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Auction Description for Freeman's: American Art & Pennsylvania Impressionists

American Art & Pennsylvania Impressionists (82 Lots)

by Freeman's


82 lots with images

December 4, 2016

Live Auction

Philadelphia, PA, USA

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JAMES ABBOTT MCNEILL WHISTLER, (AMERICAN 1834-1903),

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Description: JAMES ABBOTT MCNEILL WHISTLER (american 1834-1903) "SAN BIAGO" (FROM TWENTY-SIX ETCHINGS SERIES) 1879-1880. Edition of c. 42. Pencil signed with the butterfly and inscribed ''imp'' in pencil on the tab, etching 8 1/8 x 11 7/8 in. (20.6 x 30.2cm) Dowdeswell and Dowdeswell, publisher. [Kennedy 197] provenance: Harlow, McDonald & Co., New York, New York. From the Estate of former Pennsylvania Governor William W. Scranton and First Lady Mary L. Scranton. note: According to the Harlow, McDonald & Co. label verso, the present etching is ''Kennedy Catalogue No. 197 VIII-IX''.

Condition Report: In very good overall condition, the (apparently full) sheet affixed on verso at/near each corner to the undermat, with the sheet fully viewable, set within the overmat. The sheet has not been lifted off of the undermat to which it is affixed. At the bottom edge of the sheet at far right, the sheet has a small vertical tear (repairable in our opinion) that measures approximately 3/8 of one inch in length. This small tear is immediately to the left of that portion of the outer lower right corner of the sheet that is affixed to the undermat. Otherwise, we note that the top portion of the sheet just below the top edge appears to be very slightly lighter in tone than surrounding areas of the upper image; an area just below top edge of sheet at center left is slightly curled upward; sheet displays some slight, unobstrusive cockling/very slight handling creases at right, in approximately upper two-thirds of sheet; very outer edges of sheet are slightly unevenly trimmed in places - i.e. the width and length of sheet is not perfectly symmetrical throughout to the centimeter; at bottom edge of sheet in outer margin near center there is an approx. 1/16 inch loss to sheet. The latter tiny loss, almost imperceptible, does not touch the image. The printed image is in overall fine condition. Frame: 15 3/5 x 19 1/5 x 0 7/8 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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THOMAS HART BENTON, (AMERICAN 1889-1975),

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Description: THOMAS HART BENTON (american 1889-1975) "CRADLING WHEAT" 1939. Edition of 250. Pencil signed in the margin, lithograph, unframed Image size: 9 1/2 x 11 7/8 in. (24.1 x 30.2cm) Sheet size: 11 3/4 x 15 3/4 in. (29.8 x 40cm) Associated American Artists, publisher. [Fath 27] provenance: Private Collection, Pennsylvania. By descent in the family. Private Collection, Pennsylvania.

Condition Report: Exellent overall condition, the (apparently) full sheet with margins on all sides, with two tape pieces at top edge right, and two tape pieces at top edge left - on front of sheet in top margin - affixed to the undermat. There is some very pale, almost not visible light staining. Outer edges of the margin all with slight deckling, with bottom edge of sheet having more deckling than the other three outer edges of the sheet, and with top margin being narrower than other three margins (but with no indication that top margin is reduced in any way). A crisp, clean image with no apparent restoration or repair. With 'G.C.M.' watermark and the original 'AAA' label affixed to the overmat. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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CHILDE HASSAM, (AMERICAN 1859-1935),

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Description: CHILDE HASSAM (american 1859-1935) "LAFAYETTE STREET, NEW YORK" 1918. Edition of 59. Pencil signed with artist''s cypher bottom right, lithograph Image Size: 14 3/4 x 11 in. (37.5 x 27.9cm) Sheet size: 17 7/8 x 11 3/4 in. (45.4 x 29.8cm) [Griffith 5] provenance: Private Collection, Delaware.

Condition Report: The framed and matted sheet in generally fair to good overall condition, with three tape pieces at top edge affixed to front of sheet and taped to matting. The sheet displays some uneven cockling - does not lie perfectly flat - and has pale mat burn lines outside the image and outside of the pencil signature. Just within outer right edge of sheet at upper center there are some (removable in our opinion) tiny bits of extraneous paper. The bottom outer right edge of sheet has a slight fold (covered over by the overmat when framed). There are some scattered handling creases and paper has a watermark on verso. Frame: 21 x 16 3/4 x 1 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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THOMAS HART BENTON, (AMERICAN 1889-1975),

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Description: THOMAS HART BENTON (american 1889-1975) "WRECK OF THE OL'' 97" 1944. Edition of 250. Pencil signed in the margin, lithograph, unframed Image size: 10 1/4 x 14 7/8 in. (26 x 37.8cm) Sheet size: 12 5/8 x 17 in. (32.1 x 43.2cm) Associated American Artists, publisher. [Fath 63] provenance: Private Collection, Delaware. note: The "Ol'' 97" was a Southern Railway locomotive, officially known as "Fast Mail". In September, 1903, while on its way from Monroe, Virginia to Spencer, North Carolina, it derailed at Stillhouse Trestle near Danville, Virginia.

Condition Report: In fine overall condition, a good, rich impression with margins on all sides, unframed and with no tape hinges verso. There is very slight deckling to outer left and right edges of sheet. Very bottom outer left margin slightly narrower than rest of left margin. Top edge of sheet is slightly unevenly trimmed, measuring in width from 1 1/16 inches in width to 1 1/8 inches in width. In bottom margin, there is partial watermark: 'MADE IN *…' There is very pale light staining; there is a pinhead size spot in the top margin at right and some barely discernible pale spots in very outer lower left corner in bottom margin. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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GRANT WOOD, (AMERICAN 1891-1942),

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Description: GRANT WOOD (american 1891-1942) "FERTILITY" 1939. Edition of 250. Pencil signed in the margin, lithograph, unframed Image size: 8 3/4 x 11 3/4 in. (22.2 x 29.8cm) Sheet size: 12 x 15 3/4 in. (30.5 x 40cm) Associated American Artists, publisher. [Cole 15] provenance: Private Collection, Pennsylvania. By descent in the family. Private Collection, Pennsylvania.

Condition Report: Matted and with the original Associated American Artists label affixed to the overmat, in excellent overall condition with 'GCM' watermark, the full sheet having some deckling on all sides, a fine impression and with two small tape pieces at top edge upper right affixed to mat, and two small tape pieces at top edge upper left affixed to mat (the four in total tape pieces are affixed on the front of the sheet in the top margin on to the undermat). With extremely pale, unobtrusive light staining. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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GRANT WOOD, (AMERICAN 1891-1942),

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Description: GRANT WOOD (american 1891-1942) "MARCH" 1939. Edition of 250. Pencil signed in the margin, lithograph Image size: 9 7/8 x 11 3/4 in. (25.1 x 29.8cm) Sheet size: 10 7/8 x 13 7/8 in. (27.6 x 35.2cm) Associated American Artists, publisher. [Cole 14] provenance: Private Collection, Miami Beach, Florida.

