European Art & Old Masters

European Art & Old Masters February 18, 2020

Lot 13 (detail)

European Art & Old Masters AUCT ION Sale 1656 Tuesday, February 18 at 12pm 2400 Market St Philadelphia PA freemansauction.com

VIE WING T IME S Friday, February 14: 10am - 5pm Saturday & Sunday, February 15 & 16: 12pm - 5pm Monday, February 17: 10am - 5pm Tuesday, February 18: by appointment only

DE PART ME NT David Weiss Senior Vice President | Head of Department dweiss@freemansauction.com, 267.414.1214 Alasdair Nichol Chairman | Division Head anichol@freemansauction.com, 267.414.1211 Raphaël Chatroux Specialist rchatroux@freemansauction.com, 267.414.1253

Opposite: Lot 34 (detail); Cover: Lot 48; Inside Front Cover: Lot 37 (detail); Inside Back Cover: Lot 38 (detail)

Lot 12 (detail)

The Rhinoceros is one of Albrecht Dürer’s rarest prints. This woodcut, executed in eight states, is a visual record of an Indian rhinoceros brought to Emanuel I, King of Portugal in 1513 and known to Dürer from a sketch by the painter Valentin Ferdinand. In 1515, Emanuel I sent the rhinoceros to Pope Leo X as a gift, though the animal died in a shipwreck. While Dürer never saw the rhinoceros, he refers to it in an inscription in the edition of the print with letterpress text as being “fast, impetuous and cunning.” Dürer’s Rhinoceros is a highly stylized animal: its heavy skin appears like armor plating, complete with rivets and a breastplate; it has an enlarged horn, a gorget, and a smaller spiral horn on its back. Until the late 18th century, Dürer’s depiction of a rhinoceros was widely regarded as being an accurate one.

1 Albrecht Dürer (German, 1471–1528) The Rhinoceros

1515. Woodcut on paper with a Single-Headed Eagle watermark (Meder 224), a good impression of the sixth state (of eight). Printed by Hendrick Hondius, The Hague, circa 1620. The Dutch text trimmed, as is common; with an inscription in French on the reverse Image size: 8 3/8 x 11 3/4 in. (21.3 x 29.8cm) Sheet size: 8 7/16 x 11 7/8 in. (21.4 x 30.2cm) [Bartsch 136; Meder/Hollstein 273] provenance

Private Collection, New Jersey. $12,000-18,000

2 Rembrandt van Rijn (Dutch, 1606-1669) Saskia with Pearls in Her Hair

1634. Etching on laid paper, New Hollstein’s first state (of two), a very fine early impression with the finest lines printing very clearly, with good contrasts and trimmed margins Sheet size: 3 5/16 x 2 5/8 in. (8.5 x 6.7cm) Image size: 3 5/16 x 2 5/8 in. (8.5 x 6.7cm) [Bartsch 347; Hind 112; Hollstein 347; New Hollstein 136] provenance

Collection of Viscount Fitz-Harris, Earl of Malmesbury (per pencil-inscribed name verso, not in Lugt).

Private Collection, Maryland. $6,000-10,000

The subject of the present etching is Saskia Uylenburgh, daughter of a wealthy Leeuwarden burgomaster. Orphaned, she went on to live with her relative, the art dealer Hendrick Uylenburgh, who introduced her to Rembrandt—whom she married in 1634. Saskia with Pearls in Her Hair was executed during the couple’s first year of marriage, hence her outfit, which may be bridal attire as she is depicted here with pearls woven into her hair and hanging from her neck and ears, along with a gown and stylish lace kerchief.

3 Albrecht Dürer (German, 1471–1528) The Man of Sorrows with Hands Bound

According to Erwin Panofsky this is Dürer’s earliest drypoint. It is also the only one of Dürer’s three drypoints with a date and monogrammed signature. A related drawing by Dürer, Man of Sorrows, is in the collection of The Louvre, Paris (W. 606).

1512. Drypoint on laid paper, a very good Meder A impression of this rare print; with various pencil inscriptions verso (unknown collector, not in Lugt).

Image size: 4 1/2 x 2 7/8 in. (11.4 x 7.3cm) Sheet size: 5 1/8 x 3 7/16 in. (13 x 8.7cm) [Bartsch 21; Meder 21] provenance

Private Collection, Oklahoma. $6,000-10,000

4 Circle of Quentin Massys the Elder (Dutch, 1466–1530) Lamentation

Oil on cradled panel 34 x 27 1/2 in. (86.4 x 69.9cm) provenance

Hôtel Drouot, Paris, sale of June 24, 1929, lot 8.

Acquired directly from the above sale.

Walter Andrew Newman, Philadelphia, Pennsylvania.

Newman Galleries, Philadelphia, Pennsylvania (as Circle of Rogier van der Weyden, Flemish, 1399-1464).

Acquired directly from the above in 2004.

Private Collection, Philadelphia, Pennsylvania. exhibited

La Salle University, Philadelphia, Pennsylvania, 2005. note

The present painting was examined in 2004 by Dr. Larry Silver, Professor of History of Art at the University of Pennsylvania. It will be accompanied by a copy of a letter dated November 1, 2004, in which Dr. Silver authenticates the painting as a close contemporary copy of a lost original by Massys. $40,000-60,000

Traditionally regarded as the founder of the Antwerp School of Flemish painting, Quentin Massys was born in Leuven (in what is now Belgium) in 1466. The son of a clockmaker and architect, it is said that Massys was trained as an ironsmith before eventually taking up painting.

As an artist, he fell under the influence of the local artist Dirk Bouts, also incorporating the styles of the late Hans Memling and especially Rogier van der Weyden, who coined images and iconographies that Massys took as references and further elaborated. He officially settled in Antwerp in 1491, the same year he became a member of the city’s prestigious Guild of Saint Luke. During his career Massys became known as a skilled religious artist, producing many altarpieces and private devotional subjects like the present work for local collectors or churches. He also produced portraits influenced by the Italian Renaissance and typical genre subjects.

This powerful and impressive Lamentation is a very close copy of a lost prototype that Massys executed in the 1520s. Here, the artist depicts a dead Christ lying in his mother’s arms after his crucifixion on Calvary. Christ is shown naked, his sides flanked by a white drapery that cushions his head, which the Virgin is supporting with both of her hands.

Mary is shown fully veiled, wearing a red dress covered by a blue fur coat. She tilts her anguished face towards her son and tenderly brushes her mouth against his newly inanimate lips. In the upper right background stand the three crosses upon which Christ and the malefactors were crucified, while to the left two figures are shown marching on a dirt road, both dressed in oriental garments and carrying presents. In the distance lays Jerusalem, with its distinctive city walls.

Several paintings either by or after Massys are comparable to the present work. Arguably the closest related version of the subject is a halflength Pietá now in the Musées Royaux des BeauxArts de Belgique in Brussels, which may have been painted during the artist’s lifetime. Other similar

compositions can be found in the Koninklijk Museum in Antwerp and the Alte Pinakothek in Munich, both probably painted after Massys’s death, as the present work. The Brussels painting has a different background and a less fully elaborated landscape than the present painting, with a foreground ledge that prominently displays the instruments of Christ’s Passion—particularly the crown of thorns and the nails. This ledge obscures the view of the lower extremities of the figures that are in fact visible in our image. The Antwerp picture reduces the pictorial field even further and only shows the two figures at bustlength, almost like a close-up.

Yet in all three examples the tender embrace between the Virgin and Christ is depicted—that is, the essential subject matter remains the same.

While her hand placement varies in each, Mary is shown in each example wearing the same white linen cap and a garment whose sleeve is delimited by a grey fur cuff. The Munich image is closer to the present work in that it presents the exact same landscape of the three crosses and a view of the city of Jerusalem in the distance (without the figures). Yet, the Munich composition is inverted, with Mary facing left instead of right.

This exception indicates that the original, lost prototype was perhaps more in accordance with the present work, which appears as the largest, fullest, and most inclusive record of all the Pietá images from Massys’ circle.

Contrary to earlier Pietás that were rather small and opted for the full-length format, the artist working in Massys’ circle here prefers to adopt a more intense, portrait-style composition in order to focus on the characters’ emotions. Ultimately, the work bears the hallmarks of Massys’ mature œuvre in that it reflects the Italian influences of Leonardo da Vinci through the aggravated sorrow and sadness of the Virgin Mary, while its composition and feeling of intense religious piety is characteristic of the Netherlandish tradition, as immortalized by Rogier van der Weyden.

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5 Spanish School (Circa 1900 or earlier) Virgin and Child with Angel Musicians

Oil with gold ground on cradled panel, in inscribed frame 19 3/8 x 30 7/8 in. (49.2 x 78.4cm) provenance

Collection of Don Luis Ruiz, Madrid, Spain.

His sale, American Art Association, Anderson Galleries, Inc., New York, sale of May 2, 1936, lot 75, as School of Seville, circa 1510.

Acquired directly from the above sale.

Collection of Samuel Yellin, Pennsylvania.

By descent in the Yellin family. $4,000-6,000

6 Manner of Bon de Boulogne (French, 1649-1717) Diana and Actaeon

Oil on cradled panel 17 1/2 x 27 in. (44.5 x 68.6cm) provenance

Private Collection, Virginia. note

The myth of Actaeon arose in Boeotia. The tale recounts how Actaeon accidentally stumbled upon Diana and her nymphs enjoying a bath.

Mad with fury, the goddess, whose nymphs tried to cover her while splashing the hunter, changed him into a stag and caused his own hounds to go mad, track him down and kill him.

The legend was made popular by Stesichorus and other Greek poets, and put on the stage

by Aeschylus. It was later popularized in Ovid’s Metamorphoses. $3,000-5,000

7 Studio of Frans Francken the Younger (Flemish, 1581–1642)

The Visit of the Queen of Sheba to King Solomon Oil on cradled panel 21 1/4 x 29 1/2 in. (54 x 74.9cm) provenance

Private Collection, New York, New York. note

A similar composition is in the Roger Quilliot Art Museum in Clermont-Ferrand, France.

We wish to thank the Rijksbureau voor Kunsthistorische Documentatie, also known as R.K.D., for their kind assistance in cataloguing the present lot. $3,000-5,000

8 David de Coninck (Flemish, 1644-1701)

A Still Life of Fruit on a Silver Dish with Figure, Rabbits, Parrot, and Monkey Beneath a Broken Capital and an Ornamental Urn Oil on canvas 48 5/8 x 69 1/8 in. (123.5 x 175.6cm) provenance

Christie’s, London, sale of July 15, 1949, lot 38 (as Frans Snyders, Flemish, 1579-1657).

Acquired directly from the above sale.

Mallet & Son, London, United Kingdom.

Collection of William Randolph Hearst, California.

Sotheby’s, Los Angeles, sale of November 7, 1977, lot 132 (as Flemish School, late 17th Century).

Private Collection.

Sotheby’s, London, sale of December 12, 1990, lot 70 (as by David de Coninck).

Private Collection, Florida. exhibited

Los Angeles County Museum of Art, Los Angeles, California, no.

49.33.2 (on loan from the collection of William Randolph Hearst).

note

The present work was painted during de Coninck’s time in Rome, circa 1671-1694, probably in the 1680s.

