Modern & Contemporary Art by Freeman's

modern & contemporary art May 08, 2019

modern & contemporary art auction Sale 1630 Wednesday, May 8th at 12 pm 1808 Chestnut Street, Philadelphia PA 19103 Cover Image: Lot 61 (detail), Inside Front Cover: Lot 22 (detail), Inside Back Cover: Lot 75 (detail)

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

Anne Henry Senior Specialist ahenry@freemansauction.com 267.414.1220

Shannon Jeffers Associate Specialist sjeffers@freemansauction.com 267.414.1231

exhibitions Friday, May 03

10:00 am - 5:00 pm

Saturday, May 04

12:00 pm - 5:00 pm

Sunday, May 05

12:00 pm - 5:00 pm

Monday, May 06

10:00 am - 5:00 pm

Tuesday, May 07

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

Left: Lot 12 (detail) Following Page: Lot 57

Joslyn Moore Bidding Registration jmoore@freemansauction.com 267.414.1207

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

modern & contemporary art Lots 1-145

1 PABLO PICASSO (spanish, 1881–1973) “FACE NO. 157” 1963, numbered 128/150, inscribed ‘EDITION PICASSO’, ‘MADOURA’ and ‘No. 157’ on the underside. White earthenware clay plate with decoration in engobes and enamel under glaze. diameter: 9 3/4 in. (24.8cm) [Ramié, 489] $5,000-8,000

2 PABLO PICASSO (spanish, 1881–1973) “FISH SUBJECT” 1952, from the edition of 500, inscribed ‘EDITION PICASSO’ and ‘MADOURA’ and with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. Red earthenware clay pitcher with decoration in engobes. height: 5 1/8 in. (13cm) [Ramié, 139] $3,000-5,000

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3 PABLO PICASSO (spanish, 1881–1973) “MINOTAURE AVEUGLE GUIDÉ PAR UNE FILLETTE, III” plate 95 from “la suite vollard” 1934 (published 1939), pencil signed, from the total edition of 310, with full margins, Ambroise Vollard, Paris, publisher. Etching on Montval laid paper with the Picasso watermark. image: 8 3/4 x 12 3/16 in. (22.2 x 31cm) sheet: 13 1/4 x 17 1/2 in. (33.7 x 44.5cm) [Bloch, 224; Baer, 436] $15,000-25,000

4 PABLO PICASSO (spanish, 1881–1973) “VÉNUS ET L’AMOUR, DANS LE STYLE ‘BON SAUVAGE’” from “la série 347” 1968, pencil signed and numbered 23/50 (there were also 17 artist’s proofs), with full margins, Galerie Louise Leiris, Paris, publisher. Etching on wove paper. image: 16 1/8 x 19 3/8 in. (41 x 49.2cm) sheet: 22 1/4 x 25 1/4 in. (56.5 x 64.1cm) [Bloch, 1640; Baer, 1656] $8,000-12,000

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5 JOAN MIRÓ (spanish, 1893–1983) “JOAN MIRÓ GRAPHICS” philadelphia museum of art exhibition poster 1966, pencil signed and numbered 22/150 (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 7/8 x 22 1/8 in. (75.9 x 56.2cm) [Mourlot, 502] $1,000-1,500

6 ENRIQUE CLIMENT (spanish, 1897-1980) “VENADOS” Signed bottom right, oil on canvas. Executed in 1954. 21 3/8 x 25 1/4 in. (54.3 x 64.1cm) provenance: Galeria de Arte Mexicano, Milan, Mexico. Private Collection, St. Louis, Missouri. By family descent. Private Collection, Vienna, Virginia. $2,000-3,000

7 AFTER FERNAND LÉGER (french, 1881–1955) “LE VIADUC” plate 19 from “la ville” 1954-59, stamped with the artist’s signature and numbered 57/180 (there was also an hors commerce edition of 20), with full margins, Tériade, Paris, publisher. Color lithograph on wove paper. image: 16 1/4 x 23 1/2 in. (41.3 x 59.7cm) sheet: 19 3/4 x 25 7/8 in. (50.2 x 65.7cm) [Saphire, pp. 238-239, 286-287] $800-1,200

8 PABLO PICASSO (spanish, 1881–1973) “EXPOSITION 1958 VALLAURIS” 1958, signed in blue crayon and numbered 72/175 (there were also 25 artist’s proofs and 100 unsigned impressions on offset vellum), with margins, Arnéra, Vallauris, publisher. Color linocut on Arches. image: 25 1/8 x 20 7/8 in. (63.8 x 53cm) sheet (trimmed): 30 x 25 7/16 in. (76.2 x 64.6cm) [Bloch, 1284; Baer, 1050; see Czwiklitzer, 27] $3,000-5,000

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9 AFTER GEORGES BRAQUE (french, 1882–1963) “LES OISEAUX BLEUS” from “verve” vol. 8 1955, pencil signed and numbered 13/75, with wide margins, Mourlot, Paris, printer. Color lithograph on wove paper. image: 11 3/4 x 9 1/4 in. (29.8 x 23.5cm) sheet: 14 13/16 x 11 1/16 in. (37.6 x 28.1cm) $800-1,200

10 GEORGES BRAQUE (french, 1882–1963) “ATHÊNÊ” 1932, pencil signed and numbered 62/75, with wide margins, published by the artist, Paris. Color lithograph on wove paper. image: 14 1/4 x 11 5/8 in. (36.2 x 29.5cm) sheet: 19 7/8 x 15 in. (50.5 x 38.1cm) [Vallier, 19] $2,000-3,000

11 MARIO RADICE (italian, 1898–1987) “COMPOSIZIONE M.N.D.2” Signed bottom left, signed again and inscribed with title on stretcher bar verso, oil on burlap. Executed in 1954. 27 1/4 x 27 1/4 in. (69.2 x 69.2cm) provenance: The Artist’s Studio. Private Collection, New York, New York. Private Collection, Arlington, Virginia. exhibited: “XXVII Biennale di Venezia,” Venice, June 19 - October 17, 1954. “The Parker Exhibition of Contemporary Italian Painting,” The Parker Pen Company, Jenesville, Wisconsin, 1959 - 1960, p. 38 (illustrated in the exhibition catalogue). “Mario Radice,” Galleria Annunciata, Milan in collaboration with Marlborough Galleria, d’Arte, Rome, October 25 - November 13, 1972, no. 14, p. 17 (illustrated in the exhibition catalogue). literature: L. Caramel, Radice, Catalogo Generale, Milan, 2002, no. 1954 6, p. 201 (illustrated). $3,000-5,000

orn and trained in the arts in his native China, Zao Wou-Ki moved to Paris in 1948. There, exposed to the philosophies of abstraction and expressionism espoused by many of the modern masters whom he befriended and worked alongside, Zao developed a unique style that balanced – often with breathtakingly harmonious results - Eastern and Western visual traditions. “Ciel de Paris” is an excellent example of the work that Zao created during his early years in the French capital. Rendered in ink and watercolor on paper, this intimate drawing displays the delicate brushwork and sensitive hand so admired in the artist’s very best drawings. As New York Times art critic Roberta Smith remarked in a 2016 review, “throughout his life, and in whatever style, he seems to have always been more comfortable on paper than canvas…”1 This affinity for working on paper is evident in the present piece, in which so many visual elements play in tandem with one another. Zao delicately layers his inks, creating softly diffuse backgrounds and energetic swipes of ink across the page, interspersing them with tiny bursts of blue dots amidst gently drawn abstract forms. Soft and elegant, and yet radiating with a quiet energy, “Ciel de Paris” captivates its viewer. Freeman’s is delighted to bring to auction this fine drawing, which has been in the same family collection for nearly fifty years.

12 ZAO WOU-KI (chinese/french, 1920–2013) “CIEL DE PARIS” Signed, signed again in Chinese and dated 54 bottom right, titled and inscribed with medium verso, watercolor and ink on paper. 9 7/8 x 12 7/8 in. (25.1 x 32.7cm) provenance: Cadby-Birch Gallery, New York, New York. The Collection of Helen and Phil Casady (acquired directly from the above circa 1954). By family descent. The Collection of Robert L. Patten, Houston, Texas and Santa Fe, New Mexico (acquired circa 1970). By family descent. Private Collection, Pennsylvania. exhibited: “Works from the Casady Collection,” The New Mexico Museum of Art, Santa Fe, New Mexico, October 1970. note: This lot is accompanied by a photo-certificate of authenticity issued by the Fondation Zao Wou-Ki, and signed by Françoise Marquet, the artist’s widow and President of the Fondation Zao Wou-Ki. $50,000-80,000

Roberta Smith, “Abstract Fusion Master,” The New York Times, September 8, 2016.

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13 ZAO WOU-KI (chinese/french, 1920–2013) “VOILES À LA MER” 1953, pencil signed and dated, numbered 87/120 (there were also 18 artist’s proofs and an edition of 50 in two colors), with full margins, La Hune, Paris, publisher. Color lithograph on BFK Rives. image: 14 1/4 x 19 1/4 in. (36.2 x 48.9cm) sheet: 19 5/8 x 25 3/4 in. (49.8 x 65.4cm) [Ågerup, 81] $3,000-5,000

14 SERGE POLIAKOFF (russian, 1906–1969) “LE PONT ROYAL” Signed bottom right, dated and dedicated ‘To Mable Downs from Serge Poliakoff, Paris 17 V 33’ on stretcher bar verso, oil on canvas. Executed in 1933. 15 x 18 1/8 in. (38.1 x 46cm) Unframed provenance: The Estate of Brigadier General James W. Younger, Paris, France. Private Collection, Mobile, Alabama (acquired from the above). note: This work is registered in the Archives of Serge Poliakoff under no. 933003. $10,000-15,000

the collection of

david & ruth robinson eisenberg

Lots 15 - 35 Freemanâ&#x20AC;&#x2122;s is pleased to offer a number of works of art from the distinguished collection of the Eisenberg family. These works, currently owned by Howard Eisenberg, have descended from the collection of Howardâ&#x20AC;&#x2122;s parents, David and Ruth Robinson Eisenberg. Over a period of 50 years, David and Ruth Eisenberg collected prints by North American artists throughout the United States and Canada. The collection contains a wide variety of artists and genres, and includes an extensive number of Depression Era prints made under the auspices of the Works Progress Administration in the latter half of the 1930s. The Eisenbergs have donated a large portion of their collection, including approximately 1300 works of art, to the Zimmerli Art Museum of Rutgers University, located in New Brunswick, New Jersey. Many of these works, along with the works of numerous other artists, are currently on display in the Eisenberg Gallery of the Zimmerli.

15 MARTIN LEWIS (american, 1881–1962) “HA’NTED” 1932, pencil signed and dedicated, one of 107 recorded impressions including 2 trial proofs, with wide margins. Drypoint and etching on wove paper. image: 13 x 8 3/4 in. (33 x 22.2cm) sheet (approx.): 16 1/16 x 11 5/8 in. (40.8 x 29.5cm) [McCarron, 100] Unframed provenance: Associated American Artists, New York, New York. David & Ruth Robinson Eisenberg, Lakewood, New Jersey (acquired directly from the above in 1986). By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $4,000-6,000

Martin Lewis is undoubtedly one of the great masters of American print-making, and is best known for his black and white intaglio prints, often nocturnal scenes of life in New York City. In 1932, however, he left Manhattan for Connecticut, where he lived for the next four years. During this time, Lewis explored subjects related to the countryside. “Ha’nted” is an excellent example of his work from this period. An etching, it encapsulates the particular qualities of the medium, which Lewis once described as “a direct statement of form and line and implication of color. The range is from black to white and the delicacy of the tones that lie between is heightened by contrast with the sharp and incisive quality of line.”1 The present print certainly does exhibit Lewis’s affinity for the etching technique. Its rich surface and subtle gradations of tone and texture are hallmarks of his style, as are the expressive use of light and shadow. These technical achievements enhance the mysterious narrative and evocative quality of this very fine print.

