Modern & Contemporary Art | 05/02/15

05/03/15

Modern & Contemporary Art 05/03/15

Sale 1516Sunday, May 3, 2015 at 2pm1808 Chestnut Street, Philadelphia PA 19103

Wednesday, April 29 Thursday, April 30 Friday, May 1 Saturday, May 2

Auction

Exhibitions

Catalogue

Modern & Contemporary Art

10:00am-5:00pm 10:00am-5:00pm 10:00am-5:00pm 12:00pm-5:00pm

$35 in the gallery$41 domestic mail$47 international mail

Inside Front Cover: Lot 97 Inside Back Cover: Lot 73

Visit www.freemansauction.com/catalogue-subscriptions or call 267.414.1256 to purchase a catalogue. Complimentary digital catalogues may be viewed online along with color images of every lot in the auction.

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Important Information for Buyers

v2.2015

RegistrationAll 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 PremiumA 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 $100,000 of the hammer price of each lot, 20% on the portion from $100,001 through $2,000,000, and 12% thereafter.

Sales TaxAll 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 DescriptionsAll 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.

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Endangered SpeciesLots 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.

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Modern & Contemporary Art Department

Mary Maguire CarrollDirector | Client [email protected] 267.414.1236

Whitney LongBids [email protected] 267.414.1207

Shannon JeffersDepartment [email protected] 267.414.1231

Alasdair Nichol Vice Chairman [email protected] 267.414.1211

Dunham Townend Associate Specialist [email protected] 267.414.1221

Anne Henry Vice President | Head of [email protected] 267.414.1220

Client Services

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Modern & Contemporary Art

Lot 62

Lots 1-139

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1ACHILLE-ÉMILE OTHON FRIESZ(french, 1879-1949)“LE HAMAC”Signed and dated 1910 bottom left, titled and dated verso, oil oncanvas.12 1/2 x 35 in. (31.6 x 88.9cm)provenance:Galerie Rolly-Michaux, Boston, Massachusetts.Private Collection, Palm Beach, Florida.$6,000-10,000

2CHARLES CAMOIN(french, 1879-1965)FENÊTRE OUVERTE À SAINT-TROPEZSigned bottom left, oil on canvas.Executed circa 1956.16 1/4 x 13 in. (41.3 x 33cm)provenance:Galerie Marcel Bernheim, Paris, France.Private Collection, Palm Beach, Florida.note:This painting will be included in theforthcoming catalogue raisonné currentlybeing prepared by the Archives Camoin. Acertificate of authenticity may be obtainedby the successful bidder.$6,000-10,000

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3ARMAND GUILLAUMIN(french, 1841-1927)“POINTE DE LA BAUMETTE, AGAY”Signed bottom left, oil on canvas.Executed circa 1910.19 3/4 x 24 in. (50.2 x 61cm)provenance:Private Collection, Palm Beach, Florida.note:This painting will be included in the forthcoming catalogue raisonnécurrently being prepared by the Comité Guillaumin. A certificate ofauthenticity may be obtained by the successful bidder.$25,000-40,000

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4PABLO PICASSO(spanish, 1881-1973)“FEMME TORERO, I (DERNIERBAISER?)”1934, bears signature (partialerasure evident beneath), andinscription ‘1ier état’ (a trial proofbefore the intended edition of 50which was never released), with fullmargins, printed by Lacourière,Paris, in 1939. Etching on Montval.image: 19 1/2 x 27 1/4 in.(49.5 x 69.2cm)sheet: 22 5/16 x 30 3/8 in.(56.7 x 77cm)[Bloch, 1329; Baer, 425.C]provenance:The Artist.Buchholz Gallery, New York.Private Collection, Princeton, NewJersey (purchased directly from theabove circa 1940).note:We are grateful to EmmanuelBenador for his assistance inresearching this work.$15,000-25,000

5PABLO PICASSO(spanish, 1881-1973)“LE CIRQUE”(plate 17) from “la suite vollard”1933 (printed in 1939), pencilsigned, from the edition of 260(there were also 50 on largerpaper), with full margins, AmbroiseVollard, Paris, publisher. Drypointetching on Montval watermark“Picasso.”image: 7 13/16 x 11 in.(19.8 x 27.9cm)sheet: 13 1/4 x 17 1/2 in.(33.7 x 44.5cm)[Bloch, 205; Baer, 385]$8,000-12,000


6PABLO PICASSO(spanish, 1881-1973)“LA PIQUE I”1959, pencil signed and numbered2/50 (there was an unrecordednumber of artist’s proofs), with fullmargins, Maeght Éditeur, Paris,publisher. Lithograph on Arches.image: 17 3/8 x 21 7/8 in.(44.1 x 55.6cm)sheet: 19 13/16 x 25 15/16 in.(50.3 x 65.9cm)[Bloch, 898; Mourlot, 324]$5,000-8,000

7PABLO PICASSO(spanish, 1881-1973)“VIEILLARD ASSIS AVEC UNEFEMME ET DANSEUSE”(plate 239) from “series 347”1968, pencil signed and numbered38/50 (there were also 17 artist’sproofs), with wide margins, GalerieLouise Leiris, Paris, publisher.Etching on wove paper.image: 6 3/4 x 10 3/8 in.(17.2 x 26.3cm)sheet: 11 x 14 7/8 in.(27.9 x 37.8cm)[Bloch, 1719; Baer, 1736]$5,000-7,000




8AFTER PABLO PICASSO(spanish, 1881-1973)“IMAGINARY PORTRAITS”one print1969, annotated A and numbered7/250 (from the American editionannotated A; there was also a Frenchedition of 250 annotated F), the fullsheet, Harry N. Abrams, New York,publisher. Offset color lithograph onwove paper.image: 20 1/4 x 10 1/8 in.(51.4 x 25.7cm)sheet: 25 5/8 x 19 3/4 in.(65.1 x 50.2cm)$1,500-2,500

9AFTER PABLO PICASSO(spanish, 1881-1973)“MATERNITÉ”1963, pencil signed and numbered177/200, with full margins, ÉditionsCombat de la Paix, Paris, publisher.Offset lithograph on Arches.image: 32 x 23 1/2 in.(81.3 x 59.7cm)sheet: 35 5/16 x 24 13/16 in.(89.7 x 63cm)$6,000-10,000

10PABLO PICASSO(spanish, 1881-1973)“DANCERS”1956, from the edition of 500, with the ‘MADOURA PLEIN FEU’ and‘EMPREINTE ORIGINALE DE PICASSO’ stamps verso, white earthenware clay,engraving accentuated with oxidized paraffin, glaze bath, ivory and brown.diameter: 7 1/4 in. (18.4cm)[Ramié, 387]$2,000-3,000



11PABLO PICASSO(spanish, 1881-1973)“FACE”1955, from the edition of 500, with‘EDITION PICASSO’ inscribed in inkand the ‘EDITION PICASSO’ and‘MADOURA’ stamps on theunderside, white earthenware clay,decoration in engobes, glazedinterior.height: 12 in. (30.5cm)[Ramié, 288]$5,000-8,000

12PABLO PICASSO(spanish, 1881-1973)“BEARDED MAN’S WIFE”1953, from the edition of 500,inscribed ‘EDITION PICASSO’, withthe ‘MADOURA PLEIN FEU’ and‘EMPREINTE ORIGINALE DEPICASSO’ stamps on the underside,white earthenware clay pitcher,decoration in engobes, knifeengraved under partial brushedglaze.height: 14 1/2 in. (36.8cm)[Ramié, 193]provenance:Private Collection.$18,000-25,000



13PABLO PICASSO(spanish, 1881-1973)“ENGRAVED BOTTLE”1954, numbered 247/300 andinscribed ‘EDITION PICASSO’ and‘MADOURA’ on the underside,white earthenware clay, decorationin engobes and paraffin, boring-rodengraved, white, black and beigeenamel.height: 16 1/2 in. (41.9cm)[Ramié, 249]$10,000-15,000

14PABLO PICASSO(spanish, 1881-1973)“BEARDED MAN”1953, from the edition of 500,inscribed ‘EDITION PICASSO’, withthe ‘MADOURA PLEIN FEU’ and‘EMPREINTE ORIGINALE DEPICASSO’ stamps on the underside,white earthenware clay pitcher withdecoration in engobes, knifeengraved under partial brushedglaze.height: 12 1/2 in. (30.5cm)[Ramié, 217]provenance:Private Collection.$18,000-25,000


15JOAN MIRÓ(spanish, 1893-1983)“TERRES DE GRAND FEU”1956, pencil signed and numbered 160/200(there was also a poster edition with text),with wide margins, Maeght Éditeur, Paris,publisher. Color lithograph on Arches.image: 26 7/8 x 20 1/8 in. (68.3 x 51.1cm)sheet: 29 15/16 x 21 7/8 in. (76 x 55.6cm)[Mourlot, 220]$1,200-1,800

16four printsJOAN MIRÓ(spanish, 1893-1983)“LA LUMIÈRE DE LA LAME”: THREE PRINTS; and“ANTI-PLATON”: ONE PRINT1962, all bear numbering 14/15 (there were also 25on Auvergne and the bound book edition of 125), allwith wide margins, Maeght Éditeur, Paris, publisher.Four etchings (one with color) on Japanese paper.images: 3 1/2 x 5 1/8 in. (8.8 x 13cm) (3); andimage: 5 x 3 1/2 in. (12.6 x 8.8cm) (1)sheets: 13 1/8 x 10 1/4 in. (33.3 x 26cm) (4)[Dupin, 317, 320, 325 and 326](4)$2,000-3,000

17JOAN MIRÓ(spanish, 1893-1983)“TRACÉ SUR L’EAU”1963, pencil signed and numbered 47/100 (therewas also an unsigned book edition of 900), withwide margins and the usual central vertical fold(as issued), Maeght Éditeur, Paris, publisher.Color etching and aquatint on wove paper.image: 8 5/8 x 23 1/4 in. (21.9 x 59cm)sheet: 11 5/16 x 27 3/4 in. (28.7 x 70.5cm)[Dupin, 350; see Cramer books, 82]$1,200-1,800


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18JOAN MIRÓ(spanish, 1893-1983)“LE BAGNARD ET SA CAMPAGNE”1975, signed in white pencil and numbered 27/50 ingraphite pencil, the full sheet, Maeght Éditeur, Paris,publisher. Color etching and aquatint on wove paperwatermark ‘Maeght’. sheet: 47 5/8 x 62 13/16 in. (121 x 159.5cm)[Dupin, 749]$18,000-25,000


19JOAN MIRÓ(spanish, 1893-1983)“LA SORCIÈRE”1969, pencil signed and numbered26/75, the full sheet, MaeghtÉditeur, Paris, publisher. Coloretching, aquatint and carborundumon Arches.sheet: 41 5/8 x 27 3/4 in.(105.7 x 70.5cm)[Dupin, 519]$10,000-15,000




20JOAN MIRÓ(spanish, 1893-1983)“LE CARROSSE D’OISEAUX”1973, pencil signed and numbered24/50, the full sheet, MaeghtÉditeur, Paris, publisher. Coloretching and aquatint on wove paperwatermark ‘Maeght.’sheet: 25 x 26 3/8 in.(63.5 x 67cm)[Dupin, 573]$3,000-5,000

21ANTONI CLAVÉ SANMARTIN(spanish, 1913-2005)“COMPOSITION”1972, pencil signed and numbered18/75, the full sheet. Color etchingand aquatint on wove paper.sheet: 29 7/8 x 22 1/4 in.(75.9 x 56.5cm)$800-1,200