De Coninck very rarely signed his works, which is why many of his paintings have been wrongly attributed to other artists, such as Joannes Fijt, Frans Snijders, Abraham Brueghel, and his teacher, Peeter Boel.

We wish to thank Dr. Fred Meijer of the Rijksbureau voor Kunsthistorische Documentatie, also known as the R.K.D., for confirming the authenticity of the present lot and for his kind assistance in cataloguing it. $20,000-30,000

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9

10

Attributed to Domenico Maggiotto (Italian, 1713–1794)

After Andrea del Sarto (Italian, 1486–1530)

A Man Restraining a Card Player From Attacking His Opponent Oil on canvas 32 x 43 1/8 in. (81.3 x 109.5cm) provenance

Private Collection, New York, New York. note

Another painting with a nearly identical composition attributed to Maggiotto sold at Bonhams London on September 24, 2014, lot 161. $5,000-8,000

Madonna and Child with Saint John Oil on panel 34 3/8 x 24 1/8 in. (87.3 x 61.3cm) provenance

Private Collection, Dublin, Ireland.

McDonald Antiques, Dublin, Ireland.

Acquired directly from the above.

Private Collection, Washington, D.C. note

The present painting, executed in the 16th century, appears to be one of many variations inspired by Andrea del Sarto’s homonymous composition, now at the Galleria Palatina in Palazzo Pitti, Florence. $4,000-6,000

11 Giovanna Garzoni (Italian, 1600–1670)

Flowers in a Lapis-Lazuli Vase on a Marble Top with a Conch Shell and a Monarch Butterfly Bodycolor on vellum Sheet size: 17 5/8 x 12 3/4 in. (44.8 x 32.4cm) provenance

Private Collection, Genoa, Italy.

Silvano Lodi Gallery, Milan, Italy.

Private Collection, Milan, Italy.

Koller Auktionen AG, Zurich, sale of September 18, 2015, lot 3063.

Acquired directly from the above sale.

Private Collection, New York, New York. literature

Gerardo Casale, “Le Note del Colore” in New Old Master Paintings, Galleria Silvano Lodi, Milan, 2012, pp. 108-113 (illustrated). $15,000-25,000

Viviano Codazzi was arguably the most important 17th century Italian painter of architectural views, specializing in capricci— architectural fantasies. The present painting depicts the arsenal in Naples and the Torre di San Vincenzo, with the Molo Grande and its lighthouse in the distance. There are two arches of a Doric arcade and a colonnade advancing from a pier at left, along with several groups of figures—including the group at left with a man wearing a turban and women wearing long gowns and head coverings (David Ryley Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Milan and Rome, 1993, pp. 1, 296).

David Ryley Marshall notes that Codazzi’s works may be grouped into “five main categories of imagery. They are the capriccio, ideal architecture, the ruin piece, the topographical picture, and the didactic picture” (Marshall, op. cit., p. 23). However, of these, “the capriccio is most central to Codazzi’s preoccupations, and all of his works are to a greater or lesser degree capricci.” (Marshall, op. cit. p.

23). Marshall continues: “Codazzi’s capricci are those works which are imaginary compositions assembled from several motifs whether recognisable or not, which are derived from separate sources and do not make up an architecturally unified structure.” (Marshall, op. cit., p. 23).

Codazzi was associated with the artist Adriaen van der Cabel and may have collaborated with him between 1660-1665.

Further, the Torre di San Vincenzo was a favored motif of van der Cabel’s, and that artist did depict women in long gowns with covered heads. The present work may thus be a collaborative effort between the two artists, with van der Cabel possibly having painted the figures (Marshall, op. cit., pp. 18-19, 296).

Viviano Codazzi’s son, Niccolò (1642-1693) was also an esteemed architectural capriccio painter in his own right, and may have been in his father’s workshop in the 1660s, the two working closely together during this period (Marshall, op. cit., p. 20).

12 Viviano Codazzi (Italian, c.1604–1670) and Adriaen van der Cabel? (Dutch, 1631–1705) Doric Arcade, with the Torre di S. Vincenzo Oil on canvas 23 1/2 x 29 3/8 in. (59.7 x 74.6cm) Executed in the early 1660s. provenance

Collection of R. Henshaw, Bath, United Kingdom.

Alexander Galleries, London, United Kingdom, 1978.

Collection of G. Lotto, Milan, Italy.

William Thuiller, London, United Kingdom, 1985.

Osuna Galleries, Washington, D.C., 1985.

Acquired directly from the above in 1986.

Private Collection, Washington, D.C. literature

Giuliano Briganti et al., “Vivano Codazzi” in I Pittori Bergamaschi, no. 4, vol. 1, pp. 643-741, 1983, no. 29, p. 691, illustrated p. 712 (as by Codazzi and van der Cabel).

Ramon Osuna, The Pleasure of Ruins: Viviano Codazzi and His Legacy, Osuna Gallery, Washington, D.C.; and Shepherd Gallery, Associates, New York, 1985, no. 9 (illustrated as by Codazzi and Gargiulo).

David Ryley Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, 1993, vc 170, pp.

296-297 (illustrated p. 297). $8,000-12,000

13 Attributed to Giovanni Battista Tiepolo (Italian, 1696-1770) The Apotheosis of the Arts (A Bozzetto for a Ceiling Decoration) Oil on canvas 19 3/8 x 19 3/8 in. (49.2 x 49.2cm) provenance

Acquired in Germany in the 1920s.

By descent in the family.

Private Collection, Delaware. $10,000-15,000

14 Jean-Baptiste Isabey (French, 1767–1855) Portrait of a Lady

Signed and dated ‘J. Isabey/1799’ bottom right, pencil heightened with white gouache on paper Sheet size: 9 1/8 x 7 3/8 in. (23.2 x 18.7cm) provenance

Private Collection, New York, New York. $1,000-1,500

15 Jean Baptiste Jacques Augustin (French, 1759–1832) Portrait of Camille Desmoulins

Signed and dated ‘Augustin/1793’ bottom left, pencil and wash heightened with white gouache on paper, oval Sheet size: 6 15/16 x 5 1/2 in. (17.6 x 14cm) provenance

Marion de Goede, New York.

Frederick Cummings, New York.

Colnaghi, New York, New York.

Acquired directly from the above.

Private Collection, New York, New York. exhibited

“1789: French Art During the Revolution,” Colnaghi, New York, New York, October 10-November 22, 1989, no. 4. literature

Alan Wintermute et al., 1789: French Art During the Revolution, Colnaghi, New York, 1989, plate 1, pp. 82-84, illustrated p. 83. $1,000-1,500

16 Jean Michel Moreau le Jeune (French, 1741–1814) Portrait de l’Artiste par Lui-Même (Self-Portrait) White and black chalk on paper, oval Sheet size: 8 1/2 x 6 7/8 in. (21.6 x 17.5cm) provenance

Collection Louis H. Kohn, Chicago, Illinois (Lugt 1730, circa 1920).

Private Collection, New York, New York. $1,000-1,500

17 François Flameng (French, 1856–1923) Napoléon en Défaite

Signed ‘FRANÇOIS.FLAMENG’ bottom left, oil on cradled panel 17 1/8 x 24 1/8 in. (43.5 x 61.3cm) provenance

Collection of Wallace C. Yost.

Private Collection, New York, New York. exhibited

“The Napoleon Collection of Wallace C. Yost,” The Maitland Art Center, Maitland, Florida, December 5, 1987-January 17, 1988; and Pensacola Museum of Art, Pensacola, Florida, June 6-July 10, 1988, no. 9. $3,000-5,000

18 Auguste Raffet (French, 1804–1860)

Napoléon à la Bataille d’Eylau Signed indistinctly ‘A. Raffet’ bottom left, pencil, ink and wash on paper Sheet size: 7 3/8 x 10 1/8 in.

(18.7 x 25.7cm) provenance

Private Collection, New York, New York. $1,000-1,500

19

20

Robert Jacques François Faust Lefèvre (French, 1755–1830)

Émile Jean Horace Vernet (French, 1789–1863)

Pencil on paper Sheet size: 13 7/8 x 9 3/8 in. (35.2 x 23.8cm)

Pencil signed ‘Vernet’ bottom right, pencil on paper Sheet size: 5 5/8 x 5 3/8 in. (14.3 x 13.7cm) Executed circa 1816-1818.

Napoléon en Costume de Sacre

provenance

Collection of Wallace C. Yost.

Private Collection, New York, New York. exhibited

“The Napoleon Collection of Wallace C. Yost,” The Maitland Art Center, Maitland, Florida, December 5, 1987-January 17, 1988; and Pensacola Museum of Art, Pensacola, Florida, June 6-July 10, 1988, no. 17. $1,500-2,000

Bonaparte at the Siege of Acre

provenance

Private Collection, New York, New York. $1,000-1,500

21

22

Louis Welden Hawkins (French, 1849–1910)

Adolphe Alexandre Lesrel (French, 1839–1929)

Muse Erato on a Deserted Beach (Spirit of the Waves)

Signed ‘L. WELDEN HAWKINS’ bottom right, oil on canvas 17 x 21 3/4 in. (43.2 x 55.2cm) provenance

Private Collection, California. $6,000-10,000

Contemplation

Signed and dated ‘A. LESREL 1871’ bottom left, oil on canvas 18 x 15 in. (45.7 x 38.1cm) provenance

Sotheby’s, New York, sale of July 20, 1990, lot 366 (illustrated as A Lady of Rank at Prayer).

Schiller and Bodo, New York, New York.

Acquired directly from the above in 2003.

Private Collection, Philadelphia, Pennsylvania. $10,000-15,000

23 Montague Dawson (British, 1890–1973) Tranquil Night

Signed ‘MONTAGUE DAWSON’ bottom left; also titled on upper stretcher verso, oil on canvas 28 x 42 in. (71.1 x 106.7cm) provenance

Frost & Reed, London, United Kingdom (per label verso).

J.J. Gillespie, Pittsburgh, Pennsylvania (per label verso).

Private Collection, Alabama. $12,000-18,000

While he never received formal art training, Montague Dawson became one of the most commercially successful British marine painters of the 20th century. Best known for his vast output of skillfully composed ship portraits, Dawson was first exposed to art by his father and grandfather (both successful marine painters) before joining a London art studio. Soon thereafter he joined the Royal Navy at the inception of World War I, serving again in World War II as an official war artist. Later in life, Dawson regularly exhibited at the Royal Academy and the Royal Society of Marine Artists.

His vast knowledge of ships allowed him to populate his works with all manner of marine vessels, including clippers, frigates, warships, racing cruisers, tankers, U-boats and packets, which he painted in high detail with great technical accuracy. The present work, depicting a large vessel sailing on a calm sea at night, represents a rarity in Dawson’s œuvre as the artist generally preferred to paint ships caught in a storm or engaged in battle.

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24

25

Attributed to Sir Francis Grant (British, c.1803–1878)

William Powell Frith (British, 1819–1909)

Oil on canvas 35 1/4 x 41 1/2 in. (89.5 x 105.4cm)

Oil on canvas 50 x 40 in. (127 x 101.6cm) Executed circa 1874.

Two Girls with their Dog at the Entrance of a Garden

provenance

Private Collection, Connecticut. $6,000-12,000

Wandering Thoughts

provenance

Christie’s, London, sale of July 31, 1987, lot 149.

