New & Noteworthy
Stay up to date with news, highlights, & features from across Freeman's.
Stay up to date with news, highlights, & features from across Freeman's.
Freeman’s | Hindman was honored to present a selection of Thomas Chimes’ work in Tuesday’s Art + Design auction, which achieved a strong showing with spirited bidding. The collection spanned the artist’s career and represented the major touchstones of his artistic production. Chimes’ practice often blended elements of Surrealism and Abstraction, while exploring a deeply personal aesthetic, rooted in philosophical and literary theories and motifs, and engaging the irrational and the absurd. Creating paintings, drawings, etchings, and sculpture, the artist often depicted dream-like landscapes, geometric shapes, and enigmatic symbols, challenging viewers to investigate the boundaries of reality with him. Simultaneously embodying complexity and simplicity, Chimes' work continues to resonate with collectors and art historians alike. Thomas Chimes (American, 1921-2009) | IAMBOS I, 2008 | Sold for $10,880 Over the course of his life and career, Thomas Chimes made the pursuit of his authentic voice his work, reinventing himself in the process as he moved through different phases. Chimes’ sensitivity to his time and cultural milieu expressed itself in different modes, outlined in Michael Taylor’s seminal exhibition catalogue for the retrospective exhibition at the Philadelphia Museum of Art in 2007, Adventures in ‘Pataphysics, as: Crucifixion Paintings, Metal Boxes, Panel Portraits, and White Paintings. Freeman’s | Hindman presented engaging works from each of these groups, elucidating the extraordinary depth of the artist’s work throughout his life. While Chimes’ literary and philosophical source material can appear esoteric and conceptual, his paintings remain personal, authentic, and enlightening. Thomas Chimes (American, 1921-2009) | R.L. Stevenson, 1976 | Sold for $8,960 Freeman’s is a premier American auction house offering services in multiple categories including fine art, jewelry, design, books and manuscripts, furniture, decorative arts, antiquities, couture, and Asian works of art. With 16 regional locations nationwide, the firm provides auctions, appraisals, private sales, and art advisory services, connecting clients to the global art market. Freeman’s strives to bring art, history, and design to life by connecting people with extraordinary objects through exceptional service and expertise.
Join us as we spotlight Roger Ward, Head of our Design Department. Learn about his journey in the world of design, notable achievements at Freeman’s | Hindman, personal collection favorites, and highlights of our upcoming Art + Design auction, to be held this August 19th. Freeman’s | Hindman: What originally attracted you to the world of design? Do you have an early memory tied to this form of artistry? Roger Ward: A college friend who was studying architecture built a replica of Red and Blue Chair by Gerrit Rietveld that really blew my mind, and she also sent me a space-age clock from the famed Clignancourt flea market in Paris. She taught me that design permeates everything in our daily lives. Why not surround yourself with objects that inspire you? FH: What is your favorite piece of design that you own? RW: A brutalist ceramic table lamp by Marcello Fantoni that’s really a piece of functional sculpture. Some (okay... most) may describe it as ugly, as it looks a bit like a cross-section of a brain. But to me, it’s beautiful. I’ve owned it for 20 years and finally found a matching one at the Palm Springs Modernism show this spring. As the saying goes, two brains are better than one. FH: What drew you to becoming a specialist and translating your passion into your career? RW: I’ve always been a puzzle solver, so researching pieces to figure out the designer/history is somehow fun to me. I started as a picker with an antique mall space and eventually opened a vintage modern store in Brooklyn. So, I was an auction buyer for years prior to transitioning to working for an auction house. FH: Tell us about some trends in the world of design that you are most excited about. RW: Tastes have really changed over the past five years as the focus has moved from the 1950s/60s into the 1970s/80s. Postmodernism seems to be finally finding its footing in the market, although I find it’s the most mis-used design term on Instagram. FH: Describe a typical workday for you at Freeman’s | Hindman. RW: Coffee. Then addressing emails before I dive in to putting estimates together. More coffee. Because most of my time is interacting with consignors, I try to spend some time each day connecting with buyers, and also checking out what else is selling at auction. Looking through an auction catalog to me is like going to a museum. I am continually amazed that after 25 years in the antiques world I still see things I’ve never seen before. FH: Can you describe a collection of design that you are proud to have brought to auction? RW: A collection from Denver and Aspen that features a really eclectic but curated mix of design, art, jewelry and pottery. The consignor, who was an executive at an energy company, had clearly developed her eye over decades and it was obvious that her collecting brought her great satisfaction. We will be running several of her post-modern pieces in our November Design sale, as well as in the upcoming August Art and Design sale. FH: Freeman’s | Hindman’s Art + Design sale will take place this August 19th in Philadelphia. Can you tell us about some of your favorite lots in this sale? RW: The paintbrush chairs by David Krakov (lots 9-12) have that right mix of wit and whimsy. The Morigami Jin bamboo sculpture (lot 83) is a compelling example of an ancient craft with a modern twist. And the ceramic bowl by Otto and Getrud Natzler (lot 157) really showcases their exquisite craftsmanship, and the mottled glaze is simply mesmerizing.
