New & Noteworthy
Stay up to date with news, highlights, & features from across Freeman's.
Stay up to date with news, highlights, & features from across Freeman's.
by Roger Ward, Vice President, Head of Department, Design
Portrait of a Lady, Three Quarter Length with Hood and Ruff,
What can fabric and jewelry tell us about the sitter, even though their identity remains unknown?
Sydell L. Miller (1937–2024) was a pioneering entrepreneur, beauty industry innovator, and philanthropist whose vision helped transform the beauty industry and the way women experienced beauty and self-expression. As co-founder of Ardell and Matrix Essentials, alongside her husband, Arnold Miller, she helped build influential beauty businesses grounded in innovation, individuality, and the belief that beauty should empower people to feel confident in their own skin. Her philosophy extended far beyond hair. With her guiding belief that “beauty doesn’t stop at the hairline,” Sydell championed total image consulting, encouraging salons and their clients to see beauty as a complete expression of personal style. Hair, makeup, fashion, and individuality were not separate elements, but parts of a larger picture one that celebrated the whole person and helped bring out each individual’s confidence and personality. Born in Cleveland, Ohio, Sydell developed an early passion for personal style, fashion, and the transformative power of beauty. After marrying Arnold Miller in 1958, she began pursuing her entrepreneurial ambitions, opening a women’s fashion boutique, Tops and Bottoms, above her husband’s hair salon in 1960. That early venture reflected an instinct that would shape her career: recognizing an opportunity, imagining something better, and finding a way to bring the idea to life. Working alongside Arnold, Sydell helped rethink the possibilities of an established beauty service. Traditional eyelash extensions were time-consuming and costly, requiring individual hairs to be applied one by one. Seeing an opportunity to make the process easier and more accessible, the couple developed Duralash, an innovative pre-cut eyelash system. Introduced at a Chicago-area trade show in 1970, the product helped change the false-eyelash market. They named their company Ardell by combining letters from their first names, beginning a business built on shared vision, determination, and an entrepreneurial spirit. Sydell was instrumental in building Ardell from the ground up, contributing to the company’s products, operations, and broader vision. But she understood that success meant more than creating innovative products. She believed beauty could be a source of confidence, self-expression, and independence. Her approach challenged the narrow idea that beauty was simply about appearance and instead embraced the relationship between personal style and how people felt about themselves. She was equally passionate about sharing that philosophy with others. At a time when women faced greater barriers to business ownership and leadership, Sydell encouraged other women to pursue entrepreneurial opportunities. She shared her knowledge, helped salons explore the emerging concept of the day spa, and encouraged beauty professionals to think more expansively about the services they could offer and the businesses they could build. She saw potential in people and believed in helping them realize it. In 1980, Sydell and Arnold co-founded Matrix Essentials, a professional haircare company that would become one of the beauty industry’s best-known brands. Together, they championed professional hairstylists, advanced salon-quality haircare, and hair color, and worked to elevate the role of the salon professional. Their vision extended beyond products to the people who brought them to life creating opportunities for beauty professionals to develop their skills, grow their businesses, and achieve greater success. In 1984, the couple sold Ardell to focus on Matrix Essentials, continuing to build a company that would leave a lasting mark on the professional beauty industry. While Sydell’s professional accomplishments were remarkable, they tell only part of her story. Family always came first. Her commitment to family was not something that took a back seat to her ambitions; it was central to who she was. Even amid the responsibilities of building successful businesses, she understood the importance of being present for the people she loved. Her family remained at the heart of her life, and the time she devoted to them reflected what mattered most to her. Sydell also believed deeply in giving back. She was involved in numerous charitable organizations and causes, offering her time, resources, and support in ways that reflected her genuine desire to make a difference. Her philanthropy was not defined by a single contribution or institution, but by a broader commitment to helping others and supporting work that could improve lives. It was part of a larger legacy of generosity that extended across the organizations, causes, and people she cared about. Beyond business and philanthropy, Sydell cultivated a deep appreciation for art and became a notable collector. Her curiosity, eye for beauty, and appreciation for creativity were evident in many aspects of her life. Those who knew her also remember qualities that could never be captured by a list of accomplishments: her kindness, thoughtfulness, generosity, and loyalty as a friend. She cared about people, valued lasting relationships, and understood that making a difference was often as simple as being there when someone needed you. Her warmth and generosity were not separate from her success; they were fundamental to the person she was. Sydell Miller’s legacy is ultimately one of vision, perseverance, generosity, and possibility. She saw opportunities where others saw limitations, challenged established ways of doing things, and helped make beauty more accessible to generations of women. She believed that beauty should be personal and expressive, that women should have the opportunity to pursue their ambitions, and that success was most meaningful when it opened doors for others. Through Ardell and Matrix, her influence continues to be felt throughout the beauty industry. Through her philanthropy, she supported causes and institutions that mattered to her through her family, friendships, and the many people she encouraged and inspired, her legacy reaches far beyond the businesses she helped build. Sydell’s life was a testament to the idea that true vision is about more than what you create. It is also about whom you empower, whom you care for, and the difference you make along the way. Her legacy lives on not only in the industry she helped shape, but also in the family she cherished, the friendships she nurtured, and the countless ways she made life better for others.