Acquired directly from the above sale.

Cook’s Antiques, Dublin, Ireland.

Acquired directly from the above.

Private Collection, Virginia. exhibited

Royal Academy, 1874, no. 167. literature

Richard Herne Shepherd et al., Notes on the Principal Pictures in the Exhibition of the Royal Academy, London, 1874, no. 167, plate 103 (illustrated).

David Layne Montgomery, William Powell Frith (1819-1909): A Reevaluation of His Artistic Career, a PhD thesis, University of Missouri-Columbia, 1997, plate 130, p. 149 (illustrated and described as “a listless girl, covered in bows, frills, lace and flounces, as she picks at a flower in her lap and sinks into a soft red cushion”). $8,000-12,000

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Willem Koekkoek was a member of one of the best known and most highly regarded families of realist painters in 19th century Holland. Born in Amsterdam, he was the grandson of Jan Hermanus Koekkoek (1778-1851), the son of Hermanus Koekkoek the Elder (1815-1882) and the brother of Johannes Hermanus Barend Koekkoek (1840-1912). Willem studied art under his father, a marine painter, and soon became one of the most distinguished painters in the country, best known for his extremely detailed town scenes that were inspired by his numerous trips to The Hague, Utrecht, and Nieuwer Amstel throughout the 1880s. Concentrating almost exclusively on Netherlandish townscapes, which he preferred to imagine rather than copy directly from nature, Koekkoek found a successful market for his work amongst the affluent middle class in the Netherlands and Great Britain, particularly in London, where the artist moved in 1888.

The two present lots are quintessential examples of the artist’s body of work in the 1880s, especially A Busy Street in a Dutch Town (Lot 28), not only impressive because of its large size, but also because of Koekkoek’s ability to capture the effervescence of a bustling town and to suggest a certain nostalgia, true to Holland’s Age of Romanticism.

26 Willem Koekkoek (Dutch, 1839–1895) A Busy Street in a Dutch Town

Signed ‘W. Koekkoek’ bottom right, oil on canvas 33 x 48 3/4 in. (83.8 x 123.8cm) provenance

Sotheby’s, London, sale of November 27, 1985, lot 182 (as Figures in the Market Square).

Acquired directly from the above sale.

MacConnal-Mason Gallery, London, United Kingdom.

Acquired directly from the above.

Private Collection, Virginia. note

We wish to thank the Rijksbureau voor Kunsthistorische Documentatie, also known as R.K.D,, for their kind assistance in cataloguing the present lot. $50,000-80,000

27 Willem Koekkoek (Dutch, 1839–1895) A Dutch Street in Summer

Signed ‘W. Koekkoek’ bottom left, oil on canvas 17 1/4 x 23 1/2 in. (43.8 x 59.7cm) provenance

Collection, then Estate, of Mrs. I.D. Brookland.

Sotheby’s, London, sale of April 19, 1978, lot 15 (as A Dutch Town Scene with Figures on the Way to the Market).

Acquired directly from the above sale.

Richard Green, Inc., London, United Kingdom (as A Street Scene in Summer).

Acquired directly from the above.

Private Collection, Virginia. note

We wish to thank the Rijksbureau voor Kunsthistorische Documentatie, also known as R.K.D., for their kind assistance in cataloguing the present lot. $25,000-40,000

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28 Paul Désiré Trouillebert (French, 1829–1900) Paysage à L’Étang avec Deux Personnages

Signed ‘Trouillebert’ bottom left, oil on canvas 16 1/4 x 13 1/8 in. (41.3 x 33.3cm) provenance

The Darvish Collection, Naples, Florida.

Private Collection, Pennsylvania. $5,000-8,000

29 Giovanni Battista Quadrone (Italian, 1844–1898) The Artist in His Studio

Signed with conjoined initials and dated ‘GB Quadrone/73’ bottom right, oil on panel 12 x 9 1/4 in. (30.5 x 23.5cm) provenance

Private Collection, New Jersey. $4,000-6,000

An important female painter in 19th and early 20th century Germany, Emilie Preyer was an unofficial student of the Düsseldorf Royal Art Academy. She also received training from her father, the well-known still life painter Johann Wilhelm Preyer, a master of the Düsseldorf School of painting. While Emilie’s painting is closely tied to her father’s work, she is recognized in her own right as a skillfull trompe l’oeil tabletop still life painter. Rendered with great optical fidelity and meticulous detail, Emilie Preyer’s still lifes are carefully arranged, typically featuring fruit, sometimes accompanied by champagne, nuts and insects.

Each of the present paintings features grapes, peaches, and a fly.

Water droplets are also present in each work, and one of the paintings includes plums and hazelnuts. While the fruit is placed atop a marble slab in one of the paintings, and on a tablecloth in the other, the transience of life is apparent in each: in the former painting, the peach in the background is beginning to rot, as noted by the turning color of its skin; in the latter painting, the plum skins have started to split, also indicating that the fruit is past its prime. Preyer’s fool-the-eye mastery is clearly on display in each work, not only in terms of the technical proficiency with which the paintings’ elements are depicted, but also in terms of her purposeful placement of individual elements over the front edges of the tabletops: a single grape in one painting, and a plum leaf in the other. In so doing, Preyer convincingly breaks the surface of the picture plane, thereby creating a visual foreground which draws the viewer into each finely painted composition.

30 Emilie Preyer (German, 1849–1930)

Still Life with Peach, Plums, Grapes and Hazelnuts with Fly on a Tablecloth; together with a companion painting Each signed ‘Emilie Preyer’ bottom right, one also illegibly inscribed, dated ‘1903’ and signed on stretcher verso; pair oils, one on paper laid down to canvas, the other directly on canvas Larger: 7 1/8 x 9 3/4 in. (18.1 x 24.8cm) (2) provenance

David Bendann’s, Baltimore, Maryland.

Private Collection, Baltimore, Maryland.

By descent in the family.

Private Collection, South Carolina. note

We wish to thank Mr. Hans Paffrath from Galerie Paffrath in Düsseldorf, Germany, for kindly confirming the authenticty of the present works. $30,000-50,000

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31 Eugène Boudin (French, 1824–1898) La Provende des Poules

Signed, located and dated ‘E. Boudin/Fervaques 76’ bottom left, oil on canvas 14 x 10 3/4 in. (35.6 x 27.3cm) provenance

Collection of Ch. Ricada, Paris.

Collection of Dr. Delineau, Paris.

His sale, Hôtel Drouot, sale of February 1, 1901, lot 25.

Acquired directly from the above sale.

Private Collection.

Private Collection, New York. literature

Robert Schmit, Catalogue Raisonné de L’Œuvre Peint d’Eugène Boudin, Galerie Schmit, Paris, 1973, Vol. I, no.

1146, p. 396 (not illustrated, listed as Cour de Ferme). $25,000-40,000

Normandy remained Boudin’s land of predilection throughout his entire career—a safe harbor to which he would repeatedly return, wandering between Le Havre and Deauville in search of inspiration. The small, sixty-five-mile-long coastal river Touques particularly appealed to him. It was along its course, in the valley and in the surrounding villages, that Boudin planted his easel and painted for some forty years the same places and people, true to his desire to instantaneously capture atmospheric effects in places he already knew but enjoyed rediscovering under different lights. It is in Fervaques that Boudin painted the most from 1869 to 1897, staying with his friends Dr. Eugène Jaquette and his wife Stéphanie, who also hosted the Dutch painter Johan Jongkind (who first encouraged Boudin to work en plein-air) and supported local artists, buying and collecting their work. While in Fervaques, Boudin captured several views of the village, its market stall, and the nearby houses and farmhouses, as shown in the present work.

In the middle of a closed farmyard, not too far from a well, a peasant woman is feeding a hungry group of roosters and hens at her feet. A tied-up horse can be seen behind her, resting under a small awning covered with brown tiles overhung by thick green foliage. The farmyard appears quiet, bathed in a soft morning light that delicately hits the walls of the old building to the left. The present work was completed after Boudin’s sojourn to Berk and Boulogne, two northern cities that Boudin visited to try new motifs; it also precedes the artist’s journey to the Netherlands, especially Rotterdam, where Boudin recorded the local fishermen and flower girls. The painting reminds the viewer not to neglect other, lesser-known aspects of Boudin’s œuvre. Indeed, the artist did not only paint beaches and skies, but he also liked to depict Normandy’s meadows and cows, its local inhabitants and their simple daily lives, rendering them with the utmost respect. Boudin here uses his trained eye to individualize each subject, from the chickens to the farm girl, depicting them with either finesse and detail, or through quick spots of color and energetic brushstrokes, contributing to the lively, yet timeless, picturesque atmosphere of the scene.

32 Vincent van Gogh (Dutch, 1853–1890) Bald-Headed Orphan Man, Facing Right

Signed ‘Vincent’ bottom right, pencil and black wash on paper Sheet size: 12 13/16 x 10 1/4 in. (32.5 x 26cm) Executed in January 1883. provenance

Collection of Dr. H.P. Bremmer, The Hague, the Netherlands.

By descent in the family.

E. J. van Wisselingh & Co., Amsterdam, the Netherlands.

Acquired directly from the above in 1968.

Private Collection, New York, New York. exhibited

“Vincent van Gogh: Works from the Dutch Period,” Avanti Galleries, Inc. New York, New York, October 19-December 16, 1995. literature

Jacob Baart de la Faille, The Works of Vincent van Gogh: His Paintings and Drawings, Weidenfeld and Nicolson, London, 1970, no. F 955, p. 356 (illustrated as Bald-Headed Orphan Man Facing Right).

Jan Hulsker, The Complete van Gogh: Paintings, Drawings, Sketches, Harry N. Abrams, New York, 1980, no. 355, p. 85 (illustrated as Orphan Man, Bareheaded, Head).

Jacob Baart de la Faille, Vincent van Gogh, The Complete Works on Paper, Catalogue Raisonné, A. Wofsy Fine Arts, San Francisco, 1992, Vol. I, pp. 246-247, no. 955 (illustrated in Vol. II, plate XXXIII as Bald-Headed Orphan Man Facing Right).

Jan Hulsker, The New Complete van Gogh: Paintings, Drawings, Sketches, Meulenhoff, Amsterdam, 1996, no.

355, p. 85 (illustrated as Orphan Man, Bareheaded, Head). $120,000-180,000

In December 1881, Vincent van Gogh left his hometown of Etten to settle in The Hague, southwest of the Netherlands.

This sudden move followed a violent argument with the artist’s family, who reproached his recent infatuation with his recently widowed cousin, Kee Vos, and looked down on his mediocre career, which they thought was bound to fail. Yet when he arrived in The Hague, then twenty-eight-year old van Gogh was full of hope and determined to prove his family wrong by succeeding as an independent artist. He rented a studio on the outskirts of the city and initially began collaborating with his relative Anton Mauve, one of the leading artists of the Hague School. Rather soon thereafter however, the quick-tempered artist pushed his colleague away and ended up alone in a foreign town, without many means to survive.