Condition Report: Generally fair overall condition, the framed and matted sheet has brown tape pieces along each outer edge on verso affixed to mat. There are pale brown horizontal lines on verso of sheet that do not appear on the image itself. These lines on the verso of sheet are from a piece of cardboard used in the framing of the print. As the sheet is taped on the verso to the mat, we have not removed the sheet from the mat. The sheet itself has pale light staining and there are some localized foxing specks/spots and some pale brown discoloration at upper center left in part of landscape, as seen in catalogue and online photographs. Otherwise the print is in generally good condition. Frame: 16 x 20 3/4 x 1/4 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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MARTIN LEWIS, (AMERICAN 1881-1962),

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Description: MARTIN LEWIS (american 1881-1962) "ARCH, MIDNIGHT" 1930. Edition of 99. Pencil signed in the margin, drypoint, unframed Image size: 8 1/8 x 11 5/8 in. (20.6 x 29.5cm) Sheet size: 10 15/16 x 14 15/16 in. (27.8 x 37.9cm) [McCarron 84] provenance: From the Estate of Daniel W. Dietrich II.

Condition Report: In fine overall condition, a very good impression, two tape hinges at corners top edge verso, and margins on all sides. Sheet size: 10 7/8 inches to (just shy of) 10 15/16 inches x 14 7/8 to (just shy of) 14 15/16 inches. With barely perceptible pale light staining visible in some parts of inner margins and very slight localized handling creases. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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HERMANN HERZOG, (AMERICAN/GERMAN 1832-1932), PENNSYLVANIA FARM IN WINTER

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Description: HERMANN HERZOG (american/german 1832-1932) PENNSYLVANIA FARM IN WINTER Signed ''H. Herzog'' bottom right, oil on canvas 16 x 22 in. (40.6 x 55.9cm) provenance: Private Collection, New York. By descent in the family. Private Collection, New York, New York.

Condition Report: The canvas appears to be unlined; there is definitely a tack-edge lining (along the outer edges of the canvas at the stretchers). The painting is in fine overall condition with the only visible restoration appearing in an area of the sky at upper right; there is a slight impression in canvas at top from stretcher bar verso. Frame: 21 x 27 x 2 1/4 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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LOUIS ASTON KNIGHT, (AMERICAN 1873-1948), ON THE RIVER

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Description: LOUIS ASTON KNIGHT (american 1873-1948) ON THE RIVER Signed and located ''L. Aston Knight/Paris'' bottom right, oil on canvas 18 1/4 x 21 3/4 in. (46.4 x 55.2cm) provenance: Private Collection, United Kingdom. Freeman''s, sale of June 8, 2014, lot 51. Acquired from the above. Private Collection, Pennsylvania.

Condition Report: The unlined canvas in excellent original condition; slight hue variations in the sky under u.v. light a result of pigments used, and not restoration; a tiny chip of paint is missing at part of very outer left edge of canvas. Frame: 23 1/2 x 27 x 2 1/2 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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JOHN WILLIAM HILL, (AMERICAN 1812-1879), HORSE CART ALONG THE RIVER

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Description: JOHN WILLIAM HILL (american 1812-1879) HORSE CART ALONG THE RIVER Signed ''J.W. Hill'' bottom left, watercolor on paper laid to card 11 3/4 x 18 in. (29.8 x 45.7cm) provenance: From the Estate of former Pennsylvania Governor William W. Scranton and First Lady Mary L. Scranton.

Condition Report: Framed and matted, this watercolor is in generally good condition. The outer bottom and outer right edges of the sheet have thin brown lines of toning from the overmat. The sheet itself is laid down to card. At some point, it is conceivable that the colors of the watercolor may or may not have been a bit lighter and brighter. In part of the water at lower center and lower center right, there is very slight color variation and very slight texture variation, potentially indicative of some repainting. Frame: 19 1/4 x 25 1/4 x 1 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ALEXANDER HELWIG WYANT, (AMERICAN 1836-1892),

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Description: ALEXANDER HELWIG WYANT (american 1836-1892) "AUTUMN GLOW" Signed ''A.H. Wyant'' bottom right, oil on canvas 37 x 49 1/2 in. (94 x 125.7cm) provenance: Private Collection, Pennsylvania.

Condition Report: The unlined canvas in apparently unrestored original condition, apart from mechanical damages as seen in catalogue and online photograph. The canvas itself, while unlined, is housed in a frame which is backed with wood panel, but the canvas is NOT laid down to the wood panel. We see no evidence of any restoration to the painting, which appears very clearly in need of cleaning. The mechanical damages to the painting include minor abrasions/slight losses at the approximately lower left quadrant of the canvas, along with the more visible scratches/loss/torn canvas at center right. The latter is roughly in the shape of an inverted letter 'U.' The area of damage, comprising two vertical linear areas and one horizontal linear area, all joined, measures approx.: 3 1/2 inches x 3 3/8 inches x 3 1/8 inches. There is visible associated paint loss at part of this damaged area. The top portion of the damage at top left includes an approx. 3/4 inch tear in the canvas, and an area approx. 1/2 x 1/8 inch of missing canvas. We believe that the aforementioned damaged areas can be professionally restored. Frame: 47 x 54 x 2 1/2 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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CLIFFORD PREVOST GRAYSON, (AMERICAN 1857-1951),

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Description: CLIFFORD PREVOST GRAYSON (american 1857-1951) "EFFET DE SOLEIL" Signed, located and dated ''Clifford P Grayson/Pont Aven 82'' lower right, oil on canvas 24 x 20 in. (61 x 50.8cm) provenance: Private Collection, Massachusetts.

Condition Report: The relined canvas in generally good overall condition apart from some visible thin surface crazing and craquelure in areas of the sky, with some of those areas with thin, precise retouch. Otherwise, painting appears to be unrestored. Frame: 30 x 26 x 1 3/4 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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THOMAS MORAN, (AMERICAN 1837-1926), COASTAL VIEW

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Description: THOMAS MORAN (american 1837-1926) COASTAL VIEW Signed and dated ''T. Moran 1859'' bottom right, oil on canvas 22 1/8 x 37 5/8 in. (56.2 x 95.6cm) provenance: Private Collection, Philadelphia, Pennsylvania. By descent in the family. Private Collection, Virginia. note: The present painting is to be included in Phyllis Braff''s and Stephen L. Good''s forthcoming catalogue raisonné of works by Thomas Moran.

Condition Report: The relined canvas in fair to good overall condition, with prominent craquelure throughout. Under u.v. light, some of the areas of the canvas with dark pigment, including the sky at upper center and part of the landscape at far right appear dark under u.v. light due to pigments used, and not due to restoration, in our opinion. Otherwise the painting has some generally very minor scattered retouch. Frame: 32 x 48 x 3 1/2 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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JOHN FERY, (AMERICAN/AUSTRIAN 1859-1934), MOUNT TIMPANOGOS, NORTH FACE

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Description: JOHN FERY (american/austrian 1859-1934) MOUNT TIMPANOGOS, NORTH FACE Signed ''J. Fery'' bottom right, oil on canvas 38 x 25 3/4 in. (96.5 x 65.4cm) provenance: The Collection of Olof Henry Nelson, Utah, c. 1920s. By descent in the family to his wife, Naomi Passey Nelson. By descent in the family to her daughter, Patricia Nelson Checketts. By descent in the family. Private Collection, Utah. note: A well-known and beloved landmark for those who live in Utah, particularly in the areas surrounding Salt Lake City and Provo-Orem, along what is referred to as the "Wasatch Front", Mount Timpanogos is part of the Wasatch Mountain range. The present painting depicts the north face of the mountain, where the famous Timpanogos Cave National Monument is also located. In 1910, Fery was hired by Louis W. Hill and the Great Northern Railway to paint scenes of Glacier National Park in Montana. The paintings were subsequently used as promotional material for tourists to ride the train and stay at the chalets and lodges built by the Railway between 1910 and 1915. Similarly, Fery was commissioned by Southern Pacific Railway to paint Californian scenes such as Yosemite and Lake Tahoe. Eventually settling in Salt Lake City, Fery continued painting landscapes of his environs. The present work was executed by Fery after a month camping near what is known today as American Fork Canyon and its northward branch called Tibble Fork, and shows a view of that area. This painting will be accompanied by a copy of a letter from the Inter Mountain Art Company to the previous owner, Olof Nelson, written in 1932.

