modern & contemporary works of art 5/16/10

Sunday, May 16th at 2pm

Sale 1368

Exhibitions:Thursday, May 13th andFriday, May 14th10am-6pm

Saturday, May 15thNoon-5pm

Inquiries:anne henry ext 3049Vice-PresidentDirect Tel: [email protected]

aimee pflieger ext 3015Associate SpecialistDirect Tel: [email protected]

Bidding:bids department

natalie difeliciantonio ext 3008

Direct Tel: 267.414.1208

Fax: 215.599.2240

[email protected]

Catalogue $35

Inside Front Cover: Lot 73 (detail)Inside Back Cover: Lot 102 (detail)

Modern & ContemporaryWorks of Art 05/16/10

Samuel T Freeman & Co.1808 Chestnut Street

Philadelphia, PA 19103

Telephone: 215.563.9275

Fax: 215.563.8236

www.freemansauction.com

126 Garrett Street

Charlottesville, VA 22902

Telephone: 434.296.4096

Fax: 434.296.4011

www.freemanssouth.com

Printing by Brilliant Studio

Exton, Pennsylvania

Color images of every lot are

available from May 3rd at

www.freemansauction.com

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free≤an’smodern & contemporary works of art

05/16/10

Important Informationfor Buyers

Registration

Buyer’s Premium

Sales Tax

Catalogue Descriptions

Bidding

Payment

Removal of Purchases

Shipping and Packing

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 requireproof of identification and residence and may require a credit card and/or abank reference. By registering for the sale, the buyer acknowledges that heor she has read, understood and accepted Freeman’s Terms and Conditionsof Sale.

A Buyer’s Premium will be added to the successful bid price and is payableby the buyer as part of the total purchase price. The Buyer’s Premium shallbe: 25% on the first $20,000 of the hammer price of each lot, 20% on theportion from $20,001 through $500,000, and 12% on the portion of thehammer price exceeding $500,000.

All items in the catalogue are subject to the 7% Pennsylvania andPhiladelphia sales tax. Dealers purchasing for resale must register their taxnumbers on current PA forms. Forms should be submitted to our ClientServices office on the second floor.

All item descriptions, dimensions and estimates are provided for guidanceonly. It is the buyer’s responsibility to inspect all lots prior to bidding toensure that the condition is to their satisfaction. If potential buyers areunable to inspect lots in person, our specialists will be happy to preparedetailed Condition Reports on individual lots as quickly as possible. Theseare for guidance only, and all lots will be sold “as is” as per our Terms andConditions of Sale.

At the sale Registered bidders will be assigned a bidder number and given apaddle for use at the sale. Once the first bid has been placed, theauctioneer asks for higher bids in increments determined by the auctioneer.To place your bid, simply raise your paddle until the auctioneeracknowledges you. The auctioneer will not mistake a random gesture for abid.By phone A limited number of telephone lines are available for bidding byphone through a Freeman’s representative. Phone lines must be reserved inadvance. Requests must be submitted no later than 24 hours prior to thescheduled start of the sale.In writing Bid forms are available in the sale room and at the back of thecatalogue. These should be submitted in person, by mail or by fax no laterthan one hour prior to the scheduled start of the sale. The auctioneer willbid on your behalf up to the limit indicated, but is not responsible for errorsor failure to execute bids.On the internet A fully-illustrated catalogue is available on-line atwww.freemansauction.com. Registered bidders may leave absentee bidsthrough the web site and will receive email confirmation of their bid.Freeman’s is not responsible for errors or failure to execute bids.

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.

Deliveries will not be made during the time of the sale unless otherwiseindicated by the auctioneer. All items must be paid for and removed bySeptember 25th at 3pm. Purchases not so removed may be turned over to alicensed warehouse at the expense and risk of the purchaser.

Responsibility for packing, shipping and insurance shall be exclusively thatof the purchaser. Upon request, Freeman’s will provide the purchaser withnames of professional packers and shippers known to us.


Modern &ContemporaryWorks of Art

SUNDAY MAY 16TH AT 2PM


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1 09-8135/10CLAUDE MONET AND GEORGE THORNLEY(french 1840-1926)“TEMPETE A BELLE-ILE”Ca. 1908, signed in pencil by both Monet and Thornley, from the edition of25, the full sheet; Belfond, Paris, printer (and with his blindstamp). Colorlithograph on off-white India appliqué on cream wove paper.image: 7 7/8 x 9 9/16 in. (20 x 24.3cm)sheet: 15 11/16 x 22 5/16 in. (39.8 x 56.7cm)provenance:Property from the Ryan Collection, Naples, Florida.$8,000-10,000


3 09-8135/11JAMES ABBOTT MCNEILL WHISTLER(american 1834-1903)“THE SMITHS YARD”1895, from the edition of 3,000, with margins; published in The Studio,15 February 1897 (and with ‘The Studio London’ blindstamp).Lithograph on wove paper.image: 7 1/2 x 6 1/4 in. (19.1 x 15.9cm)sheet: 11 1/4 x 8 in. (28.6 x 20.4cm)[Spink, Stratis and Tedeschi 124].provenance:Property from the Ryan Collection, Naples, Florida.$1,000-1,500

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2 09-8135/12JAMES ABBOTT MCNEILL WHISTLER(american 1834-1903)“SKETCHING, NO. 1”from “passages from modern english poets”1861, Kennedy’s fourth (final) state, with margins.Etching on wove paper.image: 5 x 6 1/2 in. (12.8 x 16.6cm)sheet: 8 x 10 1/2 in. (20.3 x 26.8cm)[Kennedy 86].provenance:Property from the Ryan Collection, Naples, Florida.$1,000-1,500


4 09-8135/4MARY CASSATT(american 1844-1926)“SARA WEARING HER BONNETAND COAT”Ca. 1904, with full margins.Lithograph on MBM l’Ingresd’Arches (and with ‘Made in France’watermark).image: 19 3/4 x 16 3/8 in.(50.2 x 41.6cm)sheet: 24 3/4 x 18 7/8 in.(62.8 x 47.9cm)[See Breeskin 198].provenance:Property from the Ryan Collection,Naples, Florida$2,000-3,000

5 09-8135/13EDOUARD MANET(french 1832-1883)“JEANNE”1882, the fifth (final) state, withmargins; Gazette des Beaux-Arts,Paris, France, publisher. Etching onimitation Japon.image: 6 1/8 x 4 1/4 in.(15.6 x 36.2cm)sheet: 10 15/16 x 7 1/2 in.(27.8 x 19.1cm)[Guerin; Harris 66].provenance:Property from the Ryan Collection,Naples, Florida$3,000-5,000

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6 09-8135/1PIERRE AUGUSTE RENOIR(french 1841-1919)“LE CHAPEAU EPINGLE, 2ePLANCHE”1898, from the edition ofapproximately 100, with margins;Vollard, Paris, publisher. Lithographon MBM laid wove paper.image: 24 x 19 in. (60.9 x 48.3cm)sheet: 30 1/4 x 22 5/8 in.(76.8 x 57.5cm)[Delteil/Stella 30].provenance:Property from the Ryan Collection,Naples, Florida.$12,000-18,000

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7 09-8135/2PIERRE AUGUSTE RENOIR(french 1841-1919)“MATERNITE, GRANDE PLANCHE”Ca. 1912, from the edition of 200,with margins; Auguste Clot, Paris,publisher. Lithograph on Arches laidpaper.image: 20 x 19 in. (50.8 x 48.3cm)sheet: 25 x 19 1/2 in.(63.5 x 49.5cm)[Delteil/Stella 50].provenance:Property from the Ryan Collection,Naples, Florida.$10,000-15,000

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8 09-8135/8JULES CHERET(french 1836-1932)“PALAIS DE GLACE”1894, with margins; CourrierFrançais supplement, January 28,1894, Chaix, Paris, printer. Colorlithographic poster.image: 20 x 12 3/4 in.(50.8 x 32.4cm)sheet: 21 5/8 x 14 1/2 in.(55 x 36.8cm)[Broido 365].provenance:Property from the Ryan Collection,Naples, Florida.$1,500-2,500

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9 09-8135/7JULES CHERET(french 1836-1932)“PALAIS DE GLACE”1896, with margins; CourrierFrançais supplement, March 1, 1896,Chaix, Paris, printer. Colorlithographic poster.image: 21 5/8 x 13 in. (55 x 33cm)sheet: 22 3/8 x 15 3/8 in.(56.8 x 39.1cm)[Broido 371].provenance:Property from the Ryan Collection,Naples, Florida.$1,500-2,500


10 09-8135/6HENRI DE TOULOUSE-LAUTREC(french 1864-1901)“LES VIEUX MESSIEURS”1894, with the artist’s redmonogram stamp (Lugt 1338),Wittrock’s second edition printedbefore 1910, one of approximately15 on this paper from this edition;Editions Pellet, Paris, publisher.Brown color lithograph on Japon.image: 9 1/2 x 7 in. (24.2 x 17.8cm)sheet: 19 1/8 x 13 1/8 in.(48.6 x 33.3cm)[Delteil 75, Adhemar 80, Wittrock57, Adriani 91].provenance:Property from the Ryan Collection,Naples, Florida.$7,000-10,000

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11 10-1157/5PABLO PICASSO(spanish 1881-1973)“LES PAUVES”from “la suite des saltimbanques”1904-5, from the edition of 250after steelfacing (there were also 27or 29 impressions on Japon), withwide margins; A. Vollard, Paris,publisher. Etching on van Gelder.image: 9 1/4 x 7 in. (23.6 x 17.8cm)sheet: 20 x 12 7/8 in.(50.8 x 32.7cm)[Bloch 3; Baer 4].provenance:Private Collection, Pennsylvania.$4,000-6,000

12 10-1155/6PABLO PICASSO(spanish 1881-1973)“L’ECUYERE”1960, from the edition of 1000.Lithograph on wove paper, withmargins.image: 19 1/2 x 25 3/8 in.(49.5 x 64.5cm)sheet: 21 5/8 x 27 1/8 in.(54.9 x 68.9cm)[Bloch 999; Mourlot 999].provenance:Private Collection, Pennsylvania.$1,000-1,500

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13 10-1157/3PABLO PICASSO(spanish 1881-1973)“FEMME COUCHEE ET HOMME A LA GUITARE”1959, signed in pencil, inscribed ‘e.a.’ (proof apart from the numbered editionof 50), with wide margins; Galerie L. Leiris, Paris, publisher. Color linoleumcut on Arches.image: 20 3/4 x 25 1/4 in. (52.8 x 64.2cm)sheet: 24 3/8 x 29 9/16 in. (62 x 75.2cm)[Bloch 916; Baer 1234II B].provenance:Private Collection, Pennsylvania.$10,000-15,000

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14 10-1157/7(AFTER) PABLO PICASSO(spanish 1881-1973)“NUE AU FAUBOURG ST. HONORE”1970, signed in red crayon upper right, numbered 62/100, the full sheet.Color offset lithograph on wove paper.sight: 61 x 45.5 in. (155 x 115.6cm)[Czwiklitzer 357].provenance:Private Collection, Pennsylvania.$10,000-15,000

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15 10-1155/3PABLO PICASSO(spanish 1881-1973)“WOMAN LAMP”1955, inscribed ‘Edition Picasso’ and numbered 147/200 in black, also withthe ‘Madoura Plein Feu’ and ‘Edition Picasso’ stamps under base, turnedwhite earthenware vase painted in blue and grege.height: 13 7/8 in. (35.2cm)[Ramié 299].$2,500-4,000

16 10-1155/2PABLO PICASSO(spanish 1881-1973)“PROW FIGURE”1952, inscribed ‘Edition Picasso’ and numbered 163/300 in black, also withthe ‘Madoura Plein Feu’ and ‘Edition Picasso’ stamps under base, turnedwhite earthenware vase painted in blue, black and beige.height: 13 7/8 in. (35.3cm)[Ramié 136].$1,500-2,500

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17 10-1157/8(AFTER) GEORGES BRAQUE(french 1882-1963)“THEIERE ET FRUITS”Circa 1950, signed in pencil,numbered 9/150, with full margins;Guy Spitzer, Paris, publisher (andwith his ink-stamp including editionnumber ‘9’ in blue ink verso). Colorcollotype on Arches.image: 13 3/4 x 25 3/4 in.(35 x 65.4cm)sheet: 23 3/4 x 35 3/8 in.(60.4 x 89.8cm)provenance:Private Collection, Pennsylvania.$1,000-1,500


18 10-1280/1the complete set of 14 lithographsJOAN MIRO(spanish 1893-1983)“LA MELODIE ACIDE”1979-80, each print numbered98/1500 in pencil, all with fullmargins, loose (as issued); GalerieLucie Weill, Paris, publisher. Withpencil numbered title/justificationpage and original natural colored,textured paper folder and whitecardboard folder/box as issued. Theset of 14 color lithographs onArches.images: 8 x 6 1/4 in.(20.4 x 15.9cm)sheets: 13 x 9 13/16 in.(33 x 24.9cm)[Maeght 1212-1225; see Cramer248].$1,500-2,500