Paul McCarron, The Prints of Martin Lewis: a Catalogue Raisonné, Bronxville: Meg Hausberg, 1995, p. 18.

16 MARTIN LEWIS (american, 1881–1962) “AIRING THE FAMILY” Signed bottom left, watercolor on paper. Executed circa 1929. 20 7/8 x 17 3/4 in. (53 x 45.1cm) provenance: The Collection of Patricia Lewis. The Collection of John P. Axelrod, Boston, Massachusetts. Childs Gallery, Boston, Massachusetts. David & Ruth Robinson Eisenberg, Lakewood, New Jersey (acquired directly from the above in 1985). By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. exhibited: “Martin Lewis,” Herbert F. Johnson Museum of Art at Cornell University, Ithaca, New York, March 16 - April 24, 1983. cat no. TR1599.5. $5,000-8,000

18 GERALD KENNETH GEERLINGS (american, 1897–1998) “BLACK MAGIC” 1929, pencil signed and titled, from the edition of 100, with wide margins, printed by the artist and Charles Welch. Etching and aquatint on HGW watermark laid paper. image: 11 5/8 x 6 1/2 in. (29.5 x 16.5cm) sheet: 17 1/8 x 10 11/16 in. (43.5 x 27.1cm) [Czestochowski, 6] Unframed provenance: Associated American Artists, New York, New York. David & Ruth Robinson Eisenberg, Lakewood, New Jersey (acquired directly from the above in 1986). By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. note: According to Czestochowski, this print marks the first time Geerlings used aquantint as a printing method. It relates to three drawings in the collection of the Princeton University Art Museum. $3,000-5,000

17 LOUIS LOZOWICK (american/russian, 1892–1973) “TANKS #3” 1930, pencil signed and dated, from the edition 10, with full margins. Lithograph on BFK Rives. image: 16 1/8 x 7 9/16 in. (41 x 19.2cm) sheet: 22 9/16 x 15 3/4 in. (57.3 x 40cm) [Flint, 71] provenance: Leibson Associates, New York, New York. David & Ruth Robinson Eisenberg, Lakewood, New Jersey (acquired directly from the above in 1985). By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $2,000-3,000

19 CLARE LEIGHTON (american/english, 1898-1989) “THRESHING: MARCH” from “the farmer’s year” 1933, pencil signed and titled, numbered 2/30, with wide margins, Collins, London, publisher. Wood engraving on paper. image: 7 7/8 x 10 5/16 in. (20 x 26.2cm) sheet: 10 3/16 x 13 15/16 in. (25.9 x 35.4cm) Unframed provenance: Associated American Artists, New York, New York. David & Ruth Robinson Eisenberg, Lakewood, New Jersey (acquired directly from the above in 1983). By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $800-1,200

20 RAPHAEL SOYER (american, 1899–1987) “WASHINGTON SQUARE” 1929-1930, pencil signed and titled, from the edition of approximately 15, with margins. Lithograph on BFK. image: 7 7/8 x 7 in. (20 x 17.8cm) sheet: 15 13/16 x 11 7/16 in. (40.2 x 29.1cm) [Cole, 17] Unframed provenance: David & Ruth Robinson Eisenberg, Lakewood, New Jersey. By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $1,000-1,500

21 REYNOLDS BEAL (american, 1867–1951) “ZELISH” Signed and titled bottom left, pencil on paper. Executed circa 1916. 9 7/8 x 13 7/16 in. (25.1 x 34.1cm) provenance: David & Ruth Robinson Eisenberg, Lakewood, New Jersey. By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $800-1,200

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ith sweeping angular lines and sharply contrasting blocks of color, Sybil Andrews’ “Speedway,” in both subject and execution is an iconic example of the Grosvenor school’s innovative printmaking of the 1930’s. Led by instructor Claude Flight, artists of the school sought to convey the ever-increasing speed and mechanization of all things in the new modern era. The artists worked primarily with linoleum cuts; prints which were characterized by clean color, contrast and sweeping line, and were devoid of organic nuance. Indeed, “Speedway” depicts a decidedly fast-paced innovation of the 1930’s: motorbike track racing, which swept into popularity in 1930’s England. Here, three identical forms race in a neat arc from the upper right to the lower left of the composition. The riders are reduced to three identical, highly stylized forms with goggles, reflective helmets and angled, simplified limbs that are one with their motorbikes. Dirt kicked up by the weighty wheels is implied by arcs of sharp, thin lines of color that echo the speed and visual rhythm of the overall composition. Andrews used just four distinct colors in Speedway --- raw sienna, venetian red, permanent blue, and Chinese blue. Colors here, like speed and automation, are pure, and design is tantamount. Sybil Andrews, who initially worked as an employee of the school to pay for her courses, was ultimately seen as one of the most innovative artists of the Grosvenor school. The present work, which was originally conceived as a poster commission for the London Passenger Transport Board in the 1930’s, is often pointed to as the most iconic image of the era, and was even selected as the cover for the Stephen Coppel, Linocuts of the Machine Age.

22 SYBIL ANDREWS (british/canadian, 1898–1992) “SPEEDWAY” 1934, pencil signed and titled, numbered 22/60 (there were also 5 trial proofs), with margins. Color linocut on tissue-thin laid Japan. image: 12 13/16 x 9 1/8 in. (32.5 x 23.2cm) sheet: 15 1/8 x 10 3/8 in. (38.4 x 26.4cm) [Coppel, SA 29] provenance: David & Ruth Robinson Eisenberg, Lakewood, New Jersey. By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $60,000-100,000

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23 SYBIL ANDREWS (british/canadian, 1898–1992) “PLOUGHING PASTURE” 1955, pencil signed and titled, numbered 59/60 (there were also 3 trial proofs), with margins. Color linocut on tissue-thin laid Japan. image: 11 1/2 x 15 in. (29.2 x 38.1cm) sheet: 13 x 16 in. (33 x 40.6cm) [Coppel, SA 54] provenance: Mary Ryan Gallery, New York, New York. David & Ruth Robinson Eisenberg, Lakewood, New Jersey (acquired directly from the above in 1986). By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $4,000-6,000

24 HOWARD COOK (american, 1901-1980) “FIESTA” 1933, pencil signed, titled and dated, annotated ‘trial proof’ (a proof before the intended edition of 50, of which 30 were printed), with margins. Etching and drypoint on wove paper. image: 10 7/8 x 14 1/2 in. (27.6 x 36.8cm) sheet (approx.): 11 5/8 x 15 in. (29.5 x 38.1cm) [Duffy, 173] Unframed provenance: Bethesda Art Gallery, Bethesda, Maryland. David & Ruth Robinson Eisenberg, Lakewood, New Jersey (acquired directly from the above in 1984). By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $1,000-1,500

25 GARY RATUSHNIAK (canadian, b. 1957) “UMBRELLAS” 1994, pencil signed and titled, numbered 2/60, with wide margins. Color linocut on Japan. image: 15 5/8 x 11 5/8 in. (39.7 x 29.5cm) sheet: 16 1/8 x 12 11/16 in. (41 x 32.2cm) Unframed provenance: David & Ruth Robinson Eisenberg, Lakewood, New Jersey. By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $1,500-2,500

26 GUSTAVE BAUMANN (american/german, 1881–1971) “SONG OF THE SEA” 1936, pencil signed, stamped with the artist’s hand and heart monograph and titled, numbered I 32/125, with margins, published by the artist. Color woodblock with silver leaf on Zanders laid paper. image: 12 9/16 x 12 11/16 in. (31.9 x 32.2cm) sheet: 16 13/16 x 14 3/16 in. (42.7 x 36cm) Unframed provenance: The Annex Galleries, Santa Rosa, California. David & Ruth Robinson Eisenberg, Lakewood, New Jersey (acquired directly from the above in 1985). By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $5,000-8,000

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Born in 1861 in Portland Maine and the son of a skilled woodcarver, Walter Griffin is perhaps best known for his depictions of coastal towns and impressionist landscapes which consist of mosaic-like impastoed brushstrokes and vibrant swirling colors. Griffin drew inspiration from the decades he spent in Europe and his close contact with the Barbizon school of painters, as well as his close friendship with Childe Hassam and his residency in the Olde Lyme artists’ colony.

27 WALTER GRIFFIN (american, 1861–1935) “STROUDWATER VILLAGE, MAINE” Signed bottom left, signed again and inscribed ‘L-117’ verso, inscribed with title and dated 1919 on the stretcher bar verso, oil on canvas. 18 x 22 in. (45.7 x 55.9cm) provenance: Vose Galleries, Boston, Massachusetts. David & Ruth Robinson Eisenberg, Lakewood, New Jersey (acquired directly from the above in 1976). By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $800-1,200

28 WALTER GRIFFIN (american, 1861–1935) UNTITLED (MOUNTAIN LANDSCAPE) Signed bottom left, pastel on paper. Executed in 1909. 12 1/4 x 16 1/4 in. (31.1 x 41.3cm) provenance: Vose Galleries, Boston, Massachusetts. David & Ruth Robinson Eisenberg, Lakewood, New Jersey. By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $600-1,000

29 WALTER GRIFFIN (american, 1861–1935) UNTITLED (PARIS STREET) Signed bottom right, pastel on paper. Executed in 1912. 7 7/16 x 9 7/16 in. (18.9 x 24cm) provenance: Vose Galleries, Boston, Massachusetts. David & Ruth Robinson Eisenberg, Lakewood, New Jersey. By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $600-1,000

30 WALTER GRIFFIN (american, 1861–1935) UNTITLED (FRENCH AFTERNOON) Signed bottom left, pastel on paper. Executed in 1911. 9 3/16 x 7 3 1/6 in. (23.3 x 18.3cm) provenance: Vose Galleries, Boston, Massachusetts. David & Ruth Robinson Eisenberg, Lakewood, New Jersey. By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $600-1,000

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31 ALDRO THOMPSON HIBBARD (american, 1886–1972) HARBOR SCENE Signed bottom right, oil on board. 15 7/8 x 9 3/8 in. (23.8 x 40.3cm) provenance: David & Ruth Robinson Eisenberg, Lakewood, New Jersey. By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $2,000-3,000

32 REYNOLDS BEAL (american, 1867–1951) DOCKSQUARE, ROCKPORT, MAINE Signed and dated 1927 bottom left, oil on canvas. 24 x 30 in. (61 x 76.2cm) provenance: Vose Galleries, Boston, Massachusetts. David & Ruth Robinson Eisenberg, Lakewood, New Jersey. By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $2,500-4,000

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33 JOHN VON WICHT (american/german, 1888–1970) UNTITLED (CUBIST COMPOSITION) Signed bottom right, gouache on paper. 28 x 20 3/8 in. (71.1 x 51.8cm) Unframed provenance: David & Ruth Robinson Eisenberg, Lakewood, New Jersey. By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $600-1,000

34 JOHN VON WICHT (american/german, 1888–1970) UNTITLED (ABSTRACTION) Signed bottom right, gouache on paper. 19 7/8 x 24 15/16 in. (50.5 x 63.3cm) Unframed provenance: David & Ruth Robinson Eisenberg, Lakewood, New Jersey. By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $600-1,000

