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MODERN & CONTEMPORARY ART MAY 16, 2017


MODERN & CONTEMPORARY ART

AUCTION Sale 1571 Tuesday, May 16, 2017 at 2:00pm 1808 Chestnut Street, Philadelphia PA 19103 Cover Image: Lot 39, Inside Front Cover: Lot 17 (detail), Inside Back Cover: Lot 35


MODERN & CONTEMPORARY ART DEPARTMENT Dunham Townend Head of Department dtownend@freemansauction.com 267.414.1221

Anne Henry Senior Specialist ahenry@freemansauction.com 267.414.1220

Shannon Jeffers Cataloguer | Department Administrator sjeffers@freemansauction.com 267.414.1231

New York

Philadelphia

Rogue Space | Chelsea, 508-526 West 26th Street, New York, NY

Freeman’s | 1808 Chestnut Street, Philadelphia, PA

Tuesday, May 2

12:00pm-4:00pm

Thursday, May 11

10:00am-5:00pm

Wednesday, May 3

10:00am-5:00pm

Friday, May 12

10:00am-5:00pm

Thursday, May 4

10:00am-5:00pm

Saturday, May 13

12:00pm-5:00pm

Friday, May 5

10:00am-3:00pm

Sunday, May 14

12:00pm-5:00pm

Monday, May 15

10:00am-5:00pm

*Select highlights only, please contact department for list of works to be included in this exhibition.

By appointment only on the morning of the sale.

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

Lot 95 (detail)

Joslyn Moore Bidding Registration jmoore@freemansauction.com 267.414.1207


MODERN & CONTEMPORARY ART lots 1-129

Lot 38 (detail)


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1 PAUL CÉZANNE (french, 1839–1906) “LES BAIGNEURS (GRANDE PLANCHE)” Circa 1896-98, Venturi’s second (final) state (from the edition of approximately 100), with wide margins, Vollard, Paris, publisher. Color lithograph on laid paper watermark ‘MBM France’ and ‘Ingres d’Arches.’ image: 16 1/8 x 20 1/2 in. (41 x 52.1cm) sheet: 18 5/8 x 24 13/16 in. (47.3 x 63cm) [Druick, I; Venturi, 1157] $10,000-15,000


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2 HENRI MATISSE (french, 1869-1954) “DANSEUSE ASSISE” from “dix danseuses” 1927, pencil signed and numbered 54/130 (there were also 5 on Chine and 15 on Japan), with wide margins. Lithograph on wove paper. image: 17 5/16 x 10 13/16 in. (44 x 27.5cm) sheet: 19 9/16 x 12 7/8 in. (49.7 x 32.7cm) [Duthuit, 480] $6,000-10,000


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3 HENRI MATISSE (french, 1869-1954) “ODALISQUE, BRASERO ET COUPE DE FRUITS” 1929, pencil signed and numbered 75/100 (there were also 10 artist’s proofs), with full margins. Lithograph on Arches. image: 11 x 14 7/8 in. (27.9 x 37.8cm) sheet: 15 x 22 3/8 in. (38 x 56.8cm) [Duthuit, 504] $10,000-15,000


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4 HENRI MATISSE (french, 1869-1954) “NU ASSIS, BRAS GAUCHE SUR LA TÊTE” 1926, pencil signed and numbered 41/50 (there were also 10 artist’s proofs), with full margins. Lithograph on thin wove paper. image: 17 1/4 x 21 in. (43.8 x 53.3cm) sheet: 18 1/8 x 22 1/16 in. (46 x 56.3cm). [Duthuit, 473] Unframed $6,000-10,000

5 HENRI MATISSE (french, 1869-1954) “POÈMES DE CHARLES D’ORLÉANS” the complete album including 54 lithographs and text 1950, the complete set of 54 unsigned color lithographs, in-and hors-texte, pencil signed by the artist on the justification, copy 193 from the edition of 1200 (there were also 30 copies in Roman numerals), title, text by Charles D’Orléans and justification, the full sheets, on Arches, Tériade, Paris, publisher. Loose and with the central vertical folds (as issued), within boards (lacking the original blue paper with printed title). overall: 16 1/2 x 11 in. (41.9 x 27.9cm) [Duthuit books, 28] (album) provenance: Dr. Henry and Savanna Hope, Bloomington, Indiana. By family descent. Private Collection. $3,000-5,000


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6 LOUIS VALTAT (french, 1869–1952) “VASE DE MUGUET” Signed bottom right, oil on canvas. 10 3/4 x 13 13/16 in. (27.3 x 35.1cm) provenance: Herman C. Goldsmith, New York, New York. Private Collection, Westport, Connecticut. note: This work will be included in the archives of the Association of the Friends of Louis Valtat under number 1954. $12,000-18,000


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7 JEAN DUBUFFET (french, 1901-1985) “MATIÈRE ET MÉMOIRE OU LES LITHOGRAPHES A L’ECOLE” the complete set of 34 lithographs 1945, each individually and sequentially pencil-numbered ‘1’ ‘34’ respectively, copy 41 from the edition of 50 (there were also 10 hors-commerce copies in Roman numerals), hors-texte, title/stampnumbered justification, text by Francis Ponge, all the full sheets, Fernand Mourlot, Paris, publisher. The complete set of 34 lithographs (two in colors) on 17 folded sheets of Auvergne (two lithographs on each sheet as issued) within papercover printed with title. all images approx.: 11 x 8 in. (27.9 x 20.3cm) all sheets (as folded): 12 3/4 x 9 3/4 in. (32.3 x 24.7cm) [Webel, 13-46] (album) $40,000-60,000


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8 PABLO PICASSO (spanish, 1881-1973) “FEMME NUE AU FAUTEUIL” 1966, pencil signed and numbered 6/50 (there were also 15 artist’s proofs), with full margins, Galerie Louise Leiris, Paris, publisher. Aquatint on wove paper. image: 14 11/16 x 10 1/8 in. (37.2 x 25.6cm) sheet: 21 3/16 x 15 3/4 in. (53.7 x 39.9cm) [Baer, 1415Bb; Bloch, 1393] $4,000-6,000

9 PABLO PICASSO (spanish, 1881-1973) “CORRIDA” 1953, from the edition of unknown but small size (Ramié notes very few copies were produced), with the ‘MADOURA PLEIN FEU’ and ‘EMPREINTE ORIGINALE DE PICASSO’ stamps on the underside. White earthenware clay round dish with oxidized paraffin decoration and white enamel bath. diameter: 17 1/4 in. (43.7cm) [Ramié, 182] $6,000-10,000


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10 PABLO PICASSO (spanish, 1881-1973) “FOUR DANCERS” 1956, from the edition of 450, with the ‘EMPREINTE ORIGINALE DE PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay wall plaque with engraving accentuated with glaze and black patinated ground. diameter: 9 11/16 in. (24.9cm) [Ramié, 313] $3,000-5,000

11 PABLO PICASSO (spanish, 1881-1973) “JACQUELINE’S PROFILE” 1956, from the edition of 500, with the ‘EMPREINTE ORIGINALE DE PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay wall plaque with engraving accentuated with glaze and black patinated ground. diameter: 7 1/4 in. (18.5cm) [Ramié, 385] $3,000-5,000


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12 PABLO PICASSO (spanish, 1881-1973) “BOUQUET” 1955, from the edition of 450, inscribed ‘EDITION PICASSO’ and with the ‘EMPREINTE ORIGINALE DE PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay dish with decoration in engobes and knife engraved under glaze. length: 14 3/16 in. (36cm) width: 11 13/16 in. (30cm) [Ramié, 254] $5,000-8,000

13 PABLO PICASSO (spanish, 1881-1973) “STILL LIFE” 1953, from the edition of 400, with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay dish with decoration in engobes and knife engraved under glaze. length: 12 1/8 in. (31cm) width: 14 15/16 in. (38cm) [Ramié, 219] $5,000-8,000


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(reverse)

14 PABLO PICASSO (spanish, 1881-1973) “FACE AND OWL” 1958, numbered 12/200 and with the ‘EDITION PICASSO’ and ‘MADOURA PLEIN FEU’ stamps on the underside. White earthenware clay vase with decoration in engobes and knife engraved under partial brushed glaze. height: 9 3/4 in. (24.8cm) width: 8 3/4 in. (22.2cm) [Ramié, 407] $25,000-35,000


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15 PABLO PICASSO (spanish, 1881-1973) “TÊTE DE LION” 1968-1969, numbered 5/50 and inscribed ‘J 118A,’ with the ‘MADOURA PLEIN FEU’ and ‘EMPREINTE ORIGINALE DE PICASSO’ stamps on the underside. Partially glazed and engraved red earthenware clay plaque. 12 1/8 x 12 1/8 in. (30.7 x 30.7cm) [Ramié, 575] $10,000-15,000


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16 PABLO PICASSO (spanish, 1881-1973) “WOOD OWL” 1968, incised and numbered ‘Edition Picasso 78/500 R.146 Madoura,’ with the ‘MADOURA PLEIN FEU’ and ‘EDITION PICASSO’ stamps on the underside. White earthenware clay vase with decorations in engobes under partial brushed glaze and black patina. height: 11 1/2 in. (29.2cm) [Ramié, 542] $10,000-15,000


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17 PABLO PICASSO (spanish, 1881-1973) “PICASSO THEATRE” Signed, dated ‘le 10.11.67’ and dedicated ‘pour mon cher ami Feld,’ center and titled right. India ink, wash and chalk on paper. 11 11/16 x 21 1/4 in. (29.7 x 54cm) provenance: Sotheby’s, New York, “Impressionist and Modern Art, Part II,” November 9, 1995, lot 378. Private Collection, Massachusetts (acquired directly from the above sale). note: This lot is accompanied by a photo-certificate from Claude Picasso, dated 10 Octobre 2016. $150,000-250,000 At the early part of the twentieth century, Pablo Picasso collaborated with the Ballets Russes founder Sergei Diaghilev and choreographer Leonide Massine, lending his Cubist vision to the design of costumes, stage sets, and curtains for innovative productions that include Parade, Le Tricorne, and Pulcinella. Between 1917 and 1924—what have come to be known as his “Theater Years”— Picasso traveled from Paris to Barcelona, London, and Rome with Diaghilev, immersing himself fully in the world of the famous ballet company, even marrying dancer Olga Khokhlova in 1918. Picasso’s long fascination with the theater and performers was not just limited to the ballet. His 1904 painting, The Actor, and the larger, Family of Saltimbanques from 1905, focus on the curious, though often bleak, world of circus performers. Picasso drew inspiration from the Cirque Medrano, a famous establishment in the Montmartre neighborhood of Paris where he lived and worked. His lifelong experimentation with the human

form found new media in his creations of ballet costumes and stage designs that, in turn, allowed Picasso to channel new perspectives and creativity into his later works.

