PDF Catalogue

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PDF Catalogue

An American
Dream
American Art &
Pennsylvania Impressionists
June 5, 2016
American Art &
Pennsylvania Impressionists
Auction
Sale 1546
Sunday, June 5, 2016 at 2:00pm
1808 Chestnut Street, Philadelphia PA 19103
Exhibitions
Wednesday, June 1
10:00am-5:00pm
Thursday, June 2
10:00am-5:00pm
Friday, June 3
10:00am-5:00pm
Saturday, June 4
12:00pm-5:00pm
By appointment only on the morning of the sale
Catalogue
$32 in the gallery
$38 domestic mail
$44 international mail
Catalogues are always available on our website
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the iPad App Store.
Cover Image: Lot 80
Inside Front Cover: Lot 20
Inside Back Cover: Lot 84
Client Services
Mary Maguire
Director | Client Services
[email protected]
267.414.1236
Melissa Arundel
Bids Department
[email protected]
267.414.1208
Stephanie Parker
Post Sale Administrator
[email protected]
267.414.1206
Important Information for Buyers
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accepted Freeman’s Terms and Conditions of Sale.
Buyer’s Premium
A Buyer’s Premium will be added to the successful bid price and is payable by
the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25%
on the first $200,000 of the hammer price of each lot, 20% on the portion from
$200,001 through $3,000,000, and 12% thereafter.
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Catalogue Descriptions
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the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition
is to their satisfaction. If potential buyers are unable to inspect lots in person, our
specialists will be happy to prepare detailed Condition Reports on individual lots as
quickly as possible. These are for guidance only, and all lots will be sold “as is” as per
our Terms and Conditions of Sale.
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responsible for errors or failure to execute bids.
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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.
v3.2016
American Art & Pennsylvania Impressionists Department
Alasdair Nichol
Vice Chairman | Head of Department
[email protected]
267.414.1211
David Weiss
Senior Vice President | Specialist
[email protected]
267.414.1214
F
reeman’s is pleased to present its first American Art and
Pennsylvania Impressionist auction of the year. The sale
includes works by many of this country’s most renowned and
influential artists.
Among the highlights is a charming scene by N. C. Wyeth,
patriarch of one of America’s most revered artistic dynasties.
Titled “After the Day’s Work,” this painting captures a blissful
slice of Americana, replete with white picket fence, playful
toddler, and a faithful canine companion as a happy family
is reunited under the full moon of early evening. Echoing last
December’s auction—Freeman’s most successful American
art sale to date—all three generations of the Wyeth family are
again represented, with works by Andrew and Jamie completing
the triumvirate.
While the Wyeths are often associated with Pennsylvania’s
Brandywine Valley and Maine, other regions of the United
States are also well-represented. The energy and glamor of
New York City are captured in several works, notably by Martin
Lewis and Everett Shinn.
Sincerely,
Alasdair Nichol, Vice Chairman | Head of Department
Molly Morrow
Cataloguer | Department Administrator
[email protected]
215.940.9827
Lily Liu
Cataloguer | Department Administrator
[email protected]
267.414.1253
The American West has proved fertile territory for the imagination of many artists. This auction includes several, ranging from
Albert Bierstadt and Henry Farny from an earlier era, to contemporary artists Luke Frazier and Gerald Harvey.
Closer to home, Freeman’s has been for some time a market
leader in the field of Pennsylvania Impressionism, and is again
delighted to offer a fine group of works by preeminent members
of the school such as Edward Redfield, Fern Coppedge, George
Sotter and Walter Schofield. Other artists with strong ties to
Philadelphia are also represented. Two impressive and monumental double portraits of a prominent Philadelphia family of
the arts are rendered with great painterly brio by Cecilia Beaux,
while a classic double-sided beach scene by Martha Walter is
also sure to garner attention.
Wherever your interests in American art may lie, I very much
hope to see you during our exhibition and look forward to being
of assistance.
American Art
lots 1-92
Lot 42 (detail)
www.freemansauction.com 7
1 160421/1
MARTIN LEWIS
(american 1881-1962)
“GLOW OF THE CITY”
1929. Edition of 110. Pencil signed in the margin,
drypoint, unframed
Image size: 11 1/4 x 14 5/16 in. (28.6 x 36.4cm)
Sheet size: 14 1/8 x 18 3/4 in. (35.9 x 47.6cm)
[McCarron 77]
provenance:
Private Collection, New Jersey.
note:
The present print depicts New York City’s
glowing Chanin Building in the distance, which
had just been completed when Lewis executed
this work. It is still standing today at the corner
of 42nd Street and Lexington Avenue. The
foreground, replete with elements of modernity
and urban development, shows a woman
surrounded by hanging laundry, fire escapes, and
multiple apartment buildings. During his lifetime
and up to the present day, Lewis is recognized as
a master of printing techniques, particularly his
skillful portrayal of the light and dark contrast
between the illuminated and the obscured. Lewis
was awarded the Print Club of Philadelphia's
Charles M. Lea Prize for this print in 1930, and is
considered by some to be his most important
and iconic work.
$30,000-50,000
8 www.freemansauction.com
2 152492/1
JAMES ABBOTT MCNEILL WHISTLER
“ROTHERHITHE”
1860. One of the “Sixteen Etchings”. III state (final). Etching and
drypoint, unframed
[Kennedy 66]
provenance:
Private Collection, New Hampshire.
$3,000-5,000
3 160138/9
THOMAS HART BENTON
“THRESHING”
1941. Edition of 250. Pencil signed in the margin, lithograph
[Fath 48]
provenance:
Private Collection, New York, New York.
$3,000-5,000
4 160138/1
GENE KLOSS
“EVE OF THE GREEN CORN CEREMONY DOMINGO PUEBLO”
1934. Edition of 130. Pencil signed in the margin;
also inscribed with title bottom left, drypoint
and aquatint
Image size: 14 x 11 in. (35.6 x 28cm)
Sheet size: 16 3/8 x 13 in. (41.6 x 33cm)
[Kloss 306]
provenance:
$2,000-3,000
5 160042/4
MARY CASSATT
“UNDER THE HORSE CHESTNUT
TREE”
1895. Fourth state (final). Pencil
signed in the margin, also numbered
‘146’ bottom left, drypoint and
aquatint on paper
Image size: 15 7/8 x 11 5/16 in.
(40.3 x 28.7cm)
Sheet size: 20 x 15 1/2 in.
(50.8 x 39.4cm)
[Breeskin 162]
provenance:
Davis and Langdale Company, Inc.,
New York, New York.
Private Collection, California.
$40,000-60,000
6 160335/1
ALBERT BIERSTADT
“THE FALLS” (PORTION OF
“GREAT YOSEMITE CALIFORNIA,
1873”)
Signed ‘ABierstadt’ bottom left, oil
on panel
20 1/2 x 14 1/4 in. (52 x 36.2cm)
provenance:
Kennedy Galleries, Inc., New York,
New York.
Christie’s, New York, sale of May 25,
2006, lot 113.
Acquired from the above.
Private Collection, Philadelphia,
Pennsylvania.
$40,000-60,000
7 160125/1
WILLIAM KEITH
YOSEMITE
Signed ‘W. Keith’ bottom right, oil
on canvas
24 x 18 in. (61 x 45.7cm)
provenance:
Private Collection, Montana.
$20,000-30,000
8 152545/1
EDWIN LORD WEEKS
MARKET SCENE, LAHORE
Signed and located ‘E.L. Weeks/
Lahore’ bottom left, oil on canvas
19 x 13 in. (48.3 x 33cm)
provenance:
Private Collection, Pennsylvania.
exhibited:
“Empire of India Exhibition”, Earl’s
Court, London S.W., 1895, no. 12,
(As “A Street in Lahore, with houses
of carved wood and the Dome of
the Golden Mosque”).
literature:
Empire of India Exhibition, 1895.
Catalogue and Description of Paintings
and Studies of Indian Life, by Mr. E. L.
Weeks, no. 12.
Edwin Lord Weeks, From the Black
Sea through Persia and India, London
and New York: 1895, pp. 178-181
and p. 183 (a similar street view in
Lahore appears on p. 163, labeled “A
Lahore Street-Morning”).
note:
Weeks entered Lahore, at the time
in the Punjab of greater India in
December of 1892 or January 1893,
after traveling through Persia in the
summer and fall of 1892. This was
his third and last expedition into
India, since 1882-83 and 1887, and
his first experience of the city of
Lahore (now in Pakistan). In his
book, From the Black Sea through
Persia and India, Weeks noted,
“There are two domed edifices
which may have been tombs or
fountains, but which now shelter
various rude thatched awnings
projecting from their eaves.”
(pp. 178-179). Weeks renders these
in glistening sunlight, being so
adept at sunshine and shadow.
Of special note are the carved
wooden superstructures above the
shop fronts lining the street. Of
these he wrote:
“[I]n its display of carved and
weather-beaten wood-work, of
balconies and jutting windows, each
house exhibiting the individual taste
and fancy of its designer, it is
probably unequaled in any city of
the East.” (p. 180)
“[The] wealth of old woodwork
becomes fairly prodigal; the side
streets ... give one the impression
that each house-holder has vied to
outdo his neighbor in throwing out
these crowded ranks of beautiful
windows, and in covering every inch
of wall with decoration...” (p. 181)
“Beyond the group of gilded
domes...The Jumma Musjid, or
Great Mosque rises beyond an
open desert space near the end of
this street.” (p. 183)
This sunny painting was executed
on site and, coincident with Weeks’
descriptions, features an above eyelevel view of the row of elaborately
carved wooden windows and
balconies rising above the roofs of
the street-level shops of various
kinds, the street itself densely
packed with tradesmen coming and
going. These figures, as with the
two men in the foreground, have
heads wrapped in a heavy regional
turban of cotton and wear a dhoti
(underlying white cotton tunic and
pants), with overcoats of white and
yellow cloth, or entire white clothing
as with the two figures marching
down the street on the extreme left.