35 MORRIS BLACKBURN (american, 1902–1979) LINEAR PATTERN Signed bottom right, watercolor on heavy paper. Executed circa 1940. image: 19 5/8 x 25 5/8 in. (49.8 x 65.1cm) sheet (approx.): 22 x 28 in. (55.9 x 71.1cm) provenance: Dolan/Maxwell, Philadelphia, Pennsylvania. David & Ruth Robinson Eisenberg, Lakewood, New Jersey (acquired directly from the above in 1987). By family descent. Howard Eisenberg, Philadelphia, Pennsylvania. $1,500-2,500

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36 JOHN WELLS (british, 1907–2000) UNTITLED Signed twice, dated 1948 and inscribed ‘Meadow Studio | Trewarveneth | Newlyn, Cornwall’ verso, oil and pencil on canvasboard. 9 7/8 x 13 7/8 in. (25.1 x 35.2cm) provenance: The Artist. George Dix, New York, New York (acquired directly from the above in the late 1940s). By family descent. Private Collection, Charlottesville, Virginia. $8,000-12,000

Freeman’s is pleased to offer the following six lots by Modern British masters John Wells, John Piper and Keith Vaughan, all of which descend from the Collection of George Dix. Dix was stationed in London during the Second World War and remained there for a time afterwards. During this period in England, he befriended many of the luminaries of mid-century British culture, among them Wells, Vaughan and Piper, along with famed sculptor Henry Moore. He maintained these relationships even after his return to America, where he worked as an art dealer in the New York office of the bi-continental gallery Durlacher Brothers. In Manhattan, Dix remained part of the intelligentsia, enjoying the company and friendship of Gore Vidal and Leonard Bernstein, among others. A Virginian originally, Dix would visit family in the South regularly. They fondly recall his trips to their home, where he was sometimes accompanied by the artists whose work he collected, and whose pieces graced their walls as well. We are pleased to offer these works of distinguished provenance for sale, including a John Wells collage dedicated to Dix personally.

37 JOHN WELLS (british, 1907–2000) UNTITLED Pencil signed and dated 1942 bottom right, mixed media on paper. 10 3/4 x 14 1/2 in. (27.3 x 36.8cm) provenance: The Artist. George Dix, New York, New York (acquired directly from the above circa 1945). By family descent. Private Collection, Charlottesville, Virginia. $8,000-12,000

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38 JOHN WELLS (british, 1907–2000) UNTITLED Signed, dated 1955 and inscribed ‘Anchor Studio: Trewarveneth, NEWLYN.’ verso, oil on board laid down to painted board. 15 1/8 x 12 1/16 in. (38.4 x 30.6cm) provenance: The Artist. George Dix, New York, New York (acquired directly from the above in the late 1950s). By family descent. Private Collection, Charlottesville, Virginia (acquired in 1975). $4,000-6,000

39 JOHN WELLS (british, 1907–2000) “RELIEF” Signed, titled and dated 1947, dedicated and inscribed ‘George from John / Newlyn 1951’ verso, collage on panel. 7 1/2 x 9 7/8 in. (19.1 x 25.1cm) provenance: The Artist. George Dix, New York, New York (acquired directly from the above circa 1951). By family descent. Private Collection, Charlottesville, Virginia. $3,000-5,000

40 JOHN PIPER (british, 1903–1992) BOLSOVER CASTLE Signed bottom left, mixed media on paper. 20 1/2 x 28 1/4 in. (52.1 x 71.8cm) provenance: The Artist. George Dix, New York, New York (acquired directly from the above). By family descent. Private Collection, Charlottesville, Virginia. $10,000-15,000

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“i believe the whole problem of the painter is to deal, in some way or other, with the human situation…as far as i’m concerned the figure is the subject with which i am constantly, obsessively occupied…i believe a painter has only one basic idea, which probably lasts him a lifetime. mine is the human figure.” 1

he human figure – and most particularly the male nude – is the enduring and iconic thread woven throughout the fabric of the remarkable career of British Modernist Keith Vaughan. Through his exploration of this subject, Vaughan confronted challenges both compositional and psychological, synthesizing formal and emotional elements in service of one another and creating works of art that examine all at once the “human situation”, his own personal biography and his uniquely modern artistic sensibilities.

Vaughan completed “Departure” in 1965, an especially important and productive year in the artist’s output of gouaches. As he remarked in a journal entry from July of that year, “I start the day with gouache…I have been doing it since last November. Like everything else – compulsive…I have done more gouaches than ever can be shown or sold. Yet I continue to do them because there is nothing else I can do.”2 Vaughan’s particular talent for the medium is evident in the present work, in which he utilized his characteristic “frothing” technique, agitating his pigments with soap residue from his brush, which allowed him to create a bubbling effect on the surface of the paper. The resulting dynamic surface activates his work and is a method Vaughan would continue to use throughout his career. Not only does “Departure” exemplify Vaughan’s ingenuity in the medium of gouache, but it is also a fine example of his favored subject. Featuring an assemblage of nudes in a landscape, the present work depicts a compelling and enigmatic narrative. The two figures in the foreground are saying some sort of farewell. Just beyond them, one figure kneels on all fours, a reference to a depiction of Narcissus in a past painting by the artist. To Narcissus’s side stands a lone man, looking upward toward a darkened sky. It is unclear if all the men are sharing in one narrative or if multiple stories are taking place simultaneously. Vaughan has constructed a flattened, abstract space of rhythmic planes, and one cannot be certain how the landscape and the figures populating it relate to one another. Yet, a certain intimacy prevails, the painting and its inhabitants tied together by the artist’s use of color and form. Blues and grays dominate the composition, and the figures – whether directly interacting or not – share similar formal qualities, their bodies rendered in flattened geometries, their faces either blocked by one another or rendered anonymous by a spectral lack of features. Questions are asked and left unanswered, and yet “Departure” presents us with a quietly lovely and poetic rumination on the “human situation” which Vaughan sought to examine.

41 KEITH VAUGHAN (british, 1912–1977) DEPARTURE Signed and dated 65 bottom right, India ink, gouache and oil pastel on tissue-thin paper. 19 5/8 x 15 5/8 in. (49.8 x 39.7cm) provenance: The Artist. George Dix, New York, New York (acquired directly from the above). By family descent. Private Collection, Charlottesville, Virginia. note: We are grateful to Gerard Hastings, whose latest book Keith Vaughan: The Graphic Art, will be published by Pagham Press in association with the Keith Vaughan Society later in the year, for his assistance cataloguing this work. $20,000-30,000

1 2

The Artist as quoted in: Noel Barber, “Conversation with Keith Vaughan,” The Keith Vaughan Society. Keith Vaughan, Journal: July 26, 1965.

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42 BENITO REBOLLEDO CORREA (chilean, 1881–1964) “NIÑOS EN LA PLAYA” Signed bottom left, oil on canvas. 19 1/4 x 25 3/4 in. (48.9 x 65.4cm) provenance: The Collection of Eugenio Mandiolo Solar. The Collection of Eduardo Gaete Darrouy (acquired from the above in 1986). Private Collection, Florida. By family descent. Private Collection, Florida. exhibited: “El Mar En La Pintura,” Casino Municipal de Viña del Mar, Viña del Mar, Chile, n.d. $3,000-5,000

43 FELIPE CASTENEDA (mexican, b. 1933) UNTITLED (CROUCHING WOMAN) 1979, signed and dated, numbered II/VII on the bottom edge of the left foot. Bronze with green patina on wood base. height: 13 3/4 in. (34.9cm) width: 12 1/2 in. (31.8cm) depth: 11 3/4 in. (29.8cm) (dimensions include base) provenance: Private Collection. Freeman’s, Philadelphia, “Fine American & European Paintings & Sculpture,” June 26, 2005, lot 47. Private Collection, New York, New York (acquired directly from the above sale). Freeman’s, Philadelphia, “Modern & Contemporary Art,” May 5, 2013, lot 93. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above sale). $3,000-5,000

44 JORGE JIMÉNEZ DEREDIA (costa rican, b. 1954) “GÉNESIS DE PAPAGAYO” 2004, signed and numbered 2/6, and with the Fonderia Artistica Da Prato, Pietrasanta, Italy stamp at bottom right edge. Bronze with black patina. height: 21 1/4 in. (54cm) width: 56 in. (142.2cm) depth: 27 in. (68.6cm) provenance: Private Collection, Florida. By family descent. Private Collection, Florida. literature: Pierre Restany and Jiménez-Deredia, “Plenitud bajo el cielo : Jiménez Deredia,” 2001, p. 102 (another cast illustrated). $20,000-30,000

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45 FRANCISCO ZÚÑIGA (mexican, 1912–1998) “DOS MUJERES EN PIE” 1964, signed and dated, numbered I/III on the base of the sculpture verso. Bronze with green patina on wood base. height: 17 1/2 in. (44.5cm) width: 9 1/4 in. (23.5cm) depth: 5 3/4 in. (14.6cm) (dimensions include base) provenance: Galeria Bryna, Mexico City, Mexico. Private Collection, Haverford, Pennsylvania (acquired directly from the above in 1967). note: We are grateful to Mr. Ariel Zúñiga for his assistance in confirming the authenticity of this work, which will be included as number 445A1 in the forthcoming revised version of volume I of the artist’s catalogue raisonné, currently in preparation. This work will also be accompanied by a photocopy of a certificate signed by Francisco Zuñiga, issued by Galeria Bryna and dated January 5, 1967. $12,000-18,000

46 FRANCISCO ZÚÑIGA (mexican, 1912–1998) “EVELIA SENTADA” 1972, signed and dated, numbered 0/VIII on the base of the sculpture verso. Bronze with black patina. height: 24 1/2 in. (62.2cm) width: 16 in. (40.6cm) depth: 14 1/2 in. (36.8cm) (dimensions include base) [Albedrio & Fundacion Zuñiga Laborde, 561] provenance: Private Collection, Florida. By family descent. Private Collection, Florida. literature: Francisco Zúñiga: Catálogo Razonado, Volumen I, Escultura, 19231993, Albedrío & Fundación Zúñiga Laborde, A. C., Mexico, 1999, p. 332, no. 561 (another cast illustrated). note: We are grateful to Mr. Ariel Zúñiga for his assistance in confirming the authenticity of this work, which will be accompanied by a photocopy of a certificate issued by La Fundación Zúñiga Laborde A.C. and dated December 19, 2007. $10,000-15,000

47 VINCENTE FORTE (argentine, 1912-1980) “CONCIERTO CON PAJARO” Signed and dated 67 bottom right, signed again, titled and dated 66 verso, oil on canvas. 29 1/2 x 59 in. (74.9 x 149.9cm) provenance: Private Collection, Buenos Aires, Argentina (acquired in the late 1960s). By family descent. Private Collection, Virginia $4,000-6,000

48 RUFINO TAMAYO (mexican, 1899–1991) “MUJER CON LOS BRAZOS EN ALTO” 1976, pencil signed and numbered 3/140 (there were also 20 artist’s proofs in Roman numerals), Transworld Art, New York, publisher and with their blindstamp. Color mixograph on wove paper. sheet: 29 5/16 x 22 1/4 in. (76 x 56.5cm) [Pereda, 224] $2,000-3,000

49 RUFINO TAMAYO (mexican, 1899–1991) “DOS FIGURAS” 1976, signed in white crayon and numbered 25/140 (there were also 20 artist’s proofs in Roman numerals), the full sheet, Transworld Art, New York, publisher and with their blindstamp. Color mixograph on wove paper. sheet: 22 1/4 x 29 7/8 in. (56.5 x 75.9cm) [Pereda, 220] $1,500-2,500

