PDF-Catalogue - Freeman's Auctioneers

Modern & Contemporary 

Art 05/05/13

Modern & Contemporary Art 

05/05/2013 

Modern & Contemporary 

Art 

Sale 1458 (lots 1-193) 

Sunday, May 5th at 2pm 

Inquiries: 

anne henry ext 3049 

Vice-President 

267.414.1220 

ahenry@freemansauction.com 

aimee pflieger ext 3015 

Associate Specialist 

267.414.1221 

apflieger@freemansauction.com 

fred frederick ext 3018 

Department Administrator 

267.414.1231 

ffrederick@freemansauction.com 

Exhibitions: 

Thursday, May 2nd and 

Friday, May 3rd 10am-5pm 

Saturday, May 4th 

12 noon-5pm 

Catalogue $35 (in the Gallery) 

Inside Front Cover: Lot 42 (detail) 

Inside Back Cover: Lot 121 (detail) 

Color images of every lot are 

available at 

www.freemansauction.com 

Bidding: 

bids department 

bridgette bonner 

267.414.1208 

fax: 215.599.2240 

bbonner@freemansauction.com 

Printing by Brilliant Studio 

Exton, Pennsylvania

2 www.freemansauction.com 

Important Information 

for Buyers 

Registration 

Buyer’s Premium 

Sales Tax 

All potential buyers must register for the sale prior to placing a bid. 

Registration information may be submitted in person at our reception desk, 

by fax or through our website at www.freemansauction.com. We will require 

proof of identification and residence and may require a credit card and/or a 

bank reference. By registering for the sale, the buyer acknowledges that he 

or she has read, understood and accepted Freeman’s Terms and Conditions 

of Sale. 

A Buyer’s Premium will be added to the successful bid price and is payable 

by the buyer as part of the total purchase price. The Buyer’s Premium shall 

be: 25% on the first $50,000 of the hammer price of each lot, 20% on the 

portion from $50,001 through $1,000,000, and 12% thereafter. 

All items in the catalogue are subject to the 8% Pennsylvania and 

Philadelphia sales tax. Dealers purchasing for resale must register their tax 

numbers on current PA forms. Forms should be submitted to our Client 

Services office on the second floor. 

Catalogue Descriptions 

Bidding 

Payment 

Removal of Purchases 

Shipping and Packing 

All item descriptions, dimensions and estimates are provided for guidance 

only. It is the buyer’s responsibility to inspect all lots prior to bidding to 

ensure that the condition is to their satisfaction. If potential buyers are 

unable to inspect lots in person, our specialists will be happy to prepare 

detailed Condition Reports on individual lots as quickly as possible. These 

are for guidance only, and all lots will be sold “as is” as per our Terms and 

Conditions of Sale. 

At the sale Registered bidders will be assigned a bidder number and given a 

paddle for use at the sale. Once the first bid has been placed, the 

auctioneer asks for higher bids in increments determined by the auctioneer. 

To place your bid, simply raise your paddle until the auctioneer 

acknowledges you. The auctioneer will not mistake a random gesture for a 

bid. 

By phone A limited number of telephone lines are available for bidding by 

phone through a Freeman’s representative. Phone lines must be reserved in 

advance. Requests must be submitted no later than 24 hours prior to the 

scheduled start of the sale. 

In writing Bid forms are available in the sale room and at the back of the 

catalogue. These should be submitted in person, by mail or by fax no later 

than one hour prior to the scheduled start of the sale. The auctioneer will 

bid on your behalf up to the limit. 

On the internet A fully-illustrated catalogue is available on-line at 

www.freemansauction.com. Registered bidders may leave absentee bids 

through the web site and will receive email confirmation of their bid. 

Freeman’s is not responsible for errors or failure to execute bids. 

Payment is due within ten (10) working days of the sale. Lots purchased will 

not be released until we have received full payment. Payment may be made 

in cash, by check, money order, or debit card. Payments by check must clear 

the bank before goods will be released. 

Deliveries will not be made during the time of the sale unless otherwise 

indicated by the auctioneer. All items must be paid for and removed within 

ten (10) working days of the sale. Purchases not so removed may be turned 

over to a licensed warehouse at the expense and risk of the purchaser. 

Responsibility for packing, shipping and insurance shall be exclusively that 

of the purchaser. Upon request, Freeman’s will provide the purchaser with 

names of professional packers and shippers known to us.

www.freemansauction.com 3 

Modern & 

Contemporary Art 

SUNDAY, MAY 5TH 

AT 2PM


1 131072/2 

JACQUES VILLON 

(french, 1875-1963) 

“LA PARISIENNE (TOURNÉE À 

GAUCHE, PETIT PLANCHE)” 

1904, pencil signed, numbered ‘No 

55’ (from the edition of 100), with 

wide margins, Sagot, Paris, publisher 

and with their embossed stamp. 

Color etching and aquatint on Japan. 

image: 9 3/8 x65/8 in. 

(23.8 x 16.8cm) 

sheet: 15 5/8 x 10 3/8 in. 

(39.7 x 26.4cm) 

[Ginestet & Pouillon, E93] 

Unframed 

$1,000-2,000 

2 131315/1 

HENRI MATISSE 

(french, 1869-1954) 

“JEUNE FILLE ACCOUDEE AU 

PARAVENT FLEURI” 

1923, pencil signed, numbered 

22/60, with thin (trimmed) 

margins. Lithograph on Chine laid 

down to wove paper. 

image: 7 1/8 x 10 1/4 in. 

(18 x 26.1cm) 

sheet: 9 x 11 7/8 in. (22.9 x 30.2cm) 

[Duthuit, 439] 

$5,000-8,000


3 131009/2 

PABLO PICASSO 

(spanish, 1881-1973) 

“AU CIRQUE” 

from “la suite des saltimbanques” 

1905 (printed in 1913), bears pencil 

signature, from the edition of 250 

(there were also 27 or 29 on Japan), 

with full margins, Ambroise Vollard, 

Paris, publisher. Drypoint etching on 

Van Gelder. 

image: 8 5/8 x51/2 in. 

(21.9 x 14cm) 

sheet: 20 x 13 in. (50.8 x 33cm) 

[Bloch, 9; Baer, 11] 

$3,000-5,000 

4 139056/2 

PABLO PICASSO 

(spanish, 1881-1973) 

“LE BAIN” 

from “la suite des saltimbanques” 

1905 (printed in 1913), from the 

edition of 250 (there were also 27 

or 29 on Japan), with wide margins, 

Ambroise Vollard, Paris, publisher. 

Etching on Van Gelder. 

image: 13 1/2 x 11 1/4 in. 

(34.3 x 28.6cm) 

sheet: 17 7/8 x 14 3/8 in. 

(45.4 x 36.6cm) 

[Bloch, 12; Baer, 14] 

$3,000-5,000


5 131257/1 

PABLO PICASSO 

(spanish, 1881-1973) 

“FEMME NUE ASSISE DEVANT UN 

RIDEAU” 

from “la suite vollard” 

1931 (printed in 1939), pencil signed, 

from the edition of 250 (there were 

also 50 on larger paper), with wide 

margins, Vollard, Paris, publisher. 

Etching on Montval, watermark 

Picasso. 

image: 12 1/4 x83/4 in. 

(31.2 x 22.4cm) 

sheet: 17 5/8 x 13 1/8 in. 

(44.8 x 33.3cm) 

[Bloch, 137; Baer, 202] 

$5,000-7,000 

6 122364/47 

PABLO PICASSO 

(spanish, 1881-1973) 

“SCÈNE BIBLIQUE, AVEC BOUFFON 

AU CHAPEAU À DEUX CORNES” 

from “series 347” 

1968, pencil signed and numbered 

21/50 (there were also 17 artist’s 

proofs), with full margins, Galerie 

Louise Leiris, Paris, publisher. 

Etching on BFK Rives. 

image: 8 1/4 x 10 1/2 in. 

(21 x 26.7cm) 

sheet: 12 3/4 x 16 in. 

(32.4 x 40.7cm) 

[Bloch, 1814; Baer, 1831] 

$2,500-3,500


7 122364/46 

PABLO PICASSO 

(spanish, 1881-1973) 

“PEINTRE DEVANT SA TOILE, 

AVEC UN MODÈLE” 




proofs), with wide margins, Galerie 



image: 10 1/4 x63/4 in. 

(26 x 17.2cm) 

sheet: 16 1/8 x 11 3/4 in. 

(41 x 29.8cm) 

[Bloch, 1725; Baer, 1742] 

$5,000-7,000 

8 122364/45 

PABLO PICASSO 

(spanish, 1881-1973) 

“ARTISTE PEINTRE AU TRAVAIL , 

AVEC UN MODÈLE LAID” 







image: 8 3/4 x53/4 in. 

(22.3 x 14.7cm) 

sheet: 14 1/2 x 11 in. (36.8 x 28cm) 

[Bloch, 1711; Baer, 1727] 

$4,000-6,000


9 131112/20 

PABLO PICASSO 

(spanish, 1881-1973) 

“PROFIL DE FEMME NO. 67” 

1963, inscribed “Edition Picasso” 

and “Madoura,” numbered 67 and 

numbered 45/100 on the underside, 

white earthenware dish with 

decoration in engobes under partial 

brushed glaze and black patina 

diameter: 10 in. (25.4cm) 

[Ramié, 473] 

provenance: 

The Estate of D. Colman Witte, 

Philadelphia, Pennsylvania. 

$2,000-3,000 

10 122364/44 

PABLO PICASSO 

(spanish, 1881-1973) 

“VIEUX CORSAIRE À LA RETRAITE 

FUMANT SA PIPE” 







image: 8 3/4 x67/8 in. 

(22.3 x 17.5cm) 

sheet: 14 5/8 x 12 1/4 in. 

(37.2 x 31.2cm) 

[Bloch, 1740; Baer, 1757] 

$8,000-12,000


11 131390/2 

PABLO PICASSO 

(spanish, 1881-1973) 

“CLOCK-SHAPED HEAD” 

1956, with the ‘Empreinte Originale 

Picasso’ and ‘Madoura Plein Feu’ 

stamps verso, ink-numbered 

38/100 and ‘C.104’, white 

earthenware ceramic plate 

diameter: 16 1/2 in. (42 cm) 

[Ramié, 325] 

provenance: 

Private Collection. 

$5,000-7,000 

12 131390/1 

PABLO PICASSO 

(spanish, 1881-1973) 

“CLOCK WITH TONGUE” 


Picasso’ and ‘Madoura Plein Feu’ 

stamps verso, ink-numbered 25/100 

and ‘C 106’, white earthenware 

ceramic plate 

diameter: 16 1/2 in. (42 cm) 

[Ramié, 327] 

provenance: 


$5,000-7,000 

13 OWNED/430 

PABLO PICASSO 

(spanish, 1881-1973) 

“VISAGE AUX PALMES” 


de Picasso’ and ‘Madoura Plein Feu’ 

stamps verso, numbered 6/100 and 

incised ‘C 116’, white earthenware 

ceramic plate 

diameter: 16 1/2 in. (42cm) 

[Ramie, 365] 

provenance: 

By family descent. 

Private Collection, New Jersey. 

$3,000-5,000


14 122364/49 

SALVADOR DALÍ 

(spanish, 1904-1989) 

“APRES 50 ANS DE SURREALISME” 

the complete set of twelve prints 

1974, the complete set of 12 signed 

and numbered color etchings, 

title/justification, text by André 

Pannaud, copy F172/195 (from the 

French edition, there was also a 

deluxe edition of 35 and an English 

edition of 195), Transworld Art SA, 

Fribourg, publishers and with their 

blindstamp and copyright stamps. 

All with full margins, loose (as 

issued) on Rives BFK, in individual 

paper folders with printed text and 

contained in the original black-linen 

boards and slipcase with printed 

text. 

images:15 3/4 x 11 7/8 in. 

(40 x 30.2cm) 

sheets: 25 3/4 x 19 5/8 in. 

(65.4 x 49.9cm) 

portfolio:28 1/4 x 21 5/8 in. 

(71.8 x 55cm) 

[Michler & Löpsinger, 665-76; Field, 

74-8] 

$12,000-18,000


15 122364/48 


(spanish, 1904-1989) 

“OUR HISTORICAL HERITAGE” 

the complete set of eleven prints 

1975, the complete set of eleven signed and 

numbered engravings with color stencil 

variations, title and justification, copy 126/400 

(there were also 50 in Roman numerals and a 

total of 300 South American copies), Leon 

Amiel, Paris, publisher and with his blindstamps. 

All with full margins, loose (as issued), on 

Arches, contained within blue fabric covered 

portfolio box with printed text and original metal 

medallion cast by the Hotel des Monnaies de 

Paris after an original wax mold by the artist 

embedded in cover. 

images: 22 1/4 x 15 3/4 in. (56.6 x 40cm) 

sheets: 26 x 19 7/8 in. (66.1 x 50.5cm) 

portfolio: 26 1/4 x 20 1/4 in. (66.8 x 51.5cm) 

[Michler & Löpsinger, 752-62] 

$5,000-7,000 

16 122364/50 


(spanish, 1904-1989) 

“PAPILLONS ANCIENNES” 

the complete set of four prints 

1977, the complete set of four signed color 

lithographs, title and justification, copy 

CXXXIX/CL (there were also 250 on Arches 

plus 65 artist’s proofs on Japan), published by 

Bowles & Hopkins/Sienna Workshop, New 

York. All on Japan, with wide margins, loose 

(as issued), contained within original black 

cloth-covered portfolio with gilt lettering. 

images: 23 1/4 x 18 in. (59.1 x 45.7cm) 

sheets: 29 1/2 x 20 1/2 in. (75 x 52cm) 

album 31 1/4 x 23 in. (79.4 x 58.4cm) 

[Michler & Löpsinger, 1491-1494] 

$4,000-6,000


17 131250/1 


(spanish, 1904-1989) 

PORTRAIT OF A WOMAN 

Signed on the support and dated 

1924, ink on paper 

6x51/4 in. (15.2 x 13.4cm) 

[Taschen, 194] 

provenance: 

J.E. Gomensoro Galeria & Remates, 

Montevideo, Uruguay. 


literature: 

Robert Descharnes, Gilles Néret, 

“Salvador Dalí, 1904-1989: the 

paintings,” Köln/New York, Taschen, 

2001, p. 87, no. 194 (illustrated). 

$6,000-10,000 

18 122591/1 

YASUO KUNIYOSHI 

(american/iapanese, 1893-1953) 

STILL LIFE WITH FLOWERS 

Signed and dated ‘21 center right, ink on paper 

12 5/8 x97/8 in. (32.1 x 25.1cm) 

provenance: 

The artist. 

Mr. Walter Kuhn, New York, New York. 

Plaza Auction Galleries, May 2, 1962. 

Mr. M. Schneider. 

Raydon Gallery, New York, New York. 

exhibited: 

“Art on Paper, 1980,” Weatherspoon Annual Exhibition, The 

University of North Carolina at Greensboro, November 16- 

December 14, 1980. 

note: 

This work will be sold with a letter written by Mr. Maynard 

Walker of Maynard Gallery, dated 11 May, 1962 certifying 

provenance and authenticity, and is addressed to Mr. 

Schneider, the owner of the artwork at that time. 

$1,500-2,500


19 128101/1 

LÉONARD TSUGUHARU FOUJITA 

(french/iapanese, 1886-1968) 

JEUNE FILLE AUX NATTES 

Signed in ink, dated 1948 lower 

right, watercolor, gouache and ink 

on paper 

sheet: 20 3/4 x 12 15/16 in. 

(52.7 x 32.9cm) 

support sheet: 23 3/4 x 14 3/4 in. 

(60.3 x 37.5cm) 

provenance: 

Private Collection, Virginia. 

note: 

This painting has been 

authenticated by Sylvie Buisson and 

has been assigned catalogue 

number D48.018.A. and will be 

accompanied by a certificate of 

authenticity dated 10 February, 2013. 

