/16 x 5 7/8 in. (18 x 15cm) all sheets approx.: 14 7/8 x 12 1/2 in. (37.8 x 31.8cm) [Van der Koelen, 77011-13] (3) $2,000-3,000

91 LOUISE NEVELSON (american, 1899–1988) “LARGE CRYPTIC X” Black painted wood. Executed in 1970. height: 9 1/4 in. (23.5cm) width: 10 3/4 in. (27.3cm) depth: 9 in. (22.9cm) provenance: Pace Gallery, New York, New York. Makler Gallery, Philadelphia, Pennsylvania. From the Estate of Alma Cohen, Philadelphia, Pennsylvania. $12,000-18,000

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92 GRACE HARTIGAN (american, 1922–2008) UNTITLED Signed, notated ‘W.H.’ and dated 60 bottom right, pastel and watercolor on paper. 22 5/8 x 28 1/2 in. (57.5 x 72.4cm) provenance: The Artist. Private Collection, Cheltenham, Pennsylvania (acquired directly from the above). By family descent. Private Collection, Narberth, Pennsylvania. $5,000-8,000

93 WILLEM DE KOONING (american/dutch, 1904-1997)) “FIGURES IN LANDSCAPE VI” 1980, pencil signed and dated, numbered 71/100 (there were also 50 artist’s proofs), with wide margins, The Institute of Contemporary Art, Philadelphia, publisher. Color offset lithograph on wove paper. image: 31 1/4 x 28 in. (79.4 x 71.1cm) sheet: 36 7/16 x 32 in. (92.6 x 81.3cm) provenance: The Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Pennsylvania. Private Collection, Florida (acquired directly from the above in 1980). $8,000-12,000

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94 SAM TCHAKALIAN (american, 1929–2004) “GEORGE RAFT” Signed, titled and dated 1963 verso, oil on canvas. 69 1/2 x 96 1/4 in. (176.5 x 244.5cm) provenance: Linc Real Gallery, San Francisco, California. Private Collection, San Francisco, California (acquired directly from the above in 2000). $6,000-10,000

95 JAMES HIROSHI SUZUKI (american, b. 1932) “TUONELA” Signed, titled and dated 1959 verso, oil on canvas. 49 1/2 x 60 in. (125.7 x 152.4cm) provenance: Michael Brown Collection. Linc Real Gallery, San Francisco, California. Private Collection, San Francisco, California. exhibited: “Asian Traditions, Modern Expressions: Asian American Artists and Abstraction, 1945-1970,” a traveling exhibition: Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, New Brunswick, New Jersey, March 23 - July 31, 1997; Chicago Cultural Center, Chicago, Illinois, September 6 - November 2, 1997; Fisher Gallery, University of Southern California, Los Angeles, and the Japanese American National Museum, Los Angeles (two-site presentation), December 10 - February 14, 1998, exhibition catalogue, p. 133, no. 172 (illustrated in the exhibition catalogue). $4,000-6,000

96 NORMAN BLUHM (american, 1921–1999) UNTITLED Signed and dated 71 upper right, oil on canvas. 30 x 30 in. (76.2 x 76.2cm) provenance: Private Collection, Houston, Texas. $6,000-10,000

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97 LUCAS SAMARAS (american/greek, b. 1936) UNTITLED #6 (SELF PORTRAIT AS A BOY IN BED) Pastel on paper. Executed in 1961. 12 x 9 in. (30.5 x 22.9cm) provenance: Lee & Mary Myers, San Francisco, California. Richard Bellamy, New York, New York. Pace Gallery, New York, New York. Private Collection, New York. $6,000-10,000

98 LUCAS SAMARAS (american/greek, b. 1936) PHOTO-TRANSFORMATION, FEBRUARY 10, 1974 Dated 2/10/74 and inscribed ‘640R’ in ink verso, unique manipulated Polaroid SX-70 print. 3 1/8 x 3 1/8 in. (7.9 x 7.9cm) provenance: Pace Gallery, New York, New York. Private Collection, New York. $5,000-8,000

99 LUCAS SAMARAS (american/greek, b. 1936) PHOTO-TRANSFORMATION, APRIL 21, 1974 Dated 4/21/74 in ink verso, unique manipulated Polaroid SX-70 print. 3 1/8 x 3 1/8 in. (7.9 x 7.9cm) provenance: Pace Gallery, New York, New York (label verso). Private Collection, New York (acquired directly from the above). $5,000-8,000

100 LUCAS SAMARAS (american/greek, b. 1936) PHOTO-TRANSFORMATION, DECEMBER 19, 1973 Dated 12/19/73 in ink verso, unique manipulated Polaroid SX-70 print. 3 1/8 x 3 1/8 in. (7.9 x 7.9cm) provenance: Pace Gallery, New York, New York (label verso). Private Collection, New York (acquired directly from the above). $5,000-8,000

