Modern & Contemporary Art by Freeman's

Modern & Contemporary Art October 29, 2019

Modern & Contemporary Art

AUCT ION Sale 1644 Tuesday, October 29 at 12 pm 1808 Chestnut St Philadelphia PA freemansauction.com

VIE WING T IME S Friday, October 25 10am - 5pm Saturday, October 26 & Sunday, October 27 12pm - 5pm Monday, October 28 10am - 5pm Tuesday, October 29 by appointment only

MODE RN & CONT E MP ORARY ART DE PART ME NT 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

CLIE NT SE RVICE S Mary Maguire, Director | Client Services mmaguire@freemansauction.com, 267.414.1236 Joslyn Moore, Bidding Registration jmoore@freemansauction.com, 267.414.1207 Justin Cook, Post-Sale Administrator jcook@freemansauction.com, 267.414.1226

Left: Lot 52, Cover: Lot 49 (detail), Inside Front Cover: Lot 27 (detail) Inside Back Cover: Lot 47 (detail), Following Page: Lot 68 (detail)

1 Pablo Picasso (Spanish, 1881-1973) Vieux Peintre, Modèle et Spectateur La Série 347 1968 (published 1969), pencil signed and numbered 23/50 (there were also 17 artist’s proofs), with wide margins, Galerie Louise Leiris, Paris, publisher. Etching on BFK Rives. image: 4 11/16 x 3 5/16 in. (11.9 x 8.4cm) sheet: 12 5/8 x 9 9/16 in. (32.1 x 24.3cm) [Bloch, 1547; Baer, 1564 Bb1] provenance

Private Collection, Pittsburgh, Pennsylvania $3,000-5,000

2 Pablo Picasso (Spanish, 1881-1973)

Homme Assis Près d’une Femme Allongeé 1967, stamp-signed and pencil numbered 25/50 (there were also 15 artist’s proofs in Roman numerals), with full margins, Galerie Louise Leiris, Paris, publisher. Etching on wove paper. image: 12 3/16 x 16 3/16 in. (31 x 41.1cm) sheet: 17 9/16 x 22 in. (44.6 x 55.9cm) [Bloch, 1456; Baer, 1491] $1,500-2,500

3 Pablo Picasso (Spanish, 1881-1973) Mat Dove

1948, from the edition of 450, with the ‘MADOURA PLEIN FEU’ and ‘EDITION PICASSO’ stamps on the underside. White earthenware clay dish with decoration in engobes under partial brushed glaze. height: 12 in. (31cm) [Ramié, 77] $4,000-6,000

4 Pablo Picasso (Spanish, 1881-1973) Picador and Bull

1959, numbered 53/100, with the ‘MADOURA PLEIN FEU’ and ‘EMPREINTE ORIGINALE DE PICASSO’ stamps on the underside. White earthenware clay plate with decoration in engobes under partial glaze. height: 10 in. (25.4cm) [Ramié, 438] $4,000-6,000

5 Pablo Picasso (Spanish, 1881-1973) Nature Morte à la Bouteille

1962, pencil signed and dedicated ‘Pour Arnera Fils’ (a proof before the edition of 50), with wide margins, Galerie Louise Leiris, Paris, publisher. Color linocut on Arches. image: 25 1/8 x 20 5/8 in. (63.8 x 52.4cm) sheet: 29 5/16 x 24 1/8 in. (74.5 x 61.3cm) [Bloch, 1100; Baer, 1315 IV Aa] note

Brigitte Baer records this proof as 1315 IV Aa (before the edition of 50). Its dedication refers to Hidalgo Arnéra, the printer who worked with Picasso to produce his linoleum cuts. $12,000-18,000

6 Pablo Picasso (Spanish, 1881-1973) Face No. 111

1963, numbered 480/500, inscribed ‘ N 111’, ‘EDITION PICASSO’ and ‘MADOURA’ on the underside. White earthenware clay plate with decoration in engobes and enamel under glaze. diameter: 10 in. (25.4cm) [Ramié, 476] $3,000-5,000

7 Pablo Picasso (Spanish, 1881-1973) Face

1955, from the edition of 500, incised ‘EDITION PICASSO’ and ‘MADOURA’ on the underside. White earthenware clay turned round cupel with decoration in engobes under glaze. height: 2 1/2 in. (6.4cm) [Ramié, 290] $1,500-2,500

8 After Pablo Picasso (Spanish, 1881-1973) Tête de Faune

1958, pencil signed and numbered 40/300, with wide margins, Atelier Crommelynck, Paris, publisher and with their blindstamp. Color softground etching and aquatint on wove paper. image: 11 7/8 x 10 in. (30.2 x 25.4cm) sheet: 22 x 17 11/16 in. (55.9 x 44.9cm) $4,000-6,000

Matisse made two journeys to Morocco, the first in early 1912, and the second in the winter of that year and into 1913. The present ink drawings date from his second trip, and are two of eighteen works that originally belonged to a single sketchbook. Each of these eighteen drawings was previously mounted to cardboard backings, which variously include inscriptions and page numbers, indicating that the artist may have originally intended them to be used as illustrations for an ultimately unpublished book. Both of these lots will be sold along with these cardboard mounts.

9 Henri Matisse (French, 1869-1954) Deux Personnages Allongés

Signed, located ‘Tgr’ and dated 1913 bottom left, ink on thin wove paper. 7 13/16 x 9 7/8 in. (19.8 x 25.1cm) provenance

Sotheby’s, New York, “Impressionist and Modern Paintings, Drawings and Sculpture, Part II,” November 7, 1991, lot 194. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above sale). exhibited

“Matisse in Morocco: The Paintings and Drawings: 1912-1913,” The National Gallery of Art, Washington, D.C., March 18 - June 3, 1990; also traveled to: The Museum of Modern Art, New York, June 24 - September 4, 1990; State Pushkin Museum, Moscow, September 28 - November 20, 1990; and The Hermitage, Leningrad, December 15, 1990 - February 15, 1991, no. 54, illustrated in the exhibition catalogue, p. 184. note

This lot is accompanied by a photo-certificate of authenticty signed by Wanda de Guébriant of the Archives Matisse and dated 12/12/84. It is also accompanied by its former mounting board, the verso of which is inscribed in pencil: ‘seigneurs nomades/p.96’ with two lines of text crossed out. $10,000-15,000

10 Henri Matisse (French, 1869-1954) Marocain Assis, Les Bras Croisés

Signed, located ‘Tanger’ and dated 1913 bottom right, ink on thin wove paper. 10 x 7 1/2 in. (25.4 x 19cm) provenance

Sotheby’s, New York, “Impressionist and Modern Paintings, Drawings and Sculpture, Part II,” November 7, 1991, lot 193. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above sale). exhibited

“Matisse in Morocco: The Paintings and Drawings: 1912-1913,” The National Gallery of Art, Washington, D.C., March 18 - June 3, 1990; also traveled to: The Museum of Modern Art, New York, June 24 - September 4, 1990; State Pushkin Museum, Moscow, September 28 - November 20, 1990; and The Hermitage, Leningrad, December 15, 1990 - February 15, 1991, no. 51, illustrated in the exhibition catalogue, p. 181. note

This lot is accompanied by a photo-certificate of authenticty signed by Wanda de Guébriant of the Archives Matisse and dated 12/12/84. It is also accompanied by its former mounting board, the verso of which is inscribed in pencil: ‘le regard noyé dans la vapeur du ciel/encor lilas[?]/p. 125’. $10,000-15,000

Often called the “Prince of Montparnasse,” Jules Pascin lived and worked among the Bohemian artists and writers of early 20th century Paris after spending his early years in Vidin, Bulgaria, Vienna and Munich. Pascin was estranged from his family, who had frowned upon the satirical drawings he published in newspapers and magazines and his studies of nudes at brothels. The female form remained his primary artistic preoccupation throughout his career, from his early drawings and watercolors to his later experimentations with oil painting, inspired by Renoir and Cézanne. The two luminous paintings on offer here belong to a later moment, when his painting style reaches maturity, and his soft-focus women lounge and stretch and pout in frothy interiors. A brilliant draftsman at his core, Pascin builds up his figures from a charcoal or crayon drawing, fleshing them out while abstracting their surroundings enough to make them seem to appear out of a dream.

