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What Do You See The Collection of Sidney Rothberg,

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  • Pierre-Auguste Renoir (French,

    Pierre-Auguste Renoir (French,

  • William Glackens (American, 1870-1938) -

    William Glackens (American, 1870-1938) -

  • Marsden Hartley (American,

    Marsden Hartley (American,

  • Francis Picabia (French, 1879-1953) -

    Francis Picabia (French, 1879-1953) -

Lot: 1 - Pierre-Auguste Renoir (French, 1841–1919) - Pot de Faïence

Pierre-Auguste Renoir (French, 1841–1919) - Pot de Faïence Please note this Lot is currently on view for a special Highlights Exhibition in Freeman's | Hindman Chicago Gallery at 1550 West Carroll Avenue. To schedule an appointment, please contact Specialist Raphaël Chatroux (rchatroux@freemansauction.com)   Signed with the Artist's initials ‘AR' bottom right;

Lot: 2 - William Glackens (American, 1870-1938) - Anemones

William Glackens (American, 1870-1938) - Anemones Signed and inscribed with initials ‘W.G.’ verso, oil on canvasboard16 x 13 in. (40.6 x 33cm) Provenance Christie's, New York, sale of May 25, 1989, lot 323.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.

Lot: 3 - Marsden Hartley (American, 1877–1943) - Pansy

Marsden Hartley (American, 1877–1943) - Pansy Oil on academy board16 x 12 in. (40.6 x 30.5cm)Executed in 1928-29. Provenance The Artist.Acquired directly from the above.Adelaide Kuntz, Bronxville, New York.Acquired directly from the above.Collection of Mr. & Mrs. William H. Bender, Jr., Bronxville, New York.Acquired directly from the above.Collection of Mrs. William H. Bender, Bronxville, New York. The Estate of Mrs. William Bender, Bronxville, New York, 1977.Sotheby Parke-Bernet, New York, sale of October 26, 1977, lot 152.Sotheby Parke-Bernet, New York, sale of  October 27, 1978 lot 206. The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Exhibition "History of an American, Alfred Stieglitz: ‘291’ and After: Selections from the Artists Shown by Him from 1900 to 1925," Taft Museum, Cincinnati, Ohio, January 31-March 18, 1951, no. 86 (exhibited as Pansies). Mirell Gallery, University of Miami, Coral Gables, Florida, 1954.“Selected Works,” Alexandre Gallery, New York, New York, March 11-April 14, 2004 (exhibited as Pansy).  Literature Elizabeth McCausland, Elizabeth McCausland Papers, 1838-1995, bulk 1920-1960, Series 6: Marsden Hartley, 1900-1964 (Archives of American Art, Smithsonian Institution, Washington D.CC), box 14, folder 50, frames 16-17. History of an American, Alfred Stieglitz: ‘291’ and After: Selections from the Artists Shown by Him from 1900 to 1925, an exhibition catalogue, Taft Museum, Cincinnati, 1951 p. 15, no. 86 (illustrated as Pansies).  Lot Essay The present Lot is included by Gail R. Scott in the Marsden Hartley Legacy Project: Complete Paintings and Works on Paper.  Pansy, a striking solitary yellow flower set against a dynamic purple backdrop, is a wonderful example by Hartley. The simplicity of the composition contrasts with the flower’s bold and distinctive form - a result of Hartley’s intentional and expressive brushwork that injects a sense of movement and energy into the piece. Through a touch of abstraction, the artist highlights the graphic qualities of the flower, distilling it to fundamental elements and stylizing its petals, center, and overall structure in adherence to a modernist aesthetic. Hartley’s use of a vibrant color palette amplifies the overall visual impact of the work, which commands the viewer’s attention. It also elicits a spectrum of emotions, from joy and warmth to introspection as pansies are generally associated with sentiments of love, remembrance, and thoughtfulness.

Lot: 4 - Francis Picabia (French, 1879-1953) - Cour de Ferme, Le Soir, Moret

Francis Picabia (French, 1879-1953) - Cour de Ferme, Le Soir, Moret Signed and dated ‘Picabia 1904’ bottom right, oil on canvas23 7/8 x 28 7/8 in. (60.6 x 73.3cm) Provenance The Collector's Corner, New York, by 1963.Private Collection. Sotheby's, New York, sale of October 3, 1990, lot 29.Acquired directly from the above sale.Collection of Sidney Rothberg,

Lot: 5 - Jean-Baptiste-Camille Corot (French, 1796-1875) - Matinée Brumeuse dans les Montagnes

Jean-Baptiste-Camille Corot (French, 1796-1875) - Matinée Brumeuse dans les Montagnes Please note this Lot is currently on view for a special Highlights Exhibition in Freeman's | Hindman Chicago Gallery at 1550 West Carroll Avenue. To schedule an appointment, please contact Specialist Raphaël Chatroux (rchatroux@freemansauction.com)   Posthumously stamp signed ‘VENTE COROT’ bottom left; also with (multiple) Corot Estate sale stamps verso, oil on canvas10 5/8 x 17 ½ in. (27 x 44.5cm)Executed circa 1840-1845. Provenance The Artist.The Estate of the Artist.His Sale, Hôtel Drouot, Paris, sale of 26-28 May 1875, lot 33 (as Montagnes d'Auvergne).The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Literature Alfred Robaut, L'Oeuvre de Corot, Catalogue Raisonné et Illustré, H. Floury, Paris, 1905, Vol. II, p. 198, no. 551 (illustrated p. 199). Lot Essay Executed circa 1840-45, Matinée Brumeuse dans les Montagnes, depicts a mountain landscape shrouded in mist, giving the entire composition a dreamlike quality. Arestrained palette, particularly soft greens and grays, evokes the stillness of the day’s early hours. From foreground to background, subtle transitions between light and shadow contribute to the serenity of the painting. The mist, barely perceptible, casts a gauzy veil over the scene, blurring the boundary between reality and imagination. Both veil and revealer, it creates depth and distance–from mountains to hilltop village to sunrise–while inviting viewers to explore the space in-between. Painted on site (most likely in Auvergne), and in a delicate blend of Romantic and Barbizon influences, Corot homes in on the elusive, ephemeral qualities of nature–qualities enhanced by his choice of subject matter, a misty morning. Matinée Brumeuse, in turn, becomes a poetic meditation on the fleeting moments when nature is transformed by atmospheric conditions. Unlike his contemporaries, Corot conveyed not only the physical reality of his settings, but also the emotional and spiritual resonance experienced therein. The mist, then, functions as a metaphor for the intersections between tangible and intangible, and between what is real and what is merely perceived.

Lot: 6 - Eugène Boudin (French, 1824-1898) - Port en Bretagne

Eugène Boudin (French, 1824-1898) - Port en Bretagne Please note this Lot is currently on view for a special Highlights Exhibition in Freeman's | Hindman Chicago Gallery at 1550 West Carroll Avenue. To schedule an appointment, please contact Specialist Raphaël Chatroux (rchatroux@freemansauction.com)   Signed and dated ‘E. Boudin ’73' bottom left, oil on canvas12 ¾ x 18 ¼ in. (32.4 x 46.4cm) Provenance Collection Jonte, Paris.His Sale, Hôtel Drouot, Paris, sale of April 24, 1880, lot 7. Private Collection. Sotheby's, London, sale of December 3, 1991, lot 14B.Acquired directly from the above sale.Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Literature Robert Schmit, Catalogue Raisonné de L’Œuvre Peint d'Eugène Boudin, Galerie Schmit, Paris, 1973, Vol. I, no. 867, p. 307 (illustrated). Lot Essay A significant proportion of Boudin’s paintings explore the ports and harbors of northwestern France, where hewas born, died, and spend a large part of his career. Executed in 1873, Port en Bretagne is likely a view of Portrieux (now Saint-Quay-Portrieux), a village Boudin visited countless times between 1855 and 1897. While arguably better known for his depictions of Deauville, Trouville-sur-Mer, and Le Havre, in neighboring Normandy, Boudin devoted special attention to picturesque Brittany, once lamenting: “I discovered this place too late...[it] is everything I ever could have dreamed of.” Boudin’s fascination (and intimate familiarity) with ships extended beyond mere representation; it delved into the atmospheric conditions that enveloped them. In Port en Bretagne, Boudin skillfully renders the transient effects of sunlight filtering through clouds, which cast reflections on the water’s surface before dissolving on the horizon. The interplay between light and color evokes a sense of movement and energy–in contrast to the anchored vessels. What one might expect to witness–fishermen mending nets, sailors preparing their cargo, or locals observing ships’ comings and goings–are largely absent from the present work. Rather, Boudin offers a portrait of his beloved Brittany, unpeopled and tranquil–a mediation on the timeless dialogue between ship and sea.

Lot: 7 - Maurice Prendergast (American, 1858–1924) - Au Café

Maurice Prendergast (American, 1858–1924) - Au Café Signed with Artist's initials ‘M.B.P’ along bottom right edge, watercolor and pencil on paperSheet size: 7 x 8 ¾ in. (17.8 x 22.2cm)Executed circa 1893-1894. Provenance The Artist. A gift from the above.Collection of Robert Stark.By descent to Freya Stark, Robert Stark's daughter.Sotheby Parke-Bernet, New York, 1977, lot 81. Acquired directly from the above sale. The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Literature Carol Clark, Nancy Mowll Mathews and Gwendolyn Owens, Maurice Brazil Prendergast, Charles Prendergast: A Catalogue Raisonné, Williamstown, Massachusetts, 1990, p. 348-349, no. 587 (illustrated p. 348).

Lot: 8 - Maurice Prendergast (American, 1858-1924) - Two Girls with Fruit; With Long Wharf verso (A Double-Sided Work)

Maurice Prendergast (American, 1858-1924) - Two Girls with Fruit; With Long Wharf verso (A Double-Sided Work) Signed ‘Prendergast' bottom center, watercolor and pencil on paperSheet size: 10 ½ x 15 in. (25.4 x 38.1cm)Executed circa 1896-97 (Long Wharf)Executed circa 1913-15 (Two Girls with Fruit). Provenance The Artist.To Charles Prendergast, the Artist's brother.Collection of Mrs. Charles Prendergast.Private Collection.Christies, New York, sale of May 23, 1990, lot 133B (as Two Woman and Sea Pier).Acquired directly from the above sale. The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Literature Carol Clark, Nancy Mowll Mathews and Gwendolyn Owens, Maurice Brazil Prendergast, Charles Prendergast: A Catalogue Raisonné, Williamstown, Massachusetts, 1990, p. 366-367, no. 652 (recto and verso illustrated p. 366). 

Lot: 9 - Roger de la Fresnaye (French, 1885-1925) - Ève Assise

Roger de la Fresnaye (French, 1885-1925) - Ève Assise Signed ‘R. DE.LA.FRESNAYE’ on the base, to the left; also with ‘CIRE/C.VALSUANI/PERDUE’ foundry stamp on the rim of the base, to the right, bronze with golden brown patinaHeight: 12 in.Width: 17 1/8 in. Depth: 7 ¾ in. Conceived in 1910-1911, this bronze version cast circa 1950s. Provenance The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Literature Eberhard Nebelthau, Roger de la Fresnaye, Paul de Montaignac, Paris, 1935 (the plaster version illustrated). Lot Essay Roger de la Fresnaye’s approach to form may be thought of as a blend of Orphist tendencies tempered by strains of classicism that contained Symbolist influences, all of which served as a departure from the sort of pure Cubism espoused at the time by artists such as Juan Gris and Pablo Picasso. The result, as evidenced in the present lot, is a kind of abstracted realism which here showcases one of the artist’s favored subjects: the human figure. Here, Eve turns her head to the left, away from the viewer, with her right hand supporting her left leg, and she is presented with a greater sense of mass and solidity than are other early- career works by la Fresnaye, including the woman who is the subject of his bronze, Femme Italienne, with its multi-faceted surface planes. Ève Assise is also noteworthy because she reveals the direct influence of fellow French artist Aristide Maillol, whose various Femme Assise and Jeune Fille Assise bronze models clearly relate to the present lot. It is not surprising as the two artists worked together for a time at the Académie de la Grande-Chaumière, Paris : this connection between the two artists, encapsulated in this bronze, is exactly what appealed to Mr. Rothberg.

Lot: 10 - Jacques Lipchitz (American/French, 1891-1973) - Variation of the Rape of Europa G

Jacques Lipchitz (American/French, 1891-1973) - Variation of the Rape of Europa G Incised with signature ‘Lipchitz’ and numbered ‘1/7' on base; also with ‘FONDERIA LUIGI TOMMASI/PIETRASANTA’ foundry stamp on the rim of the base, bronze with brown patinaHeight: 19 1/2 in. (49.5cm)Width: 9 1/2 in. (24.1cm)Depth: 8 1/2 in. (21.6cm)Executed between 1969-70. Provenance Freeman's, Philadelphia, sale of June 27, 2004, lot 68.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Literature Alan G. Wilkinson, The Sculpture of Jacques Lipchitz: A Catalogue Raisonné, Vol. II (The American Years, 1941-1973), Thames and Hudson, London, 1996, p. 102, no. 676 (another cast illustrated).