Undeterred, van Gogh continued to work on several projects with the same passion and optimism. He painted often in watercolor, and was encouraged by his brother to make substantial progress in oil painting. However, it was about this time that Vincent also discovered a passion for chalk and charcoal drawing, which he practiced extensively. His interest in black and white compositions was fueled by the numerous prints and illustrations he studied, and sometimes even collected, mostly from renowned British publications available in the Netherlands. Such prints were affordable and confirmed the artist’s initial desire to sketch groups of popular figures, either outdoors or indoors, in the vein of Hubert von Herkomer. Herkomer’s Sunday at the Chelsea Hospital, an immensely popular print depicting an old war veteran slumped over dead (and later the subject of an acclaimed painting at the Royal Academy), was an important source of inspiration for

van Gogh. Obsessed with drawing figures, the artist recruited models wherever he could, accosting strangers at train stations, and even seeking out people in soup kitchens, orphanages, and hospices. As the artist explained to his brother Theo, the task was an arduous one: “I have great trouble with models; I hunt for them, and when I find them, it is hard to get them to come to the studio; often they do not come at all” (Letter to Theo van Gogh, January 12-16, 1882). Fortunately, the artist’s luck turned in September 1882, when he started looking for new models in the Dutch Reformed Old Men-and-Women’s House located in Geest, on Om Bij Street.

There, van Gogh discovered a seventy-two-year-old deaf pensioner named Adrianus Jacobus Zuyderland, who would become the artist’s most frequent model, not only in the Hague, but throughout his entire career. The man was first mentioned by van Gogh in a letter to his friend Anthon van Rappart, dated September 19, 1882: “Anyway, lately I’ve also been painting and watercoloring, and in addition I’m drawing many figures from the model as well as sketches on the street. Lately I’ve quite often had a man from the Old Men’s Home to pose.” (quoted in Leon Jansen, Vincent van Gogh: Ever Yours, the Essential Letters, New Haven, 2014, p. 239). Zuyderland caught van Gogh’s attention because of his striking features (small, heavy-lidded eyes, large ears, imposing whiskers and hooked nose) and overall attitude. His versatility and patience as a model also appealed to Vincent, who would sketch him three days a week for several hours without any complaint. The artist further dressed him up in various outfits, each associated with a different prop such as a broom, an umbrella or a cane, so as to transform him into a new character, making his sketches more interesting and lively.

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The present drawing was executed in early January 1883; it is therefore one of the last representations of Zuyderland that van Gogh made in the Hague before moving to Rotterdam later that year. Here, the old man is represented as a typical orphan (or “weesman”), wearing the traditional long military-style overcoat with its distinctive gold buttons, not too dissimilar to the soldiers’ uniforms shown in Herkomer’s Chelsea Hospital.

Contrary to previous portraits in which he is caught performing humble daily activities, such as eating soup, holding a beer or drinking coffee, Zuyderland here is shown in profile, most likely seated on a chair, and looking proudly ahead, almost defiantly.

The image is miles away from the dramatic vision of despair that was Old Man with his Head in his Hands, a preparatory study for At Eternity’s Gate—also depicting Zuyderland. Here the pensioner is not caught off-guard, but consciously posing for Vincent, who shows him in the simplest form: bald-headed, without his traditional top hat or cap, almost freed from his miserable status and indigent condition at which the hat hinted. In fact, the drawing reflects van Gogh’s feelings towards the old man, whom he finds reassuring and somehow protecting: “This chap has the sort of lively face that one would wish for beside a cozy Christmas fire.”

(Letter to Theo van Gogh dated December 22, 1882, quoted in Vincent van Gogh: The Letters at Van Gogh Museum, Amsterdam).

Over the long winter months of 1882-1883, Vincent grew attached to his model, who was always compliant, docile, and certainly glad to spend a few hours each week outside of the hospice in return for a small fee. This special camaraderie is echoed by the bold, quick and broad strokes of Vincent’s pencil

and charcoal on the man’s prominent chin, vest and coat, as well as the soft, upturned strokes on the old fellow’s hair and side-whiskers. By softening the contours of the man’s silhouette and accentuating the numerous shadows around him, van Gogh departs from the usual codes of classic portraiture, although his austere rendering of Zuyderland’s profile reminds us of an antique imperial coin. The portrait is remarkable for its striking monochrome palette with strong contrasts of light and dark which imbue the model with a real depth of character. This is a poignant view of a dying old man who does not expect anything else from life, whose worn visage is forever marked by adversity and sorrow—a reflection of Vincent’s own troubled life at the time, and of the artist’s ongoing exploration of the black and white medium.

Zuyderland may indeed have filled a very special role for Vincent.

Close in age to Vincent’s father, it is possible that he acted as a substitute figure, though Steven Naifeh and Gregory White Smith instead suggest a mirror-like image of Vincent himself: “Homeless, wifeless, childless, friendless, and penniless, Zuyderland, too, was a Robinson Crusoe in the world, marooned in the passionless present” (quoted in Van Gogh: The Life, New York, 2011, p. 316).

Yet by making Zuyderland his regular model, van Gogh offered him an alternative to his gloomy daily life, an escape from his bleak reality. The repeated sittings also proved that Vincent enjoyed spending time with this silent companion, and maybe found solace in helping a less fortunate soul who ultimately blessed him with a new artistic perspective and a reinvigorated confidence to continue making art.

opposite , clockwise from top left :

Orphan Man with Top Hat, December 1882. Black chalk and charcoal heightened with white gouache, 15 5/8 x 9 3/5 in. Worcester Art Museum, Worcester. The Picture Art Collection | Alamy Stock Photo.

Orphan Man Standing, November 1882. Pencil and black ink, 3 3/4 x 1 15/16 in. Van Gogh Museum, Amsterdam. Album | Alamy Stock Photo.

Orphan Man, Standing with a Cane, 1882. Lithograph on paper based on a charcoal drawing, 21 5/16 x 15 1/16 in. National Gallery of Art, Washington, D.C. Album | Alamy Stock Photo.

Orphan Man with a Top Hat Drinking a Cup of Coffee, November 1882. Black chalk, watercolor and wash on paper, 19 1/2 x 11 3/4. Private Collection. © Christie’s Images / Bridgeman Images.

In early June 1886, Paul Signac moved to the small town of Les Andelys in Normandy, not too far from Giverny. The artist was first introduced to the beauty of this quaint area by Camille Pissarro, who lived in the nearby village of Éragny-surEpte. There, Signac completed a series of exactly ten landscape paintings in which he explored the full potential of his new pointillist approach, applying small dots of pure color directly onto the canvas rather than blending them on a palette. Upon his return to Paris in the fall, Signac showed four of his works at the Salon de la Société des Artistes Indépendants, much to the public’s surprise. Art critic Félix Fénéon praised them for their special luminosity and their boldness: “the colours provoke each other to mad chromatic flights—they exult, shout!” (Félix Fénéon, Les Impressionnistes en 1886, Paris, 1886, p. 301, quoted in Marina Ferretti, Signac 1863-1935, New York, 2001, p. 121).

While Les Andelys served as the subject of Signac’s early pointillist canvases of 1886, it would also be revisited during a period in which Signac was utilizing the watercolor medium to achieve new artistic effects. The present work, painted upon the artist’s return to the town in 1921, is an example of Signac’s efforts to develop a satisfying synthetization of color and forms.

Executed en plein-air along the banks of the river Seine, the work revisits many of the motifs that Signac found attractive in Les Andelys in his earlier paintings, such as the verdant greens of the grassy bank, the shimmering water, and a glaring summer sky. Yet, in contrast with these earlier works in which Signac depicted peaceful town at water’s edge, the viewer here is presented with a more dramatic landscape view dominated by the ruins of Château Gaillard, a 12th century fortress built by Richard the Lionheart, which hover impressively over the quiet village.

The artist paints an embankment in the foreground to draw us into the scene, creating depth in the landscape and offering a perspective akin to that of the artist when he completed the work. We then find the intense greens of the trees along the left bank and the white, hazy-bright sky, which serve successfully as a frame for the ruins of the château, proudly standing in the center of the composition as its sole, pyramidal focal point. The reflection of the ruins upon the water in the foreground further amplifies this effect and provides the viewer with the illusion that they can almost seize the ruins, beckoning us to return to the scene once more.

The work showcases a new freedom in Signac’s graphic style, somewhat distanced from the earlier exactness of Pointillism.

The artist here is more interested in l’effet d’ensemble rather than the recording of every aspect of the town in front of him.

The deliberately muted tones of the scene, combined with the artist’s use of faint pencil lines, work to create a monochromatic ensemble, a sense of harmony and timelessness pleasing to both the mind and the senses. The work is very much an elaboration of Signac’s contemporary research (particularly of his obsession with water), but it also reveals the artist’s long-standing sympathies toward the medieval town, perhaps betraying the slightest sense of nostalgia.

33 Paul Signac (French, 1863–1935) Petit Andély, Château Gaillard

Signed, located and dated ‘P. Signac/Petit Andely [sic] 1923’ bottom right, watercolor and pencil heightened with white gouache on paper Sheet size: 10 x 16 in. (25.4 x 40.6cm) provenance

Collection La Faille, Paris.

Charles E. Slatkin, New York, New York.

Acquired directly from the above.

Private Collection, New York. exhibited

Santa Barbara Museum, 1959 (per label verso).

San Diego Museum, 1960 (per label verso). note

We wish to thank Ms. Marina Ferretti for confirming the authenticity of the present lot. The watercolor will be included in the forthcoming new edition of the Catalogue Raisonné of the artist’s work, and will be accompanied by a Letter of Authenticity. $15,000-25,000

34 Armand Guillaumin (French, 1841–1927) La Promenade (Une Rue en Ile-de-France)

Signed ‘Guillaumin’ bottom right, oil on canvas 25 3/4 x 32 in. (65.4 x 81.3cm) Executed circa 1875. provenance

(Possibly) Wildenstein & Co,, New York, New York (per chalk inscription verso).

Private Collection, Maryland. note

We wish to thank the Comité Guillaumin (Dominique Fabiani, Stéphanie Chardeau-Botteri, Jacques de la Béraudière) for kindly confirming the authenticity of the present lot. The painting will be included in the forthcoming Volume II of the Catalogue Raisonné of the work of Armand Guillaumin, and will be accompanied by a Certificate of Authenticity. $30,000-50,000

Armand Guillaumin was a founding member of the group that organized the first Impressionist exhibition in 1874. Between 1874 and 1886, his paintings were included in six of the eight Impressionist exhibitions. He also exhibited works in the first Salon des Refusés in 1863, along with Camille Pissarro and Paul Cézanne. Guillaumin’s paintings are prized for their color “described as ‘fauve’” (Christopher Gray, Armand Guillaumin, Chester, 1972, p. 49) and delicate application of impasto. Toward the end of his career, he had a one-person show with Paul Durand-Ruel, selling fifty-four of the sixty-four oil paintings on offer. In 1906, he was elected president of the section of paintings in the new Salon d’Automne.

The present painting depicts two elegant ladies walking along a promenade, counterbalanced by a large cluster of trees beyond a hillside containing a portion of a house. Here, Guillaumin’s “very personal vision of color” (Gray, op. cit., p. 49) is on full display.