The present owner sat for this 

portrait in 1948 when she was eight 

years old and living outside of Tokyo 

where her father, a colonel in the 

army, was stationed. She recalls that 

Foujita, by then an internationally 

celebrated artist, executed portraits 

of several of the occupationists’ 

children. 

$30,000-50,000


20 131174/1 

(AFTER) JOAN MIRÓ 

(spanish, 1893-1983) 

“UNE FEMME” 

1958, pencil signed and numbered 82/300, with wide margins, Maeght, 

Paris, publisher, and with their blindstamp. Color lithograph on Arches. 

image: 18 1/8 x 14 3/4 in. (46 x 37.5cm) 

sheet: 25 3/8 x 18 5/8 in. (64.5 x 47.3cm) 

[Maeght, 1712] 

$2,500-3,500 

21 131330/7 

JOAN MIRÓ 

(spanish, 1893-1983) 

“SERIES II, BLACK” 

1961, pencil signed bottom right, numbered ‘HC’ (the edition was 30), 

Maeght, Paris, publisher. With wide margins, lithograph on BFK Rives. 

image: 16 1/2 x 22 1/2 in. (42 x 57.3cm) 

sheet: 17 3/4 x 23 3/4 in. (45.1 x 60.3cm) 

[Mourlot, 286] 

$1,500-2,500 

22 131336/1 

JOAN MIRÓ 

(spanish, 1893-1983) 

TWO PRINTS 

from “quelques fleurs pour des amis” 

1964, both pencil signed bottom right, numbered 

30/75 (from the deluxe edition, there were also 10 

hors commerce impressions for each), the full 

sheets, XXe Siècle, Paris, publisher. Two color 

lithographs on Japan nacré. 

sheets: 16 1/8 x 12 5/8 in. (41 x 32cm) 

[Mourlot, 407 and 410; see Cramer books 920] 

(2) 

$2,500-3,500


23 138040/1 

JOAN MIRÓ 

(spanish, 1893-1983) 

“LA HARPIE” 


22/75 (there were also a few hors 

commerce copies), the full sheet, 

Maeght, Paris, publisher. Color 

etching, aquatint and carborundum 

on Arches. 

sheet: 37 1/8 x 27 1/2 in. 

(94.3 x 69.9cm) 

[Dupin, 506] 

$8,000-12,000 

24 131092/2 

JOAN MIRÓ 

(spanish, 1893-1983) 

“HUMAN RIGHTS” 

poster for unesco 


30/75, with full margins, UNESCO, 

Paris, publisher. Color lithograph 

(before letters) on Arches. 

image: 29 1/2 x 22 1/2 in. 

(74.8 x 57.2cm) 

sheet: 31 3/8 x 23 1/2 in. 

(79.8 x 59.8cm) 


$4,000-6,000


25 131180/3 

AUGUSTE HERBIN 

(french, 1882-1960) 

“TROIS OPPOSITIONS POLAIRES” 

Ink signed and dated 1941 bottom 

right, gouache and pencil on paper 

13 3/4 x 10 5/8 in. (34.9 x 27cm) 

provenance: 

Carl Laszlo, Basel. 

Christie’s New York, sale 6818, May 

11, 1989, lot 184. 


exhibited: 

“Herbin,” Kesttner-Gesellschaft, 

Hanover, September-October 1967, 

no. 91. This exhibition traveled to 

Art Association of the Rhineland 

and Westphalia, Düsseldorf, 1967. 

$20,000-30,000 

26 131120/8 

(AFTER) FERNAND LÉGER 

(french, 1881-1955) 

“LA RACINE GRISE” 

1945, ink signed and numbered 

132/250 in pencil, with wide 

margins, Guy Spitzer, Paris, 

publisher. Offset color lithograph 

and stencil on Arches. 

image: 19 1/4 x 25 1/8 in. 

(48.9 x 63.8cm) 

sheet: 25 x 35 1/2 in. 

(63.5 x 90.2cm) 

[Saphire, E 21] 

Unframed 

$800-1,200


29 131188/1 

YVES TANGUY 

(american/french, 1900-1955) 

SURREALIST COMPOSITION 

Signed and dated ‘36 in ink bottom right, gouache on 

paper 

6 3/8 x93/8 in. (16.2 x 23.8cm) 

provenance: 

Christie, Manson & Woods, Ltd, London, 

“Impressionist and Modern Drawings and 

Watercolours,” December 6, 1977, lot 139. 

Private Collection, Pennsylvania. (Purchased directly 

from the above sale). 

$150,000-200,000 

Yves Tanguy’s paintings of the 1930s 

consistently depicted his signature 

bone-like, biomorphic shapes in 

desolate landscapes, yet the decade 

also saw subtle and important 

changes in the artist’s output. 

Paintings of this era nearly always 

include an impression of unreal light 

and shadow, a horizon line that 

shifts and fades, and landscapes 

that cannot be identified with any 

particular geographic location, but 

may evoke places as exotic as the 

sea floor and the surface of the 

moon. Central to these 

compositions are loosely grouped 

shapes that hint at organic life forms 

but resist identification with any 

particular being. 

The rise of facism, threat of war, 

infighting amongst members of the 

Surrealists, and frustration over 

response to his work were all factors 

that had influence on the artist’s 

palette and composition in the early 

1930s. However, by 1935, Tanguy 

had his first solo exhibition in the 

United States and in 1936, Alfred H. 

Barr acquired two paintings for the 

collection of the Museum of 

Modern Art. The increase of solo 

and group exhibitions and the 

artist’s impending emigration to the 

United States might have been 

factors that led Tanguy to shift his 

palette gradually lighter and caused 

his biomorphic shapes to appear 

less menacing and more playful. 

The artist’s work would remain 

consistently abstract and populated 

by strange forms in disquieting, 

otherworldly landscapes, but the 

subtle shifts during the 1930s 

influenced by disturbing world 

events and personal discontent were 

influential and important.

20 www.freemansauction.com www.freemansauction.com 17 

30 131024/1 

(AFTER) GEORGES BRAQUE 

(french, 1882-1963) 

“LA NAPPE JAUNE” 


230/300, with wide margins, 

Maeght, Paris, publisher. Color 

etching on BFK Rives. 

image: 10 x 17 in. (25.4 x 43.2cm) 

sheet: 18 1/4 x 24 1/4 in. 

(46.4 x 61.6cm) 


$2,000-3,000 

31 131330/6 


(french, 1882-1963) 

“PICHET ET OISEAU” 

Circa 1955, signed in black crayon 

and numbered 134/200, with wide 

margins, Maeght, Paris, publisher. 

Color etching and aquatint on BFK 

Rives. 

image: 16 x 20 1/4 in. 

(40.7 x 51.5cm) 

sheet: 22 x 26 1/4 in. 

(55.9 x 66.7cm) 


$1,500-2,500 

27 131097/1 

JACQUES LIPCHITZ 

(french, 1891-1973) 

“BIBLICAL SCENE II” 

Signed, bearing the artist’s thumbprint and 

incised 2/7 at the base, bronze with dark brown 

patina 

20 x7x3in. (50.8 x 17.8 x 7.6cm) 

provenance: 

Sotheby’s, New York, New York, “Impressionist 

and Modern Paintings, Drawings & Sculpture,” 

Sale 5262, October 18, 1984, lot 191A. 

Private Collection, Narberth, Pennsylvania. 

literature: 

Jacques Lipchitz with H.H. Arnason, “My Life in 

Sculpture,” New York, 1972, pp.184-85, 

illustrated p.156. 

Alan G. Wilkinson, “The Sculpture of Jacques 

Lipchitz: A Catalogue Raisonné,” Thames and 

Hudson, New York, 1996-2000, vol. II, cat. no 

448 (illustrated). 

exhibited: 

Philadelphia Museum of Art, “Jacques Lipchitz 

and Philadelphia,” June 27-August 22, 2004 

(cat. no. 37). 

$30,000-50,000 

32 131330/8 


(french, 1882-1963) 

“L’AQUARIUM” 

Circa 1950, signed in red pencil and 

numbered 8/100, with wide 

margins, Maeght, Paris, publisher. 

Color aquatint on wove paper. 

image: 10 x 13 in. (25.4 x 33cm) 

sheet: 18 x 21 1/2 in. 

(45.8 x 54.6cm) 

[Vallier, 1007] 

$1,500-2,500 

28 131330/1 

HENRY MOORE 

(british, 1898-1986) 

“FIGURES SCULPTURES” 


21/50, with wide margins, Gérald 

Cramer, Geneva, publisher. 

Woodcut on Japon nacré. 

image: 5 x73/4 in. (12.8 x 19.8cm) 

sheet:10 x 14 in. (25.5 x 35.6cm) 

[Cramer, 1] 

$3,000-5,000


33 131097/2 

GEORGES BRAQUE 

(french, 1882-1963) 

“LE TIR A L’ARC” 

frontispiece 

1960, pencil signed and inscribed H. C. 

(one of several proofs with large 

margins, the total book edition was 165, 

20 of which included a suite on Japan), 

with wide margins, Louis Broder, Paris, 

publisher. Etching on Japan. 

image: 8 3/4 x51/2 in. (22.2 x14cm) 

sheet: 15 1/8 x 11 in. (38.4 x 28cm) 

[see Vallier, 153] 

$1,500-2,500 

34 131193/5 

MARC CHAGALL 

(french/russian, 1887-1985) 

“TAMAR BELLE-FILLE DE JUDA” 

from “bible” 


45/50, with wide margins, Verve, Paris, 

publisher. Color lithograph on Arches. 

image: 14 x 10 3/4 in. (35.6 x 27.3cm) 

sheet: 20 5/8 x 14 7/8 in. 

(52.4 x 37.8cm) 


$4,000-6,000 

35 131193/7 

MARC CHAGALL 


“LE MARIAGE” 

1968, pencil signed, numbered 31/50 (there 

were also 50 with color), with wide margins, 

Gérald Cramer, Geneva, Switzerland, publisher. 

Etching and aquatint on wove paper. 

image: 24 x 17 1/2 in. (61 x 44.5cm) 

sheet: 29 5/8 x 21 1/2 in. (75.2 x 54.6cm) 

[Cramer, 32] 

$4,000-6,000


36 121903/2 

MARC CHAGALL 


“THE CONVERSATION” 


15/40, with wide margins. 

Lithograph on wove paper. 

image: 12 3/4 x93/4 in. 

(32.4 x 24.8cm) 

sheet: 19 1/4 x 14 7/8 in. 

(48.9 x 37.8cm) 


$1,200-1,800 

37 131282/5 

MARC CHAGALL 


“VISION OF PARIS” 

Pencil signed and numbered 11/40, 

with wide margins, Mourlot, Paris, 

publisher. Color lithograph on 

Arches. 

image: 13 1/4 x 10 in. 

(33.7 x 25.4cm) 

sheet: 18 3/4 x 12 3/4 in. 

(47.6 x 32.4cm) 

[Mourlot, 287; see Cramer books 

43] 

$3,000-5,000 

38 131193/6 

MARC CHAGALL 


“MOISE ET L’ANGE” 

1970, pencil signed and numbered 21/30 (there were also 

5 artist’s proofs), with wide margins. Lithograph on 

Arches. 

image: 12 5/8 x97/8 in. (32 x 25.1cm) 

sheet: 20 5/8 x 15 1/2 in. (52.4 x 39.4cm) 


$2,000-3,000


39 131193/3 

(AFTER) MARC CHAGALL 


“PARIS L’OPERA” 

1965, pencil signed and dated 1977, the full sheet, Mourlot, 

Paris, publisher. Color lithographic poster on wove paper. 

sheet: 25 x 39 in. (63.5 x 99cm) 

[Sorlier posters, p. 96-7] 

$1,000-1,500 

40 131072/6 

PAUL DELVAUX 

(belgian, 1897-1994) 

UNTITLED (WOMAN) 

Sepia ink on paper 

sheet: 14 3/4 x 10 3/4 in. (37.47 x 27.3cm) 

Unframed 

provenance: 

Private Collection, Pennsylvania. 

note: 

The committee of the Paul Delvaux Foundation has reviewed this 

work and confirmed its authenticity. 

$3,000-5,000 

41 131072/7 

two drawings 

PAUL DELVAUX 

(belgian, 1897-1994) 

WOMAN IN PROFILE AND WOMAN WITH 

DECORATIVE COLLAR 

Ink wash on paper 

sheet: 8 1/4 x63/4 in. (20.96 x 17.15cm) 

Unframed 

(2) 

provenance: 


note: 

The committee of the Paul Delvaux Foundation 

has reviewed these works and confirmed their 

authenticity. 

$2,000-3,000


42 139056/1 

WOLFGANG PAALEN 

(austrian/mexican, 1907-1959) 

UNTITLED 

Signed with initials and dedicated “à Richard B. Freeman mon amis 1949” 

verso, oil on canvas 

Executed circa 1948 

25 3/4 x 25 3/4 in. (65.4 x 65.4cm) 

provenance: 

The artist. 

Richard Borden Freeman, Mill Valley, California 

(acquired directly from the above in 1949). 


Sarah Freeman Evans, Kentucky. 

note: 

This lot will be accompanied by a copy of ‘Wolfgang Paalen’ by Gustav 

Regler, Nierendorf Editions, New York, New York, 1947. The book has been 

dedicated to the artist’s friend, and original owner of the painting as follows: 

“à Richard B. Freeman très amical hommage, Wolfgang Paalen Mexico 1947.” 

Andreas Neufert, Berlin, has kindly confirmed the authenticity of the work 

based on a photograph. 

$40,000-60,000 

From 1920 to 1940 Wolfgang Paalen 

studied and painted in France, Italy, 

Germany, Spain, Switzerland and 

Greece. In the 1930’s, he was a part 

of the Parisian Surrealist group led 

by Breton and partook in the 

International Surrealist Exhibition in 

London in 1936. With the advent of 

the war, many artists from the group 

scattered, with Paalen heading to 

Mexico. In 1940, he organized the 

International Exposition of 

Surrealism at the Gallery of Mexican 

Art, Mexico City. The same year, he 

also held his first one-man show in 

America at the Julien Levy Gallery. 

Paalen continued to work in Mexico 

City, and in 1942 founded the 

magazine DYN in which he publicly 

announced his separation from 

surrealism. Paalen’s writings for this 

magazine received international 

attention, and were published in 

Wittenborn’s “Problems of 

Contemporary Art” in 1947. 

The present work was probably 

painted in 1948, a pivotal and 

important time for the artist. By 

now, living in Mill Valley, California, 

Paalen would meet Lee Mullican and 

Gordon Onslow Ford who each 

would show individually at the San 

Francisco Museum of Art. The 

artists together declared themselves 

as the ‘Dynaton’ movement in a 

dedicated exhibition at the San 

Francisco Museum of Art in 1951. In 

his introductory essay written for 

the show, Paalen stated of their 

collective artistic ambition, “For us, a 

painting is beautiful, when it makes 

the spectator partake emotionally in 

the great structural rhythms, the 

tidal waves of form and chaos, of 

being and becoming, which go 

beyond the accidents of individual 

fate. Our images are not meant to 

shock nor to relax; they are neither 

objects for mere aesthetic 

satisfaction nor for visual 

experimentation. Our pictures are 

objects for that active meditation 

which does not mean detachment 

from human purpose, but a state of 

self-transcending awareness, which 

is not an escape from reality, 

because it is in intuitive participation 

in the formative potentialities of 

reality. …. Painting is the adventure 

into an inner space which can not be 

measured by yardsticks nor lightyears. 

A space where thought 

travels faster than light, where the 

nearest is also the farthest, where 

the smallest sea-shell curves as 

meaningful as the galactic spiral and 

the eye of the mind at once beholds 

worlds gone and to come.” (Paalen, 

Wolfgang, San Francisco Museum of 

Art, “Dynaton,” 1951 pp. 26-7). 

Richard Borden Freeman, the original 

owner of this painting was a curator 

at the San Francisco Museum at the 

time of “Dynaton,” and became 

friendly with the artists over the 

course of their work on the 

exhibition. The families often 

socialized together, and according to 

his family’s recollections, Mr. 