19 10-1370/3JOAN MIRO(spanish 1893-1983)“LES AGUILLES DEL PASTOR”1972, signed in pencil, annotated‘H.C.’ (proof apart from the editionof 75), the full sheet; EdicionesPolígrafa, Barcelona, Spain,publisher. Lithograph in colors onwove paper.23 x 32 5/6 in. (58.4 x 82.9cm)[Cramer 882].Unframed$2,000-3,000

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20 09-1336/118JOAN MIRO(spanish 1893-1983)“THE ILLITERATE-GREEN ANDVIOLET”1969, signed in white pencil,numbered 10/75, the full sheet;Maeght Editeur, Paris, publisher.Color lithograph on wove paper.image/sheet: 33 3/8 x 24 in.(84.8 x 61cm)[Mourlot 618].provenance:A Pennsylvania Corporation.$2,000-3,000


21 09-8135/14SALVADOR DALI(spanish 1904-1989)“PORTRAIT OF MARGUERITE”plate 1 from “faust (walpurgisnight)”1968/9, signed in pencil and withthe artist’s embossed signature,numbered 57/145 (there were alsoFrench and German editions of 293on Arches), with wide margins.Drypoint etching with hand-coloringin blue and gold on Japan .image: 12 1/2 x 9 1/2 in.(31.8 x 24.1cm)sheet: 15 1/8 x 11 3/8 in.(38.4 x 28.9cm)[Michler/Löpsinger 298].$8,000-10,000

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24 10-1158/3MARC CHAGALL(russian/french 1887-1985)“THE ANNOINTING OF SAUL”plate 60 from “bible series”1931-9, signed ‘M.Ch’ in pencil, numbered 67/100(there was also an edition of 275 without hand-coloring), with wide margins; Tériade, Paris,publisher. Etching with hand-coloring on wovepaper.image: 12 3/8 x 8 5/8 in. (31.4 x 21.9cm)sheet: 21 1/4 x 15 in. (53.8 x 38.2cm)[see Cramer books 30].provenance:Private Collection, Scottsdale, Arizona$5,000-7,000

22 09-2221/2a suite of four printsSALVADOR DALI(spanish 1904-1989)“PLAYING CARDS”1972, all signed in pencil, all numbered 95/150(the total edition was 325), with full margins;Reese Palley, publisher. Four color lithographs onArches.images: 14 1/8 x 9 3/8 in. (36.5 x 23.8cm)sheets: 25 3/4 x 19 7/8 in. (65.5 x 50.5cm)Including: “Jack,” “Queen,” “King,” and “Ace” ofclubs.[Michler & Löpsinger 1288, 1292, 1296 and1300].Unframed(4).provenance:Reese Palley, publisher.Mr. and Mrs. Gilbert Palley.Gifted to the United Way of SoutheasternPennsylvania, 1991.$3,000-5,000

23 09-2221/5a suite of four printsSALVADOR DALI(spanish 1904-1989)“PLAYING CARDS”1972, all signed in pencil, all numbered 83/150(the total edition was 325), with full margins;Reese Palley, publisher. Four color lithographs onArches.images: 14 1/8 x 9 3/8 in. (36.5 x 23.8cm)sheets: 25 3/4 x 19 7/8 in. (65.5 x 50.5cm)Including: “Jack,” “Queen,” “King,” and “Ace” ofdiamonds.[Michler & Löpsinger 1290, 1294, 1298 and1302].Unframed(4).provenance:Reese Palley, publisher.Mr. and Mrs. Gilbert Palley.Gifted to the United Way of SoutheasternPennsylvania, 1991.$3,000-5,000

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25 09-8126/2MARC CHAGALL(russian/french 1887-1985)“BESIDE THE FOUNTAIN”from “daphnis and chloe”1960, signed in pencil, numbered22/60 (there was also an unsignededition of 250), with full margins;Tériade, Paris, publisher. Colorlithograph on Arches.image: 16 3/4 x 12 3/4 in.(42.6 x 32.4cm)sheet: 21 1/4 x 15 in.(53.8 x 38.2cm)[Mourlot 313; see Cramer books46].$12,000-18,000

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28 10-1107/21FRITZ GLARNER(swiss 1899-1972)“COLOR DRAWING FOR RELATIONAL PAINTING”1963, signed and dated in pencil, numbered 28/35 (there were also 2artist’s proofs), with full margins; Universal Limited Art Editions, West Islip,New York, publisher (and with their blindstamps). Color lithograph on wovepaper.image: 20 1/2 x 12 in. (52.1 x 30.4cm)sheet: 31 1/2 x 22 3/4 in. (80 x 57.8cm)[Sparks 9].provenance:Eleanor Rigelhaupt Gallery, Boston, Massachusetts.$500-700

26 10-1314/3a suite of three gouache pochoirsSONIA DELAUNAY-TERK(french 1885-1979)“SONIA DELAUNAY: SES PEINTURES, SES OBJETS, SES TISSUSSIMULTANES, SES MODES”Ca. 1924-5, all stamp-signed, each stamp numbered with respectiveplate number ‘4,’ ‘10,’ and ‘19,’ all with full margins; Libraire des ArtsDécoratifs, Paris, publisher. Three color gouache pochoirs on wovepaper.images (approx.): 10 1/2 x 16 in. (26.7 x 40.6cm)sheets (approx.): 15 x 22 1/8 in. (38.1 x 56.2cm)Unframed(3).provenance:Private Collection, Philadelphia, Pennsylvania.note:Accompanied by title page, preface page with text by André Lhôte andpoems by Blaise Cendrars, Desha Delteil, Tristan Tzara and PhilippeSoupault.$1,200-1,800

27 09-4167/5SONIA DELAUNAY-TERK(french 1885-1979)UNTITLED1968, signed and dated in pencil, numbered 87/100, with wide margins.Color lithograph on Arches.image: 16 3/4 x 14 1/2 in. (42.5 x 36.8cm)sheet: 26 x 19 3/4 in. (66.1 x 50.2cm)provenance:Estate of Muriel Wolgin, Philadelphia, Pennsylvania.$1,000-1,500

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29 10-1323/2VALERIUS DE SAEDELEER(belgian 1867-1942)LANDSCAPESigned ‘Valerius de Saedeleer’ bottom left, oil on canvas16 x 20 in. (40.6 x 50.8cm)provenance:Purchased by Dorothy S. Whipple directly from the artist ca. 1930, Belgium.By family descent.The Estate of Babette S. Whipple, Belmont, Massachusetts..$10,000-15,000

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30 10-1039/22MOISHE (MOISSEY) KOGAN(russian 1879-1943)FEMALE NUDEBronze with brown patina on blackBelgian marble baseheight: 7 in. (17.8cm)$2,000-3,000

31 10-1039/21MOISHE (MOISSEY) KOGAN(russian 1879-1943)THREE FEMALE NUDESBronze relief plaque, brown and lightbrown patinas6 7/8 x 4 7/8 in. (17.5 x 12.4cm)$2,000-3,000

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32 10-1368/1WASSILY KANDINSKY(russian 1866-1944)“LITHOGRAPHIE BLAU”1922, signed in pencil, proof apartfrom the numbered edition of 100,with wide margins; Verlag KarlNierendorf, Berlin, publisher. Colorlithograph on wove paper.image: 8 1/2 x 5 5/8 in.(21.6 x 14.3cm)sheet: 12 5/8 x 10 3/4 in.(32.1 x 27.3cm)[Roethel 163].provenance:The Artist.Private Collection, Europe.By family descent.Private Collection, Philadelphia,Pennsylvania.$7,000-10,000

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33 10-8038/1MAX ERNST(german 1891 - 1976)“GAI”1957 (after plaster executed in1935), signed and numbered “MaxErnst 1/9’ (the total edition was 13cast between 1957-9), and inscribedwith foundry mark, ‘Susse FondeurParis’ along base, bronze with blackpatinaheight: 14 3/4 in. (37.5cm)provenance:Private Collection, New York, NewYork.By family descent.Private Collection.literature:Spies, Werner, Sigrid Metkin andGünter Metken, “Max Ernst Œuvre-Katalog, Werke 1929-1938,”Cologne, 1979, no. 2160.1, p. 309,another cast illustrated.note:Dr. Jürgen Pech has confirmed theauthenticity of this work which isaccompanied by his certificate ofauthenticity dated April 15, 2010.$40,000-60,000

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34 10-1367/2complete set of eight color lithographs(AFTER) RENE MAGRITTE(belgian 1898-1967)“MAGRITTE III”2003, each signed with initials by Charly Merscovici of the Magritte Estateand numbered 243/300 in pencil (there were also 45 suites hors-commerce), each signed again in pencil on the reverse; Philippe Moreno withauthorization by ADAGP representing the Magritte Estate, publisher (withblindstamps). The complete set of eight color lithographs on Arches paper,title/table of contents and numbered justification page. Enclosed withinoriginal gold-embossed red portfolio.sheets: 30 13/16 x 22 3/4 in. (78.2 x 58cm)Including:”La bataille de l’argonne,” 1964; “Le château des pyrénées,” 1959;“La voix du sang,” 1959; “Le bouquet tout fait,” 1957; “La belle captive,” 1931;“Golconde,” 1953; “Le printemps,” 1965; “La page blanche,” 1967.$4,000-6,000

35 10-1367/1complete set of eight color lithographs(AFTER) RENE MAGRITTE(belgian 1898-1967)“MAGRITTE I”2003, each signed with initials by Charly Merscovici of the Magritte Estateand numbered 243/300 in pencil (there were also 45 suites hors-commerce),each signed again in pencil on the reverse; Philippe Moreno withauthorization by ADAGP representing the Magritte Estate, publisher (withblindstamps). The complete set of eight color lithographs on BFK Rivespaper, title/table of contents and numbered justification page. Enclosedwithin original gold-embossed red portfolio.sheets: 22 5/8 x 30 13/16 in. (57.5 x 78.3cm)Including:”L’empire des lumières,” 1961; “La grande famille,” 1963; “La grandstyle,” 1951; La folie des grandeurs II,” 1948, “Le blanc-seing,” 1965;.”Lagrande guerre,” 1964, “La cascade,” 1961; “Le beau monde,” 1962.$4,000-6,000

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36 09-4167/26(AFTER) RENE MAGRITTE(belgian 1898-1967)“LA FOLIE ALMAYER”from “le lien de paille”1968, with the artist’s stamp-signature, numbered 40/150 in pencil (thetotal edition was 300), with wide margins, with the ‘Atelier René Magritte’stamp; G. Visat, Paris, publisher. Color etching and aquatint on Japon.image: 7 3/4 x 5 7/8 in. (19.7 x 15cm)sheet: 10 7/8 x 8 5/8 in. (27.7 x 21.9cm)[Kaplan & Baum 18].provenance:Estate of Muriel Wolgin, Philadelphia, Pennsylvania.$1,500-2,500

37 09-4167/23(AFTER) RENE MAGRITTE(belgian 1898-1967)“L’OEIL”from “le lien de paille”1968, with the artist’s stamp-signature, numbered 40/150 in pencil (thetotal edition was 300), with wide margins, with the ‘Atelier René Magritte’stamp; G. Visat, Paris, publisher. Color etching and aquatint on Japon.image: 6 7/8 x 5 3/4 in. (17.5 x 14.7cm)sheet: 10 7/8 x 8 5/8 in. (27.6 x 21.9cm)[Kaplan & Baum 17].provenance:Estate of Muriel Wolgin, Philadelphia, Pennsylvania.$1,500-2,500

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38 09-4167/21(AFTER) RENE MAGRITTE(belgian 1898-1967)“L’ART DE VIVRE”from “le lien de paille”1968, with the artist’s stamp-signature, numbered 40/150 in pencil (thetotal edition was 300), with wide margins, with the ‘Atelier René Magritte’stamp; G. Visat, Paris, publisher. Color etching and aquatint on Japon.image: 5 5/8 x 4 3/8 in. (14.3 x 11.2cm)sheet: 10 7/8 x 8 5/8 in. (27.7 x 21.9cm)[Kaplan & Baum 16].provenance:Estate of Muriel Wolgin, Philadelphia, Pennsylvania.$1,500-2,500


39 10-1367/3complete set of five colorlithographsRENE MAGRITTE(belgian 1898-1967)“L’EVIDENCE ETERNELLE”2003, signed in white pencil withinitials by Charly Merscovici of theMagritte Estate, numbered254/300; Philippe Moreno,publisher (with authorization byADAGP representing the MagritteEstate). The full sheets, framed inindividual metallic painted woodframes fitted into original red leatherportfolio box with printed goldlettering.images: variousportfolio: 13 x 10 3/8 x 3 in.(33.2 x 26.4 x 7.6cm)$2,500-3,500

40 09-4167/29DUANE MICHAELS(american b. 1932)“MAGRITTE”1979, titled, signed and numbered83/100 in ink in the margin. Gelatinsilver print.image: 5 x 7 1/4 in. (12.7 x 18.4cm)sheet: 8 x 9 15/16 in.(20.3 x 25.3cm)provenance:Estate of Muriel Wolgin,Philadelphia, Pennsylvania.$1,000-1,500

