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A Season of Firsts

A Season of Firsts

New & NoteworthyAug 21, 2024

To Our Dear Clients and Friends, As we welcome the changing of the seasons, Freeman’s is excited to present a season of remarkable firsts across our six salerooms.

A Tribute to the Patriarch of Liberty: The Marquis de Lafayette’s Personal Gift to President George Washington of a Drawing of the Demolished Bastille

New & NoteworthyJul 22, 2024

"Give me leave, My dear General to present you with a picture of the Bastille, just as it looked a few days after I Had ordered its demolition...it is a tribute Which I owe as A Son to My Adoptive father, as an aid de Camp to My General, as a Missionary of liberty to its patriarch." (Lafayette to Washington, March 17, 1790) Paris, August 8, 1789. Ink and ink wash on laid paper, mounted to larger sheet; triple black ruled ink border (possibly added at a later date). 11 3/4 x 18 1/2 in. (image), 13 1/8 x 20 3/4 in. (sheet). Presented by the Marquis de Lafayette to President George Washington and inscribed by Lafayette at top: "From the M. de Lafayette to General Washington"; inscribed at bottom by the artist, Étienne-Louis-Denis Cathala: "Cathala Architecte Inspecteur de la Bastille fait le 8 Aoust 1789". In modern frame, 15 x 22 1/2 in. A remarkable drawing attesting to the historic friendship between George Washington and the Marquis de Lafayette, and the confluence of the American and French Revolutions. On July 14, 1789, the people of Paris stormed the Bastille prison, igniting a full-blown revolution in France. The very next day, the Marquis de Lafayette, hero of the American Revolution and then one of the most powerful figures in France, was appointed leader of the newly mobilized Paris militia. The city’s municipal government was unanimous in its choice of Lafayette to lead this citizen army. He was the ideal candidate, given his well-known military experience in America, which was instrumental in the United States' victory over Great Britain, and because of his political influence in France that contributed to the rise of the French Revolution. The militia was formed only two days prior to his appointment, on July 13, and it was its members, along with the citizens of Paris, who stormed the prison-fortress in search of weapons to defend themselves during the uprising. Charged with upholding law and order in a city seething with anger, frustration, and hunger, Lafayette's leadership of this militia was shaped by his experience while serving under General George Washington in America. Like his mentor, Lafayette sought to wield his immense power in the service of liberty, and he demonstrated this by subordinating his command to civic control, subjected his appointment to election, refused compensation, and declined opportunities that would have allowed him to usurp complete power. In the process, he transformed the militia into a well-disciplined volunteer army. He renamed it the Garde Nationale, or National Guard, and through his actions garnered the affection of the unruly Paris populace. To inspire confidence among the public, Lafayette designed an emblem for its troops to wear, a tri-color cockade comprised of blue, white, and red: a combination of the red and blue colors of Paris and the white of the House of Bourbon—a lasting symbol that is now the tricolor of the French national flag. 1849 print showing The Destruction of the Bastille and the key at Mount Vernon Soon after Parisians conquered the Bastille, the process of its demolition began. As early as the night of July 14, architect Pierre-Francois Palloy and his crew began to raze the prison. Aware that its continued presence inflamed public sentiment, on July 16 the municipal government of Paris authorized its destruction, and tasked Lafayette with seeing to its orderly demolition. Lafayette signed an order authorizing Palloy's work, and government officials were then sent throughout Paris to proclaim in Lafayette's name the fortress's imminent destruction (1). Less than four weeks later, on August 8, Étienne-Louis-Denis Cathala, one of the site's six demolition inspectors, drew the above image for Lafayette. Once an imposing fortress and symbol of the French monarchy’s tyrannical oppression, here Cathala shows the “citadel of arbitrary power” (as Lafayette called it), in complete ruin at the hands of the French citizenry (2). On March 17, 1790, after eight months of tirelessly meeting the many-sided demands of his new position, Lafayette wrote to Washington to inform him of the Revolution’s unfolding events. Lafayette was then at the height of his power, and he was optimistic about the Revolution’s direction, which he was steering in a moderate course toward a constitutional monarchy. The National Assembly was assembling its first Constitution (whose eventual preamble, the Declaration of the Rights of Man and of the Citizen, he had written) and casting off the most odious vestiges of aristocracy. Due to Lafayette's own efforts at the helm of the National Guard, violence had subsided in Paris and a relative peace had settled among the populace. “My dear General,” Lafayette wrote, “I will tell you With the Same Candour that We Have Made an Admirable, and Almost incredible destruction of all abuses, prejudices…that Every thing Not directly Useful to, or Coming from the people Has been levelled—that in the topographical, Moral, political Situation of France We Have Made More changes in ten Month than the Most Sanguine patriot could Have imagined—that our internal troubles and Anarchy are Much Exagerated—and that upon the Whole this Revolution, in which Nothing will be wanting But Energy of Government just as it was in America, Will propagate implant liberty and Make it flourish throughout the world…” Enclosed with that letter were two items, gifted to Washington on behalf of Lafayette and the French people, in appreciation of Washington’s embodiment of worldwide liberty: Cathala’s above drawing of the demolished Bastille, as well as the main key to the prison. For Lafayette, these items signaled his gratitude and indebtedness to his mentor, both for Washington's leadership, as well as his friendship that began 13 years earlier on the battlefields of America when Lafayette was only 19 years old—and that now informed his own role in charting France’s revolution. At the end of the letter, he wrote “Give me leave, My dear General, to present you With a picture of the Bastille just as it looked a few days after I Had ordered its demolition, with the Main Kea of that fortress of despotism—it is a tribute Which I owe as A Son to My Adoptive father, as an aid de Camp to My General, as a Missionary of liberty to its patriarch" (3). For their delivery, Lafayette entrusted them to Thomas Paine, who gave them to South Carolinian John Rutledge, Jr., who was then returning to America. Four months later, in August 1790, the drawing and key were presented to Washington in New York during his first term as President. Upon receiving them, Washington enthusiastically declared them in his reply to Lafayette as tokens of "victory by Liberty over Despotism” (4). He would prize them for the rest of his life, displaying them at his Presidential homes in New York and Philadelphia during the entirety of his time in office. At the end of his two terms, he had them sent to his home, Mount Vernon, where he had them prominently showcased for all to see in the entrance hall of his residence, “a mark of his appreciation to his French pupil and a recognition of their symbolic importance in America” (5). They would remain on display at his home at Mount Vernon—the key encased in a crystal and iron lantern with the framed drawing hung below—for the rest of Washington’s life, and then through three generations of Washington’s family who resided there. The Marquis de Lafayette and George Washington first met in Philadelphia on the night of July 31, 1777. It was a critical and dire moment for the fledgling American army, then reeling from the loss of Fort Ticonderoga, and anticipating the British Army's imminent invasion of the capital city. Despite the differences in their backgrounds, as well as their physical and emotional demeanor, the 19-year-old Lafayette and 45-year-old General Washington both shared a similar lust for military glory. Lafayette, an orphan and wealthy aristocrat, was married into one of France's most prominent families with close ties to the family and court of King Louis XVI. Not suited to Versailles's court life, and with his military commission terminated following reforms to the French military, Lafayette is said to have become inspired by the cause of American liberty after dining with English King George III’s brother, the Duke of Gloucester, who supported the rebelling Americans. "When I first learned of that quarrel, my heart was enlisted, and I thought only of joining my colors to those of the revolutionaries," Lafayette later wrote (6). Seeking the military honor denied him in France, in early 1777 Lafayette attained a commission as Major General in the Continental Army from