22SALVADOR DALÍ(spanish, 1904-1989)“CYGNE ÉLÉPHANT”Signed and dated 1958 upper right, pen and ink ontissue-thin Japanese paper laid down to wove paper.approx. 7 x 8 5/8 in. (17.8 x 21.9cm) (bottom edgeslightly irregular)provenance:Private Collection, Philadelphia, Pennsylvania.note:This lot will be accompanied by a certificate ofauthenticity issued by Nicolas Descharnes.$3,000-5,000


23SALVADOR DALÍ(spanish, 1904-1989)“CARMEN”11 color lithographs1970, all pencil signed and numbered 65/125(there was also a European edition of 125 inRoman numerals and an edition of 26 onJapanese paper lettered A-Z), all with fullmargins, Shorewood Press, New York,publisher. The incomplete set of 11 lithographson Arches, pen-numbered title justificationpage and text, accompanied by the originallinen-covered portfolio box with metal clasp.images: 21 3/8 x 16 3/4 in. (54.3 x 45.5cm)sheets: 25 5/8 x 19 1/2 in. (65 x 49.5cm)[Michler & Löpsinger, 1305-1306, 1313-1314,1316-1318, 1322, 1324, 1326 and 1328]Nine unframed (two framed)(11) + album$5,000-8,000

24AFTER RENÉ MAGRITTE(belgian, 1898-1967)“LE PRÊTRE MARIÉ”1968, with the artist’s stamped-signature,numbered 73/150 in pencil (there was also anedition of 150 on Japon nacré), with fullmargins, Éditions Georges Visat, Paris,publisher and with the Gravure OriginaleAtelier René Magritte blindstamp. Coloretching on wove paper.image: 3 11/16 x 5 1/2 in. (9.4 x 14cm)sheet: 10 7/8 x 8 11/16 in. (27.6 x 22.1cm)[Kaplan & Baum, 13]$2,000-3,000




25AFTER RENÉ MAGRITTE(belgian, 1898-1967)“LE 16 SEPTEMBRE”1968, with the artist’s stamped-signature, numbered 67/150 in pencil(there was also an edition of 150 on BFKRives), with full margins, ÉditionsGeorges Visat, Paris, publisher and withthe Gravure Originale Atelier RenéMagritte blindstamp. Color etching onJapon nacré.image: 6 x 4 in. (15.2 x 10.2cm)sheet: 10 13/16 x 8 3/4 in.(27.5 x 22.2cm)[Kaplan & Baum, 14]$2,000-3,000

26AFTER RENÉ MAGRITTE(belgian, 1898-1967)“LE LEÇON DE MUSIQUE”1968, with the artist’s stamped-signature, numbered 67/150 in pencil(there was also an edition of 150 onwove paper), with full margins, ÉditionsGeorges Visat, Paris, publisher and withthe Gravure Originale Atelier RenéMagritte blindstamp. Color etching onJapon nacré.image: 6 x 4 in. (15.2 x 10.2cm)sheet: 10 13/16 x 8 3/4 in.(27.5 x 22.2cm)[Kaplan & Baum, 15]$1,500-2,500

27AFTER RENÉ MAGRITTE(belgian, 1898-1967)“HOMME AU CHAPEAU MELON”1969, with the artist’s stamped-signature, numbered 111/150 in pencil (therewas also an edition of 150 on BFK Rives), Éditions Georges Visat, Paris,publisher and with the Gravure Originale Atelier René Magritte blindstamp.Etching on Japon nacré.image: 7 7/8 x 5 7/8 in. (20 x 14.9cm)sheet: 11 x 8 11/16 in. (27.9 x 22.1cm)[Kaplan & Baum, 19]$2,000-3,000


28ROBERT MARC(french, 1943-1993)“COMPOSITION CUBISTE 52”Signed bottom center, mixed mediaon heavy cardboard.Executed in 1988.24 1/2 x 20 1/8 in. (62.3 x 51.1cm)provenance:Barry Friedman Gallery, New York,New York.The Estate of Vera Sharpe Kohn,Princeton, New Jersey.note:This lot will be accompanied by acertificate of authenticity issued byAnnie Fromentin-Sangnier. It willalso be included in the forthcomingcatalogue raisonné.$2,000-3,000

29BÉLA KÁDÁR(hungarian, 1877-1955)UNTITLEDSigned bottom right, watercolor andpencil on paper.Executed in 1925.16 3/8 x 11 13/16 in. (41.6 x 30cm)provenance:Private Collection, Bayern, Germany.Villa Grisebach Auktionen GmbH,“19th and 20th Century Art,” June 4,2005, lot 242.Private Collection, Washington, D.C.(acquired from the above sale). $6,000-10,000




30LÉOPOLD SURVAGE(russian, 1879-1968)“HOMME DANS LA VILLE”Signed bottom right, oil on board.Executed circa 1916.10 1/2 x 13 1/2 in. (26.7 x 34.2cm)provenance:The Artist.Private Collection.Christie’s New York, “Impressionist and Modern Paintings,Drawings and Sculpture (Part II),” November 12, 1992, lot 152.Private Collection, Washington, D.C. (acquired from the abovesale). literature:Daniel Abadie, Survage, les Années Héroiques, Paris: ÉditionsAnthèse, 1993 (illustrated p. 78).note:This lot will be accompanied by a photo-certificate ofauthenticity signed by Marie Bertin and dated 26 August, 1992.$25,000-40,000


31EMIL NOLDE(german, 1867-1956)EULESigned bottom left, watercolor on paper.Executed circa 1923-1924.18 5/8 x 13 11/16 in. (47.3 x 34.8cm)provenance:The Artist.Dr. and Mrs. Frederik Gottlieb, Dresden(gifted from the above in 1948).By family descent.The Mr. and Mrs. Frederik GottliebCollection.note:This lot will be accompanied by acertificate of authenticity issued byProfessor Dr. Manfred Reuther of “The Adaand Emil Nolde Stiftung”.$80,000-120,000

In February of 1944, when Emil Nolde’s Berlin studio was bombedby Allied Forces, many of the artist’s prized prints, paintings anddrawings were amongst the casualties of the concentrated aircampaign launched against the German capital. Meanwhilehowever, buried safely in a cellar in Dresden remained 150 ofNolde’s most valued watercolors. He had entrusted them to hisclose friends, Frederik and Annie Gottlieb, in the hopes ofprotecting them from the Nazi’s attempt to purge all experimentalor “Entartete Kunst” (degenerate art). Shortly after Nolde gavethese watercolors to the Gottliebs, the family was forced to flee toSwitzerland, and yet were able to bring the artist’s watercolors withthem. Sadly, their own extensive art collection and home wasdestroyed during the Dresden bombing campaign. After the war,when Nolde came to reclaim his art from the Gottliebs in their newSwiss home, he gave each member of the family one of these“aquarelles” as a token of his gratitude. Eule (The Owl), chosen bythe present owner’s father, is one of a series of watercolors theartist painted at the Berlin Zoo in 1923/24, well before the war. Ithas remained in their possession since, representing a rich historyof sacrifice, friendship and perseverance.

Watercolor played a significant role in the development of Nolde’sartistic style. His first divergence from conventional painting beganin the 1890s while painting a vivid red sunrise withwatercolors. The medium allowed for expressive color andspontaneity: two qualities that would soon redefine the artist’soeuvre. Nolde would start each watercolor without any preliminarydrawing, allowing the composition to grow out of the color andemerge from his imagination.1 In the words of his wife, “Whenpainting, he is lavish with his watercolors. He is little troubled ifsplotches fall from his brush…I have often marveled at how recklesshe is with the wet brushes, even though he could fear at anymoment one of the threatening drips might fall… he takes thatdanger in his stride and accordingly is free to work in a rush, withno inhibitions…”2

Watercolor was also tied closely to the artist’s survival during hisyears under Nazi rule. In 1939, Nolde was excluded from the StateChamber of Fine Arts. Shortly thereafter, in August of 1941 Germanlaw branded him a degenerate artist, labeling his “expressive

distortions and non-realistic heightening of colors,” as culturallyirresponsible. Along with artists such as Edwin Scharff and KarlSchmidt-Rottluff, Nolde’s existing art was confiscated and bannedfrom view and he was placed under close police surveillance toensure he did not continue to produce. In direct opposition to theselaws, Nolde turned to watercolor as a means of continuing his art insecret, since the smell of oil paints would attract unwantedattention. Although filled with anxiety, the years under Nazi rulewere his most productive, and the medium acted as a catharticoutlet which eased his depression and psychological stress. By theend of the war, Nolde had produced approximately 1,300watercolors. As a result, he is a pivotal figure in the revival of thismedium, which has since been recognized as one of the greattriumphs of 20th century German art.3

1 Haftmann, W., Emil Nolde: Unpainted Pictures, (New York: Praeger, 1965), 18-23. 2 Koja, S., “A Notion Solely of Radiance and Color,” in Emil Nolde: In Radiance and Color,ed. A. Husslein and S. Koja (Munich: Hirmer, 2013), 223.3 Ibid, 225-232.

Emil Nolde


32MARC CHAGALL(french/russian, 1887-1985)“LOVER’S DREAM”1961, pencil signed and numbered65/75 (there were also 10 artist’sproofs), with wide margins, MaeghtÉditeur, Paris, publisher. Colorlithograph on Arches.image: 25 3/4 x 20 in.(65.4 x 50.8cm)sheet: 30 5/16 x 23 in.(77 x 58.4cm)[Mourlot, 301]$4,000-6,000

33MARC CHAGALL(french/russian, 1887-1985)“MATERNITÉ AU CENTAURE”1957, pencil signed and numbered63/90, with wide margins, MaeghtÉditeur, Paris, publisher. Colorlithograph on Arches.image: 9 1/4 x 9 3/8 in.(23.5 x 23.8cm)sheet: 18 7/8 x 15 in.(47.9 x 38.1cm)[Mourlot, 195]$2,000-3,000

34AFTER MARC CHAGALL(french/russian, 1887-1985)“THE BOUQUET”1955, pencil signed and numbered 89/300, with widemargins, Éditions Galerie Maeght Éditeur, Paris, publisherand with their blindstamp. Color lithograph on Arches.image: 25 1/8 x 19 1/2 in. (63.8 x 49.5cm)sheet: 28 15/16 x 21 3/8 in. (73.5 x 54.3cm)[Sorlier, 8]$5,000-8,000




35MARC CHAGALL(french/russian, 1887-1985)“CIRQUE”one print1967, pencil signed and numbered 13/24 (from the additionalsuite, the regular book edition was 250), with wide margins,Tériade, Paris, publisher. Color lithograph on Arches.image: 16 1/2 x 25 5/8 in. (41.8 x 65cm)sheet: 20 1/2 x 29 7/8 in. (52 x 75.8cm)[Mourlot, 506; see Cramer books, 68]$30,000-50,000


36ALBERTO GIACOMETTI(swiss, 1901-1966)“BUSTE I”1960, pencil signed and numbered31/90, with full margins, MaeghtÉditeur, Paris, publisher. Lithographon BFK Rives.image: 14 1/2 x 8 3/4 in.(36.8 x 22.1cm)sheet: 23 13/16 x 17 7/8 in.(58.8 x 45.3cm)[Lust, 30]$4,000-6,000

37SONIA DELAUNAY-TERK(french, 1885-1979)COMPOSITION WITHIN A CIRCLECirca 1970, pencil signed andnumbered 83/125, with widemargins, Jacques Damase, Paris,publisher. Color etching andaquatint on Arches.image: 19 1/2 x 15 5/8 in.(49.5 x 39.7cm)sheet: 25 7/8 x 19 3/4 in.(65.7 x 50.2cm)$1,000-1,500