Lot: 11 - Pierre Puvis de Chavannes (French, 1824-1898) - Sainte Radegonde Prenant le Voile et Saint Loup Arrêtant Attila

Pierre Puvis de Chavannes (French, 1824-1898) - Sainte Radegonde Prenant le Voile et Saint Loup Arrêtant Attila Oil, charcoal and wash on canvas13 ¾ x 20 7/8 in. (34.9 x 53cm)Executed circa 1897-1898. Provenance The Artist.By descent in the Puvis de Chavannes family.Sotheby's, Monaco, sale of December 3, 1989, lot 565.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Literature Aimée Brown Price, Pierre Puvis de Chavannes: A Catalogue Raisonné of the Painted Work, Vol. II, Yale University, New Haven and London, 2010, p. 412, no. 445 (not illustrated). Lot Essay This small preparatory oil study is essentially a drawing for the section of the late Panthéon frieze that includes Saint Loup (Lupus) and Attila at its center and a horse at right. It is more complete in its designation of figures at far right and left than is the large, unfinished cartoon (now in Musée d'Orsay, Paris). A previous title identified the female figure as Radegundus, who is here taking the veil to become a nun.

Lot: 12 - Georges Seurat (French, 1859-1891) - Parthénon (Fragment de la Frise)

Georges Seurat (French, 1859-1891) - Parthénon (Fragment de la Frise) Signed and dated ‘Seurat 1875’ bottom right; also titled bottom left and with ‘Michallet’ watermark upper right, graphite on laid paperSheet size: 17 7/8 x 24 3/16 in. (45.4 x 61.4cm) Provenance The Artist.By descent in the Seurat family.Collection of Madame Léopold Appert.Private Collection.The Colony, Ltd., New Orleans, Louisiana. Hammer Galleries, New York, New York. Christie's, New York, sale of October 22, 1980, lot 311. Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Literature Cesar M. de Hauke (Cesar Mange), Seurat et son Œuvre, Gründ, Paris, 1961, Vol. II, pp. 4-5, no. 220 (illustrated, p. 5).

Lot: 13 - Odilon Redon (French, 1840-1916) - Œdipe au Jardin des Illusions

Odilon Redon (French, 1840-1916) - Œdipe au Jardin des Illusions Please note this Lot is currently on view for a special Highlights Exhibition in Freeman's | Hindman Chicago Gallery at 1550 West Carroll Avenue. To schedule an appointment, please contact Specialist Raphaël Chatroux (rchatroux@freemansauction.com)   Signed ‘ODILON REDON’ bottom right; also titled

Lot: 14 - Odilon Redon (French, 1840-1916) - Iris dans un Vase

Odilon Redon (French, 1840-1916) - Iris dans un Vase Signed ‘Od.R.’ bottom right, pastel on tan paperSheet size: 15 ½ x 11 ½ in. (39.4 x 29.2cm) Provenance Collection of Princesse de X.Her Sale, Galerie Charpentier, Paris, sale of March 27, 1953, lot 29.Galerie Charpentier, Paris, sale of December 15, 1958, lot 138.Christie's, London, sale of July 3, 1973, lot

Lot: 15 - Milton Avery (American, 1885-1965) - Figurines

Milton Avery (American, 1885-1965) - Figurines Signed ‘Milton Avery’ bottom left, oil on canvas laid down to board23 3/8 x 17 3/8 in. (59.4 x 44.1cm) Provenance The Artist.Acquired directly from the above, circa 1943.Collection of Joseph H. Hirshhorn, New York. Christie's New York, sale of December 4, 1987, lot 325.Acquired directly from the above sale.Collection of Sidney Rothberg, Philadelphia, Pennsylvania.

Lot: 16 - Marie Laurencin (French, 1883-1956) - Dinah

Marie Laurencin (French, 1883-1956) - Dinah Please note this Lot is currently on view for a special Highlights Exhibition in Freeman's | Hindman Chicago Gallery at 1550 West Carroll Avenue. To schedule an appointment, please contact Specialist Raphaël Chatroux (rchatroux@freemansauction.com)   Signed and dated ‘Marie Laurencin 1937' upper right; also titled verso, oil on canvas9 ½ x 13 in. (24.1 x 33cm) Provenance Collection of Mr. and Mrs. Jonathan Griffin, London.Zwemmer Gallery, London, United Kingdom. Hugh Cunningham, Canton, Connecticut. Sotheby's, New York, sale of February 23, 1984, lot 89. Acquired directly from the above sale. Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Exhibition Museum of Fine Arts, Boston, 1939.  Literature Daniel Marchesseau, Marie Laurencin: Catalogue Raisonné de l'Œuvre, Peintures, Céramiques, Œuvres sur Papier, Nagano-ken, Tokyo, 1999, Vol. II, p. 289, no. 690 (illustrated).

Lot: 17 - Maurice de Vlaminck (French, 1876-1958) - Le Pot Brun

Maurice de Vlaminck (French, 1876-1958) - Le Pot Brun Signed ‘Vlaminck’ bottom right, gouache on paperSheet size: 11 ¾ x 13 ¼ in. (29.8 x 33.7cm)Executed circa 1945-46. Provenance David B. Findlay Galleries, New York, New York. The Joan and Lester Avnet Collection (P 6428).Butterfield & Butterfield, San Francisco and Los Angeles, sale of June 19, 1991, lot 1768.Phillips, New York, sale of November 6, 2000, lot 157.Acquired directly from the above sale.Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Literature Marcel Aymé, La Table aux Crevés (Avec Trente Originaux de Vlaminck), Flammarion, Paris, 1960 (illustrated). Lot Essay The present work is one of thirty gouaches the artist executed in 1945-46 to illustrate Marc Aymé's edition of La Table Aux Crevés, which won the Prix Renaudot when it was first published by Gallimard in 1929. 

Lot: 18 - Gino Severini (Italian, 1883-1966) - Natura Morta con Frutta e Caccia

Gino Severini (Italian, 1883-1966) - Natura Morta con Frutta e Caccia Signed ‘G. Severini’ bottom right, oil on canvas18 x 25 ½ in. (45.7 x 64.8cm)Executed in 1928.  Provenance Private Collection, Paris. Rosenberg Collection, Paris. Collection of Sir Beddington-Behrens, London.  Literature Jacques Maritain, Gino Severini, Librairie Gallimard, Paris, 1930, no. 53 (illustrated).Gino Severini and Kunsthandel Huinck & Scherjon N.V., Gino Severini, Exposition Rétrospective : 1-31 Décembre 1931, Kunsthandel Huinck & Scherjon, N.V., Le Kunsthandel, Amsterdam, 1931, p. 489.Daniela Fonti, Gino Severini, Catalogo Ragionato, Arnoldo Mondadori Editore and Edizioni Phillips Daverio, Milan, 1988, p. 375, no. 439 (illustrated).

Lot: 19 - Robert Delaunay (French, 1885–1941) - Portrait de Madame Jacques Heim

Robert Delaunay (French, 1885–1941) - Portrait de Madame Jacques Heim Oil on canvas50 3/4 x 37 3/4 in.Executed in 1928.  Provenance The Artist.Acquired directly from the above in 1929.Collection of Mr. Jacques Heim, Paris. Christie's, London, sale of November 28, 1989, lot 323.Private Collection.Sotheby's, London, sale of June 30, 1987, lot 65.Acquired directly from

Lot: 20 - Joan Miró (Spanish, 1893-1983) - Joyeux Noël, Vœux de Joan, Pilar et Dolorès Miró

Joan Miró (Spanish, 1893-1983) - Joyeux Noël, Vœux de Joan, Pilar et Dolorès Miró Signed ‘Miro’ and dated ‘20/XII/49’ bottom right, India ink and watercolor on tissue-thin paperSheet size: 5 x 9 1/4 in. (12.7 x 23.5cm) Provenance Stephen Radich, New York, New York.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Lot Essay The present Lot is accompanied by a Certificate of Authenticity issued by the Association pour la Défense de L'Œuvre de Joan Miró and dated December, 2023.

Lot: 21 - WOLS (German, 1913-1951) - Untitled (Composition)

WOLS (German, 1913-1951) - Untitled (Composition) Signed ‘WOLS’ bottom right, ink, gouache and watercolor on paperSheet size: 9 3/8 x 6 1/8 in. (23.8 x 15.6cm) Provenance Albert Loeb Gallery, New York, New York. Collection of Sidney Rothberg, Philadelphia, Pennsylvania.

Lot: 22 - Paul Klee (German, 1879-1940) - Kronen-Narr (Crown Fool)

Paul Klee (German, 1879-1940) - Kronen-Narr (Crown Fool) Please note this Lot is currently on view for a special Highlights Exhibition in Freeman's | Hindman Chicago Gallery at 1550 West Carroll Avenue. To schedule an appointment, please contact Specialist Raphaël Chatroux (rchatroux@freemansauction.com)   Signed ‘Klee’ bottom right; also titled and dated

Lot: 23 - Édouard Vuillard (French, 1868-1940) - Troupeau de Vaches; with Study of a Landscape verso

Édouard Vuillard (French, 1868-1940) - Troupeau de Vaches; with Study of a Landscape verso Stamp signed ‘E. Vuillard’ (Lugt no. 2497a) bottom right, oil on paper laid down to board11 x 24 in. (28 x 61cm)Executed circa 1900. Provenance The Artist's studio.Paul Vallotton, Lausanne, Switzerland.Phillips, New York, sale of May 13, 1985, lot 86 (as Les Vaches).Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Exhibition “Maîtres suisses et français du XIXe et XXe siècle: Exposition d'Huiles,” Galerie Paul Vallotton, Lausanne, Switzerland, December 3, 1981-January 30, 1982, no. 56.  Literature Antoine Salomon and Guy Cogeval (with the collaboration of Mathias Chivot), Vuillard: The Inexhaustible Glance: Critical Catalogue of Paintings and Pastels, Skira-Wildenstein Institute, Italy, 2003, Vol. II, no. VIII-4, p. 831 (illustrated as Herd of Cows).

Lot: 24 - Milton Avery (American, 1885-1965) - Swirling Trees

Milton Avery (American, 1885-1965) - Swirling Trees Signed ‘Milton Avery’ bottom left, watercolor and gouache on paperSheet size: 17 ¾ x 24 in. (45.1 x 61cm) Provenance The Artist. Acquired from the above circa 1942.Joseph H. Hirshhorn, New York, circa 1942. Christie's, New York, sale of December 4 1987, lot 359.Acquired directly from the above sale. Collection of Sidney Rothberg, Philadelphia, Pennsylvania.

Lot: 25 - Édouard Vuillard (French, 1868-1940) - Femme dans une Grotte

Édouard Vuillard (French, 1868-1940) - Femme dans une Grotte Please note this Lot is currently on view for a special Highlights Exhibition in Freeman's | Hindman Chicago Gallery at 1550 West Carroll Avenue. To schedule an appointment, please contact Specialist Raphaël Chatroux (rchatroux@freemansauction.com)   Stamp signed with Artist's initials ‘E.V.’ bottom

Lot: 26 - Maurice Denis (French, 1870-1943) - Study for Portrait de la Famille Castéra

Maurice Denis (French, 1870-1943) - Study for Portrait de la Famille Castéra Signed with Artist's initials ‘MAU.D’ bottom left, oil on board9 ¼ x 12 ¾ in. (23.5 x 32.4cm)Executed in 1921.  Provenance Galerie Meissner, Zurich, Switzerland.Parke-Bernet, New York, sale of May 19, 1965, lot 198.Acquired directly from the above sale.Collection of Mr.

Lot: 27 - Jean Hugo (French, 1894–1984) - La Maison Jaune

Jean Hugo (French, 1894–1984) - La Maison Jaune Signed ‘Jean Hugo’ bottom left, oil on panel19 7/8 x 23 7/8 in. (50.5 x 60.6cm) Provenance Unknown auction, sale of August 6, 1988, lot 287.Acquired directly from the above sale.Collection of Sidney Rothberg, Philadelphia, Pennsylvania.

Lot: 28 - Jean Hugo (French, 1894-1984) - Vaches dans un Pâturage

Jean Hugo (French, 1894-1984) - Vaches dans un Pâturage Signed ‘Jean Hugo’ bottom center left; also numbered ‘3’ verso, oil on panel10 ¾ x 13 ¾ in. (27.3 x 34.9cm) Provenance The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.

Lot: 29 - Jean Lurçat (French, 1892-1966) - Paysage Tragique

Jean Lurçat (French, 1892-1966) - Paysage Tragique Signed ‘Lurçat’ bottom left, oil on canvas18 1/2 x 38 in. (47 x 96.5cm)Executed in 1932.  Provenance Rex Evans Gallery, Los Angeles, California.Parke-Bernet, New York, sale of April 20, 1950, lot unknown.(Presumably) Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.

Lot: 30 - Bernd Becher (German, 1931-2007) and Hilla Becher (German, 1934-2015) - Coal Tipple, Goodspring, PA

Bernd Becher (German, 1931-2007) and Hilla Becher (German, 1934-2015) - Coal Tipple, Goodspring, PA 1975, pencil titled and numbered 10/60; also pencil signed and dated, and with the photographer's stamp verso, four gelatin silver prints mounted together on cardEach: 4 1/2 x 6 3/8 in. (11.4 x 16.2cm)Overall: 19 1/2 x 16 in. (49.5 x 40.6cm) Provenance Sotheby's, London, sale of March 25, 1993, lot 397.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Literature Bernd and Hilla Becher, Typologien: Industrieller Bauten, Schirmer/Mosel, Munich, 2003, pl. 45.
Bernd and Hilla Becher, Fordertürme, Schirmer/Mosel, Munich, 1999, p. 94.Britt Salvesen, ed., New Topographics, Steidl, Göttingen, 2009, p. 27. Footnotes This work was executed in 1974 for Artists and Photographs portfolio, Multiples, Inc., 1975.