Condition Report: In fine to excellent overall condition with no restoration except for one retouched area at left near left frame edge. The canvas does not appear to be relined. Frame: 41 x 28 3/4 x 1 3/4 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ATTRIBUTED TO SUSAN CATHARINE WATERS, (AMERICAN 1823-1900), TWO SQUIRRELS EATING STRAWBERRIES WATCHED BY A CAT

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Description: ATTRIBUTED TO SUSAN CATHARINE WATERS (american 1823-1900) TWO SQUIRRELS EATING STRAWBERRIES WATCHED BY A CAT Oil on canvas 20 x 16 in. (50.8 x 40.6cm) provenance: Private Collection, New Jersey.

Condition Report: Unlined, in generally fair to good overall condition, with most of the painting in unrestored original condition and with part of the painting having some restoration. There are three patches at lower center left with some associated retouch and restoration. The restoration to the painting is largely in parts of the left half of the canvas, and is found to parts of the squirrel at left, a slight amount of retouch to part of the tail of the squirrel at right, minor retouch at upper left corner, including to parts of cat, and an approx. 8 inch long vertical linear area of retouch within the outer left edge of canvas, in the lower left half of the painting. Frame: 26 1/4 x 22 1/4 x 3 1/2 Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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SEVERIN ROESEN, (AMERICAN 1815-1872), STILL LIFE WITH FRUIT AND CHAMPAGNE

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Description: SEVERIN ROESEN (american 1815-1872) STILL LIFE WITH FRUIT AND CHAMPAGNE Signed ''SRoesen'' (conjoined) bottom right, oil on canvas 17 3/16 x 22 1/4 in. (43.7 x 56.5cm) provenance: Private Collection, Pennsylvania.

Condition Report: In generally good overall condition, apart from some areas having retouch and restoration. The canvas also has some surface craquelure and there are some generally minor impressions from the stretcher bars verso. On the back of the canvas are three small squarish patches with corresponding restoration. The three patches are located at lower center, upper center right and upper center. The restoration associated with the patch at upper center is located at a green leaf near the upper center of the canvas. The restoration associated with the patch at lower center is largely located to parts of the yellow apple at lower center. The restoration at center right is to several of the grapes in that area. Some of the restoration in the patched areas extends beyond/includes some retouch to areas close to, but not directly at the patches, including at upper center and at lower center. There is additional minor retouch in localized areas of canvas, including to parts of apple at lower center left, minor retouch at upper left, slight retouch to upper center in background below top of frame, and one of ends of vines is strengthened at upper center below top of frame. There are areas of the painting at/near bottom of canvas, and in a square-shaped area beneath the edge of the shelf at lower left that are dark under u.v. light, juxtaposed against areas that are pale green under u.v. light. We believe that the areas that read as dark under u.v. light are not areas of restoration; instead we believe they are areas wherein the varnish has been selectively removed/wiped, leaving a somewhat streaky appearance in some areas at bottom edge of canvas. Frame: 21 1/2 x 26 1/2 x 1 3/4 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ELIZABETH O''NEILL VERNER, (AMERICAN 1883-1979), FLOWER SELLER

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Description: ELIZABETH O''NEILL VERNER (american 1883-1979) FLOWER SELLER Signed ''Elizabeth O''Neill Verner'' bottom right, pastel on silk laid on board 16 1/4 x 12 1/4 in. (41.3 x 31.1cm) provenance: Private Collection, Philadelphia, Pennsylvania.

Condition Report: Framed under glass, in fine overall condition, retaining bright, fresh colors. Backing is board is slightly warped - it does not lie perfectly flat, although it is very slight planar distortion, particularly as viewed housed in frame and under glass. We see no evidence of restoration. There are some minor surface losses at parts of upper right outer edge, and parts of top outer edge - about four such spots roughly the size of, or just larger than, pinheads, along with some tinier associated spots of surface loss. These minor losses are all in the background, near right/top edges of work, and do not touch the drawn composition itself. In these areas the ground onto which the work is laid is exposed - a pale brown in color. Frame: 17 3/4 x 14 x 3/4 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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DAVID DAVIDOVICH BURLIUK, (AMERICAN/UKRAINIAN 1882-1967), STILL LIFE OF FLOWERS IN A LANDSCAPE

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Description: DAVID DAVIDOVICH BURLIUK (american/ukrainian 1882-1967) STILL LIFE OF FLOWERS IN A LANDSCAPE Signed ''Burliuk'' bottom right, oil on canvas 24 x 20 in. (61 x 50.8cm) provenance: Private Collection, New York.

Condition Report: The unlined canvas in excellent original condition; hue variations under u.v. light due to pigments used, and are not restoration. Frame: 28 3/4 x 24 5/8 x 1 3/8 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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THEODORE WORES, (AMERICAN 1860-1939),

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Description: THEODORE WORES (american 1860-1939) "A HARBINGER OF SPRING, ALMOND BLOSSOMS" Signed ''Theodore Wores'' bottom left; also signed, titled and located ''Los Altos, Calif.'' verso, oil on canvas 12 1/4 x 16 in. (31.1 x 40.6cm) provenance: Private Collection, Florida.

Condition Report: Excellent original condition; the unlined canvas with a tack hole at outer upper left corner (presumably the work of Wores himself). There is no visible restoration. There is some very slight uneven tack near bottom of canvas and slight impressions in places from stretcher bars. Frame: 18 1/8 x 22 1/8 x 2 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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JANE PETERSON, (AMERICAN 1876-1965), WHITEHALL, LONDON

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Description: JANE PETERSON (american 1876-1965) WHITEHALL, LONDON Signed ''Jane Peterson'' bottom right, oil on canvas 24 1/8 x 18 1/8 in. (61.3 x 46cm) provenance: Private Collection, Maryland.

Condition Report: The unlined canvas framed under glass in excellent original condition. Under u.v. light, the light brown top of tower, and a small area to its left, appear darker under u.v. light. The light brown at top of tower is unrestored: its appearance under u.v. light is due to the nature of the pigment and is not restoration. The small area to the left of the top of tower appears to be either dirt, or possibly a small amount of foreign material under the glass. It does not appear to be restoration. The painting has not been examined from out of its frame, and from under the glass. We therefore view the painting as being unrestored. Frame: 27 3/4 x 25 7/8 x 1 5/8 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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RICHARD LORENZ, (AMERICAN 1858-1915),

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Description: RICHARD LORENZ (american 1858-1915) "WISCONSIN WINTER" Signed and dated ''R. Lorenz 1905'' bottom left, oil on canvas 22 x 30 in. (55.9 x 76.2cm) provenance: Private Collection, Milwaukee. By descent in the family. The Collection of Mrs. Henry Schoellkopf. Private Collection, Virginia. exhibited: "Richard Lorenz", Milwaukee Art Center, Milwaukee, Wisconsin, May 26 - July 5, 1966.