American agent in France, Silas Deane. Defying orders from the King forbidding French soldiers from fighting in America, Lafayette purchased his own ship, La Victoire, and sailed for the United States. After weeks at sea he arrived in Charleston that summer, and then made a grueling overland journey north to Philadelphia. Upon his arrival, he was initially spurned by the Continental Congress, who had grown frustrated with the numerous foreign adventurers who came to America with high commissions, but who often offered little in return. Due to his wealth and noble connections, Lafayette was reassessed as a crucial means for attaining much-needed French support and was attached to General Washington's command. Unlike previous foreign volunteers that Washington had begun to loathe, Lafayette quickly showed himself to be an adept and skilled leader, both on and off the battlefield. Lafayette's idealism, his ebullient personality, and his willingness to learn, quickly won the affection of General Washington, who brought him into his inner circle and treated him as something akin to a son. Whether seeing in the young Frenchman a reflection of his younger self or expressing "some suppressed craving for paternal intimacy" (7), Washington began to treat Lafayette as his protégé, and they became trusted friends and confidants. As Washington later wrote to Gouverneur Morris, “I do most devoutly wish that we had not a single Foreigner among us, except the Marquis de Lafayette, who acts upon very different principles than those which govern the rest” (8). Through the years he fought for America, Lafayette continually proved his commitment to the cause of American liberty, and in the process became beloved among his fellow soldiers and the American public alike. This was shown at the Battle of Brandywine Creek—his first battlefield action—where he bravely coordinated retreating troops, getting wounded in the process; at the Battle of Gloucester, his first battlefield command; through the harsh winter at Valley Forge, where he supplied clothing and supplies for his fellow soldiers, purchased at his own expense; at the Battles of Barren Hill and Monmouth, where he showed courage and tactical proficiency; in Rhode Island, where he acted as an intermediary between the American and French armies; and finally, in the southern theater of war and at the siege of Yorktown, where his command of troops was instrumental in Lord Cornwallis's surrender that secured American independence. Through all of this, Lafayette remained devoted to Washington, even as many in the army and in Congress questioned his leadership. “I am," Lafayette wrote to Washington during the Conway Cabal, "now fixed to your fate and I shall follow it and sustain it as well by my sword as by all means in my powers" (9). This was crucially felt in Lafayette’s successful lobbying of King Louis XVI to provide more French military support to the American army, without which the war would not have been won. In response to his unwavering commitment to the American cause, Washington wrote to Congress that Lafayette "has been, upon all occasions, an essential friend to America" (10). Following the war, Lafayette returned to France a hero and a celebrity, where he became known as the "Friend of Washington", and later, the "Hero of Two Worlds". Like many foreign volunteers who fought for America, Lafayette brought back with him burnished republican ideals, and the goal of changing French society. During the period anticipating the French Revolution, he became a fixture in Paris's elite salons, where Enlightenment ideas fermented, and the American Revolution provided an example for societal change. A leading voice that agitated for civil and economic reform, Lafayette became an outspoken proponent of democracy, and led efforts for religious freedom and the abolishment of the slave trade. An ardent supporter of continued French-American relations, he lobbied for increased trade and commerce, and through his unofficial diplomacy, acted as an intermediary between the United States, France, and other nations. In 1787, during the fiscal crisis that precipitated the French Revolution (partly a result of French support for America), he was selected to sit on the Assembly of Notables, where he called for the reinstatement of the Estates General, and further called for the formation of a national representative assembly—a radical proposition at that time. When the Estates General was convened in May 1789, Lafayette was elected to the Second Estate of Nobles. That June, French society was reeling from rising food prices and increasing civil discord. By mid-June, the Third Estate declared itself the National Assembly and in the Tennis Court Oath of June 20 vowed to create the country's first constitution. On July 10, Lafayette submitted to the Assembly his Declaration of the Rights of Man and of the Citizen, penned with the assistance of Thomas Jefferson, and whose opening language echoed America's own Declaration of Independence, stating that “Nature made men free and equal". Four days later the Bastille fell and catapulted Lafayette to the forefront of the Revolution. In October 1824, thirty-five years after gifting the Bastille relics, and twenty-five years after Washington’s death, Lafayette was reunited with them when he visited Mount Vernon during his triumphal tour of America. He was 67 years old, and this was his fourth, and final, visit to America. As a legendary figure in the lore of America’s founding, he was celebrated throughout all 24 states, visiting each during his over year-long tour. At the end of this trip, President John Quincy Adams defined Lafayette’s meaning to America: "We shall look upon you always as belonging to us, during the whole of our life, as belonging to our children after us. You are ours by more than patriotic self-devotion with which you flew to the aid of our fathers at the crisis of our fate; ours by that unshaken gratitude for your services which is a precious portion of our inheritance; ours by that tie of love, stronger than death, which has linked your name for endless ages of time with the name of Washington..." (11). While visiting Mount Vernon that October, Lafayette was accompanied by his son, George Washington Lafayette, who was named in honor of his friend. For the Marquis, then the sole prominent Major General from the American Revolution still alive, the return to Washington’s home, where he visited Washington’s tomb and was reunited with the Bastille relics, provided moment of reflection on his and Washington’s long friendship as well as their mutual accomplishments that helped create two nations. In 1858, John A. Washington III, the last of the Washington family to reside at Mount Vernon, sold the property to the Mount Vernon Ladies Association. Alongside this he gifted a dozen objects once owned by Washington, including the key to the Bastille, but not the drawing. The family retained ownership of it for the next 33 years, and, in 1891 it was sold at auction at Thomas Birch’s Sons, in Philadelphia, as lot 268 in the “The Final Sale of the Relics of George Washington”. It was purchased there by prominent autograph dealer Walter E. Benjamin, who sometime after sold it to William Randolph Hearst. Following World War II it was acquired by Connecticut resident Alan Carswell, who left it to his wife, who then left it to the Shriners Hospital for Children and the Masonic Charity Foundation. A unique and remarkable encapsulation of the historical connection between the United States and France, this drawing is a testament to Washington and Lafayette's deep and consequential bond, and their mutual pursuit of liberty, forged across two worlds and two world-changing revolutions. It now returns to Philadelphia at an auspicious moment that marks the 200th anniversary of Lafayette's tour of America, and on the eve of the 250th anniversary of America's independence. Footnotes 1. Louis Gottschalk and Margaret Maddox, Lafayette in the French Revolution, p. 117, Chicago, 1969 2. Lafayette, Memoirs of Gilbert M. Lafayette, p. 104. Geneva, 1835 3. Marquis de Lafayette to George Washington, March 17, 1790. The Papers of George Washington, Presidential Series, vol. 5, 16 January 1790 – 30 June 1790, ed. Dorothy Twohig, Mark A. Mastromarino, and Jack D. Warren. Charlottesville: University Press of Virginia, 1996, pp. 241–243. 4. Washington to the Marquis de Lafayette, August 11, 1790. The Papers of George Washington, Presidential Series, vol. 6, 1 July 1790 – 30 November 1790, ed. Mark A. Mastromarino. Charlottesville: University Press of Virginia, 1996, pp. 233–235. 5. Christine Meadows, Souvenir of the French Revolution, p. 29. Mount Vernon Ladies Association, Annual Report, 1987. 6. Tom Chaffin, Revolutionary Brothers, p. 18, New York, 2019 7. Ron Chernow, Washington, p. 296, New York, 2010 8. Stuart Liebiger, Sons of the Father: George Washington and His Proteges, p. 217. Charlottesville, 2013. 9. Ibid, p. 218 10. The Writings of George Washington, Vol. VII, 31.H, Boston, 1838 11. Harlow Giles Unger, Lafayette, p. xxii, Hoboken, 2002