Lot: 31 - Juan Gris (Spanish, 1887-1927) - Apaches

Juan Gris (Spanish, 1887-1927) - Apaches Signed ‘GRIS’ bottom right; also inscribed verso, ink, crayon and gesso on cardboard14 3/4 x 12 in. (37.5 x 30.5cm) Provenance Peter H. Deitsch Gallery, New York, New York.Sotheby Parke Bernet, New York, sale of November 24, 1971, lot 5.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Literature L'Esquella de la Torratxa, no. 1707, September 15, 1911. Raymond Bachollet, Juan Gris : Dessinateur de Presse de Madrid à Montmartre : Catalogue Raisonné, 1904-1912, Éditions L. Leiris, Paris, 2003, p. 80, ES 3 (illustrated in black, white and red as APACHES/ -Centmilmarcks promet un alemany a qui descobreixi la Gioconda./ - Be doncs, això d'oferir tants marcs per un sol quadro, me sembla molt poca-solta"). Lot Essay Before establishing himself as a prominent Cubist painter, Juan Gris worked as an illustrator for various publications, including the French satirical journal L’Assiette au Beurre (The Butter Plate). Founded in 1901, L’Assiette au Beurre was known for its politically charged illustrations and commentary. Gris contributed drawings and illustrations to the publication as soon as he moved to Paris. Gris’ involvement with the press offered him a platform to engage with contemporary issues and experiment with visual storytelling. Although it occurred early in his career, this journalistic experience likely had a formative influence on his artistic development and allowed him to refine his skills in composition, line, and form, laying the groundwork for his later achievements–as proven by the present work. Apaches was produced a few years after Gris arrived in Paris. It was published several years later in the Catalan, pro-republican weekly satirical magazine, L’Esquella de la Torratxa, as the illustration of a play on words between marks (the currency) and marcqs (the catalan word for frame): “One hundred thousand marks is promised to a German who discovers the Gioconda/Well, offering this many frames for only one picture...it sure is loose to me.”

Lot: 32 - Joan Miró (Spanish, 1893-1983) - Projet pour la Page de Titre de l’Album 'Les Essencies de la Terra'

Joan Miró (Spanish, 1893-1983) - Projet pour la Page de Titre de l’Album 'Les Essencies de la Terra' Signed and dated ‘Miro/VI/68’ bottom right, India ink on paperSheet size: 19 3/4 x 15 in. (50.2 x 38.1cm) Provenance Sotheby's Arcade, New York, sale of October 7, 1989, lot 194.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Lot Essay The present Lot is accompanied by a Certificate of Authenticity issued by the Association pour la Défense de L'Œuvre de Joan Miró and dated December, 2023.

Lot: 33 - Karel Appel (Dutch, 1921-2006) - Portrait of Nina Abrams

Karel Appel (Dutch, 1921-2006) - Portrait of Nina Abrams Oil on canvas24 1/8 x 20 1/8 in. (61.3 x 51.1cm)Executed in 1964. Provenance The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 34 - Georges Rouault (French, 1871-1958) - Étude pour le Portrait de Marie Thérèse Bonney

Georges Rouault (French, 1871-1958) - Étude pour le Portrait de Marie Thérèse Bonney Stamped with ‘Atelier de Georges Rouault' and signed by Isabelle Rouault verso, oil with brush and ink on paper laid down to canvas24 x 19 1/8 in. (61 x 48.6cm)Executed circa 1933.  Provenance Christie's, New York, sale of November 9, 1999, lot 361.Acquired directly from the above sale.Private Collection.Sotheby's, New York, sale of November 8, 2001, lot 339.Acquired directly from the above sale.Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Literature Bernard Dorival and Isabelle Rouault, Rouault, L'Œuvre Peint, André Sauret, Monaco, 1988, Vol. II, p. 297, no. 2554 (illustrated). 

Lot: 35 - Henri Charles Manguin (French, 1874-1949) - Les Pins Autour de la Servianne

Henri Charles Manguin (French, 1874-1949) - Les Pins Autour de la Servianne Signed ‘Manguin’ bottom left; also signed and dated on original label verso and with preparer's stencil verso, oil on canvas laid down to board13 x 16 in. (33 x 40.6cm)Executed in July-August 1919. Provenance The Artist.Acquired directly from the above in January 1920.Galerie Druet (Madame E. Druet), Paris (inventory #9133, per original label verso). Jacques Zoubaloff, Paris, circa 1921. His Sale, Galerie Georges Petit, Paris, sale of May 20, 1929, lot 52.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Literature Lucile et Claude Manguin, Henri Manguin: Catalogue Raisonné de l'Oeuvre Peint," Ides et Calendes, Neuchâtel, 1980, p. 220, no. 619 (illustrated). Lot Essay In 1919, after five years of absence, Manguin returned to the South of France with enthusiasm, and rediscovered the colorful landscapes that inspired him from 1904 to 1914. The artist and his family settled near Marseille, in an old convent called La Servianne, which Manguin “intend[ed] to use to make important canvases.” In the present work, a colorful landscape evokes the serenity that Manguin and his family found at La Servianne. With a lush palette, Manguin conveys the charm of his environs, and composes an ode to a simpler, bucolic way of life. Unlike to his earlier canvases of St. Tropez, Les Pins Autour de la Servianne adopts a freer, more harmonious touch that blends together. A master colorist, Manguin employs rich pinks and purples, which contrast with saturated greens and make for a soothing ensemble that lulls viewers. Fellow painter Félix Vallotton summarized this sensation while standing before a Manguin oil in 1909: “It makes me feel warm inside.” By painting in this way, Manguin added a modern touch and Fauve flair to an older Arcadian motif, similar to Paul Cézanne, Paul Signac and Henri-Edmond Cross, who captured the scorching hot ‘Midi’ and turned it into a mythological place where time and space ceased to exist.

Lot: 36 - Jules Pascin (French, 1885-1930) - Les Trois Soeurs; with Figure d'Homme verso

Jules Pascin (French, 1885-1930) - Les Trois Soeurs; with Figure d'Homme verso Oil on canvas27 ½ x 22 ¾ in. (69.9 x 57.8cm) Provenance Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Literature Yves Hemin, Guy Krohg, Klaus Perls and Abel Rambert, Pascin, Catalogue Raisonné, Peintures, Aquarelles, Pastels, Dessins, Vol. I, Éditions Abel Rambert, Paris, 1984, p. 125, no. 213 (illustrated, verso only).

Lot: 37 - James Ensor (Belgian, 1860-1949) - Place Publique d'Ostende (Théâtre des Marionettes from La Gamme d'Amour)

James Ensor (Belgian, 1860-1949) - Place Publique d'Ostende (Théâtre des Marionettes from La Gamme d'Amour) Numbered ‘27’ verso, colored crayon on paperSheet size: 8 ¼ x 10 5/8 in. (21 x 27cm)Executed in 1914Unframed. Provenance Collection of Auguste Taeverier, Ghent, Belgium.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 38 - James Ensor (Belgian, 1860-1949) - La Boutique de Grognelet (La Gamme d'Amour)

James Ensor (Belgian, 1860-1949) - La Boutique de Grognelet (La Gamme d'Amour) Illegibly inscribed verso, colored crayon on paperSheet size: 8 ¼ x 10 5/8 in. (21 x 27cm)Executed in 1914. Unframed. Provenance Collection of Auguste Taeverier, Ghent, Belgium.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Lot Essay We wish to thank Mr. Xavier Tricot for his kind assistance in cataloguing the present lot, which will be reproduced, and commented upon, in the author's forthcoming publication, James Ensor: La Gamme d'Amour, Pandora Publications, Antwerp, 2024.

Lot: 39 - James Ensor (Belgian, 1860-1949) - Le Luminisme, Le Futurisme, La Gravure à L'Eau-Forte (La Gamme d'Amour)

James Ensor (Belgian, 1860-1949) - Le Luminisme, Le Futurisme, La Gravure à L'Eau-Forte (La Gamme d'Amour) Signed and faintly dated ‘Ensor/1912’ bottom right; also faintly inscribed ‘La gamme d’amour/flirt de marionnettes/Ballet Patomime' and titled verso, also numbered ‘3’ verso, colored crayon on paperSheet size: 6 15/16 x 9 7/8 in. (17.6 x 25.1cm)Executed in 1914Unframed.  Provenance The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Lot Essay We wish to thank Mr. Xavier Tricot for his kind assistance in cataloguing the present lot, which will be reproduced, and commented upon, in the author's forthcoming publication, James Ensor: La Gamme d'Amour, Pandora Publications, Antwerp, 2024.

Lot: 40 - James Ensor (Belgian, 1860-1949) - Chandelette (La Gamme d'Amour)

James Ensor (Belgian, 1860-1949) - Chandelette (La Gamme d'Amour) Signed and dated ‘Ensor/1912’ bottom right and titled bottom left; also inscribed, titled and numbered ‘La game d’amour/flirt de marionnettes/Ballet pantomime/Chandelette amie de Miamia/14' verso; and initialed ‘T.B.’ bottom left verso, colored crayon on paperSheet size: 9 7/8 x 6 7/8 in. (25.1 x 17.5cm)Executed in 1914. Unframed. Provenance The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Lot Essay We wish to thank Mr. Xavier Tricot for his kind assistance in cataloguing the present lot, which will be reproduced, and commented upon, in the author's forthcoming publication, James Ensor: La Gamme d'Amour, Pandora Publications, Antwerp, 2024.

Lot: 41 - James Ensor (Belgian, 1860-1949) - Ombreuse (La Gamme d'Amour)

James Ensor (Belgian, 1860-1949) - Ombreuse (La Gamme d'Amour) Signed ‘Ensor’ bottom center right and titled bottom left; also inscribed, titled and numbered ‘La gamme d’amour/flirt de marionnettes/Ballet pantomime/Ombreuse amie de Miamia/39' verso, colored crayon on paperSheet size: 9 15/16 x 6 7/8 in. (17.5 x 25.2cm)Executed in 1914 Unframed. Provenance The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Lot Essay We wish to thank Mr. Xavier Tricot for his kind assistance in cataloguing the present lot, which will be reproduced, and commented upon, in the author's forthcoming publication, James Ensor: La Gamme d'Amour, Pandora Publications, Antwerp, 2024.

Lot: 42 - James Ensor (Belgian, 1860-1949) - Cymbalier (La Gamme d'Amour)

James Ensor (Belgian, 1860-1949) - Cymbalier (La Gamme d'Amour) Signed and illegibly dated ‘Ensor’ bottom right; also inscribed, titled and numbered ‘La gamme d’amour/flirt de marionnettes/Ballet pantomime/Cymbalier/5' verso, colored crayon on paperSheet size: 9 7/8 x 6 7/8 in. (25.1 x 17.5cm)Executed in 1914Unframed. Provenance The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Lot Essay We wish to thank Mr. Xavier Tricot for his kind assistance in cataloguing the present lot, which will be reproduced, and commented upon, in the author's forthcoming publication, James Ensor: La Gamme d'Amour, Pandora Publications, Antwerp, 2024.

Lot: 43 - Maria Helena Vieira da Silva (Portuguese, 1903-1992) - Sans Titre (Rooftops)

Maria Helena Vieira da Silva (Portuguese, 1903-1992) - Sans Titre (Rooftops) Dedicated, signed and possibly dated ‘à John Rewald avec/amitié et toutes des excuses/pour ma méchanceté/Vieira da Silva’ bottom right, felt pen ink on paperSheet size: 9 3/8 x 12 3/8 in. (23.8 x 31.4cm)Executed circa 1968. Provenance The Artist.A gift from the above.Collection of John Rewald, New York, New York.His Sale, Christie's, New York, sale of May 11, 1994, lot 473.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Literature Guy Weelen and Jean-François Jaeger, Vieira da Silva Catalogue Raisonné, Skira, Geneva, 1994, p. 454, no. 2232 (illustrated).

Lot: 44 - Andy Warhol (American, 1928-1987) - House of Flowers

Andy Warhol (American, 1928-1987) - House of Flowers Inscribed ‘Saint Subber/presents/Truman and Harold HOUSE OF Flowe [sic]/ starring/Pearl Bailey’ and with other illegible inscriptions, ink on paperSheet size: 16 3/4 x 13 3/4 in. (42.5 x 34.9cm) Provenance The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 45 - Tom Wesselmann (American, 1931-2004) - Study for Carol Nude

Tom Wesselmann (American, 1931-2004) - Study for Carol Nude Please note this Lot is currently on view for a special Highlights Exhibition in Freeman's | Hindman Chicago Gallery at 1550 West Carroll Avenue. To schedule an appointment, please contact Specialist Raphaël Chatroux (rchatroux@freemansauction.com)   Pencil and thinned Liquitex on paper12 x 15 3/4 in. (30.5 x 40cm)Executed in 1976.  Provenance Sidney Janis Gallery, New York, New York.Hokin Gallery, Palm Beach, Florida.Sotheby's, New York, sale of May 9, 1990, lot 405.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Lot Essay Tom Wesselmann’s art became inextricably associated with the female nude beginning with his landmark Great American Nudes series in the late 1950s. It secured his place as one of the preeminent practitioners of Pop Art, though his art says more about his love for the female nude–typically presented in an inviting and erotic manner–than in an interest in making a conscious statement regarding consumption and consumerism, as expressed by the likes of Pop Art stalwarts Roy Lichtenstein and Andy Warhol. Much has been written about Wesselmann’s interest in the work of de Kooning and Matisse, though while he may be regarded as an artist in their direct lineage, he turned away from all Abstract Expressionist tendencies in...”a desperate attempt to capture something significant of the beauty of the woman I was confronted with. It was always frustrating because the beauty of the woman is so elusive.” In many of Wesselmann’s works, the female nude is depicted without facial features, and is, in those instances, rendered as less of a direct portrait. In other paintings, the artist only depicts fragments of a woman’s body, such as a hand, foot, or mouth–sometimes puffing a lit cigarette, as in his Smoker and Mouth painting, along with the artist’s larger format and much heralded Bedroom Paintings, which combine intimacy with scale. Such is not the case with Study for Carol Nude, painted in 1976, as it is both small in scale, and also not a fragmented image. While largely rendered with the artist’s characteristic flatness, the subject herein, whose head is turned to the right, arms extended behind her head, and left leg lifted, lies comfortably in repose before the viewer. Behind her are pictorial elements which appear in other Wesselmann paintings of this period, including colorful flowers, a framed picture, and somewhat amorphous, decorative curved and/or striped sections of color. Executed in Liquitex, the composition of Study for Carol Nude is repeated nearly identically in Carol Nude, executed one year later, in 1977, a large, shaped oil on canvas first exhibited in New York City in 1979, at Sidney Janis Gallery.