Freeman traded an old Studebaker 

to Paalen for the painting in 1949. 

Mr. Freeman, who went on to chair 

the Art departments at the 

Universities of Alabama and 

Kentucky, treasured this painting, 

which bears an affectionate 

dedication from the artist and has 

remained in his family ever since.

www.freemansauction.com 25


43 131180/1 

MAX ERNST 

(german, 1891-1976) 

“CHERI BIBI” 

Conceived 1973, cast in 1975, signed 

and numbered 63/175 on the back 

of the base, with Valsuani Cire 

Perdue stamp, bronze with green 

patina 

12 3/4 x7x63/8 in. 

(32.4 x 17.8 x 16.2cm) 

provenance: 

Private Collection, Washington, D.C. 

literature: 

Exhibition catalogue for “Max Ernst: 

Sculture = Sculptures,” Milano: 

Charta, 1996, p. 184 (another cast 

illustrated). 

$15,000-25,000 

44 122460/2 

two paintings 

ALBERT RATY 

(belgian, 1889-1970) 

VILLAGE SCENES 

Both signed bottom left, inscribed “Vresse S/Semois”, 

and “Bohan S/Semois” respectively and both dated 

1945 verso, oil on canvas 

11 3/4 x 17 1/2 in. (29.8 x 44.5cm) and 

11 x 12 in. (28 x 30.5cm) 

(2) 

provenance: 


$1,200-1,800


45 131180/6 

ANDRÉ LHOTE 

(french, 1885-1962) 

“MAISONS DANS UN PAYSAGE” 

Signed bottom left, gouache on 

paper 

11 3/8 x 15 1/2 in. (28.9 x 39.4cm) 

provenance: 


exhibited: 

Galerie Gauvreau, Montréal, 

“Russian Avant-Garde Art from the 

Schreiver Collection,” January 20- 

March 9, 1986. 

$4,000-6,000 

46 131258/1 

JAN MULLER 

(american/german, 1922-1958) 

TWO WOMEN 

Bears inscription with artist’s name 

and title verso, oil on canvasboard 

8x10 in. (20.3 x 25.4cm) 

provenance: 

Stephen Radich, New York, New 

York. 

Jerome Goodman, Philadelphia, 

Pennsylvania. 

$2,500-3,500


47 121972/120 

LYONEL FEININGER 

(american/german, 1871-1956) 

“BUTTELSTEDT” 

Signed and titled bottom left, dated 

12 I 35 bottom right, ink on paper 

9 5/8 x 12 in. (24.5 x 30.6cm) 

provenance: 

Willard Gallery, New York, New 

York. 

Lawrence A. Fleischman, New York, 

New York. 

Kennedy Galleries Inc., New York, 

New York. 


note: 

This work will be included in the 

Lyonel Feininger archives of 

drawings and watercolors with the 

number 1189-03-06-13 and is 

accompanied by a certificate of 

authenticity dated 6 March 2013 

and signed by Achim Moeller for the 

Lyonel Feininger Project LLC. 

$20,000-30,000 

48 131371/2 

KARL SCHMIDT-ROTTLUFF 

(german,1884-1976) 

ANENOMES 

Signed bottom right, pastel and ink 

on paper 

10 1/2 x 15 3/4 in. (26.7 x 40cm) 

provenance: 

Private Collection, Philadelphia, 

Pennsylvania. 

$8,000-12,000


49 131072/3 

two drawings 

EUGENE BERMAN 

(american/russian, 1899-1972) 

“CHRISTO REY” AND UNTITLED 

Both signed with initials and dated 

‘48 and ‘49 respectively, ‘Christo 

Rey’ titled and annotated ‘254’, ink 

on paper 

each sheet: 12 x9in. 

(30.5 x 22.8cm) 

Unframed 

(2) 

provenance: 


Pennsylvania. 

$1,000-1,500 

50 131395/14 

EUGÈNE BRANDS 

(dutch, 1913-2002) 

COUPLE 

Signed and dated ‘2-57’ upper left, bears 

dedication, ‘aan mijn vrouw’ in pencil verso, oil 

on cardboard 

17 x 17 3/8 in. (43.2 x 44.2cm) 

provenance: 

The Estate of Milton Ginsburg, Haverford, 

Pennsylvania. 

$1,500-2,500 

51 131072/5 

ASGER JORN 

(danish, 1914-1973) 

“RÉSISTANCE MASCULINE” (MÄNNLICHER 

WIDERSTAND) 

1954 (printed in 1961), pencil signed, dated and numbered 

17/50, with wide margins. Etching on wove paper. 

image: 5 1/8 x45/8 in. (13 x 11.7cm) 

sheet: 15 x 10 7/8 in. (38.1 x 27.6cm) 

[Van de Loo, 51] 

Unframed 

$600-1,000


52 131072/4 

ALEXANDER ARCHIPENKO 

(ukrainian, 1887-1964) 

“TWO FIGURES” 

from “international anthology of 

contemporary engraving” 

1962, ink signed within the image, pencil 

numbered 24/60 (there were also 15 artist’s 

proofs), with wide margins, Galerie Schwarz, 

Milan, publisher. Etching on BFK Rives. 

image: 4 3/8 x53/4 in. (11.1 x 14.6cm) 

sheet: 7 5/8 x 10 1/4 in. (19.4 x 26cm) 

[Karshan, 41] 

Unframed 

$800-1,200 

53 131277/4 

ALEXIS GRITCHENKO 

(ukrainian, 1883-1977) 

“ARC EN CIEL, MILOS” 

Signed upper right and dated 1923, 

mixed media on board 

15 3/4 x 19 5/8 in. (40 x 50cm) 

provenance: 

Peter Deitsch, New York, New York. 

Gross McCleaf Gallery, Philadelphia, 

Pennsylvania. 


Pennsylvania. 

$4,000-6,000 

54 131277/3 

ALEXIS GRITCHENKO 

(ukrainian, 1883-1977) 

“LA CIOTAT” (COTE D’AZUR) 

Signed bottom right, oil on panel 

Executed in 1953 

12 3/4 x 18 in. (32.4 x 45.7cm) 

provenance: 

Dr. Walter Hordinsky, Ukrainian 

Institute, Livingston, New Jersey. 


Pennsylvania. 

$3,000-5,000


55 122414/1 

ARTHUR KOLNIK 

(ukrainian, 1890-1972) 

“LE MUSICIEN” 

Signed bottom right, oil on panel 

18 x 15 in. (45.7 x 38cm) 

provenance: 

The Collection of Alan Dershowitz & Carolyn Cohen, Cambridge, 

Massachusetts. 

note: 

Nadine Nieszawer has confirmed the authenticity of this painting. 

$3,000-5,000 

56 131180/4 

MOÏSE KISLING 

(polish, 1891-1953) 

SEATED NUDE 

Signed bottom right, mixed media 

on paper 

27 1/2 x 19 7/8 in. (69.9 x 50.5cm) 

provenance: 

Private Collection, Washington, D.C.. 

$5,000-7,000 

57 131180/2 

two paintings 

GEORGES BORGEAUD 

(swiss, 1913-1998) 

“LE GRENADES” AND “POIRE 

VERTE” 

One signed and dated 69 bottom 

right, the other signed and dated 

70 bottom left, both signed, titled, 

dated 1970 and inscribed “Geneve” 

verso, both oil on canvas 

8 3/4 x 13 in. (22.3 x 33cm); and 

10 1/2 x 13 3/4 in. (26.7 x 34.9cm) 

(2) 

provenance: 

Private Collection, Washington, 

D.C. 

$1,000-1,500


58 128054/3 

ANDRÉ BRASILIER 

(french, b. 1929) 

“DINER EN VILLE” 

Signed bottom right, signed again with initials and titled 


29 x 23 1/2 in. (73.6 x 59.7cm) 

provenance: 

Hammer Galleries, New York, New York. 

Private Collection, Florida (purchased directly from the 

above). 

exhibited: 

“André Brasilier” Hammer Galleries, New York, October 

7-19, 1985 (no. 52, illus. p. 5) 

note: 

This painting has been authenticated by the artist and 

will be accompanied by a signed photo certificate dated 

April 27, 2011. 

$15,000-25,000 

60 131338/1 

JEAN-PIERRE SERRIER 

(french, 1934-1989) 

“LA TROUPE DE COMEDIE” 

Signed, dated 1965, titled and 

inscribed “A Paris,” oil on canvas 

20 3/4 x 25 3/4 in. (52.8 x 65.5cm) 

provenance: 


$1,000-2,000 

59 131193/2 

ANDRÉ BRASILIER 

(french, b. 1929) 

“JEUNE FILLE EN BLEU” 

Signed bottom right, titled in pencil 

verso, watercolor and pencil on 

paper 

30 x 22 in. (76.2 x 56cm) 

provenance: 

Property of a Philadelphia Estate. 

$800-1,200


61 131109/2 

NICOLA SIMBARI 

(italian, b. 1927) 

“WHARF” 

Signed bottom right, oil on canvas 

23 1/2 x 31 1/2 in. (59.7 x 80cm) 

provenance: 


$3,000-5,000 

62 131169/5 

ANDRÉ GISSON 

(american, 1921-2003) 

“AU BORD DU LAC” 

Signed bottom left, titled on the 

stretcher verso, oil on canvas 

16 x 20 in. (40.6 x 50.8cm) 

provenance: 

Private Collection, New York. 

$1,000-1,500 

63 131350/1 

ANDRÉ GISSON 

(american, 1921-2003) 

STREET SCENE 


24 x 36 in. (61 x 91.4cm) 

provenance: 


$2,000-3,000 

64 131338/2 

ANDRÉ GISSON 

(american, 1921-2003) 

CAROUSEL 


24 x 36 in. (61 x 91.4cm) 

provenance: 


$2,000-3,000


65 131365/2 

MANUEL MARIN 

(spanish, 1942-2007) 

UNTITLED 

Incised with artist’s name on base, painted and 

welded iron stabile 

31 x 53 x 17 1/2 in. (78.7 x 134.6 x 44.5cm) 

provenance: 

The artist. 

Monika Rabassa (wife of the artist). 

$1,500-2,500 

66 131365/1 

MANUEL MARIN 

(spanish, 1942-2007) 

UNTITLED 

Incised with artist’s name on base, painted and 

welded iron stabile 

33 x 42 1/2 x 19 1/2 in. (83.8 x 108 x 49.5cm) 

provenance: 

The artist. 

Monika Rabassa (wife of the artist). 

$1,500-2,500 

67 131118/31 

MIGUEL BERROCAL 

(spanish, 1933-2006) 

“ROMEO AND JULIET” 

1967, stamped with the artist’s signature and 

numbered with edition size of 1000, bronze with 

gold patina 

5 1/2 x81/2 x31/2 in. (14 x 21.6 x 9cm) 

provenance: 


note: 

This sculpture will be accompanied by the original 

instruction booklet. 

$1,500-2,500


68 131112/14 

PAUL WUNDERLICH 

(german, 1927-2010) 

“AMAZONE” 

1976, stamped with the artist’s 

name, the Venturi Arte foundry 

stamp and numbered 214/500 

opposite side, bronze with gold 

patina 

15 x 31 1/2 x41/2 in. 

(38 x 80 x 11.5cm) 

provenance: 

The Estate of D. Colman Witte, 

Philadelphia, Pennsylvania. 

$1,500-2,500 

69 131048/1 

EMILE GILIOLI 

(french, 1911-1977) 

“L’HOMME DE L’ESPACE” 

Signed and numbered 3/5, with the Susse-Fondeur, 

Paris foundry stamp at the base, polished bronze 

on wood base 


34 5/8 x 23 x 22 1/2 in. (88 x 58.4 x 57cm) 

provenance: 

Galerie Albert Loeb, Paris. 


literature: 

Centre Georges Pompidou, “Gilioli Sculptures,” 

June 6-September 3, 1979, (another example 

illustrated p. 26). 

note: 

A copy of the catalogue for the exhibition at the 

Centre Georges Pompidou will accompany this lot. 

$8,000-12,000


70 126020/2 

FRANZ KLINE 

(american, 1910-1962) 

THE HORSE 


24 x 35 in. (61 x 88.9cm) 

provenance: 

Private Collection, Connecticut. 

note: 

See Robert S. Mattison, “Franz Kline: 

Coal and Steel,” the catalogue for 

the exhibition of the same name 

held in 2012 at the Allentown Art 

Museum, page 34 for similar 

example. 

$10,000-15,000 

71 131277/2 

WILLIAM BAZIOTES 

(american, 1912-1963) 

UNTITLED 

Gouache on cardboard 

6x8in. 

(39.1 x 20.4cm) 

provenance: 

Constance & Harry Baziotes, 

Pennsylvania. 

Pennypacker-Andrews Auction 

Centre, Inc., Reading, Pennsylvania, 

“Important Twentieth Century 

Unreserved Art Auction of Recently 

Discovered Works by William 

Baziotes,” September 25, 1995 

(addendum to sale). 

Private Collection, Philadelphia. 

$6,000-10,000


72 131277/1 

WILLIAM BAZIOTES 

(american, 1912-1963) 

UNTITLED 

Signed bottom right, ink on paper 

8 1/2 x 11 in. (21.7 x 28cm) 

provenance: 

Constance & Harry Baziotes, Pennsylvania. 

Pennypacker-Andrews Auction Centre, Inc., Reading, Pennsylvania, 

“Important Twentieth Century Unreserved Art Auction of Recently 

Discovered Works by William Baziotes,” September 25, 1995 

(addendum to sale). 

Private Collection, Philadelphia. 

$1,000-2,000 

73 121345/3 

MILTON AVERY 

(american, 1885-1965) 

“TWISTED TREE” 

1943, signed, dated and numbered 39/60, with wide 

margins, The Associated American Artists, New York, New 

York, publisher. Drypoint etching on heavy wove paper. 

image: 5 1/8 x63/4 in. (103 x 17.2cm) 

sheet: 10 5/8 x 12 1/8 in. (27 x 30.6cm) 

[Lunn, 25] 

$1,500-2,500 

74 122140/1 

MILTON AVERY 

(american, 1885-1965) 

“FANTAIL PIGEON” 

1953, pencil signed, dated and numbered 16/25 (there were 

also 20 in black and 30 in blue and black), with margins. 

Woodcut in brown and black. 

image: 10 x91/2 in. (25.4 x 24.2cm) 

[Lunn, 47] 

$1,800-2,200 

75 122140/2 

MILTON AVERY 

(american, 1885-1965) 

“JAPANESE LANDSCAPE” 

1939, pencil signed, dated and numbered 43/100, with 

margins. Drypoint on wove paper. 

image: 3 1/4 x715/16 in. (8.3 x 20.2cm) 

sheet: 10 x 13 3/4 in. (25.4 x 34.9cm). 

[Lunn, 15] 

$1,800-2,200


76 131332/2 

CLAUDE C.F. CLARK 

(american, 1915-2001) 

“THE TRUMPET (WEST AFRICA)” 

Signed and dated 77 bottom right, 

titled on label verso, oil on board 

12 x 24 in. (30.5 x 61cm) 

provenance: 

The artist. 

By descent in family to present 

owner. 

Private Collection, Atlanta, Georgia. 

$2,500-4,000 

77 131332/1 

CLAUDE C.F. CLARK 

(american, 1915-2001) 

“SCOWS” 

Signed bottom right, titled and 

dated Dec. 1957 verso, oil on canvas 

18 x 24 in. (45.7 x 61cm) 

provenance: 

The artist. 

By descent in family to present 

owner. 

Private Collection, Atlanta, Georgia. 

exhibited: 

Ruthermore Gallery, San Francisco, 

California. 

$2,500-4,000 

78 131193/8 

DOX THRASH 

(american, 1893-1965) 

RECLINING NUDE 

Signed bottom right, mixed media 

on paper 

11 x 14 7/8 in. (27.9 x 37.8cm) 

provenance: 


$1,800-2,200


79 131193/1 

DOX THRASH 

(american, 1893-1965) 

“I KNOW MY STUFF” 

Stamp signed twice bottom right 

and titled “I. KEW MY STUFF (sic)” 

in pencil verso, ink wash on paper 

approx. 30 x 22 1/4 in. 