As indicated in his section on
Lahore, Weeks gives us a view of
the golden domes of the mosque
seen arising from the rooftops. But
the focus of the painting is clearly
seen in his rendering of the detailed
fanciful ornamented, paneled and
bracketed woodwork of the houses
lining the street, jutting forth at
different depths. This woodwork
fascinated Weeks in Lahore and
Ahmedabad (farther south). In
another in situ painting of Lahore
shown at the Empire of India
Exhibition, the woodwork is also
painted and seen with nautch girls
peering from overhead from the
balconies. But the present painting
is a finely detailed rendering of the
architecture and commerce of a
Lahore street. Weeks greatly relied
on these in situ works for backdrops
to some of his major paintings,
executed in his Paris studio during
the 1890s upon his return from
India.
The present lot will be accompanied
by a letter of authenticity by Dr.
Ellen K. Morris. This painting will
also be included by Dr. Morris in the
Catalogue Raisonné. We thank Dr.
Morris for researching and writing
the preceding catalogue entry.
$40,000-60,000
9 160400/3
WILLIAM LOUIS SONNTAG
LANDSCAPE WITH FIGURES ON A
BANK
Signed ‘Sonntag’ bottom left, oil on
canvas
22 x 31 in. (55.9 x 78.7cm)
provenance:
The Estate of Dr. William N.
Coughlin, Springfield, Illinois.
$5,000-8,000
10 160400/7
ALBERT BIERSTADT
MOUNTAIN LANDSCAPE
Signed ‘ABierstadt’ bottom right, oil
on paper laid to board
13 7/8 x 19 in. (35.4 x 48.3cm)
provenance:
Sotheby’s New York, Arcade, sale of
September 28, 1995, lot 40A.
$20,000-30,000
11 158162/1
BRUCE CRANE
“GOLDEN AFTERNOON”
Signed ‘Bruce Crane’ bottom right;
also inscribed with artist and title on
label verso, oil on canvas
14 x 20 in. (35.6 x 50.8cm)
provenance:
Private Collection, Palm Beach,
Florida.
$5,000-8,000
12 160104/3
HUGH BOLTON JONES
HILLY LANDSCAPE WITH
EVERGREENS
Signed ‘H. Bolton Jones’ bottom
right, oil on canvas
30 x 36 in. (76.2 x 91.4cm)
provenance:
Private Collection, Connecticut.
$10,000-15,000
13 168023/2
THOMAS HOTCHKISS
EARLY AUTUMN LANDSCAPE
Signed and dated ‘TH Hotchkiss
1917’ bottom right, oil on board
11 3/8 x 20 in. (28.9 x 50.8cm)
provenance:
Private Collection, Virginia.
$4,000-6,000
14 160460/1
WALTER GRIFFIN
“STROUDWATER, MAINE”
Signed ‘Griffin’ bottom left; also
signed and inscribed with title verso,
oil on canvas
24 x 30 in. (61 x 76.2cm)
provenance:
Christie’s, New York, sale of
September 28, 1989, lot 216.
Knoke Galleries, Georgia.
$5,000-8,000
15 160167/1
WILLIAM AIKEN WALKER
“COTTON PICKERS - AUNT
PHEMA”
Signed ‘WAWalker’ bottom left; also
with artist and title on label verso,
oil on board
8 x 4 1/8 in. (20.3 x 10.5cm)
provenance:
The Red Piano Art Gallery, Hilton
Head Island, South Carolina.
Private Collection, Florida.
$5,000-8,000
16 152482/9
FRANCES TRUMBULL LEA
(american act. 1910-1920)
PORTRAIT OF THE ARTIST
Signed ‘FTLea/L (encircled) bottom right; also
inscribed with artist on partial labels verso
45 3/4 x 35 in. (116.2 x 88.9cm)
provenance:
Schwarz Gallery, Philadelphia, Pennsylvania.
Property of Philadelphia Hospitality Partners, LLC.
exhibited:
Portland Society of Art, Portland, Maine, 1911-1912,
no. 79 (as “Portrait of Artist”).
Featured in Philadelphia Collection XLVIII, plate 31.
$4,000-6,000
17 160465/2
EDMUND HENRY OSTHAUS
ON THE SCENT
Signed ‘Edm. H. Osthaus’ bottom
26 3/8 x 40 1/8 in. (67 x 101.9cm)
provenance:
Property of an Estate, Pennsylvania.
$25,000-40,000
18 160400/8
HARRY HERMAN ROSELAND
A LOOK OUT TO SEA
Signed and dated ‘Harry Roseland
08’ bottom right, oil on canvas
48 1/8 x 30 in. (122.2 x 76.2cm)
provenance:
Christie’s, New York, sale of March
14, 1991, lot 41.
$8,000-12,000
19 160392/2
WALTER GAY
“LE BUSTE”
Signed ‘Walter Gay’ bottom right;
also inscribed ‘Société National/ Le
Buste/ par Walter Gay’ on label
verso, oil on board
22 1/4 x 18 in. (56.5 x 45.7cm)
provenance:
Pennsylvania.
$6,000-10,000
20 160355/1
CECILIA BEAUX
MRS. JOHN FREDERICK LEWIS
AND SON, JOHN FREDERICK
LEWIS, JR.
Signed ‘Cecilia Beaux’ bottom left,
oil on canvas
83 3/4 x 48 3/4 in.
(212.7 x 123.8cm)
provenance:
The Artist.
Commissioned from the above by
Mr. and Mrs. John Frederick Lewis.
By descent in the family to her son,
John Frederick Lewis, Jr.
By descent in the family.
Private Collection, Malvern,
Pennsylvania.
exhibited:
“Cecilia Beaux and the Art of
Portraiture”, The National Portrait
Gallery, Washington, D.C., October
6, 1995-January 28, 1996; and
Westmoreland Museum of Art,
Greensburg, Pennsylvania, February
25-May 5, 1996.
note:
by the original receipt of payment
and check written to Beaux by Mrs.
John Frederick Lewis for the
purchase of this painting on April 24, 1908.
$20,000-30,000
21 160355/2
CECILIA BEAUX
JOHN FREDERICK LEWIS AND
SON, ALFRED BAKER LEWIS
Signed ‘Cecilia Beaux’ bottom left,
oil on canvas
83 3/4 x 48 in. (212.7 x 122cm)
provenance:
The Artist.
Commissioned from the above by
Mr. and Mrs. John Frederick Lewis.
By descent in the family to his son,
John Frederick Lewis, Jr.
Private Collection, Malvern,
Pennsylvania.
exhibited:
“Cecilia Beaux: Portrait of an Artist”,
Pennsylvania Academy of the Fine
Arts, Philadelphia, Pennsylvania,
1974-1975, no. 64.
literature:
Arts, The Paintings and Drawings of
Cecilia Beaux, Philadelphia: 1955,
p. 76, (illustrated).
note:
Both John F. Lewis Sr. (1860-1932)
and John F. Lewis Jr. (1899-1965)
served as President of the Board at
PAFA. Lewis, Sr. served from
February, 1908 through December,
1932, and Lewis, Jr. served from
February, 1949 through October,
1958. According to the 1974-1975
exhibition catalogue, Beaux served
as a member of the PAFA faculty
from 1895-1915, and was well
acquainted with the Lewis family at
the height of her Philadelphia career.
The present portrait, as well as the
double portrait of Mrs. Lewis and
son, (see lot 20) were executed over
a period of several years as
commissions (ca. 1908-1910). These
two double portraits are striking and
show the artist’s skill and style at
their zenith. Beaux’s excellent sense
of balance in color, composition, and
design are evident in both paintings,
bringing out the sitters’ emotions,
affectations, and relationships to
each other in an exceptional
manner.
$20,000-30,000
22 160137/1
ROBERT TAIT MCKENZIE
(canadian 1867-1938)
“THE COMPETITOR”
Signed and dated ‘R. Tait McKenzie
‘06’ on base; also with ‘Roman
Bronze Works N.Y.’ foundry mark on
base, bronze with brown patina
Height: 21 1/2 in. (54.6cm)
provenance:
Property of a Law Firm, Cincinnati,
Ohio.
exhibited:
Salon and Royal Academy, 1907,
(another example).
Fine Arts Society, London, 1920,
(this cast).
literature:
Andrew Kozar, R. Tait McKenzie: The
Sculptor of Athletes, University of
Tennessee Press: 1975, p. 52-53
(another cast illustrated).
$10,000-15,000
23 160500/1
DONALD DE LUE
“SPIRIT OF AMERICAN YOUTH”
Signed, dated, and inscribed ‘De Lue
SC © 1955/ DLNMB DELANO’ on
base; also with ‘Roman Bronze
Works’ foundry mark, bronze with
dark brown patina on black marble
base
Height: 37 in. (94cm) (including
base)
provenance:
Private Collection, New York,
New York.
note:
The current owner of the present lot,
as well as lots 24 and 25, acted as
record keeper for the artist’s
inventory of works during his
lifetime.
$12,000-18,000
24 160500/2
DONALD DE LUE
“GEORGE WASHINGTON KNEELING IN
PRAYER”
Signed’ D. De Lue © 1976’ and indistinctly
inscribed on base; also with ‘Roman Bronze
Works’ foundry mark, bronze with green patina
on black marble base
Height: 18 1/2 in. (47cm) (including base)
provenance:
note:
A larger version of the same bronze can be
seen as a monument at Freedoms Foundation
in Valley Forge, Pennsylvania.
$4,000-6,000
25 160500/3
DONALD DE LUE
THOMAS JEFFERSON
Signed, dated, and inscribed ‘D De Lue/ SC ©
75/ DLNM DELANO’ on base, bronze with
green patina on black marble base
Height: 24 1/8 in. (61.3cm) (including base)
provenance:
note:
A larger version of the same bronze can be
seen as a monument at Wichita State
University, Kansas.
$4,000-6,000
26 168024/5
BESSIE POTTER VONNOH
“GIRL READING”
Signed and inscribed ‘Bessie Potter No. X’ on base;
also with ‘Roman Bronze Works NY’ foundry mark on
base, bronze with brown patina
Height: 9 1/4 in. (23.5cm)
provenance:
$4,000-6,000
27 160042/1
ROBERT HENRI
“MANOLITA MAREQUIS”
Signed and dated ‘Robert Henri 1908’ bottom left; also inscribed with title
bottom right; and inscribed with artist, title, date and location ‘Madrid’ verso,
oil on canvas
31 7/8 x 26 1/4 in. (81 x 66.7cm)
provenance:
note:
Robert Henri is best known as the most prominent and celebrated member
of the Ashcan School, whose artists differentiated themselves from the
American Impressionists by focusing on urban realism. Rather than depicting
idyllic landscapes in bright colors, Henri and other Ashcan artists such as
John Sloan, Everett Shinn, William Glackens and George Luks espoused the
notion of creating “art for life’s sake” rather than “art for art’s sake”. This
meant portraying urban people and settings, particularly New York’s streets,
restaurants, theatres, and lower class neighborhoods, often using gestural
brushstrokes in a predominately dark color palette.