11 Jules Pascin (French, 1885-1930) Jeune Fille au Café

Signed top left, oil and crayon on canvas. Executed in 1927. 36 1/4 x 29 in. (92.1 x 73.7cm) provenance

The Collection of L. Phillips, New York, New York. Private Collection, Philadelphia, Pennsylvania. By family descent. Private Collection. literature

Yves Hemin, Guy Krohg, Klaus Perls & Abel Rambert, Pascin, Catalogue raisonné, peintures, aquarelles, pastels, dessins, Vol. I, Paris: Editions Abel Rambert, 1984, no. 573, illustrated p. 295. $40,000-60,000

12 Jules Pascin (French, 1885-1930) Les Deux Amis

Signed and dedicated ‘a Pierre’ bottom right, oil and crayon on canvas. Executed in 1928. 29 1/4 x 36 1/2 in. (74.3 x 92.7cm) provenance

Perls Galleries, New York, New York. The Collection of Mr. & Mrs. H.A. Goldstone, New York, New York. Private Collection, Philadelphia, Pennsylvania. By family descent. Private Collection. literature

Yves Hemin, Guy Krohg, Klaus Perls & Abel Rambert, Pascin, Catalogue raisonné, peintures, aquarelles, pastels, dessins, Vol. I, Paris: Editions Abel Rambert, 1984, no. 642, illustrated p. 320. $25,000-40,000

13 Marc Chagall (French/Russian, 1887-1985) Biblical Scene (Jacob)

1971, pencil signed and numbered 42/50, with wide margins. Lithograph on wove paper. image: 25 1/2 x 20 1/2 in. (64.8 x 52.1cm) sheet: 29 13/16 x 22 1/4 in. (75.7 x 56.5cm) [Mourlot, 639] $4,000-6,000

14 Marc Chagall (French/Russian, 1887-1985) The Prayer of Isaiah The Bible

1958, pencil signed and numbered 42/100 (there were also 20 hors commerce proofs numbered in Roman numerals), with wide margins, Tériade Éditeur, Paris, publisher. Etching with handcoloring on Arches. image: 12 11/16 x 9 1/2 in. (32.2 x 24.1cm) sheet: 21 x 15 1/8 in. (53.3 x 38.4cm) [Cramer, 30] $1,500-2,500

15 Marc Chagall (French/Russian, 1887-1985) The Poetess

1972, pencil signed and numbered 13/50, with full margins. Color lithograph on wove paper. image: 17 5/8 x 13 3/4 in. (44.8 x 34.9cm) sheet: 25 11/16 x 19 3/4 in. (65.2 x 50.2cm) [Mourlot, 643] $5,000-8,000

16 Joan Miró (Spanish, 1893-1983) Fissures Plate 5

1969, pencil signed and numbered 30/75 (there were also 15 copies with monotype on Japan plus 20 hors commerce proofs in Roman numerals), Maeght Éditeur, Paris, publisher. Color etching and aquatint on BFK Rives. sheet: 19 1/8 x 22 7/8 in. (48.6 x 58.1cm) [Dupin, 469; see Cramer books, 130] $1,500-2,500

17 Marc Chagall (French/Russian, 1887-1985) Grey Village

1964, pencil signed and numbered 32/50, with full margins. Color lithograph on BFK Rives. image: 26 5/8 x 20 1/4 in. (67.6 x 51.4cm) sheet: 30 1/2 x 22 1/2 in. (77.5 x 57.2cm) [Mourlot, 423a] $10,000-15,000

18 Alexandra Alexandrovna Exter (Ukranian, 1884-1949) Begegnung in einer Straße

With the Artist’s estate stamp signed by Simon Lissim verso, gouache and pochoir on paper. 11 1/8 x 9 5/16 in. (28.3 x 23.7cm) Unframed provenance

Dr. NÖTH Kunsthandel + Galerie, Ansbach, Germany. Karl & Faber Kunstauktionen GmbH, “Auktion 238: Moderne und Zeitgenössische Kunst | Ausgewählte Werke,” June 10, 2011, lot 441. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above sale). By family descent. Private Collection. exhibited

Salzburg World Fine Art Fair, The Residenze, Salzburg, August 15 - 23, 2009. $6,000-10,000

Fikret Mualla was born in Istanbul, Turkey, but spent much of his life in Western Europe, studying first in Germany and Switzerland before moving to Paris to paint. Mualla lived in France for close to 30 years, capturing the daily life there, in cafés and the carousing nightlife in the country’s capital in his bright, Fauvist paintings. Though his work is generally cheerful and lively, inspired by the Bohemian circle to which he belonged, Mualla’s life was punctuated by bouts of depression and alcoholism, and the artist spent several turns in mental institutions. His forceful swings in mood are evidenced in his passionately produced works, full of a lightness and vibrancy that belie the personal complications that haunted him throughout his life. Working quickly in his preferred medium of gouache, he established his direct composition style. In the present scenes of fisherman at market and an opulent party, Mualla’s vibrant, colorful rendition of Parisian life is fully realized.

19 Fikret Mualla (Turkish, 1903-1967) Marche Après La Prise

Signed bottom center left, inscribed ‘revoir les visages les mains’ along the right vertical edge, gouache on paper. 21 1/2 x 30 3/8 in. (52.1 x 77.2cm) Unframed provenance

The Artist. Private Collection (acquired directly from the above). By family descent. Private Collection. note

This lot is accompanied by a photo-certificate of authenticity signed by Suleyman Ustunel of les Amis de Fikret Moualla and will also be included in Volume II of the catalogue raisonné of Fikret Moualla currently being prepared by Marc Ottavi and Kerem Topuz. $18,000-25,000

20 Fikret Mualla (Turkish, 1903-1967) La Grande Fête

Signed and dated 62/63 bottom center, gouache on paper. 21 7/16 x 27 5/16 in. (54.5 x 69.4cm) Unframed provenance

The Artist. Private Collection (acquired directly from the above). By family descent. Private Collection. note

21 Paul Aïzpiri (French, 1919-2016) Boy in a Hat

Signed bottom right, oil on canvas. 18 x 15 in. (45.7 x 38.1cm) provenance

Private Collection, Leesport, Pennsylvania. $4,000-6,000

22 Claude Venard (French, 1913-1999) Still Life

Signed bottom left, oil on canvas. 18 x 21 3/4 in. (45.7 x 55.2cm) provenance

Collection of Harry Leonard Simmons, New York, New York (acquired in the 1930s). By family descent. Private Collection, Pennsylvania. $3,000-5,000

23 Claude Venard (French, 1913-1999) Mt. Grossman

Signed bottom left, titled verso, oil on canvas. 39 1/4 x 31 3/4 in. (99.7 x 80.6cm) provenance

Galerie Felix Vercel, Paris, France. Private Collection, New York, New York. $6,000-10,000

24 Le Pho (French/Vietnamese, 1907-2001) Fleurs

Signed twice bottom right (once in Vietnamese), oil on canvas. Executed in 1968. 18 1/4 x 10 3/4 in. (46.4 x 27.3cm) provenance

The Artistâ&#x20AC;&#x2122;s studio. Wally Findlay Galleries, New York, New York (acquired directly from the above in 1968). Private Collection, New York, New York (acquired in 1968). Private Collection, Jenkintown, Pennsylvania (acquired directly from the above in 1971). note

This lot is accompanied by a certificate of authenticity issued by the Findlay Institute and will be included in their forthcoming catalogue raisonnĂŠ. $8,000-12,000

25 Vu Cao Dam (French/Vietnamese, 1908-2000) Reverie

Signed and dated 67 bottom left, signed again twice (once in Vietnamese), dated and titled verso, oil on canvas. 9 x 10 3/4 in. (22.9 x 27.3cm) provenance

The Artist’s studio. Wally Findlay Galleries, New York, New York (acquired directly from the above in 1967). Private Collection, Jenkintown, Pennsylvania (acquired directly from the above in 1971). note

This lot is accompanied by a certificate of authenticity issued by the Findlay Institute and will be included in their forthcoming catalogue raisonné. $4,000-6,000

26 Zao Wou-Ki (Chinese/French, 1920-2013) Ciel de Paris

1954, pencil signed and dated, numbered 38/60, with wide margins, Gérald Cramer, Paris, publisher. Color lithograph on wove paper. image: 17 1/4 x 22 5/8 in. (43.8 x 57.5cm) sheet: 19 3/4 x 25 3/4 in. (50.2 x 65.4cm) [Ågerup, 89] $3,000-5,000

Untitled, 1955, provides a graceful example of the integration of influences and cultural contexts that would inform Zao Wou-Ki’s work throughout his life. Moving from China to Paris in 1948, Zao built on his foundational education as a calligraphy painter by exploring the work of Paul Klee, Matisse, Picasso, and Cézanne, as well as contemporary French musicians and poets. He also visited New York City with some frequency in the 1950s, meeting Abstract Expressionist artists and experiencing their work firsthand. Zao’s particular fluency in both Eastern and Western cultural expression and aesthetic sensibilities afforded him rich sources for creating his own unique style. As he moved away from landscape and figural work into a more all-over abstraction in the 1950s, he maintained his connection to traditional Chinese calligraphy and ink painting. Untitled shows Zao creating a ring of activity around a calm center that gives the viewer breathing room. His language of signs and symbolic “tracks” connect to ancient Chinese inscriptions carved on “oracle bones” and bronzes from the Shang Dynasty before 1000 BCE. These earliest forms of Chinese writing had divinatory meaning and influenced Zao’s marks in their strong lines and lively movement. This subtle watercolor provides a window into his experimentation with a convergence of cultural expression that he made his own.