(76.2 x 56.5cm) 

provenance: 


$2,000-3,000 

81 131230/1 

ELIZABETH CATLETT 

(american, 1915-2012) 

“TWO GENERATIONS” 

1979, pencil signed, dated, titled, 

numbered 9/100, with full margins. 

Lithograph on Arches. 

image: 17 x 20 1/2 in. 

(43.2 x 52.1cm) 

sheet: 22 1/4 x 30 in. 

(56.5 x 76.3cm) 

Unframed 

$1,500-2,500 

80 122598/1 

HUMBERT HOWARD 

(american, 1915-1992) 

“STILL LIFE WITH AFRICAN 

DOLLS” 

Signed and dated ‘78 bottom right, 

signed again on frame verso, oil on 

canvas 

32 x 38 in. (81.3 x 96.5cm) 

provenance: 

Gross McCleaf Gallery, Philadelphia, 

Pennsylvania. 


$2,000-3,000


82 131230/5 


(american, 1915-2012) 

“ROOTS” 

Pencil signed and dated bottom right, titled and 

numbered 6/40, with wide margins. Color 

lithograph on wove paper. 

image: 14 x 19 1/2 in. (35.6 x 49.6cm) 

sheet: 21 x 27 1/2 in. (53.3 x 69.8cm) 

$3,000-5,000 

83 131230/2 


(american, 1915-2012) 

“MALCOLM X SPEAKS FOR US” 

1969, pencil signed, dated, titled and numbered 

A/P 5 (from the edition of 40); the artist, 

Mexico City, publisher, with wide margins. Color 

linoleum cut on wove paper. 

image: 34 1/2 x 27 in. (87.7 x 68.6cm) 

sheet: 41 1/2 x 31 1/2 in. (105.4 x 80cm) 

$6,000-10,000 

84 131230/6 

CHARLES WILBERT WHITE 

(american, 1918-1979) 

“I HAVE A DREAM” 


96/125, the full sheet, presumably published by 

the Graphic Arts Council, Los Angeles Museum 

of Art, (with their blindstamp). Lithograph on 

Arches. 

sheet: 22 3/8 x 30 1/4 in. (56.8 x 76.5cm) 

$3,000-5,000


85 131230/7 

JACOB LAWRENCE 

(american, 1917-2000) 

“CONFRONTATION AT THE BRIDGE” 

1975, pencil signed, dated, titled, and numbered 

88/175, the full sheet, Transworld Art, New York, 

publisher, and with their red ink stamp verso. 

Color screenprint on wove paper. 

sheet: 19 1/2 x 26 in. (49.5 x 66cm) 

$3,000-5,000 

86 131230/4 


(american, 1915-2012) 

“VIRGINIA” 


2/32 (the entire edition was comprised of 

artist’s proofs), the full sheet. Lithograph and 

collage on black wove paper. 

sheet: 22 x 15 in. (56 x 38.1cm) 

$2,500-3,500 

87 131230/3 

RUTH WADDY 

(american, 1909-2003) 

“EMERGENCY CALL” 

1982, pencil signed, dated, titled, and numbered 

3/6 (the 6 rewritten), also inscribed ‘lino-cut,’ 

with wide margins. Color linoleum cut on Japan. 

image: 19 1/4 x83/8 in. (50.2 x 21.3cm) 

sheet: 23 1/2 x 12 1/2 in. (59.7 x 31.8cm) 

$1,000-1,500


88 122522/2 

FELICIANO BEJAR 

(american/mexican, 1920-2007) 

TWO MAGISCOPES 

Signed and dated 90 and illegibly on 

glass at upper left, glass and bronze 

height: 50 in. (127cm) and 51 in. 

(129.5cm) respectively 

(2) 

provenance: 


$1,500-2,500 

89 122522/1 



MAGISCOPE 

Signed and dated 1991 on glass at 

upper left, glass and bronze 

height: 75 in. (190.5cm) 

provenance: 


$1,500-2,500 

90 122522/5 



TWO MAGISCOPES 

Signed and dated 1987 and 82 on 

glass at upper left, glass and bronze 

height: 38 1/2 in. (97.8cm) and 

50 1/2 (128.4cm) respectively 

(2) 

provenance: 


$1,500-2,500 

89 

88 

88 

90 

90


91 131112/17 

RUFINO TAMAYO 

(mexican, 1899-1991) 

“CABEZA ROJA” 

1975, pencil signed, numbered 51/100 (there were 

also 10 artist‘s proofs), the full sheet, Ferdinand Roten 

Galleries, Baltimore, Maryland, publisher. Color 


29 x 21 5/8 in. (73.7 x 55cm) 

[Pereda, 187] 

provenance: 

Estate of D. Colman Witte, Philadelphia, Pennsylvania. 

$1,200-1,800 

92 131029/1 

RUFINO TAMAYO 

(mexican, 1899-1991) 

“MUJER” 

1959, pencil signed, numbered 16/100 (there were 

also a few unnumbered copies), with wide margins, 

Pereda states that the publisher is unknown. Color 

lithograph on Arches. 

image: 25 x 19 1/2 in. (63.5 x 49.6cm) 

sheet: 30 x 22 1/4 in. (76.2 x 56.6cm) 

[Pereda, 54] 

$1,000-1,500 

93 131352/1 

FELIPE CASTAÑEDA 

(mexican, b. 1933) 

CROUCHING NUDE 

Inscribed “F CASTANEDA/1979/II/VII” bronze, dark 

gray and green patinas on base 

12 x 11 3/4 x 13 1/4 in. (30.4 x 29.8 x 33.6cm) 

provenance: 

Freeman’s, Philadelphia, “Fine American & European 

Paintings & Sculpture,” June 26, 2005, lot 47. 

Private Collection, New York, New York. 

$3,000-5,000


94 131029/2 

FRANCISCO DOSAMANTES 

(mexican, 1911-1986) 

“CON LOS MANOS VACIAS” 

Signed bottom left and dedicated 

“PARA MI AMIGA EVELYN 

CARIÑOSAMETE,” oil on canvas 

165 x 94 in. (419.1 x 238.8cm) 

provenance: 

The artist 

H. Evelyn Meeks (gifted directly 

from the above). 



exhibited: 

Instituto Naçional de Bellas Artes, 

Mexico City; and Museo Naçional 

de Artes Plàsticas, Mexico. 

$5,000-8,000 

95 131029/3 


(mexican, 1911-1986) 

LIRIOS DE CALA 

Signed bottom left, dedicated ‘PARA 

EVELYN CARIÑOSAMETE,’ bears 

date 1964 verso, oil on canvas 

39 1/2 x 29 1/2 in. (100.4 x 75cm) 

provenance: 

The artist 

H. Evelyn Meeks (gifted directly 

from the above). 



$3,000-5,000


96 131029/6 


(mexican, 1911-1986) 

“LOS TRES” 

Signed bottom right, titled in pencil on the stretcher verso, oil on canvas 

43 x 27 1/4 in. (110 x 69.3cm) 

provenance: 

The artist 

H. Evelyn Meeks (gifted directly from the above). 



$3,000-5,000 

97 131029/8 


(mexican, 1911-1986) 

PORTRAIT OF EVELYN 

Signed, dated 2-4-1972, and dedicated “para Eve........ mi querida amiga” in 

pencil bottom left, pencil on paper laid down to panel 

18 x 13 3/8 in. (45.8 x 34cm) 

provenance: 

The artist 

H. Evelyn Meeks (gifted directly from the above). 



$800-1,200 

98 131029/7 

ALFREDO ZALCE 

(mexican, 1908-2003) 

“MEXICO SE TRANSFORMA EN UNA GRAN CIUDAD” 

Pencil signed and dated ‘47, numbered 10/200, with wide 

margins. Etching on wove paper. 

image:12 3/8 x 15 1/2 in. (31.3 x 39.5cm) 

sheet: 14 3/8 x 17 1/2 in. (36.7 x44.4cm) 

$800-1,200


99 131253/1 

FERNANDO BOTERO 

(colombian, b. 1932) 

“CENTAUR” 

Bronze with brown patina, incised with the artist’s signature, stamp 

numbered 1/6 and with the Fonderia Artistica Da Prato foundry stamp on 

the back of the base 


27 1/2 x 16 1/2 x 21 in. (69.8 x 41.8 x 53.4cm) 

provenance: 

Irving Galleries, Palm Beach, Florida. 


literature: 

Fernando Botero and Rudy Chiappini, “Fernando Botero,” Città di Lugano: 

Museo d’Arte Moderna, 1997 (another form the edition illus. p. 217). 

$200,000-300,000 

Fernando Botero’s “Centaur” 

immediately demands attention; its 

bold sexuality and sumptuous 

surface make it difficult to ignore. In 

essence, this piece does not differ 

from a great deal of the artist’s 

sculpture; Botero’s work is marked 

by repetition. His figures, more 

often than not, are fat, voluptuous 

and strangely serene. They are also 

often playful, sexual, and funny. 

Although wrapped in an amorous 

embrace, both figures are 

expressionless, with no apparent 

emotions of joy or pleasure. In this 

sculpture, Botero does that which he 

is so skilled: he gives the perception 

that he is a judgment-less observer. 

He acts as a modern day story 

weaver and fable teller- drawing his 

narratives from the Bible, mythology, 

Latin American history, and even 

current news stories. His figures, 

with their solemn faces and fleshy 

bodies, act as powerful, recognizable 

archetypes for the artist to use as a 

tool, exploring themes of wealth, 

power, sexuality, history and cultural 

appropriation.



100 131269/2 

MAQBOOL FIDA HUSAIN 

(indian, 1915-2011) 

“VARANASI II” 

Pencil signed three times (once in Devanagari) and numbered 33/100, titled 

and dated 25 II ‘73 in the image, with wide margins. Screenprint in black on 

wove paper. 

image: 27 x 19 in. (68.6 x 48.3cm) 

sheet: 30 x 22 in. (76.2 x 55.9cm) 

Unframed 

$2,000-3,000 

102 131269/8 


(indian, 1915-2011) 

“VARANASI V” 

Pencil signed twice (once in Devanagari) and numbered 33/100, titled and 

dated 26 II 73 in the image, with wide margins. Screenprint in black on wove 

paper. 

image: 27 x 19 in. (68.6 x 48.3cm) 

sheet: 30 x 22 in. (76.2 x 55.9cm) 

Unframed 

$2,000-3,000 

101 131269/6 


(indian, 1915-2011) 

“VARANASI IV” 

Pencil signed twice (once in Devanagari) and numbered 33/100, titled and 

dated 25 II ‘73 in the image, with wide margins. Screenprint in black on 

wove paper. 

image: 19 x 27 in. (68.6 x 48.3cm) 

sheet: 22 x 30 in. (55.9 x 76.2cm) 

Unframed 

$2,000-3,000 

103 131269/7 


(indian, 1915-2011) 

“VARANASI VII” 

Pencil signed and inscribed AP, titled and dated 26 II ‘73 in the image, with 

wide margins. Screenprint in black on wove paper. 

image: 19 x 27 in. (68.6 x 48.3cm) 

sheet: 22 x 30 in. (76.2 x 55.9cm) 

Unframed 

$2,000-3,000


104 131269/3 

two prints 

SOMNATH HORE 

(indian, b.1921) 

UNTITLED 

1969, each pencil signed and dated, 

inscribed ‘Artist’s Proof 4/7’ and 

numbered A/P 7/12 respectively, 

both with wide margins. Color 

lithographs on wove paper. 

each image: 10 1/2 x 13 1/2 in. 

(26.7 x 34.3cm) 

each sheet: 15 x 19 5/8 in. 

(38.1 x 49.8cm) 

Unframed 

(2) 

$3,000-5,000 

105 131269/1 

two prints 

SOMNATH HORE 


UNTITLED 

1969, each pencil signed and dated, 

numbered A/P 2/8 and inscribed 

‘Artist Proof’, respectively, both with 

wide margins. Color lithographs on 

wove paper. 

image: 10 3/4 x 15 in. 

(27.4 x 38.1cm) 

sheet: 15 x 19 3/4 in. 

(38.1 x 19.75cm) 

and 

image: 9 1/2 x 13 1/2 in. 

(24.2 x 34.3cm) 

sheet: 15 x 19 7/8 in. (38.1 x 50.6cm) 

Unframed 

(2) 

$3,000-5,000 

106 131071/1 

ROBERTO MATTA 

(chilean, 1911-2002) 

“LES DAMNATIONS” 

the deluxe set of 21 prints 

1966, the deluxe set of 11 color etchings in- and horstexte 

plus the additional incomplete suite of 10 pencil 

signed etchings on Japan (lacking one), title, text by 

Joyce Mansour and justification, signed by the artist and 

author in pencil and stamp-numbered 48 on the 

justification page (from the edition of 75, there were also 

10 artist’s proofs in Roman numerals), Georges Visat, 

Paris, publisher, the full sheets, the eleven prints on 

folded sheets of Arches printed in-texte (as issued) and 

the additional suite individually pencil-signed, with wide 

margins and loose on Japan (as issued). All within paper 

folder embossed with title contained in fabric-covered 

boards within slipcase (as issued). 

album: 17 x 13 1/2 in. (43.2 x 34.3cm) 

[Sabatier, 136-158] 

$3,000-5,000


107 122133/1 


(indian, 1915-2011) 

“PEACOCK” 

Signed upper right, oil on canvas 

36 x 17 1/2 in. (91.4 x 44.5cm) 

provenance: 

Central Cottage Industries Emporium, 

Indian Cooperative Union Ltd., New Delhi. 

Mr. and Mrs. Paul Grimes, New York, New York 

(purchased directly from the above in 1962). 

The Estate of Paul and Miriam Grimes, 

New York, New York and Elkins Park, Pennsylvania. 

note: 

The original owner, Mr. Paul Grimes, was the Southeast Asian 

correspondent for the New York Times from 1959-1962 

and was based out of New Delhi. 

$50,000-80,000 

Blending brightly colored hues with 

earthy tones, this work by M.F. 

Husain reflects the contrasting 

colors of day to day life in India. 

Depicting several blocky heads at 

the bottom of the work and an 

organic, gestural peacock rising in 

the center of the work, this painting 

is a representative example of 

Husain’s experimental integration of 

principles of expressionism with a 

quasi-Cubist surface treatment of 

the figural busts (without actually 

breaking up the picture plane). 

Stylistically, this work is 

characteristic of his artistic practice 

in the early 1960s, following a phase 

in the 50s when the main subject of 

his work is images of a rural idyll, 

and preceding his engagement with 

narrative and India’s major epics the 

Mahabharata and Ramayana in the 

late 60s and beyond. As the 

peacock in the painting is 

monochromatic, abstract, and a bit 

hidden, the title calls attention to the 

contrast between it and the colorful 

range at the bottom of the painting. 

artistic achievements is a blending 

of folk and modern (especially 

Cubist) traditions, but his 

engagement and experimentation 

with expressionism alongside other 

modern idioms has gotten less 

critical attention. This dimension is 

especially interesting because it 

was a major trend among several 

others of India’s leading artists, and 

it became an important marker of 

modernism in Indian art of the 

1950s and 60s, especially among 

artists who were focused 

intellectually on existentialism. 

There were few commercial 

galleries in India in the late 50s and 

early 60s. In spite of this, Husain’s 

work was exhibited widely all over 

India, and by the early 1960s even 

in Europe and the United States. 

Kumar Gallery was established in 

New Delhi in the 1950s, and they 

held a solo show of Husain’s work in 

1961. The bill of sale marking the 

provenance of this painting from 

Central Cottage Industries 

Emporium (CCIE) is historically 

interesting and rare. Established by 

the Government of India in 1948, 

the mission of CCIE is to preserve 

and share Indian craftsmanship. Its 

largest and central branch remains 

the New Delhi location where this 

work was sold. At this early date, 

CCIE also showed and sold 

artworks, and this work could have 

been consigned directly through the 

artist or passed through Kumar 

Gallery. 