Henri frequently traveled to Spain, particularly between 1900 and 1926.
During that time he painted a large and significant amount of works
depicting Spanish people and their everyday life. Henri’s portraits present a
dynamic and diverse range of the country’s society and include such figures
as dancers, street performers, bullfighters, peasants and gypsies, skillfully
capturing the spirit and essence of each individual.
In 2014 Telfair Museums in Savannah, Georgia organized a travelling
exhibition of Henri’s work entitled “Spanish Sojourns: Robert Henri and the
Spirit of Spain”. Before this exhibition, many of the works from his Spanish
oeuvre were lesser known than his others, primarily because so many are
owned privately, or were acquired by museums soon after they were made.
“Manolita Marequis” is an excellent example of a privately owned work that
embodies Henri’s fascination with Spanish subjects, including dancers. Her
striking red and black floral dress and vivid rose in her hair are matched only
by her commanding expression. An exotic beauty, her bold features
immediately demand the viewer’s attention and the dark background and
animated brushstrokes add to the painting’s appeal.
$120,000-180,000
28 160033/1
CHILDE HASSAM
THE WORLD’S COLUMBIAN EXPOSITION, CHICAGO
Signed ‘Childe Hassam’ bottom right, ink and gouache on paper laid to board
10 1/2 x 14 in. (26.7 x 35.6cm)
provenance:
Private Collection, Philadelphia, Pennsylvania.
Private Collection, Santa Monica, California.
note:
The present lot is similar to several other small-scale grisaille works that Hassam executed
(mostly on paper) during 1892-1893, which depict the buildings and environs of the World’s
Fair in Chicago during that time. These works were often populated with figures moving
around the grounds of the fair, as seen here. One such comparable work, “View at the
World’s Columbian Exposition”, is owned by the Terra Foundation for American Art in
Chicago, Illinois.
This lot will be included in Stuart P. Feld’s and Kathleen M. Burnside’s forthcoming
Catalogue Raisonné of the artist’s work. We would like to thank Kathleen M. Burnside for
her assistance with cataloguing this lot.
$15,000-25,000
29 160042/2
EVERETT SHINN
“THE PLAZA LOOKING NORTHEAST AT 59TH STREET”
Signed ‘E. Shinn’ bottom left; also titled and dated ‘1900’ bottom
center, watercolor on illustration board
Image Size: 8 3/8 x 12 in. (21.3 x 30.5cm)
Board size: 11 1/4 x 15 7/8 in. (28.6 x 40.3cm)
provenance:
The Estate of the Artist.
Bernard Black Gallery, New York, New York.
David and Long Company, New York, New York.
James Graham and Sons, New York, New York.
Sotheby’s, New York, sale of June 4, 1982, lot 71.
exhibited:
“The Eight”, The Museum of Modern Art, New York, New York,
1964 (and travelling).
“American-English Drawings and Watercolors”, Davis and Long
Company, New York, New York, March 4 - 31, 1977, no. 20.
literature:
Edith Deshazo, Everett Shinn, 1876-1952, A Figure in His Time,
New York: Clarkson N. Potter, Inc., 1974, p. 110, (illustrated).
note:
Everett Shinn was the youngest member of the Ashcan School,
also referred to as “The Eight”, which comprised of several artists
including Robert Henri. He frequently represented urban street
life, as well as the theatre and other scenes of modernity in
New York City during the early twentieth century. According to a
label in Shinn’s handwriting verso, the present lot depicts the
“first sketches made for the decorations in the Hotel Plaza bar.
These changed to more serious presentation. E.S.” These murals
adorn the walls of New York City’s Plaza Hotel and were recently
restored in 2010.
$50,000-80,000
30 160042/3
EVERETT SHINN
“ON MULBERRY STREET”
With artist and title on labels verso,
oil on canvas
8 x 10 in. (20.3 x 25.4cm)
provenance:
Goldfield Galleries, Los Angeles,
California.
Grand Central Art Galleries,
New York, New York.
Chapellier Galleries, Inc., New York,
New York.
$30,000-50,000
31 160482/2
ALEXANDER THEOBALD VAN
LAER
“RAINY DAY, CANAL STREET, NEW
YORK CITY”
Signed ‘A.T. Van Laer’ bottom right;
also with artist, title, and date ‘c.
1903’ on labels verso, oil on canvas
32 x 27 in. (81.3 x 68.6cm)
provenance:
Private Collection, Massachusetts.
exhibited:
“Artists’ Competition”, The Osborne
Company, New York, New York, n.d.
$7,000-10,000
33 160155/1
JOHANN BERTHELSEN
WINDY WINTER STREET SCENE
Signed ‘Johann Berthelsen’ bottom
right, oil on canvasboard
11 1/4 x 9 1/2 in. (28.6 x 24cm)
provenance:
Private Collection, Providence,
Rhode Island.
$4,000-6,000
32 160482/1
LEE JACKSON
(american b. 1909)
“THE BATHGATE MARKET, BRONX”
Signed ‘L. Jackson’ bottom right; also
inscribed with artist and title verso, oil
on board
34 3/4 x 47 7/8 in. (88.3 x 121.6cm)
provenance:
Babcock Galleries, New York,
New York.
exhibited:
Carnegie Institute, Pittsburgh,
Pennsylvania, n.d.
National Academy Museum,
New York, New York; and Chicago
Institute of Art, 1942 (as “Night Scene,
Bronx”), no. 135.
$6,000-10,000
34 160498/2
EVERETT SHINN
“BOUDOIR”
Signed ‘E. Shinn’ bottom right; also
oil on canvas
10 x 12 1/4 in. (25.4 x 31.1cm)
provenance:
ACA American Heritage Galleries,
Inc., New York, New York.
$10,000-15,000
35 160197/4
REGINALD MARSH
CONEY ISLAND WOMEN
Signed and dated ‘Reginald Marsh
‘49’ bottom right; also dated ‘1949’
bottom right, oil on panel
With:
LADIES IN BERETS
verso; signed and dated ‘Marsh
1951’ bottom right, oil on panel
Sight size: 13 3/8 x 9 3/8 in.
(34 x 23.8cm)
provenance:
$6,000-10,000
36 160404/8
FREDERICK JUDD WAUGH
SEASCAPE AT DAWN
Signed and dated ‘FJ Waugh 1905’
bottom right, oil on canvas
17 1/4 x 21 1/4 in. (43.8 x 54cm)
provenance:
Christie’s, New York, sale of June 15,
2000, lot 91.
Private Collection, North Carolina.
$5,000-7,000
37 160404/7
FREDERICK JUDD WAUGH
SEASCAPE
Signed ‘Waugh’ bottom right, oil on
canvas laid to board
30 x 40 in. (76.2 x 101.6cm)
provenance:
Sotheby’s, New York, sale of March
14, 1996, lot 15.
$8,000-12,000
38 160068/2
PAUL DOUGHERTY
“EVENING- LOW TIDE”
Signed ‘Paul Dougherty’ bottom
right; also inscribed with title verso,
oil on panel
12 3/4 x 16 in. (32.4 x 40.6cm)
provenance:
$2,000-3,000
39 160068/3
PAUL DOUGHERTY
CRASHING TIDE
Signed ‘Paul Dougherty’ bottom
right, oil on panel
12 3/4 x 14 3/4 in. (32.4 x 37.5cm)
provenance:
$2,000-3,000
40 160068/4
PAUL DOUGHERTY
ON THE RIVERBANK
Signed ‘Paul Dougherty’ bottom left,
oil on panel
11 7/8 x 15 7/8 in. (30.2 x 40.3cm)
provenance:
$2,000-3,000
41 160111/2
BROR JULIUS OLSSON
NORDFELDT
“GIRL IN BLUE DRESS”
Signed ‘Nordfeldt’ bottom right; also
oil on canvas
38 1/4 x 34 1/2 in. (97.2 x 87.6cm)
provenance:
Gerald P. Peters Gallery, Santa Fe,
New Mexico.
New York.
$12,000-18,000
42 160109/1
GUY PÈNE DU BOIS
“LOCKED JURY”
With artist, title, and location ‘New York’ on label verso, oil on canvas
20 1/8 x 40 1/4 in. (51.1 x 102.2cm)
provenance:
Property of the Ira Greenhill Revocable Trust.
exhibited:
The Metropolitan Museum of Art, New York, New York, n.d.
note:
Born in Brooklyn, New York, Pène du Bois studied under William Merritt
Chase at the New York School of Art, and later trained under realist artists
Robert Henri and Kenneth Hayes Miller. Throughout his career he worked as
an illustrator, editor, and critic for publications such as the New York
American and Arts and Decoration magazine. He exhibited his work
frequently and also became a teacher for both the Art Students League in
New York City, and later in Stonington, Connecticut, where he founded an
art school of his own.
Pène du Bois is most well known for his clever and often sardonic depictions
of New York society, developing his quintessential stylized figures which
highlight pretentiousness and duplicity behind many human encounters.
Famed art collector and art critic Duncan Phillips praised him as “an
irrepressible mocker of human absurdity and a clever satirist of types
familiar to our modern world.” Phillips also admired Pène du Bois’s keen
sense of color and “flair for good painting,” referring to the artist as “a
remarkably able draughtsman [...] There is a clearness and a resonance in
his pinks, blues, scarlets, and blacks.” The aforementioned color palette and
stylized figures are prominent in the present lot, which shows a number of
various social interactions occurring as small vignettes throughout the
composition. Of particular note is the woman in pink-the only female in the
painting-on whom most of the color is concentrated, and who immediately
draws the eye through her appearance of isolation and contemplation. Each
encounter seems to be a separate engagement unto itself. The title, "Locked
Jury", indicates a sense of disagreement and stalemate; the dark, almost
smoky appearance of the room adds to the somber, yet intense sentiment
exuding from the canvas.