Lot: 46 - Willem de Kooning (American/Dutch, 1904-1997) - Untitled (Reclining Female Nude)

Willem de Kooning (American/Dutch, 1904-1997) - Untitled (Reclining Female Nude) Signed ‘de Kooning’ bottom right; also dedicated ‘TO ROGER/AND LUCIA/FROM SPRINGS TO AMAGANSETT/WITH LOVE FROM ALL/BILL’ bottom left, charcoal on paperSheet size: 17 1/2 x 23 3/4 in. (44.5 x 60.3cm) Provenance Sotheby's, New York, sale of May 7, 1992, lot 279.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.

Lot: 47 - Chaim Soutine (Belarusian/French, 1893-1943) - La Petite Fille dans la Verdure

Chaim Soutine (Belarusian/French, 1893-1943) - La Petite Fille dans la Verdure Please note this Lot is currently on view for a special Highlights Exhibition in Freeman's | Hindman Chicago Gallery at 1550 West Carroll Avenue. To schedule an appointment, please contact Specialist Raphaël Chatroux (rchatroux@freemansauction.com)   Signed ‘Soutine’ bottom left, oil on

Lot: 48 - Chaim Soutine (Belarusian/French, 1893-1943) - Canard Pendu

Chaim Soutine (Belarusian/French, 1893-1943) - Canard Pendu Signed ‘C. Soutine’ bottom left, oil on cradled board18 x 10 1/2 in. (45.7 x 26.7cm) Provenance Lumilla Arnhold, New York.Christie's, New York, sale of November 16, 1983, lot 406.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Lot Essay Ms. Esti

Lot: 49 - Joseph Cornell (American, 1903-1972) - The Commodore Pose

Joseph Cornell (American, 1903-1972) - The Commodore Pose Mixed media collage on board12 x 9 in. (30.5 x 22.cm) Provenance The Artist.Acquired directly from the above.Private Collection.Sotheby's, New York, sale of November 9-10, 1983, lot 112. Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Literature Cf. Kynaston McShine, Joseph Cornell, Museum of Modern Art, New York, 1980, p. 114, fig. 24 (another work illustrated).  Lot Essay This work, based on an original sketch by Joseph Cornell’s brother, Robert, was created for Edward Halper in commemoration of a trip through Brooklyn on June 4, 1971. Halper, an art enthusiast and collector known for his support of younger and emerging artists, fostered a close friendship with Joseph Cornell during the late 1960s. Cornell’s relationship with his brother significantly influenced his art. Robert was born with cerebral palsy and had intellectual disabilities, and Joseph took on a caregiving role for him. This relationship played a pivotal role in shaping the emotional and thematic content of Cornell’s work. Many of his pieces carrya sense of nostalgia, mystery, and a desire to create magical realms, reflecting the profound impact of his connection with his brother. Cornell also played a significant role in encouraging Robert’s artistic hobby, which resulted in a substantial body of pencil and ink drawings in the 1920s. Just as Cornell incorporated and transformed reproductions of artworks by other artists in his box constructions and collages, he applied a similar approach to his brother’s drawings. Cornell developed at least a dozen collage series based on his favorite drawings by Robert; The Commodore Pose is one of these. In these collages, he modified reproductions of Robert’s images using various techniques, from staining the paper to adding cutouts. The collaboration between the brothers not only highlighted the supportive relationship between them but also demonstrated how Cornell integrated various artistic influences, including those from his brother, into his own innovative and distinctive body of work.

Lot: 50 - Willem de Kooning (American/Dutch, 1904-1997) - Untitled (Dog)

Willem de Kooning (American/Dutch, 1904-1997) - Untitled (Dog) Signed ‘de Kooning’ bottom center left; also dedicated, located and dated ‘To dear Mike/from Ruth and Bill/Roma 1960' bottom right, ink on board17 1/2 x 23 in. (44.5 x 58.4cm) Provenance The Artist.Private Collection, New York.Christie's East, New York, sale of May 7, 1993, lot 1.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 51 - Richard Diebenkorn (American, 1922-1993) - Girl in Tiled Room

Richard Diebenkorn (American, 1922-1993) - Girl in Tiled Room Please note this Lot is currently on view for a special Highlights Exhibition in Freeman's | Hindman Chicago Gallery at 1550 West Carroll Avenue. To schedule an appointment, please contact Specialist Raphaël Chatroux (rchatroux@freemansauction.com)   Signed ‘R Diebenkorn,' titled ‘Girl in Tiled

Lot: 52 - Bob Thompson (American, 1937-1966) - Golden Nude

Bob Thompson (American, 1937-1966) - Golden Nude Signed and dated ‘Bob Thompson/’60' upper right, tempera on paperSheet size: 26 x 39 3/4 in. (66 x 101cm) Provenance The Artist.Private Collection.Christie's East, New York, sale of February 22, 1993, lot 134.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Exhibition “Expressionism: An American Beginning,” Provincetown Art Association and Museum, Provincetown, Massachusetts, June 28-July 25, 1985. Literature Ellen M. O'Donnell and Tony Vevers, Expressionism: An American Beginning, an exhibition catalogue, Provincetown: Provincetown Art Association and Museum, 1985. Lot Essay The present and following lot are both tempera on paper works from the years just after Bob Thompson’s consequential visit to Provincetown, Massachusetts in 1958. Born in 1937, Thompson studied art at the Universityof Louisville, spending a summer in Provincetown at the suggestion of his professor Mary Spencer Nay, where he forged lasting connections with Red Grooms and other artists. While there he was also introduced to the work of expressionist painter Jan Müller, a German émigré who had passed away just months before the visit. Müller’s figurative style and bold use of color, as well as his study of Old Master paintings, invigorated the younger artist for the remainder of his short career. Painting full-time for just eight years before his death at age 28, Bob Thompson created over one thousand works and reached a prominence within the mainstream New York art world only few African-American artists of his generation achieved. Known for his allegorical paintings with sensual, larger-than-life figures, Thompson mined his art historical knowledge and his close study of classical Old Masters like Masaccio, Piero della Francesca and Goya for powerful imagery that he engaged in his deeply personal expression. In the works on paper from Rothberg’s collection we see the artist exploring his essential themes, the nude in the landscape and the silhouetted figure on horseback, with strong diagonals and intense expressionist brushstrokes. The works balance between abstraction and figuration, their dynamic surfaces engaging the viewer’s eye in playful and energetic ways upon each engagement with them. Bob Thompson was once quoted as saying: “My painting has no style–it constantly changes– simply different images. My criterion is the integrity of the projection. I love all things that look the way I feel!” and those feelings continue to resonate in works such as these.

Lot: 53 - Bob Thompson (American, 1937-1966) - Provincetown Beach Scene

Bob Thompson (American, 1937-1966) - Provincetown Beach Scene Signed and dated ‘Bob Thompson/’60' bottom right, tempera on paperSheet size: 26 x 39 7/8 in. (66 x 101.3cm) Provenance The Artist.Private Collection.Christie's East, New York, sale of February 22, 1993, lot 132.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Exhibition “Expressionism: An American Beginning,” Provincetown Art Association and Museum, Provincetown, Massachusetts, June 28-July 25, 1985. Literature Ellen M. O'Donnell and Tony Vevers, Expressionism: An American Beginning, an exhibition catalogue, Provincetown: Provincetown Art Association and Museum, 1985. Lot Essay For more information about this artist, please see Lot 53.

Lot: 54 - Wayne Thiebaud (American, 1920-2021) - River Canyon at Folsom

Wayne Thiebaud (American, 1920-2021) - River Canyon at Folsom Signed and dated ‘Thiebaud 58' bottom right, tempera on board16 1/2 x 36 1/4 in. (42 x 92cm) Provenance Cooperative Gallery, Sacramento, California.Private Collection, Sacramento, California.Butterfield & Butterfield, Los Angeles and San Francisco, sale of June 12, 1990, lot 877.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Lot Essay Wayne Thiebaud may be best known for his depictions of scrumptious confections, but he also painted significant landscapes and cityscapes. Thiebaud painted the landscape in his home state of California throughout his life. with vibrant colors and bold brushstrokes, often abstracting the scene into lines and blocks of color, infusing the painting with his characteristic energy. He found mountains particularly compelling and challenging: “Mountains are a subject matter of unending challenges.... It’s such a rich subject matter that’s been treated very, very well by so many other wonderful painters–and that’s another, I think, helpful thing to me because I look constantly at the Hudson River School and the primitive paintings, folk paintings, wonderful Japanese and Chinese paintings of mountains–an extraordinary legacy of the beauty of mountains.” Early in the 1950s, Thiebaud was commissioned to paint the landscape and river outside of Sacramento, where Folsom Dam was to be built, later completed in 1956. The present tempera painting shows the river canyon, preserving a view of the untouched landscape, its beauty on the cusp of permanent change. The parched foreground, with its lively brushstrokes and dots of color, reaches back in diagonal lines that echo the hills beyond. Thiebaud draws the viewer into the picture and up into the hills to contemplate man’s impact on the land.

Lot: 55 - Alfred Henry Maurer (American, 1868-1932) - Landscape

Alfred Henry Maurer (American, 1868-1932) - Landscape Stamped with Artist's signature ‘A.H. Maurer’ bottom left; also signed and titled verso, oil on board18 x 21 ½ in. (45.7 x 54.6cm) Provenance Collection of John Hermansader.Sotheby Parke-Bernet, New York, sale of March 21, 1974, lot 38.Sotheby's, New York, sale of May 24, 2000, lot 181.Acquired directly from the above sale. The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.

Lot: 56 - George Condo (American, b. 1957) - Landscape with Three Women

George Condo (American, b. 1957) - Landscape with Three Women Signed ad dated ‘Condo 88’ verso, oil on canvas7 1/2 x 9 1/2 in. (19.1 x 24.1cm)Housed in the Artist's frame.  Provenance The Artist.Acquired directly from the above.Private Collection.Christie's East, New York, sale of May 6, 1997, lot 139.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 57 - George Condo (American, b. 1957) - The Two Wear Hats

George Condo (American, b. 1957) - The Two Wear Hats Signed and dated ‘Condo 84’ bottom left, oil on canvas18 x 14 in. (45.7 x 35.6cm) Provenance Barbara Gladstone Gallery, New York, New York.Christie’s East, New York, sale of May 3, 1994, lot 142.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.

Lot: 58 - Jean Dubuffet (French 1901-1985) - Site et Menace

Jean Dubuffet (French 1901-1985) - Site et Menace Please note this Lot is currently on view for a special Highlights Exhibition in Freeman's | Hindman Chicago Gallery at 1550 West Carroll Avenue. To schedule an appointment, please contact Specialist Raphaël Chatroux (rchatroux@freemansauction.com)   Signed and dated ‘J. Dubuffet 57' bottom right; also titled (twice) verso,

Lot: 59 - Jean Dubuffet (French, 1901-1985) - Paysage avec un Personnage (D379)

Jean Dubuffet (French, 1901-1985) - Paysage avec un Personnage (D379) Initialed ‘J.D.’ and dated ‘80’ bottom left, India ink with collage on paper20 1/8 x 13 3/4 in. (51.1 x 34.9cm) Provenance The Artist.The Estate of the Artist.Galerie Jeanne Bucher, Paris, France.Galerie Patrice Trigano, Paris, France.Sotheby's, London, sale of June 24, 1993, lot

Lot: 60 - Jean Tinguely (Swiss, 1925-1991) - Untitled (Class 4H)

Jean Tinguely (Swiss, 1925-1991) - Untitled (Class 4H) Signed ‘Jean Tinguely’ bottom right; also dated '22. V. 1983’ bottom center, mixed media collage on paperSheet size: 9 x 12 1/2 in. (22.9 x 31.8cm) Provenance Phillips, London, sale of June 26, 1995, lot 101.Acquired directly from the above sale. The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 61 - Niki de Saint Phalle (French, 1930-2002) - Love in a Hot Climate

Niki de Saint Phalle (French, 1930-2002) - Love in a Hot Climate Signed and dated ‘Niki de Saint Phalle Nov. 1980’ bottom right, pencil, colored pencil and watercolor on paperSheet size: 14 1/8 x 20 1/8 in. (35.9 x 51.1cm) Provenance The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 62 - Louise Bourgeois (American/French, 1911-2010) - Stay Out of My Hair

Louise Bourgeois (American/French, 1911-2010) - Stay Out of My Hair Please note this Lot is currently on view for a special Highlights Exhibition in Freeman's | Hindman Chicago Gallery at 1550 West Carroll Avenue. To schedule an appointment, please contact Specialist Raphaël Chatroux (rchatroux@freemansauction.com)   Initialed ‘LB’ bottom right; also signed, titled and dated 'Louise Bourgeois Dec 1997’ verso, ink and pencil on paperSheet size: 12 x 9 in. (30.5 x 22.9cm) Provenance The Artist.A gift from the above in 1998.Henry Street Settlement Benefit Auction, Park Avenue Armory, New York, lot 1.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Literature Robert Storr, Intimate Geometries: The Art and Life of Louise Bourgeois, The Monacelli Press, New York, 2016, p. 720 (illustrated).