We are grateful to Beth Citron for 

contributing this note. Ms. Citron is 

a New York based art historian and 

critic who completed her 

dissertation on Contemporary Art in 

Bombay 1965-1995. 

Husain was a founding member of 

Bombay’s Progressive Artists Group, 

founded on the cusp of 

independence from Britain in 1947. 

In the following decade, he became 

one of India’s leading art stars. He 

did so equally with his prolific 

paintings and charismatic, eccentric 

personality – for example, he was 

known to travel around India in 

impeccably tailored suits, but 

barefoot. One of his most celebrated 

Paul and Miriam Grimes with the artist, Maqbool Fida Husain.



108 131368/3 

SHYAMAL DUTTA-RAY 

(indian, 1934-2005) 

“MAN CRAWLING” 

Signed and dated 2002 lower right, 

watercolor 

19 x 24 in. (48.3 x 61cm) 

provenance: 


$8,000-12,000 

109 131368/7 

RAM KUMAR 

(indian, b. 1924) 

“ABSTRACT LANDSCAPE 9” 

Acrylic on paper 


22 3/8 x 30 1/8 in. (56.9 x 76.6cm) 

provenance: 

The artist. 


$10,000-15,000 

110 131368/4 

LAXMA GOUD 


“SCULPTURAL HEAD RELIEF 2” 

2007, numbered 1/7, bronze with 

green patina mounted to panel 

22 1/2 x 19 in. (57.2 x 48.3cm) 

provenance: 

The artist. 


$1,500-2,500


111 131368/6 

BOSE KRISHNAMACHARI 

(indian, b. 1963) 

“STRETCHED BODIES 29” 

Signed twice and titled verso, acrylic 

on canvas. 

Executed in 2007. 

36 x 72 in. (91.4 x 182.9cm) 

Unframed 

provenance: 

The artist. 


$10,000-15,000 

112 131368/5 

BAIJU PARTHAN 

(indian, b. 1956) 

“ENGINEERED FRUIT 2” 

2001. Unique digital print on 

aluminum composite. 


36 x 35 3/4 in. (91.4 x 90.8cm) 

provenance: 


literature: 

Ranjit Hoskote, Baiju Parthan: A 

User’s Manual, Afterimage 

Publishing, Mumbai, 2006. 

$2,500-3,500 

113 131368/8 

S. HARSHA VARDHANA 

(indian, b. 1958) 

“UNTITLED 18” 

Signed and dated 2006 verso, 

mixed media on canvas 

48 x 60 in. (122 x 152.4cm) 

provenance: 

The artist. 


$4,000-6,000


114 131395/8 

JEAN DUBUFFET 

french, 1901-1985) 

“LION HERALDIQUE” 

from “fables” 

1976, pencil signed with initials, dated and 

numbered 29/50 (there were also 9 artist’s 

proofs), with wide margins, Pace Editions, New 

York, publisher. Color screenprint on Arches. 

image: 22 x 28 in. (55.9 x 71.3cm) 

sheet: 27 1/2 x 34 5/8 in. (69.8 x 88cm) 

[Webel, 1179] 

$2,500-3,500 

115 131260/5 

WILLEM DE KOONING 

(american/dutch, 1904-1997) 

“LOVE TO WAKAKO” 

1970, signed and dated bottom right, numbered 

58/58, with wide margins, Knoedler, New York, 

publisher. Lithograph on Akawara paper. 

image: 42 x 26 1/2 in. (106.7 x 67.3cm) 

sheet: 45 x 28 1/2 in. (114.3 x 72.4cm) 

[Graham, 28] 

$3,000-5,000 

116 131346/2 

HILTON BROWN 

(american, b. 1938) 

“AMBIVALENCE” 

Signed, titled and dated July, 1965 verso, acrylic 

polymer on canvas 

50 x 60 in. (127 x 152.4cm) 

provenance: 


$1,500-2,500


117 131193/4 

ALEXANDER CALDER 

(american, 1898-1976) 

“LA MEMOIRE ELEMENTARE” 

set of eleven lithographs 

1978, the incomplete set of eleven signed and numbered color lithographs 

(lacking one, the original suite included 12), text by Patrick Waldberg 

(lacking the justification), copy 48/100 (there were also 15 artist’s proofs); 

Éditions de la Différence, Paris, publishers. The full sheets, all on Arches, 

contained within original linen-covered portfolio box printed with artist, title 

and publisher. 

all sheets: 20 1/4 x 28 3/8 in. (51.5 x 72.1cm) 

album: 21 1/2 x 29 1/4 in. (54.6 x 74.3cm) 

provenance: 


$15,000-25,000


118 131425/11 

ANDY WARHOL 

(american, 1928-1987) 

“SHOE BRIGHT, SHOE LIGHT, FIRST SHOE I’VE SEEN TONIGHT” 

from “a la recherche du shoe perdu” 

Ca. 1955, stamped by the Estate of Andy Warhol and the Andy Warhol 

Foundation for the Visual Arts verso, inscribed in pencil 'PM12.0462' and 

with initials 'T.J.H' verso bottom right and also inscribed 'RR-46.106' verso 

bottom left, the artist, New York, publisher. Offset lithograph and watercolor 

on wove paper. 

sheet: 9 3/4 x 13 3/4 in. (24.8 x 34.9cm) 

[Feldman & Schellmann, IV.82B] 

provenance: 


$15,000-25,000


119 131425/12 

ANDY WARHOL 

(american, 1928-1987) 

“SEE A SHOE AND PICK IT UP AND ALL DAY LONG YOU’LL HAVE GOOD 

LUCK” 

from “a la recherche du shoe perdu” 

Ca. 1955, stamped on the reverse by the Andy Warhol Art Authentication 

Board Inc., and pencil-numbered 'A134.0110' verso bottom left, and 'XA- 

37.9' verso bottom right, the artist, New York, publisher. 

Offset lithograph and watercolor on wove paper. 

sheet: 9 3/4 x 13 3/4 in. (24.8 x 34.9cm) 

[Feldman & Schellmann, IV.75B] 

provenance: 


$15,000-25,000


120 131000/5 

ROY LICHTENSTEIN 

(american, 1923-1997) 

“TEMPLE” 

1964, signed, dated and numbered 

161/300, with full margins, Leo 

Castelli Gallery, New York, New 

York, publisher. Offset color 


image: 23 x 17 in. (58.4 x 43.2cm) 

sheet: 23 3/4 x 17 3/4 in. 

(60.3 x 45.1cm) 

[Corlett, II.3] 

$2,000-3,000 

121 131343/1 

ROY LICHTENSTEIN 

(american, 1923-1997) 

“BRUSH STROKE V” 

Signed in paint and numbered 2 (from the edition of 

10) on plaque verso, wall relief comprised of epoxy 

paint, acrylic lacquer, and enamel painted cherry 

wood 


60 x 31 x 13 1/2 in. (152.4 x 78.8 x 34.3cm) 

provenance: 

Tyler Graphics, New York, New York. 

Thordén Wetterling Galleries, Stockholm. 

Sotheby’s, New York, Contemporary Art Part II, 

November 14, 1991 (Lot 386). 

Private Collection, Florida. (Purchased from the above 

sale). 


literature: 

Frederic Tuten, Roy Lichtenstein: Brushstrokes, Six 

Painted Reliefs, New York, 1986 (another example 

illustrated in color). 

Throden Wetterling Galleries exhibition catalogue for 

“Roy Lichtenstein: Sculpture and Graphics 1980- 

1986,” 1986 (n.p., another example illustrated in color). 

note: 

This work will be included in the forthcoming 

catalogue raisonné being prepared by the Roy 

Lichtenstein Foundation. 

$80,000-100,000



122 131334/6 

RED GROOMS 


“FATS DOMINO” 

1984, signed in red pencil, numbered 21/54 (there were also 5 artist’s 

proofs), Shark’s Ink, Boulder, Colorado, publisher. Three dimensional color 

lithograph in Plexiglas case. 

overall: 17 1/4 x 20 3/8 x 17 3/8 in. (43.8 x 51.8 x 44.1cm) 

[Knestrick, 102] 

provenance: 


$2,000-3,000 

123 131334/5 

RED GROOMS 

(american, b.1937) 

“LOS AFICIONADOS” 

1990, signed and dated in brown pencil and numbered 33/90 (there were 

also 10 artist’s proofs), co-published by the artist and Shark’s Incorporated, 

Boulder, Colorado. Color lithographic cutout construction in original 

Plexiglas case. 

overall: 26 1/2 x 37 1/4 x 25 in. (67.3 x 94.6 x 63.5cm) 

[Knestrick, 119] 

provenance: 


$2,000-3,000 

124 131260/7 

ALEX KATZ 


“LILY II” 



proofs), the full sheet, co-published 

by Brooke Alexander, Inc. and 

Fischbach Gallery, New York. Color 

lithograph on Arches. 

sheet: 20 3/4 x 27 7/8 in. 

(52.8 x 70.7cm) 

[Maravell, 24] 

Unframed 

$3,000-5,000


125 122224/8 

ALEX KATZ 


“UNFAMILIAR IMAGE” 

2001, pencil signed and numbered 74/120 

bottom left (there were also 13 artist’s proofs), 

the full sheet, Alberico Cetti Serbelloni Editore, 

Milan, publisher. Color screenprint on 

Hahnemuehle. 

sheet: 30 x 44 1/8 in. (76.2 x 112.1cm) 

Unframed 

$800-1,200 

126 131290/1 

CHRISTO AND JEANNE-CLAUDE 


“WRAPPED BOTTLE AND CANS PROJECT” 

2004, pencil signed, numbered ‘HC 12/30’ (an 

hors-commerce impression, the edition was 300 

plus 50 artist’s proofs), the full sheet, Landfall 

Press, Chicago, Illinois, publisher, and with their 

and the artist’s copyright inkstamp on the 

reverse. Color offset lithograph on wove paper. 

sheet: 15 3/8 x 13 3/4 in. (39.1 x 34.9cm) 

Unframed 

$1,500-2,000 

127 122527/1 

CLAES OLDENBURG 


“BROKEN BUTTON” 

1981, signed with initials, dated and numbered 

85/100 (there were also 14 artist’s proofs), 

Multiples Inc., New York, publisher, for the 

patrons of The Institute of Contemporary Art, 

Philadelphia, Pennsylvania. Rag museum board, 

glue, cast pigmented paper, color silkscreen and 

wood multiple in plexiglas box. 

dimensions (not including plexiglas box): 

13 1/2 x 11 1/2 x5in. (34.3 x 29.2 x 12.7cm) 

[Axsom/Platzker, 175] 

$5,000-8,000


128 121972/249 

LEROY NEIMAN 

(american, 1921-2012) 

SEATED FIGURE WITH ST. 

BERNARD 

Signed bottom left, dated ‘67 in 

pencil, mixed media on paper 

19 3/8 x 13 in. (49.2 x 33.1cm) 

provenance: 


$1,000-2,000 

129 131151/6 

JIM DINE 


UNTITLED 

from “an undefined novel, state ii” 

1979, pencil signed, dated and 

numbered 29/35 (there were also 9 

artist’s proofs), with full margins, 

Pace, New York, New York, 

publisher. Color etching on BFK 

Rives. 

image: 23 3/4 x 19 1/2 in. 

(60.3 x 49.6cm) 

sheet: 29 3/4 x 22 1/8 in. 

(75.6 x 56.3cm) 

[D’Oench/Feinberg, 39] 

$1,200-1,800 

130 131334/2 

ALICE NEEL 

(american, 1900-1984) 

“EDWARD AVEDISIAN” 

1981, pencil signed and numbered ‘AP 2/10’ (artist’s proof, 

the edition was 6), with wide margins. Color lithograph on 

wove paper. 

image: 32 1/2 x 24 in. (82.6 x 61cm) 

sheet: 35 3/4 x 26 1/4 in. (90.8 x 66.7cm) 

Unframed 

provenance: 


$600-800


131 131271/1 

GRACE HARTIGAN 

(american, 1922-2008) 

“SEA” 

Signed and dated ‘76 upper right, oil on paper 

collage 

27 1/2 x 39 5/8 in. (69.8 x 100.8cm) 

provenance: 

C.Grimaldis Gallery, Baltimore, Maryland. 

Genesis Galleries Limited, New York, New York. 

Private Collection, Maryland. 

$5,000-8,000 

132 131260/6 

SAM FRANCIS 

(american, 1923-1994) 

UNTITLED 

plate five from “poemes dans le ciel” 

1986, pencil signed, numbered 86/100 (there 

were also 50 artist’s proofs in Roman numerals), 

the full sheet, Philosophie des Artes, Paris, 

publisher. Color lithograph on wove paper. 

sheet: 29 7/8 x 22 in. (75.8 x 55.8cm) 

[Lembark, 272] 

Unframed 

$1,000-1,500 

133 131260/3 

PAUL JENKINS 

(american, 1923-2012) 

“FIVE INVOCATIONS” 

set of five prints 

The complete set of five color lithographs, 

numbered justification page, all pencil signed, 

dated 77 and numbered 80/100 (there were 

also 25 artist’s proofs in Roman numerals), the 

full sheets, Fall Edition, Paris, publisher. All on 

BFK Rives and enclosed within red portfolio box 

with printed blue text as issued. 

all sheets: 21.9 x 29.6 in. (55.8 x 75.3cm) 

$1,500-2,500


134 131059/1 

JACOB EL HANANI 

(american/israeli, b. 1947) 

UNTITLED LANDSCAPE 

Signed twice (once in Hebrew), and 

dated 71 bottom right, oil and ink on 

canvas 

16 x 16 in. (40.7 x 40.7cm) 

provenance: 


$1,000-1,500 

135 131059/2 

two paintings 

JACOB EL HANANI 

(american/israeli, b. 1947) 

LANDSCAPE AND WOMAN IN 

PROFILE 

Both signed twice (once in Hebrew) 

and ‘woman’ dated ‘70, one ink on 

artist’s board and one ink on paper 

11 x 14 in. (27.9 x 35.6cm) 

and 

8 1/8 x67/8 in. (20.7 x 17.5cm) 

Both unframed 

(2) 

provenance: 


$1,000-1,500 

136 131260/4 

RICHARD ARTSCHWAGER 

(american, 1923-2013) 

“SAILORS” 

from “kölner kunstmarkt” 


numbered 83/180, with wide 

margins, Multiples Inc., New York, 

publisher. Screenprint on BFK Rives. 

image: 15 x 13 1/8 in. 

(38.1 x 33.3cm) 

sheet: 24 3/4 x 17 3/4 in. 

(62.9 x 45cm) 

Unframed 

$600-800


137 138 

137 131107/2 

BERNARD SÉJOURNÉ 

(haitian, 1947-1994) 

UNTITLED 

Signed and dated 70 lower right, oil on canvas 

34 x 22 in. (86.3 x 55.8cm) 

provenance: 

Private Collection, Maryland. 

$2,000-3,000 

138 131395/17 

JAMES HAVARD 


“DRINKS JUICE OF THE STONE” 

Signed, titled, dated 78, mixed media on paper 

39 1/2 x 34 in. (100.4 x 86.4cm) 

provenance: 


Pennsylvania. 

$1,000-1,500 

139 131330/2 

PAT LIPSKY 


“THE PALM AT THE END OF YOUR MIND” 

Signed and dated 1974 verso, oil on canvas 

32 x 89 1/4 in. (81.3 x 226.8cm) 

provenance: 

André Emmerich Gallery, New York, New York. 

Private Collection, Bethesda, Maryland. 

$4,000-6,000 

139


140 131290/6 

ELLSWORTH KELLY 


“RED ORANGE/YELLOW/BLUE” 



proofs), with full margins, Gemini 

G.E.L., Los Angeles, California, 

publisher, and with their 

blindstamps. Color lithograph on 

wove paper. 

image: 32 1/4 x 10 3/4 in. 