As Gray notes: “If Monet’s late works have the illusory quality of dreams, and in spite of their color, an almost elegiac quality of mood, Guillaumin’s paintings are rejoicing paeans to the beauty of nature (…)

His paintings are executed directly (…) and little sign of hesitation. As he was recording his direct response to the scene before him, he never worked on a canvas except in front of the motif” (Gray, op. cit., p. 49).

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35 Rubens Santoro (Italian, 1859–1942) A Venetian Canal, with Saint Mark’s Basilica in the Distance

Signed ‘Rubens Santoro’ bottom right, oil on canvas 44 1/4 x 33 1/2 in. (112.4 x 85.1cm) provenance

Private Collection, Virginia. $50,000-80,000

Rubens Santoro was a skilled realist painter born in Mongrassano, Calabria, and son of the painter Giovanni Battista Santoro. He studied under Domenico Morelli at the L’Instituto di Belle Arti in Naples, and later excelled at painting highly detailed, sun-drenched Venetian vistas comprised of blue skies, and shimmering canal waters—often with gondolas and figures—framing historic buildings and landmarks. Here, the viewer is invited to enter the picture plane at lower center, following the canal as it winds into the distance at right leading to Saint Mark’s Basilica.

A founding member and frequent exhibitor at the Salon d’Automne, Henri Lebasque was a leading Post-Impressionist painter whose work reveals the influence of fellow French artists Pierre Bonnard, Édouard Vuillard, and Camille Pissarro.

Yet Lebasque, who also exhibited frequently at the Salon des Indépendents, maintained a style all his own and was hailed by critics as a painter of “joy and light.” As noted by the famed art critic Léon Rosenthal, Henri Lebasque successfully merged “impressionist processes and methods derived from Cézanne” (Lisa A. Banner, Peter Fairbanks, Lebasque, 1865-1937, San Francisco, 1986, p. 16).

As Banner and Fairbanks point out: “In figural forms, Lebasque often favored the same flatness of shape and color typical of the Fauves (…) Yet Lebasque blends this with sophisticated elegant fluidity and a characteristic mysterious aspect—the absence of detail in his portrayal of faces (…) In an unusual sense, he achieves greater intimacy with his subjects by this technique, leaving them the anonymity of disguise by careful omission of facial distinction and coaxing greating expression from the limbs and body poses of his sitters” (Banner, Fairbanks, op. cit., p. 70).

This flatness of shape, Fauvist color and absence of facial detail are seen in the present work. The artist’s typically “full and rounded figures” dot the beach, most under umbrellas with the blue sea and a sailboat in the distance. Lebasque may have featured Minette, shown here draped in a towel and standing just beyond the veranda at left, the same model he painted in his 1925 canvas Jeune Femme à la Plage (see Banner, Fairbanks, op. cit., p. 73, illustrated).

36 Henri Lebasque (French, 1865–1937) Véranda sur la Plage de Cannes

Signed ‘Lebasque’ bottom left; also inscribed with title ‘Le Bar de la Plage’ on label verso, oil on canvas 18 x 21 1/2 (46 x 55cm) Executed circa 1922. provenance

Private Collection, Paris.

Vente Robert, Paris, sale of May 10, 1983, lot 169.

Acquired directly from the above sale.

Galerie L’Obsidienne, Paris.

Private Collection, Georgia.

Island Weiss Gallery, New York, New York.

Private Collection, Washington, D.C. literature

Denise Bazetoux, Henri Lebasque: Catalogue Raisonné, Arteprint, Paris, Vol. I, no. 1435, p. 342 (illustrated as Verandha [sic] sur la Plage de Cannes). $15,000-25,000

37 Berthe Morisot (French, 1841–1895)

Apollon Révélant sa Divinité à la Bergère Issé (after François Boucher) Oil on canvas 25 1/8 x 31 1/4 in. (63.8 x 79.4cm) Executed in 1892. provenance

The Artist.

The Artist’s daughter, Julie Manet (then Madame Ernest Rouart).

By descent in the Rouart family.

Acquired directly from the above.

Private Collection, New York, New York. exhibited

“Exposition Annuelle,” Association pour l’Art, Antwerp, May 1893.

“Berthe Morisot,” Galerie Durand-Ruel, Paris, 1896, no. 359.

“Exposition de 1907,” Société du Salon d’Automne, Paris, 1907, no. 56.

“Exposition d’Œuvres de Berthe Morisot,” Galerie Bernheim-Jeune, Paris, 1929, no. 53.

“Berthe Morisot,” Musée de l’Orangerie, Paris, 1943, no. 104. literature

Armand Fourreau, Berthe Morisot, [translated into English by Hubert Wellington] Dodd, Mead and Co., New York, 1925, mentioned p. 61 (not illustrated).

Monique Angoulvent, Berthe Morisot, Éditions Albert Morancé, Paris 1933, mentioned in chapter “Nostalgie,” p. 102 and catalogued as no.

548, p. 146 (listed as Copie d’Apollon Visitant Latone, de Boucher).

Denis Rouart, et al., The Correspondence of Berthe Morisot with Her Family and Friends, [translated from French to English by Betty W. Hubbard] Lund, Humphries & Co., Ltd, London, 1957; and E. Weyhe, New York, 1959, mentioned p. 174 (not illustrated); also mentioned p.

197 in the subsequent 1986 and 1987 editions.

Marie-Louise Bataille and Georges Wildenstein, Berthe Morisot, Catalogue des Peintures, Pastels et Aquarelles, Les Beaux-Arts, Paris, 1961, no. 320, fig. 323, p. 45 (illustrated as Apollon Visitant Latone (Copie d’après Boucher)).

Alexandre Ananoff and Daniel Wildenstein, François Boucher, La Bibliothèque des Arts, Lausanne, 1976, fig. 1337 (illustrated).

Julie Manet, Journal (1893-1899): Sa Jeunesse Parmi les Peintres Impressionistes et Les Hommes de Lettres, Librairie C. Klincksieck, Paris, 1979, mentioned p. 85.

Charles F. Stuckey and William P. Scott, Berthe Morisot, Impressionist, an exhibition catalogue, Hudson Hills Press, New York, 1987, “Morisot’s Style and Technique,” p. 212, fig. 111 (illustrated as Apollon Visitant Latone).

Alain Clairet, Dephine Montaland, and Yves Rouart, Berthe Morisot 1841-1895, Catalogue Raisonné de L’Œuvre Peint, CÉRA-nrs editions, Montolivet, 1997, mentioned p. 70, commented as no. 324, illustrated p.

272 (as Apollon Visitant Latone).

Ann Dumas et al., “Painted in an Hour: Impressionism and EighteenthCentury French Art,” in Inspiring Impressionism: The Impressionists and the Art of the Past, Yale University Press, New Haven, 2007, mentioned p.

139 (not illustrated).

William P. Scott, “A Painter’s Painter,” in Berthe Morisot, Woman Impressionist, an exhibition catalogue, Rizzoli Electa, New York, 2018, fig.

4, p. 162 (illustrated as Apollo Revealing His Divnity before the Shepherdess Issé).

Marianne Mathieu, “Une Artiste en Devenir,” in Berthe Morisot, an exhibition catalogue, Coédition Musées d’Orsay et de l’Orangerie, Flammarion, Paris, 2018, fig. 105, p. 189 (illustrated as Apollon Visitant Latone, d’après Apollon Révélant sa Divinité à Issé). $150,000-250,000

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By embracing an artistic career at an early age, Berthe Morisot purposely went against the etiquette of the time, which encouraged women of the bourgeoisie to paint only as a pastime.

Yet, Morisot’s sheer passion and doggedness eventually allowed her to become one of the most daring painters of her time.

Alongside her contemporaries Claude Monet and Edgar Degas, she was a major figure of Impressionism, and a true modernist who masterfully blurred the boundaries between sketches and finished works and pushed the limits of portraiture, landscape and genre painting altogether.

Considered the supreme painter of modern femininity for choosing elegant Parisian women as her subjects, along with her bright palette and showy brushwork, Berthe Morisot also channeled aspects of the Grande Tradition of French painting. In 1890-1891, the year before she completed the present painting, the artist confessed in her diary, “I like either extreme novelty or things of the past.” (quoted in Berthe Morisot, an exhibition catalogue, Vevey, 1961, p. 53). Similar to every other artist of her generation, Morisot started copying Old Masters at the Louvre.

But unlike her male peers, she continued to revere the art of the past as she matured (frequently visiting museums to copy paintings from the Renaissance onwards) and even incorporated elements of past iconographies into her own art. Specifically, Morisot held a deep affection for 18th century Rococo art. Long thought to be a distant relative of Jean-Honoré Fragonard, her work was hailed as a continuation of his lush, sensuous paintings of beautiful women, in harmony too with Jean-Antoine Watteau’s intimate, pretty-in-pink atmospheres. Like her good friend Pierre-Auguste Renoir, Morisot was particularly sympathetic to the œuvre of François Boucher, whom she revered and promoted from the 1880s onward.

Morisot copied two works by François Boucher during the last decade of her foreshortened life. First, she reworked a section of Vénus Demandant à Vulcain des Armes pour Énée (1732, illus. right) during a visit at the Louvre in 1883-1884. She proceeded to hang this piece above a large Louis XIV mirror in the white drawing room of her new home at 40, rue de Villejust in Paris, where she greeted numerous guests. The present work is the second copy she made. It was executed in the fall of 1892, while the artist was visiting the Musée des Beaux Arts de Tours with her daughter, Julie. It is a direct variation of the bottom left quadrant of Boucher’s 1750 Apollon Révélant sa Divinité à la Bergère Issé. As in her previous copy of Boucher’s painting, Morisot here focuses

her attention on a small section of the painting: a pair of voluptuous nymphs swiftly caught in a delicate embrace near a forest stream. Apart from the theme, which is so distinctly Rococo, the painting also revives the 18th century technique known as pochade, a sketch which quickly captures the colors and atmosphere of a scene. Through her fragmented touch, Morisot essentially dissolves the contours of the composition into one jubilant, chromatic playground, thus giving the impression that the painting is being completed before our own eyes. The artist here shows a great facility for interpretation, dextrously rendering the delicate blues and pink, nacreous flesh tones of Louis XV’s famous painter. True to both 18th century principles and Impressionist philosophy, the creative process becomes as important, if not more so, than the finished work itself.

Many critics noticed and commented on this characteristic in Morisot’s œuvre. According to Nicole Myers, it is because “they didn’t have a way to explain her unbelievable originality and daring, [that] they used the framework of Rococo to give words and structure for how to approach the art of a woman.” (quoted in Carol Strickland, “Impressionist Berthe Morisot Finally Gets her Day,” in The Clyde Fitch Report, November 18, 2018).

Berthe Morisot, Vénus Demandant à Vulcain des Armes pour Énée (after François Boucher), 1884. Oil on canvas, 44 7/8 x 54 1/4 in. Private Collection, United States. Image scanned from Xavier Bray et al., Inspiring Impressionism: The Impressionists and the Art of the Past, an exhibition catalogue, Denver Art Museum, 2007, no. 67, p. 142.

Claude Monet (French, 1840-1926), Water Lilies, 1907. Oil on canvas, 38 1/8 x 38 3/4 in.

Museum of Fine Arts, Boston, Bequest of Alexander Cochrane, 19.170.