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41 09-4167/28MAN RAY(american 1890-1976)EXHIBITION RAYOGRAPHIE1963, signed, dated and dedicated‘for Muriel Wolgin’ / Man Ray 1970’in blue ink in bottom margin,inscribed verso ‘Stuttgart 1963’verso. Gelatin silver print.image: 7 7/8 x 7 1/2 in(20 x 19.1cm)sheet: 10 1/2 x 7 7/8 in.(26.8 x 20cm)provenance:Estate of Muriel Wolgin,Philadelphia, Pennsylvania.$700-1,000

42 10-1310/2ENRICO BAJ(italian 1924-2003)“BAJ CHEZ BAJ”an incomplete set of nine screenprintswith flockingCirca 1972, all signed in pencil, allnumbered ‘VIII/XL’ (the edition was 250 inArabic numerals plus 15 copies hors-commerce); Multiplicata Internationale,publisher. The set of nine color screenprintswith flocking plus the unsignedscreenprinted title page, justification, allwith full margins, loose (as issued), onwove paper, within original corrugatedcardboard portfolio with screened image oncover and ribbon closure-ties.images: 30 3/8 x 24 in. (77.2 x 61cm)sheets: 39 1/8 x 27 3/8 in. (99.4 x 69.6cm)portfolio: 30 1/2 x 40 in. (77.5 x 101.6cm)$3,000-5,000

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43 10-1370/5ANTONI TAPIES(spanish b. 1923)“T INCLINADA”1971, signed in pencil, annotated‘H.C’ (an hors-commerce copy, theedition was 75), the full sheet. Coloretching and carborundum on wovepaper.sheet: 23 x 30 3/8 in.(58.5 x 77.2cm)[Galfetti 293].Unframed$800-1,200

44 10-1370/4ANTONI TAPIES(spanish b. 1923)“EL DIT”2000, signed in pencil, numbered 14/99, the full sheet,Ediciones Polígrafa, Barcelona, publisher. Color etchingand carborundum on wove paper.sheet: 22 x 29 7/8 in. (56 x 75.9cm)[Galfetti 1091].Unframed$1,800-2,200

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45 10-1214/6FRANCISCO FARRERAS(spanish b. 1927)UNTITLED COMPOSITIONSigned and indistinctly dated ‘F. FARRERAS 7*,’mixed media collage on paper10 1/8 x 8 1/16 in. (25.8 x 20.5cm)provenance:AWashington, D.C. Estate.$1,000-1,500


46 10-1315/1JEAN PIERRE DUBORD(french b. 1949)“LA FETE DES NEUX BATEAUX”Signed ‘JP DUBORD’ bottom right,signed and titled ‘Jean PierreDuboard/la fête des neux bateau’verso, oil on canvas25 1/2 x 32 in. (64.8 x 81.3cm)$1,500-2,500

47 09-8062/17YOLANDE ARDISSONE(french b. 1927)“LE PORT DE DOÉLANE”Signed ‘ARDISSONE’ bottom right,titled ‘le port de Doélane’ in ink onstretcher verso, oil on canvas35 1/2 x 46 1/2 in. (90.2 x 118.1cm)provenance:A Charlottesville, Virginia Estate.$2,500-3,500

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48 09-1840/30JAKOBWEIDEMANN(norweigan 1923-2001)VILLAGE ROADSigned and dated ‘WEIDEMANN55’ bottom center, oil on canvas13 1/4 x 13 3/4 in. (33.6 x 34.9cm)provenance:Private Collection, Philadelphia,Pennsylvania.$2,000-3,000


49 10-1107/20SIGMUND JOSEPH MENKES(polish/american 1896-1986)STUDIO STILL LIFESigned ‘Menkes’ bottom right, oil oncanvas31 x 24 in. (78.8 x 60.9cm)provenance:Private Collection, Maryland.$10,000-15,000

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50 10-1039/14ANTONIO RECALCATI(italian b. 1938)“MEMORIE DI MATTINO”Signed, titled and dated ‘recalcati 62 /Memorie di Mattino’ in crayon verso, oil oncanvas39 1/2 x 31 1/2 in. (100.3 x 80cm)provenance:Galleria Odyssia, Rome, Italy.$1,500-2,500

51 09-2208/3EUGENE BRANDS(dutch 1913-2002)“LIGGEND NACKT” (RECLINING NUDE)Signed and dated ‘1961 brands’ bottom left,titled, signed and dated verso, gouache onpaper18 3/4 x 26 3/4 in. (47.7 x 68cm)Unframedprovenance:Private Collection, Philadelphia, Pennsylvania.$1,000-1,500

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52 10-1039/13ALAIN DE LA BOURDONNAYE(french b. 1930)“PAYSAGE TOURAINE”Signed and dated ‘LA BOURDONNAYE/57’bottom right, dated ‘V-57’ and signed againverso, oil on canvas25 3/8 x 39 1/4 in. (89.9 x 99.7cm)provenance:Larry Aldrich, New York, New York.Private Collection, New York, New York.exhibited:The Virginia Museum of Fine Art, Richmond,Virginia.$1,500-2,500


53 10-1313/2JOCHEN SEIDEL(german 1924-1971)UNTITLEDCirca 1968-70, acrylic and collageon canvas43 x 43 in. (109.3 x 109.3cm)provenance:The artist.David Anderson Gallery, Buffalo ,New York.Fritz Bultman, New York, New York.By family descent.$2,000-3,000

54 10-1370/1HOWARD HODGKIN(british b. 1932)UNTITLEDfrom “books for the paris review”1997-99, signed with initials anddated in pencil, numbered 65/80(there were also 20 artist’s proofs),the full sheet; The Paris Review,New York, New York, publisher.Hand colored etching and aquatinton handmade paper.sheet: 14 5/8 x 16 1/4 in.(37.2 x 41.3cm)[Tate 100].Unframedprovenance:Paris Review Magazine, New York,New York.$2,000-3,000

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55 10-1080/3HENRY MOORE(british 1898-1986)“RECLININGWOMAN I”1980-1, signed in pencil, numbered 2/50 (there werealso 15 artist’s proofs in Roman numerals), with fullmargins; Raymond Spencer Company, Ltd., MuchHadham, England, publisher. Color lithograph on BFKRives.image: 20 1/2 x 23 1/4 in. (52.1 x 59.1cm)sheet: 24 13/16 x 28 3/4 in. (63 x 73cm)[Cramer 591].provenance:Private Collection, New York, New York.$2,500-3,500

56 10-1157/6HENRY MOORE(british 1898-1986)“SIX RECLINING FIGURES”1975, signed in pencil, numbered 61/99 (there werealso 20 artist’s proofs in Roman numerals), with widemargins; Nathan Silverberg, New York , New York ,publisher. Color lithograph on TH Saunders.image: 15 1/8 x 19 7/8 in (38.5 x 50.5cm)sheet: 22 1/2 x 30 1/2 in. (57.2 x 77.5cm)[Cramer 353].$1,500-2,500

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57 09-2211/1DAVID HOCKNEY(british b. 1937)“BILL AND JAMES II”from “a series of hand drawn lithographs from 1979-80”1980, signed and dated in pencil, numbered 15/17 (therewere also 4 artist’s proofs), with full margins; Gemini G.E.L.,Los Angeles, California, publisher. Color lithograph onArches Cover white.image: 26 x 37 in. (66 x 94cm)sheet: 31 x 40 in. (78.7 x 101.6cm)[Gemini 1653].provenance:Gemini G.E.L., Los Angeles, California.Private Collection.$2,500-3,500


58 09-1889/2MÜBIN ORHON(turkish 1924-1981)UNTITLEDSigned ‘Mubin’ bottom left andsigned ‘MUbIN’ and dated verso, oilon canvasExecuted in 195611 3/4 x 5 7/8 in. (29.8 x 14.9cm)provenance:Private Collection, London.$3,000-5,000

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59 10-1214/1M. POUM MALAKOUL(thai 1910-1973)“THAI INSTRUMENT”Signed and dated ‘P. Malakoul 1965’bottom right, titled ‘Thai Inrument(sic)’ on stretcher, oil on canvas27 1/2 x 19 1/2 in. (69.8 x 49.5cm)provenance:A Washington, D.C. Estate$1,000-1,500

60 10-1214/3CHOO KENG KWANG(singaporian b. 1931)“SINGAPORE RIVER”Signed ‘Keng Kwang’ bottom left,signed again, titled and dated verso,oil on canvasExecuted in 196838 x 28 in. (96.5 x 71.2cm)provenance:A Washington, D.C. Estate$1,500-2,500

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61 10-1214/4CHOO KENG KWANG(singaporian b. 1931)RIVER SCENESigned ‘K. Kwang’ bottom right,signed and dated ‘K.Kwang / 1968’verso, oil on canvas28 x 38 in. (71.1. x 96.6cm)provenance:A Washington, D.C. Estate$1,500-2,500

62 10-1213/1TANG HAIWEN(chinese 1929-1991)UNTITLEDSigned and dated ‘Tang 65’ withadditional inscriptions in Chinesebottom right, watercolor on paper27 1/2 x 19 1/2 in. (69.9 x 49.6cm)$1,000-1,500

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63 10-1310/1SHIKO MUNAKATA(japanese 1903-1975)“BUSHWARBLER”Signed and dated ‘Munakata 1959’bottom left and with artist’s chopmark in red ink. Woodcut on Japon.image: 17 15/16 x 18 3/8 in.(45 x 46.7cm)sheet: 24 3/4 x 23 7/8 in.(62.8 x 60.7cm)$1,000-1,500

64 09-2193/1SHIKO MUNAKATA(japanese 1903-1975)“MIKINO MIMIKAZARI NO SAKU”Signed in pencil bottom left andstamped with artist’s chop mark inred ink. Woodcut on Japon.Executed in 1965.image: 10 x 11 1/2 in.(25.4 x 29.2cm)sheet: 13 3/4 x 16 in. (35 x 40.6cm)provenance:Betty Melvin, Philadelphia,Pennsylvania.Gifted to present owner in 1980.$2,000-3,000

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65 10-1214/2LAXMAN SHRESHTHA(indian b. 1939)ABSTRACTIONInscribed with artist’s name verso,oil on canvas12 x 12 in. (30.5 x 30.5cm)provenance:A Washington, D.C. Estate$1,200-1,800


66 10-1317/1SAKTI BURMAN(indian b. 1935)“FANTASTIC PEOPLE”Signed ‘SAKTI BURMAN’ in inkbottom right, signed and inscribedwith title in pencil verso, watercolorand ink on papersheet: 19 9/16 x 25 9/16 in.(49.7 x 64.9cm)Unframed$3,000-5,000

67 10-1317/2SAKTI BURMAN(indian b. 1935)UNTITLED (COMPOSITIONWITHCOMPOTES)Signed ‘SAKTI BURMAN’ in inkbottom center right, watercolor andink on papersheet: 19 9/16 x 25 9/16 in.(49.7 x 64.9cm)Unframed$3,000-5,000

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68 10-1159/5JAMINI ROY(indian 1887-1972)WORSHIPPERSigned in Bengali, tempera on thin paperlaid on cardExecuted ca. 194020 5/16 x 14 15/16 in. (51.6 x 37.9cm)Unframedprovenance:Purchased directly from the artist in1968.Private Collection, Europe.$3,000-5,000

69 10-1159/3JAMINI ROY(indian 1887-1972)BALARAMSigned in Bengali bottom right, oil oncardExecuted ca. 194012 1/4 x 7 1/2 in. (31.1 x 19.1cm)Unframedprovenance:Purchased directly from the artist in1968.Private Collection, Europe.$4,000-6,000

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70 09-2208/1JAMINI ROY(indian 1887-1972)CAT AND KITTENSigned in Bengali bottom right, tempera on cardimage: 15 15/16 x 15 1/2 in. (40.5 x 39.4cm)card: 16 1/2 x 16 1/8 in. (41.9 x 41cm)Unframedprovenance:Private Collection, Philadelphia, Pennsylvania.$2,500-4,000


71 10-1039/10VASUDEO S. GAITONDE(indian 1924-2001)UNTITLEDSigned and dated in Devanagari ‘Gaitonde 63’ verso, oil on canvas50 1/8 x 40 1/4 in. (127.3 x 102.2cm)provenance:Estate of Carole Nimmo Bourne, New York, New York.Private Collection, New York, New York.$150,000-250,000

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Painted in 1963 just before he traveled to New York for thefirst time, this Untitled oil on canvas by Vasudeo S. Gaitondeanticipates a moment of transition for the artist and in India’sfledgling commercial art world. As is characteristic of hismature career works, this painting integrates saturated colorfields with geometric forms, though the almost-continuous,single horizontal band of symbolic imagery dividing thiscanvas is unusual and experimental. Given the longstandingbias against abstraction in Indian modernist art, the extrememinimalist composition of this painting is particularlynoteworthy, and reflects the artist’s fervent and courageousindividualism.