Half Moon Beach (Green Umbrella), currently on view at Freeman's | Hindman’s 32 East 67th St Manhattan galleries A Summer Exhibition in New York from August 11 to September 12 This summer, Freeman’s Hindman will present “The Modern Weaver,” a focused retrospective staged in New York City that reintroduces the refined, often enigmatic work of Emma Fordyce MacRae. Featuring a selection of a dozen works consigned directly from the artist’s estate through Alzheimer’s Research UK, the exhibition offers a rare opportunity to engage with paintings that have remained largely unseen by the public. Most of the works on view will be offered for sale later this season, with 100% of proceeds benefitting ongoing research into Alzheimer’s disease and other forms of dementia. Spanning four decades of artistic production, the exhibition surveys MacRae’s sophisticated visual language, one that wove together elements of classical composition, East Asian aesthetics, and modernist restraint. As such, it offers a rare and comprehensive look at one of the 20th century’s most stylistically distinctive, yet historically underrecognized, American modernists. A Painter of Pattern, Mood, and Mystery Self-Portrait in Brown (1925), sold at Freeman’s | Hindman for $21,420 in 2022. Born in Vienna in 1887 to American parents, Emma Fordyce MacRae trained at the Art Students League and the New York School of Art, where she studied under Kenneth Hayes Miller, a pedagogue renowned for emphasizing compositional rigor and design over expressive gesture. These lessons profoundly shaped MacRae’s approach, fostering a lifelong commitment to structure, balance, and surface modulation. She began exhibiting in 1918 at the Pennsylvania Academy of the Fine Arts and soon went on to become a vital member of The Philadelphia Ten, a collective of women artists who, from 1917 to 1945, carved out their own legacy by exhibiting their work together in order to counterbalance the male predominance in the art world. Dogwood in Hopi (1954), currently on view at Freeman's | Hindman’s 32 East 67th St Manhattan galleries As her work evolved, MacRae carved out a personal idiom that reflects a transhistorical fusion of influences: the decorative elegance of Japanese woodblock prints, the compositional clarity of early Italian Renaissance painting, and the graphic design sensibility of American urban realism and Modernist design principles. A Singular Voice While best known today for her floral still lifes (often set against stylized domestic backdrops) her portraiture remains her most critically lauded body of work. A reviewer for the Main Line Times once observed about those: “Her portraits are arresting, not because of the people (...) but because of the extraordinary sense of pattern and harmony of time. They are simple but forceful compositions.” It is true that MacRae’s portraits transcend realism. Her figures often appear stylized, emotionally opaque, and anchored within meticulously rendered spaces. The result is a synthesis of cultural traditions that lends her work a visual stillness—and a psychological ambiguity—that separates it from her peers. Timeless Texture Distant Mountains (1938), currently on view at Freeman's | Hindman’s 32 East 67th St Manhattan galleries While many of her contemporaries pursued lush impasto and expressive brushwork, MacRae favored a minimalist application. Her use of paint was sparse, almost dry, revealing the grain of the canvas beneath, lending her surfaces a plaster-like delicacy. This sparse approach, as one critic observed, imparted a “cool, detached… almost impersonal note,” contributing to the timeless quality of her work. Iris Decoration, sold at Freeman's | Hindman in 2022 for $30,204 Easter Lilies, sold at Freeman's | Hindman in 2024 for $27,940 At a 1930 exhibition at the Roerich Museum in New York, writer Frances R. Grant noted: “A loveliness of old textures constantly suggests itself in the work of Emma Fordyce MacRae... her paintings transmit the warp and woof of color and light, until her mood is delicately and subtly created.” A Market Reawakened Caption: From left to right: “Stelka” (1929), sold for $69,300 in 2022 (still a world record for the artist); “Melina in Green,” sold for $63,000; “Interior with Red Tapestry,” sold for $40,950. Though she exhibited widely during her lifetime, specifically in New York, MacRae was not a prolific seller. For decades, her market remained relatively quiet save for episodic sales at Richard York’s galleries in Manhattan. Many of her paintings remained in family holdings in the United Kingdom, limiting their visibility in the United States. That changed in 2008 with the succesful Cape Ann Museum restrospective, and even more in 2021 when Freeman’s introduced her to a new generation of collectors on the open market. That year, the house set a record with Melina in Green, followed six months later by Stelka which shattered