$40,000-60,000
43 160400/2
EMILE ALBERT GRUPPE
“AT DOCK”
Signed ‘Emile A Gruppe’ bottom
right; also inscribed with artist, title,
and location ‘The Seven Seas Wharf,
Gloucester, Mass’ on stretcher
verso, oil on canvas
24 x 20 in. (61 x 50.8cm)
provenance:
$3,000-5,000
44 160400/1
EMILE ALBERT GRUPPE
VERMONT ROAD
Signed ‘Emile A Gruppe’ bottom
25 1/8 x 30 in. (63.8 x 76.2cm)
provenance:
$3,000-5,000
45 160460/2
JANE PETERSON
“THE HARBOR, CHIOGGIA, ITALY”
Signed ‘Jane Peterson’ bottom left;
also inscribed with title on label
verso, oil on board
11 7/8 x 15 7/8 in. (30.2 x 40.3cm)
provenance:
Arvest Galleries, Inc., Boston,
Massachusetts.
$4,000-6,000
46 160104/2
MATHIAS JOSEPH ALTEN
EARLY SPRING LANDSCAPE
Signed ‘M. Alten’ bottom right, oil
on canvas
31 x 40 1/4 in. (78.7 x 102.2cm)
provenance:
$5,000-7,000
47 152463/1
WALTER KOENIGER
FOGGY HARBOR
Signed and dated ‘W. Koeniger/ 14’
bottom left, oil on canvas
22 x 28 in. (55.9 x 71.1cm)
provenance:
$3,000-5,000
48 160111/1
BROR JULIUS OLSSON
NORDFELDT
“STILL LIFE”
Signed ‘Nordfeldt’ bottom right; also
with artist, title and date ‘ca. 1930’
on labels verso, oil on canvas
36 x 32 1/4 in. (91.4 x 81.9cm)
provenance:
Gerald Peters Gallery, Dallas, Texas
and Santa Fe, New Mexico.
New York.
$15,000-25,000
49 160111/3
BROR JULIUS OLSSON
NORDFELDT
“YELLOW FLOWERS”
Signed ‘Nordfeldt’ bottom right, oil
on canvas; also with artist, title and
date ‘1937’ on label verso, oil on
canvas
28 1/8 x 22 in. (71.4 x 55.9cm)
provenance:
New York.
$8,000-12,000
50 152358/4
JOSEPH STELLA
NEAPOLITAN LANDSCAPE
Signed, located, and dated ‘Joseph
Stella Naples 1914’ bottom center,
watercolor on paper
11 7/8 x 8 1/16 in. (30.2 x 20.5cm)
provenance:
$5,000-8,000
52 160479/1
BROR JULIUS OLSSON NORDFELDT
“CATCH”
Signed and dated ‘Nordfeldt 52’ bottom right; also
inscribed with artist, title, and date verso, oil on canvas
26 1/4 x 32 in. (66.7 x 81.3cm)
provenance:
The Artist.
Acquired from the above as a gift.
Private Collection, Lambertville, New Jersey.
$3,000-5,000
51 160308/4
LEON KROLL
“INTERIOR WITH NUDE” (ISABEL)
Signed and dated ‘Leon Kroll 1966’ bottom right; also
with artist and title on labels verso, oil on canvas
16 1/4 x 24 1/4 in. (41.3 x 61.6cm)
provenance:
ACA Galleries, New York, New York.
Private Collection, Wichita, Kansas.
Christie’s, New York, sale of August 31-September 1,
2010, lot 31.
Private Collection, Halifax, Canada.
$3,000-5,000
53 160489/1
ARTHUR DOVE
“STEAM BOAT, NORTH PORT”
Signed ‘Dove’ bottom left; also with artist, title, and
date ‘1931’ on labels verso, watercolor on paper
4 3/4 x 6 3/4 in. (12.1 x 17.1cm)
provenance:
An American Place (Alfred Stieglitz), New York,
New York.
The Downtown Gallery, New York, New York.
Terry Dintenfass, Inc., New York, New York.
Private Collection, New York.
exhibited:
“The Long Island Landscape 1914-1946”, Parrish Art
Museum, Southampton, New York, June 13-August 1,
1982.
$8,000-12,000
54 160404/4
ALDRO THOMPSON HIBBARD
“AFTER THE BLIZZARD, 1958”
Signed ‘A. T. Hibbard’ bottom right; also
inscribed with title and number ‘68’ verso, and
with location ‘Rockport, Mass.’ on label verso,
oil on canvas
24 x 32 1/4 in. (61 x 81.9cm)
provenance:
Sotheby’s, New York, sale of March 14, 1996,
lot 104.
$5,000-7,000
55 160404/3
FARM IN WINTER
Signed ‘A. T. Hibbard’ bottom left, oil
on canvas laid to board
18 x 24 in. (45.7 x 61cm)
provenance:
Christie’s, New York, sale of
December 3, 1996, lot 167.
$4,000-6,000
56 160404/5
WINTER STREAM
Signed ‘A. T. Hibbard’ bottom right,
oil on board
17 3/4 x 23 3/4 in. (45.1 x 60.3cm)
provenance:
Doyle, New York, sale of April 22,
1998, lot 18.
$3,000-5,000
57 160404/6
CAPE COD INLET
Signed and dated ‘A. T. Hibbard ‘16’
bottom right, oil on board
12 x 15 in. (30.5 x 38.1cm)
provenance:
2000, lot 103.
$3,000-5,000
58 160308/6
GEORGE GARDNER SYMONS
ROCKS AND SEA
Signed with initials ‘G.S.’ bottom
right, oil on panel
13 x 16 in. (33 x 40.6cm)
provenance:
$2,000-3,000
59 160340/1
MAGNUS COLCORD HEURLIN
INUIT IN AN UMIAK
Signed, located and dated ‘C.
Heurlin/ Barrow ‘46’ bottom left, oil
on canvas
37 7/8 x 33 3/4 in.
(96.2 x 85.7cm)
provenance:
Private Collection, South Carolina.
Private Collection, South Carolina.
note:
The present painting is believed to
have been created as an
advertisement for Wien Airlines, the
first airline in Alaska.
$10,000-15,000
60 160197/2
DAVID DAVIDOVICH BURLIUK
(american/ukrainian 1882-1967)
“FLOWERS IN RUSSIAN
LANDSCAPE”
Signed and dated ‘Burliuk/ 1961’
bottom left; also with artist and title
on label verso, oil on canvas
40 x 25 in. (101.6 x 63.5cm)
provenance:
Harbor Gallery, Cold Spring Harbor,
New York.
$15,000-25,000
61 160168/1
DAVID DAVIDOVICH BURLIUK
(american/ukrainian 1882-1967)
SPRING LANDSCAPE
Signed and dated ‘Burliuk/ 1947’
bottom center left, oil on canvas
15 x 21 in. (38.1 x 53.3cm)
provenance:
$2,500-4,000
62 160170/2
JOE JONES
APPLE COUNTRY
Signed ‘Joe Jones’ bottom center
left; also with artist, title and date
‘1945’ on stretcher verso, oil on
canvas
36 1/4 x 48 in. (92 x 122cm)
provenance:
$3,000-5,000
63 160308/1
KENNETH HAYES MILLER
BATHSHEBA
Signed and dated ‘Hayes Miller ‘19’
bottom right, oil on canvas
34 1/8 x 28 in. (86.7 x 71.1cm)
provenance:
literature:
Lincoln Rothschild, To Keep Art Alive:
The Effort of Kenneth Hayes Miller,
American Painter (1876-1952), Art
Alliance Press: 1974, fig. 23,
(illustrated).
$4,000-6,000
64 152423/1
ROBERT GWATHMEY
“FLOWER VENDORS”
Signed ‘Gwathmey’ bottom left; also
signed ‘Gwathmey’ bottom center
right, watercolor and ink on
illustration board
Image size: 20 5/8 x 13 15/16 in.
(52.4 x 35.4cm)
Board size: 21 7/8 x 15 in.
(55.6 x 38.1cm)
provenance:
Contemporary Paintings, Hotel
Traymore, Atlantic City, New Jersey.
Acquired from the above, 1958.
note:
by a letter written by the artist to
the owner in 1976.
$2,000-3,000
65 152500/1
PAUL KEENE
SEATED WOMAN
Signed ‘Keene’ bottom right, oil on
board
16 x 12 in. (40.6 x 30.5cm)
provenance:
$1,500-2,500
66 160167/2
STEPHEN SCOTT YOUNG
(american b. 1957)
“EVENING SHADOWS” (FIGURAL
STUDY)
Inscribed with artist and title verso,
watercolor and pencil on paper
17 7/8 x 22 5/8 in. (45.5 x 57.5cm)
provenance:
$5,000-8,000
67 160448/1
ALBERT E. BACKUS
“HOMOSASSA SPRINGS”
Oil on canvas
24 1/4 x 36 in. (87 x 91.4cm)
provenance:
The Artist.
$10,000-15,000
68 152367/42
ALBERT E. BACKUS
“FLORIDA BEACH”
Signed ‘A. E. Backus’ bottom right;
also inscribed with artist and title
verso, oil on canvasboard
12 x 16 in. (30.5 x 40.6cm)
provenance:
From the collection of the Estates of
Edward C. Fogg, III and Lisbeth A.
Fogg.
$4,000-6,000
69 152367/41
ALBERT E. BACKUS
“ISLAND TRADER”
Signed ‘A.E. Backus’ bottom right;
also inscribed with artist, title and
numbered ‘678’ verso, oil on
canvasboard
16 x 19 3/4 in. (40.6 x 50.2cm)
provenance:
Fogg.
$4,000-6,000
70 152367/28
ALBERT E. BACKUS
“GOLDEN SHOWER TREE”
Signed ‘A.E. Backus’ bottom right;
also inscribed with artist and
(partial) title verso, oil on
canvasboard
16 x 12 in. (40.6 x 30.5cm)
provenance:
Fogg.
$4,000-6,000
71 151803/11
CLYDE ASPEVIG
(american b. 1951)
“OLD BARN”
Signed ‘© Aspevig’ bottom left; also
oil on canvas
12 x 16 in. (30.5 x 40.6cm)
provenance:
Kootenai Galleries, Montana.
Private Collection, Wyoming.