Though he is remembered as India’s pioneering abstractartist, Gaitonde preferred the term ‘non-objective’ for hispaintings, claiming often that “there is no such thing asabstract art.” His latest representational works were paintedin the late 1950s, and included The Bird and An Egg (1957),which was exhibited at the Young Asian Artists’ Exhibition inTokyo, and an Untitled work (1959) depicting a flattened,abstracted airplane, which was commissioned by AirIndiabut never bought and still hangs in fellow artist BalChhabda’s Mumbai home. By the early 1960s, Gaitonde’swork was consistently and obsessively non-figural, and hebegan to work towards a formal purity of line and color in hiscanvases, aided conceptually by his engagement with ZenBuddhism. This Untitled work and other of Gaitonde’spaintings strongly evoke the feeling of a landscape – with itshorizon line separating a deep-blue sky from an equally richsea, but they need not be read in terms of conventionalcategories.

In 1964, Gaitonde was awarded a prestigious RockefellerFellowship, which offered him, along with other leadingartists like M.F. Husain and Tyeb Mehta, the opportunity tospend up to a year living in New York. By this time, New Yorkwas the center of the contemporary art world, and India’sartists were increasingly interested in experimentation withnew ideas and forms of painting, as well as myriad othermediums, especially film. Post-war art and the scene in NewYork also provided an alternative to the heritage of figurativepainting in London, with which Indian artists had a natural, ifuneasy, relationship through shared colonial and post-colonial histories. Gaitonde met quick success in New York,exhibiting at the Graham Gallery and Willard Gallery in themid 1960s, and his exposure to Abstract Expressionism thereinitiated a significant turn in his work, as he began creatingfields of color with a roller instead of a paintbrush.

Through this time, many of India’s artists sought to exhibittheir work in New York and other centers because of the lackof gallery infrastructure in India. In 1959, Bal Chhabda hadopened Bombay’s first commercial gallery, Gallery 59, in thestorefront of a building in which Gaitonde and his closeassociates Tyeb Mehta and Nasreen Mohamedi worked.Gallery 59 hosted the first solo exhibitions of several leadingartists, including Gaitonde’s in 1961, but it was forced to shutdown in 1962 owing to a dispute with management. Evenafter two permanent galleries opened in the city in 1963,enabling the start of a developed art scene, many artistscontinued to sell their works locally through their studios andhomes in transactions that were rarely documented, but areremembered through the enthusiastic anecdotes andexchanges that emerged from such encounters.

Beth Citron

Beth Citron is a New York-based art historian and critic, who received her Ph.D.from the University of Pennsylvania where she completed her dissertation onContemporary Art in Bombay, 1965-1995.


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72 10-1159/2HEMENDRANATH MAZUMDAR(indian 1894-1948)STANDING FEMALE FIGURESigned ‘H. Mazumdar’ bottom right,sepia ink on papersheet: 15 1/16 x 8 7/8 in.(38.3 x 22.5cm)provenance:The artist.By family descent.Private Collection, East Coast.$5,000-8,000

73 10-1159/1SUNAYANI DEVI(indian 1875-1962)YASHODA AND KRISHNASigned and dated 1938 in Bengalibottom left, watercolor on paper19 3/8 x 16 7/8 in. (49.2 x 42.9cm)provenance:The artist.By family descent.Private Collection, East Coast.$2,500-4,000

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74 08-2171/2KRISHNAJI SHAMRAO KULKARNI(indian 1916-1996)QUEENSigned with initials ‘KSK’ lower left,watercolor on paper28 3/8 x 22 5/8 in. (72 x 57.4cm)Unframedprovenance:The artist.Private Collection, India.$1,500-2,500

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75 08-2171/1KRISHNA HAWLAJI ARA(indian 1914-1985)SEATED NUDESigned ‘ARA’ bottom left, watercolorand pencil on heavy paper31 1/2 x 20 3/4 in. (80 x 52.7cm)Unframedprovenance:The artist.Private Collection, India.$3,000-5,000


76 10-1028/4FRANCIS NEWTON SOUZA(indian 1924-2002)UNTITLED – CHEMICAL HEADSigned and dated ‘Souza 98’ upperright, inscribed verso ‘CR-Chm IP-98-034’ in ink, chemical alterationand ink on printed magazine paper11 3/4 x 8 1/2 in. (29.9 x 1.6cm)Unframedprovenance:The Estate of F.N. Souza.By family descent.$5,000-8,000

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77 10-1028/2FRANCIS NEWTON SOUZA(indian 1924-2002)UNTITLED – CHEMICAL NUDESigned and dated ‘Souza 91’ upperright, inscribed verso ‘CR-ChmI P-91-016’ in pencil, chemical alterationand marker on printed magazinepaper10 7/8 x 8 7/8 in.(27.6 x 22.6 cm)Unframedprovenance:The Estate of F.N. Souza.By family descent.$4,000-6,000

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78 10-1028/3FRANCIS NEWTON SOUZA(indian 1924-2002)UNTITLED – CHEMICAL LANDSCAPESigned and dated ‘Souza 97’ upper right, inscribed verso ‘CR-Chm MGP-97-006’ ‘in ink, chemical alteration, gouache and marker on printed magazinepaper10 x 12 1/2 in. (25.4 x 31.8cm)Unframedprovenance:The Estate of F.N. Souza.By family descent.$4,000-6,000

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79 10-1346/3LE PHO(french 1907-2001)MOTHER AND CHILDSigned ‘Le Pho’ and again in Chinesebottom right, oil on canvas14 x 10 3/4 in. (35.6 x 27.3cm)provenance:Wally Findlay Galleries, New York,New York.Private Collection, West PalmBeach, Florida.$5,000-7,000

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80 10-1223/1FERNANDO BOTERO(columbian b. 1932)“MUJER”1982. Signed and numbered ‘Botero 1/6’ on reverse of base, bronze withbrown patina37 1/2 x 23 x 20 1/2 in. (95 x 58.5 x 52cm)provenance:Marlborough Gallery, New York, New York.Private Collection, Pennsylvania, acquired from the above in 1982.exhibited:Marlborough Gallery, New York, New York, “Fernando Botero: RecentSculpture,” April 30-May 29, 1982, catalogue #44, illustrated p. 23.$200,000-300,000

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By 1982, Fernando Botero was enjoying success as a painter of accentuated, corpulent humanforms that cited as well as challenged Italian renaissance painting, history, religion, politicsand Columbian folklore. By the mid 1970’s, however, Botero was able to afford to convert hisParis studio into a sculptor’s atelier, where he could explore three-dimensional forms andhave his works cast at a foundry. Botero’s sculpture made tangible the heft and form that hadbeen such integral themes to his paintings and murals.

With its rich, deep brown patina and highly polished surface, in ‘Mujer’ Botero revels in theexaggerated physicality of the female form as well as the literal weight and richness ofbronze. Botero’s female figure doesn’t just make reference to pre-Columbian mythic gods, butby her size and presence she becomes an object to be worshipped in her own right. In the1982 Marlborough Gallery exhibition in which this work was shown for the first time, Boteroalso presented glistening snakes, fertility goddesses and disembodied hands. All executed inthe same rounded, lush, exaggerated forms polished to a rich chocolate sheen, thesesculptures remind us just how much the sensuality of physical form should be enjoyed andcelebrated.

Chosen to highlight some of the most important public streets and landmarks around theworld, Fernando Botero’s impressive and robust figures grace the streets of Park Avenue inNew York City, the Champs Elysees in Paris and the Palazzo Pitti in Florence, Italy.


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81 10-1278/2ANA MARIA DE MARTINEZ(salvadoran b. 1937)GRAPESSigned ‘Ana Maria’ bottom right, acrylic on canvas11 x 14 in. (27.9 x 35.6cm)provenance:The Artist.Private Collection, Philadelphia, Pennsylvania.$4,000-6,000

82 10-1278/1ANA MARIA DE MARTINEZ(salvadoran b. 1937)JICARAS AND CHERRIESSigned ‘Ana Maria’ bottom right, acrylic on canvas10 x 8 in. (25.3 x 20cm)provenance:The Artist.Private Collection, Philadelphia, Pennsylvania.$4,000-6,000

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83 10-2359/1LUIS CABALLERO(colombian 1943-1995)THREE GRAPHITE DRAWINGSSigned and dated ‘L. Caballero 81 /’ in pencil, graphite on wove paper14 3/4 x 19 7/8 in. (37.5 x 50.5cm); andSigned and dated ‘L. Caballero 81 /’ in pencil, graphite on wove paper14 3/4 x 19 1/2 in. (37.5 x 49.5cm); andUnframedSigned and titled bottom in pencil, dedicated indistinctly ‘Pour Henri’à ****,’ graphite on gray wove paper14 5/8 x 19 5/8 in. (37.1 x 49.8cm)Unframed (3)provenance:The artist.Henri Barras (then Director of the Musée d’Art, Contemporain deMontréal.Private Collection, Quebec, Canada.$2,000-3,000


84 10-1277/4MILTON AVERY(american 1885-1965)“NUDE COMBING HAIR”1961, signed and dated in pencil,numbered 12/90, with widemargins. Drypoint on wove paper.image: 8 9/16 x 6 1/8 in.(21.8 x 15.6cm)sheet: 12 x 9 in. (30.4 x 22.9cm)[Lunn 30].provenance:Private Collection, Philadelphia,Pennsylvania.$3,000-5,000

85 10-1314/1MILTON AVERY(american 1885-1965)“MYWIFE SALLY”Signed ‘Milton Avery’ in ink bottomright, signed, titled and dated ‘ “Mywife Sally” / by Milton Avery / 1952’verso, black marker on paper11 x 8 3/8 in. (28 x 21.3cm)provenance:Private Collection, Philadelphia,Pennsylvania.$2,000-3,000

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86 10-1277/3MILTON AVERY(american 1885-1965)“LITTLE GIRL”1936, signed and dated in pencil, numbered 53/60, with wide margins.Drypoint on heavy wove paper.image: 8 3/4 x 4 3/4 in. (22.2 x 12.1cm)sheet: 13 7/8 x 9 15/16 in. (35.3 x 25.2cm)[Lunn 11].Unframedprovenance:Private Collection, Philadelphia, Pennsylvania.$2,000-3,000

87 10-1277/1MILTON AVERY(american 1885-1965)“STANDING NUDE”1935, signed and dated in pencil, numbered 88/100, with wide margins.Drypoint on wove paper.image: 9 7/8 x 4 1/4 in. (25 x 10.8cm)sheet: 14 7/8 x 13 in. (37.7 x 33cm)[Lunn 54].Unframedprovenance:Private Collection, Philadelphia, Pennsylvania.$1,500-2,500

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88 10-1277/2MILTON AVERY(american 1885-1965)“MYWIFE SALLY”1934, signed in pencil, from the edition of 100, with wide margins. Drypointon wove paper.image: 5 9/16 x 8 5/16 in. (14.1 x 21.1cm)sheet: 8 3/16 x 11 1/8 in. (20.8 x 28.1cm)[Lunn 5].provenance:Private Collection, Philadelphia, Pennsylvania.$1,500-2,500


89 10-8028/1REGINALD MARSH(american 1898-1954)“ERIE R.R. AND FACTORIES”1930, signed in pencil, numbered ‘#7,’ fromthe edition of approximately 50, Sasowski’ssixth (final) state, with wide margins.Etching, engraving and drypoint on wovepaper.image: 8 x 11 7/8 in. (20.3 x 30.2cm)sheet: 10 1/4 x 13 3/4 in. (26 x 34.9cm)[Sasowski 90].$1,200-1,800

90 10-1116/1two watercolorsKARL KNATHS(american 1891-1971)“BASKET OF FISH”‘Estate of Karl Knaths’ stamp bottom right,watercolor, ink and graphite on papersheet: 8 3/4 x 5 7/8 in.and;“CLAM DIGGERS RETURN”Watercolor and ink on papersheet: 8 3/4 x 5 1/2 in.(2).provenance:David Findlay Jr. Fine Art, New York, NewYork.Private Collection, Woodstock, New York.$1,000-1,500

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91 10-1116/3ROLPH SCARLETT(american 1891-1984)ABSTRACTIONSigned ‘SCARLETT’ bottom left corner,gouache and ink on paper11 x 16 in. (28 x 40.6cm)provenance:Private Collection, Woodstock, New York.$1,500-2,500


92 10-1116/4ROLPH SCARLETT(american 1891-1984)ABSTRACTIONSigned ‘SCARLETT’ bottom rightcorner, gouache on paper6 1/2 x 10 in. (16.5 x 25.4cm)provenance:Private Collection, Woodstock, NewYork.$1,500-2,500

93 10-1313/1GEROME KAMROWSKI(american b. 1914)UNTITLED FROM “DOME SERIES”Oil and mixed media assemblage on joined canvaspanelsExecuted ca. 196010 x 60 x 60 in. (25.4 x 152.4 x 152.4cm)provenance:The artist.Fritz Bultman, New York, New York.By family descent.$2,000-3,000