that record at $69,300. The latter, a richly stylized 1929 portrait that won a gold medal at the National Arts Club, was acquired by the James A. Michener Art Museum, a leading institution in the reassessment of women artists of the Delaware Valley. According to Dr. Laura Turner Igoe, Chief Curator: “In recent years, we have focused our efforts on acquiring work by women affiliated with the Philadelphia Ten... Recent acquisitions of Emma Fordyce MacRae’s Stelka allows us to feature more of the women affiliated with this group on our gallery walls.” Such institutional acquisitions mark a significant shift in the reception of MacRae’s work, validating her contributions not only to the history of American modernism but also to feminist art historiography. A Legacy Renewed As renewed academic and market interest converge, MacRae’s work is finally gaining recognition for its unique synthesis of past and present, East and West, structure and emotion. Alasdair Nichol, co-Chairman of Freeman’s Hindman, recalls: “While I always revered her work, I didn’t have much luck with her paintings initially... But scholarship around the Philadelphia Ten—and Pennsylvania women artists in general—has finally caught up with her talent.” MacRae lived and worked in New York for much of her life—residing at 888 Park Avenue and maintaining a studio at 12 West 69th Street until her death in 1974. It is fitting, then, that this current exhibition is held in Manhattan, allowing visitors to experience her refined visual world in the city where much of it was conceived. Through portraits, still lifes, and interiors, Emma Fordyce MacRae: The Modern Weaver reintroduces a singular voice in American painting—one whose restraint, formal clarity, and transcultural sensibility place her firmly within the lineage of early modernist innovators. Central Park Restaurant sold at Freeman's | Hindman in 2023 for $22,680 As curator Raphaël Chatroux puts it: “This exhibition does not merely reclaim MacRae’s place in history; it underscores her enduring relevance in contemporary dialogues around gender, design, and the quiet power of painting.”
Ahead of Interiors – Including The Hamptons Design Edit, sold to Benefit East Side House Settlement, join Gemma Sudlow, Managing Director of the New York Region, as she speaks with renowned Interior Designer Elizabeth Lawrence of Williams Lawrence. Read as they discuss Lawrence’s interior design practice and her generous donations to the auction. Gemma Sudlow: It was such a pleasure working with you and your team to style some photographs of these gorgeous donations in our East 67th Street gallery! It seemed so intuitive for you to work creatively with material that you didn’t select – do you often have to work with a client’s existing collections? How does that work? The Hamptons Design Edit, Styled by Williams Lawrence Elizabeth Lawrence: I often work with a client’s existing pieces and encourage them to use what they have. Your home is a personal experience, and incorporating pieces with a connection or passed down from family members makes it truly unique. I have worked on several projects where clients have wanted to move in and use the house while we collaborate with the architect on construction plans. My team and I will end up moving in the client's existing pieces and set up the house to be used — it’s like a big jigsaw puzzle. It’s really rewarding, and from there, we can make a list of what needs to be purchased, recovered, and restored. This also allows the client to live in the space and figure out exactly how they will use it, which provides helpful information for me and the architect as we work on the plans. My clients are often surprised by how their pieces are given a new life in the new space, and sometimes a different way to be used. It was a very similar experience setting up this space to display the auction items. When you see all the pieces piled in one room, people find it overwhelming, but once you make sense of it and create seating groups, it brings life to the pieces. This is critical for clients who struggle with visualizing how a space will look; they can see how beautifully the large hand-painted screen works with the modern lacquer coffee table and chairs. While they may not purchase every piece, they can start to dream about how these pieces could work with their existing furniture, helping them to make an educated purchase. GS: What are you seeing as current trends in the design world? You mentioned loving auction finds. Do all your clients share that passion? The Hamptons Design Edit, Styled by Williams Lawrence EL: I don’t pay too much attention to trends. I want to ensure we provide clients with a house that reflects their desires and will stand the test of time, one that will not look dated. This is where auctions can play a significant role: the thrill of the hunt and finding those special pieces that make a client's home