38GUSTAVE SINGIER(french, 1909-1984)“HAUTE PROVENCE MIGRATION”Signed and dated 60 bottom right,watercolor and collage on heavy wovepaper.17 3/8 x 21 3/4 in. (44.1 x 55.2cm)provenance:Galerie Chalette, New York, New York.Private Collection, Washington, D.C.$1,000-2,000




39ENRICO CAMPAGNOLA(swiss, 1911-1984)“ÎLE DE LA CITÉ”Signed bottom left, oil on canvas.20 x 24 in. (50.8 x 61cm)provenance:Galerie Madsen, Paris, France.Private Collection, Palm Beach,Florida (acquired from the above in1969).$1,000-2,000

40CLAUDE VENARD(french, 1913-1999)UNTITLEDSigned and dated 65 bottom right,dated again 16-1-65 on stretcherverso, oil on canvas.13 3/4 x 27 1/2 in. (34.9 x 69.6cm)provenance:Reese and Marilyn Palley,Philadelphia, Pennsylvania.$2,500-4,000


41HUGHES CLAUDE PISSARRO(french, b. 1935)“LE CASTELET D’ANITAGUILLEMETTE”Signed bottom center, inscribed withartist’s name and titled verso, oil oncanvas.Executed in 2013.20 x 24 in. (50.8 x 61cm)provenance:Merrill Chase, New York, New York.Private Collection.note:This lot will be accompanied by acertificate of authenticity numberedPC/O 18862. It is signed by theartist and dated March 1, 2013.$8,000-12,000




42HUGHES CLAUDE PISSARRO(french, b. 1935)“LE FOINS À LA FAVERIE”Signed bottom right, inscribed withartist’s name, “le petit-fils,” andtitled verso, oil on canvas.Executed circa 1990.18 1/4 x 21 3/4 in. (46.4 x 55.2cm)provenance:Private Collection.$6,000-10,000

43ANDRÉ GISSON(american, 1921-2003)NOTRE DAMESigned bottom right, oil on canvas.24 x 32 in. (61 x 81.3cm)provenance:Private Collection, Palm Beach,Florida.$2,000-3,000


44JEAN CARZOU(french, 1907-2000)“ASIE”Signed and dated 67 bottom left,titled and dated verso, oil on canvas.28 3/4 x 23 1/2 in. (73 x 59.7cm)provenance:Emmanuel David, Paris, France.Private Collection, Palm Beach,Florida (acquired directly from theabove).note:This lot will be accompanied by aphoto-certificate of authenticityissued by Emmanuel David, Paris,France.$5,000-8,000

45JEAN CARZOU(french, 1907-2000)“L’OMBRE” OR “BARBARE”Signed and dated 68 bottom right,inscribed with title on stretcherverso, oil on canvas.24 x 29 in. (61 x 73.7cm)provenance:Emmanuel David, Paris, France.Private Collection, Palm Beach,Florida (acquired directly from theabove).note:This lot will be accompanied by aphoto-certificate of authenticityissued by Emmanuel David, Paris,France..$5,000-8,000




46NICOLA SIMBARI(italian, 1927-2012)“THE RED SHAWL”Signed center right, titled and dated69 verso, oil on canvas.31 3/4 x 37 7/8 in. (80.7 x 96.2cm)provenance:Wally Findlay Gallery, New York,New York.Property of a Private RehobothBeach Collection.$3,000-5,000

47NICOLA SIMBARI(italian, 1927-2012)UNTITLED (SEATED WOMAN)Signed bottom right, oil on canvas.35 1/2 x 35 1/2 in. (90.2 x 90.2cm)Unframedprovenance:The Artist.Private Collection.$5,000-7,000

48NICOLA SIMBARI(italian, 1927-2012)UNTITLED (LADIES IN PURPLE)Oil on canvas.39 1/2 x 47 1/4 in. (100.3 x 120cm)Unframedprovenance:The Artist.Private Collection.$6,000-8,000


49LE PHO(french/vietnamese, 1907-2001)“LA MATERNITÉ”Signed twice bottom right (once inVietnamese), bears title on stretcherverso, oil on canvas.29 x 21 1/2 in. (73.7 x 54.6cm)provenance:Wally Findlay Gallery, Palm Beach,Florida.Private Collection, Palm Beach,Florida.$12,000-18,000




50LE PHO(french/vietnamese, 1907-2001)“LE DESSERT”Signed twice bottom right (once in Vietnamese),titled on stretcher verso, oil on canvas.32 x 39 1/2 in. (81.3 x 99.1cm)provenance:Wally Findlay Gallery, New York, New York.Private Collection, Maryland.Freeman’s, “Fine American & European Paintings,”June 21, 2009, lot 48.Private Collection, New Jersey (acquired from theabove sale).$20,000-30,000


51ZHANG WENXIN(chinese, b. 1928)NUDESigned (in Chinese) and dated 99bottom right, oil on canvas.32 x 17 3/4 in. (81.3 x 45.1cm)provenance:Concetta D. Gallery, Albuquerque,New Mexico.Christopher Ryan Allen, Austin,Texas (acquired directly from theabove in 2004).$6,000-10,000


52ZVI MAIROVICH(israeli, 1911-1973)ABSTRACT WITH TWO FIGURESSigned bottom right, oil on canvas.51 3/4 x 27 in. (131.4 x 68.6cm)provenance:Private Collection, Philadelphia,Pennsylvania.$2,500-4,000



54MASSOUD ARABSHAHI(iranian, b. 1935)UNTITLEDSigned and illegibly dated upperright, bears artist’s name andnumbered inscription on stretcherverso, mixed media on burlap.28 x 39 1/4 in. (71.1 x 99.7cm)provenance:Private Collection.$5,000-8,000

53YAACOV AGAM(israeli, b. 1928)“SHALOM MENORAH”Signed and numbered 13/180 onbase, gold-plated bronze.height: 17 in. (43.2cm)width: 11 3/4 in. (29.8cm)depth: 5 in. (12.7cm)$800-1,200


55MARK TOBEY(american, 1890-1976)UNTITLED (CUBIST SELF-PORTRAIT)Signed and dated 23 bottom right,oil on canvas.24 1/8 x 18 1/8 in. (61.3 x 46cm)provenance:Private Collection, New York.Private Collection (purchased fromthe above circa 1970).note:Achim Moeller of the Mark TobeyProject LLC has confirmed theauthenticity of this work, which islisted in the archive under number186-3-20-15.$10,000-15,000


The present work is a rare examplefrom a crucial transitional period inthe young Mark Tobey’s artisticdevelopment. In 1922, the self-taught portrait artist moved toSeattle, Washington to teach at theCornish School. Studying the worksof major artists like Cezanne, Braqueand Picasso alongside his students,Tobey began to think carefully forthe first time about cubism, newlyconsidering his desire to “smashform, to melt it in a more movingand dynamic way.”1 Thesemeditations would lead the artist toexperience an epiphany he latercalled his “personal discovery ofcubism.” The present work executedin exactly this period (1923) mergesthe familiar portrait genre with thisinnovative artistic style.

According to William Chapin Seitzwho interviewed the artist in depthfor the Museum of Modern Art’s1962-1963 retrospective, thisexploration of cubism was a vitalstage in the artist’s evolutiontowards his mature, most influentialperiod because “the principle ofmoving line was inaugurated.”2 Laterthat year, Tobey began studyingChinese calligraphy, which ignitedan interest in eastern ideas, alongwith universal symbols and textwhich became staples in the artist’svisual language in years ahead.

Tobey’s ultimate mature style of free

flowing line, symbology and layeredcomplexities are what have rootedhis place firmly in the canon of 20th

Century art. His works “areseismographic records of thecontemporary mind and sensibilityas it responds to the delights,dangers, staggering challenges, andunprecedented potentialities of lifein our time.”3

1 Seitz, C.W., Mark Tobey (New York:Museum of Modern Art, 1962), 45.2 Ibid, 47.3 Ibid, 54.



56MARK TOBEY(american, 1890-1976)UNTITLED (SELF-PORTRAIT)Oil on canvas.17 3/4 x 15 in. (45.1 x 38.1cm)provenance:Private Collection, New York.Private Collection (purchased fromthe above circa 1970).note:Achim Moeller of the Mark TobeyProject LLC has confirmed theauthenticity of this work, which islisted in the archive under number185-3-20-15.$1,500-2,500


57JOSEPH FLOCH(american/austrian, 1894-1977)“ROOFTOPS, NEW YORK”Signed bottom right, oil on canvas.Executed in 1952.26 x 32 in. (66 x 81.3cm)provenance:The Estate of Vera Sharpe Kohn, Princeton, New Jersey.literature:Karl Pallauf, Josef Floch. Leben und Werk, 1894-1977, Vienna,2000, no. 463 (illustrated, p. 292).$18,000-25,000

Freeman’s is pleased to offer the following five paintings by Joseph Floch from the distinguished collectionof Vera Sharpe Kohn. Vera and her husband Immanuel built a varied and dynamic art collection, anddisplayed a keen interest in the artists whose work they acquired. But, perhaps no artist in their collectionresonated more personally with the Kohns than Joseph Floch. Immanuel’s father, Hans Kohn, and Floch’solder brother were close friends, having been prisoners in the same Siberian prison camp during WorldWar II. The families remained devoted friends through the years, and the Kohns became significantpatrons of the artist’s work. Ultimately acquiring a number of Floch’s important paintings, the Kohns surelytook delight in both the beauty and strength of the art, and in the profound personal connection itsymbolized.




58JOSEPH FLOCH(american/austrian, 1894-1977)“PENTHOUSE TERRACE”Signed bottom right, oil on canvas.Executed in 1950.36 x 32 in. (91.4 x 81.3cm)provenance:Forum Gallery, New York, New York.The Estate of Vera Sharpe Kohn,Princeton, New Jersey.exhibited:Galerie Drouant - David, Paris, 1954.“Joseph Floch: Paintings andGraphics,” Österreichische Galerie,Vienna, Austria, March 21-May 22,1972, exhibition catalogue no. 20(illustrated).literature:Maximilien Gauthier, Joseph Floch,Paris: Les Gémeaux, 1952 (coverillustration).Tietze-Conrat, Joseph Floch,Muenchen: F. Bruckmann, 1955,figure no. 255.Thomas Yoseloff, Joseph Floch,Cranbury, New Jersey, 1968(illustrated, plate 8).Diane Cochrane, “Joseph Floch:Architect of Space,” in AmericanArtist Magazine, New York, NewYork, August 1974 (reproduced inblack and white, p.31).Karl Pallauf, Josef Floch. Leben undWerk, 1894-1977, Vienna, 2000(illustrated, p. 292).note:This painting is accompanied by acopy of the Thomas Yoseloff book,Josef Floch, Cranbury, New Jersey,1968. It is signed and dedicated,“Für Yetty und Hans in herzlichenFreundschaft, mein liebe, Joseph1968.”$15,000-20,000


59JOSEPH FLOCH(american/austrian, 1894-1977)“STILL LIFE WITH PLATE ANDFLOWER VASE”Signed bottom right, oil on canvas.Executed in 1955.18 x 15 in. (45.7 x 38.1cm)provenance:The Estate of Vera Sharpe Kohn,Princeton, New Jersey.literature:Karl Pallauf, Josef Floch. Leben undWerk, 1894-1977, Vienna, 2000, no.541 (illustrated, p. 324).$8,000-12,000

60two works on paperJOSEPH FLOCH(american/austrian, 1894-1977)ROCKY LANDSCAPESBoth signed bottom right, pastel onpaper (one with second drawingverso).sight: 7 x 10 in. (17.8 x 25.4cm);andsight: 7 x 10 in. (17.8 x 25.4cm)(2)provenance:The Estate of Vera Sharpe Kohn,Princeton, New Jersey.$1,500-2,500




61JOSEPH FLOCH(american/austrian, 1894-1977)“ROCKY LANDSCAPE”Signed bottom right, oil on canvas.Executed circa 1972-1974.30 x 40 in. (76.2 x 101.6cm)provenance:The Estate of Vera Sharpe Kohn, Princeton, NewJersey.literature:Diane Cochrane, “Joseph Floch: Architect of Space,”in American Artist Magazine, New York, New York,August 1974 (reproduced in color, p.28).Karl Pallauf, Josef Floch. Leben und Werk, 1894-1977,Vienna, 2000, no. 979 (illustrated, p. 486).$10,000-15,000


Best known for his furniture designs, stone and bronzesculptures, public parks, and paper lanterns, Isamu Noguchi’sname is well-secured in the narrative of post-war Modern art.However, equally significant, and often overlooked, is hisoeuvre of ceramics. This small, profound and personal opusconsists of approximately 200 pieces created in Japan duringthree intensive periods: five months in 1931; one week in1950; and several months in 1952. Though his involvementwith clay was ultimately brief within the larger context of hiscareer, his impact was far-ranging, influencing acontemporary community and future generation of Japaneseand American artists.