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94 09-4167/34ARNOLD NEWMAN(american 1918-2006)“ISAMU NOGUCHI”Signed ‘© Arnold Newman’ in pencil bottom right, inscribed inpencil ‘Isamu Noguchi 1947 / For Muriel, to an old friend, from anold friend - of an old friend, love Augusta and Arnold.’ and withthe artist’s copyright stamp verso. Gelatin silver print.image: 12 7/8 x 9 5/8 in. (32.7 x 24.5cm)sheet: 13 7/8 x 10 7/8 in. (35.3 x 27.6cm)provenance:Estate of Muriel Wolgin, Philadelphia, Pennsylvania.$1,500-2,500


95 10-1039/11JAMES JARVAISE(american b. 1931)“HUDSON RIVER SCHOOL SERIES#50”Signed ‘Jarvaise’ verso, oil on canvasExecuted in 195850 3/4 x 44 3/4 in.(128.9 x 111.8cm)provenance:Felix Landau Gallery, Los Angeles,California.exhibited:Museum of Modern Art, New York,“Sixteen Americans,” December 16,1959 - February 17, 1960, listed inexhibition catalogue.$2,000-3,000

96 10-1113/1AMERICAN SCHOOL(20th century)UNTITLED ABSTRACTCOMPOSITIONOil on board40 x 29 3/4 in. (101.6 x 75.6cm)$1,000-1,500

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97 10-1366/1ALEXANDER CALDER(american 1898-1976)“HAMMOCK, SOFT SCULPTURE”From the edition of 100, CACPublication, New York, New York,100% cotton manila fiberExecuted in 1975overall approx. 94 x 99 in.(238.8 x 251.5cm)provenance:Mercedes Gordillo Gallery,Managua, Nicaragua.Private Collection, Costa Rica(purchased ca. 1975).By family descent.$2,500-4,000

98 09-8121/4two paintings framed togetherCLEMENTINE HUNTER(american 1886-1988)GIFT OF THE MAGI andSUNDAY PICNICBoth signed with artist’s initialsbottom right, oil on boardeach, (sight): 14 3/4 x 23 in.(37.5 x 58.4cm)(2).$6,000-10,000

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99 09-2223/1ALEXANDER CALDER(american 1898-1976)UNTITLEDSigned and dated ‘Calder 67’ bottom right, gouache and ink on paper29 1/2 x 42 1/2 in. (75 x 108cm)note:This work is registered in the archives of the Calder Foundation underidentification number A24943.provenance:Private Collection, Elkins Park, Pennsylvania.$40,000-60,000

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100 09-2235/1ALEXANDER CALDER(american 1898-1976)“AZUL, AMARILLO, BLANCO, SOBRE ROJO”Sheet metal, brass, wire and paintExecuted in 19557 1/2 x 7 3/4 x 6 1/2 in. (19.1 x 19.7 x 16.5cm)provenance:The Artist.Private Collection, Caracas, Venezuela.Krasner Gallery, New York, New York.Private Collection, New York, New York (purchased in 1971).Private Collection, Philadelphia, Pennsylvania.exhibited:Museo de Bellas Artes, Caracas, Venezuela, “Exposición Calder,” September11-25, 1955, cat. no. 40.Fundación Eugenio Mendoza, Caracas, Venezuela, “Calder en Venezuela,”July 6- August 3, 1969, cat. no. 40, illus. p. 40.note:This work is registered in the archives of the Calder Foundation underidentification number A09335 and will be accompanied by an invoice fromKrasner Gallery, New York, New York, dated February 6, 1971.$100,000-150,000

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Marcel Duchamp coined the now-ubiquitous term “mobile” to describe Alexander Calder’sgraceful kinetic sculptures in 1931 after visiting Calder’s studio in Paris. The term applies notonly to his well known hanging works but also to sculptures that combine stationary baseswith moving elements made of wire and painted metal. While some of Calder’s smallersculptures acted as maquettes for larger works, many were works unto themselves such asthe excellent example, “Azul, Amarillo, Blanco, Sobre Rojo.”

In 1955, Calder traveled to Caracas, Venezuela, where he set up a studio at the metal shop ofthe Universidad Central de Venezuela. That same year, the exhibition "Exposición Calder"was installed at Museo de Bellas Artes de Caracas. It would neither be the first nor the lasttime that Calder would visit and engage with curators and artists in Latin America; hisinterest in the culture, language and spirit of Central and South America would remainthroughout his career.

This sculpture, created the same year as his residency in Venezuela, is an excellent exampleof a mobile that, while standing at just under a foot tall, is imbued with the all of the whimsy,balance and charm that is unequivocally Calder.


101 09-2222/2HARRY BERTOIA(american 1915-1978)VERTICAL ROD TREEBronzeExecuted in the 1960’s7 x 5 1/2 x 1 1/2 in.(17.8 x 14 x 3.8cm)provenance:The Artist.Private Collection, Philadephia,Pennsylvania.note:This sculpture will be accompaniedby a certificate of authenticitysigned by Val Bertoia.$5,000-8,000

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102 09-2222/3HARRY BERTOIA(american 1915-1978)CONCAVE TREEBronzeExecuted in the 1960’s6 x 5 x 3 in. (15.2 x 13 x 7.6cm)provenance:The Artist.Private Collection, Philadephia,Pennsylvania.note:This sculpture will be accompaniedby a certificate of authenticitysigned by Val Bertoia.$4,000-6,000


104 09-2222/7HARRY BERTOIA(american 1915-1978)SOUND ARCHITECTUREBeryllium-copper rods silvered tobrass.Executed in the 1960’s12 x 6 x 6 in. (30.5 x 15.2 x 15.2cm)provenance:The Artist.Private Collection, Philadephia,Pennsylvania.note:This sculpture will be accompaniedby a certificate of authenticitysigned by Val Bertoia.$7,000-10,000

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103 09-2222/6HARRY BERTOIA(american 1915-1978)EXPANDING BUSHBronzeExecuted in the 1960’s14 x 16 x 14 1/2 in.(35.6 x 40.6 x 36.8cm)provenance:The Artist.Private Collection, Philadephia,Pennsylvania.note:This sculpture will be accompaniedby certificate of authenticity signedby Val Bertoia.$20,000-30,000


105 09-2222/1HARRY BERTOIA(american 1915-1978)BLUE TREE FORMBronzeExecuted in the 1960’s6 x 6 1/4 x 3 1/2 in.(15.2 x 15.9 x 8.9cm)provenance:The Artist.Private Collection, Philadephia,Pennsylvania.note:This sculpture will be accompaniedby a certificate of authenticitysigned by Val Bertoia.$4,000-6,000

106 09-2222/4HARRY BERTOIA(american 1915-1978)CLOUD ON STEMBronzeExecuted in the 1960’s3 x 4 x 4 in. (7.6 x 10.1 x 10.1cm)provenance:The Artist.Private Collection, Philadephia,Pennsylvania.note:This sculpture will be accompaniedby a certificate of authenticitysigned by Val Bertoia.$3,000-5,000

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107 09-2222/5HARRY BERTOIA(american 1915-1978)BIRD TREEBronzeExecuted in the 1960’s5 x 3 1/2 x 2 1/4 in. (13 x 8.9 x 5.7cm)provenance:The Artist.Private Collection, Philadephia, Pennsylvania.note:This sculpture will be accompanied by acertificate of authenticity signed by Val Bertoia.$3,000-5,000


108 09-2222/8KLAUS IHLENFELD(german b. 1934)SPLINTER BRONZEBronze with golden brown patina12 x 11 5/8 x 8 1/4 in. (30.5 x 29.5 x 21cm)provenance:The Artist.Private Collection, Philadephia, Pennsylvania.$1,000-1,500

109 09-2222/9KLAUS IHLENFELD(german b. 1934)TREEInscribed with initials ‘KI’ on base,bronze with golden brown patina7 1/8 x 5 1/2 x 5 1/2 in.(18.1 x 14 x 14cm)provenance:The Artist.Private Collection, Philadephia,Pennsylvania.$700-1,000

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110 09-2222/12KLAUS IHLENFELD(german b. 1934)CIRCULAR TREEBronze with brown patina andcopper and verdigris highlights7 3/4 x 6 x 1/2 in.(19.7 x 15.3 x 1.3cm)provenance:The Artist.Private Collection, Philadephia,Pennsylvania.$700-1,000


113 09-4167/14JOE GOODE(american b. 1937)TIC TAC JOESigned ‘J. Goode’ in pencil bottomright, mixed media on paper13 1/8 x 9 15/16 in. (33.3 x 25.3cm)provenance:Estate of Muriel Wolgin,Philadelphia, Pennsylvania.$700-1,000

111 09-2222/10KLAUS IHLENFELD(german b. 1934)WIRE TREEInscribed with initials ‘KI’ on base,brown patina with copper andverdigris highlights7 3/4 in x 3 1/2 x 2 1/2 in.(19.7 x 9 x 6.4cm)provenance:The Artist.Private Collection, Philadephia,Pennsylvania.$500-800

112 09-2222/11KLAUS IHLENFELD(german b. 1934)PIPESInscribed with initials ‘KI’ on base,bronze with brown and goldenbrown patinaheight: 6 7/8 x 6 x 4 in.(17.5 x 15.3 x 10.2cm)provenance:The Artist.Private Collection, Philadephia,Pennsylvania.$700-1,000

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114 08-2109/161BEVERLY PEPPER(american b. 1922)UNTITLEDStamped with initials ‘BP,’ iron, oxidized reddish brown patinaheight: 23 3/4 in. (60.3cm)provenance:Private Trust.$4,000-6,000

115 09-1960/2WILLIAM CROVELLO(american b. 1929)UNTITLEDInscribed with initials and dated ‘W.G.C. ‘69,’ black marble14 1/4 x 20 1/4 x 3 1/8 in. (36.2 x 51.4 x 5.4cm)provenance:Private Collection, Maryland.$1,000-1,500

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116 09-4167/41JULIAN STANCZAK(polish/american b. 1928)“COLOUR FILTRATION”Signed and dated ‘J. Stanczak 1966’verso, signed again and titled‘JULIAN STANCZAK “COLOURFILTRATION” ‘ on stretcher, acrylicon canvas45 1/2 x 39 1/2 in.(115.6 x 100.3cm)provenance:Feingarten Galleries, Beverly Hills,California.$8,000-10,000

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117 10-1323/1FRANK MALINA(american 1912-1981)“VOYAGE IV”from “voyage among supernovae”Signed bottom right, signed again and titled ‘Malina “VOYAGEIV”/”VOYAGE AMONG SUPERNOVAE,” inscribed ‘949/64 / KINETICPAINTING / LUMIDYNE SYSTEM’ verso, kinetic painting and electricalsystem40 1/2 x 79 1/2 x 5 5/8 in. (102.9 x 201.9 x 14.3cm)provenance:Purchased directly from the artist by Mr. and Mrs. Fred Lawrence Whipple.The Estate of Babette S. Whipple, Belmont, Massachusetts.

Texas born artist Frank Malina was a pioneer in the field of aeronautics andwas the first Director of the NASA Jet Propulsion Laboratory in California .His team at that facility was responsible for the successful launch of the firstAmerican rocket into space, the WAC Corporal. In 1951 Malina became headof UNESCO’s division of scientific research but left shortly thereafter topursue an interest in kinetic art while living and working in Paris. His workwas widely exhibited and notably included in “Cybernetics Serendipity,” thefirst exhibition to explore aspects of computer-aided artwork presented atthe ICA in London in 1968.