101 LUCAS SAMARAS (american/greek, b. 1936) PHOTO-TRANSFORMATION, OCTOBER 31, 1973 Dated 10/31/73 in ink verso, unique manipulated Polaroid SX-70 print. 3 1/8 x 3 1/8 in. (7.9 x 7.9cm) provenance: Pace Gallery, New York, New York (label verso). Private Collection, New York (acquired directly from the above). $5,000-8,000

102 JOEL STERNFELD (american, b. 1944) “THE SPACE SHUTTLE COLUMBIA LANDS AT KELLY LACKLAND AIR FORCE BASE, SAN ANTONIO, TEXAS” from “american prospects” 1979 (printed 1987), signed, titled and dated in black ink verso. Chromogenic print. image: 13 1/2 x 17 in. (34.3 x 43.2cm) sheet: 15 15/16 x 19 15/16 in. (40.5 x 50.6cm) $1,000-1,500

103 JOEL STERNFELD (american, b. 1944) “MCLEAN, VIRGINIA, DECEMBER 4” from “american prospects” 1978 (printed 1984), signed, titled and dated in ink verso. Dye transfer print. image: 15 x 19 1/2 in. (38.1 x 49.5cm) sheet: 16 7/16 x 21 1/8 in. (41.8 x 53.7cm) literature: Joel Sternfeld, American Prospects, New York: Times Books, 1987, pl. 29 and cover (illustrated). Sarah Greenough et al., On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography, National Gallery of Art, Washington; Art Institute of Chicago; Los Angeles County Museum of Art, 1989, pl. 373. David Campany, The Open Road: Photography and the American Road Trip, New York: Aperture, 2014, p. 234. $8,000-12,000

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104 KENNETH NOLAND (american, 1924–2010) “BLUSH” 1978, pencil signed and dated, numbered 15/50 (there were also 25 artist’s proofs), the full sheet, published by Tyler Graphics, Bedford, New York for the patrons of the Institute of Contemporary Art, Philadelphia, and with their blindstamp. Color lithograph on BFK Rives. sheet: 36 x 30 in. (91.4 x 76.2cm) [Tyler, 462] $3,000-5,000

105 SOL LEWITT (american, 1928–2007) “DOUBLE CUBES IN GRAYS AND COLORS SUPERIMPOSED” 1989, pencil signed and numbered 147/150, (there were also 10 artist’s proofs), with wide margins, Friends of the Philadelphia Museum of Art, Philadelphia, publisher. Color screenprint on Arches Cover White. image: 16 x 28 1/2 in. (40.6 x 72.4cm) sheet: 19 15/16 x 32 1/2 in. (50.6 x 82.5cm) [Krakow, 1989.02] Unframed $1,000-1,500

106 ELLSWORTH KELLY (american, 1923-2015) “YELLOW OVER DARK BLUE” 1964-65, pencil signed and numbered 71/75 (there were also 8 artist’s proofs), with full margins, Maeght Éditeur, Paris, publisher. Color lithograph on BFK Rives. image: 22 1/2 x 15 1/2 in. (57.2 x 39.4cm) sheet: 35 1/4 x 23 9/16 in. (89.5 x 59.8cm) [Axsom, 22] $5,000-8,000

107 AGNES MARTIN (american/canadian, 1912-2004) “PAINTINGS AND DRAWINGS: STEDELIJK MUSEUM PORTFOLIO” the complete portfolio of ten lithographs plus two part exhibition catalogue 1990-1991, from the edition of 2,500 printed by Lecturis, Eindhoven and published by Nemela & Lenzen GmbH, Monchengladback and Stedelijk Museum, Amsterdam for Agnes Martin’s 1991 retrospective at the Stedelijk Museum, the complete portfolio of 10 lithographs loose (as issued) on vellum within original slipcase and accompanied by a two-part catalogue produced for the exhibition. sheets: 11 13/16 x 11 13/16 in. (30 x 30cm) album: 12 x 12 in. (30.5 x 30.5cm) Unframed (10 + album) $4,000-6,000

108 ELLSWORTH KELLY (american, 1923–2015) “DAFFODIL” 2004, pencil signed and numbered 16/45 (there were also 12 artist’s proofs), with wide margins, Gemini G.E.L., Los Angeles, publisher and with their blindstamps and inkstamp on the reverse. Lithograph on BFK Rives. image: 27 1/2 x 17 1/2 in. (69.9 x 44.5cm) sheet: 31 1/16 x 22 15/16 in. (78.9 x 58.3cm) [Gemini, 2013] $4,000-6,000

109 BRICE MARDEN (american, b. 1938) “CYPRIAN EVOCATION” 1992, pencil signed and dated, numbered 49/60 (there were also 15 artist’s proofs), with full margins, Friends of the Philadelphia Museum of Art, Philadelphia, publisher. Etching and aquatint on Twinrocker. image: 8 7/8 x 11 7/8 in. (22.5 x 30.2cm) sheet: 21 3/8 x 27 in. (54.3 x 68.6cm) Unframed $5,000-8,000