27 Zao Wou-Ki (Chinese/French, 1920-2013) Untitled

Signed and dated 55 bottom right, watercolor and ink on paper. 8 9/16 x 10 1/2 in. (21.7 x 26.7cm) provenance

Private Collection, Gladwyne, Pennsylvania. note

This lot is accompanied by a photo-certificate of authenticity issued by the Fondation Zao WouKi and signed by Françoise Marquet, the artist’s widow and President of the Fondation Zao Wou-Ki. $80,000-120,000

28 B. Prabha (Indian, 1933-2001) Untitled (Woman with Bird)

Signed and dated 1981 in Devanagari bottom right, oil on canvas. 20 x 16 in. (50.8 x 40.6cm) provenance

Private Collection, Ohio. Private Collection, Boston, Massachusetts (acquired directly from the above). note

This lot is accompanied by a certificate of authenticity signed by the artist’s agent, Nayana Sarmalkar. $6,000-10,000

29 B. Vithal (Indian, 1935-1992) Untitled (Female Figure)

With the artist’s signature in Devanagari along the bottom edge on the reverse. Bronze with green patina. height: 18 in. (45.7cm) width: 9 in. (22.9cm) depth: 7 in. (17.8cm) provenance

The Estate of the Artist. Private Collection, Mumbai (acquired directly from the above). Private Collection, Boston, Massachusetts (acquired directly from the above). note

This lot is accompanied by a certificate of authenticity signed by Sunil Badgelwar, legal heir and manager of the artist’s estate. $6,000-10,000

30 B. Prabha (Indian, 1933-2001) Untitled (Mother and Child)

Signed and dated 1981 in Devanagari top right, oil on canvas. 19 3/4 x 16 in. (50.2 x 40.6cm) provenance

Private Collection, Ohio. Private Collection, Boston, Massachusetts (acquired directly from the above). note

This lot is accompanied by a certificate of authenticity signed by the artist’s agent, Nayana Sarmalkar. $6,000-10,000

31 B. Prabha (Indian, 1933-2001)

Untitled (Mother and Child in Bronze) With the artist’s signature in Devanagari along the bottom edge on the reverse. Bronze with green patina. height: 16 1/2 in. (41.7cm) width: 6 1/4 in. (15.9cm) depth: 6 3/4 in. (16.9cm) provenance

The Estate of the Artist. Private Collection, Mumbai (acquired directly from the above). Private Collection, Boston, Massachusetts (acquired directly from the above). note

This lot is accompanied by a certificate of authenticity signed by the artist’s agent, Nayana Sarmalkar. $6,000-10,000

32 M.F. Husain (Indian, 1913-2011) Ganesha

Signed twice (once in Devanagari) bottom left, signed twice again (once in Devanagari) verso, oil on canvas. Executed in 2002. 49 1/2 x 39 1/2 in. (125.7 x 100.3cm) provenance

The Artist. Gita Art Gallery, New Delhi, India (acquired directly from the above). Prominent Canadian Collection (acquired directly from the above in 2002). note

This lot is accompanied by a photo-copy of a certificate of authenticity signed by Shafat Hussain and dated 01-02-2012, and a second photo-copy of a certificate signed by Kuljit Singh Butalia, issued by Gita Art Gallery and dated November 2, 2002. $80,000-120,000

Celebrated as one of India’s preeminent Modernists, M.F. Husain is best known for his distinctive visual language that evokes the rhythm and energy of contemporary India and emphasizes the richness of its civilization. This vibrant idiom seamlessly fuses stylistic and thematic aspects of the Western modernist vocabulary with the Indian visual tradition. A zealous patriot and founding member of the influential Bombay Progressive Artist’s group, formed the year India won its independence from Great Britain, Husain played a leading role in forging a modern Indian art for a new country. Despite the Cubist, Impressionist and Expressionist influences present in his paintings, the selfprofessed “Indian-origin painter” drew much of the subject matter for his art from traditional Indian festivals, rituals, mythology and literature, and reworked them into his own unique style. Husain had a particular affinity for Indian mythology, a theme he revisited continuously throughout his career. Though Husain’s repertoire is rich in its depiction of Hindu deities, he gave notable prominence to the god of Ganesha, whom he featured in hundreds of paintings, prints and drawings. The present painting features the elephant god poised against a background of bold, energetic blocks of color, dynamically rendered with thick, gestural brushstrokes. This powerful image, completed late in the artist’s career, is emblematic of Husain’s deep connection to his cultural roots, and an excellent example of his visually arresting and symbolically charged oeuvre.

Francis Newton Souza (Indian, 1924-2002)

Signed and dated 83 top right, inscribed with estate inventory number verso, watercolor and marker on paper. 11 x 8 1/2 in. (27.4 x 21.6cm) Unframed

Signed and dated 85 top right, inscribed with estate inventory number verso, marker on paper. 11 x 8 1/2 in. (27.4 x 21.6cm) Unframed

Untitled (Man in Green)

provenance

The Estate of the Artist. Private Collection, Georgia. $2,000-3,000

35 Three Chemical Alterations

Francis Newton Souza (Indian, 1924–2002) Untitled (Figure with Food) Signed and dated 97 center right, inscribed with estate inventory number verso, mixed media and chemical alteration on printed magazine paper. 10 7/8 x 8 7/8 in. (27.6 x 22.5cm) Unframed and Untitled (Nude) Signed and dated 97 center left, inscribed with estate inventory number verso, mixed media and chemical alterations on printed magazine paper. 11 5/8 x 8 1/8 in. (29.5 x 20.6cm) Unframed [not illustrated] and Untitled (Figure) Signed and dated 93 top right, inscribed with estate inventory number verso, mixed media and chemical alterations on printed magazine paper. 10 7/8 x 8 1/4 in. (27.6 x 21cm) Unframed [not illustrated] $2,000-3,000

Untitled (Crucifixion)

provenance

The Estate of the Artist. Private Collection, Georgia. $2,000-3,000

36 Oswaldo Guayasamín (Ecuadorian, 1919-1999) Torso Desnudo

Signed bottom right, watercolor and ink on paper. Executed in 1988. 30 x 22 3/8 in. (76.2 x 56.8cm) provenance

Taller Guayasamín, Quito, Ecuador. Private Collection, Gladwyne, Pennsylvania (acquired directly from the above in 1989). note

This lot is accompanied by a certificate of authenticity issued by the Fundación Guayasamín, signed by director Pablo Guayasamín and dated March 1, 1989. $5,000-8,000

37 Philomé Obin (Haitian, 1892–1986) Untitled (Battle Scene)

Signed and located ‘Cap-Haitien’ bottom right and inscribed ‘Escarmouche entre les hommes du Gal Valev St Amour avec les Marines de Etats Unis. / Septembre 1915’ bottom center, oil on board. 24 1/4 x 30 in. (61.6 x 76.2cm) provenance

The Artist. Collection of Mr. and Mrs. Richard E. Oldenburg, New York, New York (acquired directly from the above circa 1980). $8,000-12,000

The present work depicts a battle that took place between the United States and Haiti in September of 1915, several months into the American occupation of the island nation. The occupation, which had officially begun in July of the same year, was met with resistance by many Haitian people. A counterinsurrection, known as the Cacos Rebellion and led by Pierre François Joseph Benoit Rosalvo Bobo, ensued and continued until November 17, 1915, when the United States ultimately defeated the Haitian forces. However, the present work appears to depict a battle in which the outcome is as of yet, unresolved. Many of the khaki-clad United States soldiers in the foreground are wounded or dead, with Haitian soldiers surrounding them. A figure at center left wields a sword above his head, in an apparent gesture of defiance in the midst of a grisly confrontation.

38 Gustavo Montoya (Mexican, 1905-2003) Niña con Parasol

Signed bottom right, oil on canvas. 21 3/4 x 17 3/4 in. (55.2 x 45.1cm) provenance

“Important Latin American Paintings, Drawings & Sculpture,” Christie’s East, May 17, 1995, lot 67. Private Collection, Gladwyne, Pennsylvania (acquired directly from the above sale). $4,000-6,000

39 Gustavo Montoya (Mexican, 1905-2003) Niña con Margaritas

Signed bottom right, oil on canvas. 21 3/4 x 17 3/4 in. (55.2 x 45.1cm) provenance

“Important Latin American Paintings, Drawings & Sculpture,” Christie’s East, May 17, 1995, lot 46. Private Collection, Gladwyne, Pennsylvania. $4,000-6,000

40 Francisco Zúñiga (Mexican, 1912-1998) Standing Woman with Shawl

1963, incised with signature and dated, numbered III/ IV on the base of the sculpture. Bronze with green patina on wood base. height: 18 1/2 in. (47cm) width: 6 3/8 in. (16.2cm) depth: 5 3/4 in. (14.6cm) (dimensions include base) [Albedrio & Fundación Zúñiga Laborde, 345] provenance

Private Collection, Worcester, Massachusetts. literature

Francisco Zúñiga: Catálogo Razonado, Volumen I, Escultura, 1923-1993, Albedrío & Fundación Zúñiga Laborde, A. C., Mexico, 1999, no. 345 (another cast illustrated). note

We are grateful to Mr. Ariel Zúñiga for his assistance in confirming the authenticity of this work. $10,000-15,000

41 Francisco Zúñiga (Mexican, 1912-1998) Dos Mujeres en Pie

1964, incised with signature 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 Zúñiga, issued by Galeria Bryna and dated January 5, 1967. $10,000-15,000

42 Giorgio Morandi (Italian, 1890-1964) Natura Morta con Cinque Oggetti

1956, pencil signed and numbered 7/150, Vitaliâ&#x20AC;&#x2122;s third state (of four), with margins (trimmed). Etching on wove paper. image: 5 7/16 x 7 7/8 in. (13.8 x 20cm) sheet (approx.): 9 7/16 x 12 1/8 in. (24 x 30.8cm) [Vitali, 116] $18,000-25,000

43 John Minton (British, 1917-1957) Fisherman

Signed bottom center left, ink on paper. 10 x 13 in. (25.4 x 33cm) provenance

The Artist. George Dix, New York, New York (acquired directly from the above). By family descent. Private Collection, Charlottesville, Virginia. exhibited

University of Virginia Museum of Fine Art, February 1949. $2,000-3,000

44 John Minton (British, 1917-1957) La Baignade

Signed, dated 1946 and dedicated ‘to George Dix’ bottom left, inscribed ‘Fournier / The Wanderer / Part III. Chap I. / La Baignade’ verso, ink on paper. 5 5/8 x 8 in. (14.3 x 20.3cm) provenance

The Artist. George Dix, New York, New York (acquired directly from the above). By family descent. Private Collection, Charlottesville, Virginia. $1,000-2,000