This kinetic sculpture was created for Fred Lawrence Whipple, director of theSmithsonian Astrophysical Observatory from 1955-73 and accomplishedprofessor of Astronomy at Harvard University.note:Please visit this lot in our online catalogue at www.freemansauction.com toview a video of this piece.$8,000-12,000

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118 09-4167/1FLETCHER BENTON(american b. 1931)SYNCHRONETIC C-388-SKinetic mixed media with aluminum and plexiglas20 1/4 x 23 3/4 x 4 in. (51.4 x 60.3 x 10.2cm)provenance:Estate of Muriel Wolgin, Philadelphia, Pennsylvania.$1,000-2,000

119 10-1362/1SHOZO NAGANO(japanese/american 1928-2008)“WANDERING”Signed and dated ‘S. Nagano 1970’ on right outer canvas edge, acrylic onthree dimensional, shaped canvas35 x 34 in. (88.9 x 86.4cm)provenance:Langman Gallery, Jenkintown, Philadelphia.Private Collection, Philadelphia, Pennsylvania.$3,000-5,000

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120 10-1074/1RONALD MALLORY(american b. 1939)MERCURY SCULPTURESigned and dated ‘Richard Mallory 69’ and inscribed ‘#2801’ verso,contained mercury, glass and mixed media with rotational swivel18 1/4 x 3 3/16 in. (46.3 x 8.1cm)$1,500-2,500

121 10-1155/1SYDNEY HUTTER(american b. 1959)“HANDMADE VASE #53”from “plate glass vase series”Signed, titled and dated ‘Sidney RHutter Handmade Vase 353 9/83’on the underside, cut, polished anddyed glass constructionheight: 21 3/4 in. (55.2cm)$1,000-1,500


122 09-2160/4FRANK STELLA(american b. 1936)“SINJERLI VARIATION I”1977, signed and dated in pencil,numbered 41/100 (there were also20 artist’s proofs); with full margins,Petersburg Press, New York, NewYork, publisher. Offset colorlithograph and screenprint onArches Cover.sheet: 32 x 42 in. (81.3 x 106.7cm)[Axsom 113].provenance:Private Collection, Wellesley,Massachusetts.$2,500-3,500

123 10-1279/1KENNETH NOLAND(american 1924-2010)“HORIZONTAL STRIPES I-5”from “handmade paper project”1978, signed and dated in pencil,from the edition of 104 uniqueworks, the full sheet, published byTyler Graphics, Ltd., Mount Kisco,New York and with their blindstamp.Unique colored, pressed paper pulp.image/sheet: 50 3/4 x 33 1/2 in.(128.9 x 85.1cm)[Tyler 466].provenance:Private Collection, Pennsylvania.$5,000-7,000

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124 10-8008/1HELEN FRANKENTHALER(american b. 1928)“ORANGE DOWNPOUR”from “four pochoirs”1970, signed and dated in pencil,numbered 15/50 (there were also 7artist’s proofs in Roman numerals),the full sheet; Abrams OriginalEditions, New York, publisher. Colorpochoir on Arches Imperial Roughwatercolor.image/sheet: 30 1/2 x 22 in.(77.5 x 55.8cm)[Harrison 27].$3,000-5,000

125 10-8008/2HELEN FRANKENTHALER(american b. 1928)“WIND DIRECTIONS”from “four pochoirs”1970, signed and dated in pencil,numbered 15/50 (there were also 6artist’s proofs), the full sheet;Abrams Original Editions, New York,publisher. Color Pochoir on ArchesImperial Rough watercolorimage: 30 3/4 x 22 in.(78.2 x 55.8cm)[Harrison 28].$3,000-5,000

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126 10-1346/2PAUL JENKINS(american b. 1923)“PHENOMENA SUFI PROCESSION”Signed ‘Paul Jenkins’ bottom right, signed, titled and dated ‘Paul Jenkins /“Phenomena Sufi Procession” / 1974’ verso, acrylic on canvas49 x 75 in. (124.4 x 190.5cm)$20,000-30,000

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127 10-1346/1PAUL JENKINS(american b. 1923)“PHENOMENA PRISM BASIN”Signed ‘Paul Jenkins’ bottom left,signed again, titled, dated andinscribed ‘Paul Jenkins / PhenomenaPrism Basin / 1984 New York’ verso,watercolor on paper31 x 43 in. (78.7 x 109.2cm)$6,000-10,000

128 10-1254/5LOUISE NEVELSON(american 1899-1988)“FULL MOON”1980, incised with signature andnumbered 56/125 on metal plateaffixed verso; Pace Editions, Inc.,New York, New York, publisher.Cast polyester resin.18 1/2 x 18 1/2 in. (47 x 47cm)$3,000-5,000

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129 10-1277/6CLAES OLDENBURG(american b. 1929)“STRIDING FIGURE”from “conspiracy: the artist aswitness”1971, signed and numbered 146/150 inpencil (there were also 24 artist’sproofs); Adolf Rischner, Styria Studio,New York, New York, publisher.. Colorscreenprint on C.M. Fabriano Cotone.image: 21 x 14 1/4 in. (53.3 x 36.2cm)sheet: 28 7/16 x 20 11/16 in.(72.2 x 52.5cm)[Axsom & Platzker 76].Unframedprovenance:Private Collection, Philadelphia,Pennsylvania.$600-800

130 10-1370/2CHRISTO(american b. 1935)UNTITLEDfrom “wrapped monument to vittorioemanuele, project for piazza del duomo,milan”1975, signed in pencil, numbered ‘HC’ (one of10 hors-commerce copies, the edition was 75plus 10 artist’s proofs); Ediciones Polîgrafa,Barcelona, Spain, publishers. Offset colorlithograph on Guarro.image: 28 x 22 in. (71.1 x 55.9cm)[Schellmann 80].Unframed$800-1,200

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131 10-1360/1LEO SEWELL(american b. 1945)STANDING MANMixed media construction on raw wood baseExecuted ca. 1973.height: 72 in. (182.9cm)provenance:Private Collection, Philadelphia, Pennsylvania.$2,500-3,500


132 10-1177/1ROBERT RAUSCHENBERG(american 1925-2008)“RAYS”1973, signed and dated in pencil,numbered 61/95 (there were alsoan unrecorded number of artist’sproofs), the full sheet; Styria Studio,New York, New York, publisher.Color offset lithograph andscreenprint on wove paper.sheet/image: 53 x 39 in.(134.7 x 99cm)$2,500-4,000

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134 09-4167/37ROBERT RAUSCHENBERG(american 1925-2008)“FLIRT”1979, signed and dated in pencil, numbered 41/100 (there were also 15artist’s proofs), the full sheet; the Institute of Contemporary Art,Philadelphia, Pennsylvania, publisher. Color silkscreen with collage on wovepaper.sheet: 32 x 22 1/4 in. (81.3 x 56.5cm)provenance:Estate of Muriel Wolgin, Philadelphia, Pennsylvania.$1,000-2,000

133 09-1680/525ROBERT RAUSCHENBERG(american 1925-2008)“GENERAL DELIVERY”1971, signed, numbered and dated inpencil 205/300 (there were also 30artist’s proofs), with full margins;Walker Art Center Minneapolis,Minnesota, publisher. Colorscreenprint with collage on wovepaper.image: 45 x 30 1/2 in.(114.3 x 77.5cm)sheet: 49 x 34 in. (124.4 x 86.4cm)provenance:Lehman Brothers, New York, NewYork.$1,500-2,000


135 09-2359/15ROBERT RAUSCHENBERG(american 1925-2008)“SHOOT FROM THE MAIN STEM”from “suite of 9 prints”1979, signed and dated in pencil, numbered75/100 (there were also an unrecordednumber of artist’s proofs), the full sheet;Multiples, Inc., New York, New York,publisher. Color offset lithograph withcollage on wove paper.image/sheet: 30 3/4 x 23 in.(78 x 58.4cm)provenance:Corporate Collection, New York, New York.$1,200-1,800

136 09-2359/14ROBERT RAUSCHENBERG(american 1925-2008)“FROM THE SEAT OF AUTHORITY”from “suite of 9 prints”1979, signed and dated in pencil,numbered 98/100 (there were also anunrecorded number of artist’s proofs),the full sheet; Multiples, Inc., New York,New York, publisher. Color offsetlithograph with collage on wove paper.image/sheet: 30 1/2 x 23 in.(77.5 x 58.4cm)provenance:Corporate Collection, New York, NewYork.$1,200-1,800

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137 09-4167/46MEL RAMOS(american, 1935)“CHIC”from “11 pop artists ii”1965, signed in pencil, numbered 186/200 (there were also 5 artist’sproofs and 50 collaborators proofs), the full sheet; Original Editions,New York, New York, publisher. Color screenprint on wove paper.image/sheet: 24 x 19 7/8 in. (60.9 x 50.5cm)$1,000-2,000


138 09-2212/1ROY LICHTENSTEIN(american 1923-1997)“I LOVE LIBERTY”1982, signed and dated in pencil,numbered AP 26/73 (artist’s proof,the edition was 250), with fullmargins; the Artist and People forthe American Way, Washington,D.C, co-publishers. Color screenprinton Arches 88.image: 32 3/8 x 21 in.(82.2 x 53.3cm)sheet: 38 3/8 x 27 1/16 in.(97.5 x 68.7cm)[Corlett 192].provenance:The Artist.Private Collection, New York, NewYork.$20,000-30,000

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139 10-1043/1SUNDAY B. MORNING (AFTER ANDY WARHOL)“MARILYN PORTFOLIO”the complete set of 10 color screenprintsAll the full sheets; Sunday B. Morning, publisher and with their blue ink-stamp verso. Color screenprints on museum board.sheets: 35 7/8 x 35 7/8 in. (91.2 x 91.2cm)Unframed(10).provenance:Private Collection, California.note:This lot will be accompanied by a Certificate of Authenticity issued by thepublisher.$5,000-7,000

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140 10-1043/3SUNDAY B. MORNING (AFTER ANDY WARHOL)“SOUP CAN I PORTFOLIO”the complete set of 10 color screenprintsAll the full sheets; Sunday B. Morning, publisher and with their blue ink-stamp verso. Color screenprints on museum board.sheets: 35 x 23 in. (89 x 58.4cm)Unframed(10).provenance:Private Collection, California.note:This lot will be accompanied by a Certificate of Authenticity issued by thepublisher.$4,000-6,000

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141 10-1043/2SUNDAY B. MORNING (AFTER ANDY WARHOL)“FLOWERS PORTFOLIO”the complete set of 10 color screenprintsAll the full sheets; Sunday B. Morning, publisher and with their blue ink-stamp verso. Color screenprints on museum board.sheets: 35 7/16 x 35 7/16 in. (90 x 90cm)Unframed(10).provenance:Private Collection, California.note:This lot will be accompanied by a Certificate of Authenticity issued by thepublisher.$4,000-6,000

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142 10-1112/3ALEX KATZ(american b. 1927)“THE ORANGE BAND”1979, signed in pencil, numbered‘a.p. 9/11’ (artist’s proof, the editionwas 80), the full sheet; the artistand Simca Print Artists, Inc., NewYork, New York, co-publishers. Colorscreenprint on Arches Cover White.image/sheet: 40 x 28 1/4 in.(101.6 x 71.8cm)[Maravall 115].provenance:Private Collection, Pennsylvania.$3,000-5,000

143 10-1112/4ALEX KATZ(american b. 1927)“ADAWITH FLOWERS”1980, signed in pencil, numbered‘A.P. 4/7’ (artist’s proof, the editionwas 65), the full sheet; the artistand Simca Print Artists, Inc., NewYork, publisher. Color screenprint onGrammercy.image/sheet: 48 x 36 in.(121.9 x 91.4cm)[Maravall 123].provenance:Private Collection, Pennsylvania.$4,000-6,000

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144 09-1680/657LOUISE BOURGEOIS(french/american b. 1911)“UNTITLED #2”from “fugue”2003-5, signed with initials ‘LB’ in pencil,annotated ‘#2’ and numbered 7/9 in pencil verso(there was also one artist’s proof), the full sheet;Procuniar Workshop, New York, publisher. Colorscreenprint with lithography on StonehengeCream.image: 10 9/16 x 14 1/2 in. (26.8 x 36.8cm)sheet: 12 x 16 in. (30.5 x 36.8cm)provenance:Procuniar Workshop, New York, NY.The Lehman Brothers Collection, New York, NewYork.$3,000-5,000

145 10-1370/6ED RUSCHA(american b. 1937)“RELOJ”1988, signed and dated in pencil, numbered‘H.C. 3/5’ (an hors-commerce copy, theedition was 45 plus 5 artist’s proofs), withfull margins, Ediciones Polígrafa, Barcelona,Spain, publisher. Color etching and onhandmade paper.image: 18 1/4 x 13 1/8 in. (46.4 x 33.3cm)sheet: 30 x 22 in. (76.2 x 56cm)[Engberg 167].Unframed$1,200-1,800

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146 10-1114/1JENNIFER BARTLETT(american b. 1941)“FIRE / THREE CONES”Oil on canvas with three painted wood conesExecuted 1988-9canvas: 60 1/4 x 84 in. (153 x 213.4cm)cones (each): 40 x 23 x 23 in. (101.6 x 58.4 x 58.4cm)[dimensions variable][Bartlett studio inventory #607].provenance:Paula Cooper Gallery, New York, New York.Private Collection, Portland, Oregon.$15,000-25,000

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147 10-1279/2two cibachrome printsJAN GROOVER(american b. 1943)KITCHEN STILL-LIFE SERIESEach signed, dated and numbered'Jan Groover 1978 1/3' in markerbottom left, each inscribed '41.2' and'56.3' respectively. Ektacolor prints.images: 14 3/4 x 18 3/4 in.(37.5 x 47.6cm)sheets: 16 x 19 7/8 in.(40.6 x 50.5cm)(2).provenance:Private Collection, Pennsylvania.$2,500-3,500

148 08-1947/153set of 18 photogravuresLOIS CONNER(american b. 1951)“THE RIVER FLOWS”Circa 1980, each pencil signed andnumbered 29/55; Thomas Palmer,printer. Photogravures.Each plate: 7 1/4 x 17 1/4 in.(18.5 x 40.4cm)Each sheet: 14 7/8 x 23 5/8 in.(37.8 x 60cm)(18).provenance:A Corporate Collection, Wilmington,Delaware.note:Lois Conner received a MFA inphotography from Yale University in1981. She began photographing inChina with a Guggenheim fellowshipin 1984, which led to a limited-edition gravure book, The River FlowsInto the Heavens (1988). Her workhas been exhibited internationallyand is represented in such publiccollections as the Museum ofModern Art and the MetropolitanMuseum of Art in New York, theSmithsonian Museum of AmericanArt in Washington, and the Victoriaand Albert Museum in London.(Artists’ biography courtesy of theAsia Society, New York.)$5,000-7,000