Forgotten Treasures: Property from the Aline Elwes McDonnell Trust from Copped Hall, Essex, UK

Forgotten Treasures: Property from the Aline Elwes McDonnell Trust from Copped Hall, Essex, UK

New & NoteworthyJun 12, 2024

Houses live and die: there is a time for building And a time for living and for generation And a time for the wind to break the loosened pane And to shake the wainscot where the field-mouse trots And to shake the tattered arras woven with a silent motto.” T.S. Eliot, East Coker If T.S. Eliot’s J. Alfred Prufrock measured his life in coffee-spoons, then mine is surely measured in auctions: I’ve devoted twenty years of my life to bringing rich tapestries of collecting to sale and it still gives me a thrill to find the stories imbued in historic objects. And so it goes – a day in the life of an auctioneer: the 21st century bombardment of emails and zoom calls is intercepted by an old fashioned phone call – the opportunity to visit a private collection in Greenwich, Connecticut of “English Furniture” from the estate of Aline Elwes McDonnell. I volunteered immediately for the chance to bathe in memories of my youth (far too well-spent, I might add, in the Country House Collections department of a prominent London auction firm). The visit did not disappoint! In an unassuming home (much loved – the pink-walled kitchen bore the hallmarks of any loving family’s growth with tattered and refreshed lines denoting who grew tallest first) the cottage continued through the adjacent dining room to the library and beyond, by means of a modest passageway, to the extension built in the 1950s to house the extant collections long since removed from Copped Hall, Essex, UK. What lay before me was a glorious recreation of an 18th century English Country House drawing room: a finely woven Brussel’s tapestry circa 1680, a rare form of commode with the signature hallmark marquetry inlay and neoclassical style of circa 1775, Regency period cockpen faux-bamboo armchairs, Fahua vases from the Ming Dynasty, all bound together by an illustrious group of portraits on the walls led by the tantalizing and unfinished depiction of a young woman with a fashionable late 18th century coiffure. With stories passed down through the Elwes family, Country Life articles from 1910 and 1959 respectively, a flashlight and an insatiable curiosity as my only guides, it has been a challenge and a thrill to explore the collection and present it here. Aline Elwes McDonnell’s lineage is traceable back as far as King George II of England (one branch of the family lays claim to having researched their ancestry yet further to the late 1400s and the reign of Edward IV!) and Copped Hall in Essex was a site near the town of Epping that dates to medieval times – originally home to the FitzAucher family who held the office of Foresters. The meaning of ‘Copped’ has its roots in the old English term for peak and denotes the vantage point of the site upon which the 18th century version of the house was built. No fewer than three grand country houses graced the site until the demise of the Wyatt aggrandized version (now thankfully undergoing restoration by a local trust) in a devastating fire of 1917. The story goes that the few household staff and gardeners that remained during the war years, armed with only a small handpump to quell the flames, dragged furniture, paintings and objects out onto the lawn to save them from destruction. Much was sold off or dispersed thereafter to offset the huge losses incurred at the time but what remained was rehoused at The Wood House (an 1898 confection in the high Tudor revivalist style on the estate grounds) where the family moved following the catastrophic event. A number of the objects in this auction are featured in imagery from aforementioned Country Life article on The Wood House in 1959. This time capsule of 100 or so items made the transatlantic journey following Aline Mary Margaret Elwes marriage to the well-heeled New Yorker, Hubert McDonnell Jr. (1919-2004), in the Brompton Oratory in 1948. The pair settled in Connecticut and shipped the extant portion of the collection, bequeathed to Aline, by slow boat in the early 1950s, where they have been lovingly preserved ever since. The family hopes a new generation of custodians will care for these heirlooms and Freeman’s I Hindman is honored to be the auction house of choice for this beautiful group of forgotten treasures. Please join me this June in Philadelphia to be inspired and transported with what Disraeli described as that “soul-subduing sentiment, harshly called flirtation, which is the spell of a country house”. Property from the Aline Elwes McDonnell Trust will be offered in a live auction in Philadelphia at 2400 Market St, Philadelphia, this June 21, 2024 at 10 am ET.

A Dynamic Friendship: Nöel Sullivan and Langston Hughes

A Dynamic Friendship: Nöel Sullivan and Langston Hughes

New & NoteworthyMay 29, 2024

Langston Hughes and Noel Sullivan came from drastically different worlds but were brought together by fate and the extraordinary power of idealism and human sympathy. They first met late in 1932, when Hughes arrived in San Francisco near the end of an arduous cross-country reading tour that he had put together to fund his writing career and bring “poetry to the people.” Friends had told him about a wealthy white liberal San Franciscan, a classical singer of local note, and a devout Roman Catholic with a special interest in black Americans and their struggle for social justice. Sullivan owned a mansion on fashionable Hyde Street, employing a largely African American staff. Although Hughes’ visit lasted only a few days, he made an indelible impression on Sullivan. Sullivan had met many black leaders, but “never has anyone of them inspired in me the unqualified regard and admiration that I feel for you. Indeed, had I been told ten days ago that your integrity (and by that word I think I mean more than is implied in its customary usage) existed anywhere—I should have been skeptical. . .. The contact with you has extended immeasurably for me a sense of tenderness toward everyone.” By the time they met, Hughes had published one novel and two books of verse that had made him greatly admired in some circles but also increasingly controversial. Although his sensitive evocations of African American life had led some to call him “The Poet Laureate of the Negro Race,” his choice of the lowly Blues as the primary source of his inspiration led to sharp criticism by some middle-class blacks. However, the main cause of criticism of Hughes was the radical socialist perspective that burned in his work almost from the start, intensely provoked by the Great Depression. That perspective dominated his verse in the year following his first meeting with Noel Sullivan when Hughes found himself living in the Soviet Union. One poem in particular, “Goodbye Christ,” which expressed Hughes’ hostility to religious charlatanism, would haunt him for the rest of his life. Although Sullivan could not have liked “Goodbye Christ,” he remained loyal and generous to Hughes. When Hughes returned in near-poverty from the Soviet Union in 1934, Sullivan gave him free use of a cottage he owned in Carmel-by-the-Sea, down the coast from San Francisco. There Hughes composed one of his best books, a collection of charged short stories called The Ways of White Folks. He dedicated the work to Sullivan. That Carmel year ended with Hughes practically chased out of town, as part of a surge in right-wing activity in California. Later in the decade, when supporters of the right ruined the launching of his autobiography The Big Sea (1940) and threatened Hughes as never before, Sullivan gave him sanctuary at Hollow Hills Farm in Carmel Valley, to which he had relocated from San Francisco. Sullivan’s loyalty to Hughes was capped when he built a cottage for Hughes at the Farm, where the poet could come and go as he liked. When Hughes suffered probably the greatest public humiliation of his career, an appearance in March 1953 before Senator Joseph McCarthy’s infamous Permanent Sub-Committee on Investigations. The purpose was to grill him about his leftist, possibly Communist affiliations. Hughes survived the ordeal and again headed to Hollow Hills Farm for rest and recovery. “To say what your friendship has meant to me,” he once wrote to Sullivan, “would take more pages than I have ever written in any of my books.” Sullivan’s loyalty and generosity to him “make me believe in you like the early Christians must have believed in that rock on which . . . the church was founded.” His admiration was certainly reciprocated. When Sullivan died in September 1956 from a heart attack, Hughes was broke and could not travel from New York for the funeral. However, he wrote to a Carmel friend, “We who had the good fortune to share his friendship knew that he lived so beautifully he had no fear of going. I wish I were there to sorrow with those close to him in Carmel.” In his will, Sullivan left Hughes the sum of $2,000.