Lot: 63 - George Condo (American, b. 1957) - Sadness

George Condo (American, b. 1957) - Sadness Signed and dated ‘Condo 85’; also titled verso, oil on canvas10 1/2 x 8 5/8 in. (26.7 x 21.9cm) Provenance Akira Ikeda Gallery, Tokyo, Japan.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 64 - Roger de la Fresnaye (French, 1885-1925) - Femme Nue Couchée

Roger de la Fresnaye (French, 1885-1925) - Femme Nue Couchée Oil on canvas26 ¾ x 41 ¼ in. (67.9 x 104.8cm)Executed circa 1910. Provenance Galerie Maurice Robinet, Paris, France.Galerie de Berri, Paris, France.Cyril W. Adams, London.Galerie Mouradian et Valloton, Paris, France.B.C. Holland Gallery, Chicago, Illinois.Sotheby's, New York, sale of May 8, 1991, lot 154.Acquired directly from the above sale.Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Exhibition “Roger de la Fresnaye,” Maison de la Pensée Française, Paris, France, February-March, 1949, no. 19.“Roger de la Fresnaye,” Musée de Lyon, Lyon, France, 1951, no. 10.“Roger de la Fresnaye,” Galerie de l'Institut, Paris, Paris, November-December, 1962, no. 8. Literature Germain Seligman, Roger de La Fresnaye: With a Catalogue Raisonné, New York Graphic Society, Ltd., New York, 1969, p. 132, no. 63 (illustrated). Lot Essay Roger de la Fresnaye, a French painter associated with the Cubist movement (and the Section d’Or group of artists in particular) visited Munich in 1909, marking a pivotal juncture in his career. The city was a hub for avant-garde experimentation, and La Fresnaye’s work c. 1909-10 reveals an increasing departure from traditional representation, anticipating his later, full-throated engagement with Cubism. Influenced by a fertile artistic environment and, perhaps, by German Expressionism, paintings like the present lot herald La Fresnaye’s earliest experimentations with form, color, and spatial relationships. Executed c. 1910, Femme Nue Couchée signals an auditioning of proto-Cubist principles and, seemingly, the artist’s indebtedness to his classical education. (From 1903-08, he studied at the Académie Julian and École des Beaux-Arts in Paris.) Embracing geometric abstraction and fragmented forms, La Fresnaye depicts the female form with a lively interplay of angles and curves. Employing broad planes of color, an earthy palette, and a careful treatment of light, shade, and space, the composition strikes a balance between analytical Cubist deconstruction and sensual, figurative elegance. Painting, according to La Fresnaye, was “becoming significantly more abstract.” In the present work and others, “imitations of nature are giving way to deliberate and reasoned studies.” La Fresnaye’s Munich sojourn marks a critical and transitional phase in his artistic development–one in which he contributed to the evolving dialogue within the Cubist movement, while offering a unique perspective on the relationship between traditional themes and avant-garde expression.

Lot: 65 - Roger de la Fresnaye (French, 1885-1925) - Académie d'Homme

Roger de la Fresnaye (French, 1885-1925) - Académie d'Homme Oil on panel28 ¾ x 21 ¼ in. (73 x 54cm) Provenance Cornette de Saint Cyr, Paris, sale of June 10, 1996, lot 50.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 66 - Arshile Gorky (Armenian/American, 1904-1948) - Self Portrait

Arshile Gorky (Armenian/American, 1904-1948) - Self Portrait Inscribed verso ‘Self Portrait/from a photo of 1911/painting 1926-29/Whitney Museum (artist and his mother)', pencil on paper11 7/8 x 9 in. (30.2 x 22.9cm)Executed circa 1926. Provenance The Artist.Mr. and Mrs. Hans Burkhardt.Parke-Bernet, New York, sale of April 20, 1977, lot 264.(Presumably) acquired directly from the above sale. The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Exhibition “Arshile Gorky: Paintings & Drawings, 1927-1937, the Collection of Mr. & Mrs. Hans Burkhardt,” La Jolla Museum of Art, La Jolla, California and traveling, 1963, no. 23. Literature “Arshile Gorky: Paintings & Drawings, 1927-1937, the Collection of Mr. & Mrs. Hans Burkhardt,” an exhibition catalogue, La Jolla Museum of Art, La Jolla, California, 1963, n.p., no. 23 (illustrated). Lot Essay The drawing will be reviewed at the next meeting of the Arshile Gorky Catalogue Raisonné examination committee for inclusion in the catalogue.

Lot: 67 - Alexander Archipenko (American/Ukrainian, 1887-1964) - Walking Woman

Alexander Archipenko (American/Ukrainian, 1887-1964) - Walking Woman Incised ‘Archipenko’ bottom front, polychrome terracottaHeight: 25 3/4 in. (65.4cm)Width: 8 1/2 in. (21.6cm)Dppth: 8 in. (20.3cm)Executed in 1937. Provenance Cranbrook Academy of Art, Bloomfield Hills, Michigan.Parke-Bernet Galleries, New York, sale of March 1, 1972, lot 20.Perls Galleries, New York,

Lot: 68 - Lucian Freud (British, 1922-2011) - Head of a Child

Lucian Freud (British, 1922-2011) - Head of a Child Colored chalk on black paperSheet size: 13 1/4 x 10 3/4 in. (33.7 x 27.3cm)Executed circa late 1940s.  Provenance Sotheby's, London, sale of March 14, 1973, lot 153 (sold as A Child's Head). Acquired directly from the above sale. Collection of M.J. Jacobs.Sotheby's, London, sale of November 21, 1973, lot 192.Acquired directly from the above sale.Collection of J. Hyman.Sotheby’s, London, sale of November 20, 1974, lot 139.Private Collection. Christie's, London, sale of October 15, 1993, lot 155.Acquired directly from the above sale.Private Collection. Sotheby's Arcade, New York, sale of June 24, 1998, lot 240.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Lot Essay We wish to thank Ms. Katie Barkes for her kind assistance in cataloguing the present work, which will be added to the forthcoming Catalogue Raisonné of Lucien Freud's drawings.

Lot: 69 - Ellsworth Kelly (American, 1923-2015) - Portrait

Ellsworth Kelly (American, 1923-2015) - Portrait Initialed ‘EK’ and dated ‘1984’ bottom left, felt tip pen on paperSheet size: 18 x 12 in. (45.7 x 30.5cm) Provenance Collection of Douglas S. Cramer Collection, Los Angeles, California.Butterfield & Butterfield, San Francisco and Los Angeles, sale of April 22, 1998, lot 6206.Acquired directly from the above sale. The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 70 - Pierre-Auguste Renoir (French, 1841-1919) - Pierre Goujon en Costume Marin

Pierre-Auguste Renoir (French, 1841-1919) - Pierre Goujon en Costume Marin Please note this Lot is currently on view for a special Highlights Exhibition in Freeman's | Hindman Chicago Gallery at 1550 West Carroll Avenue. To schedule an appointment, please contact Specialist Raphaël Chatroux (rchatroux@freemansauction.com)   Signed ‘Renoir’ bottom right, oil on

Lot: 71 - Eugene Boudin (French, 1824-1898) - Cheval Blanc à L'Abreuvoir

Eugene Boudin (French, 1824-1898) - Cheval Blanc à L'Abreuvoir Faintly signed ‘E. Boudin’ bottom left, oil on panel6 ¼ x 8 ¾ in. (15.9 x 22.2cm)Executed circa 1885-1890. Provenance Collection of Aimé Diot, Paris, France.Galerie Schmit, Paris, France.Collection of Mr. and Mrs. Paul Mellon, Upperville, Virginia. Christie's, New York, sale of November 1, 2006, lot 6.Acquired directly from the above sale.Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Literature Robert Schmit, Catalogue Raisonné de L’Œuvre Peint d'Eugène Boudin, Galerie Schmit, Paris, 1973, Vol. II, no. 2110, p. 306 (illustrated).

Lot: 72 - Louis Valtat (French, 1869-1952) - Nature Morte à la Conque (Hommage à Delacroix)

Louis Valtat (French, 1869-1952) - Nature Morte à la Conque (Hommage à Delacroix) Signed ‘L. Valtat’ bottom left, oil on canvas23 1/2 x 28 3/4 in. (59.7 x 73cm)Executed in 1927. Provenance Galerie Galanis-Hentschel, Paris, France, no. 25.Collection of Mr. Louis Viau (as Nature Morte à la Gravure).Christie's East, New York, sale of May 8, 2001, lot 31.Acquired directly from the above sale.Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Literature Jean Valtat, Louis Valtat: Catalogue de l'Œuvre peint, Ides et Calendes, Neuchâtel, 1977, Vol. I, p. 1927, no. 1961 (illustrated).

Lot: 73 - Eugène Delacroix (French, 1798-1863) - Groupe des Romains Illustres (Study for the Library of Palais du Luxembourg)

Eugène Delacroix (French, 1798-1863) - Groupe des Romains Illustres (Study for the Library of Palais du Luxembourg) Faintly inscribed ‘Esquisse d’un fragment de la décoration de la bibliothèque du Luxembourg' bottom right; also with the Artist's initialed wax Estate sale stamp on middle stretcher bar verso, and with preparer's stencil (Haro) verso (twice), gouache

Lot: 74 - Henri de Toulouse-Lautrec (French, 1864-1901) - Portrait of Amédée Tapie de Céleyran

Henri de Toulouse-Lautrec (French, 1864-1901) - Portrait of Amédée Tapie de Céleyran Signed and dated ‘H T Monda [underlined]/82’ bottom right, charcoal on paperSheet size: 23 5/8 x 17 7/8 in. (60 x 45.4cm) Provenance Collection of Comtesse de Toulouse-Lautrec.Collection of the Tapié de Céleyran Family. Alex Reid & Lefèvre, Ltd., London, United Kingdom.Charles E. Slatkin, New York. Acquavella Galleries, Inc., New York, New York.Acquired directly from the above on October 24, 1966.Collection of John T. Dorrance, Jr.His Sale, Sotheby's, New York, sale of October 19, 1989, lot 96.Acquired directly from the above sale. The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Literature Madeleine Grillaert Dortu, Toulouse-Lautrec et son Œuvre, Collectors Editions, New York, 1971, Vol. V, pp. 424-425, no. D.2633 (illustrated). Lot Essay In 1882, Toulouse-Lautrec produced an entire series of family portraits. The sitter in the present work is the artist’s uncle, brother to his mother, Adèle Tapié de Céleyran, which he depicted several other times in his career.

Lot: 75 - Henri Matisse (French, 1869-1954) - Portrait de Paul Léautaud

Henri Matisse (French, 1869-1954) - Portrait de Paul Léautaud Dedicated, signed and dated 'à Paul Léautaud/H Matisse/août 46' bottom right, charcoal on paperSheet size: 15 7/8 x 11 3/4 in. (40.3 x 29.8cm) Provenance The Artist.Paul Léautaud, Paris, France.Galerie 27, Paris, France.Galerie Dina Vierny, Paris, France.Hokin Gallery, Palm Beach, Florida.Sotheby's, London, sale of June 26, 1991, lot 264.Acquired from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Lot Essay When offered at auction in 2000, a note stated that Wanda de Guébriant had confirmed the authenticity of the present work.   Paul Léautaud (1872-1956) was a French writer and theater critic for the prestigious Mercure de France. Léautaud was known as an eccentric intellectual, who preferred their company of animals rather than that of men, perpetually struggling to make ends meet. According to Mavis Gallant, "He was mean, slanderous, and cruel; he could also display generosity and great delicacy in his judgments. Even at his most caustic there was a simplicity, an absence of vanity, rare in a writer (...) His monumental diary Journal Littéraire, which he kept for over fifty years, can without exaggeration be described as the greatest study of character ever written". Although he prepared his last words, he famously passed away saying "Leave me the hell alone". 

Lot: 76 - Paul Signac (French, 1863-1935) - Le Joueur de Boules Assis (Étude pour 'Au Temps d'Harmonie')

Paul Signac (French, 1863-1935) - Le Joueur de Boules Assis (Étude pour 'Au Temps d'Harmonie') Please note this Lot is currently on view for a special Highlights Exhibition in Freeman's | Hindman Chicago Gallery at 1550 West Carroll Avenue. To schedule an appointment, please contact Specialist Raphaël Chatroux (rchatroux@freemansauction.com)   Oil on panel13 ½ x 10

Lot: 77 - Georges Rouault (French, 1871-1958) - L'Ancienne

Georges Rouault (French, 1871-1958) - L'Ancienne Signed and dated ‘G. Rouault/1908’ bottom left, thinned oil on paper laid down to cradled board22 x 15 ¼ in. (55.9 x 38.7cm) Provenance Sotheby's, London, sale of December 4, 1996, lot 368 (as dated ‘1896’).Acquired directly from the above sale. Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Exhibition “Exposition de Peinture Française, IIIème Salon de l'École de Paris,” Galerie Lehmann, Alexandria, 1952.  Literature Bernard Dorival and Isabelle Rouault, Rouault, L'Œuvre Peint, André Sauret, Monaco, 1988, Vol. I, p. 89, no. 300 (illustrated, dated as ‘1909’). 