$3,000-5,000
72 151803/5
CLYDE ASPEVIG
(american b. 1951)
BARN BY THE ROAD
Signed ‘C Aspevig’ bottom left, oil
on board
10 x 12 in. (25.4 x 30.5cm)
provenance:
The Artist.
Acquired from the above, during
1980s - early 1990s.
Private Collection, Wyoming.
$3,000-5,000
73 152623/1
HENRY F. FARNY
“MOVING CAMP”
Signed and dated ‘Farny/ 1912’
bottom right, gouache on paper
9 1/4 x 8 in. (23.5 x 20.3cm)
provenance:
The Collection of Anna Knapp
Garrard, Cincinnati, Ohio.
By descent in the family to her
grandson.
The Collection of Lewis Garrard
Wilson.
note:
Henry François Farny was
particularly well-known for
depicting Native American life in
the nineteenth century. President
Theodore Roosevelt was a great
admirer, and once stated to Farny:
“The Nation owes you a great debt.
It does not realize now, but it will
someday. You are preserving
phases of American history that
rapidly are passing away.”
Born in Alsace, France, Farny
immigrated to the United States at
the age of six, settling in Warren,
Pennsylvania, close to a Seneca
reservation. His friendly relationship
with the Seneca tribe had a deep
impact and marked the beginning
of his fascination with Native
American life.
As demonstrated in “Moving
Camp”, Farny is recognized for his
skilled use of color and
compositions drenched in daylight;
the asymmetrical arrangement is
characteristic of his finest work.
Farny’s oeuvre conveys his nostalgia
and desire to preserve the details of
the quickly vanishing tribes he
came to know. Yet, he depicts his
subject matter without any explicit
dramatization or romanticism,
choosing candid scenes of figures in
a natural, open landscape.
$50,000-80,000
74 160496/1
OLAF WIEGHORST
MOUNTAIN LION AND STALLIONS
Signed ‘O. Wieghorst’ and inscribed with artist’s device and copyright bottom right, oil
on canvas
28 x 38 in. (71.1 x 96.5cm)
provenance:
Gabriel Gallery, Cajon, California.
Acquired from the above, ca. 1980.
Private Collection, Arizona.
note:
Olaf Wieghorst is best known for his Western genre paintings, which often feature
American Indians, cowboys, and horses. He travelled widely throughout the American
West and Midwest working as a cowboy in New Mexico and Arizona. A self taught
artist, he became very popular during his lifetime. President Ronald Reagan said of
Wieghorst: “From the opening of the American West until this present day, artists have
sought to capture the rugged beauty, the drama and the romance of this unique part of
our national heritage. None have been more successful than Olaf Wieghorst.” Today,
Cajon, California is home to the Olaf Wieghorst Museum.
The present painting, as well as lot 75, are featured in the film Olaf Wieghorst: Painter of
the American West, narrarated by Rex Allen, which spotlights the artist’s life and work.
$20,000-30,000
75 160496/2
OLAF WIEGHORST
MOUNTAIN LION WITH
COWBOYS AND HUNTING DOGS
Signed ‘O. Wieghorst’ and inscribed
with artist’s device and copyright
bottom left; also inscribed
‘Porcupine Cat/ 4 Col SFX/ Issue
May 28’ verso, oil on canvas
28 x 38 in. (71.1 x 96.5cm)
provenance:
Gabriel Gallery, Cajon, California.
Acquired from the above, ca. 1980.
$20,000-30,000
76 155055/7
RAY SWANSON
“PEOPLE OF MOTHER EARTH”
Signed ‘Ray Swanson CA
(conjoined)/ ©’ bottom right; also
with artist, title, and date ‘1997’
50 1/4 x 32 in. (127.6 x 81.3cm)
provenance:
The Estate of Janice M. Wolf, Elkins
Park, Pennsylvania.
$12,000-18,000
77 152572/1
LUKE FRAZIER
(american b. 1970)
“HUNGER DRIVES EXUBERANCE”
Signed ‘L. Frazier’ bottom center;
also signed ‘L. Frazier’ and inscribed
with title verso, oil on board
36 x 48 in. (91.4 x 121.9cm)
provenance:
Private Collection, Montana
$10,000-15,000
78 160402/1
GERALD HARVEY
(american b. 1933)
“THE MAKINGS OF AMERICA”
Signed and dated ‘G. Harvey ©
1985’ bottom right; also inscribed
with artist, title, and number ‘#1851’
26 1/8 x 40 1/8 in.
(66.4 x 101.9cm)
provenance:
Private Collection, New York.
$50,000-80,000
79 160498/1
NEWELL CONVERS WYETH
UNTITLED (MAINE COAST)
Oil on canvas
25 x 30 1/4 in. (63.5 x 76.8cm)
provenance:
The Artist.
By descent in the family to his daughter, Carolyn
Wyeth.
Frank E. Fowler, Lookout Mountain, Tennessee.
Auslew Gallery, Norfolk, Virginia.
note:
The present painting is to be added to the Brandywine
River Museum of Art’s N. C. Wyeth Catalogue Raisonné at
www.ncwyeth.org (originally compiled by Christine B.
Podmaniczky).
It will be accompanied by an original note written by
Carolyn Wyeth describing the painting, its provenance,
and its authenticity.
$30,000-50,000
80 160432/1
NEWELL CONVERS WYETH
“AFTER THE DAY’S WORK” (ARRIVING HOME)
Signed ‘N.C. Wyeth’ bottom left, oil on canvas
36 x 24 in. (91.4 x 61cm)
provenance:
Christie’s, New York, sale of September 22, 1993, lot 230 (as “Arriving
Home”).
Private Collection, Delaware.
literature:
Douglas Allen and Douglas Allen, Jr., N.C. Wyeth, The Collected Paintings,
Illustrations and Murals, New York: Crown Publishers, 1972, p. 199.
Christine B. Podmaniczky, N.C. Wyeth: A Catalogue Raisonné of Paintings,
London: Scala, 2008, p. 471, no. I.979 (illustrated).
note:
According to the Catalogue Raisonné, the present lot was used as the
frontispiece (illustrated in color) of Thomas H. Briggs, Isabel McKinney and
Florence Skeffington, Junior High School English, Book II for Eighth Grade,
Boston: Ginn & Company, 1926. It is possible that this painting may date to
as early as 1921 (presently dated to ca. 1924-1926). It may have originally
been done for another use, possibly for a magazine cover, and then sold to
Ginn & Company for the cover of their textbook.
$150,000-250,000
81 160251/2
ANDREW WYETH
OLSON HOUSE WITH BASKET
Signed and inscribed ‘Painted for Larry Webster with warmest
thanks for the great design he did on this book/ Andrew Wyeth’
bottom left, watercolor on paper
10 x 12 3/4 in. (25.4 x 32.4cm)
provenance:
The Artist.
Acquired from the above as a gift to Larry Webster.
Clars Auction Gallery, sale of May 15-16, 2010, lot 6228 (full book).
Private Collection, Delaware.
note:
The present lot is framed together with p. 273 of Betsy Wyeth’s
Christina’s World: Paintings and Prestudies of Andrew Wyeth,
Houghton Mifflin: 1982, for which Larry Webster did the graphic
design.
It will be included in the forthcoming Catalogue Raisonné of the
artist’s work.
$30,000-50,000
82 152638/1
ANDREW WYETH
CHRISTMAS CARD WITH ELF
Signed ‘Betsy and Andy Wyeth’
verso, pen and ink on paper
5 x 8 1/4 in. (12.7 x 21cm)
provenance:
The Cobb Auctioneers, sale of July 1,
2006, lot 96.
Art Works Gallery, Kennett Square,
Pennsylvania.
note:
The present drawing is to be
included in the forthcoming
Catalogue Raisonné of the artist’s
work.
$5,000-8,000
83 160251/3
ANDREW WYETH
DORMER WINDOW
Signed ‘A. Wyeth’ at center, pencil on paper
8 3/8 x 10 7/8 in. (21.3 x 27.6cm)
provenance:
Private Collection, Palm Beach, Florida.
The Estate of Douglas Fairbanks, Jr.
Doyle, New York, sale of September 13, 2011, lot
229.
Private Collection, Wilmington, Delaware.
literature:
“Andrew Wyeth: Dry Brush and Pencil Drawings, A
Loan Exhibition Organized by the Fogg Art
Museum, 1963”, (Exhibition Catalogue)
Greenwich: 1963.
note:
The present drawing is to be included in the
forthcoming Catalogue Raisonné of the artist’s
work.
$2,500-4,000
84 160390/1
JAMIE WYETH
(american b. 1946)
“TWO STAYED HOME”
Signed ‘Jamie Wyeth’ bottom left;
also with artist, title, and date ‘1965’
on labels verso, watercolor on paper
laid to paper
Image size: 28 x 19 in.
(71.1 x 48.3cm)
Sheet size: 34 1/2 x 25 in.
(87.6 x 63.5cm)
provenance:
The Collection of Dr. Margaret I.
Handy.
The Collection of Dr. Katherine
Easterly.
New York.
exhibited:
“Brandywine Heritage Gallery”,
Brandywine River Museum, Chadds
Ford, Pennsylvania, January 17-May
23, 1976.
“Collection of Margaret I. Handy”,
Ford, Pennsylvania, June 3-July 17,
1977.
“Farm Work by Jamie Wyeth”,
Ford, Pennsylvania, June 11September 11, 2011.
$30,000-50,000
85 160251/1
JAMIE WYETH
(american b. 1946)
“FALLEN TREE”
Signed ‘Jamie Wyeth’ bottom left,
drybrush with scratching out on
paper
14 x 20 in. (35.6 x 50.8cm)
provenance:
The Artist.
The Collection of Ann Wyeth
McCoy.
The Collection of Robin McCoy.
Private Collection, Wilmington,
Delaware.
$30,000-50,000
86 152526/1
MARTHA WALTER
“UNDER THE BOARDWALK”
Oil on board
18 x 13 7/8 in. (45.7 x 35.2cm)
With:
“BEACH SCENE”
verso
Signed ‘Martha Walter’ bottom
right, oil on board
13 7/8 x 18 in. (35.2 x 45.7cm)
provenance:
The Artist.