Condition Report: The unlined canvas with no restoration visible under u.v. light; there is visible surface craquelure. Frame: 26 1/4 x 34 1/8 x 1 5/8 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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FREDERICK J. MULHAUPT, (AMERICAN 1871-1938),

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Description: FREDERICK J. MULHAUPT (american 1871-1938) "COVERED BRIDGE, STOWE, VERMONT" Signed ''Mulhaupt'' bottom left; also inscribed with title verso, oil on canvasboard 16 x 20 in. (40.6 x 50.8cm) provenance: Private Collection, Pennsylvania.

Condition Report: Excellent original condition; no restoration visible under u.v. light; we note that the board has a slight outward bowing. Frame: 22 x 26 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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EDWARD DUFNER, (AMERICAN 1872-1957),

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Description: EDWARD DUFNER (american 1872-1957) "AFTERNOON IN SUMMER" Signed ''Edward Dufner A.N.A.'' bottom right, oil on canvas 24 x 30 in. (61 x 76.2cm) provenance: Property of the Goodall family, Sanford, Maine, since 1920s. By descent in the family. Private Collection, Florida. note: A leading American Impressionist, Dufner was referred to by his fellow artists as the "Painter of Sunshine". The idyllic landscapes for which he is most known are imbued with warmth, light, and color. The present painting, depicting an outdoor scene on a riverbank with children and waterfowl, is a quintessential example of Dufner''s oeuvre. According to a label verso, this painting is referenced as being a cover illustration for a magazine or book, though the exact publication is unknown.

Condition Report: The unlined canvas in fine overall condition apart from two areas of restoration and a tiny area of retouch. The two restored areas are located in parts of tree leaves, one at lower center - with a patch corresponding on verso - and one at lower center right. There is a minor area with retouch at lower center left in the foreground. The canvas has some localized, slight, unobtrusive craquelure. The figures and the rest of the canvas are in original unrestored condition. Frame: 29 x 35 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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JONAS LIE, (AMERICAN/NORWEGIAN 1880-1940), HARBOR SCENE

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Description: JONAS LIE (american/norwegian 1880-1940) HARBOR SCENE Signed ''Jonas Lie'' bottom right, oil on canvas 30 x 45 1/4 in. (76.2 x 114.9cm) provenance: Private Collection, Pennsylvania. exhibited: Pennsylvania Academy of the Fine Arts, n.d.

Condition Report: The unlined canvas in excellent original condition; we note the appearance of tiny whitish 'spots' in portions of roughly the lower half of canvas. These 'spots' are not indicative of restoration. Frame: 35 7/8 x 50 3/4 x 2 1/2 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ANTHONY THIEME, (AMERICAN 1888-1954),

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Description: ANTHONY THIEME (american 1888-1954) "ROCKPORT HARBOR" Signed ''A Thieme'' bottom left; also with artist and title on (partial) label verso, oil on canvas 25 1/4 x 30 1/2 in. (64.1 x 77.5cm) provenance: Grand Central Art Galleries, New York, New York. Private Collection, Pennsylvania.

Condition Report: Excellent original condition, apart from the canvas being relined and some uneven protruding of canvas at lower left. Frame: 35 3/4 x 40 1/2 x 2 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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EMILE ALBERT GRUPPE, (AMERICAN 1896-1978),

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Description: EMILE ALBERT GRUPPE (american 1896-1978) "FOGGY DAY, GLOUCESTER" Signed ''Emile A. Gruppe'' bottom left; also inscribed with title on stretcher verso, oil on canvas 30 x 36 in. (76.2 x 91.4cm) provenance: Private Collection, Delaware.

Condition Report: The unlined canvas in excellent original condition. Frame: 38 x 44 x 1 1/4 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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LEON KROLL, (AMERICAN 1884-1975),

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Description: LEON KROLL (american 1884-1975) "LANDSCAPE (WITH FARM AND LAKE)" Inscribed with artist and title on stretcher verso, oil on canvas 22 1/8 x 32 in. (56.2 x 81.3cm) provenance: Private Collection, Pennsylvania.

Condition Report: The relined canvas in generally good overall condition apart from having (apparently) newer stretchers and some areas of scattered restoration in parts of sky and trees at left. Frame: 33 3/8 x 39 1/2 x 1 1/4 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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LEON KROLL, (AMERICAN 1884-1975),

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Description: LEON KROLL (american 1884-1975) "GREEN CHAIR" Signed ''Leon Kroll'' bottom right; also inscribed with title and date ''1947'' on stretcher verso, oil on canvas 22 x 18 in. (55.9 x 45.7cm) provenance: Private Collection, Pennsylvania.

Condition Report: The relined canvas in generally fair to good overall condition with areas of restoration, including at upper left to parts of wall, parts of upper portions of white curtains, other areas of wall, including some localized areas at left and areas at right (and part of crown molding at far right below wall). There is some minor retouch to parts of chair and a slight line of retouch to figure's cheek. Frame: 27 5/8 x 23 1/2 x 1 1/4 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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LEON KROLL, (AMERICAN 1884-1975),

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Description: LEON KROLL (american 1884-1975) "SALLY" Signed ''Leon Kroll'' bottom right, also with artist, title and date ''1947'' on stretcher bar verso, oil on canvas 18 x 24 in. (45.7 x 70cm) provenance: Berry-Hill Galleries, New York, New York. Private Collection, Pennsylvania.

Condition Report: The relined canvas in generally good condition with very minor retouch in areas of upper center, upper center right below top of frame. We note some minor residual varnish to part of figure's right leg. Frame: 23 x 29 1/8 x 1 3/4 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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LEON KROLL, (AMERICAN 1884-1975),

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Description: LEON KROLL (american 1884-1975) "FLOWERS" Signed ''Leon Kroll'' bottom right, also with artist, title, and date ''c. 1945'' on label verso, oil on canvas laid to panel 22 x 13 in. (55.9 x 33cm) In a Lowy frame provenance: Gerald Peters Gallery, New York, New York. Private Collection, Pennsylvania.

Condition Report: On canvas laid to panel, housed in a LOWY frame, in generally very good overall condition apart from two minor restored areas to parts of white flowers at upper center. There may or may not be some retouch to parts of the background and to parts of the window frame at upper right, as the latter areas of the painting appear slightly darker under u.v. light - which may well be a result of the pigments used and not restoration. Frame: 33 1/2 x 27 1/2 x 1 3/4 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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AARON HARRY GORSON, (AMERICAN 1872-1933), HUDSON RIVER, PALISADES IN THE DISTANCE

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Description: AARON HARRY GORSON (american 1872-1933) HUDSON RIVER, PALISADES IN THE DISTANCE Signed ''AH Gorson'' bottom right, oil on canvas 21 x 30 in. (53.3 x 76.2cm) provenance: Private Collection, New Jersey.