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149 10-1177/5YVONNE JACQUETTE(american b. 1934)“NORTHWEST VIEW FROM EMPIRESTATE BUILDING”1982, signed and dated in pencil, numbered‘C.T.P. 1/2’ (color trial proof, the edition was60 plus 12 artist’s proofs), the full sheet;Brooke Alexander Editions, New York, NewYork, publisher. Lithograph on Transpagravellum.sheet (sight): 50 x 35 in. (127 x 88.9cm)$1,500-2,500

150 09-2359/13YVONNE JACQUETTE(american b. 1934)“MOTION PICTURE (TIMESSQUARE)”1989-90, signed, titled and dated inpencil, numbered ‘7/10 A.P.’ (artist’sproof, the edition was 60), the fullsheet; Brooke Alexander Editions, NewYork, New York, publisher. Colorlithograph on Arches Cover White.image/sheet: 49 x 36 in.(124.5 x 91.5cm)provenance:Corporate Collection, New York, NewYork.$1,000-2,000

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151 09-2359/11YVONNE JACQUETTE(american b. 1934)“MISSISSIPPI NIGHT LIGHTS- MINNEAPOLIS”1985-6, signed and dated in pencil, numbered `A.P. 5/15’ (artist’s proof, the editionwas 60), the full sheet; Brooke Alexander, Inc., New York, New York, publisher. Colorlithograph and screenprint on Arches.sheet: 58 x 36 in. (147.3 x 91.5cm)provenance:Corporate Collection, New York, New York.$1,500-2,500


152 09-2359/12YVONNE JACQUETTE(american b. 1934)“TIP OF MANHATTAN”1987, signed and dated in blue pencil, numbered‘A.P. 2’ (the edition was 30), the full sheet;Experimental Workshop, Emeryville, California,publisher. Color woodcut on Japon.image/sheet: 29 3/4 x 55 3/4 in.(75.5 x 141.3cm)provenance:Corporate Collection, New York, New York.$1,500-2,500

153 10-1155/4PETER MILTON(american b. 1930)“DAYLILIES”1975, signed, titled and dated in pencil,numbered 149/160 (there were also 15 artist’sproofs), with full margins. Etching and engravingon Rives Heavyweight Buff.image: 20 x 32 in. (50.8 x 81.3cm)sheet: 25 1/2 x 37 7/8 in. (64.8 x 96.2cm)[Johnson & Milton 96].$1,200-1,800

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154 10-1155/5PETER MILTON(american b. 1930)“INTERIORS IV: SOUNDINGS”1989, signed, dated, titled in pencil, numbered109/175, with wide margins; the artist, publisher.Etching and engraving on Somerset.image: 29 7/8 x 23 7/8 in. (75.9 x 60cm)sheet: 38 x 30 3/8 in. (96.5 x 77.2cm)[Johnson/Milton 112].$800-1,200


155 10-1310/3JOHN ARMLEDER(swiss b. 1948)UNTITLEDSigned with initials and dated ‘JA83’ in pencil bottom left, acrylic andpencil on paper29 1/2 x 19 3/4 in. (75 x 50.2cm)provenance:Daniel Newburg Gallery, New York,New York.Private Collection, New York, NewYork.exhibited:Pratt Institute, Brooklyn, New York,“Division of External Affairs.”$1,000-1,500

156 10-1310/4JOHN ARMLEDER(swiss b. 1948)UNTITLEDDated ‘1976’ and with extensiveinscriptions in pencil and blue pencilbottom left, graphite and gouacheon three sheets of joined paperoverall: 11 1/4 x 24 1/4 in.(28.6 x 61.6cm)provenance:Daniel Newburg Gallery, New York,New York.Private Collection, New York, NewYork.$700-1,000

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157 10-1039/12RICHARD HAMBLETON(american/canadian b. 1954)LEAPING FIGURESigned ‘R HAMBLETON’ bottomleft, acrylic on paper88 x 48 in. (223.5 x 121.9cm)$2,000-3,000

158 10-1277/8KEITH HARING(american 1958-1990)“FIGHT AIDS WORLDWIDE”1990, numbered 767/1000 in pencil,with full margins; World Federationof the United Nations Associations,New York, New York, publisher andwith the artist’s estate stamp verso.Color lithograph on wove paper.image: 10 3/4 x 8 in.(27.3 x 20.3cm)sheet: 11 x 8 3/8 in. (27.9 x 21.3cm)Unframed$1,000-1,500

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159 10-1277/9KEITH HARING(american 1958-1990)“INTERNATIONAL VOLUNTEER DAY”1988, signed in pencil, numbered 649/1000, the full sheet; World Federationof the United Nations Associations, New York , New York , publisher (andwith their blindstamp). Color lithograph on Arches.image/sheet: 11 1/4 x 8 1/2 in. (28.5 x 21.6cm)provenance:Private Collection, Philadelphia, Pennsylvania.note:This work is accompanied by a Certificate of Authenticity as issued from theWorld Federation of the United Nations Associations, New York.$700-1,000


160 10-1112/2RICHARD BOSMAN(american b. 1944)“WATERFALL”Signed and dated ‘BOSMAN FEB‘86’’ verso, oil on canvas72 x 48 in. (182.9 x 121.9cm)provenance:Brooke Alexander Gallery, New York,New York.Private Collection, Pennsylvania.$2,500-4,000

161 10-1158/2DAVID LEFFEL(american b. 1931)“BREAKFAST”Signed with initials ‘D.L.’ upper left,signed again with initials and titledin ballpoint pen ‘Dal Breakfast.’ onstretcher verso, oil on canvas10 1/4 x 14 in. (26 x 35.6cm)provenance:Private Collection, Scottsdale,Arizona.$4,000-6,000

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162 10-1158/1DAVID LEFFEL(american b. 1931)“ED HAMILTON’S STUDIO”Signed with initials ‘D.L.’ upper left,oil on canvas48 x 39 in. (121.9 x 99cm)provenance:Kenmore Galleries, Philadelphia,Pennsylvania.Private Collection, Scottsdale,Arizona.$10,000-15,000

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163 10-1178/7FRANCIS LIVINGSTON(american b. 1953)“SOHO SHADOWS II”Signed ‘Livingston’ bottom right, oilon board48 x 48 in. (121.9 x 121.9cm)provenance:Arcadia Fine Arts, Inc, New York,New York.Private Collection, Philadelphia,Pennsylvania.exhibited:Arcadia Gallery, New York, NewYork, “Francis Livingston: Recent OilPaintings,” 2004, illustrated oncover of catalogue.$2,000-3,000

164 10-1178/5SCOTT NOEL(american b. 1955)“LOOKING NORTH”Signed with initials ‘SN’ bottomright, pastel on two joined sheets ofwove paperExecuted in 200340 x 64 in. (101.6 x 162.6cm)provenance:Gross McCleaf Gallery, Philadelphia,Pennsylvania.Private Collection, Philadelphia,Pennsylvania.$2,000-3,000

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165 10-1160/7two works on paperDOX THRASH(american 1893-1965)UNTITLED (ETHAN ALLEN MURAL STUDY)Graphite on paperExecuted ca. 1940image: 8 3/4 x 7 7/8 in. (22.2 x 20cm)sheet:14 3/4 x 11 1/2 in. (37.5 x 29.2cm)and;UNTITLED (ETHAN ALLEN MURAL STUDY)Watercolor, ink and tempera on paperExecuted ca. 1940image: 10 x 8 in. (25.4 x 20.32cm)panel: 16 x 10 in. (40.1 x 25.4cm)(2).provenance:Nowak Collection, Philadelphia, Pennsylvania.Private Collection, Philadelphia, Pennsylvania.$1,500-2,500

166 10-1117/2HUMBERT HOWARD(american 1915-1992)THREE SISTERSSigned and dated ‘HumbertHoward 80’ in black crayon andpaint bottom right, oil on board32 1/4 x 21 in. (81.3 x 53.3cm)provenance:Gross McCleaf Gallery,Philadelphia, Pennsylvania.$2,500-4,000

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167 10-1117/1HUMBERT HOWARD(american 1915-1992)PORTRAIT OF A GIRLSigned and dated ‘HumbertHoward 80’ bottom left, oil onboard32 x 21 in. (81.3 x 53.2cm)$2,500-4,000


168 10-1072/2BIAGIO PINTO(american b. 1911)STILL LIFESigned ‘Biagio Pinto’ bottom left, oilon canvas12 x 20 in. (30.5 x 50.8cm)provenance:Makler Gallery, Philadelphia,Pennsylvania.$800-1,200

169 10-1072/1ANGELO PINTO(american 1908-1994)THE FISHERMANSigned ‘A. Pinto’ bottom right corner,gouache on glass8 x 10 in. (20.3 x 25.4cm)provenance:Makler Gallery, Philadelphia,Pennsylvania.$800-1,200

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170 10-2358/1LEONARD NELSON(american 1912-1993)ABSTRACTIONSigned and dated ‘Nelson 54’ lowerright, numbered ‘D55 # 50’ verso,oil on board10 1/2 x 14 1/2 in. (26.7 x 36.8cm)provenance:Freeman’s, Philadelphia,Pennsylvania, June 21, 2002, lot 111.$1,500-2,500


171 10-1308/1LEONARD NELSON(american 1912-1993)“TIKA-SA”Signed and dated “Nelson 48”bottom right corner, signed againand titled “Leonard Nelson TIKA SA”verso, oil on wood panel in originalhandmade framepanel: 12 x 9 in. (30.5 x 22.9cm)with frame: 16 3/4 x 13 3/4 in.(42.6 x 35cm)$1,500-2,500

172 10-1178/2JANE PIPER(american 1916-1991)“RED ANDWHITE CHECKEDTABLECLOTH”Signed and dated ‘Jane Piper 84’bottom right, oil on canvas44 x 50 in. (111.8 x 127.2cm)provenance:Mangel Gallery, Philadelphia,Pennsylvania.Private Collection, Philadelphia,Pennsylvania.$3,000-5,000

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173 10-1080/2JIMMY LUEDERS(american 1927-1994)“STILL LIFE WITH SELF PORTRAIT”Acrylic on canvasExecuted in 199042 x 44 in. (106.2 x 111.8cm)provenance:Private Collection, New York, NewYork.$2,000-3,000

174 10-1080/4ELIZABETH OSBORNE(american b. 1936)“EARLY SPRING”Signed and dated ‘OSBORNE 87’bottom right, signed, titled anddated ‘OSBORNE “EARLY SPRING”1987 ©’ in black marker on stretcherverso, oil on canvas48 x 42 in. (121.8 x 106.7cm)provenance:Private Collection, New York, NewYork.$2,000-3,000

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175 10-1080/1ELIZABETH OSBORNE(american b. 1936)“DELAWARE RIVER”Signed ‘OSBORNE’ bottom right, oilon canvasExecuted in 198439 x 53 in. (99.1 x 134.6cm)provenance:Jane Haslem Gallery, Washington,D.C.Private Collection, New York, NewYork.$2,000-3,000

176 09-2355/1BO BARTLETT(american b. 1955)SELF-PORTRAITSigned and dated ‘James W BoBartlett / 1981’ and inscribed ‘IGN’and with artist’s device alongbottom edge of sheet, graphite onpapersheet: 14 5/16 x 9 7/8 in.(36.4 x 25.1cm)provenance:More Gallery, Philadelphia,Pennsylvania.Private Collection, Marietta,Georgia.$1,000-1,500

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177 10-1156/1EDNA ANDRADE(american 1917-2008)“TEMPLE”Signed with initials ‘EA’ bottom left,signed twice ‘EDNA ANDRADE’ anddated twice in marker on stretcherverso, acrylic on canvasExecuted in 198660 x 37 in. (152.4 x 94cm)provenance:Private Collection, Connecticut.exhibited:Institute of Contemporary Art,Philadelphia, Pennsylvania, “EdnaAndrade: Optical Paintings, 1963-1986,” January 18-April 6, 2003,illustrated p. 68.$10,000-15,000

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178 10-1178/1EDNA ANDRADE(american 1917-2008)PRESENCESigned with initials ‘EA’ bottom left,acrylic on canvasExecuted in 196960 x 39 3/4 in. (152.4 x 101cm)provenance:Freeman’s, Philadelphia,Pennsylvania, 5/21/05, lot 227.Private Collection, Philadelphia,Pennsylvania.$8,000-12,000

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179 09-2271/13EDNA ANDRADE(american 1917-2008)UNTITLEDSigned ‘EDNA ANDRADE’ and dated ‘3/25/80’ in marker on stretcherverso, acrylic on canvas42 x 42 in. (106.6 x 106.6cm)provenance:The Artist.Private Collection, Philadelphia, Pennsylvania.$8,000-12,000

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180 10-1273/1EDNA ANDRADE(american 1917-2008)“FLYING CROSS”Signed with initials ‘EA’ bottom left,signed again and dated ‘EDNAANDRADE 1976’ on canvas overstretcher verso, acrylic on canvas30 x 30 in. (76.3 x 76.3cm)provenance:Marian Locks Gallery, Philadelphia,Pennsylvania.Mary Kilroy, Philadelphia,Pennsylvania.exhibited:Pennsylvania Academy of the FineArts, Philadelphia, Pennsylvania,September 17, 1993-January 30,1994, exhibition catalogue #19.$8,000-12,000

END OF SALE

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namesForename(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, aseries of asterisks followed by the surname of the artist, wether preceded byan initial or not, indicates that in our opinion the work is by the artistnamed.

attributed toRefers to probably a work by the artist; e.g. Attributed to Charles WillsonPeale.