Picasso Theatre is a draft of the final design that illustrated the clothbound cover of the first edition book of the same name, originally published in 1968. A second printing in 1987 used a different cover design, and did not include a clear acetate cover wrap emblazoned with the title. The book, prepared by British art historian Douglas Cooper and dedicated to the artist, is a collection of images of Picasso’s lesser-known works for the theater, specifically the ballet, as well as an essay on the significant influence the theater had on the artist’s oeuvre. An exhibition of items from Picasso’s theater years was staged at the Palazzo Grassi in Venice in 1998, and several pieces, including the curtain from the 1924 ballet, Mercure, are in the collection of the Centre Pompidou in Paris. According to the Picasso Authentification

Committee, also in Paris, which provided authentication for Picasso Theatre, other drafts the artist created for the cover are held in the collection of the Musee d’art et d’histoire de Saint-Denis. An India ink, wash and chalk work on paper, Picasso Theatre is signed, dated, and dedicated on what the artist intended to be the spine of the book—the center strip that separates two haunting and expressive drawings.


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18 MARC CHAGALL (french/russian, 1887-1985) “LE CIRQUE À L’ÉTOILE” 1965, pencil signed and numbered 1/50, with full margins, Maeght Éditeur, Paris, publisher. Color lithograph on Arches. image: 24 1/2 x 18 1/4 in. (62.2 x 46.3cm) sheet: 28 11/16 x 21 in. (72.8 x 53.3cm) [Mourlot, 436] $8,000-12,000

19 ALBERTO GIACOMETTI (swiss, 1901–1966) “L’HOMME QUI MARCHE” 1957, pencil signed and numbered 109/200, with full margins, Maeght Éditeur, Paris, publisher. Lithograph on Arches. image: 13 1/4 x 7 3/4 in. (33.6 x 19.6cm) sheet: 30 1/8 x 22 5/8 in. (76.5 x 57.4cm) [Lust, 202] $4,000-6,000


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20 ZORAN ANTONIO MUSIC (italian, 1909-2005) “CAVALLINI” Signed bottom center, signed, titled and dated 1952 verso, oil on canvas. 13 1/4 x 16 in. (33.7 x 40.6cm) provenance: Parke-Bernet Galleries, Inc., New York, “American, French, Italian Modern Paintings, Drawings & Watercolors,” January 15, 1969, lot 90. Julian Koenig, New York, New York (acquired directly from the above sale). By family descent. The Koenig Family. $25,000-40,000


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21 JOAN MIRÓ (spanish, 1893-1983) “PLATE 11” from “homenatge a joan prats” 1971, pencil signed and numbered 59/75 (there were also 8 hors-commerce copies lettered AH), with wide margins, Ediciones Polígrafa, S.A, publisher. Color lithograph on Guarro. image: 21 1/2 x 29 3/8 in. (54.5 x 74.5cm) sheet: 25 9/16 x 33 3/8 in. (64.8 x 84.8cm) [Mourlot, 725] $3,000-5,000

22 PIERRE SOULAGES (french, b. 1919) “EAU-FORTE N°10 B” 1957, pencil signed and annotated ‘épreuve d’artiste’ (an artist’s proof, aside from the regular edition of 65), with full margins, Juster Gallery, New York, publisher. Etching and aquatint on wove paper. image: 23 3/8 x 17 1/8 in. (59.4 x 43.5cm) sheet: 29 15/16 x 22 1/2 in. (76 x 57.2cm) [Rivière, 10] provenance: Juster Gallery, New York, New York. $3,000-5,000

23 OSCAR DOMÍNGUEZ (spanish, 1906-1957) UNTITLED COMPOSITIONS two prints Circa 1950, both pencil signed and numbered ‘L/LX’ and ‘130/200’ respectively, the first presumably an earlier state or trial proof with sky blue in place of deep green, one with the ‘Guild Dela Gravure’ blindstamp. Two color lithographs on Arches. both images: 19 x 12 5/8 in. (48.3 x 32.1cm) both sheets: 22 1/8 x 14 7/8 in. (56.3 x 37.8cm) Both unframed (2) $1,200-1,800


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24 WIFREDO LAM (cuban, 1902-1982) UNTITLED (SURREALIST FIGURES) Signed and dated 1970 bottom right, signed and inscribed ‘Authentica 1974’ verso, pastel and crayon on Fabriano. 19 1/2 x 27 1/8 in. (49.5 x 68.9cm) provenance: Carone Gallery, Fort Lauderdale, Florida. Private Collection, Pennsylvania. By family descent. Private Collection, Pennsylvania. note: We are grateful to Mr. Eskil Lam for confirming that a certificate of authenticity was issued for this work in 1992 by Madame Lou Laurin-Lam. Please note that the certificate does not accompany this lot. $15,000-20,000

25 ROBERTO MATTA (chilean, 1911-2002) “LES ESCROBATES” two prints 1972, both pencil signed and one with extensive pencil notations regarding adjustments to color for final edition (both proofs before the edition of 100 plus 25 hors-commerce copies in Roman numerals and an unspecified number of artist’s proofs), both with full margins, Editions Archives Grillon, New York, publisher. Two color etchings with aquatint on Arches (one with extensive additions in pastel and pencil). both images: 14 3/4 x 18 1/2 in. (37.3 x 47cm) both sheets: 19 3/4 x 25 7/8 in. (50.2 x 65.8cm) [Sabatier, 292] Both unframed (2) $1,200-1,800


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26 SALVADOR DALÍ (spanish, 1904-1989) “IVANHOE” the complete set of four prints 1977, all pencil signed and numbered XLVI/C (from the total European edition of 250, there were also 250 on Arches and 150 on Japan), all with wide margins, Levine & Levine, New York, publishers and all with the ‘Dalart NV’ copyright stamp bottom left. Title and justification, within original blue covered boards with printed title. The complete set of four color lithographs on Japan. The four prints individually framed. all images: 22 7/8 x 17 in. (58.1 x 43.2cm) all sheets: 29 7/16 x 21 7/16 in. (74.8 x 54.5cm) album: 31 x 23 in. (78.7 x 58.4cm) [Michler & Löpsinger, 1557-1560; Field, 78-8] (album + 4) $2,000-3,000


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27 SALVADOR DALÍ (spanish, 1904-1989) “ALICE’S ADVENTURES IN WONDERLAND” the complete deluxe album of 26 works 1969, pencil signed on the frontispiece and stamp-numbered ‘XCI’ on the justification (one of 200 deluxe doubleportfolios, aside from the regular single portfolio edition of 2500), one pencil signed and numbered color etching and 12 heliogravures on Rives; plus the suite of one additional etching and 12 heliogravures on Japan nacré in a separate portfolio, hors-texte, title page, text by Lewis Carroll, and justification, published by Maecenas Press - Random House, New York, loose and with the usual vertical folds (as issued), original black cloth-covered portfolios and brown leather case with gilt title stamped on the spine. album: 18 1/2 x 13 1/4 in. (47 x 33.5cm.) [Michler & Löpsinger, 321-33; Field, 69-5] (album) note: Included with this lot is the original brown cardboard shipping box with printed artist, title and publisher address (showing wear). $6,000-10,000


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28 LEON KELLY (american, 1901-1982) “MYZINE SEXCINTA” Signed with initials and dated 43 bottom right, signed, titled, dated and inscribed ‘Inv. No. 25’ verso, oil on canvas. 12 x 16 in. (30.5 x 40.6cm) provenance: The Estate of the Artist. By family descent. Private Collection, Massachusetts. $5,000-8,000

29 LEON KELLY (american, 1901-1982) STILL LIFE Signed, dated 1955 and inscribed indistinctly bottom right, ink and gouache on tissue-thin laid paper. 22 1/8 x 19 3/8 in. (56.2 x 49.2cm) provenance: The Estate of the Artist. By family descent. Private Collection, Massachusetts. $3,000-5,000


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30 OSKAR RABIN (russian, b. 1928) MAPLE LEAF Signed in Cyrillic and dated 74 top right, titled in Cyrillic, dated again and numbered 'N586' verso, oil on canvas. 35 1/2 x 43 1/2 in. (90.8 x 111.1cm) provenance: The Artist. By family descent. Private Collection, New York, New York. $15,000-20,000


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31 NATHAN OLIVEIRA (american, 1928-2010) “MASK II” Signed and dated 65 bottom right, inscribed with the title and date on stretcher verso, acrylic with collage elements on canvas. 50 x 50 in. (127 x 127cm) provenance: Alan Gallery, New York, New York. Sotheby’s, New York, “Contemporary Art,” February 20, 1987, lot 27. Christie’s, New York, “Contemporary Art,” February 14, 1991, lot 18. Corporate Collection, Philadelphia, Pennsylvania. $15,000-20,000

32 ALLAN HOUSER (american, 1914-1994) "SIMPLE BEAUTY" 1989, incised with artist's name and date, numbered 10/15. Bronze with dark brown patina on artist's wood base. height: 6 1/8 in. (15.5cm) width: 4 1/4 in. (10.8cm) depth: 6 1/8 in. (15.5cm) $2,500-4,000


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33 CONRAD MARCA-RELLI (american, 1913-2000) “PHOTOGRAPHER” Signed bottom right, signed, titled, inscribed and dated “S-P1-78” verso, oil and collage on canvas. 27 x 34 in. (68.6 x 86.4cm) provenance: Private Collection, Philadelphia. note: This lot is registered with the Archivio Marca-Relli, Parma under archive number ‘MARE-6186 / © Archivio Marca-Relli, Parma’, and will be accompanied by a certificate of authenticity. $15,000-20,000


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34 ALBERT KOTIN (american, 1907-1980) UNTITLED Signed verso, also with artist’s name and illegible stamp/inscription and numbered ‘0137’ verso, oil on canvas. 36 x 30 in. (91.4 x 76.2cm) provenance: Doyle, New York, “European, American, Modern & Contemporary Art,” May 5, 2010, lot 96. Private Collection, New York (acquired directly from the above sale). $5,000-8,000


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35 WILLIAM BARNET (american, 1918-1992) “PROVINCE BY THE SEA” Signed bottom right, inscribed with artist’s name and title verso, oil on canvas. Executed in 1957. 54 x 46 in. (137.2 x 116.8cm) provenance: The Artist. Mr. & Mrs. Peter Campbell, New York. By family descent. Private Collection, Gloucester, Massachusetts. exhibited: “Will Barnet,” Institute of Contemporary Art, Boston, August 19 - September 17, 1961, no. 28. $10,000-15,000

Though he is best known for his highly stylized figurative paintings, William Barnet created works of diverse and evolving style throughout his long career. After having worked under the auspices of the Works Progress Administration in the 1930s, Barnet moved toward abstraction in the 1940s and 1950s. However, he did not align himself with the Abstract Expressionists whose presence loomed large in New York during this time, and whose paintings were boldly

gestural and individualistic. Rather, Barnet  was among the Indian Space painters, a group of artists who found inspiration in North American tribal motifs and symbols.  Drawn to the rhythms of these forms, the artists presented them in flattened spaces populated with organic geometries and lyrical patterns. Province by the Sea, which bears a striking resemblance to a 1959 woodcut by the artist of the same name, is an excellent example of the Indian Space aesthetic and Barnet’s

work of this time. Though by the 1960s, the artist had turned his attention toward the figurative work for which he is predominantly identified, he returned again to abstraction in the latter years of his life, revealing his continued interest in artistic exploration and discovery. 