Condition Report: The relined canvas in very good overall condition. There is some visible but slight surface craquelure in the sky, some minor scattered retouch to parts of the sky, and there is some retouch and restoration to areas of the river, mostly at left, including a restored area at river in lower left corner. Frame: 31 3/8 x 37 3/8 x 2 1/4 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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JOHN FABIAN CARLSON, (AMERICAN/SWEDISH 1875-1947),

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Description: JOHN FABIAN CARLSON (american/swedish 1875-1947) "ICEBOUND RIVER" Signed ''John F. Carlson'' bottom left; also inscribed with artist, title, located ''New York'' and dated ''1931'' on stretcher verso, oil on canvas 25 x 30 in. (63.5 x 76.2cm) provenance: Private Collection, Connecticut.

Condition Report: The unlined canvas in excellent original condition. Frame: 28 1/2 x 37 1/4 x 1 1/34 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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RICHARD ALAN SCHMID, (AMERICAN B. 1934),

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Description: RICHARD ALAN SCHMID (american b. 1934) "MR. GREZEL''S HOUSE, GAYLORDSVILLE, CONNECTICUT" Signed ''Schmid'' bottom right; also signed and inscribed with title and date ''1960'' verso, oil on canvas 24 x 30 in. (61 x 76.2cm) provenance: Private Collection, Maryland.

Condition Report: The unlined canvas in excellent original condition. Frame: 33 1/2 x 39 1/2 x 2 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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WINOLD REISS, (AMERICAN 1886-1953),

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Description: WINOLD REISS (american 1886-1953) "CHIEF BUFFALO HIDE"; "BOB RIDING HORSE AND CHIEF SHOT BOTH SIDES"; "MIKE LITTLE DOG" (TRIPTYCH) Each gouache on illustration board 30 3/8 x 23 1/4 in. (77.2 x 59.1cm) 30 3/8 x 28 3/4 in. (77.2 x 73cm) 30 3/8 x 23 1/4 in. (77.2 x 59.1cm) (3) provenance: The Artist. Given by the above to Mr. Otto Baumgarten, New York, New York. Acquired from the above by Mr. and Mrs. Oliver Rollinson. By descent in the family. Private Collection, North Carolina. note: Winold Reiss was born in Karlsruhe, Germany and educated at the Royal Academy of Fine Art in Munich under Franz Stuck, as well as at the Kunstgewerbeschule under Julius Diez. In the early 20th century, much of Europe was quickly modernizing, and the dominant German artistic movement being taught was Jugendstil, or "youth style", considered the German equivalent of the French Art Nouveau. This style did not firmly delineate between fine art and design; it emphasized bold lines, bright colors, flat surfaces, and various design motifs integrated into works of fine art. Reiss adeptly melded this modernist sense of style and design into his skillfully rendered portraits of Native Americans, as seen in the present work. The artist possessed an affinity for Native American culture, particularly because of his close relationship with the members of the Blackfoot Reservation near Glacier National Park in Montana. Living alongside the Blackfoot from 1927-1928, he was given the Indian name of "Beaver Child" and honorably accepted into the tribe, an extremely rare accolade for a white man. According to Professor Jeffery C. Stewart, Reiss was intent on using his work to prove the monumental relevance and integral nature of the American Indian in American history as a whole, regardless of the rapidly industrializing and modernizing society. Unlike other artists of this time such as Seth Eastman and Charles Russell, who chose to depict Native Americans as a romantic vision of a past and disappearing nation, Reiss resisted this inclination and instead chose to insert his sitters into Jugendstil-inspired environs. Reiss originally created these works as studies for a mosaic mural slated to be installed in the Chrysler Building in New York City, rendering this triptych in full color and fine detail. Similarly, his studies for other commissions, such as the mosaic which came to fruition and is in the Cincinnati Union Terminal, were executed as closely to the finished product as possible, so the client could actively visualize them as they would look when complete. Unfortunately, the stock market crash of 1929 caused the Chrysler commission to be cancelled due to financial constraints, and the mosaic was never completed. Nevertheless, each sitter is identifiable and each of them was depicted more than once by Reiss throughout his career. In 1927 Reiss painted another portrait of Chief Buffalo Hide, who is represented in the left panel. Only photographs remain of this portrait, which shows clear gridlines on the canvas, suggesting that Reiss intended to transfer the smaller image into a larger format for the mosaic mural. The two figures in the middle panel, Bob Riding Horse and Chief Shot Both Sides, are rendered in the present studies in exactly the same way as they are in two other oil paintings executed in Glacier National Park in 1928. These two paintings are illustrated in Jeffery Stewart''s book Winold Reiss: An Illustrated Checklist of His Portraits (Washington D.C.: Smithsonian, 1990) on pages 84 and 87. Similarly, another version of the portrait of Mike Little Dog (also known as Emetagna, seen in the right-hand panel) is documented in photographs of an oil portrait that has remained unlocated. Interestingly, Reiss completed an actual mosaic of Mike Little Dog which exists in the collection of the Wolfsonian Foundation in Miami, Florida. These works are of substantial historical significance, exhibiting Reiss''s overlapping position as both fine artist and portraitist with his role as a modernist interior designer. Created during the late 1920s, they are the first located examples of Reiss''s Native American portrait studies for commercial design projects. Other projects include murals in several restaurants in New York City, Chicago''s Apollo Theatre and the South Sea Island Ballroom in Hotel Sherman (both 1921), the Woolaroc Museum in Oklahoma (1946) and the Santa Fe Railroad Ticket office in Kansas City, Missouri (1951).

Condition Report: Overall, this lot is in very good to excellent condition with no evidence of which we are aware of any restoration. Slight imperfections, mostly located in the unpainted very outer margins are minor and essentially unobtrusive. Left panel - in fine overall condition with rich, fresh colors. Slight hue variations in parts of the very outer unpainted borders of work suggests that there may be some pale toning, as outer portions of unpainted top/bottom edges of the board are slightly lighter in color than the rest of the unpainted borders. The small cluster of unpainted specks at upper center contained within the painted white area does not, in our opinion, represent paint loss. Instead, these unpainted small areas are left unpainted by Reiss's design. There is some very slight upward curling of the very outer surface layer of the board at outer edges in the unpainted borders - not in the painted areas. There is a thin, slight, unobtrusive linear surface cut at bottom margin, far right, in the unpainted outer border - not touching the painted area Center panel - in fine overall condition with rich, fresh colors. Slight hue variations in parts of the outer unpainted borders of work suggests that there may be some pale toning. There is a slight lifting of the very outer edge of the board with associated slight breakage of the very outer layer of the board - all in the very outer unpainted border at outer right edge, in the lower half of the work (there is no lifting of the surface of the board or any breakage to the outer surface of the board in any of the painted areas). In portions of the teepees, there are some slight hue imperfections that are visible. These imperfections may be original and may not represent condition defects. They include: very slight pale brownish discoloration in specific, localized areas in parts of the center panel of the center teepee (which is unpainted), and a similar pale brownish small area of discoloration to an area at part of the unpainted teepee at far right. Also to teepee at far right, between the two lowest horizontal painted color bands, there is a very slight, almost imperceptible thin, linear surface mar - origin unknown - which is horizontal, minor and whitish in color. There are some slight whitish specks, and some approximately pinhead size reddish specks visible to parts of the teepees Right panel - in fine overall condition with rich, fresh colors. Slight hue variations in parts of the outer unpainted borders of work suggests that there may be some pale toning. There is some slight lifting of the very outer edge of the board in parts of the unpainted outer borders, as is the case with the outer left and center panels of this lot. There are two small punctures to the outer edges of the lower left unpainted border, one small puncture to the outer edge of the top unpainted border, and one small puncture to the outer edge of the right unpainted border. Frames: (2) 38 x 31 in. (1) 37 3/4 x 36 1/2 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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GARY LAWRENCE NIBLETT, (AMERICAN B. 1943),

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Description: GARY LAWRENCE NIBLETT (american b. 1943) "ONE HORSE STORE" Signed and dated ''© Gary Niblett ''89'' bottom left; also signed and titled verso, oil on canvas 16 x 20 in. (40.6 x 50.8cm) provenance: Fenn Galleries, Ltd., Santa Fe, New Mexico. Private Collection, New Jersey.