(81.7 x 27.3cm) 

sheet: 42 1/2 x 29 5/8 in. 

(108 x 75.3cm) 

[Axsom/Gemini, 62] 

$3,000-5,000 

142 131290/7 

FRANK STELLA 


“SINJERLI VARIATION II” 


numbered 25/100 (there were also 

20 artist’s proofs), with full margins, 

Petersburg Press, New York, 

publisher. Color offset lithograph 

and screenprint on wove paper. 

image: 24 3/4 x 24 3/4 in. 

(62.9 x 62.9cm) 

sheet: 32 x 42 in. (81.3 x 106.7cm) 

[Axsom, 115] 

$5,000-8,000 

141 131180/5 

FRANK STELLA 


“KOZANGRODEK (II)” 

from “the paper relief proiect” 

1975, one of 9 trial proofs (the 

edition was 26), the full sheet, Tyler 

Graphics, Ltd., Mt. Kisco, New York, 

and with their blindstamp. Handcolored 

paper-pulp relief and 

collage. 

24 1/4 x 21 in. (61.6 x 53.3cm) 

[Tyler, 543:FS2; Axsom add.4B] 

$5,000-7,000


143 131260/8 

SOL LEWITT 

(american, 1928-2007) 

“UNTITLED (PURPLE)” 

2004, pencil signed, numbered 

21/30, with full margins, Landfall 

Press, Santa Fe, New Mexico, 

publisher. Color lithograph and 

aquatint on wove paper. 

image: 31 x 31 in. (78.8 x 78.8cm) 

sheet: 35 3/4 x 36 in. 

(90.8 x 91.5cm) 

Unframed 

$1,500-2,500 

143 

144 131290/4 

ROBERT MOTHERWELL 

(american, 1915-1991) 

“ST. MICHAEL I (STATE II)” 

1975-9, pencil signed with initials 

and annotated ‘PP’ (aside from the 

edition of 34), the full sheet, Tyler 

Graphics Ltd., Mount Kisco, New 

York, publishers and with their 

blindstamp. Color screenprint and 


sheet: 63 x 25 1/2 in. 

(159.8 x 64.2cm) 

[Engberg/Banach, 235] 

Unframed 

$2,500-3,500 

145 131092/5 

LOUISE NEVELSON 

(american, 1899-1988) 

UNTITLED 

plate v 

1973, pencil signed and dated lower 

right, numbered 18/90 (there were 

also artist’s proofs), Pace Editions, 

New York, publisher. Color aquatint 

and collage on Fabriano paper. 

image: 29 3/4 x 19 5/8 in. 

(75.6 x 49.8cm) 

sheet: 38 7/8 x 27 1/2 in. 

(98.7 x 69.8cm) 

$800-1,200 

144 

145


146 131092/6 

RICHARD DIEBENKORN 

(american, 1922-1993) 

“CARD GAME” 

1981, pencil signed with initials, 

dated and numbered 25/35 (there 

were also 11 artist’s proofs), with full 

margins, Crownpoint Press, San 

Francisco, California, publisher, and 

with their blindstamps. Soft-ground 

etching on wove paper 

image: 10 3/4 x 12 3/4 in. 

(27.3 x 32.4cm) 

sheet: 21 5/8 x 30 3/8 in. 

(55 x 77.2cm) 

$1,500-2,500 

147 131329/1 

ROSS BLECKNER 


“LOVE/LIGHT/SPIRIT/DEATH” 

Signed and dedicated “for eric” on 

backing verso, titled at right, 

graphite on vellum collage 

7 1/2 x7in. (19 x 17.8cm) 

provenance: 

The artist. 

Eric Freeman, East Hampton, New 

York. 


$2,000-3,000 

148 131390/3 

DAVID HOCKNEY 

(british, b. 1937) 

“EINE (PART 1)” 

1991, pencil signed and dated, numbered 13/35 

(there were also 10 artist’s proofs), with full 

margins, Tyler Graphics, Ltd., Mount Kisco, New 

York, publisher, with their blindstamp. Color 

lithograph on BFK Rives. 

image: 44 3/8 x 31 in. (11.3 x 80.6cm) 

sheet: 48 3/8 x 35 1/8 in. (12.3 x 90.8cm) 

[Museum of Contemporary Art, Tokyo 329] 

$3,000-5,000


149 131425/9 

ELIZABETH PEYTON 


“PATI, NOVEMBER 2006” 

Signed with initial lower left, pastel 

on paper in artist’s frame 

8 5/8 x6in. (21.9 x 15.24cm) 

provenance: 

The artist. 

Sotheby’s New York, “RED,” 

Thursday, February 14, 2008, lot 29. 


$50,000-70,000


150 131290/3 

HELEN FRANKENTHALER 

(american, 1928-2011) 

“REFLECTIONS III” 


numbered 1/30 (there are also 10 

artist’s proofs), with full margins, 

Tyler Graphics, Ltd., Mt. Kisco, New 

York, and with their blindstamp. 

Color lithograph on BFK Rives. 

image: 14 3/8 x 19 3/4 in. 

(36.6 x 50.3cm) 

sheet: 20 1/4 x 25 1/4 in. 

(51.5 x 64.4cm) 

[not in Harrison] 

$2,500-3,500 

151 131290/2 

HELEN FRANKENTHALER 

(american, 1928-2011) 

“A PAGE FROM BOOK II” 

from “this is not a book” 


numbered 31/60 (there were 16 

artist’s proofs), Tyler Graphics, Ltd., 

Mount Kisco, New York, publisher, 

and with their blindstamp. Color 

etching and aquatint on TGL 

Handmade. 

image: 4 x 17 3/4 in. (10.2 x 45cm) 

sheet: 10 1/8 x 24 5/8 in. 

(25.8 x 62.6cm) 

[not in Harrison] 

$2,500-3,500 

152 131425/1 

JAMES BROWN 

(american, 1951) 

“HOTEL INTERIOR KYOTO NO. 7” 

Signed, titled and dated “‘Hotel 

Interior Kyoto’ James Brown 1986” 

verso, watercolor on paper 

29 1/4 x 25 in. (74.3 x 63.5cm) 

provenance: 

Galerie Bruno Bischofberger, Zurich. 


$3,000-5,000


153 131230/8 

BETYE SAAR 


DECORATIVE BOX 

Signed and dated 1976 in marker on the underside, 

wood cigar box with screenprinted labels adhered to 

the top and undersides, containing mixed 

media/assemblage 

1 1/2 x8x61/2 in. (4 x 20.4 x 16.6cm) 

provenance: 

The artist. 


$5,000-7,000 

154 131400/1 

LOUISE FISHMAN 


“THE FRONT, THE BACK, AND THE 

MIDDLE” 

Signed, titled and dated 1991 verso, 

oil on linen 

32 x 50 in. (81.4 x 127cm) 

Unframed 

provenance: 

Robert Miller Gallery, New York, 

New York. 


(Purchased from the above in 1993). 

$10,000-15,000


155 131425/2 

GEORGE CONDO 


SURREALIST LANDSCAPE 

Signed and dated ‘6.83’ lower left, signed again with initials ‘GC.’ verso, oil 

on canvas 

35 3/4 x 49 in. (90.8 x 124.5 cm.) 

provenance: 

Christie’s New York: “Contemporary Art,” February 24, 1993, lot 163. 

James Corcoran Gallery, Santa Monica, California. 

The Estate of H. Marc Moyens. 

Christie’s New York: “First Open Post-War and Contemporary Art,” 

February 28, 2007, lot 326. 


exhibited: 

Washington, D.C., American University, The Katzen Arts Center, 

“Remembering Marc & Komei,” January-March 2006. 

$80,000-120,000



156 131425/5 

NANCY FRIEDEMANN 

(colombian/american, b. 1961) 

“RETICULA BIZANTINA” 

Pencil signed and dated 2002 

bottom right, annotated ‘monotype’ 

bottom left, monotype on chinecollé 


44 x 31 1/2 in. (111.8 x 80cm) 

provenance: 


$4,000-6,000 

158 131260/2 

three prints 

KIKI SMITH 


“BIRD,” “BAT,” AND “FLY” 

from “various flying creatures” 

1998, all pencil signed and dated, with wide margins, within individually 

titled paper folders as issued, Griffel Knust, Hamburg, publisher. Three 

lithographs with collage on wove paper. 

images: various 

sheets: 19 3/4 x 16 1/2 in. (50.2 x 41.9cm) 

Unframed 

(3) 

$800-1,200 

157 131411/1 

VIJA CELMINS 

(american/latvian, b. 1939) 

“NIGHT SKY” 

1997, pencil signed and dated 1997, numbered 25/30, 

with full margins, published by Grenfell Press, New York 

for the Instititute of Contemporary Art, Philadelphia, 

Pennsylvania. Woodcut on Kozo/Gampi laid down to 

Fabriano Tiepolo (as issued). 

image: 8 7/8 x97/8 in. (22.6 x 25.2cm) 

sheet: 17 5/8 x 12 1/2 in. (44.8 x 31.8cm) 

Unframed 

$8,000-12,000


159 131266/3 

EILEEN NEFF 


“ENTER NIGHT” 

2004, signed and dated verso, 

edition 1/5. Cibachrome print 

mounted on aluminum. 

42 x 56 1/4 in. (106.7 x 142.9cm) 

Unframed 

provenance: 

The artist. 

Locks Gallery, Philadelphia, 

Pennsylvania. 


exhibited: 

Locks Gallery, Philadelphia, 

Pennsylvania, “Eileen Neff: Notes 

Toward a Supreme Fiction,” March 

5-April 10, 2004. 

Institute of Contemporary Art, 

Philadephia, Pennsylvania, “Eileen 

Neff: Between Us,” September 7- 

December 16, 2007. 

The Royal Hibernian Academy, 

Dublin, Ireland, “Eileen Neff: 

Between Us,” January 9-February 

15, 2009. 

Weatherspoon Art Museum, 

Greensboro, North Carolina, “Eileen 

Neff,” May 23-August 23, 2009. 

Walton Art Center, Fayetteville, 

Arkansas, “Beyond Sublime: 

Changing Nature,” April 23-May 30, 

2010. 

$3,000-5,000 

160 131425/7 

MARK LICARI 


“MEGA MOTH” 

Signed and dated 07 bottom right, ink, watercolor and colored pencil on 

paper 


18 x 44 in. (45.7 x 111.8cm) 

provenance: 

Honor Fraser Inc., Marina Del Rey, California. 


$6,000-8,000


161 131425/3 

MARCEL DZAMA 

(canadian, b. 1974) 

“LIVING A FOURTH OR SIX LIFE” 

Signed lower left. Signed, titled and 

dated on the stretcher verso, acrylic 

on canvas with collaged paper 


16 x 20 in. (40.6 x 50.8cm) 

Unframed 

provenance: 

David Zwirner Gallery, New York, 

New York. 


$8,000-10,000


162 131425/4 

OSCAR CAMILO DE LAS FLORES 

(salvadoran b. 1974) 

“THE EATERS OF THE POTATO 

EATERS” 

Signed bottom right, ink on paper 


11 1/2 x 18 3/4 in. (29.2 x 37.7cm) 

provenance: 

Katharine Mulherin Contemporary 

Art Projects, Toronto, Canada. 


$1,500-2,500 

163 122224/6 

GIULIO PAOLINI 


“L’EXIL DU CYGNE” 

The complete set of one unsigned 

photogravure with laser cutout, 

1984, title, text in Italian and English 

and justification signed by the artist 

and stamp-numbered 156 of 500, 

Fratelli Alinari Stamperia D’Arte, 

Florence, publisher, with full margins 

and the central vertical fold (as 

issued), the print and text on folded 

heavy wove paper within grey paper 

covered boards with printed text as 

issued. 

print: 19 1/2 x 31 1/2 in. 

(49.5 x 80cm) 

portolio: 20 1/4 x 16 1/2 in. 

(51.5 x 42cm) 

$600-1,000


164 131295/1 

RÉMY BLANCHARD 

(french, 1958-1993) 

UNTITLED 

Signed bottom right, oil on masonite, plastic, 

straw and wood 


79 x 53 in. (200.66 x 134.62cm) 

Unframed 

provenance: 

Holly Solomon Gallery, New York, New York. 

$4,000-6,000 

165 131290/5 

HOWARD HODGKIN 


STILL LIFE 

1980, pencil signed with initials, dated and numbered 88/100 

(there were also an unknown number of artist’s proofs), the full 

sheet, Bernard Jacobson, London, publisher. Color screenprint on 

heavy wove paper. 

sheet: 31 1/4 x 28 3/4 in. (79.4 x 73.1cm) 

[Heenck, page 222] 

166 122131/3 

$1,500-2,500 

four prints 

JOHN WALKER 


“CREEKSIDE” 

1989, all pencil signed, dated and numbered 

3/15, Advanced Graphics, London, publisher. 

Color etchings on handmade paper. 

each image (approx): 16 1/4 x 11 1/2 in. 

(41.3 x 29.2cm) 

each sheet: 38 1/2 x 38 1/2 in. (97.8 x 97.8cm) 

Unframed 

(4) 

$600-900


167 131260/9 

MATTHEW RITCHIE 


“TRINITY” 

Mixed media on Denril 

12 x9in. (30.5 x 22.9cm) 

provenance: 

Andrea Rosen Gallery, New York, 

New York. 


$2,000-3,000 

168 131425/10 

SAUL SÁNCHEZ 

(colombian, b. 1977) 

“SIN TITULO” 

Signed, titled and dated verso, 

acrylic on canvas 


35 3/8 x 35 3/8 in. (89.9 x 89.9cm) 

Unframed 

provenance: 


$4,000-6,000


169 122224/4 

MICHELANGELO PISTOLETTO 


“CARTELLA A” 


1983, the complete set of four color 

screenprints on polished alumninum 

foil, signed in ink by the artist and 

stamp-numbered 91 (of 500) on the 

title/justification page, text by 

Germano Celant and table of 

contents, published by Fratelli 

Alinari Stamperia d’Arte, Florence, 

the full sheets, the prints loose in 

brown paper mounts as issued, 

within original brown covered 

boards with printed title. 

prints: 19 3/4 x 15 3/4 in. 

(50.2 x 40cm) 

portfolio: 20 3/8 x 16 in. 

(51.8 x 40.7cm) 

$1,200-1,800 

170 122224/5 

MICHELANGELO PISTOLETTO 


“CARTELLA B” 


1983, the complete set of four color 

screenprints on polished alumninum 

foil, signed in ink by the artist and 

stamp-numbered 148 (of 500) on 

the title/justification page, text by 

Germano Celant and table of 

contents, published by Fratelli 

Alinari Stamperia d’Arte, Florence, 

the full sheets, the prints loose in 

brown paper mounts as issued, 

within original brown covered 

boards with printed title. 

prints: 19 3/4 x 15 3/4 in. 

(50.2 x 40cm) 

portfolio: 20 3/8 x 16 in. 

(51.8 x 40.7cm) 

$3,000-5,000


171 131425/8 

ASHLEY MACOMBER 


“PALMS” 

Ribbons, wood, acrylic and gouache on dyed 

paper in artist made wood and plexi box 

Executed 2005 

25 x 19 x71/2 in. (63.5 x 48.3 x 19cm) 

provenance: 

Elizabeth Dee Gallery, New York, New York. 


$4,000-6,000 

172 138025/1 

JENNIFER BARTLETT 


“BOAT” 

1999, pencil signed, dated and numbered 4/25, with full margins, Pace 

Editions, New York, publisher. Color aquatint on Hahnemühle. 

image: 22 x 29 3/4 in. (55.9 x 75.6cm) 

sheet: 28 x 35 1/2 in. (71.2 x 90.2cm) 

Unframed 

$2,500-3,500 

173 131395/18 

JONATHAN BOROFSKY 


“HAMMERING MAN” 

1985, pencil signed and numbered 18/35, the full 

sheet, Philadelphia Museum of Art, publisher. 