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36 EDNA ANDRADE (american, 1917-2008) “CROSS” Signed with initials bottom left, inscribed with the artist’s name, titled and dated 63 verso, oil on canvas. 50 x 50 in. (127 x 127cm) provenance: Locks Gallery, Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above). exhibited: “Cool Waves and Hot Blocks: The Art of Edna Andrade,” The Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, September 17, 1993 - January 20, 1994, exhibition catalogue no. 2 (illustrated). $8,000-12,000

37 JESÚS RAFAEL SOTO (venezuelan, 1923-2005) “TIRATURA 45” 1966, signed and numbered 18 on plaque verso, inscribed with the artist’s name, title, date and publisher on the underside, Edizioni Sergio Tosi, Milan, publisher. Painted wood multiple. height: 25 1/8 in. (63.8cm) width: 6 3/4 in. (17.2cm) depth: 6 3/4 in. (17.2cm) $6,000-10,000


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38 RICHARD ANUSZKIEWICZ (american, b. 1930) “INDIGO” Signed and dated 1972 verso, inscribed with title on stretcher verso, acrylic on canvas. 36 x 36 in. (91.4 x 91.4cm) provenance: Jane Haslem Gallery, Washington, D.C. Mr. Milton S. Frenkel, Jr., Potomac, Maryland. $30,000-50,000

Hailed as “The New Wizard of Op Art” by Life Magazine in 1964, Anuszkiewicz was an original founder and early proponent of the movement. Indeed, just one year later, the artist won international recognition through his participation in the 1965 survey of Optical Art, “The Responsive Eye” at the Museum of Modern Art in New York. Though the fast-changing art world quickly moved beyond the Op Art movement in years to follow, Anuszkiewicz refused to abandon his vision of color. As a consequence, he emerged as one of the foremost colorists in the world. “I really love color,” he said. “I try to manipulate it in schemes that give

the viewer a particular feeling of enchantment. If you want to call it emotion, that’s fine.” [1] A student of Josef Albers at Yale, Anuszkiewicz was inspired by his teacher’s formulated color interactions, yet he expounded upon them by applying his own visual perception theories, adding line and field in order to create space through color. The result was a new pictorial space only hinted at by Albers. Anuszkiewicz saw himself also as an heir to the Impressionistic color tradition, and sought to continue this aesthetic. His experimentation with color and formal/geometric structures can be seen as an abstract version of the

Impressionists’ experimentation with light and color. “My work is of an experimental nature and has centered on an investigation into the effects of complementary color of full intensity when juxtaposed and the optical changes that occur as a result, and a study of the dynamic effect of the whole under changing conditions of light, and the effect of light on color.” [2] [1] The artist, as quoted in a press release for the exhibition “Richard Anuszkiewicz: Paintings and Constructions: 1986 – 1991” held at the ACA Galleries, New York in 1991. [2] Statement from the artist for the exhibition “Americans 1963” at the Museum of Modern Art, New York.


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39 LYNN CHADWICK (british, 1914-2003) “MAQUETTE JUBILEE II” sculpture in two parts 1983, both stamped ‘C3S,’ dated 1983 and numbered 1/9, one with the Morris Singer Founders London stamp, bronze with black and polished patina, in two parts. one: 35 1/2 x 33 x 41 1/2 in. (90.2 x 83.8 x 105.4cm) one: 35 1/2 x 23 3/4 x 45 3/4 in. (90.2 x 60.3 x 116.2cm) overall: 35 1/2 x 56 3/4 x 45 3/4 in. (90.2 x 144.1 x 116.2cm) (2) provenance: The Artist. Private Collection, New Jersey (acquired directly from the above). literature: D. Farr and E. Chadwick, Lynn Chadwick Sculptor, Aldershot: Lund Humphries, 2006, p. 342, no. C3S (another cast illustrated). $400,000-600,000

With a boldly distinctive style and an iconic visual language, Lynn Chadwick is one of the twentiethcentury’s most celebrated and important British sculptors. His career began on an illustrious note when, only six years after his first solo exhibition at Gimpel Fils Gallery in 1950, he was awarded the prestigious International Sculpture Prize at the XXVII Venice Biennale in 1956. Only 42 years old at the time, Chadwick was the youngest sculptor ever to receive the honor.  His victory caused quite a sensation and brought significant attention to Chadwick, cementing his reputation as a master of Modern British sculpture. The decades that followed saw Chadwick experimenting with different media and evolving themes.  Maquette Jubilee II is an excellent example of the artist’s mature work.  The multi-figure composition displays many elements of Chadwick’s unique visual language.  Utilizing his own pictorial code, he assigns the female

figure a triangular head and the male figure a rectangular one. The artist seemingly draws in metal, creating figures whose sharp angles and powerful volumes activate and engage the space around them, as if the artist not only cast the bronze but also carved the space around it.  This sense of dynamism and movement was critically important to Chadwick and, as Dennis Farr notes in the 2003 Tate Modern exhibition catalogue, “Walking Figures, their cloaks or robes blowing out behind them provided Chadwick with a theme capable of sustaining endless variations, of which Maquette Jubilee II is a particularly dramatic example.” Indeed, the sense of motion in Maquette Jubilee II is unmistakable. The figures in Maquette Jubilee II stride forward with a purposeful energy, their wind-blown robes in the shapes of “elaborate butterflywing[s]…supporting them…but…imbued with a baroque exuberance that transcends the merely practical.” [1]

The present piece relates to several Chadwick editioned sculptures of similar subject and style, including 1985’s “Jubilee IV” and 1977’s “Pair of Walking Figures – Jubilee,” examples of which can be found at Le Parc du Château, Saint-Priest in Lyon, France, and at the Museo Tamayo in Mexico City. [1] (D. Farr, Lynn Chadwick (exhibition catalogue), Tate Britain, London, 200304, p. 79).


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40 ROBERT ARTHUR GOODNOUGH (american, 1917-2010) “ABSTRACT MOVEMENT” Signed and dated 87 bottom right, signed, titled and dated verso, acrylic and oil on canvas. 32 x 60 in. (81.2 x 152.4cm) provenance: The Artist. Private Collection (acquired directly from the above). By family descent. Private Collection, Palm Beach, Florida. $4,000-6,000

41 ROBERT ARTHUR GOODNOUGH (american, 1917-2010) “ABSTRACT FIGURE” Signed and dated 87 bottom right, signed, titled and dated verso, acrylic and oil on canvas. 44 1/4 x 68 in. (112.4 x 172.7cm) provenance: The Artist. Private Collection (acquired directly from the above). By family descent. Private Collection, Palm Beach, Florida. $5,000-7,000


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42 MICHAEL GOLDBERG (american, 1924-2010) “THE BASHFUL SUITOR” Signed, titled and dated 92-93 verso, oil and mixed media on canvas. 59 x 59 in. (149.9 x 149.9cm) provenance: Margot Stein Gallery, New York, New York. Private Collection, Pennsylvania. $10,000-15,000


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43 ANGELO BOTELLO (puerto rican, 1913–1986) “THE ANNOUNCEMENT” Signed bottom right, inscribed ‘N: I.324’ verso, oil on panel. Executed circa 1975. 20 x 16 in. (51 x 40.8cm) provenance: The Artist. William Goldman Gallery, Jenkintown, Pennsylvania. The Estate of Lionel and Charlotte Moskowitz, Elkins Park, Pennsylvania. note: We are grateful to Juan Botello for confirming the authenticity of this work. $8,000-12,000

44 AFTER ALEXANDER CALDER (american, 1898-1976) PYRAMIDS 1975, embroidered with the artist’s name and date, bears numbering 61/100, C.A.C. Publications and Bon Art, New York, publishers. Handwoven jute maguey tapestry. 72 x 97 1/4 in. (182.8 x 247cm) Unframed $3,000-5,000


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45 ANGELO BOTELLO (puerto rican, 1913–1986) “WOMEN WITH BUNDLES” Signed bottom right, inscribed ‘N: I.323’ verso, oil on panel. Executed circa 1975. 20 x 16 in. (50.8 x 40.6cm) provenance: The Estate of Lionel and Charlotte Moskowitz, Elkins Park, Pennsylvania. note: We are grateful to Juan Botello for confirming the authenticity of this work. $8,000-12,000

46 KEES VERKADE (dutch, b. 1941) “HONKBALL” (FIRST BASE) Incised with initials and dated 70, bronze with brown patina on marble base. Including base: height: 8 in. (20.3cm) width: 16 in. (40.6cm) depth: 6 1/2 in. (16.5cm) provenance: The Artist. Private Collection, New York, New York (acquired directly from the above circa 1970). $1,500-2,500


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47 JEAN GABRIEL DOMERGUE (french, 1889–1962) “HARMONIE VERTE” Signed bottom left, titled on stretcher verso, oil on canvas. 25 5/8 x 18 1/8 in. (65.1 x 46cm) provenance: Private Collection, Philadelphia, Pennsylvania. note: We are grateful to Mr. Noé Willer for confirming the authenticity of this work which is recorded in the archives of the Artist. $8,000-12,000

49 ITZCHAK TARKAY (israeli, b. 1935) LADIES NIGHT OUT Signed bottom right, acrylic on canvas. Executed in 1995. 32 x 28 in. (81.3 x 71.1cm) provenance: Park West Gallery, Southfield, Michigan. Private Collection, Virginia (acquired directly from the above in 1995). World Pediatric Project, Richmond, Virginia (donated from the above in 2015). note: This lot is being sold to benefit the World Pediatric Project in its mission to provide lifesaving surgical care to children in need. $1,500-2,500

48 ITZCHAK TARKAY (israeli, b. 1935) COMPANIONS Signed bottom left, acrylic on canvas. Executed in 1990. 29 3/4 x 30 in. (52.7 x 76.2cm) provenance: Park West Gallery, Southfield, Michigan. Private Collection, Virginia (acquired directly from the above in 1992). World Pediatric Project, Richmond, Virginia (donated from the above in 2015). note: This lot is being sold to benefit the World Pediatric Project in its mission to provide lifesaving surgical care to children in need. $1,500-2,500


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50 EMILIO GRAU SALA (spanish, 1911-1975) “JOUEUSES D’ÉCHECS” Signed bottom right, signed, titled and dated 1969 verso, oil on canvas. 26 x 32 in. (66 x 81.3cm) provenance: Private Collection (acquired circa 1975). By family descent. Private Collection, Philadelphia, Pennsylvania. $10,000-15,000