Envisioning Worlds of Tomorrow

Envisioning Worlds of Tomorrow

New & NoteworthyMay 29, 2024

The 20th century was a period of rapid scientific and technological advancement which fundamentally altered human life and shaped the modern world. The first half of the century saw groundbreaking discoveries in the development of quantum mechanics, the beginnings of genetic understanding, and early space exploration. The study of the atom and the development of nuclear physics ultimately lead to the discovery of nuclear fission and the atomic bomb. Technological advancements included improvements in transportation and electronics and communication. These advancements had profound impacts on society, altering the conduct of warfare, transforming daily life, setting the stage for the rapid pace of innovation in the second half of the century culminating in the Space Age. As the world adapted to the rapid developments of the age, the genre of science fiction developed and boomed in the 20th century as authors and filmmakers integrated the science and inventions of daily life into literature and films that explored the relationship between technology, science and the individual. American science fiction as a self-conscious genre dates to 1926, when Hugo Gernsback founded Amazing Stories magazine. Fritz Lang’s film Metropolis (1927) included the first humanoid robot. Writers and filmmakers experimented with new ways of treating time and space, exploring the themes of alienation and dystopia. The technological optimism of the era was marked by society’s belief in the power of technology to change the world. Real-world advancements included the exploration of space, which was echoed in science fiction through stories about space travel, exploration, and the possibility of extraterrestrial life. As scientists made groundbreaking discoveries in a variety of fields, science fiction explored the social, ethical, and moral implications of scientific progress. The era’s scientific endeavors were also heavily influenced by the discovery and use of atomic energy. Despite the optimism of the era, there was a prevalent fear of the unknown. Society’s concerns about the potential dangers of nuclear power and the limits of human understanding of the cosmos were manifested in works of science fiction through stories about alien invasions and nuclear apocalypse. Worlds of Tomorrow explores the relationship between the scientific and technological advancements of the 20th century and the literature and film that developed in response to those rapid advances, presenting historic photographs, artifacts and manuscripts alongside works of literature, film props, posters, and literary archives. These objects represent the reciprocal relationship between science fiction and actual scientific progress: where science fiction anticipates or inspires future technologies, technological advancements provide new fodder for the speculative imagination of authors and filmmakers.

Center Stage: The Laura Pels Collection

New & NoteworthyMay 20, 2024

Freeman’s | Hindman is delighted to announce Center Stage: The Laura Pels Collection, a series of single-owner auctions beginning on June 20 in New York. The suite of sales will kick off with a live fine art auction held from Freeman’s | Hindman’s new Upper East Side location at 32 East 67th Street. It will be followed by concurrent online sales of American and European furniture and decorative arts as well as important handbags and couture by luxury makers such as Chanel, Pierre Cardin Haute Couture, and Hermès. ACT I | Center Stage: Fine Art from The Laura Pels Collection A dedicated philanthropist and supporter of nonprofit theater through her eponymous foundation, Laura Pels forged important relationships with playwrights, actors, and creative directors in the United States and abroad. She was also a close friend and confidante of artist Françoise Gilot, whose paintings and drawings feature prominently in this stunning River House collection alongside works by contemporaries Jean Cocteau, Joan Miró, Alexander Archipenko, and Sam Francis. Gemma Sudlow, Executive Vice President and Managing Director for the New York region comments: “We are honored to be the auction house of choice for this distinguished River House collection. Laura Pels was a dedicated supporter of the dramatic arts, and we are delighted to pay tribute to her philanthropy and connoisseurship through this suite of sales where her legacy will be celebrated center stage. The recent announcement of a new room dedicated to the life and work of Françoise Gilot at the Musée Picasso in Paris is the perfect context to re-evaluate the importance of Gilot’s work and there are many fine examples in this sale that speak to the unique and enduring friendship Ms. Pels enjoyed with the artist.” Among the 16 works by Françoise Gilot to be offered is The Model (estimate: $40,000-60,000), a stunning female nude standing against a Matisse-inspired red background. Executed in 1958, the work bears strong Fauvist and Cubist influence, and is a testament to Gilot’s ever-changing, creative style. This is especially evident when comparing it to the later examples of the artist's work included in the sale, which consist of a variety of portraits and landscapes from the 1980s, 1990s, and 2000s. To honor this historic friendship with Françoise Gilot and pay tribute to Ms. Pels’ French origins, a selection of highlights will travel to Paris for a special exhibition this spring. Raphaël Chatroux, Head of the American Art Department, comments: “Ms. Pels was born near Bordeaux and studied acting in Paris, where she owned an apartment and ran Le Théâtre de l’Atelier together with her daughter. Her collection undoubtedly reflects how much of a Francophile she was. It was particularly important for us to celebrate her legacy and commitment to the arts by exhibiting treasured works from her collection in her home country, which granted her the Légion d’Honneur in 2002." Additional Fine Art Highlights Include: A graphite on paper self-portrait, Françoise and Geneviève, from 1944 (estimate: $6,000-8,000) A rare, blue-colored crayon composition by Constantin Brancusi from (estimate: $150,000-200,000) Two organic sculpturesby Jean Arp (estimates: $50,000-80,000 and $30,000-50,000) Pictured above: Fleur de Rêve au Musaeu L'Oiseau à L'Œil de Verre, a whimsical tempera by Max Ernst framed in an impressive brass structure (estimate: $150,000-200,000) ACT II | Center Stage: Furniture and Decorative Art from The Laura Pels Collection The furniture and decorative objects collected by Ms. Pels illustrate her broad interest in this category. From colonial American furniture to the Chinese export ceramics and modernist silver by Elsa Peretti, Ms. Pels appreciated the beauty and craftsmanship of artisans across the globe. Furniture and Decorative Art Highlights Include: An American Sterling Silver Flatware Service, Mark of Tiffany and Company (estimate: $5,000-8,000) A Chippendale Carved Cherrywood Desk and Bookcase(estimates: $3,000-5,000) A Set of Four Elsa Peretti 'Bone' Sterling Silver Candlesticks (estimate: $3,000-5,000) A Chinese Porcelain Lobed Double Gourd Vase (estimate: $5,000-7,000) ACT III | Center Stage: Luxury Handbags and Couture from The Laura Pels Collection The couture collection of Laura Pels features runway pieces from Karl Lagerfeld’s collections for Chanel, Pierre Cardin Haute Couture from the 1980-90s, and an important collection of Geoffrey Beene. Many of the pieces were custom-made for Ms. Pels’ specifications. The collection also features forty plus Chanel handbags. Much like the art and jewelry collections of Ms. Pels, her couture reflects her deep appreciation for French culture. Luxury Handbags and Couture Highlights Include: Chanel Medium Flap Bag in Quilted Navy Lambskin Leather(estimate: $3,000-4,000) Chanel Skirt Suit, Spring 2008 (estimate: $1,000-2,000) Pierre Cardin Haute Couture Butterfly Gown (estimate: $700-900) I n addition to the single-owner sales of fine art, furniture and decorative arts, andhandbags and couture, Ms. Pels’ peerless taste is also reflected in a beautiful collection of jewelry highlighted within the May 14 Important Jewelry auction in Chicago. Her jewelry includes pieces by renowned and timeless French makers such as Cartier and Boucheron, alongside more avant-garde works designed by artist Jean Cocteau.

Capturing the Pivotal Moment: Gold Rush-Era San Francisco

Capturing the Pivotal Moment: Gold Rush-Era San Francisco

New & NoteworthyMay 15, 2024

The discovery of gold at Sutter’s Mill forever changed the identity and landscape of the American West. While miners from across the world scrambled to make their fortunes, practitioners of a recently discovered technology–the daguerreotype–raced to record the prospectors and rapid changes in the towns and landscapes that would define the era. These pioneering photographers left behind a body of work that brings to life a pivotal moments in American History: The California Gold Rush. From studio portraits of “Forty-Niners” to views of the cities and camps in which they lived and worked, Freeman's | Hindman has been entrusted with offering a remarkable selection of Gold Rush-era photography at auction over the last 30 years. This whole plate daguerreotype capturing San Francisco at the height of the Gold Rush is no exception. Taken between 1852-1854, the image shows the southeast corner of Front and Sacramento Streets, focusing on a series of buildings that once served as the headquarters for the San Francisco Committee of Vigilance. Located close to the waterfront (as evidenced by the ship masts just visible behind the “Ship Chandlery” at left), this busy intersection was occupied by commission merchants and importers who offered various wares to fortune-seeking miners. The daguerreotype’s exceptional clarity and contrast reveal many details within the composition, including figures seated in doorways, horse-drawn carts parked in the street between stacks of barrels, and timber that almost certainly would have been used in the construction of wooden ship hulls. This historic image encapsulates the rapid growth that transformed San Francisco from a settlement of approximately 200 residents in 1846 to a boomtown representing the epicenter of the California Gold Rush. A daguerreotype of this size and importance has not appeared at auction for nearly 20 years. To be offered in our American Historical Ephemera & Photography auction this May 31. Lot 356 | [CALIFORNIA - EARLY PHOTOGRAPHY]. Whole plate daguerreotype of San Francisco, California. Circa 1852-1853. | Estimate: $30,000 - $50,000