45 Bryan Wynter (British, 1915-1975) Untitled (Bird)

Signed and dated 47 bottom right, watercolor, gouache and ink wash on paper. 10 9/16 x 12 3/4 in. (26.8 x 32.4cm) provenance

George Dix, New York, New York. By family descent. Private Collection, Charlottesville, Virginia. $4,000-6,000

46 John Piper (British, 1903-1992) Rooftops and Spires

Signed bottom center left, dedicated and dated ‘For George Dix June 1956’ bottom center, watercolor, gouache and ink on paper. 10 1/8 x 22 in. (25.7 x 55.9cm) provenance

The Artist. George Dix, New York, New York (acquired directly from the above). By family descent. Private Collection, Charlottesville, Virginia. $8,000-12,000

British artist Graham Sutherland once said: “The moment of seeing is often fleeting and I will see something which fascinates me, but if I have not had time to make a note at the moment of recognition, it may be useless to me to return… the flash of recognition has passed… It is the element of the accident and the accidental encounter which is important.” This “flash of recognition” encapsulates Sutherland’s work succinctly, whether regarding his landscapes, portraits or religious paintings, he managed to convey a way of being that delves deep into the character of the person or place. During Sutherland’s early years he was drawn to printmaking. Later, employed as an artist during the Second World War, he recorded bomb damage in Wales in a series of desolate, unpopulated paintings entitled Devastation. After the war, he turned to a Surrealist style of landscape painting, while also engaging religious subjects, culminating in a largescale tapestry project for the new Coventry Cathedral in 1962. A friendship with Somerset Maugham prompted experimentation with portrait painting in 1949, which led to a lifelong occupation as unofficial portrait painter to English aristocrats and business people. (His now infamous portrait of Winston Churchill was despised by the leader and later destroyed.) Grasses Against Dark Sky differs in form from most of Sutherland’s more Surrealist landscape imagery, and offers a unique “portrait” of his surroundings in Menton, in the south of France where he lived for a time beginning in 1955. During this period, Sutherland focused on his immediate environment, his own garden, or the paths he frequented, painting often dramatic scenes of seemingly mysterious locales and their animal inhabitants. The swirling black sky in this important example contrasts with the bright green, vibrant grasses that seem to sway and bend in an eerie light. As is evident here, the magic of Sutherland’s work lies in his ability to “pin down the essence” of his subject and offer his impression for the viewer to experience first-hand.

47 Graham Sutherland (British, 1903-1980) Grasses Against Dark Sky

Signed and dated 1963 bottom right, titled and dated again verso, oil on canvas. 28 3/4 x 23 3/4 in. (73 x 60.3cm) provenance

Paul Rosenberg & Co., New York, New York. Private Collection (acquired directly from the above circa 1963). By family descent. Private Collection. $30,000-50,000

When British artist John Hoyland first traveled to New York in 1964 at the age of 30, he was searching for a new way of painting that would allow him greater emotional engagement and intensity in his work. His process to that point felt more controlled and calculated than he wished, and was in opposition to the complexities of a more personal and authentic expression. Thanks to a collegial connection to Helen Frankenthaler, Hoyland met Robert Motherwell, Mark Rothko, Kenneth Noland and Clement Greenberg in New York, who also introduced him to the work of Hans Hofmann. Experiencing these artists’ work and visiting their studios opened Hoyland’s eyes and provided a crucial juncture in his career.

48 John Hoyland (British, 1934-2011) 25.9.70

Signed and titled/dated on the canvas overhang verso, acrylic on canvas. 95 1/2 x 48 in. (242.6 x 121.9cm) provenance

André Emmerich Gallery, Inc., New York, New York. Private Collection, Warren, Vermont (acquired directly from the above in 1970). note

The Hoyland Estate is currently preparing the forthcoming catalogue raisonne of the Artist’s paintings on canvas and would like to hear from the owners of works by the Artist, so that these can be included in the catalogue. Please write to catrais@johnhoyland.com. $60,000-100,000

Hoyland maintained a preference for the term “nonfigurative imagery” over “abstraction” when describing his work, relating to the expressive quality and depth of feeling he wanted the viewer to experience in his paintings. 25.9.70 is an excellent example of the artist’s work and philosophy. The thickly applied stripes of color and pooling paint in the lower half of the canvas hold strong on a muted and textured background. The impressive scale of the work serves to awe the viewer, while the red horizontal bar near the center has a grounding effect and pulls the eye in. Taken all together, 25.9.70 allows for a window into the artist’s process, as well as an understanding of Hoyland’s hope that: “paintings are a seduction, one develops a relationship with these inanimate objects which becomes a bond like a living person, a mirror, a realm of elusive power…There is no place for cynicism, only joy, passion and wonderment, clarity and eagerness… Paintings are a kind of dream language, and like music they propose a new reality.”

49 Patrick Heron (British, 1920-1999) January 13:83:1

Signed, dated January 13, ‘83 and inscribed with medium verso, gouache on paper. 13 3/4 x 19 1/2 in. (34.9 x 49.5cm) provenance

Waddington Galleries, Ltd., London, United Kingdom. Private Collection, Bryn Mawr, Pennsylvania (acquired directly from the above). $18,000-25,000

Not many contemporary artists are influential painters as well as renowned art critics, but British painter Patrick Heron was both. With the particular insights of a painter, Heron was able to elucidate a mid-century moment of Abstraction that was quintessentially British. His own artistic production found its roots in the color and structure of the French artists he admired, including Cézanne, Matisse, Braque and Bonnard. He later moved into an all-over abstraction that was inspired by the garden he saw out his window every day. After the sudden death of Heron’s wife in 1979 he ceased paintings for some time, picking up again with great fervor and periods of prolific creation in the 1980s. The present gouache is from this time of great productivity, when Heron’s mature style, with its blocks of vivid color and stirring emotional impact, are at their height.

50 Lucas Samaras (American/Greek, b. 1936) Untitled (October 20, 1974) Pastel on paper. Executed in 1974. 13 x 10 in. (33 x 25.4cm) provenance

Pace Gallery, New York, New York. Private Collection, Bryn Mawr, Pennsylvania (acquired directly from the above in 1988). exhibited

“Samaras: Pastels,” Denver Art Museum, October 3 - December 27, 1981; also traveled to: Lowe Art Museum, University of Miami, Florida, January 27 - March 7, 1982; Madison Art Center, Wisconsin, March 21 - May 9, 1982; Walker Art Center, Minneapolis, June 27 - August 22, 1982; Portland Art Museum, Oregon, September 15 - October 31, 1982; Art Museum of South Texas, Corpus Christi, November 29, 1982 - January 1, 1983; Institute of Contemporary Art, Boston, January 18 - March 20, 1983, illustrated in the exhibition catalogue, p. 110 and reproduced as the poster image for the exhibition at the Walker Art Center.. $10,000-15,000

Color Flow comes at a crucial moment in Jules Olitski’s painting career, as he moved from building up canvases with thick impasto paint to experimenting with industrial spray guns used to thinly apply an all-over stain of color. From 1965 until the early 1970s, the painter saturated his canvases with thin, ethereal layers of color, creating what sculptor Anthony Caro called “a painting like a cloud.” In this way he freed color to become an experience or a sensation. In the present work, the artist has employed a large-scale canvas and pulsing orange tones that serve to envelop the viewer. Yet, he has punctuated the painting with dabs of color and areas of purple-gray gradations that together gently assert the two-dimensionality of the canvas.

51 Jules Olitski (American, 1922-2007) Color Flow

Signed, partially titled, dated 1965 and inscribed with medium verso, acrylic on canvas. 90 x 85 in. (228.6 x 215.9cm) provenance

The Artist. Kasmin Limited, London, United Kingdom (acquired directly from the above in 1968). André Emmerich Gallery, Inc., New York, New York. Private Collection, Warren, Vermont (acquired directly from the above in 1985). $50,000-80,000

Olitski’s particular innovations were championed at the time by art critics Clement Greenberg and Michael Fried as belonging to the evolution of pictorial abstraction, and earned the artist many accolades in his lifetime, including being the first living artist to have a solo exhibition at the Metropolitan Museum of Art, New York. Born in Ukraine, Olitski moved to the United States with his mother at a young age and was educated in art schools in New York in Paris, later becoming a professor and influencing a new generation of painters. Olitski remained grounded in art history throughout his long career, often referring to Rembrandt’s sweeping use of dark and light, and how the artist managed to “take possession of the whole canvas and everything in it.” Olitski certainly achieved this expressive quality in his work, whether thick with impasto and gesture or sprayed-on and ethereal.

Throughout her career, Helen Frankenthaler blurred the boundaries of painting, drawing, and watercolor with her persistent experimentations in abstraction. She began her career in an Abstract Expressionist mode but quickly discovered her own unique style in pouring thinned pigments directly onto unprimed canvas laid out on the floor. The Color Field works that followed embodied an element of chance as well as a richness of color saturation that added a new facet to mid-century abstraction. Her influence on other artists in this direction, particularly Morris Louis and Kenneth Noland, originated with her noteworthy Mountains and Sea painting of 1952 and her association with the critic Clement Greenberg. Her “soak-stain” technique effectively merged pigment and canvas, underscoring the flat physicality of the canvas and eliminating pictorial space, as Greenberg championed. Although Frankenthaler challenged the traditional relationship of figure and ground, she did not completely do away with allusions to figuration, landscape, and nature. In Red Hot, 2002, the artist soaks paper with blood-red acrylic paint, later adding horizontal elements of deep oranges, purples, and reds in the center of the red field. Evoking a late summer sunset or a gash in the skin, the textured line bisects the picture plane and allows the viewer an enticing entry point. In the 1970s Frankenthaler famously stated that “paper is painting,” and from 19922002 she painted exclusively on paper in her mature style. Red Hot comes at the end of this prolific period where she employs the properties of paper itself as her medium.