51 NICOLA SIMBARI (italian, 1927-2012) “SOUTHERN LANDSCAPE” Signed and dated 60 bottom right, titled on stretcher verso, oil on canvas. 27 1/2 x 39 1/4 in. (69.8 x 99.7cm) provenance: Richelle Gallery, St. Louis, Missouri. Mr. Milton S. Frenkel, Jr., Potomac, Maryland. $3,000-5,000


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52 RICHARD ARTSCHWAGER (american, 1923-2013) “GILA RIVER WATERSHED” Signed bottom left, oil on canvas. 40 x 60 in. (101.6 x 152.4cm) provenance: The Artist. Private Collection, Newtown, Pennsylvania (acquired directly from the above circa 1950-1955). note: We are grateful to Gagosian Gallery and the Estate of the Artist for confirming the authenticity of this work. $3,000-5,000


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53 WOLF KAHN (american, b. 1927) “TALL PINES” Signed bottom center, dated and numbered ‘#1996/35’ verso and again on the stretcher verso, oil on canvas. 52 x 36 in. (132.1 x 91.4cm) provenance: Mangel Gallery, Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania. $20,000-30,000


Property from the Estate of David Adamany (1936-2016) lots 54-90 The following 41 lots come from the estate of distinguished scholar, administrator, civil rights advocate and Philadelphia resident, David W. Adamany. Adamany served as Chief Executive Officer of the Detroit Public Schools between 1999-2000 before becoming the eighth president of Temple University in Philadelphia, Pennsylvania. Under his leadership Temple’s enrollment grew by 17 percent, added many tenured positions, improved its diversity, and doubled the institution’s net assets. He was a stalwart supporter of equal education and urban renewal, having told the Detroit Free Press, “I firmly believe that cities will not have a full revitalization until they strengthen their school systems.” David W. Adamany was also widely recognized as a community leader and civil rights advocate. He was a longtime member of the American Civil Liberties Union and, as a proud gay man, a strong supporter of equal rights for the Lesbian, Gay, Bisexual, and Trans communities. In 1997, he was awarded the Martin Luther King Jr. Award from Detroit’s Plymouth United Church of Christ, which is presented “to persons, churches or organizations that... exemplify best the legacy of Dr. King.” Adamany’s Philadelphia residence was filled with prints by iconic artists of the 20th and 21st centuries, and he took great pleasure in educating friends and family about the works he compiled over his lifetime. Many of the objects presented here reflect his values – included herein are works by important African American artists, politically inspired Mexican artists and prints sold to benefit causes Adamany supported.  (Portions of this note are taken from the obituary published in the New York Times on November 15, 2016.)

54 JEAN DUBUFFET (french, 1901-1985) “LE SURINTENDANT” 1972, pencil signed with initials and dated, numbered 89/120 (there were also 10 artist’s proofs and 30 horscommerce copies in Roman numerals), Éditions Jeanne Bucher, Paris and Pace Editions, New York, publishers. Color screenprint on Bristol. image: 17 11/16 x 9 in. (44.9 x 22.8cm) sheet: 20 x 12 1/8 in. (50.8 x 30.7cm) [Webel, 1098] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $2,500-3,500


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55 MAN RAY (american, 1890-1976) PERSONNAGE Circa 1975, pencil signed with initials and numbered 93/175, with wide margins, Transworld Art, New York, publisher and with their blindstamp. Color lithograph on Arches. image: 23 3/16 x 18 7/16 in. (58.9 x 46.8cm) sheet: 25 1/2 x 19 3/4 in. (64.7 x 50.2cm) provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $1,500-2,500

56 MAN RAY (american, 1890-1976) “VITRAIL� 1968, pencil signed and numbered 75/90 (there were also 25 additional proofs in Roman numerals), with wide margins. Color lithograph on wove paper. image: 15 5/8 x 11 1/4 in. (39.7 x 28.6cm) sheet: 22 x 14 1/4 in. (55.9 x 28.6cm) [Anselmino, 28] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $800-1,200


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57 DAVID ALFARO SIQUEIROS (mexican, 1896-1974) “DAMA NEGRA” 1935-36, pencil signed, numbered 16/20 and dedicated ‘Para Evita con todo mi carrizos,’ with wide margins. Lithograph on wove paper watermark ‘FRANCE.’ image: 19 3/4 x 13 3/4 in. (50.2 x 34.9cm) sheet: 22 3/4 x 15 3/4 in. (57.8 x 38cm) provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. note: Together with Diego Rivera and José Clemente Orozco, David Alfaro Siqueiros was a social realist painter and co-founder of ‘Mexican Muralism’ in the 1920’s. Siqueiros delivered his social and political messages through depictions of ordinary Mexican citizens struggling to overcome authoritarian rule. As here, where the subject nearly exceeds the confines of the lithographic borders, the artist’s human figures are often shown larger than life. Further accentuated by dramatic lights and darks, this works celebrates proletarian strength and beauty. $800-1,200

58 DIEGO RIVERA (mexican, 1886-1957) “MERCADO DE FLORES” 1930, pencil signed and dated, numbered 36/100 in black crayon, with full margins, Weyhe Gallery, New York, publisher. Lithograph on wove paper. image: 10 7/8 x 15 5/8 in. (27.6 x 39.7cm) sheet: 15 1/16 x 20 1/16 in. (38.3 x 51cm) [Instituto Nacional de Bellas Artes, 922] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. note: Working in the early 1900’s, Diego Rivera sought to honestly depict and celebrate the life of Mexican citizens rather than the powers that governed them. $2,000-3,000


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59 ROCKWELL KENT (american, 1882-1971) “HOME PORT” 1931, pencil signed, an unnumbered proof (presumably from the regular edition of 150), with wide margins. Wood engraving on wove paper with partial floral watermark. image: 6 7/16 x 7 5/16 in. (16.4 x 18.6cm) sheet: 8 15/16 x 11 in. (22.7 x 27.9cm) [Burne-Jones, 62] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $800-1,200

61 THOMAS HART BENTON (american, 1889–1975) “AARON” 1941, pencil signed and dedicated “To Claire Unger,” from the edition of 250, with wide margins, Associated American Artists, New York, publisher. Lithograph on wove paper. image: 12 13/16 x 9 1/2 in. (32.5 x 24.1cm) sheet: 14 3/4 x 11 1/2 in. (37.5 x 29.2cm) [Fath, 42] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. note: Thomas Hart Benton’s depiction here of an elderly farmer is typical of this American Regionalist painter who honestly and respectfully recorded the lives of ordinary Americans of the 1920’s. A larger scale painting of this same sitter is currently in the collection of the Pennsylvania Academy of Fine Arts, Philadelphia. $1,000-1,500

60 PAUL CADMUS (american, 1904-1999) “NUDO #3 (FIRST STATE)” 1984, pencil signed twice and titled, numbered 9/100 (there was also an edition of 30 in the second state, see Davenport, 58), with wide margins, Midtown Galleries, New York, publisher. Etching on wove paper. image: 9 1/8 x 8 1/8 in. (23.2 x 20.6cm) sheet: 16 15/16 x 14 1/2 in. (43 x 36.8cm) [Davenport, 57] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $800-1,200


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62 two prints ROBERT GWATHMEY (american, 1903-1988) “TOBACCO FARMERS” and “TOPPING TOBACCO” 1947, both ink signed, both with thin margins. Two color screenprints on heavy wove paper. images approx.: 13 1/4 x 8 7/8 in. (33.6 x 22.5cm) sheets: 13 3/4 x 9 1/8 in. (34.9 x 23.2cm) (2) provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $1,500-2,500

An eighth generation Virginian, Robert Gwathmey is perhaps best known for his dignified depictions of African Americans in the South. Typically rendered in flat blocks of color which in turn are neatly outlined in black, his works often suggest the tension between social injustice and personal dignity in a straightforward two-dimensional scheme. Gwathmey received his artistic training at the Pennsylvania Academy of Fine Arts where he studied

under Pennsylvania Impressionist, Daniel Garber. In 1944, Gwathmey received a Rosenwald Foundation fellowship and spent the summer living and working with sharecroppers on a tobacco farm near Rocky Mount, North Carolina. The present works are likely inspired by this period, and like Mexican Muralists Diego Rivera and David Alfaro Siqueiros, show Gwathmey’s inherent respect for his subject.

63 ROMARE BEARDEN (american, 1911-1988) “CONJUNCTION” 1979, pencil signed and numbered 48/300 (there were also 25 hors-commerce proofs), with wide margins, Transworld Art, Inc., New York, publisher and with their blindstamp. Color lithograph on Arches. image: 18 3/4 x 15 1/8 in. (47.6 x 38.4cm) sheet: 28 1/8 x 20 13/16 in. (71.4 x 52.8cm) [Gelburd & Rosenberg, 10] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $1,500-2,500


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64 ROMARE BEARDEN (american, 1911-1988) “FIREBIRDS” 1979, pencil signed and indistinctly numbered (from the edition of 300), with full margins, Transworld Art, Inc., New York, publisher and with their blindstamps. Color lithograph on Arches. image: 21 5/8 x 15 in. (54.9 x 31.8cm) sheet: 28 x 20 7/8 in. (71.1 x 53cm) [Gelburd & Rosenberg, 11] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $1,500-2,500

65 two prints ROMARE BEARDEN (american, 1911-1988) “ODYSSEUS LEAVES” and “TROY” from “the odysseus suite” 1979, both pencil signed and inscribed ‘a.p.’ (artist’s proofs, aside from the editions of 75 in Roman numerals and 125 in Arabic numerals for each), both with wide margins, HMK Fine Arts, Inc, New York, publisher and ‘Troy’ with their blindstamp. Two color screenprints on wove paper watermark ‘Lana.’ images: 18 x 23 7/8 in. (45.7 x 60.6cm) sheets approx.: 21 1/2 x 29 in. (54.6 x 73.6cm) [Gelburd & Rosenberg, 44 and 45] (2) provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $1,500-2,500


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66 JACOB LAWRENCE (american, 1917-2000) “TO THE PEOPLE HE FOUND WORTHY OF HIS TRUST, HE COMMUNICATED HIS PLACE” from “the legend of john brown portfolio” 1977, pencil signed and dated (presumably a proof aside from the regular numbered edition of 60), with wide margins, The Founders Society of the Detroit Institute of Arts, publisher. Color screenprint on wove paper. image: 14 1/16 x 19 7/8 in. (35.7 x 50.5cm) sheet: 19 15/16 x 25 11/16 in. (50.6 x 65.2cm) [Nesbett, L77-5] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $2,500-4,000

67 JACOB LAWRENCE (american, 1917–2000) “JOHN BROWN COLLECTED MONEY FROM SYMPATHIZERS AND FRIENDS TO CARRY OUT HIS PLANS” from “the legend of john brown portfolio” 1977, pencil signed and dated (presumably a proof aside from the regular numbered edition of 60), with wide margins, The Founders Society of the Detroit Institute of Arts, publisher. Color screenprint on wove paper. image: 19 15/16 x 13 15/16 in. (50.6 x 13.4cm) sheet: 25 11/16 x 19 15/16 in. (65.2 x 50.6cm) [Nesbett, L77-5] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $2,500-4,000

The two present lots are from a portfolio which includes scenes from the life of famous abolitionist John Brown. The portfolio was commissioned and published by the Founders Society of the Detroit Institute of Arts in collaboration with Ives-Iillman, Inc., in order to celebrate and preserve the imagery of the artist’s famous series of gouaches of the same subject housed in the museum’s collection.