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50 three works on paper FRANCIS NEWTON SOUZA (indian, 1924–2002) UNTITLED (STILL LIFE) Signed and dated 98 top right, inscribed with estate inventory number verso, mixed media and chemical alteration on printed magazine paper. 10 3/4 x 9 in. (27.3 x 22.9cm) Unframed and: UNTITLED (FACE) Signed and dated 98 top left, inscribed with estate inventory number verso, mixed media and chemical alteration on printed magazine paper. 11 3/4 x 8 9/16 in. (29.8 x 21.7cm) Unframed and: UNTITLED (FIGURE) Signed and dated 98 top center, inscribed with estate inventory number verso, mixed media and chemical alteration on printed magazine paper. 10 3/4 x 9 in. (27.3 x 22.9cm) Unframed provenance: The Estate of the Artist. Private Collection, Georgia. $2,000-3,000

51 three drawings FRANCIS NEWTON SOUZA (indian, 1924–2002) UNTITLED (HEAD) Signed and dated 64 top left, inscribed with estate inventory number verso, pencil on paper. 12 x 9 in. (30.5 x 22.9cm) Unframed and: UNTITLED (BUST) Signed and dated 66 top left, inscribed with estate inventory number verso, felt-tip pen on paper. 11 x 17 in. (27.9 x 43.2cm) Unframed and: UNTITLED (NUDE) Signed and dated 1966 top center left, inscribed with estate inventory number verso, felt-tip pen on paper. 17 x 11 in. (43.2 x 27.9cm) Unframed provenance: The Estate of the Artist. Private Collection, Georgia. $5,000-8,000

52 KAREL APPEL (dutch, 1921–2006) “HEAD II” Signed and dated 1962 verso, oil on canvas. 18 x 13 in. (45.7 x 33cm) provenance: Makler Gallery, Philadelphia, Pennsylvania. Private Collection, Haverford, Pennsylvania (acquired directly from the above in 1967). $15,000-25,000

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53 HARRY BERTOIA (american, 1915–1978) UNTITLED (MONOTYPE) Monotype on thin rice paper. Executed in 1965. sheet: 10 1/4 x 15 13/16 in. (26 x 40.2cm) provenance: The Artist. Theatre of the Living Arts, Philadelphia, Pennsylvania. Mr. & Mrs. Jack Wolgin, Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above). $800-1,200

54 KLAUS IHLENFELD (german, born after 1934) BED OF NAILS Bronze with green patina. diameter: 5 1/2 in. (14cm) provenance: Private Collection, Gwynedd, Pennsylvania. $1,000-1,500

55 HARRY BERTOIA (american, 1915–1978) UNTITLED (SHOT FUSION) Bronze shot fused via welding on copper stem and base. Executed circa 1965. height: 11 in. (29.9cm) width: 8 in. (20.3cm) depth: 6 in. (15.2cm) provenance: Private Collection, Philadelphia, Pennsylvania (gifted in 1968). note: This lot is accompanied by a certificate of authenticity issued by the Harry Bertoia Foundation and signed by Celia Bertoia, Director. $15,000-20,000

“These beads or bronze shot were sometimes in the bottom of wooden shipping crates of rod supplies for tonals, and were considered waste materials by the metal suppliers. Harry liked them, and began to experiment with them. Harry was, perhaps, one of the first ecologically minded sculptors, as he enjoyed making use of every scrap of metal that came his way. He would pile the shot together on his asbestos plate to heat and weld them. At times, to create a particular effect, he would place one bead at a time and weld it on the desired spot; very painstaking work. He started to order them specifically from the suppliers (who probably thought he was crazy). One can see how this one, and most of the fused shot sculptures, had more of a squarish shape than rounded. That was because he had to create the plates on a surface first, and then weld the shot plates together. This experimentation took place after normal shop hours when he was alone. He played around with this technique for several years until he felt he had explored most options, and then let it go.“ - Celia Bertoia, Director of the Harry Bertoia Foundation

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56 HARRY BERTOIA (american, 1915–1978) UNTITLED (SONAMBIENT) Beryllium copper rods and cylinders silvered to brass base. Executed circa 1970. height: 22 3/4 in. (57.8cm) width: 7 7/8 in. (20cm) depth: 7 7/8 in. (20cm) provenance: Private Collection, Haverford, Pennsylvania. note: This lot is accompanied by a certificate of authenticity issued by the Harry Bertoia Foundation and signed by Celia Bertoia, Director. $15,000-25,000

57 GEORGE RICKEY (american, 1907–2002) “A GIRL’S BEST FRIEND” A Plexiglas and steel mobile. Executed in 1953. height (approx.): 23 1/2 in. (59.7cm) width: 28 in. (71.1cm) provenance: Maxwell Davidson Gallery, New York, New York. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above in 2010). exhibited: “Mobile Sculptures by George Rickey,” John Herron Art Museum, Indianapolis, Indiana, January 4 - 25, 1953. literature: Maxwell Davidson III, George Rickey: The Early Works, Atglen, Pennsylvania : Schiffer, 2004, p. 42 (illustrated). $30,000-50,000

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58 ROMARE BEARDEN (american, 1911–1988) ST. MARTIN WITH RECLINING FEMALE FIGURE Signed bottom left, collage on board. 12 1/4 x 8 3/8 in. (31.1 x 21.3cm) provenance: The Artist. Private Collection, Long Pond, Pennsylvania (acquired directly from the above). $20,000-30,000

“Art will go where the energy is. I expect a convincing outpouring of creative energy from lands touched by the Caribbean Sea.”1 St. Martin was a major source of artistic inspiration and rejuvenation for Romare Bearden, who sought refuge on the island beginning in the early 1960s when the stresses of New York City began to take their toll. Bearden often spoke of St. Martin as a “mystical place where the mythology that makes life bearable could still be found.”2 The artist began incorporating island imagery into his work around this time, often depicting nudes within a vibrant forest setting. These images remained an enduring inspiration through the latter half of his career, and are consistent themes of his collages and paintings until his death in 1988.

1 2

The Arist as quoted in: Sally Price and Richard Price, Romare Bearden, Philadelphia, University of Pennsylvania Press, 2006, p. 50 Ibid, p 49.

59 CAROLEE SCHNEEMANN (american, 1939-2019) SUMMER II Signed and dated 7/60 top right, signed again on the stretcher bar verso, oil with mixed media collage on canvas. 22 5/8 x 43 3/4 in. (57.5 x 111.1cm) provenance: The Artist. Private Collection, Wellfleet, Massachusetts (gifted directly from the above). $3,000-5,000

Throughout the course of her career, groundbreaking multidisciplinary artist Carolee Schneemann explored a variety of media as vehicles to confront and redefine controversial societal taboos concerning subjects such as femininity, gender, morality and sexuality. Though perhaps best known for her provocative performance art, Schneemann always identified herself first and foremost as a painter. Said the artist in 1993, “I’m still a painter and I will die a painter. Everything that I have developed has to do with extending visual principles off the canvas.”1 Yet her initial foray in the 1960s into the male-dominated medium caused the realization that “the brush belonged to abstract expressionist male endeavor. The brush was phallic.”2 Though she never gave up painting, this experience spurred her exploration into other media such as film, dance, theater and performance, which allowed her to position her own body within her work and perform the roles of “both image and image-maker.” The present lots are rare examples from the early phase of her artistic career, similar examples of which were exhibited in the Museum of Modern Art’s retrospective exhibition “Kinetic Painting” last year. 1 2

The Artist as quoted in: “Carolee Schneemann,” Art in America, November 3, 2016. The Artist as quoted in: Glenn Harper, ed., Interventions and Provocations: Conversations on Art, Culture, and Resistance, New York: State University of New York Press, 1998, p. 206.

60 CAROLEE SCHNEEMANN (american, 1939-2019) UNTITLED Signed and dated 7/63 bottom right, signed and dated again and located ‘’Meyersville, NJ’ verso, mixed media collage on panel. 18 1/4 x 22 in. (46.6 x 55.9cm) provenance: The Artist. Private Collection, Wellfleet, Massachusetts (gifted directly from the above). $1,000-2,000

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hroughout his artistic career, Abstract Expressionist Sam Francis often spoke of being intoxicated with light. This fascination began at the time he started painting, during the four years he was hospitalized for spinal tuberculosis in his early twenties. An aspiring physician with no prior painting experience, Francis turned to the medium as a means of recovery and distraction during his forced state of immobility. A particular source of inspiration in his work during this period was the dancing light on his bedroom ceiling, and the bold colors of the dawn and sunset sky which he often watched while confined to his hospital bed. Thereafter he commenced on a lifelong investigation into the perception of light and color, a pursuit that came to define his oeuvre. What interested the artist specifically was “the quality of light itself, not just the play of light and shadow but the substance of which light is made.”1 He sought to make each painting “a source of light,” commenting, “When I paint, I try to create the feeling of being in it.”2

Executed between 1958 and 1959, “Red and Blue” was painted at a major turning point in Sam Francis’ career. At this time he began to explore the compositional power of the background itself and the underutilized white color that had until then only acted as a support. Previously, Francis’ paintings were largely composed of single, variegated colors which filled the entire space of the canvas. In the early 1950s, the artist had been living in Paris and had drawn inspiration from his contact with the work of French Impressionists and Post-Impressionists such as Pierre Bonnard, Claude Monet and Paul Cezanne. The influence of their explorations in color and the shifting effects of light is clearly reflected in his paintings from this period, which were often dominated by luminous, densely layered monochromes that he juxtaposed with equally bold contrasting hues that covered the expanse of the canvas. In this way, Francis was also linked with Expressionist artists such as Mark Rothko, Clyfford Still and Arshile Gorky. However, after a trip around the world in 1957, the artist’s treatment of light and color shifted dramatically. Francis traveled extensively to locations such as Mexico, New York, Hong Kong, Thailand and India, but it was the months he spent living and working in a Japanese temple that proved to be the most impactful. What specifically interested Francis was the East Asian philosophical preoccupation with the void, and its reflection in their artistic utilization of negative space. Thus, Francis pivoted from his concern with color and instead focused on harnessing the power of white. He no longer treated it simply as a support but as a dynamic element that challenged and interacted with the other colors on the canvas. These white areas engaged in active dialogue with the surrounding colors and visually structured the work by directing colors into patterns, at once amplifying and diminishing the intensity of tones. Of this radical shift in composition, Curator William Agee says: “With this new openness, we are given more breathing room in which to move around the paint and the surface, with areas of white now modulating the color zones, pulling them back as we would part a curtain and affording us a glimpse of another kind of space…the space of infinity.”3 Dominated by a luminous white space enlivened by subtle drips of pigment and counterbalanced by vibrant jewel-toned strokes of paint, “Red and Blue” is a celebration of color, light and space; a synthesis of vitality and serenity; the contained and the infinite. Its iridescent surface seemingly shimmers in a state of perpetual flux, as if light itself emanates from within the painting. The present work is an important example from an extremely momentous period of Sam Francis’ career and was included in major exhibitions at the Art Institute of Chicago, the Sidney Janis Gallery and the Santa Barbara Museum of Art. 1

The artist, as quoted in P. Selz, Sam Francis, New York, 1975, p. 34 The artist, as quoted in “New Talent,” Time, New York, January 1956, p. 72 3 Debra Burchett-Lere, ed., Sam Francis: Catalogue Raisonné of Canvas and Panel Paintings 1946-1994, Berkeley, 2011, p. 74 2