52 Helen Frankenthaler (American, 1928-2011) Red Hot

Signed bottom right, acrylic on paper. Executed in 2002. 44 1/8 x 55 1/4 in. (112.1 x 140.3cm) provenance

Bernard Jacobson Gallery, London, United Kingdom. Private Collection, Virginia Beach, Virginia (acquired directly from the above in 2008). By family descent. Private Collection, La Jolla, California. exhibited

“Frankenthaler: Paintings on Paper (1949 - 2002),” The Museum of Contemporary Art, Miami, Florida, February 14 June 8, 2008; also traveled to The Royal Scottish Academy, August 13 - October 26, 2003, checklist no. 71, illustrated in the exhibition catalogue. $120,000-180,000

53 Jean Dubuffet (French, 1901-1985) Le Fugitif

1977, signed with initials, dated and numbered 27/50 on the Pace Editions plaque verso (there were also 4 artist’s proofs), Pace Editions, Inc., New York, publisher. Two piece color screenprint on magnetized metal. 27 1/4 x 19 5/16 in. (69.2 x 49.1cm) [Webel, 1183] $8,000-12,000

54 Walter Linck (Swiss, 1903–1975) Végétative II Robert

1955, signed with initials and numbered 3/4. Iron and steel. height: 58 in. (147.3cm) width: 18 in. (45.7cm) depth: 7 1/4 in. (18.4cm) provenance

Makler Gallery, Philadelphia, Pennsylvania. Private Collection, Haverford, Pennsylvania (acquired directly from the above on February 17, 1968). $6,000-10,000

55 Leon Kelly (American, 1901-1982) Compote with Fruit

Signed and dated 1924 bottom right, oil on board. 8 3/4 x 12 in. (22.2 x 30.5cm) provenance

Zabriskie Gallery, New York, New York. Sid Deutsch Gallery, New York, New York. The American Gallery, New York, New York. Private Collection, Blue Bell, Pennsylvania. $3,000-5,000

56 Arman (American/French, 1928–2005) Venus de Milo

1986, signed and annotated EA along the bottom edge (an artist’s proof, the edition was 75). Bronze with brown patina on marble base. height: 16 in. (40.6cm) width: 4 in. (10.2cm) depth: 4 in. (10.2cm) (dimensions include base) provenance

The Artist. Dr. Charles & Mrs. Barbara Smithen, Palm Beach, Florida (gifted directly from the above). note

Dr. Charles Smithen received this sculpture as a gift from Arman after he performed heart surgery on the artist. This work is recorded in the Arman Studio Archives New York under number: APA# 8400.86.030. $2,000-3,000

57 Dorothy Dehner (American, 1901-1994) Untitled (Abstract Composition)

Signed bottom right, ink and graphite on paper. 30 11/16 x 22 7/8 in. (77.9 x 58.1cm) provenance

The Artist. Glen Roy Plantation, Virginia (acquired directly from the above). $1,000-2,000

58 Dorothy Dehner (American, 1901-1994) Ode #2

Incised with artist’s signature and dated 77 at the base of the tallest wooden element, wood assemblage. height: 42 3/4 in. (108.6cm) width: 8 13/16 in. (22.4cm) depth: 5 7/8 in. (14.9cm) provenance

The Artist. Glen Roy Plantation, Virginia (acquired directly from the above). $1,500-2,500

RICHARD E. OLDENBURG

THE COLLECTION OF MR. AND MRS.

RICHARD E. OLDENBURG LOTS 59-71

istinguished collector and art world power broker, Richard Oldenburg was a central figure, both personally and professionally, of the elite art and cultural orbit of Manhattan in the second half of the 20th century. Born in Stockholm, he and his older brother, the famed Pop artist Claes Oldenburg, spent their earliest childhood years in Sweden, before moving to Chicago in 1936, when their father Gösta was named the city’s Swedish Consul General. Their mother, the former Sigrid Lindforss, was accomplished in her own right, having enjoyed a career in Sweden as an opera singer and, later, as an abstract painter. The two Oldenburg brothers would themselves go on to have careers of significant influence within the art world, though their paths would take quite different turns. After a tenure at Harvard Law School and time spent in military service, Richard embarked upon a career in book publishing at Doubleday and MacMillan. With Claes an emerging presence in the growing Pop Art scene, however, the art world was always close at hand. As Richard recalled in the Museum of Modern Art’s oral history, “through [Claes], I met Rauschenberg, Lichtenstein, Warhol, Segal, Rosenquist – everyone – because they were all in very close contact. It was a very exciting time. It

was the whole emergence of the Pop Art movement.” Indeed, it was after a fortuitous meeting with a former colleague at the opening of Claes’s 1969 MoMA exhibition that Richard assumed the role of the museum’s Director of Publications. So successful was he in his post that soon thereafter he was appointed MoMA’s Director, a position he would hold from 1972 until 1994. Once Richard joined the museum, the two brothers were cornerstones of the art world, one creative, the other practical. Richard’s unique talents allowed him to thrive in his role as a cultural chief executive. Under his stewardship, the museum made tremendous strides, including an expansion that saw its exhibition space more than double, a transformative change for one of the world’s leading institutions. Upon his retirement from the museum in 1994, Richard joined Sotheby’s, where he served as Chairman of North and South America until 2000. Richard’s interest in art extended far beyond the professional and he built an impressive personal collection of international scope. It is with great pleasure that Freeman's presents the following works of such distinguished provenance. Above: Richard Oldenburg, image: Arnold Newman, 1983

59 Claes Oldenburg (American, b. 1929) The Store

Signed bottom center and titled top center, ink on paper. Executed circa 1961. 12 x 10 in. (30.5 x 25.4cm) provenance

Collection of Mr. and Mrs. Richard E. Oldenburg, New York, New York. exhibited

“Claes Oldenburg: The Street and The Store / Claes Oldenburg: Mouse Museum / Ray Gun Wing,” The Museum of Modern Art, New York, April 14 - August 5, 2013. $10,000-15,000

THE COLLECTION OF MR. AND MRS.

60 Claes Oldenburg (American, b. 1929) Bathers

Signed and dated ‘52 bottom right, watercolor on paper. 19 1/8 x 24 in. (48.6 x 61cm) provenance

Collection of Mr. and Mrs. Richard E. Oldenburg, New York, New York. $5,000-8,000

RICHARD E. OLDENBURG

61 Claes Oldenburg (American, b. 1929) Railroad Shorty

Ink on paper. Executed in 1953. 8 7/16 x 8 1/16 in. (21.4 x 20.5cm) provenance

Collection of Mr. and Mrs. Richard E. Oldenburg, New York, New York. $2,000-3,000

62 Claes Oldenburg (American, b. 1929) Chicago Stuffed with Numbers

1977, pencil signed and numbered ‘A.P. I’ (one of 20 artist’s proofs, the edition was 85), with full margins, The Art Institute of Chicago, publisher. Color lithograph on wove paper. image: 38 x 26 in. (71.1 x 66cm) sheet: 47 1/2 x 31 5/8 in. (120.7 x 80.3cm) [Axsom & Platzker, 166] provenance

Collection of Mr. and Mrs. Richard E. Oldenburg, New York, New York. $2,000-3,000

THE COLLECTION OF MR. AND MRS.

RICHARD E. OLDENBURG

63 Claes Oldenburg (American, b. 1929) Tilting Neon Cocktail

1983, incised with the artist’s initials and numbered ‘H.C. 2/5’ on the underside (an hors commerce proof, the edition was 50, there were no artist’s proofs), published by Brooke Alexander for The New Museum of Contemporary Art, New York. Stainless steel, cast aluminum, acrylic and Plexiglas multiple. height: 19 in. (48.3cm) [Platzker, 21] provenance

Collection of Mr. and Mrs. Richard E. Oldenburg, New York, New York. $4,000-6,000

64 Claes Oldenburg (American, b. 1929) Profile Airflow - Test Mold, Front End

1972, incised with initials and inscribed ‘AP II’ (one of 6 artist’s proofs, the edition was 50), Gemini G.E.L., Los Angeles, publisher and with their copyright information printed on the reverse of the frame. Cast-polyurethane relief over screenprinted Plexiglas multiple. 18 1/2 x 16 in. (47 x 40.6cm) [Axsom & Platzker, 99] provenance

Collection of Mr. and Mrs. Richard E. Oldenburg, New York, New York. $6,000-10,000

THE COLLECTION OF MR. AND MRS.