Lot: 78 - Théo van Rysselberghe (Belgian, 1862-1926) - Maud Assise

Théo van Rysselberghe (Belgian, 1862-1926) - Maud Assise Signed with the Artist's initialed cypher and dated ‘1916’ upper right, oil on canvas20 ½ x 14 7/8 in. (52.1 x 37.8cm) Provenance Collection of Hilton Luria, New Jersey.Redfern Gallery, London, United Kingdom.Sotheby's, New York, sale of February 26, 1990, lot 63 (as Femme Nue).Presumably acquired directly from the above sale.Collection of Lewis Townsend.Doyle, New York, sale of May 21, 2002, lot 151.Acquired directly from the above sale.Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Exhibition “Belgian Impressionists,” Florence, Italy, n.d. Literature The Connoisseur, September 1975.Ronald Feltkamp, Théo van Rysselberghe, Catalogue Raisonné, Lannoo Uitgeverij, Bruxelles, 2003, p. 414, no. 1916-916 (illustrated).

Lot: 79 - Milton Avery (American, 1885-1965) - Feeding the Baby

Milton Avery (American, 1885-1965) - Feeding the Baby Signed ‘Milton Avery’ bottom left, watercolor and charcoal on paperSheet size: 29 ¾ in. x 22 ¼ (74.3 x 56.5cm) Provenance ACA Galleries, New York, New York. The Collection of Robert Lee Blaffer II.The Estate of Robert Lee Blaffer II. Christie's, New York, sale of May 22, 1991, lot 316. Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Lot Essay Themes of family, maternity and domestic life are an important part of Milton Avery’s œuvre, including depictions of his wife, Sally, and daughter, March, each accomplished artists in their own right. In the present work, a young mother feeds her baby, with the latter gazing out at the viewer, while an older child looks on at right. The entire scene is imbued with a sense of tenderness and tranquility. While Avery has been referred to as “The American Matisse”–a moniker that likened his mature style to that of the French Fauve–in Feeding the Baby, his portrayal of subject matter is emphasized to a greater degree than in other compositions, wherein content occasionally gives way to a more modernist treatment of form, shape, and color. Many of Avery’s domestic scenes feature a mother and infant (including Sally and March), so the inclusion of a second child here is noteworthy both thematically and compositionally, with the older child serving as a visual counterpoint to the mother and her baby at left.

Lot: 80 - Lyonel Feininger (American/German, 1871-1956) - Connecticut II

Lyonel Feininger (American/German, 1871-1956) - Connecticut II Signed ‘Feininger’ bottom left; also titled bottom center and dated '16 viii ‘46’ bottom right, watercolor, ink and charcoal on paperSheet size: 9 1/4 x 13 3/4 in. (23.5 x 34.9cm) Provenance SothebyParke Bernet, New York, sale of May 12, 1977.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Lot Essay Achim Moeller, Managing Principal of The Lyonel Feininger Project LLC, New York-Berlin has confirmed the authenticity of this work, which is registered under no. 1890-01-12-24. A certificate of authenticity accompanies the lot.

Lot: 81 - Sol LeWitt (American, 1928-2007) - Untitled

Sol LeWitt (American, 1928-2007) - Untitled Signed and dated ‘S LeWitt 93’ bottom right, gouache on paperSheet size: 15 x 11 1/4 in. (38.1 x 28.6cm) Provenance The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Exhibition Chester Gallery, Chester, Connecticut, June 2003-August 2004. Lot Essay We wish to acknowledge the LeWitt Collection for their assistance in cataloguing this lot.

Lot: 82 - Paul Jenkins (American, 1923-2012) - Phenomena Shanghai for Scorpio

Paul Jenkins (American, 1923-2012) - Phenomena Shanghai for Scorpio Signed ‘Paul Jenkins’ bottom left; also signed, titled and dated ‘Paul Jenkins/1974’ on stretcher verso, signed again, titled and dated on canvas overhang verso, acrylic on canvas30 x 44 in. (76.2 x 111.8cm) Provenance Sotheby's Arcade, New York, sale of February 24, 1994, lot 366.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 83 - Alice Baber (American, 1928-1982) - Blue Float

Alice Baber (American, 1928-1982) - Blue Float Please note this Lot is currently on view for a special Highlights Exhibition in Freeman's | Hindman Chicago Gallery at 1550 West Carroll Avenue. To schedule an appointment, please contact Specialist Raphaël Chatroux (rchatroux@freemansauction.com)   Signed ‘Baber’ bottom right; also signed on stretcher verso, and

Lot: 84 - Lucas Samaras (American/Greek, B. 1936) - Panorama

Lucas Samaras (American/Greek, B. 1936) - Panorama Signed ‘Samaras’ and dated ‘11/8/84’ verso, Polaroid collage10 3/4 x 32 in. (27.3 x 81.3cm) Provenance Pace MacGill, New York, New York.Christie's, New York, sale of February 20, 2002, lot 184.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Lot Essay On the surface, the three works by Lucas Samaras in the Sidney Rothberg Collection: Panorama, 1984 (Lot 84), Reconstruction #104, 1979 (Lot 101), and Untitled #2, 1982 (Lot 117) appear so divergent stylistically that they may not even be considered to be created by the same artist in the same time period. Reconstruction #104 is a large-scale, hand sewn fabric collage, with patterns, colors and textures converging and connecting in all different directions within the picture plane. A collage of cut and pieced Polaroid self- portraits, Panorama shows a figure stepping up into the light as he moves from left to right across the collage. Untitled #2, a colored pencil drawing on black paper, splits a figure’s face into two joining heads, with three eyes, two noses and a sunset landscape bridging the forehead. The three works perfectly encapsulate Samaras’s project: they are diverse and experimental, they engage with perception and the psychology of the self, and they illustrate the artist’s hands-on engagement with a multitude of mediums and artistic approaches. Pushing boundaries of categorization and defying relegation to a specific artistic movement, Samaras manipulates the conventions of self-portraiture to explore the very act of seeing itself.

Lot: 85 - Jean Hugo (French, 1894-1984) - Nature Morte au Pichet Orange

Jean Hugo (French, 1894-1984) - Nature Morte au Pichet Orange Signed ‘Jean Hugo’ bottom center right; also dated ‘1962' on upper stretcher verso, oil on canvas14 x 16 in. (35.6 x 40.6cm) Provenance The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.

Lot: 86 - Alexander Calder (American, 1898-1976) - McGovern

Alexander Calder (American, 1898-1976) - McGovern Initialed and dated ‘CA 72’ bottom left, gouache on paperSheet size: 30 5/8 x 23 in. (77.8 x 58.4cm) Provenance The Artist.Acquired directly from the above in 1972.Obelisk Gallery, Boston, Massachusetts.Sotheby's, New York, sale of June, 30, 2004, lot 499.Acquired directly from the above sale.Sidney Rothberg, Philadelphia, Pennsylvania. Lot Essay This work has been registered in the Archives of the Calder Foundation, New York, under application number #A20998. Passions ran high heading into the 1972 Presidential election: the country was awash with strife and protest, and at center stage was the fierce opposition to the Vietnam War. The imagery in the present work is familiar, with the name of Democratic Presidential candidate George McGovern, presented in a graphically distinctive: “Mc/Gov/ern” on three parallel lines, in blue, black, and “Calder red.” This image also served as a color lithograph in 1970, though it was not Calder’s only printed contribution to the Democrat’s campaign. Calder was commissioned by the Democratic National Committee, and working with printer/publisher George Goodstadt, created five McGovern posters, including McGovern and McGovern for President. (It is noteworthy that Calder also created additional political posters for the political candidates Toby Moffett and Abe Ribicoff.) Calder was not alone in his strong support of McGovern’s bid to become President that year. Other important artists, including Robert Rauschenberg and Andy Warhol, also joined the cause, contributing artwork in the hopes of defeating Nixon in what became known as the “Art for McGovern” campaign. Despite Calder’s good efforts to support the cause, including the donation and eventual sale of one of his mobiles, Nixon went on to defeat the idealistic South Dakota Democrat in a landslide victory.

Lot: 87 - George L.K. Morris (American, 1905-1975) - Two Refrigerators

George L.K. Morris (American, 1905-1975) - Two Refrigerators Signed ‘Morris’ bottom right, collage and gouache on paperSheet size: 12 x 17 ¾ in. (30.5 x 45.1cm) Provenance Washburn Gallery, New York, New York. Sotheby's Arcade, New York, sale of April 15, 1992, lot 257. Acquired directly from the above sale. The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Lot Essay This work was commissioned by General Electric in 1940 in an innovative advertising campaign using well-known contemporary artists to promote the company's new line of refrigerators.

Lot: 88 - Yves Tanguy (American/French, 1900-1955) - Untitled

Yves Tanguy (American/French, 1900-1955) - Untitled White gouache on black paperSheet size: 11 7/8 x 11 1/8 in. (30.2 x 28.3cm) Provenance Christie's, New York, sale of May 10, 2001, lot 218.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Exhibition "Klee-Tanguy-Miro," Fundació Joan Miró, Barcelona, Spain, November 19, 1999-January 30, 2000; the Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria, March 17-May 14, 2000; and at the Szépmüvészeti Múzeum, Budapest, Hungary, June 1-July 30, 2000, no. 76. Literature Wolfgang Kersten, et al., Klee, Tanguy, Miró: Tres Visions del Paisatge, an exhibition catalogue, Fundació Joan Miró, Barcelona, 1999, no. 76. Lot Essay We kindly acknowledge the assistance of Mr. Timothy Baum in the cataloguing of this lot.

Lot: 89 - Yves Tanguy (American/French, 1900-1955) - Untitled

Yves Tanguy (American/French, 1900-1955) - Untitled Signed, dated and inscribed ‘Yves Tanguy 39/C.B.’ bottom right, ink on paperSheet size: 12 3/8 x 9 1/8 in. (31.4 x 23.2cm) Provenance Christie's, New York, sale of May 10, 2001, lot 213.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Exhibition "Klee-Tanguy-Miro," Fundació Joan Miró, Barcelona, Spain, November 19, 1999-January 30, 2000; the Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria, March 17-May 14, 2000; and at the Szépmüvészeti Múzeum, Budapest, Hungary, June 1-July 30, 2000, no. 51. Literature Wolfgang Kersten, et al., Klee, Tanguy, Miró: Tres Visions del Paisatge, an exhibition catalogue, Fundació Joan Miró, Barcelona, 1999, no. 51. Lot Essay We kindly acknowledge the assistance of Mr. Timothy Baum in the cataloguing of this lot.

Lot: 90 - Lee Bontecou (American, 1931-2022) - Untitled

Lee Bontecou (American, 1931-2022) - Untitled Signed and dated ‘Bontecou 1970' bottom center, silver pencil on black paperSheet size: 18 x 24 in. (45.7 x 60.1cm) Provenance Leo Castelli, New York.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Exhibition “Art on Paper,” Weatherspoon Art Museum, University of North Carolina, Greensboro, North Carolina, November 14-December 17, 1971, no. 29 (not illustrated).  Literature Art on Paper, an exhibition catalogue, Weatherspoon Art Museum, Greensboro, 1971, no. 29 (not illustrated).  Lot Essay A profound interest in space–and more specifically outer space–is the common tie between pioneering multi-media artist Lee Bontecou’s iconic wall sculptures and later graphite drawings on black paper. Of her work, Bontecou once said “I had a joy and excitement about outer space–nothing was known about the black holes–just huge, intangible, dangerous entities.” While some of Bontecou’s drawings directly relate to sculptural work, Untitled firmly belongs to a group of drawings characterized by delicate, floating forms executed with a limited color palette on black paper. Similar drawings dating from the 1980s through the 2000s are somewhat of a departure from earlier drawings in the artist’s œuvre, including her “worldscapes” from late 1950s and 1960s. Bontecou perfected her innovative technique of incorporating soot into her work as a Fulbright Scholar in Rome (1956-1957), having previously learned the skill of welding earlier that decade at the Skowhegan School of Sculpture and Painting, Maine. Some of Bontecou’s “worldscapes” have a solidity that show a strong connection with her three-dimensional work, while others possess a more ethereal and anthropomorphic quality, with softened, blurred passages highlighted by the artist’s selective smudging. While Bontecou sought to “harness the black” with her “worldscapes,” the distinctive group of silver pencil drawings, which include the present work, are completed against a black background and depict phantasmic, hovering flora-like shapes. Many are simply called: Untitled.

Lot: 91 - Richard Diebenkorn (American, 1922-1993) - Untitled (Woman with Crossed Arms)

Richard Diebenkorn (American, 1922-1993) - Untitled (Woman with Crossed Arms) Charcoal on paper16 1/2 x 13 3/8 in. (41.9 x 34cm)Executed in 1958. Provenance Private Collection, 1958.Sotheby's, New York, sale of November 20, 1997, lot 328.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Literature Jane Livingston and Andrea Liguori, eds., Richard Diebenkorn: The Catalogue Raisonné, Vol. III, Yale University Press, New Haven, 2016, p. 288, no. 2473 (illustrated).

Lot: 92 - Richard Diebenkorn (American, 1922-1993) - Untitled (Portrait of a Seated Woman Holding a Cup)

Richard Diebenkorn (American, 1922-1993) - Untitled (Portrait of a Seated Woman Holding a Cup) Charcoal on paper16 7/8 x 13 7/8 in. (42.9 x 35.2cm)Executed in 1958. Provenance Private Collection, 1958.Sotheby’s Arcade, New York, sale of February 21, 1990, lot 281.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Literature Jane Livingston and Andrea Liguori, eds., Richard Diebenkorn: The Catalogue Raisonné, Vol. III, Yale University Press, New Haven, 2016, p. 288, no. 2472 (illustrated).