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61 SAM FRANCIS (american, 1923–1994) “RED AND BLUE” Signed with initials bottom right, signed again and dated 1958-59 verso, acrylic on paper mounted to canvas. 39 5/8 x 26 5/8 in. (100.7 x 67.6cm) provenance: Klipstein & Kornfeld, Bern, “Moderne Kunst,” May 25, 1962, lot 362. Sidney Janis Gallery, New York, New York (acquired directly from the above sale). Mr. & Mrs. Leigh Block, Chicago, Illinois. Sotheby’s, New York, “Paintings, Drawings and Sculpture from the Collection of Mr. and Mrs. Leigh B. Block,” May 20, 1981, lot 364. Barbara Divver Fine Art, New York, New York (acquired directly from the above sale). The Charles & Marcia McCrae Family Collection (acquired directly from the above in 1984). By family descent. Private Collection, Pennsylvania. exhibited: “Twenty-Seventh Annual Exhibition by the Society for Contemporary American Art,” The Art Institute of Chicago, Chicago, Illinois, April 7 - May 21, 1967. “2 Generations: Picasso - Pollock,” Sidney Janis Gallery, New York, January 3 27, 1967, no. 21 (illustrated in the exhibition catalogue). “Works by Living Artists from the Collection of Mr. and Mrs. Leigh B. Block,” Santa Barbara Museum of Art, Santa Barbara, California, February 11 - April 9, 1978, no. 12 (illustrated in the exhibition catalogue). note: This work is identified with the interim identification number of SF58-139A in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. $200,000-300,000

62 SAM FRANCIS (american, 1923–1994) UNTITLED (SFE-070) 1989, pencil signed and numbered 4/20 (there were also 3 artist’s proofs), with wide margins, The Lithoshop, Inc., Santa Monica, California, publisher and with their blindstamp. Color aquatint on wove paper. image: 35 3/4 x 23 3/4 in. (90.8 x 60.3cm) sheet: 46 7/16 x 32 11/16 in. (118 x 83cm) [Lembark, I104] $3,000-5,000

63 SAM FRANCIS (american, 1923–1994) “AN 8 SET - 6” from the “pasadena box” 1963, pencil signed and numbered 87/100 (there were also an unknown number of artist’s proofs), with full margins, Pasadena Art Museum, Pasadena, California, publisher. Color lithograph on wove paper. image: 17 3/4 x 13 1/4 in. (45.1 x 33.7cm) sheet: 19 1/4 x 14 7/8 in. (48.9 x 37.8cm) [Lembark, L62] $2,000-3,000

64 ASGER JORN (danish, 1914–1973) “RICANEMENT INTERIEUR” Signed and dated 66 bottom right, watercolor on paper. 10 1/2 x 7 7/8 in. (26.7 x 20cm) provenance: LeFebre Gallery, New York, New York. Private Collection, Gwynedd, Pennsylvania (acquired from the above in 1967). $3,000-5,000

65 JOHN LITTLE (american, 1907–1984) UNTITLED (COLLAGE) Signed bottom right, collage on masonite laid down to painted canvas on panel. 30 x 28 in. (76.2 x 71cm) Unframed provenance: Bertha Shaefer, New York, New York. Private Collection, Michigan. $3,000-5,000

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66 ADOLPH GOTTLIEB (american, 1903–1974) “CHROME GREEN” 1972, pencil signed and dated, numbered 82/150, with wide margins, Marlborough Graphics, Inc., New York, publisher. Color screenprint on wove paper. image: 24 x 17 3/4 in. (61 x 45.1cm) sheet: 36 x 27 3/8 in. (91.4 x 69.5cm) [Associated American Artists, 75] $1,500-2,500

67 ADOLPH GOTTLIEB (american, 1903–1974) “PINK GROUND” 1972, pencil signed and dated, numbered 122/150, with wide margins, Marlborough Graphics, Inc., New York, publisher. Color screenprint on wove paper. image: 24 x 17 3/4 in. (61 x 45.1cm) sheet: 36 x 27 1/2 in. (91.4 x 69.9cm) [Associated American Artists, 77] $1,500-2,500

68 ADOLPH GOTTLIEB (american, 1903–1974) “FLURRY” 1967, pencil signed and dated, numbered 53/75 (there were also several unnumbered artist’s proofs), Marlborough Graphics, Inc., New York, publisher. Color screenprint on wove paper. sheet: 22 x 30 in. (55.9 x 76.2cm) [Associated American Artists, 50] $1,500-2,500

69 ADOLPH GOTTLIEB (american, 1903–1974) “ORANGE OVAL” 1972, pencil signed and dated, numbered 33/150, with wide margins. Color screenprint on wove paper. image: 18 7/8 x 23 7/8 in. (47.9 x 60.6cm) sheet: 27 7/16 x 35 15/16 in. (69.7 x 91.3cm) [Associated American Artists, 72] $2,000-3,000

70 ADOLPH GOTTLIEB (american, 1903–1974) “GREEN FOREGROUND” 1972, pencil signed and dated, numbered 107/150, with wide margins, Marlborough Graphics, Inc., New York, publisher. Color screenprint on wove paper. image: 22 x 24 in. (55.9 x 61cm) sheet: 27 1/2 x 36 in. (69.9 x 91.4cm) [Associated American Artists, 76] $1,500-2,500

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71 ADOLPH GOTTLIEB (american, 1903–1974) UNTITLED from “prints for phoenix house” 1972, pencil signed and dated, numbered 42/125, with full margins, Brooke Alexander Editions, New York, publisher. Color etching and aquatint on wove paper. image: 23 3/8 x 17 5/8 in. (59.4 x 44.8cm) sheet: 31 3/4 x 24 1/16 in. (80.6 x 61.1cm) [Associated American Artists, 78] $1,000-2,000

72 ADOLPH GOTTLIEB (american, 1903–1974) “GERMINATION III” 1969, pencil signed and dated, numbered 53/75, the full sheet, Marlborough Graphics, Inc., New York, publisher. Color lithograph on Arches. sheet: 22 1/4 x 30 in. (56.5 x 76.2cm) [Associated American Artists, 61] $1,000-2,000

74 ADOLPH GOTTLIEB (american, 1903–1974) “BLACK FIELD” 1972, pencil signed and dated, numbered 27/150, with wide margins, Marlborough Graphics, Inc., New York, publisher. Color screenprint on wove paper. image: 23 15/16 x 17 7/16 in. (60.8 x 44.3cm) sheet: 36 x 27 9/16 in. (91.4 x 7cm) [Associated American Artists, 74] $800-1,200

73 ADOLPH GOTTLIEB (american, 1903–1974) “CRIMSON GROUND” 1972, pencil signed and dated, numbered 28/150, with wide margins, Marlborough Graphics, Inc., New York, publisher. Color screenprint on wove paper. image: 24 x 18 7/8 in. (61 x 47.9cm) sheet: 36 1/16 x 27 1/2 in. (91.6 x 69.9cm) [Associated American Artists, 73] $2,000-3,000

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n 1975, Philadelphia developer Jack Wolgin commissioned Alexander Calder to design eight banners to hang in the atrium of his Centre Square downtown Philadelphia complex. The project would fulfill the Redevelopment Authority’s percent-forart program requirement. The artist submitted proposed designs to Mr. Wolgin in the form of gouache works on paper, one of which is offered here. The magnificent final products, brilliantly hued banners of dyed cotton and silk, ranged from 18 to 28 feet in height and were unveiled at a gala event on July 1st, 1976, timed to coincide with the city’s bicentennial celebration. Suspended from the sky-lit atrium around a large sculpture by Jean Dubuffet, with the newly installed 40-foot ‘Clothespin’ by Claes Oldenburg just outside, the Calder commissions made a stunning impact and instantly marked Philadelphia as a new standard bearer for public art. Mary Kilroy, former head of the Redevelopment Authority art program, said the 1976 installation of those artworks marked a cultural ‘breakout’ for the city. Centre Square changed ownership a few times in the 1980’s. The atrium was redesigned, the banners removed, placed in storage, and subsequently were lost for a period of years. Thanks to the efforts of Susan Davis, former director of public art at the Philadelphia Redevelopment Authority and many others, however, the banners were found in 2009 and hung at the Philadelphia Free Library for public viewing for the first time in over 20 years. Freeman’s is delighted to offer for sale our second such preparatory work from this commission. The first was sold in 2011, from the estate of Jack Wolgin.

75 ALEXANDER CALDER (american, 1898–1976) UNTITLED (CARTOON FOR CENTRE SQUARE PHILADELPHIA BANNER) Signed with artist’s monogram and dated 75 bottom right, gouache and ink on paper. 43 x 14 5/8 in. (109.2 x 37.2cm) provenance: Commissioned from the Artist, Centre Square, Inc., Philadelphia, 1975. Mr. and Mrs. Jack and Muriel Wolgin, Philadelphia, Pennsylvania (acquired in 1975). Private Collection, Philadelphia, Pennsylvania (gifted directly from the above circa 1976). note: This work is registered in the archives of the Calder Foundation under identification number A19108. $40,000-60,000

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76 ROBERT MOTHERWELL (american, 1915–1991) “BASQUE SUITE” one plate 1971, pencil signed with initials and numbered 122/150, (there were also an unrecorded number of artist’s proofs), with wide margins, Marlborough Graphics, Inc., New York, publisher and with the artist’s blindstamp. Color screenprint on J.B. Green. image: 21 7/8 x 17 1/4 in. (55.6 x 43.8cm) sheet: 40 5/8 x 28 1/8 in. (103.2 x 71.4cm) [Engberg & Banach, 79; Belknap, 50] $1,500-2,500

77 CONRAD MARCA-RELLI (american, 1913–2000) LOVE TUNNEL Ca. 1970, signed, dated and numbered indistinctly, from the edition of limited but unknown size. Mixed media monotype on linen mat board. image: 26 x 20 in. (66 x 50.8cm) board: 29 x 23 1/4 in. (73.7 x 59.1cm) $4,000-6,000

78 WILLEM DE KOONING (american/dutch, 1904–1997) HEAD OF A WOMAN 1964, pencil signed, from the edition of 188, with margins, Total Color, New York, printer. Color lithograph on wove paper. image: 20 3/4 x 18 1/4 in. (52.7 x 46.4cm) sheet: 26 3/4 x 19 3/4 in. (67.9 x 50.2cm) $3,000-5,000

79 WILLEM DE KOONING (american/dutch, 1904-1997) “FIGURES IN LANDSCAPE VI” 1980, pencil signed and dated, numbered 43/100 (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 1/8 x 28 in. (79.1 x 71.1cm) sheet: 36 5/16 x 31 7/8 in. (92.2 x 81cm) $8,000-12,000

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80 SAM GILLIAM (american, b. 1933) “BARDSTOWN” 1976, signed, titled and dated, numbered 23/25, the full sheet, Jones Road Print Shop and Stable of Barneveld, Wisconsin, publishers. Collograph and dyeing on handmade paper. sheet: 21 1/2 x 21 3/4 in. (54.6 x 55.2cm) [Jones Road Print Shop, 46] $1,000-2,000

81 PAUL JENKINS (american, 1923–2012) “PHENOMENA TIBETAN LIGHT BRIDGE” Signed bottom right, signed again, titled, dated 1983 and located ‘New York’ verso, watercolor on paper. 31 x 43 in. (78.7 x 109.2cm) provenance: Gimpel & Weitzenhoffer Gallery, New York, New York. Private Collection, New York, New York (acquired directly from the above in 1984). exhibited: “Paul Jenkins: Recent Watercolors,” Gimpel & Weitzenhoffer Gallery, New York, February 14 - 25, 1984. $5,000-8,000