Condition Report: Excellent original condition; unlined. Frame: 23 3/4 x 27 3/4 x 2 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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RAPHAEL LILLYWHITE, (AMERICAN 1891-1958), COWBOYS IN A MOUNTAIN LANDSCAPE

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Description: RAPHAEL LILLYWHITE (american 1891-1958) COWBOYS IN A MOUNTAIN LANDSCAPE Signed and dated ''Raphael Lillywhite/ 1949'' bottom left, oil on board 30 x 35 7/8 in. (76.2 x 91.1cm) provenance: Private Collection, Connecticut.

Condition Report: Excellent original condition. Frame: 35 1/2 x 41 3/4 x 1 1/4 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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BESSIE POTTER VONNOH, (AMERICAN 1872-1955),

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Description: BESSIE POTTER VONNOH (american 1872-1955) "GIRL READING" Signed and numbered ''Bessie Potter/no. XIII'' on base; also inscribed ''Copyright 1903''; also with ''Roman Bronze Works N.Y.'' foundry mark, bronze with brown patina Height: 9 1/4 in. (23.5cm) provenance: Private Collection, Rhode Island.

Condition Report: In fine overall condition with no evidence of any restoration or losses; there are some variations in patina hue as seen in catalogue photograph - (not a defect) - and slight rubbing to some localized areas, including to part of dress over right leg and a small area at top of head. There is some minor verdigris on part of back of chair. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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FREDERIC REMINGTON, (AMERICAN 1861-1909)

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Description: FREDERIC REMINGTON (american 1861-1909) "THE BRONCHO BUSTER" Signed ''Copyright by Frederic Remington'' on base; also with ''Roman Bronze Works N.Y.'' foundry mark; also inscribed ''N 128'' under base, bronze with brown patina (some damage to whip) Height: 22 in. (55.9cm) provenance: Private Collection, New York. literature: Michael Edward Shapiro, Peter H. Hassrick et al., Frederic Remington: The Masterworks, New York: Harry N. Abrams for the Saint Louis Art Museum and Buffalo Bill Historical Center, 1988, p. 172, pls. 47-48 (another cast illustrated). note: One of the most recognizable sculptures by Remington, "The Broncho Buster" was executed in 1895 and copyrighted later that year. At this time Remington had just begun to break away from two dimensional works and turn to sculpture, and the present bronze portrays a rugged, Western frontier character in a dynamic pose, the bronco rearing and the cowboy hanging on fiercely to both reins and mane. Remington famously presented another cast of the present work to President Theodore Roosevelt, who organized the "Rough Riders" in 1898. The first voluntary cavalry in the Spanish-American War, they were comprised of cowboys, miners, law enforcement officers and Native Americans. The Rough Riders participated in various battles during this war, and are best remembered for their charge up San Juan Hill in July, 1898. "The Broncho Buster" is notable and related to those who fought with the Rough Riders who bravely rode horses and defended America under Roosevelt.

Condition Report: In excellent overall condition; a fine cast with detailed modeling and no visible restoration. As noted in the auction catalogue and on the website, there is some damage to the whip held by the rider. Specifically, there is a break (certainly reparable) in the whip beneath the handle, so that the entire whip is not fully attached. In the catalogue and online photograph, a portion of the thin whip cord is balanced on the whip handle. The portion of the whip handle, and the area just beneath the whip handle that fits in the rider's right hand measures less than 3 inches in length. The whip handle/portion of the whip beneath the handle requires adhering to the thin whip cord. Dimensions: H 22 x W 10 x D 18 1/4 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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FREDERIC REMINGTON, (AMERICAN 1861-1909),

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Description: FREDERIC REMINGTON (american 1861-1909) "THE SAVAGE" Signed and dated ''Frederic Remington/1908'' on base; also inscribed ''Copyright 1908/Frederic Remington''; also with ''Roman Bronze Works N.Y.'' foundry mark; also inscribed ''No. 7'' under base, bronze with brown patina Height: 10 3/4 in. (27.3cm) provenance: Private Collection, Maryland. literature: Michael Edward Shapiro, Peter H. Hassrick et al., Frederic Remington: The Masterworks, New York: Harry N. Abrams for the Saint Louis Art Museum and Buffalo Bill Historical Center, 1988, p. 211, pl. 63 (another cast illustrated).

Condition Report: Excellent overall condition with fine modeling and detail; no evidence of any restoration or losses. Dimensions: H 10 3/4 x W 6 1/2 x D 6 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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HARRIET WHITNEY FRISHMUTH, (AMERICAN 1880-1980),

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Description: HARRIET WHITNEY FRISHMUTH (american 1880-1980) "WOLFHOUND (ZONOZA)" Signed ''Harriet W. Frishmuth'' on rear edge; also with ''Gorham Co. Founders QFQZ'' foundry mark, bronze with brown patina Length: 7 1/4 in. (18.4cm) provenance: Private Collection, Virginia. literature: Conner, Lehmbeck & Tolles, Captured Motion: The Sculpture of Harriet Whitney Frishmuth, A Catalogue of Works, New York: Christies/Hohmann Holdings, 2006, no. 1927:1, p. 253, (another cast illustrated).

Condition Report: Fine overall condition with no evidence of any restoration or loss. Dimensions: H 1 3/4 x W 7 1/4 x D 4 1/2 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ALBERT LAESSLE, (AMERICAN 1877-1954),

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Description: ALBERT LAESSLE (american 1877-1954) "REPLETION" Signed ''LAESSLE'' on marble base; also with ''Roman Bronze Works N.Y.'' foundry mark, bronze with brown patina Height: 3 3/4 in. (9.5cm) provenance: Private Collection, Arizona.

Condition Report: Fine overall condition with no evidence of any restoration or loss; a fine cast with good modeling. Dimensions: H 3 3/4 x W 2 7/8 x D 2 7/8 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ANNA VAUGHN HYATT HUNTINGTON, (AMERICAN 1876-1973), GREYHOUNDS AT PLAY

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Description: ANNA VAUGHN HYATT HUNTINGTON (american 1876-1973) GREYHOUNDS AT PLAY Signed and dated ''Anna Hyatt Huntington 1936'' on base; also with ''The Gorham Co.'' foundry mark on base, bronze with verdigris patina Height: 38 1/2 in. (97.8cm) provenance: Sotheby''s, New York, sale of March 15, 2000, lot 77. The Estate of George A. Weymouth, Chadds Ford, PA. note: Anna Huntington is a celebrated American sculptor, especially well known as a master animalier. She completed many public monuments and was the recipient of numerous awards and much international recognition, including the life-sized equestrian statue of Joan of Arc which earned her the merit of Chevalier of the Legion of Honour in 1933, and the widely appealing and popularly replicated Diana of the Chase, which won the National Academy of Design''s Saltus Medal for Merit in 1922. The daughter of a professor of zoology and paleontology at both Harvard and MIT, Huntington was heavily influenced by her father''s work. Her extensive knowledge of animal anatomy and behavior is evident in her sculpting. Generous philanthropists, the artist and her husband Archer Milton Huntington supported various art museums and wildlife initiatives across the country, as well as created the country''s first sculpture garden, Brookgreen Gardens, in South Carolina.