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

circle ofCircle of..... refers to a work of the period of the artist executed under hisimmediate 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.

IndexAmerican School, 96Andrade, E., 177-180Ara, K.H., 75Ardissone, Y., 47Armleder, J., 155, 156Avery, M., 84-88

Baj, E., 42Bartlett, B., 176Bartlett, J., 146Benton, F., 118Bertoia, H., 101-107Bosman, R., 160Botero, F., 80Bourgeois, L., 144Brands, E., 51Braque, G., after, 17Burman, S., 66, 67

Caballero, L., 83Calder, A., 97, 99, 100Cassatt, M., 4Chagall, M., 24, 25Christo, 130Cheret, J., 8, 9Conner, L., 148Crovello, W., 115

Dali, S., 21-23de la Bourdonnaye, A., 52de Martinez, A.M., 81, 82de Saedeleer, V., 29de Toulouse-Lautrec, H., 10Delaunay-Terk, S., 26, 27

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.

Devi, S., 73Dubord, J.P., 46

Ernst, M., 33

Farreras, F., 45Frankenthaler H., 124, 125

Gaitonde, V.S., 71Glarner, F., 28Goode, J., 113Groover, J., 147Haiwen, T., 62Hambleton, R., 157Haring, K., 158, 159Hockney, D., 57Hodgkin, H., 54Howard, H., 166, 167Hunter, C., 98Hutter, S., 121

Ihlenfeld, K., 108-112

Jacquette, Y., 149-152Jarvaise, J., 95Jenkins, P., 126, 127

Kamrowski, G., 93Kandinsky, W., 32Katz, A., 142, 143Knaths, K., 90Kogan, M. (Moissey), 30, 31Kulkarni, K.S., 74Kwang, C.K., 60, 61

Le Pho, 79Leffel, D., 161, 162Leuders J., 173Lichtenstein, R., 138Livingston, F., 163

Magritte, R., 39Magritte, R., after, 34-38Malakoul, M.P., 59Malina, F., 117Mallory, R., 120Man Ray, 41Manet, E., 5Marsh, R., 89Mazumdar, H., 72Menkes, S.J., 49Michaels, D., 40Milton, P., 153, 154Miro, J., 18-20Monet, C. (and G. Thornley), 1Moore, H., 55, 56Munakata, S., 63, 64

Nagano, S., 119Nelson, L., 170, 171Nevelson, L., 128Newman, A., 94Noel, S., 164Noland, K., 123

Oldenburg, C., 129Orhon, M., 58Osborne, E., 174, 175

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

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

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

signatures & datesSigned and/or dated and/or inscribed means that we believe the signatureand/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 believethe artist’s name and/or date and/or inscription have been added by anotherhand.

All references to signature, inscriptions and dates refer to the present stateof the work.

measurementsDimensions are given height before width.

Pepper, B., 114Picasso, P., 11, 12, 13, 15, 16Picasso, P., after, 14Pinto, A., 169Pinto, B., 168Piper, J., 172

Ramos, M., 137Rauschenberg, R., 132-136Recalcati, A., 50Renoir, P.A., 6, 7Roy, J., 68-70Ruscha, E., 145

Scarlett, R., 91, 92Seidel, J., 53Sewell, L., 131Shreshtha, L., 65Souza, F.N., 76-78Stanczak, J., 116Stella, F., 122Sunday B. Morning (after AndyWarhol), 139-141

Tapies, A., 43, 44Thornley, G. (and Monet, C.), 1Thrash, D., 165

Warhol, A., after, 139-141Weidemann, J., 48Whistler, J.A.M., 2, 3

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Fine American & EuropeanPaintings & Sculpture06/13/10

EExxhhiibbiittiioonn::Thursday, June 10th & Friday, June 11th10am-5pm

Saturday, June 12th, 2010 Noon-5pm

IInnqquuiirriieess::AALLAASSDDAAIIRR NNIICCHHOOLL [email protected]

DDAAVVIIDD WWEEIISSSS [email protected]

LLIIBBIIAA EELLEENNAA MMEENNDDEEZZ [email protected]

BERNARDUS JOHANNES BLOMMERS(DUTCH 1845-1914)AT THE BEACHSigned and dated 'Blommers 80' bottomright, oil on canvas31 1/4 x 46 1/4 in. (79.4 x 117.5cm) provenance:Private Collection, Pennsylvania$80,000-120,000

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Purchase removal, shipping andoffsite storage information

successful bidders for the property from themodern & contemporary works of art sale will beexpected to pick up all property from freeman’s nolater than 3 pm on friday, may 28th 2010.

Shippers who have worked with Freeman’s clients inthe past, include but are not limited to:

VG Packaging LLC:Contact: Gordon G Murray II12 Salem RoadSchwenksville, PA 19473tel: 484-552-8741fax: 484-552-8744email: [email protected]

UPS StoreContact: John Bohach51 North 3rd StreetPhiladelphia, PA 19106tel: 215.629.4990fax: 215.629.4992email: [email protected]

Mr. C’sContact: Charles Cohentel: 267.977.9567email: [email protected]

Cadogan Tate Fine ArtCadogan House, 41-20 39th StreetSunnyside, New York 11104tel: 718.706.7999fax: 718.707.2847email: [email protected]

To ensure the safety of your lot(s) Freeman’s requestspayment in full and removal of property within tenbusiness days of the sale date. Collection hours areMon–Fri, 9:30–4:30pm. For larger items, please [email protected] to schedule a loadingdock appointment. For purchase release to persons notlisted on your invoice, 3rd party authorization isrequired. Please mail or fax, 215.599.2240, a signedletter stating sale, lot, successful bidder and name of3rd party collecting property.

Freeman’s does not handle packing or shipping. Theshippers listed here have worked with Freeman’s clientsin the past and will be happy to provide you withquotes for the packing and shipping of your property.


PLASTICGOD(B. 1973)PRAISE THE LORDMixed Media$10,000–15,000

This auction is not sponsored or endorsed by Lucasfilm, and hasno relationship with Lucasfilm. Star Wars and all relatedintellectual property is © or ® 2010 Lucasfilm Ltd. & TM. All rightsreserved.

The Vader Project Auction07/10/10

www.freemansauction.com Freeman’s 1808 Chestnut Street Philadelphia Pennsylvania 19103Tel:215.563.9275 Fax:215.563.8236

Auction:Saturday, July 10th at 12pm

Exhibition:Monday, July 5th throughFriday, July 9th10am–6pm

Inquiries:simeon lipmantel: [email protected]

kati gegenheimertel: [email protected]

Check outwww.freemansauction.com formore exciting auctions includingthe September 3rd Pop Culturesale for which we are currentlyaccepting consignments


1Unless otherwise indicated, allProperty will be offered byFreeman’s as agent for theConsignor.

2Freeman’s reserves the right to varythe terms of sale and any suchvariance shall become part of theseConditions of Sale.

3Buyer acknowledges that it had theright to make a full inspection of allProperty prior to sale to determinethe condition, size, repair orrestoration of any Property.Therefore, all property is sold “AS-IS”. Freeman’s is acting solely as anauction broker, and unless otherwisestated, does not own the Propertyoffered for sale and has made noindependent investigation of theProperty. Freeman’s makes nowarranty of title, merchantability orfitness for a particular purpose, orany other warranty orrepresentation regarding thedescription, genuineness,attribution, provenance or conditionto the Property of any kind or naturewith respect to the Property.

4Freeman’s in its sole and exclusivediscretion, reserves the right towithdraw any property, at any time,before the fall of the hammer.

5Unless otherwise announced by theauctioneer at the time of sale, allbids are per lot as numbered in theprinted catalogue. Freeman’sreserves the right to determine anyand all matters regarding the order,precedence or appropriateincrement of bids or the constitutionof lots.

6The highest bidder acknowledgedby the auctioneer shall be the buyer.The auctioneer has the right toreject any bid, to advance thebidding at his absolute discretionand in the event of any disputebetween bidders, the auctioneershall have the sole and finaldiscretion either to determine thesuccessful bidder or to re- offer andresell the article in dispute. If anydispute arises after sale, theFreeman’s sale record shall beconclusive in all respects.

7If the auctioneer determines thatany opening or later bid or anyadvance bid is not commensuratewith the value of the Propertyoffered, he may reject the same andwithdraw the Property from sale.

8Upon the fall of the hammer, title toany offered lot or article willimmediately pass to the highestbidder as determined in theexclusive discretion of theauctioneer, subject to compliance bythe buyer with these Conditions ofSale. Buyer thereupon assumes fullrisk and responsibility of theproperty sold, agrees to sign anyrequested confirmation of purchase,and agrees to pay the full price, plusBuyer’s Premium, therefore or suchpart, upon such terms as Freeman’smay 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 deficiencyin the original purchase price and

will 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 due to Freeman’s.Freeman’s shall have all of the rightsaccorded a secured party under thePennsylvania Uniform CommercialCode.

10Unless the sale is advertised andannounced as “without reserve”,each lot is offered subject to areserve and Freeman’s mayimplement such reserves by biddingthrough its representatives on behalfof the Consignors. In certaininstances, the Consignor may payless than the standard commissionrate where Freeman’s or itsrepresentative is a successful bidderon behalf of the Consignor. Wherethe Consignor is indebted toFreeman’s, Freeman’s may have aninterest in the offered lots and theproceeds therefrom, other than thebroker’s Commissions, and all salesare subject to any such interest.

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

12Any pre-sale bids must besubmitted in writing to Freeman’sprior to commencement of the offerof the first lot of any sale. Freeman’scopy of any such bid shallconclusively be deemed to be thesole evidence of same, and whileFreeman’s accepts these bids for theconvenience of bidders not presentat the auction, Freeman’s shall notbe responsible for the failure toexecute, or, to execute properly, anypre-sale bid.

13A Buyer’s Premium will be added tothe successful bid price and ispayable by the buyer as part of thetotal purchase price. The Buyer’s

Premium shall be: 25% on the first$20,000 of the hammer price ofeach lot, 20% on the portion from$20,001 through $500,000, and12% on the portion of the hammerprice exceeding $500,000.

14Unless exempted by law from thepayment thereof, the buyer will berequired to pay any and all federalexcise tax and any state and/or localsales taxes, including wheredeliveries are to be made outsidethe state where a sale is conducted,which may be subject to acorresponding or compensating taxin another state.

15Freeman’s may, as a service to buyerarrange to have purchased propertyposted and shipped at the buyer’sexpense. Freeman’s is notresponsible for any acts oromissions in packing or shipping ofpurchased lots whether or not suchcarrier recommended by Freeman’s.Packing and handling of purchasedlots is at the responsibility of thebuyer and is at the entire risk of thebuyer.

16In no event shall any liability ofFreeman’s to the buyer exceed thepurchase price actually paid.

17No claimed modification oramendment of this Agreement onthe part of any party shall bedeemed extant, enforceable orprovable unless it is in writing thathas been signed by the parties tothis Agreement. No course ofdealing and no delay or omission onthe part of Freeman’s in exercisingany right under this Agreement shalloperate as a waiver of such right orany other right and waiver on anyone or more occasions shall not beconstrued as a bar to or waiver ofany right or remedy of Freeman’s onany future occasion.

18These Conditions of Sale and thebuyer’s, the Consignor’s andFreeman’s rights under theseConditions of Sale shall be governedby, construed and enforced inaccordance with the laws of theCommonwealth of Pennsylvania andConsignor and Buyer agree to theexclusive jurisdiction of thePhiladelphia, Pennsylvania Court ofCommon Pleas and the UnitedStates District Court for the EasternDistrict of Pennsylvania.

Terms & Conditionsall property offered and sold (“property”) through samuel t. freeman & co,(“freeman’s”) shall be offered and sold on the terms and conditions set forthbelow which constitutes the complete statement of the terms and conditions onwhich all property is offered for sale. by bidding at the auction, whether presentin person or by agent, by written bid, telephone, internet or other means, the buyeragrees to be bound by these terms and conditions.


www.freemwww.freemansaucansauction.ction.comom SamuelSamuel TT FFrreeeemanman && CCoo.. 18180808 CheChestnutstnut StrStreeteet PhPhiladeiladelphialphia PePennsnnsylvylvaanniaia 1191091033TelTel--215.215.563.92563.927575 FFax-ax-215.215.563.563.88223636

modern & contemporary works of art 5/16/10

Documents

conditionsof sale

terms andconditions

buyers responsibility

successful bid price

sale registered bidders

packingall potential

potential buyers areunable

buyers premium shallbe