RICHARD E. OLDENBURG

65 Frank Stella (American, b. 1936) Untitled

Signed with initials, dated ‘80 and inscribed ‘For Dick on his fiftieth birthday / Bill and Frank,’ inscribed with artist’s initials verso, pencil and ink on lined paper. 10 15/16 x 8 3/8 in. (27.8 x 21.3cm) provenance

Collection of Mr. and Mrs. Richard E. Oldenburg, New York, New York. $3,000-5,000

66 Chuck Close (American, b. 1940) Self-Portrait

1996, pencil signed on the mat and pencil numbered on the reverse of the mount, with full margins, published by Pace Editions, New York for The Archives of American Art, Smithsonian Institution, Washington, D.C. Photo engraving on silk tissue paper mounted to Hahnemühle within its original Archives of American Art Hahnemühle paper folder. image: 5 15/16 x 4 1/4 in. (15.1 x 11.4cm) sheet: 9 7/8 x 7 11/16 in. (25.1 x 19.5cm) Unframed provenance

Collection of Mr. and Mrs. Richard E. Oldenburg, New York, New York. $2,000-3,000

Italian artist Mimmo Rotella began his artistic career as an abstract painter in the 1950s, spending two years in the United States on a Fulbright Scholarship before returning to Rome in 1953. While in the U.S. he met Robert Rauschenberg, Claes Oldenburg and Jackson Pollock, among others, and upon returning home gave up painting in favor of a new mode of representation. Rotella termed the phrase “double décollages” for his method of tearing advertising posters off of city walls, affixing them to canvas in his studio, and then tearing them again into pieces for reassembly. He thereby employed mass media imagery in the service of his abstraction, in much the way Rauschenberg was concurrently working in the United States. Ars-Gratia-Artis comes from a slightly later period, in the 1960s and early 1970s, when the artist explored different typographic products and methods of reproduction toward a new end. As Rotella stated: “I inverted my old approach: first I tried to disintegrate, now I try to reintegrate that matter, that reality.” The monochrome, muted prints on canvas also play to his lifelong experimentation with poetry, in which the artist invented words, sounds, and repetitive imagery, creating a language all his own in the spheres of visual and literary arts.

67 Mimmo Rotella (Italian, 1918–2006) Ars-Gratia-Artis

Signed and dated 63 bottom right, signed and dated again and titled verso, screenprint on canvas. 33 1/8 x 32 in. (84.1 x 81.3cm) Unframed provenance

Collection of Mr. and Mrs. Richard E. Oldenburg, New York, New York. $20,000-30,000

THE COLLECTION OF MR. AND MRS.

RICHARD E. OLDENBURG

68 Ellsworth Kelly (American, 1923-2015) Lemon Branch [4]

Inscribed with artist’s name in pencil, dated Oct 1964, titled ‘Lemon Branch’ and numbered from the series ‘4/5’ verso. Pencil on wove paper. 28 1/2 x 22 9/16 in. (72.4 x 57.3cm) provenance

The Museum of Modern Art, New York, New York. Collection of Mr. and Mrs. Richard E. Oldenburg (gifted directly from the above on the occasion of Richard’s retirement as the Museum’s Director in 1994). exhibited

“The Drawing Society National Exhibition,” American Federation of Arts, New York, November 22 - December 13, 1966; also traveled to: Flint Institute of Arts, Flint, Michigan, October 1 - 22, 1965 / November 5 - 26, 1965; Oklahoma Art Center, Oklahoma City, Oklahoma, December 10 - 31, 1965; Atlanta Art Association, Atlanta, Georgia, January 14 - February 4, 1966; University of Kansas, Lawrence, Kansas, February 18 - March 11, 1966; Colorado Springs Fine Arts Center, Colorado Springs, Colorado, March 25 April 14, 1966; Frederick & Nelson, Seattle, Washington; April 22 - May 7, 1966; Long Beach Museum of Art, Long Beach, California, June 5 - 26, 1966; Honolulu Academy of Arts, Honolulu, Hawaii, July 8 - 29, 1966; M. H. de Young Memorial Museum, San Francisco, California, August 12 - September 2, 1966; National Collection of Fine Arts, Smithsonian Institution, Washington D.C., September 16 - November 12, 1966, no. 32, illustrated in the exhibition catalogue p. 26. “New York Painting and Sculpture: 1940-1970,” The Metropolitan Museum of Art, New York, October 18, 1969 - February 8, 1970, no. 200, illustrated in the exhibition catalogue p. 51. “Twentieth-Century American Drawings: Three Avant-Garde Generations,” Solomon R. Guggenheim Museum, New York, January 23 - March 22, 1976; also traveled to: Staatliche Kunsthalle Baden-Baden, Baden-Baden, German, May 26 July 11, 1976; Kunsthalle Bremen, Bremen, Germany, July 18 - August 29, 1976 (shown only in Baden-Baden). “10 Painters & Sculptors Draw,” Museum of Fine Arts, Boston, August 1 - September 30, 1984, checklist no. 24, illustrated in the exhibition catalogue p. 5. “Ellsworth Kelly: Works on Paper,” Fort Worth Art Museum, Fort Worth, Texas, September 13 - October 25, 1987; Museum of Fine Arts, Boston, December 2, 1987 - January 31, 1988; The Art Gallery of Ontario, Toronto, March 5 - May 15, 1988; Baltimore Museum of Art, Baltimore, Maryland, May 29 - July 24, 1988; San Francisco Museum of Modern Art, San Francisco, California, August 11 September 25, 1988; Nelson-Atkins Museum of Art, Kansas City,Missouri, October 22 - December 31, 1988; Museum Overholland, Amsterdam, Netherlands, July 1 - September 24, 1989, pl. 138, illustrated in the exhibition catalogue. “Die Hand des Kunstlers,” Museum Ludwig, Cologne, Germany, April 26 - June 23, 1991, no. 5, illustrated in the exhibition catalogue. .$60,000-100,000

Ellsworth Kelly spoke often of his drawing teacher Ture Bengtz at the School of the Museum of Fine Arts in Boston who instructed, “when I teach you how to see, then you’ll be able to draw easily.” After more than a year of drawing from the nude, Kelly suddenly felt one day that he was able to draw anything. This was a seminal moment. As he stated in 2011, “When I see a blank piece of paper or canvas, I want to put something on it, it’s a great desire.” Drawing became a venue for formulating and developing his large color field canvases, particularly for exploring the curves, contours and negative spaces between forms. On the occasion of the Metropolitan Museum of Art’s Ellsworth Kelly Plant Drawings exhibition in 2012, the artist explained that these works “seem to be a bridge to the way of seeing that brought about the paintings in 1949 that are the basis for all my later work.” Born in Newburgh, New York in 1923, Kelly studied at the Pratt Institute before joining the Army in 1943, working with other artists creating camouflage during the Second World War. After the war, he returned to Paris on the G.I. Bill where he began his artistic career in earnest. This crucial period from 1948-52 saw Kelly formulating what would become his lifelong project, freeing the canvas from gesture and representation to “shift the visual reality of painting to include the space around it.” Often called “Color Field,” “Hard Edge” or “Minimalist,” Kelly’s mature work completely removed the process- and time-based elements of Abstract Expressionism, in favor of a finished style that was carefully planned out ahead of time. While Kelly’s paintings at first glance seem to be devoid of reference to the observed world, the artist always maintained that his work was rooted in his lived reality. The crushed coffee cup on the sidewalk, shadows between buildings, or leaves and flowers collected on morning walks could all provide foundational ideas. Studying plants, for example, gave him a crucial place for experimenting with negative space and how forms overlap, both powerful elements in understanding his oeuvre. As such, a drawing like Lemon Branch serves as a strong underpinning of Kelly’s painted works, as well as a beautiful study of nature in its own right. Its lyrical forms dance up and down the page, some overlapping, others just barely out of reach, full of a life and energy and on a scale that creates a powerful, yet delicate, composition. This work relates to Lemon Branch [1] in the collection of The Solomon R. Guggenheim Museum, New York, New York.

THE COLLECTION OF MR. AND MRS.

RICHARD E. OLDENBURG

69 Ellsworth Kelly (American, 1923-2015) Blue Curve

1999, pencil signed and numbered 112/220 (there were also 38 artist’s proofs), the full sheet, published by Gemini G.E.L., Los Angeles for The Archives of American Art, Smithsonian Institution, Washington, D.C. and with their ink stamp verso. Color lithograph on BFK Rives. sheet: 8 x 6 in. (20.3 x 15.2cm) [Axsom, 281; Gemini, 28.220] Unframed provenance

Collection of Mr. and Mrs. Richard E. Oldenburg, New York, New York. $3,000-5,000

70 Jasper Johns (American, b. 1930) Target

1971, pencil signed and numbered 44/50 (there were also 6 artist’s proofs), the full sheet, Gemini G.E.L., Los Angeles, publisher and with their blindstamp. Lithograph with collage on Hahnemühle in wooden box (as issued). sheet: 12 1/4 x 10 in. (31.1 x 25.4cm) box: 13 1/2 x 11 3/16 in. (34.3 x 28.4cm) [United Limited Art Editions, 89; Gemini, 26.31] provenance

Collection of Mr. and Mrs. Richard E. Oldenburg, New York, New York. $1,500-2,500

71 Roy Lichtenstein (American, 1923-1997) Untitled (Still Life with Lemon and Glass) For Meyer Schapiro

1974, pencil signed and dated, numbered 23/100 (there were also possibly 13 artist’s proofs), with full margins, published by The Committee to Endow a Chair in Honor of Meyer Schapiro at Columbia University, New York and with the artist’s copyright inkstamp verso. Color screenprint on wove paper. image: 32 1/2 x 23 7/8 in. (82.6 x 60.7cm) sheet: 40 1/2 x 31 7/8 in. (102.9 x 81cm) [Corlett, 134] provenance

Collection of Mr. and Mrs. Richard E. Oldenburg, New York, New York. $15,000-25,000

72 Roy Lichtenstein (American, 1923-1997) Still Life with Figurine Six Still Lifes 1974, pencil signed and dated, numbered 34/100 (there were also 10 artist’s proofs), with wide margins, Multiples, Inc. and Castelli Graphics, New York co-publishers and with their inkstamps verso. Color lithograph and screenprint on wove paper. image: 39 1/16 x 30 1/8 in. (99.2 x 76.5cm) sheet: 46 5/8 x 37 5/8 in. (118.4 x 95.6cm) [Corlett, 128] $10,000-15,000