While the painting demonstrates an understanding of Boucher’s art and palette, it also reveals a certain boldness in Morisot’s artistic tastes and references. 18th century art had fallen out of fashion in the early years of the 19th century, and was slowly rehabilitated in the 1850s by Emperor Napoléon III and Empress Eugénie (who held a particular fascination for Queen Marie-Antoinette and her taste in fashion and furnishings), and by the Louvre’s important inaugurations of new rooms devoted to 18th century masters such as JeanBaptiste Siméon Chardin, Pierre Paul Prud’hon and Élisabeth Vigée Le Brun. In Morisot’s time, Rococo was only appreciated by a smattering of notable figures in the art and literary scene, including Charles Baudelaire, the Goncourt brothers and Théophile Gautier. They saw in 18th century French painting the expression of the first true French style since the gothic, and celebrated its members for successfully depicting daily life in a realistic manner. For years, Morisot’s interest in 18th century French art was examined through her longstanding friendship with Renoir, who was himself quite vocal about his love of Rococo, and whose studio Morisot visited for the first time in January 1886. Back then, Renoir showed Morisot his numerous preparatory studies for Les Grandes Baigneuses, a monumental composition directly inspired by François Boucher’s 1742 Diane Sortant du Bain, which Renoir had seen numerous times at the Louvre since its bequest in 1852. However Morisot had already proved her allegiance to the art of the past through

her early exploration of pastel tonalities, vigorous brushwork and sensual themes such as women bathing, à leur toilette or preparing for the ball—themes all born in the 18th century and re-interpreted in Morisot’s time through the study of many circulating prints and lithographs.

In 1896, a memorial exhibition of Morisot’s work was organized and installed by Edgar Degas, Claude Monet, Stéphane Mallarmé and Renoir exactly one year after their friend’s unexpected passing at the age of fifty-four. Comprised of nearly four-hundred works, among which one could find the artist’s famous figural works, landscapes, marine paintings, still lifes, as well as sketches, pastels and watercolors, the show also included the two copies that Berthe Morisot modeled after François Boucher. Monet himself insisted on including them in the exhibition at the last minute; not only because of the connection to Boucher, but mostly because of how Morisot had captured the scenes through quick brushwork and energetic dabs of paint, and had mixed pastel within her oil to obtain soft, powdered colors. This radically modern technique significantly influenced Monet when he embarked on his Nymphéas series some ten years later. Reflecting upon the 1896 exhibition, art critic Paul Girard concluded while looking at Morisot’s work: “It is the 18th century modernized.” (Paul Girard, “Chronique du Jour” in Le Charivari, March 13, 1896 quoted in Sylvie Patry and Hugues Wilhelm, Berthe Morisot 1841-1895, Paris, 2002, p. 85).

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Peder Mørk Mønsted was a major Danish landscape painter of his age, specializing in serene, luminous vistas painted en pleinair. Following studies at the Royal Academy of Fine Arts in the late 1870s with Julius Exner and Niels Simonsen, Mønsted went on to work in the studio of the Skagen painter Peder Severin Krøyer, and later with William Adolphe Bouguereau. Mønsted travelled throughout his career, painting the landscapes of his native Denmark, along with numerous locales in Northern and Southern Europe, North Africa, and Greece, where he painted as a guest at the invitation of King George I of Greece.

38 Peder Mørk Mønsted (Danish, 1859–1941) Summer Clouds Reflection

Signed ‘P. Mônsted [sic] - 1906.’ bottom left, oil on canvas 31 1/2 x 48 in. (80 x 121.9cm) provenance

Uno Langmann Ltd., Vancouver, Canada.

Acquired directly from the above in the late 1980s.

Private Collection, Pennsylvania. $20,000-30,000

39 Nikolai Konstantinovich Roerich (Russian, 1874–1947) Old Chapel in Valdai County

Titled [in Cyrillic] “Watchtower in Pskov” on original Louisiana Purchase Exposition label verso, oil on panel 12 x 16 in. (30.5 x 40.6cm) Executed in 1903. provenance

Private Collection, California. exhibited

“The Louisiana Purchase Exposition” (also known as the “Saint Louis World’s Fair”), Saint Louis, Missouri, April 30-December 1, 1904, no. 65 (per original label verso). $30,000-50,000

Nicholas Roerich is a towering figure in Russian painting of the late 19th and early 20th centuries. During his storied career, he was also an archaeologist, poet, lawyer, and philosopher who widely travelled—living in his native Russia, Finland, England, India, and America. He also achieved fame as a theater set designer, was a devout follower of mysticism, and was an ardent advocate for the preservation of cultural heritage, objects, institutions, and monuments. Begun as a private initiative, he is credited with developing proposals establishing what became known as the ‘Roerich Pact:’ an inter-American treaty signed into law in 1935 to protect cultural property in times of war.

Born in St. Petersburg, Russia to an upper middle class family, Roerich showed an early aptitude for drawing and enrolled in the Imperial Academy of Arts in 1893. He later directed the Imperial Society for the Encouragement of the Arts. Considered a Russian Symbolist, he studied with the landscape painter Arkhip Kuindzhi. Said to have executed over seven thousand works during his lifetime, he was inspired by “historic sources: folklore, legends, and ancient monuments. But greater emphasis is placed by him on intuition and the penetration into the spirit of the Past” (M.S. Nanjunda Rao, Nicolas Roerich, New Delhi, 1992).

In Russia, Roerich completed monumental paintings, church mosaics and frescoes. In 1903, when the present work was painted, Roerich and his wife Helena embarked on a forty city tour of ancient Russian cities.

As noted in Nicholas Roerich, A Quest & A Legacy (Manju Kak, ed., New Delhi, 2013, pp. 11-12), the artist’s work may be divided into three periods: his Russian period, his Theatrical Phase, and his Mountain Phase, the third following his arrival in Bombay in 1923. The present work was likely painted during the first of these phases and is part of a series of nearly seventy works referred to as the ‘Architectural Studies’ from his travels though old Russian towns. As Kak notes, “The deep patriotic-nationalistic roots of Roerich led to his search for Russia’s pagan beginnings and folklore and they were the subject of his earlier paintings” (Kak, op. cit., pp. 192).

Painted with rich applications of dark-toned impasto, the present work depicts an old chapel, its cupola apparently adorned with a cross, framed by the surrounding forest, invoking a spiritual, mystical ambience.

É D O UA R D CO RTÈ S L o t s 40 -44

Édouard Cortès was born in the small village of Lagny-surMarne in 1882. The son of famous Spanish court painter Antonio Cortès, he trained in his father’s studio from the age of thirteen.

Although his hometown was sparsely populated, its proximity to Paris attracted many Parisian artists associated with the Barbizon school, who came to paint its adjoining forests. It also enabled the Cortès family to travel to the capital and keep up with the latest artistic trends.

By 1900 Cortès had executed his first series of Paris street scenes, all marked by a dark, dramatic lighting. At the time, Paris was the center of the art world, a bustling international city that attracted artists, dealers, and collectors from around the globe. City scenes were particularly in demand, and Cortès, alongside painters like Jean Béraud and Eugène Galien-Laloue, wisely decided to make this genre his niche. Through his bold brushstrokes and colorful palette, Cortès was able to render the City of Lights with an Impressionistic delicacy, at the same time respecting the fundamental rules of perspective and composition he had learned from his father.

He became the most famous poetic recorder of the city’s everchanging beauty, and in a career spanning more than sixty years captured its fashionable inhabitants, busy market stalls, and iconic monuments. Biographer David Klein writes: “Paris changed during the years that Cortès painted it; and the changes appear in his paintings. Horses and carriages disappear in favor of cars and trams; women’s hourglass silhouettes and picture hats give way to boyish figures in short skirts and little furs, gas streetlights turn into neon signs and glaring headlights. But despite two world wars and the introduction of the machine age, the Paris of Cortès remains primarily the city of the Belle Époque. His paintings are often filled with nostalgia for the period.” (David Klein, Édouard Cortès: Le Poète Parisien de la Peinture, Detroit, 1999 quoted in Mary Manion, “Esteem is Rising for Édouard Léon Cortès” in Antique Trader, September 14, 2018).

After a lifelong dedication to capturing the magic of Paris during its transition from the Belle Époque to the modern era, Cortès ultimately retired to his hometown, where he continued to paint more picturesque scenes until his death in 1969.

40 Édouard Léon Cortès (French, 1882–1969) Le Moulin Rouge, Place Blanche

Signed ‘EDOUARD CORTÈS.’ bottom right; also with ‘copyright’ stamp verso, oil on canvas 13 x 18 in. (33 x 45.7cm) Executed in 1956. provenance

Galerie F. Clair, Paris (1956).

Acquired directly from the above on January 2, 1957.

Herbert Arnot Inc., New York, New York.

Acquired directly from the above on January 18, 1957.

The Haussner’s Restaurant Collection, Baltimore, Maryland.

Sotheby’s, New York, sale of November 2, 1999, lot 132 (B).

Acquired directly from the above sale.

Hammer Galleries, New York, New York.

Acquired directly from the above in 2000.

Private Collection, Bronxville, New York. exhibited

Hammer Galleries, New York, New York, 2000. literature

Hammer Galleries, An Exhibition Catalogue, 2000, no. 26869-002, p. 28.

Nicole Verdier, Édouard Cortès, Catalogue Raisonné de L’Œuvre Peint, Vol. II, Contexte, Paris, 2002, in “Paris 1940-1969,” no. 865, p. 204, (illustrated). note

Since the Moulin Rouge opened its doors to the public in 1889, the famous cabaret in Montmartre has drawn large crowds of fashionable Parisians in search of guilty pleasures nowhere else accessible. Of the many Parisian views that Édouard Cortès completed, often depicting Notre Dame, Opéra Garnier or Boulevard de la Madeleine, only a handful of paintings and studies feature the Moulin Rouge.

This excitingly rare work is one of the finest and earliest examples of Cortès’ bold, painterly style. Executed some ten years before the artist’s death, the painting skillfully captures the glowing red exterior of the cabaret juxtaposed against a dark sky, offering a glimpse of the temptations to be found within. The windmill’s striking silhouette, surrounding street lamps, and nearby facades inundate the passersby in the foreground with a warm, golden light that compels them to enter the Moulin Rouge, perhaps also tempting the viewer to leap into the picture plane and join them. $15,000-25,000

41 Édouard Léon Cortès (French, 1882–1969) Boulevard Saint Denis sous la Neige

Signed ‘EDOUARD CORTÈS.’ bottom left; also titled ‘Grands Boulevards et la Porte St Denis’ on the tacking edge verso, oil on canvas 13 x 18 in. (33 x 45.7cm) Executed circa 1958. provenance

Galerie F. Clair, Paris.

Darvish Collection Art Gallery, Naples, Florida.

Acquired directly from the above in 2001.

Private Collection, Pennsylvania. note

We wish to thank Madame Nicole Verdier for confirming the authenticity of the present lot. The painting will be included in the forthcoming Volume III of the Catalogue Raisonné of the artist’s work, and will be accompanied by a Certificate of Authenticity. $12,000-18,000

42 Édouard Léon Cortès (French, 1882–1969) Le Jardin des Tuileries

Signed ‘EDOUARD CORTÈS.’ bottom left; also with ‘copyright’ stamp verso, oil on canvas 13 x 18 in. (33 x 45.7cm) Executed circa 1955-1960. provenance

Galerie F. Clair, Paris.