stand out from their friends' and reflect their lifestyle. I’m not just going to pick everything at one time. I want the time and space to find the one-of-a-kind items. I really believe you have to make sure you don’t just decorate with fabrics; you need to make sure there is interesting furniture and attention to architecture. I love looking at the auctions and have found so many great things over the years. Auctions are a wonderful resource for designers. GS: You have been involved with The Winter Show now for some time and collaborated as one of the design co-chairs. What inspired you to participate in this auction? EL: First and foremost, East Side Settlement House is a great and important cause to support, and Helen Allen, the Director of the Winter Show, is a great collaborator with both the dealers and designers. It is also a show that I can remember attending from the beginning of my career. Young Collector’s Night never made me feel intimidated about talking to the dealers and learning more about their pieces. It’s a great way to get exposure to amazing things when you are first starting in the industry. GS: Williams Lawrence generously donated a pair of faux bois cast metal jardinières, Robert Jackson's Untitled (Landscape from a Balcony), and an English porcelain polychrome-painted and parcel-gilt compote– thank you! If you could choose two other items from the sale, what appeals to you and why? The Hamptons Design Edit, Styled by Williams Lawrence EL: The modern lacquer coffee table is a standout piece that could be mixed in so many spaces — the color is lovely. The four green, rounded-back, upholstered chairs are a favorite of mine. I love a round back chair. It is more interesting to walk into a room with a pretty back of a chair to look at, and they are really comfortable. There is something kind of 1950s Mad Men loungey about them. They are cool. GS: Instagram tells me there’s never a quiet day at Williams Lawrence! What are you most excited about this fall, both personally and professionally? EL: I am really looking forward to the installation of a project I have been working on in collaboration with Ferguson & Shamamian for a lovely client in Connecticut. Bunny and I are busy working on our next book. It’s been a long time since we have put out a book on our work, and there is a lot to share. My daughter will be starting pre-school in the fall and my husband and I are looking forward to all the fun activities and new connections. It will be a busy time with so much to look forward to. Photo Credit: Lesley Unruh
Freeman’s I Hindman is excited to announce our inaugural collaboration with Festival Napa Valley, which is set to present its Summer Season at venues throughout Napa Valley, July 5-20. Jon Batiste, Joyce DiDonato, Versailles Royal Opera, Stéphane Denève, and Tiler Peck lead a lineup that showcases over 200 international stars and emerging talent across classical, jazz, opera, contemporary, and dance productions, paired with Napa Valley’s unparalleled food, wine, and hospitality. Attendees can look forward to a wide range of events, from admission-free daily concerts to exclusive dinners and luncheons for Patron Pass holders. Family-friendly programs, a film series tribute to Ennio Morricone, and a new one-day gathering focused on the science of music and wellness make Napa Valley the place to be this July. Jon Batiste, Copyright Jen Rosenstein Crowning the opening weekend of Festival Napa Valley’s Summer Season, the Arts for All Gala is one of the nation's premier fundraisers for education and the arts. Proceeds fund programs that empower youth through music education and wellness, as well as free and affordable concerts, and scholarships. Arts for All Gala at Nickel&Nickel, Credit Bob McClenahan Ahead of the Gala on July 13, Freeman’s I Hindman CEO, Alyssa Quinlan, sat down with President and CEO of Festival Napa Valley, Rick Walker, to discuss how music, wine, and philanthropy come together in this unique experience in the heart of the Napa Valley each summer. Alyssa D. Quinlan: Rick, I’ve always had a personal passion for classical music! So, it’s a dream come true that members of our auction team will be working alongside your community this July to support this incredible event and philanthropic auction on gala night. Tell us more about the genesis of Festival Napa Valley and how you became involved. Rick Walker: I came to this work through a love of the arts. Earlier in my career as an entertainment lawyer, I had the privilege of working closely with artists and saw firsthand how transformative the arts can be. At the time, Napa Valley didn’t have much of a cultural scene. Margrit Mondavi, a close friend and visionary arts advocate, told me a world-class destination needs world-class music and art. That stuck with me. With her encouragement and the support of the vintner community and countless others, Festival Napa