Lot: 93 - Sam Francis (American, 1923-1994) - Untitled

Sam Francis (American, 1923-1994) - Untitled Acrylic on paper20 x 14 in. (50.8 x 35.6cm) Provenance Private Collection.Guastalla Arte Moderna e Contemporanea, Livorno, Italy.Christie's, London, sale of June 26, 1997, lot 141.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Exhibition “Sam Francis: 36 KAOs (Faces), 1973-1977,” Minami Gallery, Tokyo, Japan, July 7-23, 1977, no. 27. Literature Sam Francis: 36 KAOs (Faces), 1973-1977, an exhibition catalogue, Minami Gallery, Tokyo, 1977, no. 27 (illustrated in black and white).Debra Burchett-Lere, ed., Sam Francis: Online Catalogue Raisonné Project, SF75-032 (illustrated).

Lot: 94 - Douglas Abdell (American, b. 1947) - One Sees, One's Blind

Douglas Abdell (American, b. 1947) - One Sees, One's Blind Copyrighted, dated and signed '© 1982 Douglas Abdell' verso, oil on canvas11 x 13 5/8 in. (27.9 x 34.6cm) Provenance Andrew Crispo Gallery, New York, New York.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 95 - Grace Hartigan (American, 1922-2008) - Portrait of Jeff

Grace Hartigan (American, 1922-2008) - Portrait of Jeff Initialed ‘H.’ bottom right; also signed,dated and titled ‘Hartigan/’52,’verso, oil on Masonite8 x 16 in. (45.7 x 40.6cm) Provenance The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 96 - Joan Brown (American, 1938-1990) - Portrait of Modesto Lanzone

Joan Brown (American, 1938-1990) - Portrait of Modesto Lanzone Titled, dated and signed (twice) ‘1978 Joan Brown' on upper diagonal stretcher and bottom diagonal stretcher bars verso, oil on canvas36 x 30 in. (91.4 x 76.2cm) Provenance The Artist.Collection of Modesto Lanzone.Butterfield & Butterfield, San Francisco and Los Angeles, sale of October 25, 1992, lot 2322.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  

Lot: 97 - Nancy Grossman (American, b. 1940) - Head of a Man

Nancy Grossman (American, b. 1940) - Head of a Man Signed and dated ‘N Grossman ‘76’ bottom right, pastel and mixed media collage on paperSheet size: 26 x 20 in. (66 x 50.8cm) Provenance Christie's East, New York, sale of December 16, 1987, lot 190.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Lot Essay The human head, frequently masked, is a motif that has become synonymous with New York-based artist Nancy Grossman. Her treatment of the subject has been variously described as an expression of authority, the human condition, repression, self-imposed/societally-imposed restriction, oppression, and as self-portrait. The artist’s best known body of work–sculpted heads made of carved wood covered in sewn black leather masks with zippers, buckles, and bolts–has been widely exhibited and has helped vault her to stardom. An important part of her œuvre also includes two-dimensional works of human heads, including drawings, collage paintings, and watercolors, such as Head of a Man: a faceless, silent, static head here presented as a head and shoulders portrait covered in a mask selectively covered by an irregular nework of tape lines that resemble sutures or veins. Similar mixed media works with collage on paper depicting faceless heads dotted by a network of thin, applied tape strips were also produced by the artist in 1976. Heads were a significant and persistent theme throughout Grossman’s career; for her, after all, “your head...is...your most powerful organ.” While both males and females are subjects of Grossman’s work, males appear with greater frequency (particularly in her sculptural work), though are more often generically identified in the titles of her work as Figure or Head (or Heads in the case of multiple figures). While Grossman’s pioneering art has long been associated with Feminism, a work such as the present Head of a Man also speaks to broader themes concerning the human condition, as well as to personal experiences the artist endured as a child. While much has also been written regarding the suggestive sadomasochistic tendencies that appear inherent in many of Grossman’s masked heads, more broadly they reference a sort of blind, mute subservience as a response to societal turmoil and upheaval. It is also noteworthy that as a student at Pratt Institute in New York City, Grossman studied under Richard Lindner, and he would go on to serve as a mentor to Grossman. Elements of Lindner’s pictorial language may be seen in the present work.

Lot: 98 - Philippe Hiquily (French, 1925-2013) - Femme Couchée

Philippe Hiquily (French, 1925-2013) - Femme Couchée Signed, dated and numbered ‘HIQUILY 58 1/1’ on base at center, bronze with golden brown patinaHeight: 19 in. (48.3cm)Width: 44 in. (111.8cm)Depth: 16 in. (40.6cm) Provenance The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Lot Essay We wish to thank the Comité Hiquily for confirming

Lot: 99 - David Smith (American, 1906-1965) - Cubi Study (Study for Sculpture)

David Smith (American, 1906-1965) - Cubi Study (Study for Sculpture) Charcoal on paper10 1/4 x 7 3/4 in. (26 x 19.7cm)Executed circa 1956. Provenance The Artist.Private Collection.Mekler Gallery, Los Angeles, California.Sotheby's, New York, sale of May 5, 1986, lot 86/iii.Acquired directly from the above sale. The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Exhibition “David Smith: Drawings for Sculpture, 1954-1964,” Storm King Art Center, Mountainville, New York, May 19-October 31, 1982. Literature David Smith: Drawings for Sculpture, 1954-1964, an exhibition catalogue, Storm King Art Center, Mountainville, New York, 1982, p. 37, cat. no. 57 (illustrated). Lot Essay This drawing is a working study for sculpture from the artist's notebook compiled between 1956-1962.

Lot: 100 - David Smith (American, 1906-1965) - Circle Study: Two-Sided Drawing (Study for Sculpture)

David Smith (American, 1906-1965) - Circle Study: Two-Sided Drawing (Study for Sculpture) Ink on paperSheet size: 10 5/8 x 8 1/4 in. (27 x 21cm)Executed in 1962. Provenance The Artist.Private Collection.Mekler Gallery, Los Angeles, California.Sotheby's, New York, sale of May 5, 1986, lot 86/ii.Acquired directly from the above sale. The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Exhibition "David Smith, Drawings for Sculpture: 1954-1964," Mekler Gallery, Los Angeles, California, April 26-May 30, 1981.“David Smith: Drawings for Sculpture, 1954-1964,” Storm King Art Center, Mountainville, New York, May 19-October 31, 1982. Literature Gerald Nordland, David Smith, Drawings for Sculpture: 1954-1964, an exhibition catalogue, Mekler Gallery, Los Angeles, 1981, no. 36.David Smith: Drawings for Sculpture, 1954–1964, an exhibition catalogue, Storm King Art Center, Mountainville, 1982, p. 42, no. 71 (illustrated).E.A. Carmean, Jr. David Smith: Seven Major Themes, an exhibition catalogue, National Gallery of Art, Washington, D.C., p. 137, fig. 7 (illustrated). Lot Essay This drawing is a working study for sculpture from the artist's notebook compiled between 1956-1962.

Lot: 101 - Lucas Samaras (American/Greek, b. 1936) - Reconstruction #104

Lucas Samaras (American/Greek, b. 1936) - Reconstruction #104 Sewn fabric collage on canvas63 3/4 x 62 3/4 in. (161.9 x 159.4cm)Executed in 1979. Provenance Margo Leavin Gallery, Los Angeles, California.Pace Gallery, New York, New York.Sotheby's Arcade, New York, sale of October 12, 1991, lot 373.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.

Lot: 102 - Frank Stella (American, b. 1936) - Marwla (Sketch)

Frank Stella (American, b. 1936) - Marwla (Sketch) Titled, signed and dated ‘F. Stella 72’ bottom right; also titled verso, acrylic, fabric, felt and paperboard collage laid on panel33 x 30 in. (83.8 x 76.2cm) Provenance Collection of Sylvia SlifkaThe Estate of Sylvia Slifka.Sotheby's Arcade, sale of September 29, 2004, lot 321.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 103 - Georges Braque (French, 1882-1963) - Nature Morte au Pot

Georges Braque (French, 1882-1963) - Nature Morte au Pot Please note this Lot is currently on view for a special Highlights Exhibition in Freeman's | Hindman Chicago Gallery at 1550 West Carroll Avenue. To schedule an appointment, please contact Specialist Raphaël Chatroux (rchatroux@freemansauction.com)   Signed ‘G Braque' [underlined] bottom right, oil on canvas18 x 21

Lot: 104 - Saul Steinberg (American, 1914-1999) - Landscape with Three Figures

Saul Steinberg (American, 1914-1999) - Landscape with Three Figures Signed and dated ‘Steinberg/1972’ bottom center, titled and dated verso, watercolor and ink on paperSheet size: 22 1/4 x 15 in. (56.5 x 38.1cm) Provenance The Artist.Acquired directly from the above.Pace Gallery, New York, New York. The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 105 - Joan Brown (American, 1938-1990) - David in Egypt

Joan Brown (American, 1938-1990) - David in Egypt Signed and dated ‘Joan Brown/10/9/76’ bottom right, mixed media on paperSheet size: 35 ½ x 24 in. (90.2 x 61cm) Provenance Property from the Estate of Ruth L. Klein. Christie's East, New York, sale of February 21, 1995, lot 299. Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 106 - John Kane (American, 1860-1934) - Grandma at Fireside

John Kane (American, 1860-1934) - Grandma at Fireside Signed 'JOHN KANE' bottom right, oil on canvas8 x 10 in. (20.3 x 25.4cm)Executed circa 1928-29. Provenance Valentine Gallery, New York, New York. Maynard Walker Gallery, New York, New York. M. Knoedler & Co., New York, New York. Collection of Joseph H. Hirshhorn, New York, October 21, 1958-1966.Sotheby's Arcade,

Lot: 107 - John Kane (American, 1860-1934) - My Birthplace

John Kane (American, 1860-1934) - My Birthplace Signed ‘JOHN KANE’ bottom right; also inscribed with title verso, oil on canvas16 x 20 in. (40.6 x 50.8cm) Provenance Dusening Gallery, New York, New York.Hirschl & Adler Galleries, New York, New York. Christie's, New York, sale of December 5, 1980, lot 213. Acquired directly from the above sale. The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Lot Essay Born in 1860 to Irish parents in Scotland, Kane emigrated to the United States in 1880, settling in Pittsburgh where he worked several manual jobs, including painting boxcars,signs, houses, before eventually deciding to make a living out of his art. When his Scene from the Scottish Highlands was accepted by the jury for the annual international exhibition of the Carnegie Institute in Pittsburgh in 1927, Kane’s name became a sensation despite his lack of formal training. Considered to be “the find of the generation” by The New York Times, Kane rose to fame quickly, though his art was difficult to classify. Even Dr. Barnes, who intensely collected the artist’s work, struggled to display his cheerful scenes of rural life in his Lower Merion home. Known for his panoramic landscapes (either of the Scottish highlights or of Pittsburgh, in which green pastures coexist with industrial buildings), his self-portraits, as well as some patriotic subjects that often involved Abraham Lincoln, Kane used art to reflect on the difficult world around him. It may also have been an outlet to counter the many difficulties life brought him. The present and previous works, both incredibly personal, present a window into Kane’s thought process and personal biography. My Birthplace, on the other hand, likely portrays a scene from the artist’s childhood hometown in West Calder, Scotland. As an expatriate, Kane frequently depicted landscapes reminiscent of his Scottish roots, despite his life and artistic career unfolding in the United States. In this artwork, Kane invites the viewer to reflect on themes of identity, memory, and the passage of time, evoking a sense of nostalgia for the artist’s origins. An intriguing element is the floating head in the upper left corner, a self-portrait which adds a surreal and dreamlike quality to the piece. Here, the floating head reinforces the intimate nature of the artwork and his connection to the depicted scene. The foreground of the painting features train tracks, possibly alluding to Kane’s artistic origins of painting boxcars, or to the tragic accident that cost him a leg. 

Lot: 108 - Milton Resnick (American, 1917-2004) - Untitled (A Pair)

Milton Resnick (American, 1917-2004) - Untitled (A Pair) Each signed ‘Resnick’ bottom right, oils on paper mounted on MasoniteOne: 27 x 20 ½ in. (68.9 x 52.1cm)Two: 24 ½ x 20 in. (62.3 x 50.8cm)Both executed in 1958. Provenance Vanderwoude Tananbaum Gallery, New York, New York. Christie's East, New York, sale of May 8, 2000, lot 162. Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 109 - Zoran Anton Mušič (Slovenian, 1909-2005) - Paysage (Landscape)

Zoran Anton Mušič (Slovenian, 1909-2005) - Paysage (Landscape) Signed and dated ‘Music 1958’ bottom center, oil on canvas28 1/2 x 36 in. (72.4 x 91.4cm) Provenance Galerie de France, Paris, France.Collection of Mr. and Mrs. Nathan Cummings, St. Louis, Missouri.A gift from the above in 1963.Collection of the Washington University Gallery of Art, St Louis, Missouri. Sotheby's, New York, sale of May 12, 1994, lot 367. Presumably acquired directly from the above sale. Cristinerose Gallery, New York, New York.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Exhibition “Dal Futurismo ad Oggi Pittori e Sculptori Italiani,” Musei de Francis, Venice, Italy, 1959.“Peintres et Sculpteurs Italiens du Futurisme à Nos Jours,” Musée Art et D’Industries Saint-Étienne, Paris, France, 1959, no. 67.  Lot Essay Born in Gorizia, Zoran Mušič is regarded as Slovene, Yugoslavian, and Italian, and is widely considered the first Slovenian modernist artist to achieve Western recognition. While he thought of himself as being “of no fixed abode, Paysage, painted by Mušič in 1958 is almost certainly a Dalmatian landscape and directly relates to similar themed paintings the artist created between 1948 and 1969.  From 1935-1940, the artist resided in Dalmatia, a region of Croatia located along the Eastern coast of the Adriatic Sea and its inland regions, and he spoke fondly of the Karst region, situated between the Gulf of Trieste, Istria, the Brkini Hills, and the Vipava Valley, saying “the karst is the matrix of my painting.” Mušič was so moved by the colors and topography of the Dalmatian coast, he described it as an “obsession.” In some of the artist’s Dalmatian paintings, horses and vegetation, softened, blurred, and obscured, are featured within an expansive vista, and in others, such as the present work, the Dalmatian “landscape” is alluded to more than it is actually physically depicted, appearing in the form of hazy, non-representational enlarged spots worked in earthen tones of brown, mauve, and white, and arranged in patterns, resulting in a sort of haunting, mesmerizing “lyrical abstraction."