73 After Roy Lichtenstein (American, 1923-1997) Pistol Banner, Multiples Calendar, 1969

1968, from the edition of unknown size, Multiples, Inc., New York, publisher and with their printed text verso. Color screenprint on wove paper. image: 15 1/4 x 8 5/8 in. (38.7 x 21.9cm) sheet: 15 1/4 x 14 15/16 in. (38.7 x 37.9cm) [not in Corlett] $1,000-2,000

74 Tom Wesselmann (American, 1931-2004) Big Blonde

1989, pencil signed and numbered 63/100 (there were also 12 artist’s proofs), International Images, Inc., Putney, Vermont, publisher and with their blindstamp. Color screenprint on Archivart Museum Board. image: 44 1/2 x 61 in. (113 x 154.9cm) sheet: 55 1/8 x 74 in. (140 x 188cm) $15,000-25,000

75 Andy Warhol (American, 1928-1987) Edward Kennedy

1980, pencil signed and numbered 110/300 (there were also 25 artist’s proofs), the full sheet, published by Kennedy for President Committee, Washington, D.C. to raise funds for the Edward Kennedy primary campaign for president. Color screenprint with diamond dust on Lenox Museum Board. sheet: 40 x 32 in. (101.6 x 81.3cm) [Feldman & Schellmann, II.240] note

The present owner was gifted this print while working on Edward Kennedy’s presidential campaign. $8,000-12,000

76 Andy Warhol (American, 1928-1987) Flowers

1964, ink signed and dated, from the edition of approximately 300, with wide margins, Leo Castelli Gallery, New York, publisher. Color offset lithograph on wove paper. image: 21 7/8 x 21 7/8 in. (55.6 x 55.6cm) sheet: 22 7/8 x 22 7/8 in. (58.1 x 58.1cm) [Feldman & Schellman, II.6] $20,000-30,000

77 Agnes Martin (American/Canadian, 1912–2004) Paintings and Drawings: Stedelijk Museum Portfolio

1990-91, 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 $4,000-6,000

78 Josef Albers (American/German, 1888–1976) Six Variants (Portfolio of 6)

1969, each pencil signed, dated and inscribed sequentially ‘I-S Va 1’ through ‘I-S Va 6’, numbered 132/150, with wide margins, Ives-Sillman, Inc., New Haven, publisher and with their blindstamp. The complete set of six color screenprints on Arches in paper folders within Plexiglas case. images: dimensions vary sheets (approx.): 28 x 36 in. (71.1 x 91.4cm) Unframed [Danilowitz, 192] $6,000-10,000

79 Edna Andrade (American, 1917-2008) Fortress

Signed with artist’s initials bottom left, signed again, titled and dated ‘1992’ on canvas overhang verso, acrylic on canvas. 72 x 72 in. (182.9 x 182.9cm) provenance

The Artist. Private Collection, New Jersey. Rago Auctions, Lambertville, “Post War & Contemporary Art,” November 11, 2017, lot 746. Collection of Bonnie O’Boyle, Bucks County, Pennsylvania (acquired directly from the above sale). exhibited

“Cool Waves and Hot Blocks, The Art of Edna Andrade,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, September 17, 1993 - January 30, 1994, no. 38, illustrated in the exhibition catalogue p. 27. $8,000-12,000

80 Edna Andrade (American, 1917-2008) Untitled (Geometric Squares)

Signed with initials bottom left, signed again and dated 1981 with copyright on canvas overhang verso, acrylic on canvas. 36 x 36 in. (91.4 x 91.4cm) provenance

Marian Locks Gallery, Philadelphia, Pennsylvania. Private Collection, Glenmoore, Pennsylvania (acquired directly from the above). $5,000-8,000

81 Richard Anuszkiewicz (American, b. 1930) Untitled The Temple Series

Signed and dated 1985 and inscribed ‘780’ verso, acrylic on board. 21 x 16 in. (53.3 x 40.6cm) provenance

Charles Foley Gallery, Columbus, Ohio. Private Collection, Columbus, Ohio (acquired directly from the above circa 1985). $15,000-25,000

82 Richard Anuszkiewicz (American, b. 1930) Untitled The Temple Series

Signed and dated 1985 and inscribed ‘775’ verso, acrylic on panel. 21 x 16 in. (53 x 40.6cm) provenance

Charles Foley Gallery, Columbus, Ohio. Private Collection, Columbus, Ohio (acquired directly from the above circa 1985). $15,000-25,000

83 Robert Motherwell (American, 1915-1991) Red Wind Octavio Paz

1988, pencil signed with initials and annotated h.c. (one of 5 hors-commerce proofs, from the second edition portfolio of 50 plus 10 artist’s proofs in Roman numerals), with full margins, The Limited Editions Club, New York, publisher. Color lithograph and linoleum block print on handmade Japan with chine appliqué on Arches. image: 9 x 11 in. (22.9 x 27.9cm) sheet: 23 13/16 x 28 15/16 in. (60.5 x 73.5cm) [Belknap, 380; Engberg & Banach, 441] $800-1,200

84 Cy Twombly (American, 1928-2011) Untitled the Art and Sports portfolio

1983, pencil signed with initials and numbered 59/150 (there was also 12 artist’s proofs and an edition of 50 in Roman numerals), with full margins, published by Visconti Art Spectrum, Vienna for the Yugoslavian Olympic Committee on the occasion of the Winter Games in Sarajevo. Color aquatint and lithograph on heavy wove paper. image: 29 3/4 x 21 5/8 in. (75.6 x 54.9cm) sheet: 36 7/8 x 27 1/4 in. (93.7 x 69.2cm) [Bastian, 76] $2,000-3,000

85 Cy Twombly (American, 1928–2011) Ficus Caricav Natural History II, Some Trees of Italy

1975-76, pencil signed with initials and numbered 21/98 (there were also 17 artist’s proofs), Propyläen Verlag, Berlin, publisher. Color lithograph with collotype on Fabriano. sheet: 29 7/8 x 22 1/8 in. (75.9 x 56.2cm) [Bastian, 59] $5,000-8,000

86 James Rosenquist (American, 1933-2017) One Million Tons Per Square Inch

1977, pencil signed, titled and dated, numbered 45/78 (there were also 24 artist’s proofs), with full margins, Multiples, Inc., New York, publisher. Color etching and aquatint with pochoir on Pescia Italia. image: 17 3/4 x 35 3/4 in. (43.8 x 90.8cm) sheet: 22 3/4 x 39 7/8 in. (57.8 x 101.3cm) [Glenn, 117] $1,000-2,000

87 Sam Francis (American, 1923-1994) Untitled Red

1992, pencil signed and numbered 18/75 (there were also 30 artist’s proofs), the full sheet, 2RC Edizioni d’Arte, Rome, publisher and with their blindstamp. Color etching, aquatint and drypoint with embossing on Fabriano. image: 19 1/5 x 28 5/8 in. (59.5 x 72.7cm) sheet: 27 3/4 x 37 3/8 in. (70.5 x 94.9cm) [Lembark, Supp. SFE-080RC] $1,500-2,500

88 Friedensreich Hundertwasser (Austrian, 1928-2000) Let Us Pray Manitou Wins

1981, ink signed, dated and located ‘Wien’, numbered 284/428 (there were also 90 proofs in Roman numerals), with full margins, Gruener Janura AG, Glarus, Switzerland, publisher and with their inkstamp. Color screenprint with metal imprints on wove paper. image: 21 3/16 x 26 3/8 in. (54 x 67cm) sheet: 22 x 29 7/8 in. (55.9 x 75.9cm) [Koschatzky, 79] $2,000-3,000

89 Friedensreich Hundertwasser (Austrian, 1928-2000) Silent Steamers

1994, ink signed and dated, numbered 154/624 (there were also 39 proofs in Roman numerals), with wide margins, Grüner Janura, Glarus, Switzerland, publisher and with their inkstamp. Color screenprint and photolithograph on Fabriano with metal imprints on wove paper. image: 19 3/8 x 27 9/16 in. (49.2 x 70cm) sheet: 21 7/8 x 29 13/16 in. (55.6 x 75.7cm) [Fürst HWG, 107] $1,000-2,000

90 Eduardo Paolozzi (Scottish, 1924-2005) Moonstrips Empire News, Volume I

1967, eight pencil signed and numbered 298/500, all stamp-titled verso (there were also 50 artist’s proofs), Editions Alecto, London, publisher and each with their inkstamp verso. The complete set of 100 screenprints on various papers and acetate with title page, text and justification, loose (as issued) within original pink formed acrylic box fabricated by Herault Studios. sheets (each): 15 x 10 in. (38 x 25.4cm) album: 15 3/4 x 11 in. (40 x 28cm) [Miles, 37] $2,500-4,000

91 Jeff Koons (American, b. 1955) Puppy

1998, incised with signature and date, numbered 2333/3000 on the underside (there were also 50 artist’s proofs), Art of this Century, New York and Paris, publisher and with their incised stamp. Glazed white ceramic vase (lacking box). height: 17 1/2 in. (44.5cm) note

This lot is accompanied by a certificate of authenticity dated July 12, 2005 and signed by Sandro Rumney, President, Art of this Century. $5,000-8,000

92 Red Grooms (American, b. 1937) Allen & Helene on Happily

Signed and dated ‘96 along the bottom edge of the boat, enamel on aluminum. height: 95 in. (241.3cm) width: 76 in. (193cm) depth: 62 in. (157.5cm) provenance