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68 ROBERT MOTHERWELL (american, 1915-1991) “AMERICA - LA FRANCE VARIATIONS IX” 1984, pencil signed and numbered 30/60 (there were also 18 artist’s proofs in Roman Numerals), the full sheet, Tyler Graphics, Ltd., Bedford Village, New York, publisher and with their blindstamp. Color lithograph and collage on Australian Bemboka and Arches Cover. image: 28 x 18 1/2 in. (71.1 x 47cm) sheet: 28 13/16 x 21 7/8 in. (73.2 x 55.6cm) [Belknap, 305; Engberg & Banach, 337] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $2,500-3,500

69 ROBERT MOTHERWELL (american, 1915-1991) “BIRD I” 1973, pencil signed and numbered 3/21 (there were also 6 artist’s proofs in Roman numerals), with full margins, published by the artist and with his blindstamp. Etching on Arches Cover paper. image: 15 7/8 x 19 5/8 in. (40.3 x 49.8cm) sheet: 29 7/8 x 22 1/4 in. (75.8 x 56.4cm) [Belknap, 109; Engberg & Banach, 139] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $600-1,000

70 ROBERT MOTHERWELL (american, 1915-1991) “SUMMER TRIDENT” from “harvey gantt portfolio” 1970, pencil signed and numbered 36/200 (there were also 12 artist’s proofs), with full margins, published by the artist and distributed by Gemini G.E.L., Los Angeles and Ronald Feldman Gallery, New York. Color lithograph with Chine collé to BFK Rives. image: 8 x 10 in. (20.3 x 25.4cm) sheet: 14 1/16 x 16 1/8 in. (35.7 x 41cm) [Not in Belknap; Engberg & Banach, 505] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. note: For additional prints from the “Harvey Gantt Portfolio,” see lots 76, 88 and 90. $1,000-2,000


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71 JACK HAMILTON BUSH (canadian, 1909-1977) “WHITE FLIP” 1974, pencil signed and dated, numbered 28/100, with wide margins. Color screenprint on wove paper. image: 29 1/4 x 20 1/4 in. (74.3 x 51.4cm) sheet: 34 15/16 x 26 in. (88.7 x 66cm) provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $1,000-1,500

72 JOSEF ALBERS (american/german, 1888-1976) “RED ORANGE WALL” 1970, pencil signed and dated, numbered 3/100 (there was also an unsigned edition of 400), with wide margins, published by IvesSillman, Inc., New Haven in commemoration of the one hundredth anniversary of the Metropolitan Museum of Art (and with their printed text in the bottom margin), also with the Ives-Sillman blindstamp. Color screenprint on heavy wove paper. image: 16 7/8 x 25 in. (43 x 63.4cm) sheet: 25 3/4 x 32 13/16 in. (65.4 x 83.2cm) [Danilowitz, 198] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $1,000-1,500


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73 JOSEF ALBERS (american/german, 1888-1976) “WHITE LINE SQUARE, SERIES I” the incomplete set of seven (lacking one) 1966, all pencil signed, dated, titled ‘WLS,’ individually annotated ‘I’ - ‘VII’ and numbered 51/125 (there were also 15 artist’s proofs), with full margins, Gemini G.E.L., Los Angeles, publisher and with their blindstamps. Seven color lithographs on Arches Cover. (Lacking 'WLS VIII' (D. 171.8)). images: 15 11/16 x 15 11/16 in. (39.8 x 39.8cm) sheets: 20 11/16 x 20 11/16 in. (52.5 x 52.5cm) [Danilowitz, 171.1-7] (7) provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $15,000-25,000


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74 ELLSWORTH KELLY (american, 1923-2015) “TALMONT” from “third curve series” 1973-1976, pencil signed and numbered 8/16 (there were also 9 artist’s proofs), with wide margins, Gemini G.E.L., Los Angeles and with their blindstamp. Lithograph with embossing on BFK Rives. image: 22 x 29 in. (55.7 x 73.6cm) sheet: 33 15/16 x 40 7/8 in. (86.2 x 103.8cm) [Axsom, 120] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $2,000-3,000

75 FRANK STELLA (american, b. 1936) “EFFINGHAM” from “eccentric polygons” 1974, pencil signed and dated, numbered 62/100 (there were also 12 artist’s proofs), the full sheet, Gemini G.E.L, Los Angeles, publisher and with their blindstamp. Color lithograph with screenprint on wove paper. sheet: 17 3/16 x 22 1/4 in. (43.7 x 56.5cm) [Axsom, 102] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $1,000-1,500


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76 ROY LICHTENSTEIN (american, 1923-1997) “MIRROR” from “harvey gantt portfolio” 1990, pencil signed and dated, numbered 11/250 (there were also 50 artist’s proofs), the full sheet, published by the artist and Gemini G.E.L., Los Angeles for the benefit of the Harvey Gantt for Senate Campaign. Color screenprint on white 4-ply board. sheet: 10 x 7 3/16 in. (25.3 x 18.1cm) [Corlett, 246] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. note: Harvey Gantt is a noted civil rights pioneer, public servant, and awardwinning architect who ran twice for United States Senate. The present work is from an portfolio of prints commissioned and sold to benefit his campaign against conservative incumbent Jesse Helms in 1990. For additional prints from the portfolio, see lots 70, 88 and 90. $3,000-5,000

77 ROY LICHTENSTEIN (american, 1923-1997) “STEDELIJK MUSEUM POSTER” 1967, pencil signed (from the edition of 550 without typography, only some of which were signed), the full sheet to three sides, Stedelijk Museum, Amsterdam and Poster Originals, Ltd., New York, publishers. Color screenprint on wove paper. image: 30 1/16 x 25 in. (76.3 x 63.5cm) sheet: 31 3/8 x 25 in. (79.7 x 63.5cm) [Corlett, III.23b] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $1,000-1,500

78 AFTER ROY LICHTENSTEIN (american, 1923-1997) YALE UNIVERSITY ART GALLERY EXHIBITION POSTER 1991, signed in marker, with wide margins, Springdale Graphics, Springdale, Connecticut, publisher and with their printed text in the margin. Offset lithographic color poster on smooth paper. image: 22 1/4 x 22 1/2 in. (56.5 x 57.1cm) sheet: 27 x 25 7/8 in. (68.6 x 65.7cm) provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $600-1,000


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79 ROBERT INDIANA (american, b. 1928) “THE BOOK OF LOVE” one print 1996, pencil signed and dated, numbered 77/200 (there were also 50 artist’s proofs in Roman numerals), with wide margins, American Image Editions, New York, publisher. Color screenprint on A.N.W. Creswood Museum Edition paper. image: 18 1/4 x 17 7/8 in. (46.3 x 45.3cm) sheet: 24 1/8 x 19 3/4 in. (61.2 x 50cm) provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $2,000-3,000

81 ROBERT INDIANA (american, b. 1928) “THE AMERICAN FOUR” 1970, pencil signed, titled and dated, numbered 64/200 (there were also 25 artist’s proofs in Roman numerals), with full margins, The Museum of Modern Art, New York, publisher. Color screenprint on white Schoellers Parole double paper. image: 23 7/8 x 23 13/16 in. (60.6 x 60.5cm) sheet: 26 5/16 x 26 3/16 in. (66.8 x 66.5cm) [Sheehan, 59] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. note: This print was commissioned by the Museum of Modern Art on the occasion of their “Four Americans in Paris” exhibition, which ran from December 1970 March 1971 and celebrated Gertrude, Leo, Michael and Sarah Stein. $1,800-2,200

80 ROBERT INDIANA (american, b. 1928) “THE BOOK OF LOVE” one print 1996, pencil signed and dated, numbered 90/200 (there were also 50 artist’s proofs in Roman numerals), with wide margins, American Image Editions, New York, publisher. Color screenprint on A.N.W. Creswood Museum Edition paper. image: 18 1/8 x 17 15/16 in. (46 x 45.6cm) sheet: 23 7/8 x 20 in. (60.6 x 50.8cm) provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $2,000-3,000


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82 JIM DINE (american, b. 1935) “BILL CLINTON ROBE” from “artists for freedom of expression” 1992, pencil signed and dated, numbered 86/100 (there were also 17 artist’s proofs), with full margins, published by the artist and Pace Editions, Inc., New York to benefit the Democratic National Committee. Color woodcut with etching on Hahnemüle. image: 12 1/4 x 10 in. (31.1 x 25.3cm) sheet: 20 5/8 x 15 3/16 in. (52.3 x 40cm) [Carpenter, 57] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $3,000-5,000

83 CLAES OLDENBURG (american, b. 1929) “ICE CREAM DESSERTS, C" 1975-76, signed with initials and dated in brown crayon, numbered 24/50 (there were also 12 artist's proofs), with full margins, Petersburg Press, London & New York, publisher. Color etching and aquatint on wove paper. image: 13 1/2 x 21 1/4 in. (34.2 x 53.9cm) sheet: 22 7/16 x 31 3/16 in. (56.9 x 79.3cm) [Axsom & Platzker 147.3] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $600-1,000


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84 RED GROOMS (american, b. 1937) “MATISSE” 1976, pencil signed and dated, numbered 52/75 (there were also 10 artist’s proofs), with full margins, Marlborough Graphics, New York and Brooke Alexander, Inc., New York, co-publishers. Lithograph on BFK Rives. image: 27 x 19 1/2 in. (68.6 x 49.5cm) sheet: 34 1/2 x 25 1/2 in. (87.6 x 64.8cm) [Knestrick, 48] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $1,000-1,500

85 LARRY RIVERS (american, 1923-2002) “MADAME BUTTERFLY” 1978, ink-signed, presumably a proof outside of the regular edition of 250, the full sheet, Metropolitan Opera Association, New York, publisher. Color lithograph and screenprint on wove paper (irregularly shaped, as issued, along bottom edge). sheet: 22 x 30 3/4 in. (55.5 x 78cm) provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $600-1,000


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86 DAVID HOCKNEY (british, b. 1937) “YVES MARIE” 1974, pencil signed and dated, numbered 58/75 (there were also 24 unspecified proofs), the full sheet, Petersburg Press, New York, publisher and with their blindstamp. Lithograph on Arches (S.A.C. calls for BFK Rives mould-made Buff). sheet: 30 x 22 1/8 in. (76.2 x 56.2cm) [Scottish Arts Council, 159] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. note: This work depicts Yves Marie Hervé who was amongst Hockney’s close circle of friends in Paris. $1,000-1,500