David David Gallery, Philadelphia,
Pennsylvania.
exhibited:
“Martha Walter: American
Impressionist (1875-1976)”, David
David Gallery, Philadelphia,
Pennsylvania, November 2December 3, 1977.
literature:
Antiques Magazine, November, 1977,
(illustrated).
note:
This exceptional double-sided
painting provides two excellent
examples of Martha Walter’s
quintessential beach scenes, both
rendered in her impressionistic style
and vivid palette. The vertical
orientation of “Under the
Boardwalk” is particularly rare, as
Walter executed the majority of her
landscape compositions in
horizontal format. Both images
feature the artist’s characteristic
figures at leisure, as mothers and
rosy-cheeked children relax on
blankets, their parasols blocking the
bright sun. The figures in the
foregrounds of both paintings wear
recognizable fashions of the period;
the compositions convey movement
and life. Walter painted the
background figures, particularly in
the horizontal work, in a swift,
gestural manner that adds vitality.
A student of William Merritt Chase
at the Pennsylvania Academy of the
Fine Arts in Philadelphia, Walter
went on to study at the renowned
Académie Julian in Paris, established
her own Paris studio and continued
to travel and paint passionately for
many decades. She received many
awards throughout her career and
lived to more than 100. Her work
has hung in the permanent
collections of the Musée d’Orsay in
Paris, the Art Institute of Chicago,
the Pennsylvania Academy, the
Detroit Institute of Arts, and the
Cincinnati Art Museum. At the time
of her death, Walter was
internationally acclaimed and
respected, and her work continues
to increase in popularity and value in
today’s art market.
$60,000-100,000
87 160283/3
MARTHA WALTER
“CHILDREN WADING”
With artist, title, and estate stamp
verso, oil on panel
8 3/8 x 10 5/8 in. (21.3 x 27cm)
provenance:
Pennsylvania.
$12,000-18,000
88 160308/5
MARTHA WALTER
“ELLIS ISLAND SERIES NO. 18”
(ITALIANS AND JEWS)
Signed ‘Martha Walter’ bottom
right; also inscribed with artist and
title verso, oil on board
16 1/8 x 20 1/8 in. (41 x 51.1cm)
provenance:
Pennsylvania.
$3,000-5,000
89 160122/1
WALTER STUEMPFIG
“FLOAT ON THE SCHUYLKILL”
With artist and title on labels verso,
oil on canvas
32 1/2 x 40 1/8 in.
(82.6 x 101.9cm)
provenance:
The Collection of Alfred Corning
Clark.
New York.
exhibited:
The Parrish Art Museum, Long
Island, New York, n.d.
$6,000-10,000
90 160217/6
NICOLA D’ASCENZO
“THE COVE” (SUNSET, VENICE)
Signed and dated ‘Nicola D’Ascenzo
40’ bottom right; also with artist
and title on label verso, oil on canvas
22 x 24 in. (56 x 61cm)
provenance:
Alderfer Auction Company, Hatfield,
Pennsylvania, sale of March 11, 2011,
lot 3122.
New York.
exhibited:
“The Old Tavern Exhibition”,
Rockport Art Association, Rockport,
Massachusetts, n.d.
$3,000-5,000
91 160217/5
NICOLA D’ASCENZO
“THE CITY GATE”
Signed ‘Nicola D’Ascenzo’ bottom
left, oil on canvas
26 x 30 in. (66 x 76.2cm)
provenance:
Pennsylvania.
New York.
$4,000-6,000
92 160477/1
CHARLES MORRIS YOUNG
“OCTOBER LANDSCAPE”
Signed and dated ‘Chas Morris
Young/ Oct. 1912’ bottom right; also
with title on partial label verso, oil
on canvas
30 x 40 1/8 in. (76.2 x 101.9cm)
provenance:
The Corcoran Gallery of Art,
Washington, D.C.
Private Collection, Minnesota.
$12,000-18,000
Pennsylvania
Impressionists
lots 93-122
Lot 96 (detail)
93 160453/2
FRANK F. ENGLISH
“THE GLOW OF EVENING”
Signed ‘F. F. English’ bottom left;
also with artist, title, and date ‘ca.
1915’ on labels verso, oil on canvas
24 1/4 x 36 in. (61.6 x 91.4cm)
provenance:
The Collection of Mr. and Mrs.
Robert R. Larason.
Bianco Gallery, Buckingham,
Pennsylvania.
exhibited:
“Images of a Vanishing Landscape”,
The Woodmere Art Museum,
Philadelphia, Pennsylvania, April 28July 28, 1996.
$5,000-8,000
94 160439/2
HARRY LEITH-ROSS
“LOW TIDE, POLPERRO”
Signed ‘Leith-Ross’ bottom right; also
inscribed with artist and title on stretcher
24 x 30 in. (61 x 76.2cm)
provenance:
exhibited:
“Pennsylvania Impressionists”, The James
A. Michener Art Center, Doylestown,
Pennsylvania, June 16, 1990-August 26,
1990.
“Poetry in Design: The Art of Harry LeithRoss”, James A. Michener Art Museum,
Doylestown, Pennsylvania, May 12-October
10, 2006 (Doylestown) and October 28,
2006-February 18, 2007 (New Hope).
literature:
Erika Jaeger-Smith, Poetry in Design: The Art
of Harry Leith-Ross, James A. Michener
Museum of Art and University of
Pennsylvania: 2006, p. 41, (illustrated).
note:
Polperro is a village and fishing harbor on
the southeast Cornwall coast in the
southwest of England. Cornwall was a
popular destination for the Pennsylvania
Impressionists, particularly Walter Elmer
Schofield. The present painting was
executed in 1931.
$15,000-25,000
95 160376/1
KENNETH R. NUNAMAKER
“MORNING ON THE CANAL,
CENTRE BRIDGE, PENNSYLVANIA”
Signed ‘K. Nunamaker’ bottom right;
also inscribed with artist and title on
stretcher verso, oil on canvas
14 x 14 in. (35.6 x 35.6cm)
provenance:
Private Collection, Kansas.
$10,000-15,000
96 160439/1
FERN ISABEL COPPEDGE
HARBOR SCENE
Signed ‘Fern I. Coppedge’ bottom
center left, oil on canvas
25 1/4 x 30 in. (64.3 x 76.2cm)
In a Newcomb-Macklin frame
provenance:
Bianco Gallery, Buckingham,
Pennsylvania.
$40,000-60,000
97 160445/1
HARRY LEITH-ROSS
THE OLD MILL IN WINTER
Signed ‘Leith-Ross’ bottom right, oil
on canvas
24 1/8 x 30 1/8 in. (61.2 x 76.5cm)
provenance:
$10,000-15,000
98 160423/1
HOUSE ON THE DELAWARE
left, oil on canvas
24 x 24 in. (61 x 61cm)
provenance:
The Collection of Harriet Shannon,
Bryn Mawr, Pennsylvania, 1939.
Gifted by the above to her daughter,
Esther Shannon-Miller, 1942.
$30,000-50,000
99 160490/1
GEORGE WILLIAM SOTTER
“THE NEIGHBOR’S HOUSE”
Signed ‘G.W. Sotter’ bottom right;
also inscribed with title on stretcher
verso, oil on board
10 1/8 x 12 1/8 in. (25.7 x 30.8cm)
provenance:
$40,000-60,000
100 160410/1
EDWARD WILLIS REDFIELD
“SPRING TIME IN GLENSIDE,
PENNSYLVANIA”
Signed ‘E W Redfield’ bottom right,
oil on canvas
32 x 25 3/4 in. (81.3 x 65.4cm)
provenance:
note:
The present painting will be
accompanied by a letter of
authenticity by Dr. Thomas Folk and
will be included in his forthcoming
Catalogue Raisonné of Redfield’s
work.
$20,000-30,000
101 160172/1
“INNER HARBOR, GLOUCESTER”
Signed ‘Fern. I Coppedge’ bottom
left; also inscribed with artist and
title verso, oil on canvasboard
12 x 12 in. (30.5 x 30.5cm)
provenance:
$10,000-15,000
102 160104/6
“THE SUMMER SEA”
left; also inscribed with artist and
title verso, oil on board
13 7/8 x 16 in. (35.2 x 40.6cm)
provenance:
$10,000-15,000
103 152223/19
PAULETTE VICTORINE J. VAN
ROEKENS
“AND A LITTLE BROWN JUG”
Signed and dated ‘P. Van Roekens/
29’ bottom right, also with artist,
title and date on label verso, oil on
canvas
30 x 40 in. (76.2 x 101.6cm)
provenance:
Property of a Corporate Collection,
Philadelphia, Pennsylvania.
exhibited:
Arts, Philadelphia, Pennsylvania, n.d.
$6,000-10,000
104 160453/1
ARTHUR MELTZER
“EARLY WINTER”
Signed and dated ‘Arthur Meltzer
1931’ bottom left; also inscribed with
artist and title on label verso, oil on
canvas
12 x 14 1/8 in. (30.5 x 35.9cm)
provenance:
$3,000-5,000
105 160404/2
ANTONIO PIETRO MARTINO
GARDEN FOUNTAINS
Signed and dated ‘A. P. Martino/
1929’ bottom left, oil on canvas
30 x 25 in. (76.2 x 63.54cm)
provenance:
2000, lot 145.
$2,000-3,000
106 160453/3
PAULETTE VICTORINE J. VAN ROEKENS
“THE SUNNY WINDOW”
Signed and dated ‘P. Van Roekens 31’
bottom right; also inscribed with artist and
title on label verso, oil on canvas
15 x 20 in. (38.1 x 50.8cm)
provenance:
$4,000-6,000
107 151439/1
KENNETH R. NUNAMAKER
“MARCH”
Signed ‘KR Nunamaker’ bottom
right; also inscribed with artist and
title verso, oil on canvas
16 1/4 x 20 in. (41.3 x 50.8cm)
provenance:
$5,000-8,000
108 152488/1
ROY CLEVELAND NUSE
“SOMBER AUTUMN”
Signed with conjoined initials ‘RN’
bottom left; also inscribed with
artist and title verso, oil on board
9 1/4 x 12 1/2 in. (23.5 x 31.8cm)
provenance:
$4,000-6,000
109 160466/1
SHIPS OFF THE COAST
Signed ‘Fern Coppedge’ bottom
18 x 20 in. (45.7 x 50.8cm)
provenance:
$20,000-30,000
110 160207/1
“REFLECTIONS, OCTOBER”
Signed ‘F. Coppedge’ bottom left;
also inscribed with title verso, oil on
canvas laid to board
12 7/8 x 16 in. (32.7 x 40.6cm)
provenance:
$15,000-25,000
111 160456/1
WILLIAM LANGSON LATHROP
AUTUMN LANDSCAPE
Signed ‘WL Lathrop’ bottom left, oil
on canvas
15 1/2 x 21 1/8 in. (39.4 x 53.7cm)
provenance:
Jim’s of Lambertville, Lambertville,
New Jersey.