A Rich Aesthetic Tapestry - The Collection of Jordan & Cynthia Katz

A Rich Aesthetic Tapestry - The Collection of Jordan & Cynthia Katz

New & NoteworthyMay 06, 2024

On May 21, Freeman’s | Hindman is proud to offer Post War and Contemporary Art from the Estate of Jordan and Cynthia Katz, a single-owner sale of approximately 39 lots representing over 30 years of passionate collecting. Featuring a curated selection of fresh-to-market paintings, prints, and sculptures, this auction promises to be a testament to the couple’s discerning taste and dedication to art of the 20th century. Beginning as a modest art collection in the early 1980s, the Collection of Jordan and Cynthia Katz blossomed over the following decades under the guidance of gallerist Margaret Lipworth. The couple traveled to New York, London, and Palm Beach to visit the galleries and studios of the artists represented in this sale. Jordan was an amateur artist himself, creating paintings and sculptures that were inspired by the art in their collection. According to their daughter, the experience of collecting was an activity that gave them both great pleasure, and their art was proudly displayed on the walls of their three homes. Within this meticulously curated private collection is a captivating group of works by renowned artists of the 20thcentury, such as Alex Katz, Tom Wesselmann and Lynn Chadwick. Each piece within this collection exemplifies contemporary art's diversity of aesthetics, methods, and expressions–the vibrancy of Katz's iconic figurative paintings features alongside the boldness of Wesselmann's Pop Art compositions and the emotive power of Chadwick's sculptural forms. A notable highlight from the Katz collection is Rackstraw and Pamela, a tender study by Alex Katz for a much larger work from 1976. Known for his distinctive style–characterized by bold colors, simplified forms, and flattened compositions–Rackstraw and Pamela is a notable example of Katz's portraiture and showcases his unique approach to capturing the essence of his subjects. In this painting, Katz depicts realist painter Rackstraw Downes and his wife at the time, Pamela Berkley, who were both artists and friends of the painter. Set against the serene backdrop of coastal Maine, the composition is particularly striking due its close cropping, which eliminates extraneous details and focuses attention squarely on the sitters captured at an intimate moment. Seated together at a yellow picnic table, Rackstraw turns to Pamela, as the wind gently tousles their hair and their elbows gently touch. Despite the simplified forms, flat planes of color, and minimal shadow, there is depth and complexity to the figures, emphasizing both their individual personalities and the dynamic energy between them. The small-scale work is packed with emotion and Katz’s signature bravado. Known for his bold and vibrant depictions of everyday objects, Tom Wesselmann often explored themes of consumer culture, sexuality, and the female form in his artwork. Bedroom Face with Tulip, a large work on paper from the Katz collection, exemplifies the artist’s distinctive style, featuring a graphic representation of a face alongside a tulip against the backdrop of a bedroom setting. Through the use of bright colors, simplified forms, and sharp lines, Wesselmann creates a visually striking composition that captures Pop Art's playful yet provocative aesthetic, and invites viewers to reconsider the familiar in a new light. The Katz collection also features works from Lynn Chadwick’s sculptural œuvre. Lynn Chadwick was a British sculptor known for his innovative and dynamic abstract sculptures. He often created small-scale models–or maquettes–usually made from metal or bronze, that served as preliminary studies for his larger works. The two angular seated figurines that comprise Maquette II Diamond (2 Figures) are a particularly enchanting example of Chadwick’s small-scale work. Each figure has their own identity and individual body shape–one has a more soft and feminine figure, featuring an accentuated waist and hips, subtle belly, and slender legs; while the other has much broader shoulders and a more traditionally masculine torso. Furthermore, each figure has a polished bronze face, which was a trait Chadwick would occasionally incorporate into his sculptures. These faces, often characterized by their smooth and reflective surfaces, exist in striking contrast to the sculpture's otherwise rough texture and sharp angles. Chadwick's use of polished bronze faces imbued his otherwise abstract compositions with humanity and introspection, creating a captivating interplay between the organic and the industrial within his art. The collection also includes a geometric candelabra, Three Branched Candle Holder III, which illustrates the expansiveness of Chadwick’s repertoire. Together, these artworks contribute to the rich tapestry of the Collection of Jordan & Cynthia Katz, and invite viewers into a world where artistic innovation and expression flourish. Featured Lots: Lot 25 | Alex Katz (American, b. 1927) - Rackstraw and Pamela (Study) Lot 30 | Tom Wesselmann (American, 1931-2004) - Bedroom Face with Tulip Lot 11 | Lynn Chadwick (British, 1914-2003) - Maquette II Diamond (2 Figures) Lot 12 | Lynn Chadwick (British, 1914-2003) - Three Branched Candle Holder III

Timeless Treasures and Moments: Q&A with Sophie Pearlstein

New & NoteworthyMay 05, 2024

Philip Pearlstein (1924-2022), a celebrated American artist, was known for his masterful figure paintings, capturing the human form with exquisite detail. When the COVID-19 pandemic hit and physical distancing measures prevented him from inviting models into his studio, Pearlstein found new inspiration in his extensive collection of antiquities and ancient art. This remarkable collection, accumulated over decades of devoted collecting, became the central theme for a series of watercolors created during this unique period called Treasures from the Studio (2022). Pearlstein's collection of art, which is now being offered by Freeman's | Hindman in a series of auctions starting with Antiquities and Ancient Art, Modern and Contemporary Art and concluding with Timeless Treasures: Exploring Antiquities & Americana from Philip Pearlstein’s Studio, includes a wide range of ancient objects that he carefully curated over his 98-year life. His keen eye for artifacts and historical treasures is reflected in these watercolors, where he arranged and depicted various clay, terracotta, and earthenware art in unique compositions. Join Gemma Sudlow, Managing Director, New York as she speaks to Sophie Pearlstein, Philip Pearlstein’s granddaughter, and revisits some of her most fond memories with the visionary artist. Sophie, thank you for agreeing to share your experiences with us. We are excited at the prospect of offering your grandfather’s collection of fine art, antiquities, americana and folk art in our upcoming auctions at Freeman’s I Hindman. I wonder if you could share some of your earliest memories of him and visiting his studio. My grandfather’s studio was a very special place to visit when I was young. It was full to the brim with eccentric furniture, antiquities, toys and much more. Whenever I visited, it felt like I was at some sort of amusement park. I would spend hours going from object to object, asking my grandfather where each thing came from. No matter how obscure the object, its commercial value, or how many years prior it had been purchased, my grandfather was always able to tell the story of each acquisition. Philip was a very joyful person, and his studio was a reflection of his personality. Photo credit: Arturo Sanchez The studio in Chelsea was such an inspirational space – dense with colors, lines, forms, and patterns. How did your grandfather collect and to what extent do you think his collecting influenced his artistic journey? My grandparents were scholars and collectors and had an extensive knowledge of the art historical canon. Whenever they were interested in an object, they would learn about the culture that it came from and the given historical context. By rendering the objects he owned in his paintings, my grandfather expanded upon the subject matter available to him. Painting these objects also allowed him to further study and admire each one. The larger his collection grew, the more they populated his compositions. What always amuses me is that Philip saw no hierarchy between very valuable, historic objects and knick-knacks that he bought in Hell's Kitchen. He always just painted what he thought was interesting and visually challenging. Photo credit: Arturo Sanchez Your grandfather was friends with other very prominent artists such as Andy Warhol, Alex Katz, Tom Otterness and others whose works are represented in our suite of sales. Did he ever share stories of these friendships and to what extent was he influenced by his peers versus artists in the historical canon? Philip often told stories about his early years with innumerable now prominent artists. He deeply appreciated and respected the work of his friends and peers. I think that, especially in the 60s, his work developed in conversation and in tandem with these artists. Each drew from the art historical canon in his or her own way while finding their footing in the post-Ab-Ex art scene. Photo credit: Arturo Sanchez Your grandfather’s paintings have enjoyed a resurgence of interest in the marketplace this past year. Tell us about the important work you are doing to preserve his legacy and grow the audience for his important body of work. The Estate’s priority is to maintain Philip’s status in 20th-century art history while also presenting his work in the context of the contemporary art world today. His work is equally as relevant now as it was in the mid to late 20th century and has informed the work of so many cutting-edge painters today. What has struck me in the past year is that his work evokes nostalgia for those who recognize it and excites people who are seeing it for the first time. Photo credit: Arturo Sanchez You have chosen a career path in the art world yourself, to what extent have your personal choices been inspired by his life and work? Almost every choice that I have made so far in my professional life is thanks to my grandfather. When he was alive, my interest in art history and the commercial art world allowed us to connect and since he passed away, working in the art world has allowed me to still feel close to him. Having such an intimate knowledge of his oeuvre has given me a better understanding of contemporary figuration, as many of the artists that I follow have studied his work. What contemporary artists working today do you think he would admire? I would always show my grandfather photos of works by contemporary artists that I liked to try to get his opinions and criticisms. His taste was wide-ranging and his go-to phrase was, “I don’t understand it, but I like it.” I’m sure he would have been very taken with the works of young figurative painters like Louise Giovanelli, Chloe Wise, and Anthony Cudahy.