87 DAVID HOCKNEY (british, b. 1937) “SUNFLOWER I” 1995, pencil signed and dated, numbered 56/80 (there were also 15 artist’s proofs), with wide margins, the artist and Lococo Mulder Inc., St. Louis, copublishers and with the artist’s blindstamp. Etching and aquatint on Arches. image: 18 3/16 x 15 in. (46.1 x 38cm) sheet: 27 x 22 5/16 in. (68.5 x 56.6cm) [M.C.A. Tokyo, 347] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $3,000-5,000

88 RICHARD DIEBENKORN (american, 1922–1993) “UNTITLED” from “harvey gantt portfolio” 1990-91, pencil signed and dated 90, numbered 188/250 (there were also 50 artist’s proofs), with wide margins, Gemini, G.E.L., Los Angeles, publisher and with their blindstamp. Lithograph on wove paper. image: 4 7/8 x 6 5/8 in. (12.4 x 16.8cm) sheet: 13 x 14 5/8 in. (33 x 37.1cm) [Gemini, 1452] provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $800-1,200


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89 ROBERT RAUSCHENBERG (american, 1925-2008) “KENNEDY FOR SENATE” 2000, pencil signed and dated, numbered 45/100, the full sheet, published for the Kennedy for Senate Campaign, Washington, D.C. Inkjet print in colors. sheet: 35 x 26 in. (88.9 x 66cm) provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $2,000-3,000

91 ROBERT RAUSCHENBERG (american, 1925-2008) “TAG” 1997, pencil signed and dated, numbered 374/500 (there were also 20 artist’s proofs), the full sheet, Solomon R. Guggenheim Museum, New York, publisher. Color screenprint and offset lithograph on wove paper. sheet: 18 1/2 x 15 13/16 in. (47 x 40.2cm) $1,000-1,500

90 ROBERT RAUSCHENBERG (american, 1925–2008) “SPACKLE” from “harvey gantt portfolio” 1990, pencil signed and dated, indistinctly but presumably numbered 83/250 (there were also 50 artist’s proofs), with full margins, Gemini G.E.L, Los Angeles, publisher and with their blindstamps. Color lithograph on HMP Koller handmade cream paper. image: 5 13/16 x 3 5/8 in. (14.8 x 9.2cm) sheet: 5 13/16 x 4 1/2 in. (14.8 x 11.4cm) provenance: The Estate of David Adamany, Philadelphia, Pennsylvania. $800-1,200


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92 AL (ALFRED EARL) HANSEN (american, 1927-1995) UNTITLED Circa 1968, Hershey bar wrappers collaged to shaped wood panel. 9 3/4 x 31 5/8 in. (24.7 x 80.3cm) provenance: The Artist. Private Collection, Martha’s Vineyard, Massachusetts. $20,000-30,000

93 AL (ALFRED EARL) HANSEN (american, 1927-1995) “GOOD MORNING, MARISOL” Signed, titled, inscribed and dated ‘New York City 1966’ in ink verso. Paper collaged to wood panel. 5 7/8 x 3 5/8 in. (14.8 x 9.2cm) provenance: The Artist. Private Collection, Martha’s Vineyard, Massachusetts. $4,000-6,000

A regular of Andy Warhol’s Factory, Al Hansen was greatly influenced by the Pop Art movement of the 60’s and is perhaps best known for his candy wrapper collages and performance art. He was an early member of the experimental “Fluxus” movement, an inclusive and decidedly non-structured aesthetic of artmaking. Out of this spirit, “Happenings,” event-oriented art making was born. One such influential performance occurred when Hansen dropped a piano off of a five story, bombed-out building while serving in Germany during World War II. This act later became known as ‘Yoko Ono Piano Drop” (after his friend and fellow Fluxus artist) and was later performed throughout New York many times. Hansen’s use of readily available materials like plywood and food wrappers also speaks directly to the democratic ideas of the Fluxus artist, while the repetition and alteration of the unmistakeable Hershey logo echoes the influence of Pop Art.


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94 ANDY WARHOL (american, 1928-1987) “FLOWERS” 1964, signed and dated in black ink, from the edition of 300, with wide margins, Leo Castelli Gallery, New York, publisher. Color offset lithograph on wove paper. image: 21 7/8 x 21 7/8 in. (55.6 x 55.6cm) sheet: 23 x 23 in. (58.4 x 58.4cm) [Feldman & Schellman, II.6] Unframed $15,000-20,000


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95 ANDY WARHOL (american, 1928-1987) “MARILYN MONROE (MARILYN)” 1967, pencil signed and inscribed ‘ap’ verso (the edition was 100 plus an unrecorded number of artist’s proofs), the full sheet, published by Factory Additions, New York to announce the “Marilyn Monroe (Marilyn)” portfolio. Color screenprint on wove paper. image/sheet: 6 x 6 1/16 in. (15.2 x 15.4cm) [Feldman & Schellman, II.21] Unframed $30,000-50,000


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96 DAVID SAUNDERS (american, b. 1954) “CAT BIRD” Oil on wood. Executed in 1979. 30 x 32 in. (76.2 x 81.3cm) provenance: Private Collection, Philadelphia, Pennsylvania. exhibited: “Books, Birds & Heroes: David Saunders,” Cleveland Center for Contemporary Art, Cleveland, Ohio, May 18 - June 16, 1984, exhibition catalogue no. 14 (illustrated p. 12). $800-1,200

97 DAVID SAUNDERS (american, b. 1954) “ELLEN” Signed and dated 78 verso, plaster and straw with embedded 19th century Persian tiles. overall approx.: 19 x 17 in. (48.6 x 43.2cm) provenance: Private Collection, Philadelphia, Pennsylvania. exhibited: “Books, Birds & Heroes: David Saunders,” Cleveland Center for Contemporary Art, Cleveland, Ohio, May 18 - June 16, 1984, exhibition catalogue no. 19 (illustrated p. 12). $800-1,200


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98 CLAES OLDENBURG (american, b. 1929) “PIZZA/PALETTE” 1966, pencil signed and numbered 68/100 (there were also 20 artist’s proofs), with full margins, Pace Editions, New York, publisher. Color lithograph on Somerset. image: 23 3/4 x 32 in. (60.3 x 81.2cm) sheet: 29 7/16 x 38 1/16 in. (74.6 x 96.8cm) [Axsom & Platzker, 264] $1,000-1,500

99 RED GROOMS (american, b. 1937) “RED’S ROXY” 1985, pencil signed and numbered 132/200 (there were also 15 artist’s proofs), the artist and Shark’s Lithography, Ltd., Boulder, co-publishers. Three-dimensional color lithograph with crank-operated Mylar filmstrip on BFK Rives in Plexiglas box. overall: 8 1/4 x 6 5/8 x 11 5/8 in. (21 x 16.8 x 29.5cm) [Knestrick, 104] $1,000-2,000

100 KEITH HARING (american, 1958-1990) “FIGHT AIDS WORLDWIDE” 1990, pencil numbered 499/1,000, with full margins, World Federation of the United Nations Associations, New York, publisher and with the artist’s estate stamp verso; also with the Keith Haring Estate certificate of authenticity with pencil signature by Julia Gruen verso. Color lithograph on wove paper. sheet: 11 x 8 5/8 in. (27.8 x 21.9cm) [Littman, 168] Unframed $1,500-2,500


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101 HELEN FRANKENTHALER (american, 1928-2011) “AIR FRAME” from “new york ten” 1965, pencil signed and dated, numbered 51/200 (there were also 25 horscommerce copies lettered A-Y), the full sheet, Tanglewood Press, Inc., New York, publisher. Color screenprint on Arches watercolor. sheet: 22 x 17 in. (55.9 x 43.2cm) [Harrison, 6] Unframed $1,500-2,500

102 AFTER HOWARD HODGKIN (british, 1932-2017) “IN TANGIER” 1991, pencil signed with initials and dated, numbered ‘AP 9/12’ (an artist’s proof, the regular edition was 72), with full margins, Lincoln Center/List Art Posters & Prints, New York, publisher. Color screenprint on Huntsman Velvet paper. image: 27 1/4 x 29 3/4 in. (69.2 x 75.6cm) sheet: 32 3/8 x 34 1/8 in. (82.2 x 86.6cm) Unframed $2,000-3,000


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103 DAVID HOCKNEY (british, b. 1937) “APPLES, GRAPES AND LEMON ON A TABLE” from “brooklyn academy of music print portfolio” 1988, pencil signed and dated, numbered 3/91 (there were no artist’s proofs), the full sheets, Parasol Press, Ltd., New York, publisher and with the artist’s blindstamp. Handmade copier print in colors on two sheets of Arches laid paper (as issued). overall: 16 15/16 x 21 15/16 in. (43 x 55.7cm) $6,000-10,000

104 FRANK STELLA (american, b. 1936) “CIPANGO” from “multi-colored squares i” 1972, pencil signed and dated, numbered 31/100 (there were also 20 artist’s proofs), with full margins, Petersburg Press, London, publisher. Offset color lithograph on J. Green mould-made paper. image: 10 1/4 x 10 1/4 in. (25.9 x 25.9cm) sheet: 15 15/16 x 21 11/16 in. (40.4 x 55cm) [Axsom, 80] $1,500-2,500


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105 ALEX KATZ (american, b. 1927) “STANDING ADA” 1987, incised with signature and numbered AP 11/12 (an artist’s proof, aside from the regular edition of 75), Styria Studio, Inc., New York, publisher. Color screenprint on two sides of cut aluminum. height: 65 in. (165.1cm) width: 10 1/8 in. (25.7cm) [Schröder, 216] $18,000-25,000

106 ALEX KATZ (american, b. 1927) “MARIA II” from “maria series” 1993, pencil signed and numbered 68/75 (there were also 12 artist’s proofs), with full margins, Chalk and Vermillion Fine Arts, Greenwich, Connecticut, publisher. Color etching and aquatint on wove paper. image: 16 3/16 x 10 5/8 in. (41.1 x 27cm) sheet: 17 x 21 11/16 in. (43.2 x 55.1cm) $2,000-3,000


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107 ROY LICHTENSTEIN (american, 1993-1997) “FORMS IN SPACE” 1985, pencil signed and dated, numbered 122/125 (there were also 20 artist’s proofs), with full margins, published by the artist for the Institute of Contemporary Art, University of Pennsylvania, Philadelphia. Color screenprint on BFK Rives. image: 31 x 47 1/2 in. (78.8 x 120.6cm) sheet: 35 5/8 x 51 15/16 in. (90.3 x 131.8cm) [Corlett, 217] provenance: The Institute of Contemporary Art, University of Pennsylvania, for Rally ‘Round the Flag, an annual fundraising benefit. Private Collection, Pennsylvania (acquired directly from the above in 1985). $40,000-60,000