Condition Report: In generally fine overall condition with no evidence of any repairs; with some generally minor scattered surface imperfections/scuffs/generally small discolored areas (including a brownish area on part of base) and some variations in patina (i.e. parts of patina lack the verdigris color). H 38 1/2 x L 42 x D 16 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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NEWELL CONVERS WYETH, (AMERICAN 1882-1945),

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Description: NEWELL CONVERS WYETH (american 1882-1945) "THE DEPARTURE OF THE ROSE" (THE MOTHER OF THE HERO) Signed ''N.C. Wyeth'' bottom right; also with artist and title on label verso, oil on canvas 40 1/2 x 30 in. (102.9 x 76.2cm) provenance: The Artist. Acquired from the above by Mrs. N.C. Wyeth, 1962. Acquired from the above as a gift. The Hickman (Friends Boarding Home), West Chester, Pennsylvania. exhibited: Philadelphia, Pennsylvania, (as The Mother of the Hero), 1921. literature: Richard Layton, Inventory of Paintings in the Wyeth Studio, 1950, unpublished, Wyeth family archives, p. 9. Douglas Allen and Douglas Allen, Jr., N.C. Wyeth, The Collected Paintings, Illustrations and Murals, New York, 1972, p. 209. Christine B. Podmaniczky, N.C. Wyeth: Catalogue Raisonné of Paintings, vol. 1, London, 2008, p. 405, no. I.835, (illustrated). note: The present painting was executed in 1920 and was initially made as an illustration for Charles Kingsley''s novel Westward Ho! or, the Voyages and Adventures of Sir Amyas Leigh, Knight, of Burrough. According to the catalogue raisonné, N.C. Wyeth read and annotated an edition of the book published by Thomas Nelson & Sons, London, in 1907. The present painting includes a label from Scribner''s records, the company who later published the story with Wyeth''s paintings as illustrations. According to the label verso, this painting was to be illustrated facing p. 369 in Kingsley''s novel. Scribner''s paid Wyeth for the commission and reportedly returned the complete set of paintings to the artist in 1921.

Condition Report: The unlined canvas in fine to excellent overall condition with relatively minor amounts of localized retouch, and the vast majority of the painting in unrestored original condition. As seen in the catalogue/online photograph, there is slight mechanical damage at the very top of the canvas, just at the frame, at upper center right. In this small area there is some damage/slight loss/exposed canvas twill, though largely unobtrusive. At this area, and in an area to the right of the latter small area of mechanical damage, the canvas is dark under u.v. light, indicative of restoration. There is a small amount of retouch along a narrow part of outer right edge at center right. There is an approximately pinhead size area of fill in the sky at lower center right. There are two areas with restoration at bottom of dress. Just within the bottom outer right edge, part of the canvas has a crease. Frame: 46 1/2 x 36 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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NEWELL CONVERS WYETH, (AMERICAN 1882-1945),

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Description: NEWELL CONVERS WYETH (american 1882-1945) "AT THE DOOR OF THEIR LITTLE CABIN HE KISSED HER" Signed ''N.C. Wyeth'' bottom right, oil on canvas 34 x 25 1/8 in. (86.4 x 63.8cm) provenance: Private Collection, Pennsylvania. By descent in the family. Private Collection, Pennsylvania. literature: The Delineator magazine, February, 1912, vol. LXXIX, no. 2, p. 84, (illustrated). Douglas Allen and Douglas Allen Jr., N.C. Wyeth, The Collected Paintings, Illustrations and Murals, New York: Crown Publishers, 1972, p. 257. Christine B. Podmaniczky, N.C. Wyeth: A Catalogue Raisonné of Paintings, London: Scala, 2008, p. 231, no. I.351, (illustrated). note: According to the catalogue raisonné, the Brandywine Museum currently owns a proof of this image, which was formerly in the artist''s studio and is printed on tissue and inscribed in pencil below: ''(illegible) Chadwick SC.'' In the proof, the engraver''s hand is discernible in all light areas, notably on the chicken, the window panes, the door, and the door jamb. The present painting represents a quintessential N.C. Wyeth work, illustrating a scene of both sadness and romance in a charming, rural setting. It was used to illustrate a prize winning short story entitled "The Prairie" by Clarice Vallette McCauley, which was published in the February 1912 issue of The Delineator magazine. The tale recounts an episode in the life of a couple living on the harsh prairie, who lose their baby to the elements and struggle to triumph over the hardships of the land.

Condition Report: The unlined canvas in excellent original condition; the stretchers do not appear to be original. Frame: 41 3/4 x 33 x 1 3/4 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ANDREW WYETH, (AMERICAN 1917-2009),

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Description: ANDREW WYETH (american 1917-2009) "FROM A CUSHING WINDOW" Signed ''Andrew Wyeth'' top right, watercolor on paper 29 5/8 x 21 5/8 in. (75.2 x 54.9cm) provenance: The Artist. Acquired from the above as a gift, 1960. The Hickman (Friends Boarding Home), West Chester, Pennsylvania. exhibited: "American Watercolors, Drawings, and Prints," Metropolitan Museum of Art, New York, New York, December 5, 1952 - January 25, 1953. "Annual Exhibition," University of Nebraska, Lincoln, Nebraska, February 1, 1953. "Japanese-American Watercolor Society Combined Watercolor Exhibition," Southern Methodist University, Dallas, Texas, November 4 - 22, 1957. "Japanese-American Watercolor Society Combined Watercolor Exhibition," Toledo Museum of Art, Toledo, Ohio, January 5 - 26, 1958. "Japanese-American Watercolor Society Combined Watercolor Exhibition," Akron Art Museum, Akron, Ohio, February 4 - March 3, 1958. "Japanese-American Watercolor Society Combined Watercolor Exhibition," Isaac Delago Museum of Art, New Orleans, Louisiana, May 1 - 21, 1958. "Japanese-American Watercolor Society Combined Watercolor Exhibition," Davenport Municipal Art Gallery, Davenport, Iowa, May 4 - 25, 1958. literature: Dorothy Adlow, "From a Cushing Window," Christian Science Monitor, January 1, 1954, (illustrated). note: The present painting was presented as a gift by Andrew and Betsy Wyeth in 1960 to The Hickman Friends Senior Community of West Chester, where the artist''s aunt, Esther Brockius, resided from 1937 until the early 1950s. It hung in the main lobby along with Lot 44, a painting by N.C. Wyeth which was also a gift to The Hickman from Mrs. N.C. Wyeth in 1962. The work depicts a view looking out of a house in East Friendship, Maine, where blueberry pickers are traversing the fields. Windows were a subject matter that Andrew Wyeth often returned to, having produced more than three hundred works on the theme. The current lot is an excellent example of this body of compositions, where the artist''s complex sensibilities are made more readily apparent framed by the geometry and transparency of window panes. The present painting is to be included in the forthcoming catalogue raisonné of the artist''s work. © 2016 Andrew Wyeth / Artists Rights Society (ARS), New York.