Noguchi was born in Los Angeles in 1904, the illegitimatechild of Japanese poet Yone Noguchi and the American editorof his writings, Leonie Gilmour. Due to anti-Japanesesentiment in the United States, he and his mother moved toJapan in 1906. Though his father was also living there,Noguchi was raised solely by his mother until she sent him toIndiana for schooling at the age of twelve. In hisautobiography, he recalls that his first feeling of joy wascreating the “form of a sea wave, in clay with a blue glaze”during his childhood in Japan.1 This experience set aprecedent for his future work in ceramics. While most of hisartistic endeavors were executed in the United States andinvolved industrial materials such as steel, chrome, andplastics, he would work only with clay in Japan where, in hisown words, “the earth and the sentiment are suited topottery.”2 For Noguchi, ceramics and Japan were inextricablylinked for reasons more profound than the specific materialsavailable. The act of pottery-making was itself a ceremonialexperience. By “embracing the Japanese earth” he wasimmersing himself in his heritage and becoming one with theland of his ancestors.3 His artistic endeavor in Japan was aspiritual, soul-searching journey—a quest for identity. Claywas his medium for this self-discovery.

While in Japan, Noguchi dedicated himself to his homeland’srich culture, craft tradition, natural landscape, and ruralaesthetic. He worked alongside Japanese potters, learnedlocal ceramic techniques, styles and glazes, studied ancientJapanese sculpture and history, befriended writers and artists,and reconnected with relatives. One of his greatest

fascinations was the prehistoric Japanese tomb sculpturescalled Haniwa, whose rustic, eroded qualities resonated in hisown designs. Another aspect of Japanese culture thatinformed his work was the integration of art with life.Describing this national philosophy, Japanese art historianYashiro Yukio writes, “Due to the Japanese peoples’ love ofcrafts, the various crafts do not develop separately from finearts as one sees in other nations; they are part of a total artaestheticizing people’s surrounding in daily life.”4 Noguchieschewed the Western ideal of “art for art’s sake” and soughtinstead to create pottery that would elevate art to a highersocial purpose.

Home was created in 1952 when Noguchi was living with hisJapanese wife in a rural hillside cottage in Kamakura, an arearich in religious and cultural history.5 Inspired by the region,he became preoccupied with philosophical ideas of ZenBuddhism and Japanese literary traditions, whose stories,imagery, and metaphors he translated into clay.

Despite his passion for Japanese culture, Noguchi nevercompletely abandoned the Western world of Modern art. Tothese deeply ingrained complex oriental ideals and oldJapanese aesthetics, he added concepts taken from Modernmovements such as Surrealism, Constructivism, architecturalforms, and stage designs, thereby giving his ceramics aricher, dualistic nature. He consciously saw himself as aninterpreter and his art the shared language between the Eastand West. When Japanese and American tensions were attheir highest around the time of the World War II, he sawthis as his duty and the fulfillment of his dual heritage.Noguchi poignantly stated, “I felt that if I could offer acontinuation of that bridge which is the common language ofart, I will have offered my part to the human outlook thatmust one day find all people together.”6

1 Noguchi, I., A Sculptor’s World (New York: Harper and Row, 1968), 11.2 Noguchi, I., “Shö jijöden” (Brief autobiography), Geijutsu shinchö 3, no. 11 (November1952), 48.3.Noguchi, A Sculptor’s World, 21.4 Yukio, Y., Nihon bijutso no tokushitsu (Special features of Japanese art) (Tokyo: Iwanamishoten, 1943), 184.5 Botnick, D. and Nancy Grove, The Sculpture of Isamu Noguchi, 1924-1979: A Catalogue(New York and London: Garland Publishing, 1980), no. 3496 Sugiyama, M., Banraisha, A Poetic Architecture by Yoshiro Taniguchi and Isamu Noguchi,(Toyko: Kajima Institute Publishing Co. Ltd, 2006), 69.

Isamu Noguchi



62ISAMU NOGUCHI(american, 1904-1988)“HOME”Signed on base (in Japanese withthe Hiragana symbol for the sound“no”), Kasama stoneware.Executed in 1952.height: 6 1/2 in. (16.5cm)width: 11 1/2 in. (29.2cm)depth: 4 in. (10.2cm)provenance:The Artist.Private Collection (gifted from theabove circa 1959-60).By family descent.Private Collection.

exhibited:“Isamu Noguchi,” The Museum ofModern Art, Kamakura, September23-October 19th, 1952.“Noguchi: Sculpture and ScrollDrawings,” The Arts Club ofChicago, November 11- December 7,1955, exhibition catalogue no. 20.literature:Diane Botnick & Nancy Grove, TheSculpture of Isamu Noguchi, 1924-1979: A Catalogue, New York andLondon: Garland Publishing, 1980,no. 349.The Isamu Noguchi CatalogueRaisonné Digital Project, New York:The Isamu Noguchi Foundation andGarden Museum, no. 319.01.$100,000-150,000

G15-20287_Modern_33-64.qxp_Layout 1 4/7/15 2:04 PM Page 43

63MILTON AVERY(american, 1885-1965)“SITTING AND KNEELING”Signed bottom left and inscribed with theartist’s name, titled and dated 1947 verso,ink on paper.13 7/8 x 16 7/8 in. (35.2 x 42.9cm)provenance:Obelisk Gallery, Boston, Massachusetts.Private Collection, Palm Beach, Florida.$8,000-10,000


64AFTER ALEXANDER CALDER(american, 1898-1976)CIRCUS1975, embroidered with the artist’sinitials and date, numbered 59/100,C.A.C. Publications and Bon Art,publishers. Woven maguey fibertapestry with wrought iron hanging rod.85 1/2 x 56 1/2 in. (217.2 x 143.5cm)$4,000-6,000



65ALEXANDER CALDER(american, 1898-1976)“STAR” (PENDANT)Silver wire and rivets.Executed circa 1945.height: 4 in. (10.2cm)width: 3 3/4 in. (9.5cm)depth: 3/8 in. (1cm)provenance:The Artist.Dr. Henry and Savanna Hope, Bloomington, Indiana (giftedfrom the above in 1945).By family descent.Private Collection.note:This work is registered in the archives of the CalderFoundation under identification number A26159.$30,000-50,000



67JULIUS SCHMIDT(american, b. 1923)UNTITLEDSigned and dated 58 center right, cast iron.height: 6 1/2 in. (16.5cm)width: 20 in. (50.8cm)depth: 7 1/2 in. (19.1cm)provenance:Private Collection.$2,000-3,000

68KLAUS IHLENFELD(german, b. 1934)“TOTEM POLE”Incised with the artist’s initials anddated 1967 on the perimeter of thebase, un-oxidized phosphor bronze.height: 80 3/4 in. (205.1cm)width: 13 1/4 in. (33.7cm)base: 12 x 12 in. (30.5 x 30.5cm)provenance:The Artist.Wolfgang & Anita Rapp, Philadelphia,Pennsylvania (acquired directly fromthe above).$5,000-7,000

66KNOX MARTIN(american, b. 1923)“EDGE NO. 2”Signed bottom right, oil and collage oncanvas.26 x 18 in. (66 x 45.7cm)provenance:Fishbach Gallery, New York, New York.Private Collection, Washington, D.C.$2,000-3,000



69RICHARD POUSETTE-DART(american, 1916-1992)UNTITLEDSigned and dated “April 29 ‘77” verso. Graphite onheavy Arches. 22 1/2 x 30 3/8 in. (57.2 x 77.2cm)provenance:Andrew Crispo Gallery, Inc., New York, New York.Private Collection, Seattle, Washington (acquireddirectly from the above in 1978).exhibited:“Richard Pousette-Dart: Drawings,” Andrew CrispoGallery, New York, March 30–April 22, 1978,exhibition catalogue no. 26 (illustrated).$25,000-35,000



70HARRY BERTOIA(american, 1915-1978)UNTITLED (BUSH FORM)Phosphorus bronze with patina.Executed circa 1970.height: 12 in. (30.5cm)width: 11 in. (27.9cm)depth: 11 in. (27.9cm)provenance:The Artist.Wolfgang & Anita Rapp, Philadelphia, Pennsylvania(acquired directly from the above).note:We are grateful to Val Bertoia of the BertoiaStudiofor confirming the authenticity of this work.$12,000-18,000



71HARRY BERTOIA(american, 1915-1978)UNTITLED (SONAMBIENT)Silicon bronze, silver and brass.Executed circa 1965.height: 36 in. (91.4cm)width: 8 in. (20.3cm)depth: 8 in. (20.3cm)provenance:A Philadelphia Estate (acquired circa1970).By family descent.Private Collection.note:We are grateful to Val Bertoia of theBertoiaStudio for confirming theauthenticity of this work.$15,000-25,000



72HENRY MOORE(british, 1898-1986)“SEATED NUDE: HEAD ANDSHOULDERS”Signed and dated 28 bottom right,pen and ink, chalk and wash onirregularly torn paper.approx. 10 3/4 x 13 5/8 in.(27.3 x 34.5cm)provenance:Hokin Gallery, Palm Beach, Florida.Private Collection, Palm Beach,Florida (acquired from the abovecirca 1979-80).literature:Ann Garrould, (ed.), Henry Moore:Complete Drawings 1916-1929, vol. I,London: Lund Humphries, 1984, no.609 (illustrated p. 198).$12,000-18,000



73HENRY MOORE(british, 1898-1986)“SEATED MOTHER AND CHILD”1975, signed ‘Moore’ on back leftcorner of the base and stamp-numbered 5/9, bronze with brownpatina.height: 5 3/4 in. (14.6cm)width: 3 15/16 in. (10cm)depth: 6 1/8 in. (15.6cm)provenance:Hokin Gallery, Palm Beach, Florida.Private Collection, Palm Beach,Florida (acquired from the abovecirca 1979-80).literature:Alan Bowness, (ed.), Henry Moore,Complete Sculpture 1974-80, vol. V,London: Lund Humphries, 1983, no.679 (another cast illustrated pl. 62).$50,000-80,000

The image of the Mother and Childis one of the most enduring themesin Henry Moore’s oeuvre. Within it,he found seemingly boundlessinspiration, returning to the subjecttime and time again over the many decades of his illustriouscareer. Rife with subjective content and formal possibilities, themotif held sway over the artist whoonce described it as “one of my twoor three obsessions, one of myinexhaustible subjects. This mayhave something to do with the factthat the “Madonna and Child” wasso important in the art of the pastand that one loves the old mastersand has learned so much fromthem. But the subject itself is eternaland unending, with so manysculptural possibilities in it – a smallform in relation to a big form, thebig form protecting the small one,and so on. It is such a rich subject,both humanly and compositionally,that I will always go on using it”.1

Though Moore’s work of the 1970swas dominated by large-scalesculpture, the present work isintimate in scope and engenders a

quiet and personal contemplation ofthe theme of maternity. The motherand child are quite literally of thesame body, with the child’s headrising from the chest of the woman.Their heads mirror one another inpose, as both figures lookdownward, silent and peaceful.They exist as an organic whole. But,it is the mother who roots themsolidly to the ground. Her skirtrendered abstractly, as if a smoothstone, she is of the earth. This

reference to nature is importantwithin Moore’s work, as he washeavily influenced by organic formsand often incorporated them into hisfigures.