110 PAT STEIR (american, b. 1940) “PHILADELPHIA WATERFALL” 1995, pencil signed, inscribed ‘PM’ and dated, numbered 9/35, with full margins, Friends of the Philadelphia Museum of Art, Philadelphia, publisher. Color aquatint on wove paper. image: 25 1/2 x 14 3/4 in. (64.8 x 37.5cm) sheet: 34 3/4 x 22 15/16 in. (88.3 x 58.3cm) Unframed $1,000-1,500

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111 GEORGE SEGAL (american, 1924–2000) “WOMAN IN WHITE WICKER ROCKER” 1984-1985, incised with the artist’s signature and dated ‘85, numbered 2/5, and with the Johnson Atelier stamp at lower edge. Bronze with white patina. height: 42 in. (106.7cm) width: 35 in. (88.9cm) depth: 49 in. (124.5cm) provenance: Sidney Janis Gallery, New York, New York. The Estate of Lee & Gilbert Bachman, Atlanta, Georgia & Boca Raton, Florida (acquired directly from the above in 1986). exhibited: “George Segal: Bronze,” Mitchell-Innes & Nash, New York, April June, 2003, p. 75, no. 18 (another cast illustrated in the exhibition catalogue). note: This lot is accompanied by a photocopy of the bill of sale from Sidney Janis Gallery, New York. $40,000-60,000

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

113 GEORGE SEGAL (american, 1924-2000) “GIRL ON A CHAIR” 1970, incised with signature, date and title, numbered 90/150 on plaque verso (there were also 30 artist’s proofs), Editions Alecto Limited, London, publisher. Plaster and painted wood assemblage. height: 35 7/8 in. (91.1cm) width 23 15/16 in. (60.8cm) depth: 13 3/4 in. (34.9cm) $2,000-3,000

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ver the course of his long and prolific career, Jim Dine has developed a signature visual iconography through his repeated exploration of particular forms and motifs. He has returned time and again to favored subjects such as hearts, bathrobes, and the Venus de Milo, making them new again in each interpretation. The subject of the Venus de Milo has been particularly fruitful for the artist. He first began sculpting his own interpretations of the famous statue in 1982, inspired by a small store-bought plaster replica of the ancient work. Reflecting upon this ancient muse in a 2012 catalogue for an exhibition at the Nassau County Museum of Art, the artist noted, “I have this need to connect with the past in my way, and also I’m devoted to the ideal of woman, as a figure of enchantment...When I went to the art supply store…and got a Venus de Milo figure…I was not responding to it as an object of Pop Art, or popular culture. I saw it is a timeless classical figure which held the memory of its magnificence…But then I knocked the head off of it and made it mine.” The present work, like all Dine’s Venuses, is missing its head, thereby minimizing its attachment to any one person and allowing for broad and subjective interpretation. This lack of specificity also permits the artist to revisit the motif, all the while imbuing it with distinct stylistic features in each new iteration. “Trembling for Color” is an exciting and dynamic example of Dine’s vision of this ancient goddess and exhibits many of the hallmarks of the artist’s oeuvre. The surface of the figure’s body shows the mark of the artist’s hand and displays a tactile physicality often seen in Dine’s work of all media, but particularly effective in sculptural form. Also typical of Dine’s work, the present sculpture is boldly and energetically colored. These features, along with its impressive scale, make “Trembling for Color” a captivating and keenly exciting example of the Venus subject so important within the artist’s body of work.

114 JIM DINE (american, b. 1935) “TREMBLING FOR COLOR” 1990, incised with the artist’s signature, dated and annotated A/P-1 (an artist’s proof, aside from the regular edition of 6), stamped with the Walla Walla foundry mark. Painted bronze. height: 63 1/4 in. (160.7cm) width: 18 1/4 in. (46.4cm) depth: 24 3/4 in. (62.9cm) [Pace No. 21103.07] provenance: Pace Gallery, New York, New York. Private Collection, Reading, Pennsylvania (acquired directly from the above in 1993). $120,000-180,000

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115 TOM WESSELMANN (american, 1931–2004) “LULU” from “metropolitan museum of art” 1982, pencil signed and dated, numbered 201/250 (there were also 25 artist’s proofs), with full margins, Metropolitan Opera and Circle Gallery, New York, co-publishers, and with their blindstamps and ink stamp verso. Color lithograph on wove paper. image: 16 5/8 x 25 in. (42.2 x 63.5cm) sheet: 22 x 30 in. (55.9 x 76.2cm) $4,000-6,000