82 AFTER HELEN FRANKENTHALER (american, 1928–2011) “MARY, MARY” 1987, pencil signed and numbered 60/72 (there were also 9 artist’s proofs), the full sheet, Lincoln Center Poster and Print Program, New York, publisher. Color screenprint and offset lithograph on wove paper. sheet: 42 x 32 in. (106.7 x 81.3cm) note: This print is a reproduction of the 1987 acrylic on canvas painting also titled Mary, Mary, exhibited at Andre Emmerich the same year. $3,000-5,000

83 HELEN FRANKENTHALER (american, 1928–2011) “FLOTILLA” 2006, pencil signed and dated, numbered 28/120, the full sheet, Naples Art Museum, Florida, publisher. Color screenprint on BFK Rives. sheet: 31 x 36 13/16 in. (78.7 x 93.5cm) $3,000-5,000

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84 MARCH AVERY (american, b. 1932) “THE GREEN HAT” Signed and dated 68 top right, signed and dated again and titled on stretcher bar verso, oil on canvas. 46 x 28 in. (116.8 x 71.1cm) provenance: Private Collection (acquired circa 1970). By family descent. Private Collection, Maryland. $3,000-5,000

85 SALLY MICHEL AVERY (american, 1902–2003) “TENDER LANDSCAPE” Signed and dated 1981, signed and dated again and titled verso, oil on artist’s board. 9 3/4 x 13 3/4 in. (24.8 x 34.9cm) provenance: The Artist. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above). $2,500-4,000

86 SALLY MICHEL AVERY (american, 1902–2003) “SEAN’S BOUQUET” Signed, titled and dated 1983 verso, oil on canvas. 50 x 40 in. (127 x 101.6cm) provenance: The Artist. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above). $6,000-10,000

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87 OSKAR KOKOSCHKA (austrian, 1886–1980) “HOUSES OF PARLIAMENT III” from “london from the river thames” 1967, pencil signed and numbered 8/75, with wide margins, Marlborough Fine Art, London, publisher. Lithograph on BFK Rives. image: 22 x 30 in. (55.9 x 76.2cm) sheet: 24 7/8 x 35 3/8 in. (63.2 x 89.8cm) [Wingler & Welz, 382] $1,000-1,500

88 OSKAR KOKOSCHKA (austrian, 1886–1980) “TOWER BRIDGE II” from “london from the river thames” 1967, pencil signed and numbered 49/75, with wide margins, Marlborough Fine Art, London, publisher. Lithograph on BFK Rives. image: 22 x 30 in. (55.9 x 76.2cm) sheet: 24 7/8 x 34 7/8 in. (63.2 x 88.6cm) [Wingler & Welz, 386] $1,000-1,500

89 JEAN-PIERRE CASSIGNEUL (french, b. 1935) “LA JETÉE DE TROUVILLE” Signed bottom right, inscribed with title on stretcher bar verso, oil on canvas. 58 1/2 x 37 1/4 in. (146.1 x 94.6cm) provenance: Wally Findlay Galleries, Inc., Beverly Hills, California. Private Collection, California (acquired directly from the above in 1978). literature: Jean-Pierre Cassigneul, “Cassigneul,” Nice: De Francony, 1983, p. 86 (illustrated). note: We are grateful to Jean-Pierre Cassigneul for confirming the authenticity of this work, which will be accompanied by a certificate signed by the artist. $50,000-80,000

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90 FRIEDENSREICH HUNDERTWASSER (austrian, 1928–2000) “DIE STADT-STADT” 1979, signed in ink, dated and located, ‘Wien 24.6.1979,’ inscribed ‘Version 5/23,’ and with one Japanese ink stamp, numbered 199/350 (the total edition was 421 with 58 color variations), with wide margins, Gruener Janura AG, Glarus, Switzerland, publisher and with their metallic embossed stamp. Color screenprint with metal imprints on gray wove paper. image: 17 1/2 x 25 3/8 in. (44.5 x 64.5cm) sheet: 22 x 29 15/16 in. (55.9 x 76cm) [Koschatzky, 78] $1,500-2,500

91 FRIEDENSREICH HUNDERTWASSER (austrian, 1928-2000) “THE FOUR GEIJIN” 1992, signed in ink, dated and located ‘Wien 24.8.1992,’ inscribed with the work number ‘119A’ and with five Japanese ink stamps, numbered 105/200, with wide margins, Museums Betriebs Gesellschaft mbH, Vienna, publisher. Color woodcut on Japan. image: 14 7/16 x 19 1/2 in. (36.8 x 49.5cm) sheet: 16 1/2 x 22 3/8 in. (41.9 x 57.2cm) [Krombholz & Schnake, 107] $2,000-3,000

92 FRIEDENSREICH HUNDERTWASSER (austrian, 1928-2000) “IN GAMBA” 1987-89, signed in ink, dated and located ‘27 IV 90 Wien’ and with two Japanese ink stamps, numbered 23/905, with wide margins, Gruener Janura AG, Glarus, Switzerland, publisher and with their metallic embossed stamp. Color screenprint and photo-lithograph with metal imprints on Fabriano. image: 26 x 18 in. (66 x 45.7cm) sheet: 27 3/16 x 19 7/16 in. (69.2 x 49.5cm) [Koschatzky, 104; Fürst, 104] $2,000-3,000

93 ERNEST TINO TROVA (american, 1927–2009) “ABSTRACTION VARIATION MANSCAPE” 1984, signed, dated 85 and incised with the studio mark, annotated AP (an artist’s proof, the edition was 50), Pace Editions Inc., New York and Hokin Gallery, Miami, co-publishers. Cold-rolled steel, flattened lacquer, bronze, and acrylic multiple. height: 9 1/2 in. (24.1cm) width: 6 1/2 in. (16.5cm) depth: 4 1/4 in. (10.8cm) (dimensions include base) $1,000-2,000

94 JOSÉ DE RIVERA (american, 1904–1985) “CONSTRUCTION #126” Stamped with the artist’s signature, bronze on artist’s painted wood motorized pedestal. Executed in 1970. height: 18 1/4 in. (46.4cm) width: 15 in. (38.1cm) depth: 14 1/4 in. (36.2cm) (dimensions include base) provenance: Grace Borgenicht Gallery, Inc., New York, New York. Private Collection. By family descent. Private Colllection, Maryland. $3,000-5,000

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95 PAUL KELPE (american, 1902-1985) “COMPOSITION IN THE 1935 STYLE” Signed, titled and dated 1980 verso, oil on canvas. 27 x 21 in. (68.6 x 53.3cm) provenance: Private Collection, New York, New York. $4,000-6,000

96 SONIA DELAUNAY (french/ukrainian, 1885–1979) UNTITLED 1970, pencil signed and inscribed ‘AP’ (an artist’s proof, the edition was 125), with full margins. Color etching and pochoir on Arches. image: 19 3/8 x 15 1/2 in. (49.5 x 39.4cm) sheet: 26 x 19 3/4 in. (66 x 50.2cm) $2,000-3,000

97 HERBERT BAYER (american/austrian, 1900–1985) “CHROMATIC INTERSECTION” Signed and dated 1969/4 bottom right, signed and dated again, titled and inscribed with media on canvas overhang verso, acrylic and gold on canvas. 40 x 40 in. (101.6 x 101.6cm) Unframed provenance: Private Collection, St. Louis, Missouri. By family descent. Private Collection, Vienna, Virginia. $5,000-8,000

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98 LOUISE NEVELSON (american, 1899–1988) “SYMPHONY THREE” 1974, incised with artist’s signature, titled and dated, annotated AP XVII/XXV on publisher’s metal plate verso (an artist’s proof, the edition was 125), Pace Editions, Inc., New York, publisher. Cast polyester resin multiple. 18 3/8 x 18 1/8 x 2 in. (46.7 x 46 x 5.1cm) [Baro, 127] $4,000-6,000

99 AGNES MARTIN (american/canadian, 1912-2004) “PAINTINGS AND DRAWINGS: STEDELIJK MUSEUM PORTFOLIO” 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

100 ESTEBAN VICENTE (american, 1903-2001) UNTITLED Signed bottom right, charcoal, acrylic spray and collage on paper. Executed in 1972. 25 x 19 1/2 in. (63.5 x 49.5cm) provenance: Fischbach Gallery, New York, New York. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above circa 1976). $2,500-4,000

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101 ALEX KATZ (american, b. 1927) “ANN I (SEATED WOMAN I)” 1970, pencil signed and numbered 6/19 (there were also an unspecified number of artist’s proofs), with wide margins, Brooke Alexander, Inc., New York, publisher. Color lithograph on wove paper. image: 18 1/2 x 14 3/8 in. (46.99 x 36.83cm) sheet: 19 3/8 x 15 1/16 in. (49.5 x 38.3cm) $1,000-1,500

102 ALEX KATZ (american, 1927) “PAMELA (PAMELA IN GRAY)” 1976, pencil signed and numbered 29/30 (there were also 11 artist’s proofs), the full sheet, Brooke Alexander, Inc., New York and Marlborough Graphics, Inc., New York, co-publishers. Color screenprint and lithograph on wove paper. sheet: 28 1/2 x 21 5/8 in. (72.4 x 54.9cm) [Maravell, 88] $1,000-1,500

103 ALEX KATZ (american, b. 1927) “MARIA I” from “maria series” 1992, pencil signed and numbered 68/75 (there were also 12 artist’s proofs), the full sheet, Chalk & Vermillion Fine Arts, Greenwich, Connecticut, publisher. Color etching and aquatint on wove paper. sheet: 17 x 21 1/2 in. (43.2 x 54.6cm) [Schröder, 265] $3,000-5,000

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104 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” (Maravell, 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

105 RED GROOMS (american, b. 1937) “MUSEUM” 1978, pencil signed and numbered 106/150, with full margins, Brooke Alexander, Inc., New York, publisher. Color offset lithograph on wove paper. image: 9 x 22 5/8 in. (22.9 x 57.9cm) sheet: 10 1/2 x 23 7/8 in. (26.7 x 60.6cm) [Knestrick, 73] $600-800

106 JAMES ROSENQUIST (american, 1933–2017) “SIGHT-SEEING” 1972, pencil signed, titled and dated, numbered 72/75 (there were also 20 artist’s proofs), with full margins, Petersburg Press, London, publisher. Color lithograph and screenprint on German etching paper. image: 22 1/2 x 28 3/4 in. (57.1 x 73cm) sheet: 30 15/16 x 36 3/4 in. (78.6 x 93.4cm) [Glenn, 56] Unframed $2,000-3,000

107 JAMES HAVARD (american, b. 1937) UNTITLED Signed and dated 77 top right, mixed media on paperboard. 40 x 25 3/4 in. (101.6 x 65.4cm) provenance: Private Collection, New York, New York. $3,000-5,000

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108 ANDY WARHOL (american, 1928–1987) “GRACE KELLY” 1984, pencil signed and numbered 162/225 (there were also 30 artist’s proofs), the full sheet, with artist’s copyright, the publisher’s, and the subject’s Foundation black inkstamp verso, Institute of Contemporary Art, Philadelphia, publisher. Color screenprint on Lenox Museum Board. sheet: 40 x 31 15/16 in. (101.6 x 81.1cm) [Feldman & Schellmann, II.305] $70,000-100,000