Iconic in its imagery and intimate inits scale, Seated Mother and Child isan exceptional work by a Modernmaster.

1 Wilkinson, A. (ed.), Henry Moore:Writings and Conversations, (Berkeley:University of California Press, 2002) 213..


74HENRY MOORE(british, 1898-1986)“RED AND BLUE STANDINGFIGURES”1951, pencil signed and numbered15/30, the full sheet, SocietéInternationale d’Art XX siècle, Paris,publisher. Color lithograph on BFKRives.image: 12 x 9 3/8 in.(30.5 x 23.8cm)sheet: 13 1/4 x 9 7/8 in.(33.7 x 23.8cm)[Cramer, 36]$1,000-1,500

75BEN NICHOLSON(british, 1894-1982)“STILL LIFE WITH GREY”1967, pencil signed, dated andnumbered 7/50, with full margins,Ganymed and MarlboroughGraphics, London, publishers.Etching and aquatint on wove paper.image: approx. 13 1/2 x 13 1/2 in.(irregular) (34.3 x 34.3cm)sheet: 18 x 19 3/8 in.(45.7 x 49.2cm)[LaFranca, 83]$2,000-3,000

76MORRIS BLACKBURN(american, 1902-1979)“EMERGENCE” [TWO STATES]1948, one pencil signed, titled andnumbered ‘Imp 1/30’; the otherunsigned, presumably a workingproof, both with wide margins. Twoetchings on wove paper; one withaquatint and one with extensivehand-additions in mixed media.both images: 9 x 5 7/8 in.(22.8 x 14.8cm)(2)$1,500-2,500




77CLAUDE C.F. CLARK(american, 1915-2001)“UNCLE BIM”Signed bottom right, inscribed withtitle and dated 1954 verso, oil onboard.12 x 16 in. (30.5 x 40.6cm)provenance:The Artist.By family descent.Private Collection, Atlanta, Georgia.$1,000-2,000

78HUMBERT HOWARD(american, 1915-1992)FLORAL STILL LIFESigned and dated 74 upper left, oilon masonite.31 3/4 x 21 3/4 in. (80.6 x 55.2cm)provenance:Private Collection, RittenhouseSquare, Philadelphia, Pennsylvania.$1,000-2,000

79HUMBERT HOWARD(american, 1915-1992)STILL LIFE WITH FRUIT ANDLEMONSSigned and dated 73 bottom right,oil on masonite.21 1/4 x 32 in. (54 x 81.3cm)provenance:Private Collection, RittenhouseSquare, Philadelphia, Pennsylvania.$1,000-2,000


80JACOB LAWRENCE(american, 1917-2000)“THE CAPTURE”from “toussaint l’ouverture”1987, pencil signed, titled and dated,numbered 15/120 (there were also30 artist’s proofs), with full margins,Amistad Research Center, NewOrleans, publisher. Color screenprinton wove paper.image: 28 1/16 x 18 1/2 in.(71.2 x 47cm)sheet: 32 1/8 x 22 1/16 in.(81.6 x 56cm)[Nesbitt, L87-2]$2,000-3,000

81ROMARE BEARDEN(american, 1911-1988)“SIREN’S SONG”from “odysseus suite”1979, pencil signed and numbered63/175 (there was also an edition of75 in Roman numerals), with widemargins, HMK Fine Arts, New York,publisher and with their blindstamp.Color screenprint on Arches 88.image: 18 x 24 1/8 in.(45.7 x 61.3cm)sheet: 21 15/16 x 29 7/8 in.(55.7 x 75.9cm)[Gelburd & Rosenberg, 48]$2,000-3,000




82ROMARE BEARDEN(american, 1911-1988)“MARKET DAY: MECKLENBURGCOUNTY”Ink signed bottom left, mixed mediacollage on board.Presumably executed in 1981.9 7/8 x 5 15/16 in. (25 x 15cm)provenance:Acquired directly from the Artist’sstudio in the late 1980’s/early1990’s.Private Collection, Philadelphia,Pennsylvania.note:A frequent subject in his collagesand prints, Mecklenburg County isin North Carolina, where Beardenwas born and later visitedrepeatedly.$10,000-15,000


83SALLY AVERY(american, 1902-2003)“SWIMMING POOL”Signed, titled and dated 1988 verso,oil on canvas.38 x 50 in. (96.5 x 127cm)provenance:The Artist.Private Collection.$6,000-8,000

84SALLY AVERY(american, 1902-2003)“GOLDEN GLOW”Signed and dated 1981 bottom right,signed, titled and dated verso, oil oncanvas.40 x 50 in. (101.6 x 127cm)provenance:The Artist.Private Collection.$6,000-8,000




85MARCH AVERY(american, b. 1932)“RAM’S HEAD”Signed and dated 1977 on theunderside, African wonderstone.height: 8 1/4 in. (21cm)width: 14 1/2 in. (36.8cm)depth: 9 1/2 in. (24.1cm)provenance:The Artist.Private Collection (acquired directlyfrom the above in 1992).$1,500-2,500

86RUFINO TAMAYO(mexican, 1899-1991)“DOS CABEZAS DE MUJER”from “mujeres”1969, pencil signed and numbered132/150 (there was also an edition of 25in Roman numerals), with full margins,Touchstone Publishers, New York,publisher. Color lithograph on BFK Rives.image: 21 x 27 5/8 in. (53.3 x 70.2cm) sheet: 22 5/16 x 30 in. (56.7 x 76.2cm)[Pereda, 106]$1,000-2,000

87RUFINO TAMAYO(mexican, 1899-1991)“DOS CABEZAS”from “mujeres”1969, pencil signed and numberedVI/XXV (there were also 150 inArabic numerals on BFK Rives), withwide margins, TouchstonePublishers, New York. Colorlithograph on Japanese paper.image: 27 11/16 x 21 1/4 in.(70.2 x 54cm)sheet: 30 1/4 x 22 5/16 in.(76.7 x 56.1cm)[Pereda, 107]$1,000-2,000


88RUFINO TAMAYO(mexican, 1899-1991)“DOS FIGURAS”1976, signed in white pencil andnumbered XXXII/XXXV (proof apartfrom the edition of 140 plus 20artist’s proofs in Roman numerals),the full sheet, Transworld Art, NewYork, publisher and with theirblindstamp. Color mixograph onArches.sheet: 22 9/16 x 29 7/8 in.(57.3 x 75.8cm)[Pereda, 220]$1,500-2,500

89RUFINO TAMAYO(mexican, 1899-1991)“SALOME”1983, signed in white pencil andnumbered 194/250 (there were also25 artist’s proofs), the full sheet, TheNew York Metropolitan OperaHouse, New York, publisher andwith their blindstamp and ink stamp.Color lithograph on Somerset.sheet: 30 x 21 13/16 in.(76.2 x 55.4cm)[Pereda, 307]$1,000-2,000




90RUFINO TAMAYO(mexican, 1899-1991)“DOS PERSONAJES ATACADOS POR PERROS”1983, signed in white pencil and numbered48/75 (there were also 12 artist’s proofs inRoman numerals), the full sheet, Taller deGráfica Mexicana, Mexico City, publisher. Colormixograph on handmade paper.sheet: 61 x 98 in. (154.9 x 248.9cm)[Pereda, 311]$12,000-18,000


91BRETT WHITELEY(australian, 1939-1992)“PRELIMINARY SKETCH FOR BONYTHONEXHIBITION 1970 INCLUDING PLATYPUSPRINT AND KOOKABURRA TOTEMS”Pencil signed and titled verso and with red stamp upper right. Watercolor, gouache and collage on three sheets of wove paper against wood panel.overall: 22 1/2 x 56 1/2 in. (57.2 x 143.5cm)provenance:The Bonython Galleries, Sydney, Australia.The Estate of Hilary and Irena Koprowski(acquired from the above in 1972).$8,000-12,000

92FRIEDENSREICHHUNDERTWASSER(austrian, 1928-2000)“GOOD MORNING CITY”1970, ink signed and dated,numbered 6785/10,000, the fullsheet, Ars Viva, Zurich, publisherand with their metallic stamp. Colorscreenprint with metal imprints.image: 32 x 20 3/4 in.(81.3 x 52.7cm)sheet: 33 1/2 x 21 15/16 in.(85 x 55.7cm)[Koschatzky, 41]$1,000-1,500




93FRIEDENSREICHHUNDERTWASSER(austrian, 1928-2000)“ONE OF FIVE SEAMEN”1975, ink signed and dated,numbered 192/250 in white ink(there was also an edition of 87numbered in Roman numerals), thefull sheet, Gruener Janura, AG,Glarus, Switzerland, publisher andwith their metallic stamp. Colorscreenprint with metallic imprintson Chinese yellow brown paper.sheet: 35 7/16 x 23 5/8 in.(90 x 60cm)[Koschatzky, 66]$2,000-3,000

94FRIEDENSREICH HUNDERTWASSER(austrian, 1928-2000)“THE HOUSES ARE HANGINGUNDERNEATH THE MEADOWS”from “look at it on a rainy day”1971/72, mechanically numbered392/3000 (from the edition of 3000,those ending in the number 9 were handsigned and numbered), with wide margins,Ars Viva, Zurich, publisher and with theirmetallic stamp. Color screenprint (varnishover red) with metal imprints.image: 16 1/8 x 23 5/8 in. (41 x 60cm)sheet: 19 3/8 x 26 3/8 in. (49.3 x 68cm)[Koschatzky, 52]$1,500-2,500


95LUCIO FONTANA(argentine/italian, 1899-1968)“CONCETTO SPAZIALE”1968, pencil signed and dated,numbered 144/210, the full sheet,International Graphic Arts Society,New York, publisher. Etching withaquatint printed in black withembossing and punched holes onwove paper.sheet: 18 5/8 x 25 3/8 in.(47.3 x 64.5cm)[Rigo & Ruhé, E-47]$4,000-6,000


96ERNEST TINO TROVA(american,1927-2009)WALKING JACKMAN1985, signed and dated,numbered 7/8, polished stainlesssteel.height: 17 in. (43.2cm)width: 22 1/4 in. (56.5cm)depth: 28 in. (71.1cm)provenance:Private Collection, Palm Beach,Florida.$10,000-15,000