Discovering the "Mystery Woman": the Estate of Donna Fuller

New & NoteworthyMay 01, 2024

To the collectors of Fritz Scholder’s art, the name Donna Fuller may not spark any recognition. The image of his “Mystery Woman”, however, looms large in his body of work; his imagery of a petite, blonde model populates many of his mid-career canvases. For years, the identity of this figure has been the subject of speculation and intrigue, in part because Scholder himself was often cryptic about his work, preferring to leave interpretation open to the viewer. Despite, or perhaps because of the mystery surrounding her identity, the “Mystery Woman" remains an iconic and enigmatic figure in Scholder's oeuvre, embodying themes of intrigue, introspection, and the complexity of the human experience. The story of the woman behind the mystery, however, is one that deserves to be told. Donna Fuller was a woman of passion, vision, complexity, and spirit. Born in Decatur, Alabama in 1946, Donna was a southern belle with a kind heart and a great sense of humor. She was petite and blonde, with an eye for fashion and a larger-than-life personality. After moving to New York City in the early 1970s to pursue her career in the world of fashion, she was hired at Yves Saint Laurent, where she spent the next twenty years working as the US representative for the company. Donna was gregarious, outgoing, and beloved, and she never left home wearing anything less than her most fashionable outfits, her hair and makeup styled to perfection. She loved talking on the phone, and conversations were never short! Donna first met Fritz at one of his birthday parties in Scottsdale, Arizona. Quickly, they discovered their shared love of art and adventure; their connection was undeniable. Donna became Fritz’s muse and companion for more than two decades to follow. Together they traveled the world, created art, and reveled in the joy of living life to its fullest. Scholder was known for his colorful personality and unconventional lifestyle. He lived and worked in various locations throughout his life, including the New Mexico, Europe, New York, and Arizona, where he established a studio. Donna made frequent trips to Scottsdale to visit Fritz and his studio and explore the American Southwest. Donna’s home was a veritable cabinet of curiosities, with items from her vast collection displayed from floor to ceiling. Only her closest friends were permitted to enter. She was a very private person and felt that her collection was deeply personal. Brimming with mementos from her many adventures, her collection was eclectic, vast, and inclusive of some truly remarkable gems. The lots presented in this auction from the Donna Fuller Collection were revered with the utmost love and respect. Donna’s collection, which encompassed the whole of her Manhattan apartment, was truly emblematic of the incredible life she lived. Featured: Lot 176 | Fritz Scholder (Luiseño, 1937-2005) | Rider on Horse | Estimate: $20,000 - $40,000 Lot 172 | Fritz Scholder (Luiseño, 1937-2005) | Mystery Woman in Chair | Estimate: $10,000 - $15,000 Lot 170 | Fritz Scholder (Luiseño, 1937-2005) | Mystery Woman, edition 9/12 | Estimate: $4,000 - $6,000 Lot 182 | Fritz Scholder (Luiseño, 1937-2005) | Return to Rancheros | Estimate: $3,000 - $5,000

Jacques Adnet

Jacques Adnet

New & NoteworthyApr 30, 2024

The May 21 Design auction features a single-owner collection of nearly a dozen pieces by preeminent french 20th century furniture designer Jacques Adnet. Originally trained as an architect, Jacques Adnet first came to prominence in the heyday of Paris’s Art Deco movement. He and his twin brother, Jean, established their first firm, J.J. Adnet, in Paris in 1916, and they exhibited in the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes, where they gained notoriety–recognized for their vision and ability to stage areas as both furniture designers and interior decorators. Despite their successful partnership, Jacques and Jean ultimately pursued separate careers: Jacques became Design Director at Compagnie des Arts Français (CAF), while Jean went on to become a sales manager at Les Galeries Lafayette. While at CAF, Jacques collaborated with numerous design luminaries, including Serge Mouille, Charlotte Perriand, Georges Jouve, and François Jourdain. Though Art Deco influences always surrounded his design, his furniture matured towards a restrained simplicity that would visually define his legacy. Adnet's distinct pared-down aesthetic and exquisite craftsmanship garnered the attention of decorators and design houses. He was asked to design a variety of common rooms for luxury ocean liners, the Riviera Casino owner Frank Jay Gould’s mansion, the main meeting room in Paris for UNESCO’s international headquarters, and the French President’s studio. Throughout these prestigious commissions, he retained his vision and strove to create practical, useful pieces for everyday life, believing furniture should be functional and geometrically simple. Adnet's most iconic designs feature hand-stitched leather wrapped on deceptively simple metal frames, and many of these were sold through the luxury powerhouse brand, Hermès. Though the collection on offer includes a range of Adnet's popular and lesser-known designs, each piece is a testament to his careful construction and reflects his unique take on luxury and commitment to simple, functional beauty. Amongst the more iconic designs is a circular mirror wrapped in a leather frame with an integrated, adjustable leather hanging strap. The piece’s buckles and straps emulate the fashionable styling of Hermès’ belts and handbags. A lesser known piece is a chic magazine rack (see page 32), whose leather-wrapped frame features an integrated loop handle for portability–a feature that is at once functional and also its most notable design feature. Perhaps the red leather and brass chair best epitomizes Adnet’s work from this period. The alluring warmth of the leather is accented with exquisite exposed stitching in a contrasting cream tone celebrating the fabrication. Featuring a simple frame and a restrained use of curved elements, the unexpected faux-bamboo brass legs give the chair a hint of attentive exoticism. Though heavily focused on the work of Adnet, the collection also includes works by other European masters of design, including Piero Fornasetti, Alessandro Pianon, Gio Ponti, and Napoleone Martinuzzi, among others. Featured Images: Lot 11 | Jacques Adnet (French, 1900-1984) Leather Covered Floor Lamp, c. 1950 France | Estimate: $3,000 - $5,000 Lot 9 | Jacques Adnet (French, 1900-1984) Leather Covered Mounted Shelf, c. 1960 France | Estimate: $3,000 - $5,000 Lot 1 | Jacques Adnet (French, 1900-1984) Saddle Stitched Leather Armchair, c. 1950 France | Estimate: $5,000 - $7,000