Color screenprint with handcoloring on wove 

paper. 

sheet: 53 x 40 in. (134.6 x 101.6cm) 

$2,000-3,000


174 131329/2 

ERIC FREEMAN 


UNTITLED 

Signed, dated 2011 and dedicated ‘For Robert’ verso, oil on canvas 

18 x 18 in. (45.8 x 45.8cm) 

Unframed 

provenance: 

The artist. 


$1,500-2,500 

175 122224/7 

JONATHAN LASKER 


“UNCONSCIOUS CONSTRUCT” 

2002, pencil signed, dated and numbered 30/75 (there were also 

15 artist’s proofs), the full sheet, Alberico Cetti Serbelloni Editore, 

Milan, publisher. Color lithograph on wove paper. 

sheet: 30 x 22 inches (76.2 x 55.9cm) 

Unframed 

$600-1,000 

176 131260/10 

DAVID SHAPIRO 


“CLEARING 13-05-P” 

Signed, titled, and dated 2005 in 

pencil verso, acrylic on paper collage 

overall: 14 x 27 3/4 in. 

(35.6 x 70.6cm) 

provenance: 

The artist. 


$1,000-1,500


177 131092/3 

PAT STEIR 


“SILVER WATERFALL” 

2001, pencil signed, titled, dated and numbered 

27/35, with full margins, Pace Editions, New York, 

publisher. Color screenprint on Somerset. 

image: 47 3/4 x 23 3/4 in. (121.3 x 60.3cm) 

sheet: 56 x 32 in. (142.3 x 81.3cm) 

$1,000-1,500 

178 131092/1 

JANE HAMMOND 


“TING #8” 

2006, pencil signed, titled and dated bottom right, 

unique relief print with collage comprised of 

lithograph, linocut, rubber stamp, digital and relief 

printing, watercolor and hand-coloring on Magnagni 

Pescia 

sheet: 15 x 11 1/2 in. (38.1 x 29.2cm) 

$1,000-2,000 

179 131157/1 

NEYSA GRASSI 


UNTITLED 

Oil on canvas 

56 x 54 in. (142.3 x 137.2cm) 

Unframed 

provenance: 

The artist. 


exhibited: 

Rosenfeld Gallery, 1987. 

$1,500-2,500


180 131258/2 

PAUL RESIKA 


“MORNING, TRURO BEACH” 

Signed bottom left, oil on board 

6x9in. (15.3 x 22.8cm) 

provenance: 

The Carleton Gallery, New York, 

New York. 

Jerome Goodman, Philadelphia, 

Pennsylvania (purchased from the 

above in 1975). 

$1,000-1,500 

181 131334/3 

ROBERT KULICKE 

(american, 1924-2007) 

STILL LIFE, FLOWERS IN VASE 

Signed bottom center, oil on panel 

11 1/4 x8in. (28.7 x 20.4cm) 

provenance: 


$5,000-7,000 

182 131334/4 

ROBERT KULICKE 

(american, 1924-2007) 

STILL LIFE, FLOWERS 

Signed and dated 73 bottom center, 

oil on panel 

sight: 8 x8in. (20.3 x 20.3cm) 

provenance: 


$4,000-6,000


183 131371/1 

EDNA ANDRADE 

(american, 1917-2008) 

“BLUE CROSS WITH RED” 

Signed with initials lower left, signed again, titled and dated 1968 on 

stretcher verso, acrylic on canvas 

36 11/16 x 36 11/16 in. (93.2 x 93.2cm) 

provenance: 

The artist. 

Philadelphia Print Center silent auction, ca. 1980. 

By descent in family to present owner. 

Private Collection, Philadelphia, Pennsylvania. 

$8,000-12,000


184 131282/4 

ELIZABETH OSBORNE 


COUPLE 

Pencil signed and dated ‘63 bottom right, 

pencil and watercolor on paper 

16 3/4 x 13 3/4 in. (42.5 x 35cm) 

provenance: 


$1,000-2,000 

185 131395/12 



FAMILY PORTRAIT 

Signed upper left, signed again on stretcher 


34 x 35 in. (86.4 x 88.9cm) 

provenance: 


Pennsylvania. 

$600-1,000 

186 131395/7 



LANDSCAPE 

Signed and dated 70 lower left, watercolor on 

paper 

22 1/2 x 28 1/2 in. (57.3 x 71.8cm) 

provenance: 


Pennsylvania. 

$1,000-1,500


187 131407/1 



“A PLACE REMEMBERED” 

Signed and dated 1997 lower right, oil on panel 

12 x 16 in. (30.5 x 40.6cm) 

provenance: 

Locks Gallery, Philadelphia, Pennyslvania. 

Mr. and Mrs. Harry C. Jones III. 


exhibited: 

Marian Locks Gallery, “Recent Paintings,” April 18- 

May 31, 1997. 

Pennsylvania Academy of the Fine Arts, “Elizabeth 

Osborne: The Color of Light,” June 26-September 20, 

2009, catalogue no 45 (illustrated p. 68). 

$3,000-5,000 

188 131220/1 

BEN KAMIHIRA 


“SCOTCH GUARD” 



72 x 58 in. (182.8 x 147.3cm) 

provenance: 

Maxwell Galleries, San Francisco, California. 

Forum Gallery, New York, New York. 

exhibited: 

Pennsylvania Academy of the Fine Arts, 

Philadelphia, “Hobson Pittman and His 

Students,” January 20-February 18, 1973. 

$6,000-10,000


189 131395/4 

BEN KAMIHIRA 


“BLUE DENIM” 

Pencil signed and dated 75 lower 

left, oil on canvas 


66 x 52 in. (167.8 x 132cm) 

provenance: 

The artist. 


The Estate of Milton Ginsburg, 

Haverford, Pennsylvania. 

$5,000-8,000 

190 131395/2 

BEN KAMIHIRA 


“GREEN CHAIRS” 

Signed and dated 75 lower right, oil 

on canvas 

31 1/2 x 25 1/2 in. (80 x 64.8cm) 

provenance: 

The artist. 


The Estate of Milton Ginsburg, 

Haverford, Pennsylvania. 

$2,500-4,000


191 131266/1 

BO BARTLETT 


UNTITLED (TWO NUDES) 

Signed and with the artist’s ‘IGN’ logo in red at 

bottom left, dated 1982, pastel on panel 

39 1/2 x 32 in. (100.3 x 81.3cm) 

provenance: 

The artist. 

Marian Locks Gallery, Philadelphia, Pennsylvania. 


exhibited: 

Marian Locks Gallery, Philadelphia, Pennsylvania, 

“Bo Bartlett: Recent Work,” October 6-31, 1982. 

$2,500-3,500 

192 131266/2 

BO BARTLETT 


UNTITLED (TWO NUDES) 

Signed with the artist’s ‘IGN’ logo bottom left, 

signed, inscribed with the artist’s ‘IGN’ logo, 

dated and inscribed Philadelphia, PA in pencil 

verso, oil on panel 


16 1/2 x 21 in. (42 x 54.6cm) 

provenance: 

The artist. 

Marian Locks Gallery, Philadelphia, Pennsylvania. 


exhibited: 

Marian Locks Gallery, Philadelphia, Pennsylvania, 

“Bo Bartlett: Recent Work,” October 6-31, 1982. 

$2,500-3,500


193 131334/1 

BILL SCOTT 


UNTITLED 

Pencil signed and dated 1988, oil 

pastel on paper 

sheet: 30 1/8 x 22 3/8 in. 

(76.6 x 56.8cm) 

provenance: 


$3,000-5,000 

END OF SALE

Index 

Andrade, E., 183 

Archipenko, A., 52 

Artschwager, R., 136 

Avery, M., 73-75 

Bartlett, B., 191, 192 

Bartlett, J., 172 

Baziotes, W., 71, 72 

Bejar, F., 88-90 

Berman, E., 49 

Berrocal, M., 67 

Blanchard, R., 164 

Bleckner, R., 147 

Borgeaud, G., 57 

Borofsky, J., 173 

Botero, F., 99 

Brands, E., 50 

Brasilier, A., 58, 59 

Brown, H., 116 

Brown, J., 152 

Calder, A., 117 

Castaneda, F., 93 

Catlett, E., 81-83, 86 

Celmins, V., 157 

Chagall, M., 34-39 

Christo and Jeanne-Claude, 126 

Clark, C., 76, 77 

Condo, G., 155 

Dali, S., 14-17 

De Kooning, W., 115 

De Las Flores, O., 162 

Delvaux, P., 40, 41 

Diebenkorn, R., 146 

Dine, J., 129 

Dosamantes, F., 94-97 

Dubuffet, J., 114 

Dutta-Ray, S., 108 

Dzama, M., 161 

El Hanani, J., 134, 135 

Ernst, M., 43 

Feininger, L., 47 

Fishman, L., 154 

Foujita, L., 19 

Francis, S., 132 

Frankenthaler, H., 150, 151 

Freeman, E., 174 

Friedemann, N., 156 

Gilioli, E., 69 

Gisson, A., 62-64 

Goud, L., 110 

Grassi, N., 179 

Gritchenko, A., 53, 54 

Grooms, R., 122, 123 

Hammond, J., 178 

Hartigan, G., 131 

Havard, J., 138 

Herbin, A., 25 

Hockney, D., 148 

Hodgkin, H., 165 

Hore, S., 104, 105 

Howard, H., 80 

Husain, M., 100-103, 107 

Jenkins, P., 133 

Jorn, A., 51 

Kamihira, B., 188-190 

Katz, A., 124, 125 

Kelly, E., 140 

Kisling, M., 56 

Kline, F., 70 

Kolnik, A., 55 

Krishnamachari, B., 111 

Kulicke, R., 181, 182 

Kumar, R., 109 

Kuniyoshi, Y., 18 

Lasker, J., 175 

Lawrence, J., 85 

Leger, F., 26 

Lewitt, S., 143 

Lhote, A., 45 

Licari, M., 160 

Lichtenstein, R., 120, 121 

Lipchitz, J., 27 

Lipsky, P., 139 

Macomber, A., 171 

Marin, M., 65, 66 

Matisse, H., 2 

Matta, R., 106 

Miro, J., 20-24 

Moore, H., 28 

Motherwell, R., 144 

Muller, 46 

Neel, A., 130 

Neff, E., 159 

Neiman, L., 128 

Nevelson, L., 145 

Oldenburg, C., 127 

Paalen, W., 42 

Paolini, G., 163 

Parthan, B., 112 

Peyton, E., 149 

Picasso, P., 3-13 

Pistoletto, M., 169, 170 

Raty, A., 44 

Resika, P., 180 

Ritchie, M., 167 

Saar, B., 153 

Sanchez, S., 168 

Schmidt-Rottluff, K., 48 

Scott, B., 193 

Sejourne, B., 137 

Serrier, J., 60 

Shapiro, D., 176 

Simbari, N., 61 

Smith, K., 158 

Steir, P., 177 

Stella, F., 141, 142 

Tamayo, R., 91, 92 

Tanguy, Y., 29 

Thrash, D., 78, 79 

Vardhana, S., 113 

Villon, J., 1 

Waddy, R., 87 

Walker, J., 166 

Warhol, A., 118, 119 

White, C., 84 

Wunderlich, P., 68 

Zalce, A., 98 

Glossary 

any statement as to authorship, attribution, origin, date, age, 

provenance and condition is a statement of opinion and is not to be taken as a statement or representation of fact. freeman’s reserves the right, 

in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. 

names 

attributed to 

studio of 

circle of 

follower of 

manner of 

Forename(s) and surname of painter is in our 

opinion a work by that artist; e.g. Charles Willson 

Peale. When an artist’s forename(s) is not known, a 

series of asterisks followed by the surname of the 

artist, wether preceded by an initial or not, indicates 

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

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

Attributed to Charles Willson Peale. 

Refers to a work from the studio of the artist which 

may or may not have been executed under his 

direction; e.g. Studio of Charles Willson Peale. 

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

artist executed under his immediate influence; e.g. 

Circle of Charles Willson Peale. 

Follower of..... refers to a work by a painter working 

in the artist’s style, contemporary or nearly 

contemporary, but not necessarily his pupil; e.g. 

Follower of Charles Willson Peale. 

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

that of the artist, but of a later date; e.g. Manner of 

Charles Willson Peale. 

school of 

after an artist 

signatures & dates 

measurements 

School accompanied by the name of a place or 

country and a date means that we believe the 

picture was executed at that time and in that 

location; e.g. Italian School, 18th Century. 

After an artist is in our opinion a copy of any date 

after a work by that artist; e.g. After Charles Willson 

Peale. 

Signed and/or dated and/or inscribed means that 

we believe the signature and/or date and/or 

inscription are from the hand of the artist. 

Bears a signature and/or a date and/or an 

inscription means that we believe the artist’s name 

and/or date and/or inscription have been added by 

another hand. 

All references to signature, inscriptions and dates 

refer to the present state of the work. 

Dimensions are given height before width.

American Art & Pennsylvania 

Impressionists Auction 06/09/13 

Exhibition opens Wednesday, June 5 at 10am 

Alasdair Nichol 

267.414.1211 

anichol@freemansauction.com 

David Weiss 

267.414.1214 

dweiss@freemansauction.com 

GEORGE WILLIAM SOTTER 

(american 1879-1953) 

COVERED BRIDGE, WINTER 

Signed 'G.W. Sotter.' bottom right, oil on canvas 

22 x 26 in. (55.9 x 66cm) 

$50,000-80,000 

(detail) 

Please call 267.414.1256 to order a catalogue 

or subscription. 

www.freemansauction.com

European Art & Old Masters 

Auction 06/18/13 

Exhibition opens Friday, June 14 at 10am 

Alasdair Nichol 

267.414.1211 

anichol@freemansauction.com 

David Weiss 

267.414.1214 


JOHANN WILHELM PREYER 

(german 1803-1889) 

STILL LIFE WITH CHAMPAGNE FLUTE AND 

GRAPES 

Signed and dated bottom right, oil on canvas 

14 1/8 x 13 in. 

$50,000-80,000 

(detail) 

Please call 267.414.1256 to order a catalogue 

or subscription. 


Fine Paintings 

Thursday, 30th May, 2013 

33 Broughton Place, Edinburgh EH1 3RR 

Enquiries 

Nick Curnow 

Tel: +44 (0)131 557 8844 

nick.curnow@lyonandturnbull.com 

Charlotte Riordan 

Tel: +44 (0)131 557 8844 

charlotte.riordan@lyonandturnbull.com 

GEORGE LESLIE HUNTER 

(SCOTTISH 1877-1931) 

STILL LIFE, FRUIT 

Signed, oil on convas 

66cm x 775cm (25.25in x 30.25in) 

Provenance: 

J. Gibson Jarvie, Esq. 

Exhibited: 

Exhibition of Scottish Art, Royal 

Academy of Arts, London, 1939, no. 565 

£60,000-80,000 

www.lyonandturnbull.com

CURRENTLY SEEKING CONSIGNMENTS 

Photographs & Photobooks 

Auction 09/2013 

Aimee Pflieger 

267.414.1221 

apflieger@freemansauction.com 

DAVID LACHAPELLE 

(american b. 1964 

"FAIR LIKENESS" (detail) 

2001, edition 1/3. Digital C-print. 

50 x 60 in. (127 x 152.4cm) 

$25,000-35,000 


all property offered and sold (“property”) through samuel t. freeman & 

co, (“freeman’s”) shall be offered and sold on the terms and conditions 

set forth below which constitutes the complete statement of the terms 

and conditions on which all property is offered for sale. by bidding at 

the auction, whether present in person or by agent, by written bid, 

telephone, internet or other means, the buyer agrees to be bound by 

these terms and conditions. 

1 

Unless otherwise indicated, all 

Property will be offered by Freeman’s 

as agent for the Consignor. 

2 

Freeman’s reserves the right to vary 

the terms of sale and any such 

variance shall become part of these 

Conditions of Sale. 

3 

Buyer acknowledges that it had the 

right to make a full inspection of all 

Property prior to sale to determine 

the condition, size, repair or 

restoration of any Property. 