116 FERNANDO BOTERO (columbian, b. 1932) “LA TOILETTE” from “botero” 1983, pencil signed and numbered 121/200, with margins, Harry N. Abrams Editions, New York, publisher. Color offset lithograph on wove paper. image: 13 11/16 x 11 1/4 in. (34.8 x 28.6cm) sheet: 15 3/4 x 11 7/8 in. (40 x 30.2cm) $4,000-6,000

117 VARIOUS ARTISTS “NEW YORK, NEW YORK: EIGHT CONTEMPORARY ARTISTS CELEBRATE THEIR CITY” the complete set of eight prints 1983, all signed and numbered 55/250 (there were also 25 artist’s proofs, and the total deluxe edition of 45 in Roman numerals), New York Graphic Society, Ltd, publisher. Eight prints in various media on various papers, title page, text and justification page (lacking the original portfolio box). largest sheet: 29 3/4 36 1/2 in. (75.5 x 92.7cm) smallest sheet: 29 1/2 x 22 in. (75 x 56.1cm) (8) including: RED GROOMS, “Subway Riders” (Knestrick, 97); ROBERT INDIANA, “Brooklyn Bridge” (Sheehan, 132); ALEX KATZ, “Bicycling in Central Park” (Maravall, 130); R.B. KITAJ, “Performing Arts Center”; ROBERT MOTHERWELL, New York Cultural Institutions (Walker Arts Center, 293); ROBERT RAUSCHENBERG, “Statue of Liberty”; LARRY RIVERS, Bronx Zoo; and JAMES ROSENQUIST, Communications Center (Glenn, 200). $4,000-6,000

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118 JUDY PFAFF (american/british, b. 1946) UNTITLED Collaged paper and mixed media in artist’s frame. Executed circa 1998. overall: 11 x 123 in. (27.9 x 312.4cm) provenance: Private Collection, New York. Freeman’s, Philadelphia, “Modern & Contemporary Works of Art,” November 3, 2013, lot 188. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above sale). exhibited: “Drawings and Prints,” Karen McCready Fine Art, New York, January 14 - February 27, 1999. note: The papers used here are 1880’s invoices from an artist’s supply store in Hudson, New York and a supplier in Tribeca, New York, where the artist lived at the time this work was executed. $3,000-5,000

119 BETTY PARSONS (american, 1900–1982) “BLOCK HOUSE” Signed, titled and inscribed illegibly on side of wooden element, oil, wood and mixed media assemblage. height: 17 3/4 in. (45.1cm) width: 10 in. (25.4cm) depth: 7 1/2 in. (19.1cm) provenance: Rago, Lambertville, New Jersey, sale of April 24, 2004, lot 304. Private Collection, New York (acquired directly from the above sale) $1,000-1,500

120 JAMES ROSENQUIST (american, 1933–2017) “MY MIND IS AN EMPTY GLASS” 1994, pencil signed, titled and dated, numbered 8/42 (there were also 10 artist’s proofs), Friends of the Philadelphia Museum of Art, Philadelphia, publisher. Color lithograph on tissue-thin Japan. sheet: 34 x 34 1/16 in. (86.4 x 86.4cm) Unframed $1,000-1,500

121 CHUCK CLOSE (american, b. 1940) “JANET” 1988, pencil signed and dated, numbered 34/50 (there were also 10 artist’s proofs), with full margins, Pace Editions, New York, publisher. Linocut on Gasenchi Echizen paper laid down to German Etching paper. image: 14 5/8 x 12 3/4 in. (37.2 x 32.3cm) sheet: 30 7/8 x 22 3/16 in. (78.4 x 56.4cm) [Butler Institute, 54] $4,000-6,000

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122 ROXY PAINE (american, b. 1966) “SCUMAK [P2-R19]” 2000, incised with the artist’s signature, dated and annotated `P2-R19’ on the underside. Low density polyethylene. height: 15 3/4 in. (40cm) provenance: Pierogi Gallery, Brooklyn, New York. Private Collection, New York, New York (acquired directly from the above in 2000). $1,500-2,500

123 ROBERT COTTINGHAM (american, b. 1935) “AN AMERICAN ALPHABET: K” 1997, pencil signed and numbered AP 5/8 (an artist’s proof aside from the regular edition of 60), with full margins, Tandem Press, Madison, Wisconsin, publisher. Color lithograph on wove paper. image: 24 x 17 in. (61 x 43.2cm) sheet: 30 15/16 x 23 in. (78.6 x 58.4cm) provenance: Jeffrey M. Kaplan, Washington, D.C. $1,000-1,500

124 KAWS (american, b. 1974) “INFANT” 2006, pencil signed and dated, numbered 5/50, with full margins. Color screenprint with diamond dust on heavy wove paper. image: 12 1/8 x 8 in. (30.8 x 20.3cm) sheet: 19 15/16 x 19 15/16 in. (50.6 x 50.6cm) Unframed $4,000-6,000