Valley was born! AQ: As an auctioneer myself, I’m always endlessly curious about what special auction lots are being offered. Tell us more about some of the incredible items you will be auctioning off this year and how one can participate. RW: We’ve curated a lineup of truly magical, one-of-a-kind experiences. Music of Manhattan with Cardinale features a private concert with Wynton Marsalis at the legendary Café Carlyle, backstage access to Just in Time on Broadway, a Stradivarius violin experience paired with 100-point Cardinale wines, and a luxurious stay at The Carlyle. Your Good Fortune: Hong Kong & Shanghai is a luxury journey through two dynamic cities with VIP access to Art Basel Hong Kong, a private concert at Jazz at Lincoln Center Shanghai, yacht cruises, fine dining, and a day trip to an ancient water town. The French Connection is a dream Parisian escape with a stay at the private residence of vintners Kathryn and Craig Hall, dinner at Jean-Charles Boisset’s Paris home, insider access to Versailles and Palais Garnier, Michelin-starred dining, and a JCB Le Club Social membership in Napa Valley. Game, Set, Glamour! features seating in the J.P. Morgan suite for the US Open, a private tennis clinic, and round-robin play with legendary champions, fine dining, and exclusive cultural experiences. We also have a dazzling journey to Cabo and Milan with Pomellato, Milan Fashion Week with Dolce & Gabbana, and the ultimate Napa Valley automotive adventure with exotic cars and a rare wine dinner. Our Buy A Spot experiences bring together music, food, wine, and community in unforgettable ways. Voice of an Angel features opera star Angel Blue and pianist Jean-Yves Thibaudet in an intimate evening at Darioush Winery. Wine, Women, & Music is a dynamic afternoon hosted by Janet and Hailey Trefethen, with a performance by Monica Mancini, a Lafayette 148 fashion show, and a celebration of trailblazing women at Trefethen Family Vineyards. Celebrating Robin & Michelle honors renowned vintners and philanthropists Robin and Michelle Baggett and features a private performance by cellist Jonah Kim and ballerina Julia Rowe. And much more! For those unable to join us in person, proxy bidding is available. It’s a great way to support the cause and claim an unforgettable experience. AQ: Auctions alone take a proverbial ‘village’ of coordination. How do your teams across the musical, vintner and philanthropic communities come together? RW: A spirit of collaboration is at the heart of Festival Napa Valley. Vintners generously open their estates, winemakers offer extraordinary wines, and artists contribute their talents. Our amazing Board of 30 vintners, arts advocates, and community leaders is deeply engaged, and our team of talented professionals works year-round to deliver programs of the highest caliber. Everyone shares the belief that the arts have the power to transform lives, empower youth, and build a healthy and engaged community. The arts are not a luxury, but a necessity, and need to be accessible to all. Vintner's Luncheon AQ: Freeman’s | Hindman is incredibly excited to partner with Festival Napa Valley by providing bid spotters and auction support for this special event. What are other ways that organizations and individuals can get involved with what you do? RW: We’re thrilled to welcome Freeman’s | Hindman this year! Your expertise brings so much value to the event. Beyond the Gala, there are numerous ways to get involved. Individuals can purchase a Patron Pass to enjoy exclusive events, including Vintner’s Luncheons and Patron Dinners at Napa Valley’s legendary wineries and estates. Each pass includes a tax-deductible donation supporting our mission. They can also take part in our public events, including concerts and Music & Wellness programs. Organizations, foundations, and businesses can support key initiatives through sponsorship or underwriting. And we always welcome volunteers. Versailles Opera Orchestra, Copyright Pascal-Le-Mée AQ: Last but not least, tell us about your most memorable Festival Napa Valley experience and what you are most looking forward to for this upcoming year? RW: Choosing a favorite Festival Napa Valley moment is like picking a favorite child—impossible. Each year brings its own magic. That said, this year promises some truly standout experiences. I’m especially looking forward to the North American debut of the Versailles Royal Opera and to welcoming Jon Batiste to headline our Gala. The goal each year is the same: to create moments of joy, beauty, and connection and make them available to all