Therefore, all property is sold “AS- 

IS”. Freeman’s is acting solely as an 

auction broker, and unless otherwise 

stated, does not own the Property 

offered for sale and has made no 

independent investigation of the 

Property. Freeman’s makes no 

warranty of title, merchantability or 

fitness for a particular purpose, or 

any other warranty or representation 

regarding the description, 

genuineness, attribution, provenance 

or condition to the Property of any 

kind or nature with respect to the 

Property. 

4 

Freeman’s in its sole and exclusive 

discretion, reserves the right to 

withdraw any property, at any time, 

before the fall of the hammer. 

5 

Unless otherwise announced by the 

auctioneer at the time of sale, all 

bids are per lot as numbered in the 

printed catalogue. Freeman’s 

reserves the right to determine any 

and all matters regarding the order, 

precedence or appropriate increment 

of bids or the constitution of lots. 

6 

The highest bidder acknowledged by 

the auctioneer shall be the buyer. 

The auctioneer has the right to reject 

any bid, to advance the bidding at his 

absolute discretion and in the event 

of any dispute between bidders, the 

auctioneer shall have the sole and 

final discretion either to determine 

the successful bidder or to re- offer 

and resell the article in dispute. If any 

dispute arises after sale, the 

Freeman’s sale record shall be 

conclusive in all respects. 

7 

If the auctioneer determines that any 

opening or later bid or any advance 

bid is not commensurate with the 

value of the Property offered, he may 

reject the same and withdraw the 

Property from sale. 

8 

Upon the fall of the hammer, title to 

any offered lot or article will 

immediately pass to the highest 

bidder as determined in the exclusive 

discretion of the auctioneer, subject 

to compliance by the buyer with 

these Conditions of Sale. Buyer 

thereupon assumes full risk and 

responsibility of the property sold, 

agrees to sign any requested 

confirmation of purchase, and agrees 

to pay the full price, plus Buyer’s 

Premium, therefore or such part, 

upon such terms as Freeman’s may 

require. 

9 

No lot may be removed from 

Freeman’s premises until the buyer 

has paid in full the purchase price 

therefor including Buyer’s Premium 

or has satisfied such terms that 

Freeman’s, in its sole discretion, 

shall require. Subject to the 

foregoing, all Property shall be paid 

for and removed by the buyer at 

his/her expense within ten (10) 

days of sale and, if not so removed, 

may be sold by Freeman’s, or sent 

by Freeman’s to a public warehouse, 

at the sole risk and charge of the 

buyer(s), and Freeman’s may 

prohibit the buyer from 

participating, directly or indirectly, 

as a bidder or buyer in any future 

sale or sales. In addition to other 

remedies available to Freeman’s by 

law, Freeman’s reserves the right to 

impose a late charge of 1.5% per 

month of the total purchase price on 

any balance remaining ten (10) days 

after the day of sale. If Property is 

not removed by the buyer within ten 

(10) days, a handling charge of 1% 

of the total purchase price per 

month from the tenth day after the 

sale until removal by the buyer shall 

be payable to Freeman’s by the 

buyer; Freeman’s shall charge 1.5% 

of the total purchase price per 

month for any property not so 

removed within 60 days after the 

sale. Freeman’s will not be 

responsible for any loss, damage, 

theft, or otherwise responsible for 

any goods left in Freeman’s 

possession after ten (10) days. If the 

foregoing conditions or any 

applicable provisions of law are not 

complied with, in addition to other 

remedies available to Freeman’s and 

the Consignor (including without 

limitation the right to hold the 

buyer(s) liable for the bid price) 

Freeman’s, at its option, may either 

cancel the sale, retaining as 

liquidated damages all payments 

made by the buyer(s), or resell the 

property. In such event, the buyer(s) 

shall remain liable for any deficiency 

in the original purchase price and 

will also be responsible for all costs, 

including warehousing, the expense 

of the ultimate sale, and Freeman’s 

commission at its regular rates 

together with all related and 

incidental charges, including legal 

fees. Payment is a precondition to 

removal. Payment shall be by cash, 

certified check or similar bank draft, 

or any other method approved by 

Freeman’s. Checks will not be 

deemed to constitute payment until 

cleared. Any exceptions must be 

made upon Freeman’s written 

approval of credit prior to sale. In 

addition, a defaulting buyer will be 

deemed to have granted and 

assigned to Freeman’s, a continuing 

security interest of first priority in 

any property or money of, or owing 

to such buyer in Freeman’s 

possession, and Freeman’s may 

retain and apply such property or 

money as collateral security for the 

obligations due to due to Freeman’s. 

Freeman’s shall have all of the rights 

accorded a secured party under the 

Pennsylvania Uniform Commercial 

Code. 

10 

Unless the sale is advertised and 

announced as “without reserve”, 

each lot is offered subject to a 

reserve and Freeman’s may 

implement such reserves by bidding 

through its representatives on behalf 

of the Consignors. In certain 

instances, the Consignor may pay 

less than the standard commission 

rate where Freeman’s or its 

representative is a successful bidder 

on behalf of the Consignor. Where 

the Consignor is indebted to 

Freeman’s, Freeman’s may have an 

interest in the offered lots and the 

proceeds therefrom, other than the 

broker’s Commissions, and all sales 

are subject to any such interest. 

11 

No “buy” bids shall be accepted at 

any time for any purpose. 

12 

Any pre-sale bids must be submitted 

in writing to Freeman’s prior to 

commencement of the offer of the 

first lot of any sale. Freeman’s copy 

of any such bid shall conclusively be 

deemed to be the sole evidence of 

same, and while Freeman’s accepts 

these bids for the convenience of 

bidders not present at the auction, 

Freeman’s shall not be responsible 

for the failure to execute, or, to 

execute properly, any pre-sale bid. 

13 

A Buyer’s Premium will be added to 

the successful bid price and is 

payable by the buyer as part of the 

total purchase price. The Buyer’s 

Premium shall be: 25% on the first 

$50,000 of the hammer price of 

each lot, 20% on the portion from 

$50,001 through $1,000,000, and 

12% thereafter. 

14 

Unless exempted by law from the 

payment thereof, the buyer will be 

required to pay any and all federal 

excise tax and any state and/or local 

sales taxes, including where 

deliveries are to be made outside the 

state where a sale is conducted, 

which may be subject to a 

corresponding or compensating tax 

in another state. 

15 

Freeman’s may, as a service to buyer 

arrange to have purchased property 

posted and shipped at the buyer’s 

expense. Freeman’s is not 

responsible for any acts or omissions 

in packing or shipping of purchased 

lots whether or not such carrier 

recommended by Freeman’s. Packing 

and handling of purchased lots is at 

the responsibility of the buyer and is 

at the entire risk of the buyer. 

16 

In no event shall any liability of 

Freeman’s to the buyer exceed the 

purchase price actually paid. 

17 

No claimed modification or 

amendment of this Agreement on 

the part of any party shall be 

deemed extant, enforceable or 

provable unless it is in writing that 

has been signed by the parties to 

this Agreement. No course of 

dealing and no delay or omission on 

the part of Freeman’s in exercising 

any right under this Agreement shall 

operate as a waiver of such right or 

any other right and waiver on any 

one or more occasions shall not be 

construed as a bar to or waiver of 

any right or remedy of Freeman’s on 

any future occasion. 

18 

These Conditions of Sale and the 

buyer’s, the Consignor’s and 

Freeman’s rights under these 

Conditions of Sale shall be governed 

by, construed and enforced in 

accordance with the laws of the 

Commonwealth of Pennsylvania and 

Consignor and Buyer agree to the 

exclusive jurisdiction of the 

Philadelphia, Pennsylvania Court of 

Common Pleas and the United 

States District Court for the Eastern 

District of Pennsylvania.


To ensure the safety of your lot(s) Freeman’s requests payment in full and removal of property within 10 business days of the 

sale date. Collection hours are Monday–Friday, 9:30–4:30pm. For larger items, please email bmobbs@freemansauction.com to 

schedule a loading dock appointment. For purchase release to persons not listed on your invoice, 3rd party authorization is 

required. Please mail or fax, 215.599.2240, a signed letter stating sale, lot, successful bidder and name of 3rd party collecting 

property. Freeman’s does not handle packing or shipping. The shippers listed below have worked with Freeman’s clients in the 

past and will be happy to provide you with quotes for the packing and shipping of your property. 

VG Packaging LLC 

Contact: Gordon G Murray II 

12 Salem Road 

Schwenksville, PA 19473 

484.552.8741 

Fax: 484.552.8744 

quotes@vgpackagingllc.com 

UPS Store 

Contact: John Bohach 

51 North 3rd Street 

Philadelphia, PA 19106 

215.629.4990 

Fax: 215.629.4992 

store4242@theupsstore.com 

Mr. C’s 

Contact: Charles Cohen 

267.977.9567 

mrcees61@gmail.com 

Cadogan Tate Fine Art 

Cadogan House, 41-20 39th Street 

Sunnyside, New York 11104 

718.706.7999 

Fax: 718.707.2847 

michael@cadogantate.com 

Craters & Freighters 

4110 Butler Pike, Suite A-101A 

Plymouth Meeting, PA 19462 

610.397.0488 

866.397.0488 

Fax: 610.397.0878 

philly@cratersandfreighters.com 

Mastrocco Jr. Moving & Storage 

Contact: Roseanne 

1060 Louis Drive 

Warminster, PA 18991 

215.491.0346 

Fax: 215.444.9327 

mastroccomovers@snip.net 

Aiston Fine Art Service 

P.O. Box 3434 

Grand Central Station 

New York, NY 10163 

212.715.0629 

Fax: 718.361.8569 

info@aistonart.com 

Atelier Art Services 

103 East Sharpnack Street 


215.842.3500 

Mizzentop ETS 

1409 Beaver Valley Pike 

P.O. Box 196 

Refton, PA 17568 

717.786.8809 

Fax: 717.786.2978 

info@mizzentoptransport.com 

Old City Movers 

Contact: John Ziemba 

1324 North 4th Street 


267.205.5209 

oldcitymovers@oldcitymovers.com 

The Packaging Store 

Contact: Duane Freed 

2333 West Main Street 

Lansdale, PA 19446 

215.361.6940 

Fax: 215.361.6941 

hello@packandshipnow.com 

FURNITURE & LARGER ITEMS: 

For larger pieces where delivery time is 

not the primary concern, we suggest 

getting your items 

freighted: 

www.plyconvanlines.com 

www.nwdelivery.com 

www.freightquote.com.

idding & registration form 

SALE NO BIDDER NO CLIENT NO 

NAME 

BUSINESS NAME 

ADDRESS 

CITY STATE COUNTRY 

ZIP CODE 

E-MAIL 

PHONE 

(Primary) 

PHONE 

(Secondary) 

FAX 

RESALE / TAX IDENTIFICATION 

A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $50,000 of the hammer price of each 

lot, 20% on the portion from $50,001 through $1,000,000, and 12% on that portion of the hammer price exceeding $1,000,000. All lots must be paid for and removed within 10 days. 

STATE 

LOT NO DESCRIPTION MAXIMUM BID 

please adhere 

to the bidding increments 

$10 

UNTIL $200 IS REACHED 

$25 

UNTIL $500 IS REACHED 

$50 

UNTIL $1,000 IS REACHED 

$100 


$250 


$500 


$1,000 


$2,000 


$5,000 


OVER $100,000 

AUCTIONEER’S DISCRETION 

bank reference 

BANK NAME 

ACCOUNT NO 

CONTACT NAME 

TELEPHONE 

I hereby confirm thet I have read and am bound by the “Terms of Sale” presented by the auction house and which govern all auction purchases made by me. Although every attempt is made to execute your 

bid(s), the auctioneer is not responsible for errors and omissions. 

SIGNED 

(signature required to execute your bids) 

❑ ID CONFIRMED 

❑ PLEASE SEND ME INFORMATION TO SUBSCRIBE TO FREEMAN’S CATALOGS 

Freeman’s 1808 Chestnut Street Philadelphia PA 19103 Tel-215.563.9275 Fax-215.599.2240 e-mail: info@freemansauction.com www.freemansauction.com


Directory 

specialist departments 

depart≤ents 

officers 

American Furniture, Decorative 

& Folk Art 

lynda a cain 

samuel ≤ free≤an ii 

whitney bounty 

American Silver 


Asian Arts 

richard cervantes 

robert waterhouse 

(consulting specialist) 

tianhan gao 

andrew zajack 

English & Continental 

Furniture & Decorative Arts 

david walker 

benjamin fisher 

ann glasscock 

Silver & Objet de Vertu 

david walker 

ann glasscock 

Fine Jewelry & Watches 


madeline mccauley 

allia dhody 

natalie difeliciantonio 

American Art 

alasdair nichol 

david weiss 

andrew huber 

candace vivian 

Prints 

anne henry 

david weiss 

aimee pflieger 

andrew huber 


fred frederick 

European Art & Old Master 

Paintings 


david weiss 

andrew huber 


Photographs & Photobooks 




Modern & Contemporary Art 

anne henry 


david weiss 




Oriental Rugs & Tapestries 

richard cervantes 

david weiss 

Books, Manuscripts, Maps 

& Ephemera 

david j bloom 

kerry-lee jeffery 

Appraisals 

sa≤uel ≤ free≤an ii 

james e buckley 

donald e walter 

amy parenti 

laura cox 

Consignments 

samuel h cooper 

james e buckley 

jeffery miller 

≤useum Services 

thomas b. mccabe iv 

lynda a cain 

Client Services 

mary maguire carroll 

jessica carter 

bethany mobbs 

bridgette bonner 

mallory malkasian 

jocelyn olsen-accad 

susannah mcgovern 

Operations 

nathan norley 

gerald lightfoot 

marlon glover 

tim lambert 

herbert drayton 

gerald davis 

darryll byram 

Finance 

mark beckerman 

karen bajczyk 

chair≤an 

samuel ≤ freeman ii 

vice chair≤an 

margaret d freeman 

vice chair≤an 


president 

paul roberts 

chief operating officer 

hanna dougher 

executive vice president 

ja≤es e buckley 

senior vice president 

david weiss 

tara theune-davis 

chief financial officer 

eric a smith 

vice presidents 

david j bloom 

lynda a cain 

anne henry 

samuel t. freeman iii 

Business Development 

& ≤arketing 

tara theune davis 

melissa geller 

thomas b mccabe iv 

christopher browne 

representatives 

david weiss 

Washington, DC 


Telephone: 202.412.8345 

colin clarke 

Charlottesville, VA 

cclarke@freemanssouth.com 

Telephone: 434.296.4096 

kelly wright 

Boston, MA 

kwright@freemansauction.com 

Telephone: 617.367.3400 

robert waterhouse 

Annapolis, MD 

rwaterhouse@freemansauction.com 

Telephone: 267.414.1239 

john jones 

Mountain Brook, AL 

jjones@freemansauction.com 

Telephone: 205.803.4949 

katherine van dell 

Wayne, PA 

koldiges@freemansauction.com 

Telephone: 610.254.9700 

Trusts & Estates 

samuel t freeman iii 

thomas b. mccabe iv 

holen miles lewis 

amy parenti 

laura cox 

jeffrey miller 

Photography 

elizabeth field 

elizabeth schultz 

thom clark 

ryan buckwalter 

v2.2013

Upcoming at Auction 

May 

05/06/13 

Fine Jewelry & Watches 

including the David S. Landes 

Collection 

05/21/13 

English & Continental 

Furniture & Decorative Arts 

05/22/13 

Oriental Rugs, Carpets & 

Textiles 

June 

06/09/13 

American Art & Pennsylvania 

Impressionists including 

works by Walter Stuempfig 

from the Forbes Collection 

06/18/13 

European Art & Old Masters 

Please call 267.414.1256 to order 

catalogues or subscriptions. 


www.freemansauction.com 

Samuel 

T Freeman & Co. 1808 Chestnut Street Philadelphia Pennsylvania 19103 

Tel-215.563.9275 Fax-215.563.8236

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