125 KAWS (american, b.1974) SKELETON 2007, ink signed, dated 2008 and dedicated ‘To GENE..” on the printed envelope, from the edition of unknown but presumably large size, OriginalFake, Tokyo, Japan, publisher. Die-cut skeleton comprised of printed paper parts connected by circular metal joints. Accompanied by original printed paper envelope (previously sealed and later cut open). skeleton (extended, dimensions variable): 57 in. (144.8cm) envelope: 32 3/4 x 15 3/4 in. (83.2 x 40cm) Unframed $1,000-2,000

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126 DAMIEN HIRST (british, b. 1965) “PHARMACY” 1992, signed in ink and numbered 36/200, the full sheet. Color offset lithograph on 4-ply board with cut-out. sheet: 8 1/2 x 8 1/2 in. (21.6 x 21.6cm) $1,500-2,500

127 EL ANATSUI (ghanaian, b. 1944) “PEWTER VARIATION” 2015, pencil signed, dated 2014 and numbered 8/10 (twice, for multiple orientations), Benefit Print Project, New York, publisher. Pigment print with hand collage and copper wire. sheet approx. (variable): 32 x 25 x 4 1/4 in. (81.3 x 63.5 x 10.8cm) Unframed $12,000-18,000

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128 WARREN ROHRER (american, 1927-1995) “OF YELLOW 9” (DIPTYCH) Oil on canvas. Executed in 1994. each panel: 36 x 36 in. (91.4 x 91.4cm) overall: 36 x 72 in. (91.4 x 182.9cm) Unframed (2) provenance: Locks Gallery, Philadelphia, Pennsylvania. Private Collection, Naples, Florida. $10,000-15,000

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129 WARREN ROHRER (american, 1927-1995) “PASSAGE I” Signed, titled and dated 1981 verso, oil on canvas. 60 x 60 in. (152.4 x 152.4cm) Unframed provenance: Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above). $12,000-18,000

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130 WARREN ROHRER (american, 1927-1995) “POND 6” Signed, titled and dated 1976 on canvas overhang verso, oil on canvas. 60 1/4 x 60 in. (153 x 152.4cm) Unframed provenance: The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. $8,000-12,000

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131 EDNA ANDRADE (american, 1917-2008) UNTITLED Signed with initials bottom left, signed again and dated 3/25/80 on canvas overhang verso, acrylic on canvas. 42 x 42 in. (106.7 x 106.7cm) provenance: The Artist. Private Collection, Philadelphia, Pennsylvania. Freeman’s, Philadelphia, “Modern & Contemporary Works of Art,” May 16, 2010, lot 179. Private Collection, Naples, Florida. $8,000-12,000

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132 EDNA ANDRADE (american, 1917-2008) “PARADE” Signed with initials and dated 59 bottom right, signed again, titled, dated and inscribed with medium verso, watercolor on paper. 29 5/16 x 16 5/8 in. (74.5 x 42.2cm) [Estate no. 1527] provenance: Locks Gallery, Philadelphia, Pennsylvania. Private Collection, Naples, Florida. $1,800-2,200

133 ELIZABETH OSBORNE (american, b. 1936) “EQUINOX IV” Signed verso, acrylic on canvas framed within a second canvas. Executed in 2010. 54 1/4 x 48 1/4 in. (139 x 123cm) provenance: Locks Gallery, Philadelphia, Pennsylvania. Private Collection, Naples, Florida (acquired directly from the above). exhibited: “New Work,” Lock Gallery, Philadelphia, February 15 - March 30, 2011. $3,000-5,000

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134 ELIZABETH OSBORNE (american, b. 1936) STANDING NUDE Signed and dated 81 bottom left, watercolor on paper. 30 x 22 in. (76.2 x 55.9cm) provenance: The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. $1,200-1,800

135 ELIZABETH OSBORNE (american, b. 1936) RECLINING NUDE Signed twice, dated ‘73 and dedicated ‘for Fred a fine friend and patron of the arts’ bottom right, pastel and colored pencil on paper. 18 x 24 in. (45.7 x 61cm) provenance: The Artist. The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. $800-1,200

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136 ELIZABETH OSBORNE (american, b. 1936) MOUNTAIN VIEW Signed bottom left, watercolor on paper. 8 x 11 in. (20.3 x 27.9cm) provenance: The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. $600-1,000

137 ELIZABETH OSBORNE (american, b. 1936) STILL LIFE WITH ANEMONES Signed and dated 81 top left, pastel on paper. 19 3/4 x 25 1/2 in. (50.2 x 64.8cm) provenance: The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. $1,000-2,000

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138 JANE PIPER (american, 1916-1991) EMPTY WOODED ROAD Signed and dated ‘67 bottom right, oil on canvas. 40 x 34 in. (101.6 x 86.4cm) provenance: The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania $2,500-4,000