Join us as we spotlight James E. Smith, Associate Vice President, Head of Department, Sports Memorabilia, ahead of our summer Sports Memorabilia auction, now open for bidding until June 27th. Learn about his journey in the sports industry, notable achievements at Freeman’s | Hindman, personal collection favorites, and highlights of our upcoming sale. Freeman’s | Hindman: What was your first sports-related memory? James E. Smith: In 1978, Muhammad Ali fought Leon Spinks for the second time to regain his heavyweight championship. My introduction to Ali was months before through a Saturday morning cartoon titled “I Am the Greatest: The Adventures of Muhammad Ali”. Because of the cartoon, I believed Ali was a superhero and was amazed to see the bout and discover he was a real person. My admiration for him only grew — it’s great to know that sometimes heroes can be the real thing. FH: What is your favorite piece of sports memorabilia that you own? JS: A hand-drawn piece by Muhummad Ali that features him fighting Joe Frazier, surrounded by a crowd of spectators. The drawing was gifted to me by the champ himself, which makes it incredibly personal and meaningful. Ali was the son of a sign painter in Louisville, so his artistry in the ring carried over to the canvas with paint and brush. FH: What drew you to becoming a specialist and translating your passion into your career? JS: As a longtime buyer of sports memorabilia, working on this side of our industry felt right. I had served 30 years as a journalist. I was shifting careers when I realized I could offer a very specialized knowledge and skill set due to my lifelong passion for collecting sports memorabilia. I was given an incredible opportunity to join Freeman’s | Hindman and learn the ins and outs of the auction world, then launch the sports memorabilia department with a solid foundation. FH: Describe a typical workday for you at Freeman’s | Hindman. JS: The lion's share of my day is dedicated to connecting with clients, reviewing collections, and placing estimates. One of the most essential duties is facilitating items for authentication. In this category, third-party authentication is paramount to maintaining our business's integrity, and we work closely with the leading third-party authentication companies to ensure this. FH: Can you describe a collection of sports memorabilia you are proud to have brought to auction? JS: Discovering an unopened box of 1986 Fleer basketball cards in a client's collection. A piece like this is one of the grails in sports memorabilia, as this box contained at least four untouched Michael Jordan rookie cards. I was onsite initially to review other material in the collection. Discovering this box and achieving an exceptional price for the client was truly gratifying. FH: Freeman’s | Hindman’s Sports Memorabilia auction is now open for bidding through June 27. Can you tell us about some of your favorite lots in this sale? JS: Here are some of my favorite lots in our upcoming Sports Memorabilia auction ending June 27: Lot 2 | A 1921 W516 2-2 No. 10 Babe Ruth Baseball Card (SGC Authentic) Lot 79 | A Scarce 1986 Fleer Derek Smith Signed Autograph Basketball Card No. 103 (PSA AUTHENTIC) Lot 161 | A Legendary Signed Autographed Baseball Featuring Babe Ruth, Hank Aaron, Lou Gehrig, Jimmie Foxx, Al Simmons, Connie Mack, Lefty Grove and George Earnshaw (Beckett Authentication Services) Lot 253 | A Michael Jordan and LeRoy Neiman Signed Autograph 1991 Serigraph Lot 248 | A 2001 Muhammad Ali Signed Autograph LeRoy Neiman "Athlete Of The Century" Serigraph Lot 258 | A Michael Jordan Single Signed Autograph Basketball (Upped Deck Authenticated)
Lot 42 in the June 26 Asian Art auction at Freeman’s | Hindman has a past. The delicately potted 18th-century tea bowl and saucer, made and decorated in China with a beautiful woman (meiren) and boy in a garden, was once part of two of the most notable late 19th/early 20th-century collections of Chinese porcelain ever assembled in America. A Chinese Export Famille Rose Porcelain Tea Bowl and Saucer, ex. Garland and Morgan Collections, 18th Century 清中期 粉彩人物圖杯碟 Garland及摩根收藏 | Estimate: $1,000 - 1,500 Labels affixed to the undersides indicate the tea bowl and saucer were formerly in the collections of James A. Garland (1840-1900) and John Pierpont Morgan (1837-1913). Garland, a banker and co-founder of what was to become Citibank, assembled his collection of over 1000 pieces with the assistance of the Duveen Brothers. The collection was displayed in the Metropolitan Museum of Art until 1902 when Garland’s heirs sold it to the Duveen Brothers, who then sold it to Morgan. Morgan was one of the most important financiers and philanthropists of the American Gilded Age. A donor to the Metropolitan Museum, he served as the president of the Board of Trustees from 1904 to 1913. After his death, his son donated numerous important works to the Met. The Duveen Brothers acquired his Chinese porcelain collection, which they distributed among their wealthy clients, including Henry Clay Frick and the Rockefellers. Many pieces from the Garland-Morgan collection are now in important public and private collections. Click here for this and other 18th-century Chinese porcelains in the June 26 auction.