Herbert Arnot Inc., New York, New York.

The Haussner’s Restaurant Collection, Baltimore, Maryland.

Sotheby’s, New York, sale of November 2, 1999, lot 132 (A).

Acquired directly from the above sale.

Hammer Galleries, New York, New York.

Acquired directly from the above in 2000.

Private Collection, Bronxville, New York. exhibited

Hammer Galleries, New York, New York, 2000. literature

Hammer Galleries, An Exhibition Catalogue, 2000, no. 26869-001, p. 28.

Nicole Verdier, Édouard Cortès, Catalogue Raisonné de L’Œuvre Peint, Vol. II, Contexte, Paris, 2002, in “Paris 1940-1969,” no. 842, p. 196 (illustrated). $10,000-15,000

43

44

Edouard Léon Cortès (French, 1882–1969)

Édouard Léon Cortès (French, 1882–1969)

Signed ‘EDOUARD CORTÈS.’ bottom right, oil on canvas 13 x 18 in. (33 x 45.7cm)

Signed ‘Edouard Cortès’ bottom left, oil on panel 16 x 12 3/4 in. (40.6 x 32.4cm) Executed circa 1935-1940.

provenance

provenance

Les Bouquinistes, Boulevard Saint-Michel

Galerie F. Clair, Paris.

Hammer Galleries, New York, New York.

Private Collection, Bronxville, New York. note

We wish to thank Madame Nicole Verdier for confirming the authenticity of the present lot. The painting will be included in the forthcoming Volume III of the Catalogue Raisonné of the artist’s work, and will be accompanied by a Certificate of Authenticity. $10,000-15,000

Pont sur le Canal de Thiou, Annecy

The Artist’s Studio, 1969.

Private Collection, France.

Hammer Galleries, New York, New York.

Acquired directly from the above.

Private Collection, Bronxville, New York. literature

Nicole Verdier, Édouard Cortès, Catalogue Raisonné de L’Œuvre Peint, Vol. I, Contexte, Paris, 2002, in “Landscape 1935-1940” no. 162, p. 171 (illustrated). $6,000-10,000

45 Eugène Galien-Laloue (French, 1854–1941) Paris, Place de la Madeleine

Signed ‘E. Galien.Laloue’ bottom left, watercolor and gouache on card Card size: 15 3/4 x 22 in. (40 x 55.9cm) provenance

Private Collection, Bronxville, New York. note

We wish to thank Mr. Noé Willer for confirming the authenticity of the present lot. The work will be accompanied by a Letter of Authenticity. $2,500-4,000

(recto)

46 Pierre Bonnard (French, 1867–1947)

Landscape Study; with Preparatory Sketch verso Stamped with conjoined initials ‘PB’ bottom center right, pencil on paper Sheet size: 4 7/8 x 6 7/16 in. (12.4 x 16.4cm) provenance

The Artist.

By descent in the Bonnard-Terrasse family.

Wildenstein & Co., New York, New York.

Acquired directly from the above.

Private Collection, New York, New York. $800-1,200

(verso)

(recto)

(verso)

Widely recognized as a major figure in 19th century art, Paul Gauguin is best known as a Post-Impressionist who specialized in vibrant paintings of Tahiti and its natives. He was also a sculptor and highly accomplished printmaker, producing a large and diverse body of prints that includes woodcuts, lithographs, zincographs, drypoint etchings, and, as in the present work, monotypes. The monotype is a hybrid of sorts, occupying a unique space between printmaking and drawing.

Indeed, Gauguin himself referred to his works in this medium as “printed drawings” (Richard S. Field, Paul Gauguin: Monotypes, Philadelphia Museum of Art, exhibition catalogue).

Gauguin’s first reference to monotypes is found in a letter of 1900 to the young Parisian art dealer Ambroise Vollard, in which he describes them as “experiments,” writing: “I have just done a series of experiments in drawings with which I am fairly well pleased, and I am sending you a tiny sample. It looks like a print but it isn’t” (Field, op. cit.). Gauguin would periodically send these “experiments” to Vollard, who offered them for sale, along with the artist’s paintings, at his eponymous art gallery on rue Lafitte, then the nexus of the contemporary art world in Paris.

In order to produce his monotypes, Gauguin applied printer’s ink to a sheet of paper until it was covered, atop which a second sheet of paper was added and drawn upon, resulting in a line that varied with the hardness and thickness of the pencil (Field, op. cit.). This process, in which the free absorption of ink plays an integral role, yields an atmospheric image with a certain “patina of age” (Field, op. cit.).

While these elements are well represented in the present work, Gauguin’s true intention in creating Famille Tahitienne is perhaps better explained by an analysis of its technical composition. As Field states, “There exists another sophisticated monotype (no. 98) (…)

Its sensitivity to positive and negative forms, and its heavy, bolder line argue for a more developed stage than the torso…It was squared during the process of drawing, that is, the verso was squared in pencil, with the consequence that the recto appears squared in the monotype” (Field, op. cit.).

The process of “squaring,” wonderfully visible on both sides of the present work, offers a fascinating glimpse into the mind of the artist at work. The main figure in the present monotype appears in three of Gauguin’s works: La Soeur de Charité, 1902 (McNay Art Museum), Cavaliers sur la Plage II, 1902 (Fondation Beyeler, Basel); and in reverse in Famille Tahitienne, 1902 (Private collection). This monotype offers a window into the creative process of one of the 19th century’s most enigmatic artists, and is a pleasing, expressive image in its own right.

47 Paul Gauguin (French, 1848–1903) Famille Tahitienne

Pencil signed with initials ‘P.G.O’ bottom left; also illegibly inscribed [in French] ‘Epreuve unique/de Gauguin/AC’ [?] bottom left, monotype and graphite on paper Sheet size: 16 3/4 10 1/4 in. (41.3 x 26cm) Executed circa 1902. provenance

Wildenstein & Co., New York, New York.

Acquired directly from the above in 1975.

Private Collection, New York, New York. exhibited

“Paul Gauguin: Monotypes,” Philadelphia Museum of Art, Philadelphia, Pennsylvania, March 23-May 13, 1973, no.

98. literature

Richard S. Field, Paul Gauguin: Monotypes, an exhibition catalogue, Philadelphia Museum of Art, Philadelphia, 1973, no. 98, p. 121 (illustrated). $12,000-18,000

48 Edgar Degas (French, 1834-1917) Grande Arabesque, Deuxième Temps

Signed ‘Degas,’ numbered ‘15’ and stamped with ‘Cire/Perdue/A. A. Hébrard’ foundry mark on the top of the base, bronze with brown patina Height: 17 in. (43.2cm) [Hébrard 15, cast after 1948] provenance

Alex Maguy, Galerie de l’Élysée, Paris.

Acquired directly from the above in 1966.

Collection of Mr. & Mrs. Paul & Sophie Sampliner.

Their daughter, Mrs. Avrum Ben-Avi. By descent in the family to the present consignor. literature

John Rewald, Degas Works in Sculpture: A Complete Catalogue, Pantheon Books, New York, 1944, p. 23, no. XXXVI, pp. 88-89 (another cast illustrated).

Lillian Browse, Degas Dancers, Faber & Faber, London, 1949, no. 157, p. 389 (another cast illustrated as Danseuse Nue en Arabesque).

Jacques Lassaigne, Fiorella Minervino and Simone Darses, Tout L’Œuvre peint de Degas, Flammarion, Paris, 1974, no. S 6, p. 140 (another cast illustrated).

Charles W. Millard, The Sculpture of Edgar Degas, Princeton University Press, Princeton, 1976, plate 90 (another cast illustrated).

Richard Thompson, The Private Degas, Thames & Hudson, London, 1987, no. 178 , pp. 130-131 (another cast illustrated).

John Rewald, Degas’s Complete Sculpture: Catalogue Raisonné, A. Wofsy Fine Arts, San Francisco, 1990, no. XXXVI, pp. 110-111 (original wax model and another cast illustrated).

Anne Pingeot, Degas, Sculptures, Réunion des Musées Nationaux, Paris, 1991, no. 6, p. 155 (another cast illustrated as plates 72 and 73).

Alice C. Frelinghuysen, et al., Splendid Legacy, The Havemeyer Collection, an exhibition catalogue, The Metropolitan Museum of Art, New York, 1993, p. 80 (another cast illustrated).

Sara Campbell, “Degas: The Sculptures, a Catalogue Raisonné,” in Apollo, August 1995, vol. CXLII, no. 402, p. 18, no. 15 (another cast illustrated).

Joseph S. Czestochowski and Anne Pingeot, Degas Sculptures: Catalogue Raisonné of the Bronzes, International Arts, Memphis; and Torch Press, New York, 2002, no. 15, p. 151 (another cast illustrated p. 150).

Sara Campbell, Degas in the Norton Simon Museum, Yale University Press for the Norton Simon Art Foundation, New Haven, 2009, Vol. II, no. 67, pp. 354-357 (another cast illustrated p. 355, original wax version also illustrated p. 356).

Suzanne G. Lindsay, Edgar Degas Sculpture, an exhibition catalogue, National Gallery of Art, Washington, D.C., 2010, no. 31, pp. 205-208 (original wax version illustrated p. 206). note

The sculpture will be catalogued as Hébrard 15/Other in the Degas Catalogue Raisonné (Joseph S. Czestochowski and Anne Pingeot, Degas Sculptures: Catalogue Raisonné of the Bronzes, International Arts, Memphis; and Torch Press, New York, 2002). $120,000-180,000

(detail)

Although Edgar Degas is is credited with the creation of hundreds of sculptures throughout his career, very little is known about the scope and chronology of his sculptural œuvre.

In his lifetime, the artist only exhibited one sculpture in public, La Petite Danseuse de Quatorze Ans, which was on view for less than a month at the sixth Impressionist Exhibition in 1881, thereafter kept hidden in Degas’ private apartment until his death in 1917. Yet numerous friends such as Julie Manet and Walter Sickert recalled seeing several wax models scattered around the artist’s studio. Even his dealer, Joseph Durand-Ruel wrote in 1919: “As far as I can remember—that is to say, perhaps forty years—whenever I called on Degas I was almost as sure to find him modelling in clay as painting.” (Letter from Joseph Durand-Ruel to Royal Cortissoz dated June 7, 1919. Beinecke Rare Book and Manuscript Collection, Yale University).

To this day, Degas’ motivations for producing such a body of work still remain unclear. While some scholars have analyzed his statuettes as a late, desperate attempt to show creativity and improvisation at a time when he was becoming blind, others see them as mere exercises in form, a substitute for the living models Degas used in his pastel and oils of similar subject matter. Either way, the fact that so many of his sculptures remained unknown for so many years suggests a private project, which the artist intended to keep for himself. To all who knew him personally, Degas was admittedly reluctant to have his sculptures publicly displayed, and equally disinclined to have them cast in bronze: “It’s a tremendous responsibility to leave anything behind in bronze” he confessed in a letter to his friend Ambroise Vollard—“This medium is for eternity.” (quoted in Ambroise Vollard, Degas, Paris, 1924, p. 112 [in French]).