Lot: 110 - Mary Abbott (American, 1921-2019) - Flowers

Mary Abbott (American, 1921-2019) - Flowers Signed ‘Abbott’ bottom left; also signed verso, oil on canvas8 x 10 in. (20.3 x 25.4cm) Provenance The Harold and May Rosenberg Collection. Sotheby's Arcade, New York, sale of June 14, 1995, lot 360. Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Exhibition “The Harold and May Rosenberg Collection," Montclair Art Museum, Montclair, New Jersey, February 4-March 25, 1973. Literature The Harold and May Rosenberg Collection, an exhibition brochure, Montclair Art Museum, Montclair, 1973 (not illustrated).

Lot: 111 - Mohan Samant (Indian, 1924-2004) - Untitled

Mohan Samant (Indian, 1924-2004) - Untitled Oil and mixed media on canvas19 x 19 in. (48.3 x 48.3cm) Provenance World House Galleries, New York, New York.Sotheby’s, New York, sale of June 15, 1972, lot 221.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 112 - Edwin Dickinson (American, 1891-1978) - Judith

Edwin Dickinson (American, 1891-1978) - Judith Signed ‘E W Dickinson’ upper left; also dated ‘1937’ upper right, oil on canvas26 x 30 in. (66 x 76.2cm) Provenance Collection of Mr. & Mrs. Ansley W. Sawyer.Collection of Ansley W. Sawyer, Jr.ACA Galleries, New York, New York.Sotheby's Arcade, New York, sale of March 31, 1993, lot 301.Acquired directly

Lot: 113 - László Moholy-Nagy (Hungarian, 1895-1946) - Untitled

László Moholy-Nagy (Hungarian, 1895-1946) - Untitled Signed and dated 'M-N 45' bottom left, oil on incised plexiglas plate 18 x 12 in. (45.7 x 30.5cm) Provenance The Artist.A gift from the above.Private Collection (a student at the Institute of Design, Illinois).The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Lot Essay We wish to thank Dr. Hattula Moholy-Nagy for kindly confirming the authenticity of the present Lot. László Moholy-Nagy was a Hungarian painter and photographer, who played a significant role in the development of modernist art and design, and is particularly known for his artistic experiments with light, space, and technology. Moholy-Nagy was intrigued by new materials and their potential applications in art and design. Plexiglas, a transparent plastic material, was one such innovative material that caught his attention. He saw its potential for creating sculptures, installations, and other artworks that played with transparency, light, and reflection. For the artist, “the use [of] flaws and bubbles in the [Plexiglas] may lead to...kinetic light displays.” The result was something dynamic, something organic; “the picture would change continuously. It breathes.” In his exploration of Plexiglas, Moholy-Nagy created several artworks and designs that utilized this material's unique properties. These works often emphasized the interplay of light and shadow, the transparency of the material, and its ability to distort and reflect images. His Plexiglas works can be seen as a continuation of his broader interest in experimenting with the relationship between art, technology, and perception. Aside from his prolific artistic practice, Moholy-Nagy was also an important educator. In 1937, he founded the New Bauhaus in Chicago, which later became the Institute of Design. His vision for the institute was to integrate art, design, and technology, emphasizing a holistic approach to education. Moholy-Nagy played a crucial role in shaping the curriculum and philosophy of the Institute of Design, leaving a lasting impact on design education in the United States. This untitled Plexiglas work was, in fact, gifted to one of his students from the Institute of Design, further showing the deep and meaningful connections and impact he left on his students and colleagues. Moholy-Nagy's experiments with Plexiglas were part of his larger body of work that sought to push the boundaries of traditional forms and embrace new materials and technologies. Given its unusual medium, this work is experimental but remains true to Moholy-Nagy’s signature style and œuvre.

Lot: 114 - Morris Louis (American, 1912-1962) - Charred Journal (Firewritten Series)

Morris Louis (American, 1912-1962) - Charred Journal (Firewritten Series) Signed ‘M Louis’ bottom right, Magna (acrylic resin) on canvas29 x 26 in. (73.7 x 66cm)Executed in 1951. Provenance The Artist.Collection of Leonard Bocour, New York, New York. Collection of Robert Bogdanoff, Washington, D.C.Mrs. Robert Bogdanoff, San Francisco, California.Sotheby Parke

Lot: 115 - Robert Rauschenberg (American, 1925-2008) - Untitled (from the Bleachers Series) from Photographers + Friends United Against AIDS

Robert Rauschenberg (American, 1925-2008) - Untitled (from the Bleachers Series) from Photographers + Friends United Against AIDS Signed and dated ‘Rauschenberg/90’ bottom right, four bleached silver gelatin transfer prints, mounted on aluminum45 1/2 x 55 in. (115.6 x 139.7cm)Executed in 1989. Provenance Sotheby's, New York, sale of October 14, 1990, lot 13.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Exhibition "The Indomitable Spirit: Photographers and Artists Respond to the Time of AIDS," International Center of Photography, New York, New York, February 9-April 7, 1990; also Los Angeles Municipal Art Gallery, Los Angeles, California, May 13-June 17, 1990, no. 13. Literature Andy Grundberg and Marvin Heiferman, The Indomitable Spirit: Photographers and Artists Respond to the Time of AIDS, an exhibition catalogue, Harry N. Abrams, New York, 1990, no. 13 (illustrated). Lot Essay The two Robert Rauschenberg lots (115 and 116) on offer in this auction likely appealed to Sid Rothberg on two levels: one, because of Rauschenberg’s role as a trailblazer who pioneered the use of non-traditional materials and methods; and two, because of Rauschenberg’s belief that art could help to foster positive social change. Letter Head II directly relates to other Rauschenberg mixed media collage works also created in 1970. That same year he created Signs, a screen print made up of a hybrid of images including Martin Luther King, John and Robert Kennedy, and the Vietnam War. That work was submitted as a cover design for Newsweek magazine, and its somewhat arbitrary placement of images was described as a “flatbed picture plane” by historian Leo Steinberg. Importantly, it reflected many of the social concerns so prevalent by the end of the 1960s. While not as socio-politically charged in its messaging as Signs, Letter Head II is replete with varied subject matter that Rauschenberg found interesting and topical to usher in the beginning of the new decade. As Lot 116, from the Bleachers Series was included in “The Indomitable Spirit” exhibition of 1990, it can arguably be seen as part of a larger response to the then-prevalent AIDS epidemic. Mounted to aluminum and created with an oversize Polaroid camera and large Polapan 400 film sheets, these images were selectively bleached with a coater on purpose, so as to alter the final image. Rauschenberg’s selective bleaching method as applied to photographs was, by the end of the 1980s, as groundbreaking and inventive as the “flatbed picture” collages that he perfected by the start of the 1970s. Along with his restless experimentation, Rauschenberg sought to make social change through his art, as summed up in his own words: “I feel very guilty about being in a position of influence and not using it to do something important.”

Lot: 116 - Robert Rauschenberg (American, 1925-2008) - Letter Head II

Robert Rauschenberg (American, 1925-2008) - Letter Head II Signed and dated ‘Rauschenberg 70’ bottom center left; also titled ‘Letter Head II’ bottom center right, mixed media collage on paper40 x 27 1/2 in. (101.6 x 69.9cm) Provenance Lewis Kaplan, Inc., London, United Kingdom.Christie's, New York, sale of November 19, 1981, lot 283.Acquired directly from the above sale. The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 117 - Lucas Samaras (American/Greek, b. 1936) - Untitled #2

Lucas Samaras (American/Greek, b. 1936) - Untitled #2 Dated and numbered ‘5/14/82/2’ verso, color crayon on paperSheet size: 17 1/2 x 23 in. (44.5 x 58.4cm) Provenance Pace Gallery, New York, New York.Collection of Mr. and Mrs. George Perutz, Dallas, Texas.Christie's East, New York, sale of November 19, 1996, lot 220.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Exhibition "Lucas Samaras: Objects and Subjects, 1969-1986,” The Denver Art Museum, Denver, Colorado, May 1988-November 1989; also National Museum of American Art, Smithsonian Institution, Washington, D.C.; The High Museum of Art, Atlanta, Georgia; The Center for the Fine Arts, Miami, Florida; Virginia Museum of Fine Arts, Richmond, Virginia; and Museum of Fine Arts, Boston, Massachusetts (traveling exhibition). Literature Lucas Samaras: Objects and Subjects, 1969-1986, an exhibition catalogue, The Denver Art Museum, Denver, 1989, p. 161 (illustrated).

Lot: 118 - Chris Ofili (British, b. 1968) - Untitled

Chris Ofili (British, b. 1968) - Untitled Please note this Lot is currently on view for a special Highlights Exhibition in Freeman's | Hindman Chicago Gallery at 1550 West Carroll Avenue. To schedule an appointment, please contact Specialist Raphaël Chatroux (rchatroux@freemansauction.com)   Pencil signed and dated ‘CHRIS OFILI 99’ verso, watercolor and pencil on paperSheet size: 9 1/2 x 6 1/4 in. (24.1 x 15.9cm) Provenance Taro Nasu Gallery, Tokyo, Japan.Sotheby's, New York, sale of November 13, 2002, lot 409.Acquired directly from the above sale. The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 119 - Elizabeth Murray (American, 1940-2007) - Untitled

Elizabeth Murray (American, 1940-2007) - Untitled Signed and dated ‘E. Murray/Spr. 75’ verso, oil on canvas69 x 15 in. (175.3 x 38.1cm) Provenance Susanne Hilberry Gallery, Birmingham, Michigan.Christie's, New York, sale of May 8, 1990, lot 454.Acquired directly from the above sale.The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 120 - Nancy Spero (American, 1926-2009) - This Womb Does Not Belong to Doctors…

Nancy Spero (American, 1926-2009) - This Womb Does Not Belong to Doctors… Signed and dated ‘Spero 96’ bottom right, mixed media collage on paperSheet size: 19 1/2 x 24 1/4 in. (49.5 x 61.6cm) Provenance The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. 

Lot: 121 - Ben Nicholson (British, 1894-1982) - Untitled

Ben Nicholson (British, 1894-1982) - Untitled Signed and dated ‘Ben Nicholson/1965’ verso, ink and gouache over etching on paperSheet size: 7 ¾ x 5 7/8 in. (19.7 x 14.9cm) Provenance Christie's, New York, sale of February 14, 1991, lot 90.Acquired directly from the above sale. Private Collection.Phillips, New York, sale of November 7, 2000, lot 179.Acquired directly from the above sale. The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Lot Essay In the decade before the present lot was executed, Ben Nicholson visited Greece, which, in turn, served as inspiration for many of his works. In his 2002 exhibition catalogue of the artist’s work, Peter Khoroche recalls that Nicholson made five separate trips to Greece and the Aegean between 1959-1973, the period during which Untitled was produced. Khoroche describes the artist’s late reliefs as “mindscapes” rather than "landscapes...conveying an experience of and awareness, not the representation of something....” Untitled also bears some compositional similarities to works created by Nicholson from the mid-1960s, distinct in their use of brick-color gouache and ink, with each depicting a quasi-architectural subject in a sparse, angular fashion. Whether Untitled is in fact a Greek subject–imparting upon the viewer ”the actual quality of Greece itself”–it ostensibly relates to an identical theme seen in many of the artist’s mixed media works from this period.

Lot: 122 - David Hockney (British, b. 1937) - Gregory + Shinro

David Hockney (British, b. 1937) - Gregory + Shinro Signed, dated, numbered, titled and located ‘David Hockney Feb 1983 4 Nara Japan' bottom center, color photograph collage mounted on boardSheet size: 33 x 29 in. (83.8 x 73.7cm) Provenance The Collection of Sidney Rothberg, Philadelphia, Pennsylvania. Exhibition “100 for 2000: The Century of Photoart,” Villa Impero, Bologna, Italy, January 30-April 29, 2000 (another example exhibited).“David Hockney: Portraits,” Galerie Lelong (online only), April 30-May 27, 2020 (another example exhibited). Literature Davide Faccioli, 100 for 2000: The Century of Photoart, an exhibition catalogue, Photology, Milan, 2000, pp. 176-77, 246 (another example illustrated).

Lot: 123 - Elisabeth Frink (British, 1930-1993) - Harbinger Bird I

Elisabeth Frink (British, 1930-1993) - Harbinger Bird I Please note this Lot is currently on view for a special Highlights Exhibition in Freeman's | Hindman Chicago Gallery at 1550 West Carroll Avenue. To schedule an appointment, please contact Specialist Raphaël Chatroux (rchatroux@freemansauction.com)   Signed and numbered ‘Frink/6/6’ on base at right, bronze with

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