97BRIDGET RILEY(britsh, b. 1931)“UNTITLED (FRAGMENT 5)”1965, signed and dated, from theedition of 75, the full sheet, RobertFraser Gallery, London, publisher.Screenprint on Plexiglas (on reverseof sheet).image: 23 13/16 x 31 1/16 in.(60.5 x 78.9cm)sheet: 25 3/4 x 32 1/8 in.(65.4 x 81.6cm)[Schubert, 5E]

note:Created in 1965, the “Fragments”series consists of images whichRiley first conceived through studiesfor paintings such as ‘UneasyCentre,’ 1963 and ‘Intake,’ 1964. Apioneer of the Op-Art movement,Riley’s works of the 1960’s werealmost exclusively black and white,focusing the viewer’s attention onthe illusion of movement and energyachieved by lines that seeminglysweep, expand and contract. Of herpaintings of this period Rileycommented, “In each of them a

particular situation is stated. Certainelements within that situationremain constant, others precipitatethe destruction of themselves bythemselves. Recurrently, as a resultof the cyclic movement of repose,disturbance and repose, the originalsituation is restored” (the artist,cited in Exhibition Catalogue,London, Tate, Bridget Riley, 2003, p.15). The artist’s use of Plexiglas overpaper in this series accentuates thiseffect, rendering a glossy, hyper-contrasted surface.$18,000-22,000


99ANDY WARHOL(american, 1928-1987)“FLOWERS”1964, ink signed and dated, from theedition of approximately 300, withfull margins, Leo Castelli Gallery,New York, publisher. Offset colorlithograph on wove paper.image: 22 x 22 in. (55.9 x 55.9cm)sheet: 23 1/16 x 23 in.(58.6 x 58.4cm)[Feldman & Schellmann, II.6]$10,000-15,000


98AFTER ANDY WARHOL(american, 1928-1987)“SOUPER DRESS”Circa 1965, from the edition ofunknown size, with ‘The SouperDress’ label at the neck and originalorder form/receipt contained withinbrown paper envelope stamped‘MEDIUM.’ Color screenprint on acotton paper A-line dress.overall 36 x 22 in. (91.4 x 55.9cm)[Not in Feldman & Schellmann]Unframedprovenance:Private Collection, Philadelphia,Pennsylvania.$3,000-5,000



100ANDY WARHOL(american, 1928-1987)“A GOLD BOOK”deluxe bound book containing 20 offset lithographs1957, ink signed by the artist on the colophon, numbered 67 (the editionwas 100), dedicated “to Terry Oakley” on the cover, the full sheets,published by the artist. The complete deluxe set of 19 offset lithographs(five with hand-coloring) and an additional illustration (F. & S., 115) affixedto the cover, title page and colophon (all bound, as issued in gold paper-covered boards) with five loose sheets of colored tissue paper. 14 offsetlithographs and the title page on gold paper, six lithographs on white wovepaper.wove papers: approx. 13 3/4 x 10 3/4 in. (34.8 x 27.3cm)gold lithographic papers: approx. 14 1/4 x 11 1/4 in. (36.2 x 28.5cm)overall: 14 1/2 x 11 5/8 in. (36.8 x 29.5cm)[Feldman & Schellmann, IV.106-124]provenance:The Artist.Ms. Theresa Oakley, Philadelphia, Pennsylvania.By family descent. Private Collection, Philadelphia, Pennsylvania.$10,000-15,000


101ANDY WARHOL(american, 1928-1987)“SPEED SKATER”1983, pencil signed and numberedCXL/CL (there were also 10 artist’sproofs and a deluxe edition of 50),Visconti Art Spectrum, Vienna,Austria, publisher. Color screenprinton wove paper.sheet: 33 5/8 x 24 1/2 in.(85.4 x 62.2cm)[Feldman & Schellmann, II.303]$6,000-8,000

102ROY LICHTENSTEIN(american, 1923-1997)“RED LAMP”1992, pencil signed and dated,numbered 248/250 (there werealso 40 artist’s proofs), with widemargins, co-published by the artistand Leo Castelli Gallery, New York,for the Art Takes Care Benefit. Colorlithograph on heavy wove paper.image: 15 15/16 x 18 1/2 in.(40.5 x 47cm)sheet: 21 3/8 x 24 in.(54.3 x 61cm)[Corlett, 279]$8,000-12,000




103ROY LICHTENSTEIN(american, 1923-1997)“THE RIVER”from “the landscape series”1985, pencil signed and dated, numbered 26/60(there were also 11 artist’s proofs), with full margins,Gemini G.E.L., Los Angeles, publisher and with theirblindstamp. Color lithograph, woodblock andscreenprint on Arches.image: 37 3/4 x 53 in. (95.8 x 134.5cm)sheet: 40 1/4 x 55 1/2 in. (102.2 x 140.9cm)[Corlett, 214; Gemini G.E.L., 1256]note:By the early 1960’s, artists like Jackson Pollock andother lions of Abstract Expressionism were gracing thecover of “LIFE” magazine, having achieved celebrity-level recognition both in the art world and in theaverage American home. Meanwhile, pop artists likeWarhol, Rosenquist and Lichtenstein were pivotingaway from the New York school’s style and seekinginspiration from ubiquitous public imagery, and finding

it in the form of comic strips, advertisements andbillboards. Lichtenstein, however, soon began to seethe style of Abstract Expressionism as itself a themeworthy of commentary, and he began creatingcompositions assembled of carefully constructed‘brushstrokes.’By the 1980’s, when “The River” was printed, Lichtenstein returned to this subject of thebrushstroke, and chose the historically traditional,perhaps clichéd composition of a landscape as hissubject. True to the Pop Art movement’s embrace ofmass production, the present work is a complex,multi-process print that renders further irony to theidea of a spontaneous, paint-laden gesture or bucolicsubject. There is, however, a certain degree of homageas well, to an all-over, color-filled composition whichlike its predecessors, conveys and celebratesmovement, color and a glorious natural landscape.$60,000-80,000


104ROY LICHTENSTEIN(american, 1923-1997)“ILLUSTRATION FOR ‘DE DENVER AUMONTANA, DÉPART 27 MAI 1972’...(I)” from “la nouvelle chute de l’amérique”1992, pencil signed with initials and numbered35/80 (there were also 42 on Japon nacré),with full margins, Les Éditions du Solstice, Paris,publisher. Color etching and aquatint on wovepaper.image: 11 x 14 7/8 in. (27.9 x 37.8cm)sheet: 13 15/16 x 18 15/16 in. (35.4 x 48.1cm)[Corlett, 275]$5,000-8,000

105AFTER ROY LICHTENSTEIN(american, 1923-1997)UNTITLEDeight plates (seven abstract designs, one floral design)All stamp-signed verso, hand-numberedvariously from the editions of 3000,Rosenthal, Germany, publisher, each inRosenthal fitted grey cardboard box (fiveprinted with Lichtenstein design and name).Eight ceramic plates in colors.each diameter: 12 1/4 in. (31cm)[Not in Corlett](8)$2,500-4,000

106KEITH HARING(american, 1958-1990)“KUTZTOWN CONNECTION”1984, pencil signed and numbered 115verso, with wide margins, The New ArtsProgram, New York, publisher and withtheir blindstamp and also with a letter onthe reverse of the mount signed by thedirector of the New Arts Program statingthis work is no. 115 of the signed edition ofthe poster. Offset lithographic poster onsmooth wove paper.image: 21 1/2 x 18 1/2 in. (54.6 x 47cm)sheet: 33 1/16 x 20 in. (84 x 50.8cm)$1,500-2,000




107ELLSWORTH KELLY(american, b. 1923)“GRAPE LEAVES I”from “leaves series”1973-74, pencil signed andnumbered 49/50 (there were also15 artist’s proofs), with full margins,Gemini G.E.L., Ltd., Los Angeles,publisher and with their blindstamp.Lithograph on Arches.image: 25 1/2 x 30 1/2 in.(64.8 x 77.5cm)sheet: 31 5/8 x 47 1/4 in.(80.3 x 120cm)[Gemini, 530; Axsom, 94]$5,000-7,000

108DAVID HOCKNEY(british, b. 1937)“A PICTURE OF OURSELVES”from “the blue guitar”1976-77, pencil signed andnumbered 186/200 (there werealso 35 proofs), with full margins,Petersburg Press, London, publisher.Color etching and aquatint onInveresk mould-made paper.image: 13 1/2 x 16 1/2 in.(34.2 x 41.8cm)[Scottish Arts Council, 210; Tokyo,189]$2,000-3,000



109JASPER JOHNS(american, b. 1930)“USUYUKI”1980, pencil signed and numbered37/57 (there were also 11 artist’sproofs), with full margins, UniversalLimited Art Editions, West Islip,New York, publisher and with theirblindstamp. Color lithograph on BFKRives.image: 46 x 14 1/4 in.(106.8 x 36.2cm)sheet: 52 3/4 x 20 3/8 in.(134 x 51.8cm)[Universal Limited Art Editions, 211]$20,000-30,000



110JASPER JOHNS(american, b. 1930)“TARGET WITH FOUR FACES”1968, signed and dated in red felt tippen, numbered 36/100 in pencil(there were also 10 artist’s proofs),with wide margins, published by theartist to benefit Merce Cunninghamand Dance Company. Colorscreenprint on BFK Rives.image: 36 1/8 x 26 5/16 in.(91.8 x 66.8cm)sheet: 41 3/16 x 29 9/16 in.(104.6 x 75.1cm)[Universal Limited Art Editions, 55;Fields, 92]$15,000-25,000



111HELEN FRANKENTHALER(american, 1928-2011)“SPOLETO”1972, pencil signed, titled and dated,numbered 80/100 (there were also10 artist’s proofs), the full sheet,Spoleto Festival Foundation, NewYork, publisher. Color screenprint onwove paper.sheet: 39 1/2 x 29 1/2 in.(100.3 x 74.9cm)[Harrison, 37]Unframed$3,000-5,000

112HELEN FRANKENTHALER(american, 1928-2011)“SOLAR IMP”2001, pencil signed and numbered96/126 (there were also 18 artist’sproofs), the full sheet, LincolnCenter List Program, New York,publisher. Color screenprint on wovepaper.sheet: 39 5/16 x 29 7/8 in.(99.9 x 75.6cm)$4,000-6,000



113HELEN FRANKENTHALER(american, 1928-2011)“AERIE”2009, stamp signed with the artist’sinitials and numbered 106/128 inpencil (there were also 9 artist’sproofs), the full sheet, LincolnCenter List Program, New York,publisher. Color screenprint on wovepaper.sheet: 29 1/2 x 39 in.(74.9 x 99.1cm)$4,000-6,000

114ROBERT MOTHERWELL(american, 1915-1991)THE BASQUE SUITEone print1971, pencil signed with initials and numbered64/150, (there was also an unrecorded numberof artist’s proofs), with wide margins,Marlborough Graphics, Inc., New York,publisher and with the artist’s blindstamp. Colorscreenprint on J.B. Green.image: 21 7/8 x 17 1/4 in. (55.6 x 43.8cm)sheet: 40 1/2 x 28 1/8 in. (102.9 x 71.4cm)[Engberg & Banach, 79; Belknap, 50]$1,200-1,800

115ROBERT MOTHERWELL(american, 1915-1991)“VIVO (SEPIA)”1986, pencil signed and numbered4/13 (there were also 3 artist’s proofs),the full sheet, Tyler Graphics, Ltd.,Mount Kisco, New York, publisher andwith their blindstamp. Color lithographon wove paper.sheet: 35 x 43 1/2 in. (88.9 x 110.5cm)[Engberg & Banach, 365; Belknap, 334]$1,500-2,500



116WILLEM DE KOONING(american/dutch, 1904-1997)“QUATRE LITHOGRAPHIES”one print1986, pencil signed and dated,numbered XXI/L (there were also100 in Arabic numerals), the fullsheet, Éditions de la Différence,Paris, publisher. Color lithograph onwove paper.sheet: approx. 28 5/16 x 24 3/16 in.(71.9 x 61.4cm)$4,000-6,000