109 ANDY WARHOL (american, 1928–1987) “HAMMER AND SICKLE” 1977, pencil signed and numbered 31/50 (there were also 10 artist’s proofs), the full sheet, Andy Warhol Enterprises, Inc., New York, publisher. Color silkscreen on Strathmore Bristol. sheet: 30 1/16 x 40 in. (76.4 x 101.6cm) [Feldman & Schellmann II.162] $8,000-12,000

110 ANDY WARHOL (american, 1928–1987) “AFTER THE PARTY” 1979, pencil signed and numbered 629/1000 (there were also 30 artist’s proofs), the full sheet, Grosset and Dunlap, Inc., New York, publisher. Color screenprint on Arches 88. sheet: 21 9/16 x 30 1/2 in. (54.8 x 77.5cm) [Feldman & Schellmann, II.183] $10,000-15,000

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111 TOM WESSELMANN (american, 1931–2004) “BEDROOM FACE” 1977, pencil signed and dated, numbered 67/75 (there were also 17 proofs), with full margins, Multiples, Inc., New York, publisher. Color etching and aquatint on Arches. image: 16 1/2 x 23 3/4 in. (41.9 x 60.3cm) sheet: 22 1/4 x 29 3/4 in. (56.5 x 75.6cm) [Institute of Contemporary Art, 26] $5,000-8,000

112 JIM DINE (american, b. 1935) “YELLOW BELT” 2005, pencil signed and numbered 68/200 (there were also 10 artist’s proofs), the full sheet, Editions de la Différence, Paris, publisher. Color woodcut and lithograph on BFK Rives. sheet: 26 x 20 in. (66 x 50.8cm) $4,000-6,000

113 JENNIFER BARTLETT (american, b. 1941) “HOUSES” 2005, pencil signed and dated, numbered 65/108 (there were also 28 artist’s proofs), with wide margins, Brand X Editions, Long Island City, printers and with their blindstamp. Color screenprint on wove paper. image: 30 1/8 x 30 1/8 in. (76.5 x 76.5cm) sheet: 37 1/2 x 36 1/4 in. (95.3 x 92.1cm) $800-1,200

114 ROBERT NATKIN (american, 1930–2010) UNTITLED Signed bottom left, mixed media on paper. 29 x 41 1/2 in. (73.7 x 105.4cm) provenance: Private Collection, Michigan. $1,000-1,500

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115 LARRY BELL (american, b. 1939) “MELGL 34” Signed and dated 85 bottom center, glass panel coated with Inconel and silicon monoxide in artist’s black lacquered wood frame. 33 1/2 x 27 1/2 in. (85.1 x 69.9cm) provenance: The Artist. Private Collection, Charlottesville, Virginia (acquired directly from the above in 2000). $12,000-18,000

Larry Bell was among the first generation of artists to shape the contemporary avant-garde scene in Los Angeles and was a leading figure in the California based Light and Space movement of the late 1950s and 1960s. Like Minimalism, its east coast counterpart, the Light and Space movement abandoned the high drama of Abstract Expressionist painting for a more austere aesthetic focused on alternative material and three-dimensional objects. This west coast circle of artists, which also included James Turrell, Robert Irwin and Ken Price, was particularly influenced by the ethereal and unique properties of California light, and concentrated on the use of non-traditional, technically advanced material as a means to manipulate and challenge the viewer experience. Like the other Light and Space artists, Bell was a technical innovator and was drawn specifically to accessible material such as glass because of its particular ability to reflect, absorb and transmit light all at once. In order to further explore the properties of glass, Bell developed a method of coating glass with metal. This involved the use of a vacuum chamber in which selected metals were heated until they vaporized and deposited in a thin layer onto the surface of the glass. This is the process he used to create lot 115, a vapor drawing on glass from the extremely rare MELGL series, of which only 39 were created. Lot 116 is a vapor drawing on paper. Less labor intensive than glass, the paper medium allowed the artist greater spontaneity and freedom to experiment with the vaporization process. Said the artist about his vapor drawings on paper: “My preference is the Vapor Drawings. I learned more from that work, which started in 1978, about light and surface than all the years of work done before that.”1 The present lot, “MVD #193” is a particularly fine example of this series of work.

The Artist as quoted in: Mark Sheerin, “On Drawing with Vapor and Painting with Glass,” Hyperallergic, September 14, 2015.

116 LARRY BELL (american, b. 1939) “MVD #193” (MIRAGE VAPOUR DRAWING) Pencil signed and dated 90 bottom left, aluminum and silicon monoxide on paper. 50 x 38 in. (127 x 96.5cm) provenance: New Directions Gallery, Taos, New Mexico. Private Collection, Charlottesville, Virginia (acquired directly from the above in 1994). $10,000-15,000

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117 TERENCE KOH (canadian/chinese, b. 1977) “FINGER” 2007, from the edition of 30 (there were also 2 artist’s proofs). Beeswax and pigment multiple. height: 4 in. (10.2cm) provenance: White Columns Inc., New York, New York. Private Collection, Philadelphia (acquired directly from the above in 2011). $1,000-2,000

118 KELLY WALLACE (american, b. 1968) “BILL NO. 1” Signed, titled and dated 2007-2008 verso, pencil and crayon on Arches laid down to panel with clear cote resin. 11 11/16 x 15 9/16 x 1 in. (29.7 x 39.5cm) Unframed provenance: The Artist. Seraphin Gallery, Philadelphia, Pennsylvania. Private Collection, Philadelphia. $1,000-2,000

119 TOMMA ABTS (german, b. 1967) “UNTITLED NO. 7” Signed with initials, titled and dated 2008 verso, pencil and colored pencil on paper. 33 x 23 1/4 in. (83.8 x 59.1cm) provenance: greengrassi, London, United Kingdom. Gallery Giti Nourbakhsch, Berlin, Germany. Nate Kacew, New York, New York (acquired directly from the above in 2010). Private Collection, Philadelphia (acquired directly from the above). $10,000-15,000

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120 ADAM FUSS (american/british, b. 1961) UNTITLED from “details of love” Inscribed ‘AFN193’ in red crayon verso, unique Cibachrome photogram on acrylic sheet. Executed in 1992. 39 5/8 x 29 5/8 in. (100.6 x 75.2cm) provenance: Private Collection, New York, New York. Private Collection, New York, New York (acquired directly from the above). $4,000-6,000

121 VERA IDA MÜLLER (swiss, b. 1979) UNTITLED (FIGURE IN INTERIOR) Signed and dated 2010 verso, oil on canvas. 55 x 71 in. (139.7 x 180.3cm) provenance: Galerie Römerapotheke, Zurich, Switzerland. Private Collection, Massachusetts. $1,500-2,500

122 SERBAN SAVU (romanian, b. 1978) “ROAD TO HOME” Signed and dated 2009 verso, oil on canvas. 12 1/2 x 19 1/2 in. (31.8 x 49.5cm) Unframed provenance: Nicodim Gallery, Los Angeles, California. Private Collection, Philadelphia. $2,000-3,000

123 RICHARD ARTSCHWAGER (american, 1923–2013) “DOG” (INTERSECT) 1992, pencil signed and dated, numbered 41/80, with full margins, Institute of Contemporary Art, Philadelphia, publisher. Etching and aquatint on wove paper. image: 27 3/8 x 28 3/16 in. (69.5 x 71.6cm) sheet: 35 1/2 x 35 1/2 in. (90.2 x 90.2cm) $600-1,000

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124 HARRY SEFARBI (american, 1917–2009) FIGURES Signed and dated 65 bottom right, signed again verso, oil on masonite in artist’s frame. 16 3/8 x 5 in. (41.6 x 12.7cm) overall: 20 5/8 x 9 3/4 in. (52.4 x 24.8cm) provenance: The Artist. Private Collection, Pennsylvania. By family descent. Private Collection, Philadelphia, Pennsylvania. $800-1,200

126 STUART SHILS (american, b. 1954) “WALLS OF CITY HOUSES” Signed and dated 96 bottom left, signed and dated again, titled and inscribed with medium verso, oil on paper. 11 x 12 1/4 in. (27.9 x 31.1cm) provenance: American Artist Gallery, Santa Fe, New Mexico. Private Collection, Tampa, Florida (acquired directly from the above in 1997). $1,000-2,000

125 STUART SHILS (american, b. 1954) “OLD WAREHOUSES, KENSINGTON” Signed and dated 92 bottom right, signed and dated again across the bottom of the frame, and signed again, titled and inscribed with medium verso, oil on paper mounted to museum board. 7 1/2 x 10 in. (19.1 x 25.4cm) provenance: The Artist. The Collection of Nancy Clearwater Herman, Philadelphia, Pennsylvania (acquired directly from the above). The Collection of John Paul Rollert, Chicago, Illinois (acquired directly from the above). $1,000-1,500

127 STUART SHILS (american, b. 1954) “DELAWARE RIVER WITH DOCKS” Signed and dated 86 bottom left, signed again and titled verso, acrylic on panel. 12 x 16 1/2 in. (30.5 x 41.9cm) provenance: American Artist Gallery, Wayne, Pennsylvania. Private Collection, Tampa, Florida (acquired directly from the above in 1994). $1,000-2,000

128 STUART SHILS (american, b. 1954) “A BACK STREET, WEST PHILADELPHIA” Signed and dated 91 bottom left, signed twice, titled and inscribed with medium verso, oil on paper mounted to museum board. 9 3/4 x 9 1/8 in. (24.8 x 23.2cm) provenance: The Artist. The Collection of Nancy Clearwater Herman, Philadelphia, Pennsylvania (acquired directly from the above). The Collection of John Paul Rollert, Chicago, Illinois (acquired directly from the above). $1,000-1,500

129 STUART SHILS (american, b. 1954) “IRISH FARMS, SUMMER” Signed and dated 94 bottom right, dated again and titled verso, oil on paper. 8 x 10 1/16 in. (20.3 x 25.6cm) provenance: American Artist Gallery, Santa Fe, New Mexico. Private Collection, Tampa, Florida (acquired directly from the above in 1997). $1,000-2,000

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130 JIMMY LUEDERS (american, 1927–1994) “ONE ZINNIA” Signed and dated 92 bottom left, inscribed with artist’s name and title on stretcher bar verso, oil on canvas. 26 x 24 in. (66 x 61cm) provenance: The Collection of Wesley and Ellen Emmons, Philadelphia, Pennsylvania. By family descent. Private Collection, Pennsylvania. $800-1,200

131 JIMMY LUEDERS (american, 1927–1994) ABSTRACT FLOWER Signed and dated 76 bottom left, oil on paper. 30 x 22 in. (76.2 x 55.9cm) provenance: The Collection of Wesley and Ellen Emmons, Philadelphia, Pennsylvania. By family descent. Private Collection, Pennsylvania. $800-1,200

132 JIMMY LUEDERS (american, 1927–1994) “WINTER SPRING” Signed and dated 79 bottom left, acrylic on canvas. 36 x 36 in. (91.4 x 91.4cm) provenance: The Estate of Polly Plummer Mackie, Bryn Mawr, Pennsylvania. By family descent. Private Collection, New York, New York. Freeman’s, Philadelphia, “Estate Sale: Paintings and Prints,” February 15, 2012, lot 202. Private Collection, Villanova, Pennsylvania (acquired directly from the above sale). $1,000-1,500

133 ELIZABETH OSBORNE (american, b. 1936) AUTUMNAL STILL LIFE Signed and dated ‘88 bottom left, watercolor on paper. 29 7/8 x 22 1/4 in. (75.9 x 56.5cm) provenance: The Collection of Wesley and Ellen Emmons, Philadelphia, Pennsylvania. By family descent. Private Collection, Pennsylvania. $1,000-1,500