The Collection of Dr. Julian Katz and Dr. Sheila Moriber Katz

The Collection of Dr. Julian Katz and Dr. Sheila Moriber Katz

New & NoteworthyApr 24, 2024

Freeman’s | Hindman is proud to present a selection of works from the Collection of Dr. Julian Katz and Dr. Sheila Moriber Katz, of Gladwyne, PA via a series of auctions throughout the Spring season. Julian and Sheila met at the University of Chicago and received additional training at Duke, Yale, and Harvard before moving to Philadelphia in 1969. They were caring and compassionate individuals who adored their 2 children and 6 grandchildren, and both Julian and Sheila took interest in other fields than medicine. Art remained a unifying passion throughout their more than 50 years of marriage. Julian was a leading academic gastroenterologist, author, and editor who was instrumental in defining the condition known today as lactose intolerance. During Vietnam, he joined the Navy, rising to the rank of Lieutenant Commander, and upon arriving in Philadelphia, he started a solo gastroenterology practice that he eventually developed into one of the leading gastroenterology centers in the nation. As a Professor at the Medical College of Pennsylvania and later Drexel University, he trained generations of medical students, residents, and fellows. A brilliant and compassionate clinician, when the population of his practice aged, Julian became board-certified in geriatrics as well. He also served as a member of the Philadelphia Board of Health. Sheila was a celebrated pathologist, business owner, poet, educator, lecturer, and mentor, and the first to identify the lethal bacteria known to cause Legionnaires’ Disease, an experience she described as like “touching the sun.” She received countless awards for work within her field, published extensively, and obtained millions of dollars in research grants, eventually becoming Dean of the Hahnemann University School of Medicine. A strong advocate for women in medicine, Sheila’s groundbreaking discoveries over her career also led to numerous other distinguished appointments including as Executive Director of the White House Medical Commission in 1999 under President Bill Clinton. The fine art pieces included in Freeman’s | Hindman series of Spring auctions represent work that Sheila and Julian collected throughout their lifetime and particularly enjoyed. Bold, enigmatic and cerebral, the works of Robert Rauschenberg, Will Barnett, Milton Avery and Purvis Young (among others), show the creative side of these eminent physicians and scientists, who always loved to learn and think. They also contribute to the lasting legacy of their keen eye for art. Featured Lots: Milton Avery (American, 1885-1965) - Draped Nude | Estimate $20,000 - $30,000, to be sold on June 2. Milton Avery (American, 1885-1965) - White Vase | Estimate $50,000 - $80,000, to be sold on June 2. Purvis Young (American, 1943-2010) - Hey Man When Purvis Comin? | Estimate $1,000 - $2,000, to be sold on June 4. Robert Gwathmey (American, 1903-1988) - Two Field Workers | Estimate $10,000-$15,000, to be sold on June 2. Robert Rauschenberg (American, 1925-2008) Bellini #3, 1988 | Estimate: $8,000-$12,000 to be sold on July 18. Darrel Austin (American, 1907-1994) - Girl Resting in a Meadow | Estimate: $1,000-$2,000 to be sold on June 4. Morris Blackburn (American, 1902-1979) - Abstraction with Blue Dot, 1946 | Estimate $2,000 - $4,000, to be sold on June 4. Ed Garman (American, 1914-2004) - No. 296 | Realized $33,020 in our May 11 Modern and Contemporary Art sale. Please note that a portion of the proceeds of each sale will go to the Julian and Sheila Katz Scholarship Fund at the University of Chicago Pritzker School of Medicine.

A Sliver of Katz’s World

A Sliver of Katz’s World

New & NoteworthyApr 17, 2024

The subject of more than 200 solo exhibitions and international acclaim, the signature style of Alex Katz (American, b. 1920) is a deliberately vibrant visual language between realism and abstraction, ambivalence and intimacy. Coming of age alongside the titans of New York’s Abstract Expressionism of the 1950s, Katz boldly favored flatness of color and form rather than gestural primacy and raw emotion. His work is deceptively simple; his technique of painting wet on wet evokes a lustrous finish to his canvases, defying two-dimensionality even in their flatness. The bulk of Katz’s oeuvre can be divided into two categories: portraiture and landscape, and we are pleased to offer you an excellent example of each in Ariel (2016-17) and Golden Field #1 (2001). Part familiar figure and part otherworldly specter, Ariel is a quietly moody portrait of Ariel Vieth, a model and frequent muse of Katz’s. Her back is turned to the viewer, the shock of brightness in her hair balancing out the darkened background; you can somehow tell she is beautiful without even seeing her face. Ariel feels like spotting a friend across the street, like the anticipation of wondering if she will turn around and see you, too. Ariel is not the only recurring character in Katz’s work – in their 60–year marriage, Katz has painted over 250 portraits of his wife, Ada. "It's a conceit in a way," Katz said in an interview. "It's like you can paint the same river twice differently. I often paint in the same place. It's like painting Ada over and over again—to see if you can get something else out of the same subject matter." (Quoted in Alex Katz is Cooler Than Ever, Smithsonian Magazine, August 2009) This repetition is also found in Golden Field #1, the first in a series of landscapes drenched in a buttery yellow light. In both Golden Field #1 and Ariel, Katz is simply painting his environment, flash-in-the-pan moments he captures in thick brushstrokes and meditatively stylized forms. In both works, Katz shares his world, either in downtown New York City among the cultural avant-garde, or in the heart of nature at his home in coastal Maine. In looking at his work, the viewer is transported and feels as though they too are in on it, that they are someone who sees the specialness in otherwise normal moments, seeing beauty just as Katz can. "Realist painting has to do with leaving out a lot of detail,” said Katz in an interview, “I think my painting can be a little shocking in all that it leaves out. But what happens is that the mind fills in what's missing. It's about being able to see something in a specific way. Painting is a way of making you see what I saw." (Quoted in I prefer Stan Getz to Sartre, The Irish Times, March 3, 2007) Featured Image: Lot 13 | Alex Katz (American, b. 1927) | Ariel, 2016-17 | Estimate: $300,000 - $500,000 Lot 14 | Alex Katz (American, b. 1927) | Golden Field #1, 2001 | Estimate: $150,000 - $250,000

A Realist and a Visionary - Rare Objects Commemorating Benjamin Franklin Presented at Auction

A Realist and a Visionary - Rare Objects Commemorating Benjamin Franklin Presented at Auction

New & NoteworthyApr 11, 2024

From different consignors and continents, a selection of remarkable and rare 18th century objects commemorating the great Founding Father, Benjamin Franklin, have found their way back to Philadelphia where they will be featured in our April 30 American Furniture, Folk and Decorative Arts auction. The first item, consigned from Italy, is a previously unrecorded portrait of Benjamin Franklin, attributed to the English portraitist Mason Chamberlin. Sharing many characteristics with the famous Chamberlin portrait of Franklin in the collection of the Philadelphia Museum of Art (1956-88-1), the Founding Father is seated in his study, wearing a powdered wig and brown suit. One hand rests on an open book while the other holds his iconic folding spectacles. The contours of the face, cleft chin, and eyes are unmistakenly Franklin’s. The portrait was acquired by the consignor in 1970 from a family friend, priest, and fellow collector, Don Ermanno Volta (1925-2016). Volta had purchased the portrait in Rome with an attribution to Pietro Longhi (Venetian, 1701-1785) and decided to sell it upon learning that the Longhi attribution was unsupported. The portrait is joined by a unique, double-sided composition snuff box attributed to Jean-Martin Renaud and purportedly presented to Franklin by French King Louis XVI. One side depicts the mythical Fame carrying portrait medallions of the two Founding Fathers, “Franklin Wassington [sic].” The other side, entitled “Americana Prosperitas,” depicts a family group watched over by Mercury with a trading ship beyond. Descending directly in the Bache-Scott Family to the present owner, the snuff box was included in the 1936 exhibition Benjamin Franklin and His Circle at the Metropolitan Museum of Art and was illustrated in the accompanying exhibition catalogue. It is also illustrated in B. Stephens's, H. Lewis Bullen's, and W. Rowlands's The Pictorial Life of Benjamin Franklin (1923) and discussed in Charles Coleman Sellers’s Benjamin Franklin in Portraiture (1960), pp. 387-388. The final item is an unglazed porcelain figural group depicting Louis XVI and Benjamin Franklin by Charles-Gabriel Sauvauge. It commemorates the treaties signed in 1778 by France and the United States, recognizing American Independence and guaranteeing trade rights between the two nations without British interference. Inscribed “Liberte Des Mers,” the king is shown in court dress in contrast to Franklin’s plain dress. Dating to about 1785, this figural group was included in the 1989 exhibition, La Revolution Francaise et L’Europe at the Musée de L’Impression sur Etoffes, Muhouse, France, no. 146. Featured Lots: Lot 34 | Attributed to Mason Chamberlin (English,1727-1787), An unrecorded portrait of Benjamin Franklin (1706-1790), circa 1778 Lot 30 | A unique commemorative Neoclassical double-sided composition "Americana Prosperitas" snuff box, attributed to Jean Martin Renaud (French, 1746-1821), circa 1785 Lot 31 | A rare commemorative unglazed porcelain figural group of French King Louis XVI and Benjamin Franklin, attributed to Charles-Gabriel Sauvauge (French, 1741-1827), Niderviller Factory (France, active 1754-1827), circa 1780