Freeman’s, sale of December 9,
2001, lot 185.
$6,000-10,000
112 160445/2
HARRY LEITH-ROSS
“FISHING BOATS IN HARBOUR”
Signed ‘Leith-Ross’ bottom right;
also with artist and title on label
8 1/2 x 10 1/4 in. (21.6 x 26cm)
provenance:
exhibited:
“Thumb-Box Exhibition”,
Salmagundi Club, New York,
New York, no. 41, n.d.
$3,000-5,000
113 160308/3
JOHN FULTON FOLINSBEE
“FRIENDSHIP HARBOR”
(FRIENDSHIP, MAINE)
Signed ‘John Folinsbee’ bottom right;
also with artist and title on labels
10 x 14 in. (25.4 x 35.6cm)
provenance:
Golden Door Gallery, New Hope,
Pennsylvania.
note:
The present painting is number 1617
in the John F. Folinsbee Catalogue
Raisonné prepared by Dr. Kirsten
Jensen and is dated to ca. 1930’s 1940’s.
$6,000-10,000
114 160445/3
HARRY LEITH-ROSS
“FISHERMAN OF YANKEE COVE”
Signed ‘Leith-Ross’ bottom left; also
with artist, title, and number ‘39’ on
label verso, oil on canvasboard
8 1/8 x 10 1/2 in. (20.6 x 26.7cm)
provenance:
$3,000-5,000
115 160266/2
HOUSE IN POINT PLEASANT
Signed ‘E.W Redfield’ bottom left, oil on canvas
18 1/2 x 21 3/4 in. (47 x 55.2cm)
provenance:
The Artist.
By descent in the family to his son.
note:
Edward Redfield and his family moved to the Belle Island Farm in Centre
Bridge in 1898, after which the surrounding landscape became the artist's
most frequently depicted subject for the remainder of his career. Redfield
maintained a studio in Point Pleasant, Pennsylvania, which is located close
to the Delaware River, off River Road, just north of the artist's home in
Centre Bridge. He executed numerous scenes of Point Pleasant, particularly
during the spring months, between 1920 and 1930. His familiarity with the
landscape, paired with his en-plein-air execution of the paintings, provide
an impressionistic, yet truthful, depiction of his beloved environs. These
scenes, including the present lot, abound with brightness and life; the vivid,
luminous colors of spring cover the canvas and invite the viewer into the
scene. “House in Point Pleasant” boasts an impeccable provenance, passing
directly from the artist through his family to the present owner.
The present painting will be included in the forthcoming Catalogue
Raisonné of Redfield’s work compiled by Dr. Thomas Folk.
$60,000-100,000
116 160068/1
WALTER ELMER SCHOFIELD
“MAY IN CORNWALL”
Signed ‘Schofield’ bottom left; also
inscribed with artist, title, and date
‘9th May ‘31’ on stretcher verso, oil
on canvas
30 x 36 in. (76.2 x 91.4cm)
provenance:
The Artist.
The Collection of Harry C. Bentley
(Bentley College, Boston,
Massachusetts).
$25,000-40,000
117 160523/1
“THE HILL COUNTRY”
Signed ‘E W Redfield’ bottom left, oil on canvas
26 x 30 in. (66 x 76.2cm)
provenance:
Private Collection, West Chester, New York.
exhibited:
"Third Biennial Exhibition-Oil Paintings by
Contemporary American Artists", The Corcoran
Gallery of Art, Washington, D.C., December 13,
1910-January 22, 1911 (illustrated; as "The Hill
Country").
literature:
J.M.W. Fletcher, Edward Willis Redfield (18691965): An American Impressionist, His Paintings
and the Man Behind the Palette, Lahaska,
Pennsylvania: JMWF Publishing, 1996, p. 143; p.
187, no. 829 (painting listed has the same title,
not illustrated).
note:
The present painting will be included in the
forthcoming Catalogue Raisonné of Redfield’s
work compiled by Dr. Thomas Folk.
$80,000-120,000
118 160523/2
WILLIAM LANGSON LATHROP
“TWILIGHT AFTER THE STORM”
Signed ‘W.L. Lathrop’ bottom right,
oil on canvas
19 1/4 x 25 1/4 in. (48.9 x 64.1cm)
provenance:
Private Collection, West Chester,
New York.
Pennsylvania.
Pennsylvania.
$10,000-15,000
119 160404/1
ANTONIO PIETRO MARTINO
THE HILLSIDE
Signed ‘Antonio P. Martino’ bottom
30 x 45 in. (76.1 x 114.3cm)
provenance:
Freeman’s, sale of June 4, 2000, lot
93.
$4,000-6,000
120 160308/2
HARRY LEITH-ROSS
“VILLAGE STORE IN SNOW”
Signed ‘Leith-Ross’ bottom left; also with artist and
title on labels verso, oil on board
8 1/4 x 10 3/8 in. (21 x 26.4cm)
provenance:
Golden Door Gallery, New Hope, Pennsylvania.
exhibited:
Providence Art Club, Providence, Rhode Island, n.d.
$2,500-4,000
121 160453/4
LAURENCE A. CAMPBELL
(american b. 1939)
“TALL SHIPS, PENN’S LANDING”
Signed ‘Laurence A Campbell’ bottom right; also
inscribed with artist and title on stretcher verso, oil on
canvas
16 x 20 in. (40.6 x 50.8cm)
provenance:
$6,000-10,000
122 160098/1
“NOVEMBER”
Signed ‘Fern I. Coppedge’ bottom center left; also
inscribed with artist and title verso, oil on
canvasboard
12 x 10 in. (20.5 x 25.4cm)
provenance:
Property of an Estate, New Jersey.
$6,000-10,000
END OF SALE
Index
Alten, M.J., 46
Aspevig, C., 71, 72
Hibbard, A.T., 54, 55, 56, 57
Hotchkiss, T., 13
Backus, A.E., 67, 68, 69, 70
Beaux, C., 20, 21
Benton, T.H., 3
Berthelsen, J., 33
Bierstadt, A., 6, 10
Burliuk, D.D., 60, 61
Jackson, L., 32
Jones, H.B., 12
Jones, J., 62
Keene, P., 65
Keith, W., 7
Kloss, G., 4
Koeniger, W., 47
Kroll, ., 51
Campbell, L.A., 121
Cassatt, M., 5
Coppedge, F.I., 96, 98, 101, 102, 109,
110, 122
Crane, B., 11
D'Ascenzo, N., 90, 91
De Lue, D., 23, 24, 25
Dougherty, P., 38, 39, 40
Dove, A., 53
Du Bois, G.P., 42
Lathrop, W.L., 111, 118
Lea, F.T., 16
Leith-Ross, H., 94, 97, 112, 114, 120
Lewis, M., 1
Marsh, R., 35
Martino, A.P., 105, 119
Mckenzie, R.T., 22
Meltzer, A., 104
Miller, K.H., 63
English, F.F., 93
Farny, H.F., 73
Folinsbee, J.F., 113
Frazier, L., 77
Nordfeldt, B.J.O., 41, 48, 49, 52
Nunamaker, K.R., 95, 107
Nuse, R.C., 108
Osthaus, E.H., 17
Gay, W., 19
Griffin, W., 14
Gruppe, E.A., 43, 44
Gwathmey, R., 64
Harvey, G., 78
Hassam, C., 28
Henri, R., 27
Heurlin, M.C., 59
Peterson, J., 45
Redfield, E.W., 100, 115, 117
Roseland, H.H., 18
Schofield, W.E., 116
Shinn, E., 29, 30, 34
Sonntag, W.L., 9
Sotter, G.W., 99
Stella, J., 50
Stuempfig, W., 89
Swanson, R., 76
Symons, G.G., 58
van Laer, A.T., 31
Van Roekens, P.V.J., 103, 106
Vonnoh, B.P., 26
Walker, W.A., 15
Walter, M., 86, 87, 88
Waugh, F.J., 36, 37
Weeks, E.L., 8
Whistler, J.A.M., 2
Wieghorst, O., 74, 75
Wyeth, A., 81, 82, 83
Wyeth, J., 84, 85
Wyeth, N.C., 79, 80
Young, C.M., 92
Young, S.S., 66
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
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, whether preceded
by an initial or not, indicates that in our opinion the work is by the artist
named.
attributed to
Refers to probably a work by the artist; e.g. Attributed to Charles Willson
Peale.
studio of
Refers to a work from the studio of the artist which may or may not have
been executed under his direction; e.g. Studio of Charles Willson Peale.
circle of
Circle of..... refers to a work of the period of the artist executed under his
immediate influence; e.g. Circle of Charles Willson Peale.
follower of
Follower of..... refers to a work by a painter working in the artist’s style,
contemporary or nearly contemporary, but not necessarily his pupil; e.g.
Follower of Charles Willson Peale.
manner of
Manner of..... refers to a work in a style related to that of the artist, but of a
later date; e.g. Manner of Charles Willson Peale.
school of
School accompanied by the name of a place or country and a date means
that we believe the picture was executed at that time and in that location;
e.g. Italian School, 18th Century.
after an artist
signatures & dates
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.
measurements
Dimensions are given height before width.
Edward Cucuel (german/american 1879-1954),
“East Wind,” $50,000-80,000 (detail)
European Art &
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v3.2016
Terms & Conditions
All property offered and sold (“property”) through Samuel T. Freeman & Co, (“Freeman’s”) shall be offered and sold on
the terms and conditions set forth below which constitutes the complete statement of the terms and conditions on which
all property is offered for sale. By bidding at the auction, whether present in person or by agent, by written bid, telephone,
internet or other means, the buyer agrees to be bound by these terms and conditions.
1
Unless otherwise indicated,
all Property will be offered by
Freeman’s as agent for the
Consignor.