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134 ELIZABETH OSBORNE (american, b. 1936) “MONUMENT VALLEY” Signed and dated ‘74 verso, signed and dated again and titled on stretcher bar verso, acrylic on canvas. 72 x 72 in. (182.9 x 182.9cm) provenance: The Artist. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above). exhibited: “Elizabeth Osborne: Floating Landscapes 1972 1979,” Locks Gallery, Philadelphia, September 8 - October 14, 2006. $6,000-10,000

135 ELIZABETH OSBORNE (american, b. 1936) STILL LIFE WITH CAT Signed and dated 88 bottom left, pencil, watercolor and acrylic on paper. 29 3/4 x 22 1/2 in. (75.6 x 57.2cm) provenance: The Collection of Wesley and Ellen Emmons, Philadelphia, Pennsylvania. By family descent. Private Collection, Pennsylvania. $1,000-1,500

136 ELIZABETH OSBORNE (american, b. 1936) BLUE LANDSCAPE Signed and dated ‘74 bottom right, watercolor and pencil on paper. 17 7/8 x 22 3/8 in. (45.4 x 56.8cm) provenance: The Collection of Wesley and Ellen Emmons, Philadelphia, Pennsylvania. By family descent. Private Collection, Pennsylvania. $1,000-1,500

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137 ELIZABETH OSBORNE (american, b. 1936) “ABIQUIÚ” Signed and dated verso, signed and dated again and titled on the stretcher bar verso, oil on canvas. 30 x 52 in. (76.2 x 132.1cm) provenance: Private Collection, New York. $5,000-8,000

138 BILL SCOTT (american, b. 1956) “COUNTRYSIDE” Signed and dated 1998 bottom center left, acrylic on paper. 7 x 7 3/4 in. (17.8 x 19.7cm) provenance: Mangel Gallery, Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania. By family descent. Private Collection, Pennsburg, Pennsylvania. exhibited: “Bill Scott,” Mangel Gallery, Philadelphia, April 3 - 25, 1998, no. 15. $600-1,000

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139 BILL SCOTT (american, b. 1956) “THE GREEN BOTTLE II” 2007 (published 2012), pencil signed and dated ‘07, annotated T.P. (a trial proof, the edition was 250), with full margins, Print Club of Cleveland, Cleveland, publisher. Color roulette, drypoint and engraving on Lana Gravure. image: 20 x 14 3/4 in. (50.8 x 37.5cm) sheet: 30 x 22 in. (76.2 x 55.9cm) $800-1,200

140 CRESSIDA CAMPBELL (australian, b. 1960) “VEGETABLE GARDEN” 1988, pencil signed, titled and dated, numbered 37/99, with wide margins. Color screenprint on Fabriano. image: 29 7/8 x 22 5/8 in. (75.9 x 57.5cm) sheet: 39 1/4 x 27 5/8 in. (99.7 x 70.2cm) Unframed $4,000-6,000

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141 BO BARTLETT (american, b. 1955) “ANDY’S WORLD” Signed, titled, dated 1996 and inscribed with the artist’s ‘IGN’ logo verso, oil on board. 17 3/4 x 23 3/4 in. (45.1 x 60.3cm) provenance: The Artist. Private Collection, Wayne, Pennsylvania (acquired directly from the above). $10,000-15,000

“The best paintings of Andrew Wyeth were indeed masterpieces, and each piece was a unique representation of his experience. He painted his own backyard, literally, in Maine and in Pennsylvania. He didn’t care if it was “abstract” or “realistic,” he didn’t make such useless distinctions. He didn’t come up with an idea and illustrate it. He would walk out of his house each morning and with eyes wide open he would experience the world, like a zen master, he would just look and be…… Andrew Wyeth taught me what art is all about. I may have learned “how” to paint somewhere else, but I learned “why” to paint in Chadds Ford with Andrew Wyeth.”1

The Artist as quoted in “Remembering My friend, Andrew Wyeth on his 100th Birthday,” Hyperallergic, July 12, 2017.

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142 BO BARTLETT (american, b. 1955) “BETSY” Signed twice, titled, dated 05 and inscribed with the artist’s ‘IGN’ logo verso, oil on board. 14 1/2 x 14 1/2 in. (36.8 x 36.8cm) provenance: The Artist. Water Mill Foundation, Water Mill, New York. Private Collection, New York (acquired directly from the above in 2005). $5,000-8,000

143 BO BARTLETT (american, b. 1955) “HOBO (AFTER ANNIGONI)” Signed bottom left, signed again, titled, dated 1997 and inscribed twice with the artist’s ‘IGN’ logo verso, oil on canvas. 32 1/4 x 44 1/4 in. (81.9 x 112.4cm) provenance: Private Collection, Pennsylvania. Private Collection, Vienna, Virginia (acquired directly from the above in 1999). $6,000-10,000

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144 BO BARTLETT (american, b. 1955) “WHITE HOUSE, WINTER” Signed bottom right and inscribed with the artist’s ‘IGN’ logo bottom left, titled and dated verso, pencil, watercolor and gouache on Arches. 11 1/8 x 15 in. (28.3 x 38.1cm) provenance: The Artist. Private Collection, Wayne, Pennsylvania (acquired directly from the above). $2,500-3,500

145 BO BARTLETT (american, b. 1955) GERANIUM Signed bottom right and dated July 6, 1993 bottom left, watercolor, gouache and pencil on paper. 13 x 9 3/8 in. (33 x 23.8cm) provenance: The Artist. Private Collection, Wayne, Pennsylvania (acquired directly from the above). $3,000-5,000

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INDEX ABTS, T.

119

FUSS, A.

120

POLIAKOFF, S.

ANDREWS, S.

22-23

GEERLINGS, G.

RADICE, M.

APPEL, K.

GEORGES BRAQUE

RATUSHNIAK, G.

ARTSCHWAGER, R.

123

GOTTLIEB, A.

66-74

REYNOLDS BEAL

AVERY, M.

GRIFFIN, W.

27-30

RICKEY, G.

AVERY, S.

85-86

GROOMS, R.

105

ROSENQUIST, J.

106

BARTLETT, B.

141-145

HAVARD, J.

107

SAM GILLIAM

BARTLETT, J.

113

HIBBARD, A.

SAVU, S.

122

BAUMANN, G.

HUNDERTWASSER, F.

90-92

SCHNEEMANN, C.

59-60

BAYER, H.

IHLENFELD, K.

SCOTT, B.

138-139

BEAL, R.

21, 32

JENKINS, P.

SEFARBI, H.

124

BEARDEN, R.

JORN, A.

SHILS, S.

125-129

BELL, L.

115

KATZ, A.

101-103

SOUZA, F.N.

50-51

BELL, L.

116

KELPE, P.

SOYER, R.

BERTOIA, H.

53, 55-56

KOH, T.

117

TAMAYO, R.

48-49

BLACKBURN, M.

KOKOSCHKA, O.

87-88

TROVA, E.

BRAQUE, G.

9-10

LÉGER, F.

VARIOUS ARTISTS

104

CALDER, A.

LEIGHTON, C.

VAUGHAN, K.

CAMPBELL, C.

140

LEWIS, M.

15-16

VICENTE, E.

100

CASSIGNEUL, J-P.

LITTLE, J.

VON WICHT, J.

33-34

CASTENEDA, F.

LOZOWICK, L.

WALLACE, K.

118

CLIMENT, E.

LUEDERS, J.

130-132

WARHOL, A.

108-110

COOK, H.

MARCA-RELLI, C.

WELLS, J.

36-39

CORREA, B.R.

MARTIN, A.

WESSELMANN, T.

111

DE KOONING, W.

78-79

MIRÓ, J.

WOU-KI, Z.

12-13

DE RIVERA, J.

MOTHERWELL, R.

ZÚÑIGA, F.

45-46

DELAUNAY, S.

MÜLLER, V.

121

DEREDIA, J.

NATKIN, R.

114

DINE, J.

112

NEVELSON, L.

FORTE, V.

OSBORNE, E.

133-137

FRANCIS, S.

61-63

PICASSO, P.

1-4, 8

82-83

PIPER, J.

FRANKENTHALER, H.

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

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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Dimensions are given height before width.

fine jewelry Auction May 09, 2019

inquiries Virginia Salem | 267.414.1233 vsalem@freemansauction.com

An Art Deco diamond and platinum bracelet, Cartier paris $20,000-30,000 A diamond solitaire centering an emerald-cut diamond weighing 11.52 carats $80,000-100,000

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

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

108 v2.2016

bidding & registration form sale no

bidder no

name

1808 Chestnut Street, Philadelphia PA 19103 Tel-215.563.9275 Fax-215.599.2240 e-mail: bids@freemansauction.com www.freemansauction.com

client no

business name

address city

state

zip code

e-mail

phone (primary)

phone (secondary)

country

fax

resale / tax identification

state

A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of hammer price of each lot, 20% on the hammer from $200,001 through $3,000,000, and 12% thereafter. All lots must be paid for and removed within 10 days.

lot no

description

maximum bid

please adhere to the bidding increments $10 until $200 is reached $25 until $500 is reached $50 until $1,000 is reached $100 until $3,000 is reached $250 until $5,000 is reached $500 until $10,000 is reached $1,000 until $30,000 is reached $2,500 until $50,000 is reached $5,000 until $100,000 is reached over $100,000 auctioneer’s discretion

bank reference bank name

account no

contact name

telephone

I hereby confirm thet I have read and am bound by the “Terms of Sale” presented by the auction house and which govern all auction purchases made by me. Although every attempt is made to execute your bid(s), the auctioneer is not responsible for errors and omissions.

signed (signature required to execute your bids)

q id confirmed

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PURCHASE REMOVAL, SHIPPING AND OFFSITE STORAGE INFORMATION To ensure the safety of your property Freeman’s requests removal within 10 business days of the sale date. Collection hours are Monday–Friday, 9:30am–4:30pm. For larger items, please email 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

U.S. Art ‡ Jessica Pierce 37-11 48th Avenue Long Island City, NY 11101 800.472.5784 | Fax:718.472.5785 jpierce@usart.com FURNITURE & LARGE ITEMS For larger pieces where delivery time is not the primary concern, we suggest getting your items freighted: www.plyconvanlines.com www.freightquote.com

‡ Shippers that can fulfill international deliveries

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

110 v5.2018

american art & pennsylvania impressionists Au c ti on Ju n e 9, 2019 inquiries Alasdair Nichol | 267.414.1211 | anichol@freemansauction.com Andrew Wyeth (American 1917-2009), Frozen Wash, watercolor on paper, 21 x 29 1/2 in. | $80,000-100,000 ÂŠ2019 andrew wyeth / artists rights society (ars), new york

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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

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

Mid-Atlantic Samuel T. Freeman III sfreeman@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 Whitney Bounty wbounty@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

Southeast Colin Clarke cclarke@freemansauction.com

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

West Coast Michael Larsen mlarsen@freemansauction.com

Antiquities & Tribal Art Alex Tweedy atweedy@freemansauction.com

Main Line Sarah Riley, GG sriley@freemansauction.com

Asian Arts Benjamin Farina bfarina@freemansauction.com Books, Maps & Manuscripts Darren Winston dwinston@freemansauction.com British & European Furniture & Decorative Arts Tessa Laney tlaney@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 David M. Weiss dweiss@freemansauction.com Prints Dunham Townend dtownend@freemansauction.com Silver & Objets de Vertu Tessa Laney tlaney@freemansauction.com

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