Join Freeman's | Hindman's esteemed fine art specialists as they dive into their selections ahead of What Do You See? The Collection of Sidney Rothberg, Parts III and IV, to be held on June 24 and 25, 2025. Raphaël Chatroux Lot 269 | Jean Hugo (French, 1894-1984) | Lauretta, Marie et Caroline | Estimate: $800 - 1,200 This small watercolor by Jean Hugo is, without question, my favorite lot in the entire Rothberg sale. I truly discovered Hugo’s work through the eye of Sidney Rothberg during last year’s events, and was immediately drawn to his gouaches. Not just for their bold, vibrant colors, or their attention to detail but also (and mainly?) for their format. I’ve always preferred smaller works of art, and Hugo’s miniatures have this intimacy and preciousness that feel very magical, almost like tiny charms. This particular piece stands out to me especially because I remember finding it in storage, in the bottom of a very large bin. I first thought it was a March Avery watercolor, but then I noticed the signature. The three women lined up on the sofa felt mysterious and warm at the same time. When I later discovered that the women were the artist’s wife, daughter, and sister-in-law, the work took on an even deeper meaning. It was clearly a family portrait and the work felt even more special. Lauren Colavita Lot 258 | Jane Piper (American, 1916-1991) | Still Life, circa early 1960s | Estimate: $5,000 - 8,000 Of all the works in the Collection of Sidney Rothberg, Still Life by Jane Piper is the one I return to most. As a Philadelphia resident and admirer of women artists, Piper’s legacy feels especially personal to me- not only because of her ties to the city, but because her bold, lyrical use of color speaks to something essential. Her ability to balance spontaneity with structure, figuration with abstraction, transforms a simple interior into something ecstatic. The light in this painting breathes. Its rhythm pulses. I’m fortunate to own a work on paper by Piper, and seeing this larger oil feels like a conversation with that quieter piece- a deepening of the same visual language. Still Life doesn’t just depict a moment; it invites you to feel it. Adrianne Wolkenberg Lot 318 | Dale Chihuly (American, b. 1942) | Ikebana Series, 1977 | Estimate: $4,000 - 6,000 The Dale Chihuly painting on paper entitled Ikebana Series from 1977 is a favorite work of mine in the Sidney Rothberg Collection, because it is such a large-scale, visceral piece that evokes the artist’s practice in glass. Bright tendrils of fire seem like they are jumping from the painting, it somehow combines the color and energy of Chihuly’s work with the connection he makes to nature, but within two dimensions instead of his usual three. The glass-maker created a series of works called Ikebana that refer to the Japanese art of flower arranging and all have tall, long-stemmed flowers and leaves coming from vessels. He often situates them in nature for viewers to happen upon and I love this juxtaposition of the carefully crafted with the chance encounter, which I think speaks to Mr. Rothberg’s collecting style as well. Melissa Flack Lot 91 | Carroll Sargent Tyson Jr. (American, 1877-1956) | The Wharf | Estimate: $3,000 - 5,000 The Wharf by Carroll Sargent Tyson Jr. is my favorite piece in the collection. Every time I look at it, I’m transported to warm summer days by the water. It evokes a deep sense of nostalgia and peace—a gentle daydream I can step into. Tyson’s rendering of light glimmering on the water, paired with the quiet activity along the dock, creates a serene and timeless atmosphere. The vantage point, set slightly back, allows us to observe the scene from a distance—calm, safe, and quietly connected. It’s a moment of stillness I find myself returning to again and again.
Over the course of over six decades, Sidney Rothberg curated a remarkable collection blending blue-chip artists with emerging talents, many of whom he discovered through auctions around the globe. The result is an eclectic, innovative collection that reflects his distinctive eye and fearless taste. Collector Sidney Rothberg on his Birthday As we look ahead to Parts III and IV of this expansive collection, going to auction on June 24 and 25 and featuring over 300 lots, it becomes clear that Rothberg’s approach offers more than just inspiration—it provides a roadmap. His collection stands as a masterclass for new and aspiring collectors, offering valuable insights into how to build a collection that’s both accessible and meaningful. Below are 6 key takeaways from the Rothberg Collection—each one a potential step for those looking to start, or refine their own collecting journey. 1) Favor Works on Paper Sidney Rothberg collected across media, yet he had a deep appreciation for works on paper—a broad and dynamic category that encompasses everything from drawings and watercolors to collages, photographs, etchings, and prints. Lot 281 | Willem de Kooning (American/Dutch, 1904-1997) Portrait of a Woman | Estimate: $6,000 - 10,000 Generally more accessibly priced than paintings or sculptures, they make an ideal entry point for emerging collectors. In the contemporary art world specifically, works on paper serve as a gateway to owning pieces by established artists whose larger works (and oils) may already command premium prices. Lot 15 | Pierre-Auguste Renoir (French, 1841-1919) Après le Bain, circa 1910 | Estimate: $12,000 - 18,000 Works on paper can also reveal more about an artist’s thought-process. For Rothberg, collecting in this medium wasn’t just about access—it was about insight. He often used works on paper to deepen his connection with specific artists, exploring their stylistic development and creative journey. Many of the pieces in his collection are preparatory studies or sketches for major works, offering a behind-the-scenes look at an artist’s creative and technical process. This approach offers a thoughtful and secure path to collecting, as such works often hold academic significance. They can attract the interest of future curatorial projects by revealing moments of experimentation, refinement, and raw inspiration, shedding light on how ideas evolve across different media. 