139 STUART SHILS (american, b. 1954) “EARLY SUMMER BUILDINGS AND TREES” Signed and dated 05 twice bottom right, signed again, titled and dated again verso, oil on panel. 7 7/8 x 13 in. (20 x 33cm) provenance: The Artist. Private International Collection (acquired directly from the above). $1,000-2,000

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140 JANE PIPER (american, 1916-1991) “PRAYER PLANT WITH BASKET” Signed bottom right, acrylic on canvas. 43 3/4 x 43 3/4 in. (111.1 x 111.1cm) provenance: Marlin McCleaf Gallery, Philadelphia, Pennsylvania. The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania (acquired directly from the above circa 1972). exhibited: “Jane Piper,” The McCleaf Gallery, Philadelphia, October 8 - 25, 1972 (illustrated on the exhibition announcment). “Jane Piper and Her Circle: Three Generations of Painters in Philadelphia,” The State Museum of Pennsylvania, Harrisburg, Pennsylvania, November 4, 2000 - January 14, 2001, p. 9, no. 90 (illustrated). $3,000-5,000

141 JANE PIPER (american, 1916-1991) “WELLFLEET PINES” (SCRUB PINES) Signed bottom right, oil on canvas. Executed in 1967. 36 1/4 x 46 in. (92.1 x 116.8cm) provenance: The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. exhibited: “Jane Piper: Paintings 1940-1985,” a traveling exhibition: Sawhill Art Gallery, Duke Fine Arts Center, James Madison University, Harrisonburg, Virginia, June 16 - August 8, 1986; Peale House Galleries, The Pennsylvania Academy of the Fine Arts, Philadelphia, October 8 - November 2, 1986; Tyler Art Gallery, State University of New York, College at Oswego, Oswego, New York, January 24 - February 10, 1987, exhibition no. 20. $2,500-4,000

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142 EMILY MASON (american, b. 1932) UNTITLED ABSTRACT Signed bottom right, located VT and dated 87-88 bottom right, signed and located again and dated 87 top right, oil on canvas. 40 1/4 x 32 in. (102.2 x 81.3cm) provenance: Private Estate, New York, New York. By family descent. Private Collection, Washington, D.C. $4,000-6,000

143 JIMMY LUEDERS (american, 1927–1994) “BLUE SPACE” Signed and dated 70 bottom right, oil on canvas. 44 x 42 1/2 in. (111.8 x 108cm) provenance: From the Estate of Alma Cohen, Philadelphia, Pennsylvania. $1,500-2,500

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144 ABRAHAM RATTNER (american, 1895-1978) CUBIST FIGURE Signed bottom right, oil on canvas. 24 x 18 in. (61 x 45.7cm) provenance: The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania. $2,000-3,000

145 HARRY SEFARBI (american, 1917-2009) UNTITLED (COLORFUL FIGURES) Signed and dated 66 bottom right, inscribed with the artist’s name on stretcher bar verso, oil on Masonite. 16 x 18 in. (40.6 x 45.7cm) provenance: Private Collection, Philadelphia, Pennsylvania. $800-1,200

146 HARRY SEFARBI (american, 1917-2009) UNTITLED (FIGURE) Signed and dated 66 bottom center right, inscribed with the artist’s name on stretcher bar verso, oil on Masonite. 21 x 24 in. (53.3 x 61cm) provenance: Private Collection, Pennsylvania. $1,500-2,500

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147 ROBERT REMSEN VICKREY (american, 1926–2011) “COBBLESTONES AND BALLOONS” Signed bottom right, tempera on board. 30 x 20 in. (76.2 x 61cm) provenance: Hirschl & Adler Galleries, New York, New York. Midtown Galleries, New York, New York. Mickelson Gallery, Washington, D.C. Private Collection, Potomac, Maryland. Private Collection, Maryland (acquired directly from the above circa 2003). literature: Robert Vickrey, Robert Vickrey: Artist at Work, New York: Watson-Guptill Publications, 1979, p. 9 (illustrated). $10,000-15,000

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148 ROBERT REMSEN VICKREY (american, 1926-2011) “ANGELS OVER VENICE” Signed bottom right, tempera on board. 13 1/2 x 19 in. (34.3 x 48.3cm) provenance: Harmon-Meek Gallery, Naples, Florida. Tree’s Place Gallery, Orleans, Massachusetts. A Private Estate, Montana. $4,000-6,000

149 ROBERT REMSEN VICKREY (american, 1926-2011) “TALL SPARKLER” Signed bottom right, tempera on board. 17 x 9 1/2 in. (43.2 x 24.1cm) provenance: Harmon-Meek Gallery, Naples, Florida. Tree’s Place Gallery, Orleans, Massachusetts. A Private Estate, Montana. $3,000-5,000

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150 ROBERT NEFFSON (american, b. 1949) “PARIS, SEINE” Signed bottom left, oil on linen. Executed in 2006. 28 x 72 in. (71.1 x 182.8cm) provenance: Hammer Galleries, New York, New York. The Estate of Jeff Hunter, New York, New York (acquired directly from the above in 2007). $2,500-4,000