117LOUISE NEVELSON(american, 1899-1988)“MORNING HAZE”1978, pencil signed and dated onone sheet, numbered 46/125 on theother (there were also 25 artist’sproofs), the full sheets, PaceEditions, Inc., New York, publisher.Cast paper relief on two sheets.overall: 33 3/4 x 45 3/8 in.(85.7 x 115.3cm)$3,000-5,000



118TOM WESSELMANN(american, 1931-2004)“JEANNIE’S BACKYARD,EASTHAMPTON”1989, pencil signed and numbered88/100 (there were also 12 artist’sproofs), with wide margins,International Images, Inc., Putney,Vermont, publisher. Screenprint onheavy wove paper.image: 52 3/4 x 63 in.(134 x 160cm)sheet (sight): 58 1/2 x 72 in.(148.6 x 182.9cm)$2,000-3,000

119TOM WESSELMANN(american, 1931-2004)“SEASCAPE TIT WITH SCRIBBLES”1991, pencil signed and numbered64/100 (one of 68 remaining prints,32 from the original edition of 100were destroyed, there were also 12artist’s proofs), the full sheet,International Images, Inc., Putney,Vermont, publisher and with theirblindstamp. Screenprint on wovepaper.image: 24 3/8 x 18 1/2 in.(61.9 x 47cm)sheet: 34 11/16 x 30 3/16 in.(88.1 x 76.7cm)$2,000-3,000



120TOM WESSELMANN(american, 1931-2004)“1960 JUDY WITH BLUE BLANKET”1998, pencil signed and numbered HC9/10 (an hors-commerce proof, the editionwas 75), with full margins, Cooper SquarePrints, New York, publisher. Colorscreenprint on heavy wove paper.image: 23 1/4 x 34 in. (59.1 x 86.4cm)sheet: 30 x 40 in. (76.2 x 101.6cm)$5,000-8,000

121TOM WESSELMANN(american, 1931-2004)“FAST SKETCH RED STOCKING NUDE”1991, pencil signed and numbered 64/100(there were also 12 artist’s proofs), with fullmargins, International Images, Inc., Putney,Vermont, publisher and with theirblindstamp. Color screenprint on museumboard.image: 18 1/4 x 32 in. (46.4 x 81.3cm)sheet: 26 1/16 x 38 5/8 in. (66.2 x 98.1cm)$4,000-6,000

122TOM WESSELMANN(american, 1931-2004)“LULU”from “metropolitan museum of art”1982, pencil signed and dated, numbered194/250 (there were also 25 artist’s proofs),with wide margins, Metropolitan Opera andCircle Gallery, New York, co-publishers andwith their blindstamps and ink stamps verso.Color lithograph on wove paper. image: 16 3/4 x 25 1/8 in. (42.4 x 63.7cm)sheet: 22 3/16 x 30 1/8 in. (56.4 x 76.5cm)$3,000-5,000



123TOM WESSELMANN(american, 1931-2004)“NUDE WITH BOUQUET AND STOCKINGS”1991, pencil signed and numbered 24/100 (there were also12 artist’s proofs), the full sheet, International Images, Inc.,Putney, Vermont, publisher and with their blindstamp.Color screenprint on museum board.image: 28 1/2 x 69 1/2 in. (72.4 x 176.5cm)sheet: 44 5/8 x 81 7/8 in. (113.3 x 208cm)$15,000-20,000


124KAREL APPEL(dutch, 1921-2006)“CLOSE TOGETHER”1977, signed in paint bottom left andnumbered 5/50 on the underside (there werealso 7 artist’s proofs), Editions Press, SanFrancisco, publisher and with their certificate(signed by the artist) affixed to the underside.Hand-painted wood on revolving base.height: 31 in. (78.7cm)width: 29 1/2 in. (74.9cm)depth: 13 1/4 in. (33.7cm)$6,000-8,000


125LARRY RIVERS(american, 1923-2002)“ASTAIRE IN THE AIR”1990, pencil signed and numbered 3/65, with narrow margins, AmericanImage Editions, New York, publisher. Color screenprint with hand-coloringon museum board.image: 53 x 39 1/2 in. (134.5 x 100.2cm)sheet: 55 x 40 1/4 in. (139.6 x 102.2cm)Unframed$2,000-3,000

126THÉO TOBIASSE(french, 1927-2012)“LE VIOL DE TAMAR”Signed, titled and dated 87 center right, mixed media and collage on paper.40 1/4 x 27 5/8 in. (102.2 x 70.2cm)provenance:The Artist.Nahan Galleries, New York, New York.Wolfgang & Anita Rapp, Philadelphia, Pennsylvania (acquired directly fromthe above in 1988).$4,000-6,000



129ROBERT INDIANA(american, b. 1928)“GREEN PEACE LOVE”1994, pencil signed, titled and dated,numbered 150/170, with wide margins. Colorscreenprint on wove paper.image: 24 x 24 in. (61 x 61cm)sheet: 32 x 29 1/2 in. (81.3 x 74.9cm)$2,000-3,000

128JUDY CHICAGO(american, b. 1939)“NINE FRAGMENTS FROM THE DELTA OF VENUS”the complete set of 9 prints2004, all pencil signed and dated, each numbered 23/45 and sequentiallylettered A-I (there were also 3 artist’s proofs for all), all with full margins,Flanders Graphics, Minneapolis, publisher. The prints loose (as issued), withprinted and folded title/colophon within embossed red velvet heart-shapedcandy box by Jill Jevne (as issued). The complete set of nine color aquatintswith letterpress text on Somerset Satin.each image: 7 1/2 x 5 1/2 in. (19.1 x 14cm)each sheet: 10 1/4 x 7 5/8 in. (26 x 19.4cm)box: 18 x 17 1/2 x 1 1/2 in. (45.7 x 44.5 x 3.8cm)$800-1,200

127DALE CHIHULY(american, b. 1941)“FIREFLY MACCHIA EDITION”Etched with signature, inscribed PP and dated 08 on the underside, blownglass.height: 7 1/4 in. (18.4cm)width: 7 in. (17.8cm)depth: 7 in. (17.8cm)provenance:Hawk Galleries, Columbus, Ohio.Private Collection (acquired directly from the above in 2008).$4,000-6,000



130ALEX KATZ(american, b. 1927)“GRAY DAY”1992, pencil signed and numbered59/75 (there were also 12 artist’sproofs), presumably with theartist’s inkstamp verso, the fullsheet, Chalk & Vermillion Fine Arts,Greenwich, Connecticut, publisher.Color screenprint on Arches.sheet: 22 x 72 in. (55.9 x 183.9cm)$18,000-25,000

131ALEX KATZ(american, b. 1927)“BLUE UMBRELLA”1979, pencil signed and numberedAP 13/25 (an artist’s proof, theedition was 120), the full sheet, GHJGraphics, Inc., New York, publisher.Color lithograph on wove paper.sheet: 20 1/4 x 30 3/16 in.(51.4 x 76.7cm)[Maravall, 121]$5,000-7,000



132ALEX KATZ(american, b. 1927)“ANNE”1990, signed and numbered 39/75(there were also 12 artist’s proofs),Styria Studio, Inc., New York,publisher. Color screenprint onlaser-cut aluminum.height: 68 in. (172.7cm)width: 24 1/4 in. (61.6cm)[Schröder, 240]$10,000-15,000



133DAMIEN HIRST(british, b. 1965)“FUSCHIA PINK LIME GREENSKULL”from “the dead series”2009, pencil signed and numbered11/15 (from the edition of 15, 3 werereserved for portfolio sets), the fullsheet, Paul Stolper and OtherCriteria, London, publisher. Foil blockprint in colors on Arches 88.image: 16 1/4 x 11 3/4 in.(41.3 x 29.8cm)sheet: 28 3/8 x 20 3/16 in.(72.1 x 51.3cm)$8,000-12,000

134DAMIEN HIRST(british, b. 1965)“IMPERIAL PURPLE ORIENTALGOLD SKULL”from “the dead series”2009, pencil signed and numbered11/15 (from the edition of 15, 3 werereserved for portfolio sets), the fullsheet, Paul Stolper and OtherCriteria, London, publisher. Foil blockprint in colors on wove paper.image: 16 1/4 x 11 3/4 in.(41.3 x 29.8cm)sheet: 28 3/8 x 20 3/16 in.(72.1 x 51.3cm)$8,000-12,000



135DAMIEN HIRST(british, b. 1965)“CARVACROL”2008, pencil signed and numbered69/150, Other Criteria, London,publisher and with their blindstamp.Color screenprint with bronze glitteron wove paper.image: 30 1/8 x 22 1/8 in.(76.5 x 56.2cm)sheet: 38 1/8 x 30 in.(96.8 x 76.2cm)$10,000-15,000



137WILLIAM GEORGE BECKMAN(american, b. 1942)“STUDY FOR ARTIST ANDMODEL” OR “MAN-WOMAN I”Signed with initials and dated 86bottom right, charcoal on paper.107 1/4 x 74 1/4 in.(271.8 x 188.6cm)provenance:Allan Frumkin Gallery, New York,New York. Private Collection, Missouri(acquired directly from the above).exhibited:“William Beckman Drawings, 1967-2013,” The Columbus Museum,Columbus, Georgia, May 18-September 7, 2014; Arkansas ArtsCenter, Little Rock, Arkansas,October 24, 2014-February 1, 2015,exhibition catalogue no. 65(illustrated).$2,000-3,000

136GEORGE CONDO(american, b. 1957)UNTITLEDthree prints1989, all pencil signed andnumbered 35/55 (there were also6 artist’s proofs), all with widemargins, Pace Editions, Inc., NewYork, publisher. Three etchings onHahnemühle.images: 9 1/4 x 7 in.(23.5 x 17.8cm)various sheet sizes.Unframed(3)$2,000-3,000



138DAVID KAPP(american, 1953)“COMING OUT OF THE SUBWAY”Signed, titled, dated 1998-9 andinscribed ‘N.Y.C.’ verso, oil on linen.59 7/8 x 59 7/8 in.(152.1 x 152.1cm)provenance:David Beitzel Gallery, New York,New York.The Estate of Vera Sharpe Kohn,Princeton, New Jersey.exhibited:“David Kapp,” David Beitzel Gallery,New York, New York, September 17-October 17, 1998, exhibitioncatalogue (illustrated).$800-1,200

139BEN KAMAHIRA(american, b. 1925)BREAKFAST WITH THE BULLETINSigned bottom right, oil on canvas.15 1/2 x 24 1/2 in. (39.4 x 62.2cm)provenance:Private Collection, Atlanta, Georgia.$1,200-1,800

END OF SALE



Glossaryany 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

studio of

circle of

follower of

manner of

school of

after an artist

signatures & dates

measurements

Forename(s) and surname of painter is in ouropinion a work by that artist; e.g. Charles WillsonPeale. When an artist’s forename(s) is not known, aseries of asterisks followed by the surname of theartist, wether preceded by an initial or not, indicatesthat 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.

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

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

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

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

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

After an artist is in our opinion a copy of any dateafter a work by that artist; e.g. After Charles WillsonPeale.

Signed and/or dated and/or inscribed means thatwe believe the signature and/or date and/orinscription are from the hand of the artist.Bears a signature and/or a date and/or aninscription means that we believe the artist’s nameand/or date and/or inscription have been added byanother hand.

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

Dimensions are given height before width.