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108 RICHARD ESTES (american, b. 1932) “HOLLAND HOTEL” 1980, signed and numbered 61/100 in gold ink (there were also 15 artist’s proofs), with full margins, Parasol Press, Ltd., New York, publisher. Color screenprint on museum board. image: 45 7/16 x 71 3/4 in (115.4 x 182.4cm) sheet: 46 3/8 x 76 in. (117.8 x 193cm) [Arthur, 127] $10,000-15,000


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109 RICHARD ESTES (american, b. 1932) “URBAN LANDSCAPES NO. 3” five prints 1981, all pencil signed, one numbered 81/250, two numbered 82/250, and two numbered 175/250 (there were also 15 artist’s proofs for each), all with wide margins, Parasol Press, Ltd., New York, publisher. The incomplete set of five color screenprints on Fabriano Cottone (lacking three). images: 14 x 20 in. (35.6 x 50.8cm) sheets: 19 5/8 x 27 1/2 in. (49.8 x 69.9cm) [Arthur, 123] (5) provenance: Including: “AIRPORT,” “EIFFEL TOWER RESTAURANT,” “MANHATTAN,” “ROMA,” and “SUBWAY”. $4,000-6,000


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110 KENNETH NOLAND (american, 1924-2010) “HORIZONTAL STRIPES I-7” from “handmade paper project” 1978, pencil signed and dated, one of 104 unique works from this series, the full sheet, Tyler Graphics, Ltd., Bedford, New York, publisher and with their blindstamp. Unique colored and pressed paper pulp. 50 1/4 x 32 1/2 in. (127.6 x 85.1cm) [Tyler, 466: KN229] $8,000-12,000

111 HELEN FRANKENTHALER (american, 1928-2011) “PONTI” 1973, pencil signed and dated, numbered 14/21 (there were also 3 artist’s proofs), with wide margins, 2RC Editrice, Rome and with their blindstamp. Color etching and aquatint on wove paper. image: 19 13/16 x 27 3/4 in. (50.3 x 70.5cm) sheet: 27 11/16 x 35 11/16 in. (70.4 x 90.7cm) [Harrison, 43] $2,500-3,500


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112 WARREN ROHRER (american, 1927-1995) “SONS OF BUFFALO RUN” Signed bottom right, signed and dated on stretcher verso, oil on canvas. 34 1/4 x 36 in. (86.9 x 91.3cm) provenance: Marion Locks Gallery, Philadelphia, Pennsylvania. Philadelphia Museum of Art, Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania (acquired directly from the above circa 1960). $6,000-10,000


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113 JAMES HAVARD (american, b. 1937) UNTITLED Signed and dated 75 bottom right, mixed media on museum board. 40 x 30 in. (101.6 x 76.1cm) provenance: Private Collection, Philadelphia, Pennsylvania. $1,500-2,500

114 JAMES HAVARD (american, b. 1937) "NAVAJO SAND" Signed and dated 77 upper right, titled center, mixed media on museum board. 40 1/2 x 34 1/2 in. (102.8 x 87.6cm) provenance: Private Collection, Philadelphia, Pennsylvania. $1,500-2,500


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115 JAMES HAVARD (american, b. 1937) “SWEDEN BLACK ELK NO. 5” Signed, titled and dated 73 verso, acrylic on canvas. 71 3/8 x 71 1/2 in. (181.3 x 181.6cm) provenance: Marion Locks Gallery, Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania. $4,000-6,000

116 JAMES HAVARD (american, b. 1937) “MASK WITH SANTE FE GROUND” Signed and dated 88 upper right, acrylic on canvas. 20 x 16 in. (50.8 x 40.5cm) provenance: Marion Locks Gallery, Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania. $1,500-2,500


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117 JANE PIPER (american, 1916-1991) STUDY FOR FLORAL STILL LIFE Signed bottom center left, acrylic, watercolor and pencil on paper. 22 7/16 x 28 1/4 in. (56. x 71.8cm) provenance: Private Collection, Philadelphia, Pennsylvania. $800-1,200

118 ELIZABETH OSBORNE (american, b. 1936) “WOMAN IN RED” Signed and dated ‘91 bottom right, watercolor, gouache and acrylic on Arches. 14 1/8 x 20 in. (35.9 x 50.8cm) provenance: Locks Gallery, Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania. $1,200-1,800


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119 ELIZABETH OSBORNE (american, b. 1936) “CURTIS HOUSE, MANCHESTER” Signed and dated 97 bottom right, signed, titled and dated 96-97 verso, oil on panel. 12 x 12 in. (30.5. x 30.5cm) provenance: Private Collection, Philadelphia, Pennsylvania. $3,000-5,000

120 ELIZABETH OSBORNE (american, b. 1936) “AMARYLLIS PLUS FIVE” Oil on linen. Executed in 1992. 31 x 23 in. (78.8 x 58.4cm) provenance: Locks Gallery, Philadelphia, Pennsylvania. Private Collection, Medford, New Jersey (acquired from the above in 1992). $2,000-3,000


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121 JENNIFER BARTLETT (american, b. 1941) “HOMAN-JI, SERIES I” three prints (triptych) 1992, one pencil signed, two signed with initials, each sequentially annotated “A of C” - “B of C” and numbered 87/90 (there were also 16 artist’s proofs in Roman numerals), Simca Print Artists, Inc., New York, publisher and each with their blindstamp. The complete set of three color screenprints with gold, silver, or platinum leaf, framed individually. images: 17 3/4 x 18 1/2 in. (45.1 x 47cm) sheets: 19 x 19 1/4 in. (48.3 x 48.8cm) [Orlando Museum, 27] (3) $1,800-2,500

122 EDNA ANDRADE (american, 1917-2008) UNTITLED Signed with initials and dated ‘82 bottom left, inscribed with artist’s name, dated 11/82 and inscribed ‘In Celebration of Chuck Parkhurst & His New Horizons’ on mat below image, mixed media collage. image: 5 1/8 x 8 in. (12.9 x 20.3cm) mat: 10 13/16 x 13 13/16 in. (28.8 x 35.4cm) provenance: Private Collection, Boston, Massachusetts. $1,000-2,000


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123 BILL SCOTT (american, b. 1956) UNTITLED Signed bottom right, acrylic on paper. Executed circa 1998-2000. 31 15/16 x 39 15/16 in. (81.1 x 98.8cm) provenance: The Artist. Private Collection, Birmingham, Alabama (acquired directly from the above in 2003). $3,000-5,000


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124 STUART SHILS (american, b. 1954) “TOWARD BALLYCASTLE FROM BALLYKNOCK, SUNSET” Signed and dated 96 bottom right, oil on paper mounted on board. 11 1/4 x 11 3/8 in. (28.5 x 29cm) provenance: Tibor de Nagy, New York, New York. Private Collection, Philadelphia, Pennsylvania. $1,000-1,500

125 STUART SHILS (american, b. 1954) “ON THE WESTERN ROAD” Signed and dated 96 bottom right, signed, titled and dated verso, oil on paper. 10 1/2 x 12 1/2 in. (26.7 x 31.7cm) provenance: Private Collection, Philadelphia, Pennsylvania. $1,000-1,500

126 STUART SHILS (american, b. 1954) STREET SCENE Signed and dated 94 bottom right, oil on paper. 9 7/16 x 12 3/4 in. (23.9 x 32.4cm) provenance: Mangel Gallery, Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania. $1,000-1,500


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127 RICHARD BOSMAN (american, b. 1944) “STUDIO FOR STUDIO SERIES: IN THE DARK” Signed bottom right, acrylic on paper. 29 3/4 x 22 1/4 in. (75.6 x 56.5cm) provenance: Brooke Alexander, New York, New York. Private Collection, Philadelphia, Pennsylvania. exhibited: “Richard Bosman,” Sala Parpallo, Diputació Provincial de València, València, Spain, May June, 1987. $1,500-2,500

128 ELIZABETH MURRAY (american, 1940-2007) “SHOE STRING” 1993, pencil signed and dated 93, numbered 39/70, the full sheet, Universal Limited Art Editions, Ltd, West Islip, New York and with their blindstamp. Three-dimensional color lithographic collage Arches Cover. frame: 40 3/4 x 33 3/4 x 5 in. (103.51 x 85.73 x 12.7cm) note: Shown here as framed. $1,500-2,500


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129 YINGZHAO LIU (chinese, b. 1956) STILL LIFE WITH PEONIES Signed and located ‘U.S.A.’ bottom right, oil on canvas. 32 1/4 x 40 1/4 in. (81.9 x 102.2cm) provenance: Private Collection, La Canada, California (by family descent). note: We are grateful to the Artist for confirming the authenticity of this work. $8,000-12,000 END OF SALE


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Index Albers, J., 72, 73 Andrade, E., 36, 122 Anuszkiewicz, R., 38 Artschwager, R., 52 Barnett, W., 35 Bartlett, J., 121 Bearden, B., 63-65 Benton, T.H, 61 Bosman, R., 127 Botello, A., 43, 45 Bush, J., 71 Cadmus, P., 60 Calder, A., 44 Cézanne, P., 1 Chadwick, L., 39 Chagall, M., 18 Dalí, S., 26, 27 Diebenkorn, R., 88 Dine, J., 82 Domergue, J.G., 47 Domínguez, O., 23 Dubuffet, J., 7, 54 Estes, R., 108, 109

Frankenthaler, H., 101, 111

Liu, Y., 129

Giacometti, A., 19 Goldberg, M., 42 Goodnough, R., 40, 41 Grau Sala, E., 50 Grooms, R., 84, 99 Gwathmey, R., 62

Man Ray, 55, 56 Marca-Relli, C., 33 Matisse, H., 2-5 Matta, R., 25 Miró, J., 21 Motherwell, R., 68-70 Murray, E., 128 Music, Z., 20

Hansen, A., 92, 93 Haring, K., 100 Havard, J., 113-116 Hockney, D., 86, 87, 104 Hodgkin, H., 102 Houser, A., 32

Shils, S., 124-126 Simbari, N., 51 Siqueiros, D., 57 Soto, J.R., 37 Soulages, P., 22 Stella, F., 75, 103 Tarkay, I., 48, 49 Valtat, L., 6 Verkade, K., 46

Noland, K., 110 Warhol, A., 94, 95 Oldenburg, C., 83, 98 Oliveira, N., 31 Osborne, E., 118-120

Indiana, R., 79-81 Kahn, W., 53 Katz, A., 105, 106 Kelly, E., 74 Kelly, L., 28, 29 Kent, R., 59 Kotin, A., 34 Lam, W., 24 Lawrence, J., 66, 67 Lichtenstein, R., 76-78, 107

Picasso, P., 8 -17 Piper, J., 117 Rabin, O., 30 Rauschenberg, R., 89-91 Rivera, D., 58 Rivers, L., 85 Rohrer, W., 112 Saunders, D., 96, 97 Scott, B., 123

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

attributed to

Forename(s) and surname of painter is in our opinion a work by that artist; e.g. Charles Willson Peale. When an artist’s forename(s) is not known, a series of asterisks followed by the surname of the artist, wether preceded by an initial or not, indicates that in our opinion the work is by the artist named. Refers to probably a work by the artist; e.g. Attributed to Charles Willson Peale.

studio of

Refers to a work from the studio of the artist which may or may not have been executed under his direction; e.g. Studio of Charles Willson Peale.

circle of

Circle of..... refers to a work of the period of the artist executed under his immediate influence; e.g. Circle of Charles Willson Peale.

follower of

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

manner of

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

school of

School accompanied by the name of a place or country and a date means that we believe the picture was executed at that time and in that location; e.g. Italian School, 18th Century.

after an artist

After an artist is in our opinion a copy of any date after a work by that artist; e.g. After Charles Willson Peale.

signatures & dates

Signed and/or dated and/or inscribed means that we believe the signature and/or date and/or inscription are from the hand of the artist. Bears a signature and/or a date and/or an inscription means that we believe the artist’s name and/or date and/or inscription have been added by another hand. All references to signature, inscriptions and dates refer to the present state of the work.

measurements

Dimensions are given height before width.