151 BO BARTLETT (american, b. 1955) UNTITLED (MELONIE AND VALARIE) Signed with the artist’s IGN logo bottom right, dedicated ‘For Pat thanks, Bo’ and dated ‘2-14-1986’ top right, oil on canvas 28 x 42 in. (71.1 x 106.7cm) provenance: The Artist. Private Collection, New York (acquired directly from the above in 1986). Private Collection, Pennsylvania (acquired directly from the above). $8,000-12,000

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INDEX ANATSUI, E.,

127

LEWITT, S.,

105

SEGAL, G.,

111, 113

ANDRADE, E.,

131, 132

LICHTENSTEIN, R.,

81, 83

SEKOTO, G.,

AVERY, M.,

LOISEAU, G.,

SHILS, S.,

139

AVERY, S.M.,

65 - 67

LUEDERS, J.,

143

STEIR, P.,

110

BARTLETT, B.,

151

MANZANA-PISSARRO, G.,

STERNFELD, J.,

102, 103

BERTOIA, H.,

49 - 55

MARDEN, B.,

109

SUZUKI, J.H.,

BLANCHARD, A.,

9 - 11

MARTIN, A.,

107

TÀPIES, A.,

BLUHM, N.,

MASON, E.,

142

TCHAKALIAN, S.,

BOTERO, F.,

116

MATISSE, H.,

TOBEY, M.,

BUSH, J.H.,

MILNE, J.E.,

86, 87

TROVA, E.T.,

84, 85

CHAGALL, M.,

19 - 21

MIRÓ, J.,

33 - 37

TRUPHÉMUS, J.,

CHILLIDA, E.,

MONTÉZIN, P.E.,

VARIOUS ARTISTS

117

CLOSE, C.,

121

NEFFSON, R.,

150

VICKREY, R.R.,

147 - 149

CORTÈS, É. L.,

6-8

NEVELSON, L.,

VUILLARD, É.,

COTTINGHAM, R.,

123

NOLAND, K.,

104

WARHOL, A.,

68 - 80

DAM, V.C.,

OLDENBURG, C.,

112

WARHOLA, J.,

DE KOONING, W.,

OSBORNE, E.,

133 - 137

WESSELMANN, T.,

115

DEHNER, D.,

OZENFANT, A.,

WESTON, H.,

DINE, J.,

114

PAINE, R.,

122

DUFY, J.,

16, 17

PARSONS, B.,

119

DUFY, R.,

PAUL, G.,

FEININGER, L.,

PFAFF, J.,

118

HAMBOURG, A.,

56, 57

PICASSO, P.,

22 -32

HARTIGAN, G.,

PIPER, J.,

138, 140, 141

HIRST, D.,

126

RATTNER, A.,

144

HOFMANN, H.,

RIVERA, D.,

KATZ, A.,

ROHRER, W.,

128 - 130

KAWS

124, 125

ROSENQUIST, J.,

120

KELLY. E.,

106, 108

ROUAULT, G.,

KINGMAN, E.,

RUFINO TAMAYO, R.,

39 - 42

LAPCHINE, G.A.,

SAMARAS, L.,

97 - 101

LE PHO

61 - 64

SEFARBI, H.,

145, 146

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

attributed to

school of

Forename(s) and surname of painter is in our

School accompanied by the name of a place or country

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

and a date means that we believe the picture was

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

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

series of asterisks followed by the surname of the

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

artist, wether preceded by an initial or not, indicates

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

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

Charles Willson Peale. after an artist

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

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

studio of

circle of

Refers to a work from the studio of the artist which

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

may or may not have been executed under his

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

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

been added by another hand.

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

signatures & dates

artist executed under his immediate influence; e.g.

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

Circle of Charles Willson Peale. measurements follower of

Dimensions are given height before width.

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

manner of

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

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a bucks county life : The Collection of Bonnie O’Boyle Auction December 10, 2018 inquiries Raphaël Chatroux | 267.414.1253 rchatroux@freemansauction.com

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PURCHASE REMOVAL, SHIPPING AND OFFSITE STORAGE INFORMATION

IMPORTANT INFORMATION FOR BUYERS

To ensure the safety of your property Freeman’s requests removal within 10 business days of the sale date. Collection hours are Monday–Friday, 9:30am–4:30pm. For larger items, please email Jake Gravelding at loadingdock@freemansauction.com to schedule a loading dock appointment. For purchase release to persons not listed on your contract or invoice, 3rd party authorization is required. Please mail or fax, 215.599.2240, a signed letter stating receipt/item(s) or sale/lot(s) and name of third party collecting property. Freeman’s does not handle packing or shipping. The shippers listed have worked with Freeman’s clients in the past and will be happy to provide you with quotes for the packing and shipping of your property. Annie Hauls Michael Topley Lambertville, NJ 08530 609.577.5133 annie@anniehauls.com *East Coast deliveries only