Efforts to trace a chronology of all of Degas’ known sculptures is therefore a hazardous task, especially since Degas was notoriously reluctant to ever consider his sculptures finished and continuously reworked them. Paul André Lemoisne, an early biographer of Degas, suggests that the artist started modelling from his very beginnings, ultimately embracing sculpture as his principal, if not his unique, artistic activity during his late years, as his eyesight started to decrease. When Durand-Ruel made an inventory of Degas’ studio after his death, one hundred fifty wax sculptures were found “scattered over his three floors in every possible place.” According to the dealer, many of them were in dreadful condition (“Degas must have made an enormous number of clay or wax figures but as he never took care of them—he never put them in bronze—they always fell to pieces after a few years, and for that reason it is only the later ones that now exist.” (Letter from Joseph Durand-Ruel to Royal Cortissoz dated June 7, 191, quoted in Daniel Rosenfeld, European Painting and Sculpture,

ca. 1770-1937, in the Museum of Art, Rhode Island School of Design, Philadelphia, 1992, p. 107). Luckily, seventy-three figures could be salvaged, and were later cast into bronze by Albino Palazzolo, then director of the Hébrard Foundry. The contract authorizing the castings stipulated that Hébrard would make twenty-two casts of each of the works: one complete set for Degas’ heirs, one for the foundry, and twenty remaining sets, each numbered from A to T and all meant to be sold worldwide. While casting the bronzes, Palazzolo employed an unconventional technique that he learned in Milan and that allowed for the creation of a master bronze for each casting (a “modèle”) as well as for the preservation of the original, fragile wax models.

Of all the themes Degas explored and rendered in his sculpted works, dance seems to have been the most inspiring subject to him: out of the seventy-four sculptures that he modeled in wax, forty were dancers. Specifically, the artist developed an ongoing appreciation for the arabesque, modelling eight statuettes of dancers in different stages of this iconic and challenging ballet pose. Historically, John Rewald placed Degas’ bronze dancers in the period 1882-1895. Scholars later narrowed these years, suggesting a date of 1885-1890 instead, based on Walter Sickert’s own recollection of Degas showing him the original wax of Grande Arabesque, Deuxième Temps in his studio in the early 1890s.

In the present work, the dancer is shown with her left leg extended backwards, almost parallel to the ground, and her right arm reaching forward, counterbalancing her weight. Her head turned to the right, she gazes over her arm at an invisible audience, sending them a smile—“a rarity in Degas’ sculpture.”

(Susan Glover Lindsay, Edgar Degas Sculpture, an exhibition catalogue, Washington D.C., 2010, p. 196). The three-dimensional medium here offered Degas the opportunity to expand his previous exploration of the human body in motion, and to fully capture the acrobatic pose of the dancer, whose effortless flexibility echoes her graceful posture. As Alison Luchs points out, “Of all the movements of classical ballet, the arabesque seems to have held the greatest fascination for Degas as a sculptor (...) The arabesque is a moment of balance in which the dancer reaches a peak of tension between submitting to gravity and escaping from it. Her body has one point of contact with the earth and endless directional possibilities for the other limbs that seem to strain for freedom (...)

The difficulty for a model to maintain the relevant poses must also have stimulated [Degas] to explore the arabesque in sculpture. The resulting waxes provided a three-dimensional aid for studying this human movement for the treatments that appear repeatedly in Degas’ paintings and pastels from the 1870s through the 1890s.” (“The Degas Waxes,” in Art for the Nation: Gifts in Honor of the 50th Anniversary of the National Gallery of Art, Washington, D.C., 1991, p. 196).

It is very rare in the history of art that an artist has equal talent for painting and sculpture. I do not know of any other example. All artists and collectors are indebted to you for the admirable work you have done in reproducing so perfectly these fragile works in bronze.

—Mary Cassatt to A.A. Hébrard (quoted in Frances Weitzenhofferm, The Havemeyers: Impressionism Comes to America, New York, 1986, p.241)

The arabesque was introduced into romantic ballet performance during the second half of the 19th century, thus heralding a new aesthetic revolving around horizontal and oblique positions, as opposed to a more traditional verticality that marked the scenic space for decades. One of the most animated poses of ballet, the arabesque was frequently depicted in Degas’ paintings, drawings and pastels. The motif was increasingly revisited in the 1900’s, when Degas most likely used the wax model for the present sculpture as a model for a series of works on paper which captured several viewpoints of an arabesque. These include Three Dancers (Oxford, Ashmolean Museum, Parker I, 573) and Deux Danseuses en Maillot (Private Collection), where the artist seems to have rotated the wax model in order to present two slightly different views that suggest the rhythmic sway of an ensemble.

The present sculpture depicts a transitional phase of the arabesque; it is the second in a series of three related versions of the same subject, all showing the dancer in the various sequences of her acrobatic move. Thought to be the most expressive of all of the arabesque-themed bronzes, it follows Grande Arabesque, Premier Temps, featuring the dancer at her preliminary upright pose, and precedes Grande Arabesque, Troisième Temps, a precarious pose in which the dancer is raising her left leg to an oblique angle up in the air, and bowing her chest towards the ground. Daphne Barbour has observed that “As a group, the arabesques can be compared to Eadweard Muybridge’s stop-action photography with which Degas was clearly familiar and may have served as inspiration for other sculptures” (Degas in the Norton Simon Museum, an exhibition catalogue, New Haven, 2009, p. 354).

Despite its title, Grande Arabesque, Deuxième Temps does not technically represent an arabesque as ballet masters or dance specialists would have described it back in Degas’ time.

According to dance specialist Susan Glover Lindsay, “The dancer’s raised gesture leg in Degas’ wax falls somewhere between the lower demi-position and the grand position (horizontal or higher).” (in op. cit., 2010, p. 207). In fact, Degas’ ambition was not to faithfully capture the movement in a naturalistic way, but instead to concentrate more on its dramatic quality, and to convey the overall silhouette of the dancer. This bold approach reflects a new sensibility in the artist’s late work, in which movement and form become a vehicle to convey the dancer’s effort and risk, and therefore commands its faithful transcription in a threedimensional object. As John Rewald explains, “The care for detail has disappeared; both hand and eye go after what is essential with the raw strength which comes from knowledge and experience. The movements to which he had devoted such research he now represents in a style which is itself teeming with agitation. In his hands, wax is no longer an inert material; his fingers mold it almost frenzied, constructing masses which no longer borrow from nature the smooth surface of human bodies, but express, right down to their rough texture, the pulsations of life and the breath of the creator” (Degas’ Complete Sculpture, San Francisco, 1990, pp. 23 and 24). In this case, Degas was also certainly drawn to the delicate sense of balance and precariousness that the arabesque position required, as it echoed the personal challenge he was facing while working in three dimensions. Here, Degas masterfully creates an impression of agility and flexibility despite the heavy mass of the sculpture itself. He fights gravity and weight to achieve the utmost perfection - a smooth balance of stillness and evanescence that brilliantly transcribes the very extremes the human body is capable of reaching.

49 William E. Schumacher (American, 1870–1930) Le Long de la Rivière

Signed and dated indistinctly ‘Schumacher’ bottom left; also inscribed with artist, located and dated ‘France/1912’ verso, oil on board 25 3/8 x 21 1/4 in. (64.5 x 54cm) provenance

Private Collection, New York, New York. $3,000-5,000

Known as the “Manet of the Germans,” Max Liebermann favored an Impressionist style in his work. As Barbara C. Gilbert notes, “In his lifetime, he was often viewed through the lens of German nationalism and condemned for his open acceptance of French modern art [although he] helped to pave the way for the acceptance of modernist painting in Germany” (Barbara C. Gilbert, ed., Max Liebermann, From Realism to Impressionism, Los Angeles, 2005, p. 56). His achievements included co-founding “Die Gruppe XI” and the avantgarde “Berlin Secession,” and serving as President of the Prussian Academy for the Arts.

However, Liebermann’s paintings were removed from museums and featured in several exhibitions of ‘degenerate art’ in the 1930s (Gilbert, op. cit., pp. 144).

50

Liebermann displayed an early talent for art, taking drawing lessons from Eduard Holbein and Carl von Steffeck before attending the Weimar Academy of Art. The subjects in his art include landscapes, portraits, peasant life, as well as scenes of urban bourgeoisie German society at leisure, as in Café Scene. Also, as in the present lot, the artist worked “in the medium of pastel, which allowed greater spontaneity than oil paint.”

(Gilbert, op. cit., p. 39).

note

Max Liebermann (German, 1847–1935) Café Scene

Signed ‘M. Liebermann’ bottom left, pastel with pencil on paper Sheet size: 5 1/2 x 8 3/4 in. (14 x 22.2cm) provenance

Paul Cassirer, Berlin, Germany.

Private Collection, Pennsylvania.

We wish to thank Dr. Margreet Nouwen for confirming the authenticity of the present lot.

The work will be accompanied by a Letter of Authenticity. $8,000-12,000

Lot 40 (detail)

Lot 1 (detail)

INDEX Augustin, J.B.J.

15

Lefèvre, R.J.F.F.

19

Bonnard, P.

46

Lesrel, A.A.

22

Boudin, E.

31

Liebermann, M.

50

Codazzi, V.

12

Maggiotto, D.

9

Cortès, E.

40-44

Massys, Q.

4

Dawson, M.

23

Mønsted, P.M.

38

De Boulogne, B.

6

Moreau Le Jeune, J.M.

16

De Coninck, D.

8

Morisot, B.

37

Degas, E.

48

Powell-Frith, W.

25

Del Sarto, A.

10

Preyer, E.

30

Dürer, A.

1, 3

Quadrone, G.B.

29

Flameng, F.

17

Raffet, A.

18

Francken the Younger, F.

7

Roerich, N.K.

39

Galien-Laloue, E.

45

Santoro, R.

35

Garzoni, G.

11

Schumacher, W.E.

49

Gauguin, P.

47

Signac, P.

33

Grant, F.

24

Spanish School

5

Guillaumin, A.

34

Tiepolo, G.

13

Hawkins, L.W.

21

Trouillebert, P.D.

28

Isabey, J.B.

14

Van Gogh, V.

32

Koekkoek, W.

26, 27

Van Rijn, R.

2

Lebasque, H.

36

Vernet, E.J.H.

20

C LIENT S ERVI CE S Mary Maguire, Director | Client Services mmaguire@freemansauction.com, 267.414.1236 Abigail Clouser, Bidding Registration aclouser@freemansauction.com, 267.414.1206 Justin Cook, Post-Sale Administrator jcook@freemansauction.com, 267.414.1226

Lot 29 (detail)

PLEASE JOIN US AT OUR NEW LOCATIONS

2400 Market Street Philadelphia, Pennsylvania 19103

1600 West Girard Avenue Philadelphia, Pennsylvania 19130

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 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

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 “AS-IS”. 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 $300,000 of the hammer price of each lot, 20% on the portion from $300,001 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.

PURCHASE REMOVAL, SHIPPING & OFF-SITE 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 Megan Latona at mlatona@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 2052 Coral Street Philadelphia, PA 19125 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 ‡ Katie Campbell 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 1513 Gehman Road Harleysville, PA 19438 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.

2400 Market St

Philadelphia PA

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