2
Freeman’s reserves the right to
vary the terms of sale and any such
variance shall become part of these
Conditions of Sale.
3
Buyer acknowledges that it had
the right to make a full inspection
of all Property prior to sale to
determine the condition, size, repair
or restoration of any Property.
Therefore, all property is sold “ASIS”. Freeman’s is acting solely as an
auction broker, and unless otherwise
stated, does not own the Property
offered for sale and has made no
independent investigation of the
Property. Freeman’s makes no
warranty of title, merchantability or
fitness for a particular purpose, or
any other warranty or representation
regarding the description,
genuineness, attribution, provenance
or condition to the Property of any
kind or nature with respect to the
Property.
4
Freeman’s in its sole and exclusive
discretion, reserves the right to
withdraw any property, at any time,
before the fall of the hammer.
5
Unless otherwise announced by
the auctioneer at the time of sale,
all bids are per lot as numbered in
the printed catalogue. Freeman’s
reserves the right to determine any
and all matters regarding the order,
precedence or appropriate increment
of bids or the constitution of lots.
6
The highest bidder acknowledged
by the auctioneer shall be the buyer.
The auctioneer has the right to reject
any bid, to advance the bidding
at his absolute discretion and in
the event of any dispute between
bidders, the auctioneer shall have
the sole and final discretion either
to determine the successful bidder
or to re- offer and resell the article
in dispute. If any dispute arises after
sale, the Freeman’s sale record shall
be conclusive in all respects.
7
If the auctioneer determines that any
opening or later bid or any advance
bid is not commensurate with the
value of the Property offered, he may
reject the same and withdraw the
Property from sale.
8
Upon the fall of the hammer,
title to any offered lot or article
will immediately pass to the
highest bidder as determined in
the exclusive discretion of the
auctioneer, subject to compliance
by the buyer with these Conditions
of Sale. Buyer thereupon assumes
full risk and responsibility of the
property sold, agrees to sign any
requested confirmation of purchase,
and agrees to pay the full price, plus
Buyer’s Premium, therefore or such
part, upon such terms as Freeman’s
may require.
9
No lot may be removed from
Freeman’s premises until the buyer
has paid in full the purchase price
therefor including Buyer’s Premium
or has satisfied such terms that
Freeman’s, in its sole discretion,
shall require. Subject to the
foregoing, all Property shall be paid
for and removed by the buyer at
his/her expense within ten (10)
days of sale and, if not so removed,
may be sold by Freeman’s, or sent
by Freeman’s to a public warehouse,
at the sole risk and charge of the
buyer(s), and Freeman’s may
prohibit the buyer from
participating, directly or indirectly,
as a bidder or buyer in any future
sale or sales. In addition to other
remedies available to Freeman’s by
law, Freeman’s reserves the right to
impose a late charge of 1.5% per
month of the total purchase price on
any balance remaining ten (10) days
after the day of sale. If Property is
not removed by the buyer within ten
(10) days, a handling charge of 1%
of the total purchase price per
month from the tenth day after the
sale until removal by the buyer shall
be payable to Freeman’s by the
buyer; Freeman’s shall charge 1.5%
of the total purchase price per
month for any property not so
removed within 60 days after the
sale. Freeman’s will not be
responsible for any loss, damage,
theft, or otherwise responsible for
any goods left in Freeman’s
possession after ten (10) days. If the
foregoing conditions or any
applicable provisions of law are not
complied with, in addition to other
remedies available to Freeman’s and
the Consignor (including without
limitation the right to hold the
buyer(s) liable for the bid price)
Freeman’s, at its option, may either
cancel the sale, retaining as
liquidated damages all payments
made by the buyer(s), or resell the
property. In such event, the buyer(s)
shall remain liable for any deficiency
in the original purchase price and
will also be responsible for all costs,
including warehousing, the expense
of the ultimate sale, and Freeman’s
commission at its regular rates
together with all related and
incidental charges, including legal
fees. Payment is a precondition to
removal. Payment shall be by cash,
certified check or similar bank draft,
or any other method approved by
Freeman’s. Checks will not be
deemed to constitute payment until
cleared. Any exceptions must be
made upon Freeman’s written
approval of credit prior to sale. In
addition, a defaulting buyer will be
deemed to have granted and
assigned to Freeman’s, a continuing
security interest of first priority in
any property or money of, or owing
to such buyer in Freeman’s
possession, and Freeman’s may
retain and apply such property or
money as collateral security for the
obligations due to Freeman’s.
Freeman’s shall have all of the rights
accorded a secured party under the
Pennsylvania Uniform Commercial
Code.
10
Unless the sale is advertised and
announced as “without reserve”,
each lot is offered subject to
a reserve and Freeman’s may
implement such reserves by
bidding through its representatives
on behalf of the Consignors. In
certain instances, the Consignor
may pay less than the standard
commission rate where Freeman’s
or its representative is a successful
bidder on behalf of the Consignor.
Where the Consignor is indebted to
Freeman’s, Freeman’s may have an
interest in the offered lots and the
proceeds therefrom, other than the
broker’s Commissions, and all sales
are subject to any such interest.
11
No “buy” bids shall be accepted at
any time for any purpose.
12
Any pre-sale bids must be submitted
in writing to Freeman’s prior to
commencement of the offer of the
first lot of any sale. Freeman’s copy
of any such bid shall conclusively be
deemed to be the sole evidence of
same, and while Freeman’s accepts
these bids for the convenience of
bidders not present at the auction,
Freeman’s shall not be responsible
for the failure to execute, or, to
execute properly, any pre-sale bid.
13
A Buyer’s Premium will be added
to the successful bid price and is
payable by the buyer as part of the
total purchase price. The Buyer’s
Premium shall be: 25% on the first
$200,000 of the hammer price of
each lot, 20% on the portion from
$200,001 through $3,000,000, and
12% thereafter.
14
Unless exempted by law from
the payment thereof, the buyer
will be required to pay any and all
federal excise tax and any state
and/or local sales taxes, including
where deliveries are to be made
outside the state where a sale is
conducted, which may be subject to
a corresponding or compensating
tax in another state.
15
Freeman’s may, as a service to
buyer, arrange to have purchased
property posted and shipped at the
buyer’s expense. Freeman’s is not
responsible for any acts or omissions
in packing or shipping of purchased
lots whether or not such carrier
is recommended by Freeman’s.
Packing and handling of purchased
lots is at the responsibility of the
buyer and is at the entire risk of the
buyer.
16
In no event shall any liability of
Freeman’s to the buyer exceed the
purchase price actually paid.
17
No claimed modification or
amendment of this Agreement
on the part of any party shall be
deemed extant, enforceable or
provable unless it is in writing that
has been signed by the parties
to this Agreement. No course of
dealing and no delay or omission on
the part of Freeman’s in exercising
any right under this Agreement shall
operate as a waiver of such right or
any other right and waiver on any
one or more occasions shall not be
construed as a bar to or waiver of
any right or remedy of Freeman’s on
any future occasion.
18
These Conditions of Sale and
the buyer’s, the Consignor’s and
Freeman’s rights under these
Conditions of Sale shall be governed
by, construed and enforced in
accordance with the laws of the
Commonwealth of Pennsylvania
and Consignor and Buyer agree
to the exclusive jurisdiction of the
Philadelphia, Pennsylvania Court
of Common Pleas and the United
States District Court for the Eastern
District of Pennsylvania.
v2.2016
bidding & registration form
sale no
bidder no
name
1808 Chestnut Street, Philadelphia PA 19103
Tel-215.563.9275 Fax-215.599.2240
e-mail: [email protected]
client no
business name
address
city
state
zip code
e-mail
phone (primary)
phone (secondary)
country
fax
resale / tax identification
state
A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of hammer price of each lot, 20% on
the hammer from $200,001 through $3,000,000, and 12% thereafter. All lots must be paid for and removed within 10 days.
lot no
description
maximum bid
please adhere
to the bidding increments
$10
until $200 is reached
$25
until $500 is reached
$50
until $1,000 is reached
$100
$250
$500
$1,000
$2,500
$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
q id confirmed
(signature required to execute your bids)
v2.2016
Directory | 215.563.9275 | www.freemansauction.com
Officers
Specialist Departments
Representatives
Samuel M. Freeman II
Chairman
20th Century Design
Tim Andreadis
[email protected]
New England
Kelly Wright
[email protected]
Alasdair Nichol
Vice Chairman
Margaret D. Freeman
Vice Chairman
Paul S. Roberts
President
American Art & Pennsylvania
Impressionists
Alasdair Nichol
[email protected]
Hanna Dougher
Chief Operating Officer
American Furniture, Folk
& Decorative Arts
Lynda Cain
[email protected]
Departments
American Silver
Samuel M. Freeman II
[email protected]
Appraisals
Amy Parenti
[email protected]
Asian Arts
Richard A. Cervantes
[email protected]
Business Development
Thomas B. McCabe IV
[email protected]
Books, Maps & Manuscripts
Benjamin Truesdale
[email protected]
Client Services
Mary Maguire
[email protected]
English & Continental Furniture
& Decorative Arts
Nicholas B. A. Nicholson
[email protected]
Finance
Mark Beckerman
[email protected]
Marketing & Communications
Tara Theune Davis
[email protected]
Museum Services
Thomas B. McCabe IV
[email protected]
Mid-Atlantic
Matthew Wilcox
[email protected]
Southeast Colin Clarke
[email protected]
West Coast
Michael Larsen
[email protected]
Main Line
Thomas McCabe
[email protected]
European Art & Old Masters
David M. Weiss
[email protected]
Jewelry & Watches
Michael Larsen, GIA GG
[email protected]
Virginia B. Salem, GIA GG
[email protected]
Photography
Thomas Clark
[email protected]
Modern & Contemporary Art
Timothy Malyk
[email protected]
Press & Media
Melissa Geller
[email protected]
Musical Instruments
Frederick Oster
[email protected]
Trust & Estates
Samuel T. Freeman III
[email protected]
Oriental Rugs & Carpets
Richard A. Cervantes
[email protected]
Prints
Anne Henry
[email protected]
Silver & Objets de Vertu
Sarah Blattner
[email protected]
v4.2016
1808 Chestnut Street Philadelphia Pennsylvania 19103
T 215.563.9275 | F 215.563.8236

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