Index

Agam, Y., 53Appel, K., 124Arabshahi, M., 54Avery, March, 85Avery, Milton, 63Avery, S., 83, 84

Bearden, R., 81, 82Beckman, W.G., 137Bertoia, H., 70, 71Blackburn, M., 76

Calder, A., 64, 65Camoin, C., 2Campagnola, E., 39Carzou, J., 44, 45Chagall, M., 32-35Chicago, J., 128Chihuly, D., 127Clark, C., 77Condo, G., 136

Dalí, S., 22, 23De Kooning, W., 116Delaunay-Terk, S., 37

Fontana, L., 95Floch, J., 57-61Frankenthaler, H., 111-113Friesz, A.O., 1

Giacometti, A., 36Gisson, A., 43Guillaumin, A., 3

Haring, K., 106Hirst, D., 133-135Hockney, D., 108Howard, H., 78, 79Hundertwasser, F., 92-94

Ihlenfeld, K., 68Indiana, R., 129

Johns, J., 109, 110

Kádár, B., 29Kamahira, B., 139Kapp, D., 138Katz, A., 130-132Kelly, E., 107

Lawrence, J., 80Le Pho, 49, 50Lichtenstein, R., 102-105

Magritte, R., 24-27Mairovich, Z., 52Marc, R., 28Martin, K., 66Miró, J., 15-20Moore, H., 72-74Motherwell, R., 114, 115

Nevelson, L., 117Nicholson, B., 75Noguchi, I., 62Nolde, E., 31

Picasso, P., 4-14 Pissarro, H.C., 41, 42Pousette-Dart, R., 69

Riley, B., 97Rivers, L., 125

Sanmartin (Clavé), A., 21

Schmidt, J., 67Simbari, N., 46-48Singier, G., 38Survage, L., 30

Tamayo, R., 86-90Tobey, M., 55, 56Tobiasse, T.,126Trova, E.T., 96

Venard, C., 40

Warhol, A., 98-101Wenxin, Z., 51Wesselmann, T., 118-123Whiteley, B., 91


www.freemansauction.com

Jewelry & Watches Auction 05/04/15

Michael Larsen | 267.414.1227 [email protected]

Virginia Salem | 267.414.1233 [email protected]

An impressive 11.46 carat diamond and platinum ring$250,000-350,000

Visit our website or call 267.414.1256 to purchase a catalogue.

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Alasdair Nichol | [email protected]

American Art & Pennsylvania Impressionists

Auction 06/07/15

Catalogues | [email protected]


NEWELL CONVERS WYETH “I REAPED IT MY WAY…”Signed ‘NC Wyeth’ bottom right, oil on canvas, 40 1/2 x 30 in. $100,000-150,000

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To ensure the safety of your property Freeman’s requests removal within 10 business days of the sale date. Collection hours are Monday–Friday, 9:30am–4:30pm. For larger items, please email [email protected] to schedule a loading dock appointment. For purchase release to persons not listed on your contract or invoice, 3rd party authorization is required. Please mail or fax, 215.599.2240, a signed letter stating receipt/item(s) or sale/lot(s) and name of third party collecting property.

Freeman’s does not handle packing or shipping. The shippers listed have worked with Freeman’s clients in the past and will be happy to provide you with quotes for the packing and shipping of your property.

Art In TransitNick Clarke314 North 12th StreetPhiladelphia, PA [email protected]

Atelier Art Services ‡

Lynn Smith1330 North 30th StreetPhiladelphia, PA 19144215.235.0402 | Fax: [email protected]

Aiston Fine Art Service ‡

Mark AistonP.O. Box 3434Grand Central StationNew York, NY 10163212.715.0629 | Fax: [email protected]

Cadogan Tate Fine Art ‡

Stacey FergusonCadogan House41-20 39th StreetSunnyside, NY 11104718.706.7999 | Fax: [email protected]

Mr. C’sCharles Cohen1615 North 10th StreetPhiladelphia, PA [email protected]

Malca Amit ‡

Christine Duke153-66 Rockaway BlvdNew York, NY 11434718.525.6100 | Fax: [email protected]

A. Mastrocco Jr. Moving & StorageRoseanne Gebler1060 Louis DriveWarminster, PA 18991215.491.0346 | Fax: [email protected]

The Packaging Store ‡

Duane Freed2333 Welsh RoadLansdale, PA 19446215.361.6940 | Fax: [email protected]

UPS Store ‡

John Bohach51 North 3rd StreetPhiladelphia, PA 19106215.629.4990 | Fax: [email protected]

U.S. Art ‡

Jessica Pierce37-11 48th AvenueLong Island City, NY 11101800.472.5784 | Fax:[email protected]

VG Packaging LLC ‡

Gordon G Murray II12 Salem RoadSchwenksville, PA 19473484.552.8741 | Fax: [email protected]

FURNITURE & LARGE ITEMSFor larger pieces when delivery time is not a rush, we suggest:www.plyconvanlines.comwww.nwdelivery.comwww.freightquote.com

‡ Shippers that can fulfill international deliveries

Purchase removal, shipping and offsite storage information

v1.2015

Alasdair Nichol | [email protected]

American Art & Pennsylvania Impressionists

Auction 06/07/15

Catalogues | [email protected]


NEWELL CONVERS WYETH “I REAPED IT MY WAY…”Signed ‘NC Wyeth’ bottom right, oil on canvas, 40 1/2 x 30 in. $100,000-150,000

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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.

13A 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’sPremium shall be: 25% on the first $100,000 of the hammer price of each lot, 20% on the portion from $100,001 through $2,000,000, and 12% thereafter.

14Unless 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.

15Freeman’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.

16In 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.

18These 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.

in the original purchase price andwill also be responsible for all costs,including warehousing, the expenseof the ultimate sale, and Freeman’scommission at its regular ratestogether with all related andincidental charges, including legalfees. Payment is a precondition toremoval. Payment shall be by cash,certified check or similar bank draft,or any other method approved byFreeman’s. Checks will not bedeemed to constitute payment untilcleared. Any exceptions must bemade upon Freeman’s writtenapproval of credit prior to sale. Inaddition, a defaulting buyer will bedeemed to have granted andassigned to Freeman’s, a continuingsecurity interest of first priority inany property or money of, or owingto such buyer in Freeman’spossession, and Freeman’s mayretain and apply such property ormoney as collateral security for theobligations due to Freeman’s.Freeman’s shall have all of the rightsaccorded a secured party under thePennsylvania Uniform CommercialCode.

10Unless 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.

11No “buy” bids shall be accepted at any time for any purpose.

12Any 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.

8Upon 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.

9No lot may be removed fromFreeman’s premises until the buyerhas paid in full the purchase pricetherefor including Buyer’s Premiumor has satisfied such terms thatFreeman’s, in its sole discretion,shall require. Subject to theforegoing, all Property shall be paidfor and removed by the buyer athis/her expense within ten (10)days of sale and, if not so removed,may be sold by Freeman’s, or sentby Freeman’s to a public warehouse,at the sole risk and charge of thebuyer(s), and Freeman’s mayprohibit the buyer fromparticipating, directly or indirectly,as a bidder or buyer in any futuresale or sales. In addition to otherremedies available to Freeman’s bylaw, Freeman’s reserves the right toimpose a late charge of 1.5% permonth of the total purchase price onany balance remaining ten (10) daysafter the day of sale. If Property isnot removed by the buyer within ten(10) days, a handling charge of 1%of the total purchase price permonth from the tenth day after thesale until removal by the buyer shallbe payable to Freeman’s by thebuyer; Freeman’s shall charge 1.5%of the total purchase price permonth for any property not soremoved within 60 days after thesale. Freeman’s will not beresponsible for any loss, damage,theft, or otherwise responsible forany goods left in Freeman’spossession after ten (10) days. If theforegoing conditions or anyapplicable provisions of law are notcomplied with, in addition to otherremedies available to Freeman’s andthe Consignor (including withoutlimitation the right to hold thebuyer(s) liable for the bid price)Freeman’s, at its option, may eithercancel the sale, retaining asliquidated damages all paymentsmade by the buyer(s), or resell theproperty. In such event, the buyer(s)shall remain liable for any deficiency

1Unless otherwise indicated, all Property will be offered by Freeman’s as agent for the Consignor.

2Freeman’s reserves the right to vary the terms of sale and any such variance shall become part of these Conditions of Sale.

3Buyer acknowledges that it had the right to make a full inspection of all Property prior to sale to determine the condition, size, repair or restoration of any Property. Therefore, all property is sold “AS-IS”. Freeman’s is acting solely as an auction broker, and unless otherwise stated, does not own the Property offered for sale and has made no independent investigation of the Property. Freeman’s makes no warranty of title, merchantability or fitness for a particular purpose, or any other warranty or representation regarding the description, genuineness, attribution, provenance or condition to the Property of any kind or nature with respect to the Property.

4Freeman’s in its sole and exclusive discretion, reserves the right to withdraw any property, at any time, before the fall of the hammer.

5Unless 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.

6The 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.

7If 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.

Terms & Conditions

v1.2015

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v1.2015

bidding & registration form

sale no bidder no client no

name business name

address

city state country

zip code e-mail

phone (primary) phone (secondary) 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 $100,000 of hammer price of each lot, 20% on

the hammer from $100,001 through $2,000,000, and 12% thereafter. All lots must be paid for and removed within 10 days.

lot no description maximum bid

please adhereto the bidding increments

$10until $200 is reached

$25until $500 is reached

$50until $1,000 is reached




$1,000until $30,000 is reached



over $100,000auctioneer’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)

q please send me information to subscribe to freeman’s catalogs

1808 Chestnut Street, Philadelphia PA 19103 Tel-215.563.9275 Fax-215.599.2240 e-mail: [email protected]


G15-20287_Modern_1-6,87-92.indd 91 4/6/15 7:22 PM

Directory

v2.2015

Officers

Samuel M. Freeman IIChairman

Alasdair NicholVice Chairman

Margaret D. FreemanVice Chairman

Paul S. RobertsPresident

Hanna DougherChief Operating Officer

Departments

AppraisalsAmy Parenti [email protected]

Business DevelopmentThomas B. McCabe IV [email protected]

Client ServicesMary Maguire Carroll [email protected]

FinanceMark Beckerman [email protected]

Marketing & CommunicationTara Theune Davis [email protected]

Museum ServicesThomas B. McCabe IV [email protected]

PhotographyElizabeth Field [email protected]

Press & MediaMelissa Geller [email protected]

Shipping & ReceivingBethany Mobbs [email protected]

Trust & EstatesSamuel T. Freeman III [email protected]

Specialist Departments

American Art & Pennsylvania ImpressionistsAlasdair Nichol [email protected]

American Furniture, Folk & Decorative ArtsLynda Cain [email protected]

American SilverSamuel M. Freeman II [email protected]

Asian ArtsRichard A. Cervantes [email protected]

Books, Manuscripts, Maps & EphemeraDavid Bloom [email protected]

English & Continental Furniture & Decorative ArtsDavid Walker [email protected]

European Art & Old MastersDavid M. Weiss [email protected]

Jewelry & WatchesMichael Larsen, GIA GG [email protected] Virginia B. Salem, GIA [email protected]

Modern & Contemporary ArtAnne Henry [email protected]

Musical Instruments Frederick Oster [email protected]

Oriental Rugs & TapestriesRichard A. Cervantes [email protected]

Photographs & PhotobooksChristiana Scavuzzo [email protected]

PrintsAnne Henry [email protected]

Silver & Objets de VertuDavid Walker [email protected]

Representatives

New EnglandKelly Wright [email protected]

Mid-AtlanticMatthew Wilcox [email protected]

Southeast Colin Clarke [email protected]

West CoastMichael Larsen [email protected]

Main LineGabrielle Aruta [email protected]

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www.freemansauction.com1808 Chestnut Street Philadelphia Pennsylvania 19103Tel-215.563.9275 | Fax-215.563.8236

Modern & Contemporary Art | 05/02/15

Documents

Transcript of Modern & Contemporary Art | 05/02/15