Condition Report: Framed and in very good to excellent overall condition, the sheet sitting in frame -without tape hinges - under glass, with good color. Sheet has some uneven minor undulations, owing to the inherent qualities of the medium used. There is an approx. 1/2 inch tear at outer left edge of sheet located 11 3/4 inches below top left edge of sheet. The verso of the sheet has visible surface undulations, including a visible vertical crease at center left, some localized grayish discoloration (closer to grayish rubbing) and some adhesive residue of brown paper tape along parts of outer edges on the verso. At center left outer edge, front of sheet, below the 1/2 inch tear is a tiny amount of adhesive residue measuring approx. 7/16 x 1/8 of one inch, at widest. Also at center left edge, above the tiny amount of aforementioned residue and also below the 1/2 inch tear is an approx. 1/4 inch shaped, roughly linear loss to surface of sheet, with minor associated pigment loss. The very outer upper right corner is slightly rounded and with a tiny diagonal fold (as seen on the verso). Frame: 37 5/8 x 29 1/2 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ANDREW WYETH, (AMERICAN 1917-2009)

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Description: ANDREW WYETH (american 1917-2009) "HICKORY SMOKED" Signed ''Andrew Wyeth'' bottom right, watercolor on paper 21 1/4 x 29 3/4 in. (54 x 75.6cm) provenance: The Artist. Acquired from the above, 1966, through Knoedler Gallery, New York, New York. From the Estate of former Pennsylvania Governor William W. Scranton and First Lady Mary L. Scranton. exhibited: "Twelfth Exhibition of Contemporary American Painting and Sculpture," Krannert Art Museum, University of Illinois, Champaign, Illinois, March 7 - April 11, 1965. "Work by Newly Elected Members and Recipients of Honors and Awards," American Academy of Arts and Letters and the National Institute of Arts and Letters, New York, New York, May 20 - August 29, 1965. "Two Worlds of Andrew Wyeth: Olsons and Kuerners," Metropolitan Museum of Art, New York, New York, October 16, 1976 - February 6, 1977. literature: Betsy James Wyeth, Wyeth at Keurners, Boston: Houghton Mifflin, 1976, (illustrated). Thomas Hoving, Two Worlds of Andrew Wyeth - A Conversation with Andrew Wyeth, Boston: Houghton Mifflin, 1976, (illustrated). note: The current lot is a study for the artist''s drybrush work ''Below the Kitchen,'' and depicts the foundation arch of the kitchen fireplace in Karl Kuerner''s cellar, where a smoked ham and side of bacon hang from a ceiling hook. The Kuerner Farm in Chadds Ford, Pennsylvania, is notable for its association with the Wyeths, and became the subject and inspiration for a vast portion of Andrew Wyeth''s work over the course of seven decades. The present painting is to be included in the forthcoming catalogue raisonné of the artist''s work. © 2016 Andrew Wyeth / Artists Rights Society (ARS), New York.

Condition Report: Frame: 29 7/8 x 37 3/4 x 1 3/4 in. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ANDREW WYETH, (AMERICAN 1917-2009),

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Description: ANDREW WYETH (american 1917-2009) "BARTLETT PEAR" Signed ''Andrew Wyeth'' bottom left, watercolor on paper 23 1/2 x 18 5/8 in. (59.7 x 47.3cm) provenance: The Artist. Acquired from the above. Property of an estate, Radnor, Pennsylvania. note: The present painting was executed c. 1983, and was purchased directly from the artist in 1986. It will be accompanied by copies of the original receipt statements signed by Andrew Wyeth, and his agent Helen T. Valloti. The present painting is to be included in the forthcoming catalogue raisonné of the artist''s work. © 2016 Andrew Wyeth / Artists Rights Society (ARS), New York.

Condition Report: Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ANDREW WYETH, (AMERICAN 1917-2009), CHRISTMAS CARD WITH MOTHER ARCHIE''S CHURCH

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Description: ANDREW WYETH (american 1917-2009) CHRISTMAS CARD WITH MOTHER ARCHIE''S CHURCH Signed ''Betsy and Andy'' verso, watercolor on paper Sight size: 2 7/8 x 4 7/8 in. (7.3 x 12.4cm) provenance: Private Collection, Pennsylvania. note: The present lot is to be included in the forthcoming catalogue raisonné of the artist''s work. © 2016 Andrew Wyeth / Artists Rights Society (ARS), New York.

Condition Report: Framed and matted; the signed area is on a small piece of paper that is separate from the drawing, as seen in the catalogue and online photographs. The painted work is affixed to the mat with two tape pieces along top edge verso. The back of the painted work is inscribed in brown ink: 'Betsy and Andy.' The painted work is on a card that measures: 3 3/8 x 5 5/16 inches. The card has areas of uneven toning, pale brown at/near parts of outer left, right and bottom edgdes, and darker brown toning beneath top edge. The toning is mount staining. The painted work is in otherwise fine overall condition. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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JOHN W. MCCOY, (AMERICAN 1910-1989), RIVERSCAPE WITH WATERFOWL

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Description: JOHN W. MCCOY (american 1910-1989) RIVERSCAPE WITH WATERFOWL Signed ''John W. McCoy'' bottom right, watercolor and gouache on paper 22 x 30 in. (55.9 x 76.2cm) provenance: Private Collection, Maryland.

Condition Report: Excellent overall condition, with two tape hinges at top edge of work verso affixed to undermat, and with the upper right portion of sheet affixed (though apparently not with tape) to undermat on the verso. On the back of the sheet is some discoloration/soiling, which does not go through to the image on the front of the sheet. There is a tacking hole at upper left corner, and an apparent partial tacking hole at upper right corner (by the hand of the artist almost certainly). Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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JOHN W. MCCOY, (AMERICAN 1910-1989),

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Description: JOHN W. MCCOY (american 1910-1989) "SANDPIPERS" Signed ''John W. McCoy'' bottom left, watercolor on paper 19 1/2 x 29 1/4 in. (49.5 x 74.3cm) provenance: Private Collection, Maryland. exhibited: "154th Annual Exhibition: American Watercolors, Paintings, and Drawings," Pennsylvania Academy of the Fine Arts and The Philadelphia Water Color Club, Philadelphia, Pennsylvania, January 25 - March 1, 1959. note: The present watercolor will be accompanied by an original piece of music, written by the artist''s wife, Ann Wyeth McCoy, which was composed as a companion to the work.

Condition Report: In excellent overall condition, the sheet hinged to the undermat with two tape pieces at top edge verso. There is some very pale mount staining to parts of outer edges of sheet. Within the outer edges of the sheet are drawn pencil lines, just within the sheet edges. We do not know why these pencil lines are on the image, or if it is by artist's intention. When matted, the drawn pencil lines are not visible. On verso of sheet there is some old tape residue at parts of edges. The sheet is not evenly cut - i.e. it is not perfectly rectangular in size. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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