Cowboys and Indians: Warhol’s Vision of the West

New & NoteworthyApr 10, 2024

Action Picture is a unique screenprint and trial proof. It offers rare insight into Andy Warhol’s work from 1984 to 1986, shortly before his untimely death in 1987. The work reflects not only the greater shift in Warhol’s oeuvre from references drawn from mass culture to art historical sources, but also tells the fascinating story of Warhol’s collaboration with his publishers and his printer in the creation of his well-known Cowboys and Indians series. 1984 was an important year for the evolution of subject matter in Warhol’s artistic canon. It was this year that he began to diverge from appropriating images from popular culture (celebrity portraits, advertisements, his own polaroids, for example) and venture into using paintings from museum collections, or ‘high art’. In his print series Details of Renaissance Paintings (1984), for instance, he utilized paintings by Piero della Francesca, Sandro Botticelli, Leonardo da Vinci, and Paolo Uccello as his source material. In that year he also produced four unique screenprints based on paintings by Edvard Munch. It was also between 1984 and 1986 that Warhol created his magnificent series of paintings, The Last Supper, based on Leonardo’s iconic mural. In Action Picture, Warhol appropriated the center section of Charles Schreyvogel’s seminal painting Breaking Through the Line (Gilcrease Museum, Tulsa, Oklahoma), (fig.1), from the early 1900s, of a cavalry officer brazenly charging towards the viewer amid an altercation between Native Americans and American soldiers. This engagement with both high art and themes distinctly tied with the history of the American West proves to be unique in all of Warhol’s artistic oeuvre. However, interestingly, as the work was omitted from the final portfolio, it exists, much like the painting from which it was based, only in unique form. 36 trial proofs of this image were created, each experimenting with different colors and compositions that are wholly individual. In 1984, when Warhol embarked upon the project of creating Cowboys and Indians with the publishers Edmund Gaultney and Kent Klineman, he did not realize that the project would require two years of work involving battles over the content with the publishers and continual delays. Contract negotiations for the series were ongoing into 1985 and, when the dust settled, one of the unique provisions of the contract was that Gaultney and Klineman had final approval of all images in the suite. This seemingly small provision led to an unusually drawn-out production process whereby Warhol and his printer, Rupert Jasen Smith, created images of multiple subjects and an array of trial proofs where they would experiment with color and composition until they landed on an image that Gaultney and Klineman approved. In the end, there were 10 images published in the regular portfolio (John Wayne, Annie Oakley, General Custer, Northwest Coast Mask, Kachina Dolls, Plains Indian Shield, Mother and Child, Geronimo, Indian Head Nickel, and Teddy Roosevelt) (fig. 2). These final images hearken back to Warhol’s days as a portrait artist and his prints that utilize his polaroids as subject matter. It is only when you look at the proofs for the rejected images that it is possible to fully see Warhol’s intended artistic vision as it developed between 1984 and 1986, unimpeded by the external demands of his publishers. Indeed, when looking at the final selections for the portfolio of 10, each print on a white background, stark in their handling, Action Picture stands out as an appropriately titled scene. In this impression, the coloration of brash red set against cool blues and light pink emphasizes the composition which bursts with the same intensity, urgency, and emotion present in Schreyvogel’s painting, but brought forward for the contemporary viewer in Warhol’s own distinctive style. While it may not fit with Gaultney and Klineman’s vision for the portfolio, Action Picture and the other experimental trial proofs for this series provide small clues to the innerworkings of Warhol’s vision and the potential trajectory of his artistic output exploring high art and mythmaking in a distinctly American artistic framework. Header Image: Lot 30 | Andy Warhol (American, 1928-1987) | Action Picture, 1986 | Estimate: $60,000 - $80,000 Figure 1: Breaking Through the Line by Charles Schreyvogel Image Source Figure 2: Complete Cowboys and Indians Series

Freeman's | Hindman Presents the Private Collection of Secretary Madeleine K. Albright

Freeman's | Hindman Presents the Private Collection of Secretary Madeleine K. Albright

New & NoteworthyMar 29, 2024

It is the distinct honor of Freeman’s | Hindman to present the private collection of the late former U.S. Secretary of State Madeleine K. Albright across a sequence of live and online sales this May. Featuring a range of personal property, from her distinctive pins to the beautiful fine and decorative arts that populated her Georgetown home and her offices, The Private Collection of Secretary Madeleine K. Albright shines a spotlight on the collecting sensibilities of this deeply influential national and international icon. “Madeleine Albright’s name and career are synonymous with reaching a pinnacle of female achievement” says Gretchen Hause, Senior Vice President, Co-Head of Department, Books and Manuscripts. “Presenting her biography in objects at auction is a professional and personal honor, and will no doubt excite new generations of global citizens.” Extraordinary Legacy, Trailblazing Style Madeleine K. Albright lived a life of service and leadership. She was appointed U.S. Ambassador to the United Nations in 1993 and shattered a glass ceiling when she was sworn in as the nation’s first female Secretary of State in 1997, becoming at the time the highest serving woman in the history of the United States government. Fiercely committed to democracy and human rights, Albright championed America’s alliances, promoted the expansion of NATO, supported non-proliferation efforts, and supported the expansion of free trade. Secretary Albright received the Presidential Medal of Freedom, America’s highest civilian honor, in 2012. During her trailblazing diplomatic career, Secretary Albright discovered the power of jewelry to convey foreign policy messages. Before long, she began selecting appropriate pins to communicate her point of view. As shared in her book Read My Pins: Stories from a Diplomat’s Jewel Box, she deployed pins within her “personal diplomatic arsenal” to express her hopes, mood, and often a pointed message. She donated a collection of her pins to the National Museum of American Diplomacy at the U.S. Department of State, but Freeman’s | Hindman is delighted to offer at auction many other signature pins and jewelry that she wore throughout her life – including those worn at celebrated events and special occasions. Also available are selections of decorative objects, fine porcelain, silver, and books that she collected during her travels around the world. Bring Home Part of Her Story The Private Collection of Secretary Madeleine K. Albright presents the singular opportunity to acquire some of the objects that Albright wore, lived with, and treasured throughout her life. Standout highlights include many of Albright’s hallmark pins; diplomatic and political memorabilia; historical books; designer scarves, hats, and handbags; and, antique furniture and decorative objects. Exhibitions: Chicago 2-9 April 2024 Monday-Friday 10 am – 4 pm 1550 West Carroll Avenue, Chicago, IL, 60607 New York 2-6 May 2024 Monday-Friday 10 am – 4 pm Saturday 4 May, 11 am – 4 pm 32 East 67 Street, New York, NY 10065 Auctions Live Auction, 7 May 2024, 10 am ET Online Auction, 8 May 2024 10 am CT 32 East 67 Street, New York, NY 10065 Head of Sale Gretchen Hause Press Inquiries Thomas Brown [email protected]