The Artist. Private Collection, Haverford, Pennsylvania (acquired directly from the above). $20,000-30,000

93 Wolf Kahn (American/German, b. 1927) Yellow Barn Half Hidden

Signed bottom left, oil on canvas. Executed in 2011. 36 x 52 in. (91.4 x 132.1cm) provenance

Ameringer McEnery Yohe Gallery, New York, New York. Private Collection, Lawrenceville, New Jersey (acquired directly from the above). $25,000-40,000

94 Wolf Kahn (American/German, b. 1927) Red Tangle

Signed bottom center right, oil on canvas. Executed in 2011. 40 x 28 in. (101.6 x 71.1cm) provenance

Ameringer McEnery Yohe Gallery, New York, New York. Private Collection, Lawrenceville, New Jersey (acquired directly from the above). $20,000-30,000

95 Sally Michel Avery (American, 1902-2003) August Light

Signed and dated 1970 bottom right, signed and titled verso, oil on canvas. 40 x 50 in. (101.6 x 127cm) provenance

The Artist. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above). $6,000-10,000

96 Sally Michel Avery (American, 1902-2003) Still Life with Yellow Background

Signed and dated 1987 bottom right, watercolor and crayon on paper. 24 x 18 in. (61 x 45.7cm) provenance

The Artist. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above). $2,000-3,000

97 Sally Michel Avery (American, 1902-2003) Mountain Landscape with Sheep

Signed and dated 1987 bottom right, watercolor and crayon on paper. 17 3/4 x 23 3/4 in. (45.1 x 60.3cm) provenance

The Artist. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above). $2,000-3,000

98 Kim Heungsou (Korean, 1919-2014) Girl with Tears

Signed bottom left, oil on canvas. 22 x 15 in. (55.9 x 38.1cm) provenance

Private Collection, Philadelphia, Pennsylvania. $4,000-6,000

99 Rudolf Bonnet (Dutch, 1895-1978) Two Women, Bali

Signed, dated 1956 and located Bali, red and white chalk with mixed media on paper. 23 3/4 x 23 9/16 in. (60.3 x 59.8cm) provenance

Private Collection, Virginia. $1,500-2,500

100 Bo Bartlett (American, b. 1955) Palindrome in Red

Signed, dated 1981 and inscribed with the artist’s ‘IGN’ logo verso, oil on canvas. 69 1/2 x 53 in. (176.5 x 134.6cm) provenance

Marian Locks Gallery, Philadelphia, Pennsylvania. Private Collection, Penn Valley, Pennsylvania (acquired directly from the above in 1981). exhibited

“National Academy of Design Annual Exhibition,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1981. $10,000-15,000

101 Kazuko Inoue (Japanese, b. 1946) Untitled

Signed and dated 1986 verso, acrylic on canvas. 44 1/4 x 29 1/4 in. (112.4 x 74.3cm) provenance

Private Corporation. Private Collection, New Jersey. $3,000-5,000

102 Bill Scott (American, b. 1956) Glimmer

Signed and dated 1998 bottom right, acrylic on paper. 30 1/2 x 22 in. (77.5 x 55.9cm) provenance

The Artist. Private Collection, Philadelphia, Pennsylvania. exhibited

“Bill Scott: Paintings,” Mulligan-Shanoski Gallery, San Francisco, May 7 - June 5, 1999, no. 6. (exhibition to benefit the Bay Area non-profit, Bread & Roses). $2,500-4,000

103 Bill Scott (American, b. 1956) Blossoming Yard

Signed and dated 1999 bottom right, acrylic on paper. 30 x 20 in. (76.2 x 50.8cm) provenance

The Artist. Private Collection, Philadelphia, Pennsylvania. exhibited

“A Painterly Vision: Mary Page Evans, Eileen Goodman & Bill Scott,” Walker-Kornbluth Gallery, Fairlawn, New Jersey, April 28 - May 26, 2002. $2,500-4,000

104 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). $2,000-3,000

105 Stuart Shils (American, b. 1954) Delaware River with Dark Sky

Signed and dated 86 bottom right, signed again and titled verso, oil on board. 12 x 16 in. (30.5 x 40.6cm) provenance

American Artist Gallery, Wayne, Pennsylvania. Private Collection, Tampa, Florida (acquired directly from the above in 1994). $1,000-2,000

106 Stuart Shils (American, b. 1954) Delaware River, Philadelphia

Signed and titled verso, oil on panel. 9 x 16 in. (22.9 x 40.6cm) provenance

American Artist Gallery, Wayne, Pennsylvania. Private Collection, Tampa, Florida (acquired directly from the above in 1994). $1,000-2,000

107 Stuart Shils (American, b. 1954) Schuylkill River with Bridge

Signed and dated 91 bottom left, signed again twice, titled, located ‘Philadelphia’ and dated verso, oil on paper mounted to rag board. 10 3/8x 7 7/8 in. (26.4 x 20cm) provenance

Kunsthaus Buhler, Stuttgart, Germany. American Artist Gallery, Santa Fe, New Mexico. Private Collection, Tampa, Florida (acquired directly from the above in 1996). $1,000-2,000

End of Sale

INDEX Aizpiri, P.

Husain, M.F.

Pho, L.

Albers, J.

Inoue, K.

101

Picasso, P.

1-8

Andrade, E.

79, 80

Johns, J.

Piper, J.

Anuszkiewicz, R.

81, 82

Kahn, W.

93, 94

Prabha, B.

28, 30, 31

Arman

Kelly, E.

68, 69

Rosenquist, J.

Avery, S. M.

95-97

Kelly, L.

Rotella, M.

Bartlett, B.

100-104

Koons, J.

Samaras, L.

Bonnet, R.

Lichtenstein, R.

71-73

Scott, B.

102, 103

Cao Dam, V.

Linck, W.

Shils, S.

105-107

Chagall, M.

13-17

Martin, A.

Souza, F. N.

34-36

Close, C.

Matisse, H.

9, 10

Stella, F.

Dehner, D.

57, 58

Minton, J.

43, 44

Sutherland, G.

Dubuffet, J.

Miro, J.

Twombly, C.

84, 85

Exter, A.A.

Montoya, G.

38, 39

Venard, C.

22, 23

Francis, S.

Morandi, G.

Vithal, B.

Frankenthaler, H.

Motherwell, R.

Warhol, A.

75, 76

Grooms, R.

Mualla, F.

19, 20

Wesselmann, T.

Guayasamin, O.

Obin, P.

Wou-Ki, Z.

26, 27

Heron, P.

Oldenburg, C.

59-64

Wynter, B.

Heungsou, K.

Olitski, J.

Zuniga, F.

40, 41

Hoyland, J.

Paolozzi, E.

Hundertwasser, F.

88, 89

Pascin, J.

11, 12

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

Forename(s) and surname of painter is in our opinion a work

of the artist, but of a later date; e.g. Manner of Charles Willson Peale.

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

to studio of

School accompanied by the name of a place or country and a date means that we believe the picture was executed at that time and in that location; e.g. Italian

Charles Willson Peale.

School, 18th Century. After an artist is in our opinion a copy of any date after a work by that artist; e.g. After

Refers to a work from the studio of the artist which may or Charles Willson Peale.

follower

school of

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

may not have been executed under his direction; e.g. Studio of

circle of

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

forename(s) is not known, a series of asterisks followed by the surname of the artist, wether preceded by an initial or not,

attributed

manner of

by that artist; e.g. Charles Willson Peale. When an artist’s

Charles Willson Peale. after an artist

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

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

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

under his immediate influence; e.g. Circle of Charles Willson

date and/or an inscription means that we believe the

Peale.

artist’s name and/or date and/or inscription have been added by another hand.

Follower of..... refers to a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not

signatures &

necessarily his pupil; e.g. Follower of Charles Willson Peale.

dates measurements

All references to signature, inscriptions and dates refer to the present state of the work. Dimensions are given height before width.

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

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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.

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 Ben Farina bfarina@freemansauction.com Business Development Thomas B. McCabe IV tmccabe@freemansauction.com Client Services Mary Maguire 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 Private Collections Grace Fitts gfitts@freemansauction.com Shipping & Receiving Megan Latona mlatona@freemansauction.com Trusts & Estates Thomas B. McCabe IV tmccabe@freemansauction.com

American Furniture, Folk & Decorative Arts Lynda Cain lcain@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 Anne Henry ahenry@freemansauction.com Silver & Objets de Vertu Tessa Laney tlaney@freemansauction.com

Southeast Colin Clarke cclarke@freemansauction.com West Coast Michael Larsen mlarsen@freemansauction.com Main Line Sarah Riley, GG sriley@freemansauction.com

European Art & Old Masters Auction February 18, 2020 David Weiss | 267.414.1214 dweiss@freemansauction.com

Berthe Morisot (French 1841 -1895) Apollon Révélant sa Divinité à la Bergère Issé, after François Boucher, 1892 oil on canvas, 25 1/4 x 31 1/8 in. $150,000-250,000

American Art & Pennsylvania Impressionists Auction December 8 Alasdair Nichol | 267.414.1211 anichol@freemansauction.com

Peter Blume (American 1906-1992) Autumn, 1984 oil on canvas, 45 1/4 x 50 in. $60,000-100,000

Design Auction January 13, 2020 Tim Andreadis | 267.414.1215 tandreadis@freemansauction.com

Henry van de Velde (Belgian 1863-1957) A collection of over forty serving pieces, Meissen Porcelain Manufactory, 1903-04 To be offered in individual lots, estimates vary

Right: Lot 82 (detail)

1808 Chestnut St

Philadelphia PA

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