Freeman’s October 27 sale of Impressionist and Modern Art features several artists and landscapes that spotlight the École de Rouen, one of the most distinctive regional expressions of French Impressionism and Post-Impressionism. But what exactly was this movement that links to Claude Monet and Camillo Pissarro?
This fall, Freeman's is honored to present a remarkable collection assembled over decades by Joan Wellhouse Newton Stein of Jacksonville, Florida—a group of paintings that traces Impressionism's journey from the villages of rural France to the shores and studios of America.
For Beverly Grossman, collecting was never simply about acquiring beautiful things. It was about curiosity, relationships, discovery, and the people and experiences that gave those objects meaning.
By Raphaël Chatroux, VP, Head of Department, Impressionist & Modern Art In the early 1950s, Fernand Léger began working on Les Constructeurs, one of the most important series of his late career. Reflecting on post-war Europe’s reconstruction, it also focused on the dignity of working-class labor and the scale of modern industry. Among its key preparatory works is the 1950 gouache Les Constructeurs au Vélo, which Freeman’s will proudly offer for sale in its October 27 Impressionist & Modern Art auction in New York. Léger drew inspiration during evening drives to Chevreuse, where he saw construction workers climbing newly erected high-voltage pylons. He recalled being struck by the contrast between the small scale of the workers and the rigid industrial structures around them: “Lost in the rigid, hard, hostile surroundings, the men appeared tiny. I wanted to render this in my paintings, without making any concessions.” Les Constructeurs au Vélo brings together the central elements of the series. The lower half focuses on the workers, while the upper half is dominated by intersecting metal structures. A bicycle in the foreground refers to everyday working-class life and mobility. The work also connects Léger’s early interest in Cubism and mechanical forms with his later focus on labor and collective life. Here, the workers become the central figure within the industrial landscape—the human presence at the heart of modern progress. INQUIRIES: [email protected] VIEWING: October 19 – 26 32 East 67th Street, New York, NY TO BE OFFERED OCTOBER 27, NEW YORK Fernand Léger (French, 1881-1955) Les Constructeurs au Vélo, 1950 Estimate: $150,000 – 250,000
Painted in 1973, Swimmer #2 belongs to a distinctive moment in Katz’s career, when he was refining the cool, distilled visual language that would come to define his oeuvre. The composition presents a close-cropped profile of his son, Vincent, emerging from rippling water, rendered in luminous planes of color and sweeping, gestural brushwork. The swimmer’s serene expression contrasts with the energetic strokes of water surrounding him, creating a delicate balance between stillness and movement. Throughout the 1970s, Katz returned to the swimmer motif in a small group of related works, including the oils Swimmer and Swimmer #3, both painted in 1973, as well as the prints The Swimmer (1974) and Olympic Swimmer (1976). Across these works, Katz explored repetition and variation, transforming an ordinary moment of leisure into an image of striking graphic clarity and intimacy. Within this small body of work, Swimmer #2 has remained remarkably elusive. While related compositions have entered museums and collections and the imagery has circulated in print, this painting has remained in the same private collection since it was acquired directly from Marlborough Godard, Toronto, in 1976. Its return to public view nearly fifty years later offers a rare opportunity to encounter a work that has - until now - remained largely unseen.
Few figures of the 19th century carried a reputation as powerful as Rain-in-the-Face (c. 1835–1905). A Hunkpapa Lakota warrior and leader, he became one of the most famous Native figures associated with the “Indian Wars.”
These present lots stand as a testament to the Rosenthal family's unique contributions, both material and personal, to the Post-War New York artistic community.
On assignment to cover the trial for the monthly Marxist magazine Masses & Mainstream, Alice Neel--who first joined the Communist Party in 1935--indelibly captured this historic American moment in several images, including two studies and a striking grisaille, “Judge Medina-Trial Scene.”
As Silva explained in 1966, he imagined “the fish and the birds in motion” before developing their colors. Over the course of his career, he worked on diverse surfaces, from walls, paper, and board to canvas, as well as cloth, plywood, and household objects.
Oversized necklaces, elaborate cuffs, cascading chains, enormous brooches, and richly colored Gripoix glass became part of the House's visual language. These were pieces meant to be noticed.
By Monica Brown, Senior Vice President, Head of Photographs
by Ariel Barken, Specialist, Jewelry & Watches