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Malca Amit ‡ Christine Duke 153-66 Rockaway Blvd New York, NY 11434 718.525.6100 | Fax: 718.425.3703 maa.nyc@malca-amit.com A. Mastrocco Jr. Moving & Storage Roseanne Gebler 1060 Louis Drive Warminster, PA 18991 215.491.0346 | Fax: 215.444.9327 mastroccomovers@snip.net The Packaging Store ‡ Alex Long 2333 Welsh Road Lansdale, PA 19446 215.361.6940 | Fax: 215.361.6941 hello@packandshipnow.com UPS Store 3263 ‡ Colin McCarry Philadelphia, PA 19103 auctionpackship@gmail.com 484.879.6678 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.

v4.2016


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

1 Unless otherwise indicated, all Property will be offered by Freeman’s as agent for the Consignor. 2 Freeman’s reserves the right to vary the terms of sale and any such variance shall become part of these Conditions of Sale. 3 Buyer acknowledges that it had the right to make a full inspection of all Property prior to sale to determine the condition, size, repair or restoration of any Property. Therefore, all property is sold “ASIS”. Freeman’s is acting solely as an auction broker, and unless otherwise stated, does not own the Property offered for sale and has made no independent investigation of the Property. Freeman’s makes no warranty of title, merchantability or fitness for a particular purpose, or any other warranty or representation regarding the description, genuineness, attribution, provenance or condition to the Property of any kind or nature with respect to the Property. 4 Freeman’s in its sole and exclusive discretion, reserves the right to withdraw any property, at any time, before the fall of the hammer. 5 Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the printed catalogue. Freeman’s reserves the right to determine any and all matters regarding the order, precedence or appropriate increment of bids or the constitution of lots. 6 The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer has the right to reject any bid, to advance the bidding at his absolute discretion and in the event of any dispute between bidders, the auctioneer shall have the sole and final discretion either to determine the successful bidder or to re- offer and resell the article in dispute. If any dispute arises after sale, the Freeman’s sale record shall be conclusive in all respects. 7 If the auctioneer determines that any opening or later bid or any advance bid is not commensurate with the value of the Property offered, he may reject the same and withdraw the Property from sale.

8 Upon the fall of the hammer, title to any offered lot or article will immediately pass to the highest bidder as determined in the exclusive discretion of the auctioneer, subject to compliance by the buyer with these Conditions of Sale. Buyer thereupon assumes full risk and responsibility of the property sold, agrees to sign any requested confirmation of purchase, and agrees to pay the full price, plus Buyer’s Premium, therefore or such part, upon such terms as Freeman’s may require. 9 No lot may be removed from Freeman’s premises until the buyer has paid in full the purchase price therefor including Buyer’s Premium or has satisfied such terms that Freeman’s, in its sole discretion, shall require. Subject to the foregoing, all Property shall be paid for and removed by the buyer at his/her expense within ten (10) days of sale and, if not so removed, may be sold by Freeman’s, or sent by Freeman’s to a public warehouse, at the sole risk and charge of the buyer(s), and Freeman’s may prohibit the buyer from participating, directly or indirectly, as a bidder or buyer in any future sale or sales. In addition to other remedies available to Freeman’s by law, Freeman’s reserves the right to impose a late charge of 1.5% per month of the total purchase price on any balance remaining ten (10) days after the day of sale. If Property is not removed by the buyer within ten (10) days, a handling charge of 1% of the total purchase price per month from the tenth day after the sale until removal by the buyer shall be payable to Freeman’s by the buyer; Freeman’s shall charge 1.5% of the total purchase price per month for any property not so removed within 60 days after the sale. Freeman’s will not be responsible for any loss, damage, theft, or otherwise responsible for any goods left in Freeman’s possession after ten (10) days. If the foregoing conditions or any applicable provisions of law are not complied with, in addition to other remedies available to Freeman’s and the Consignor (including without limitation the right to hold the buyer(s) liable for the bid price) Freeman’s, at its option, may either cancel the sale, retaining as liquidated damages all payments made by the buyer(s), or resell the property. In such event, the buyer(s) shall remain liable for any deficiency

in the original purchase price and will also be responsible for all costs, including warehousing, the expense of the ultimate sale, and Freeman’s commission at its regular rates together with all related and incidental charges, including legal fees. Payment is a precondition to removal. Payment shall be by cash, certified check or similar bank draft, or any other method approved by Freeman’s. Checks will not be deemed to constitute payment until cleared. Any exceptions must be made upon Freeman’s written approval of credit prior to sale. In addition, a defaulting buyer will be deemed to have granted and assigned to Freeman’s, a continuing security interest of first priority in any property or money of, or owing to such buyer in Freeman’s possession, and Freeman’s may retain and apply such property or money as collateral security for the obligations due to Freeman’s. Freeman’s shall have all of the rights accorded a secured party under the Pennsylvania Uniform Commercial Code. 10 Unless the sale is advertised and announced as “without reserve”, each lot is offered subject to a reserve and Freeman’s may implement such reserves by bidding through its representatives on behalf of the Consignors. In certain instances, the Consignor may pay less than the standard commission rate where Freeman’s or its representative is a successful bidder on behalf of the Consignor. Where the Consignor is indebted to Freeman’s, Freeman’s may have an interest in the offered lots and the proceeds therefrom, other than the broker’s Commissions, and all sales are subject to any such interest. 11 No “buy” bids shall be accepted at any time for any purpose. 12 Any pre-sale bids must be submitted in writing to Freeman’s prior to commencement of the offer of the first lot of any sale. Freeman’s copy of any such bid shall conclusively be deemed to be the sole evidence of same, and while Freeman’s accepts these bids for the convenience of bidders not present at the auction, Freeman’s shall not be responsible for the failure to execute, or, to execute properly, any pre-sale bid.

13 A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, and 12% thereafter. 14 Unless exempted by law from the payment thereof, the buyer will be required to pay any and all federal excise tax and any state and/or local sales taxes, including where deliveries are to be made outside the state where a sale is conducted, which may be subject to a corresponding or compensating tax in another state. 15 Freeman’s may, as a service to buyer, arrange to have purchased property posted and shipped at the buyer’s expense. Freeman’s is not responsible for any acts or omissions in packing or shipping of purchased lots whether or not such carrier is recommended by Freeman’s. Packing and handling of purchased lots is at the responsibility of the buyer and is at the entire risk of the buyer. 16 In no event shall any liability of Freeman’s to the buyer exceed the purchase price actually paid. 17 No claimed modification or amendment of this Agreement on the part of any party shall be deemed extant, enforceable or provable unless it is in writing that has been signed by the parties to this Agreement. No course of dealing and no delay or omission on the part of Freeman’s in exercising any right under this Agreement shall operate as a waiver of such right or any other right and waiver on any one or more occasions shall not be construed as a bar to or waiver of any right or remedy of Freeman’s on any future occasion. 18 These Conditions of Sale and the buyer’s, the Consignor’s and Freeman’s rights under these Conditions of Sale shall be governed by, construed and enforced in accordance with the laws of the Commonwealth of Pennsylvania and Consignor and Buyer agree to the exclusive jurisdiction of the Philadelphia, Pennsylvania Court of Common Pleas and the United States District Court for the Eastern District of Pennsylvania.

v2.2016


bidding & registration form sale no

bidder no

name

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

client no

business name

address city

state

zip code

e-mail

phone (primary)

phone (secondary)

country

fax

resale / tax identification

state

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

lot no

description

maximum bid

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

bank reference bank name

account no

contact name

telephone

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

signed

q id confirmed

(signature required to execute your bids) v2.2016


DIRECTORY Officers

Specialist Departments

Representatives

Samuel M. Freeman II Chairman

20th Century Design Tim Andreadis tandreadis@freemansauction.com

New England Kelly Wright kwright@freemansauction.com

Alasdair Nichol Vice Chairman Margaret D. Freeman Director Emeritus Paul S. Roberts President Hanna Dougher Chief Operating Officer

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

American Art & Pennsylvania Impressionists Alasdair Nichol anichol@freemansauction.com American Furniture, Folk & Decorative Arts Lynda Cain lcain@freemansauction.com Asian Arts Benjamin Farina bfarina@freemansauction.com Books, Maps & Manuscripts Benjamin Truesdale btruesdale@freemansauction.com

Mid-Atlantic Matthew Wilcox mwilcox@freemansauction.com Southeast Colin Clarke cclarke@freemansauction.com West Coast Michael Larsen mlarsen@freemansauction.com Main Line Thomas McCabe tmccabe@freemansauction.com

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

v3.2016


Fine Jewelry auction 05/17/17 Virginia Salem | 267.414.1233 vsalem@freemansauction.com

property of a palm Beach lady: A sapphire and diamond ‘Camellia’ brooch van cleef and arpels, ny $35,000-55,000 A pair of sapphire and diamond ‘Camellia’ earrings van cleef and arpels, ny $25,000-35,000


American Art & Pennsylvania Impressionists auction 06/04/17 Alasdair Nichol | 267.414.1211 anichol@freemansauction.com

DANIEL GARBER (american 1880-1958) “lone Sycamore” Signed ‘daniel garber’ bottom right; also inscribed with artist and title on stretcher verso, oil on canvas 56 x 52 in. (142.2 x 132.1cm) in a Badura frame. $400,000-600,000


European Art & Old Masters Auction 06/12/17 David Weiss | 267.414.1214 dweiss@freemansauction.com

ALBERTO PASINI (italian 1826-1899) AT THE WELL Signed ‘A. Pasini’ bottom right, oil on canvas 10 5/8 x 8 3/4 in. (27 x 22.2cm) provenance: Private Collection, New Jersey. $30,000-50,000

Modern & Contemporary | May 16  

A digital catalogue of Freeman's May 16 Modern & Contemporary auction.

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