Mr. C’s Charles Cohen 1615 North 10th Street Philadelphia, PA 19122 267.977.9567 mrcees61@gmail.com

Art In Transit Nick Clarke 314 North 12th Street Philadelphia, PA 19107 540.550.7080 nclarke@artintransit.net

Malca Amit ‡ Christine Duke 153-66 Rockaway Blvd New York, NY 11434 718.525.6100 | Fax: 718.425.3703 maa.nyc@malca-amit.com

Atelier Art Services ‡ Lynn Smith 1330 North 30th Street Philadelphia, PA 19144 215.842.3500 | Fax: 215.235.0421 estimates@atelierfas.com

A. Mastrocco Jr. Moving & Storage Roseanne Gebler 1060 Louis Drive Warminster, PA 18991 215.491.0346 | Fax: 215.444.9327 mastroccomovers@snip.net

Aiston Fine Art Service ‡ Mark Aiston P.O. Box 3434 Grand Central Station New York, NY 10163 212.715.0629 | Fax: 718.361.8569 info@aistonart.com

The Packaging Store ‡ Alex Long 2333 Welsh Road Lansdale, PA 19446 215.361.6940 | Fax: 215.361.6941 hello@packandshipnow.com

Cadogan Tate Fine Art ‡ Stacey Ferguson Cadogan House 41-20 39th Street Sunnyside, NY 11104 718.706.7999 | Fax: 718.707.2847 s.ferguson@cadogantate.com Crozier Fine Arts Catherine Erickson New York, NY 10011 212.741.2024 / Fax: 212.741.5513 shipping@crozierarts.com

Registration All potential buyers must register for the sale prior to placing a bid. Registration information may be submitted in person at our reception desk, by fax or through our website at www.freemansauction.com. We will require proof of identification and residence and may require a credit card and/or a bank reference. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted Freeman’s Terms and Conditions of Sale. Buyer’s Premium A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, and 12% thereafter. Sales Tax All items in the catalogue are subject to the 8% Pennsylvania and Philadelphia sales tax. Dealers purchasing for resale must register their tax numbers on current PA forms. Forms should be submitted to our Client Services office on the second floor. Catalogue Descriptions All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. If potential buyers are unable to inspect lots in person, our specialists will be happy to prepare detailed Condition Reports on individual lots as quickly as possible. These are for guidance only, and all lots will be sold “as is” as per our Terms and Conditions of Sale. Bidding At the sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. The auctioneer will not mistake a random gesture for a bid. By phone A limited number of telephone lines are available for bidding by phone through a Freeman’s representative. Phone lines must be reserved in advance. Requests must be submitted no later than 24 hours prior to the scheduled start of the sale. In writing Bid forms are available in the sale room and at the back of the catalogue. These should be submitted in person, by mail or by fax no later than one hour prior to the scheduled start of the sale. The auctioneer will bid on your behalf up to the limit. On the internet A fully-illustrated catalogue is available on-line at www.freemansauction.com. Registered bidders may leave absentee bids through the website and will receive email confirmation of their bid. Freeman’s is not responsible for errors or failure to execute bids. Payment Payment is due within ten (10) working days of the sale. Lots purchased will not be released until we have received full payment. Payment may be made in cash, by check, money order, or debit card. Payments by check must clear the bank before goods will be released. Removal of Purchases Deliveries will not be made during the time of the sale unless otherwise indicated by the auctioneer. All items must be paid for and removed within ten (10) working days of the sale. Purchases not so removed may be turned over to a licensed warehouse at the expense and risk of the purchaser.

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 Darren Winston dwinston@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 Jake Gravelding jgravelding@freemansauction.com Trust & Estates Amy Parenti aparenti@freemansauction.com

American Art & Pennsylvania Impressionists Alasdair Nichol anichol@freemansauction.com American Furniture, Folk & Decorative Arts Lynda Cain lcain@freemansauction.com Antiquities & Tribal Art Grace Fitts gfitts@freemansauction.com Asian Arts Benjamin Farina bfarina@freemansauction.com

Mid-Atlantic Matthew Wilcox mwilcox@freemansauction.com Southeast Colin Clarke cclarke@freemansauction.com West Coast Michael Larsen mlarsen@freemansauction.com Main Line Sarah Riley, GG sriley@freemansauction.com

Books, Maps & Manuscripts Darren Winston dwinston@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 Sawyer Thomson sthomson@freemansauction.com Oriental Rugs & Carpets Andrew Taggart ataggart@freemansauction.com Prints Dunham Townend dtownend@freemansauction.com Silver & Objets de Vertu Nicholas B. A. Nicholson nnicholson@freemansauction.com

120 v4.2018

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