2) Blue-chip artists with a Twist Rothberg’s collection includes works by a remarkable range of reknowned artists such as Renoir, Vuillard, Rodin, Scharf, Boudin, Calder, and Parsons, to name just a few. What set his approach apart was his deliberate decision to seek out unusual or lesser-known pieces by these artists, rather than pursuing the most obvious works. This strategy not only made collecting more accessible, but also resulted in a more personal and distinctive collection. For new collectors, Rothberg’s method offers a valuable lesson: choose a handful of artists whose work genuinely resonates with you, then seek out pieces that reflect a unique moment in their career or reveal a more intimate side of their practice. One standout example from Rothberg’s holdings is a ballpoint pen drawing by Léonard Tsuguharu Foujita. Though it features his signature subject—a cat—it’s rendered informally on paper, originally created as a personal note for a friend in Paris. This spontaneous, heartfelt sketch contrasts beautifully with another Foujita work in Rothberg’s collection: an oil painting after Tischbein’s portrait of Goethe. More than just a copy, the painting reveals Foujita’s deep admiration for the Old Masters and underscores his intellectual curiosity and reverence for art history. Adding to its significance, the piece once belonged to one of Foujita’s key patrons, enhancing both its narrative and its aura. 3) Smaller Works One of the most common phrases specialists hear from collectors is, “I don’t have any more wall space.” It’s a real—and surprisingly frequent—problem. Rothberg often solved this issue by making creative use of his wall space, opting for a "Salon-style" hang, displaying paintings from floor to ceiling, often resulting in unexpected and thought-provoking pairings. Another smart and practical solution? Collect small works. Not only are they often more affordable, but their modest scale allows collectors to expand their holdings without overwhelming their space. Lot 269 | Jean Hugo (French, 1894-1984) Lauretta, Marie et Caroline | Estimate: $800 - 1,200 But don’t mistake small for insignificant. In many cases, smaller works are where an artist’s vision becomes most focused and intimate. Some artists, like Jean Hugo, even specialized in the small format. The Rothberg Collection includes ten exquisite examples of his gouaches, oils, and watercolors. For Hugo, working small was a deliberate homage to the medieval miniatures he so deeply admired—rich in fantastical creatures and intricate detail. On a reduced scale, every leaf, every brushstroke is rendered with the precision of an embroidery stitch, making the viewing experience all the more rewarding. Smaller works can also offer a more personal glimpse into the artist’s world. These might include preparatory studies for larger composition, informal sketches created for a friend or family member—works never meant for public eyes— or even small, totemic sculptures which a collector can relish privately. When the artist is especially renowned, even a simple signed sheet can carry significant value, both emotionally and monetarily. 4) Retrace the Provenance Whether you’re drawn to oils or watercolors, intimate studies or bold statement pieces, one principle should always guide your acquisition: ensure the work comes with solid, verifiable provenance. Provenance is essential in establishing a work’s authenticity, history, and value. It is also, and most importantly, a keystone of responsible collecting. Rothberg took a deep dive into the painting he collected, studying the history behind it, but also analyzing the relationships and/or influences the artist could have the time. The Rothberg Collection offers a blueprint for how this can be done thoughtfully and thoroughly. When evaluating a work, consider the following key points: Where was the work acquired? · Was it purchased directly from the artist? · Did it come from a reputable gallery known to have a direct relationship with the artist? · Was it sourced through a respected international auction house or charity auction—often a great way to support emerging artists while acquiring quality work? Is there a certificate of authenticity? · If so, make sure it’s issued by the most up-to-date and widely recognized expert or foundation associated with the artist. As scholarly opinions evolve over time, having a recent and reliable certificate ensures the work is both legitimate and traceable. · If not, that doesn’t necessarily mean the work is inauthentic. It may still be documented or illustrated in various publications, including the artist’s catalogue raisonné—which serves as tangible proof that the work is recognized, studied, and considered authentic within the academic and market spheres. Ultimately, collecting is as much about inquiry as it is about instinct. Sidney Rothberg was famous for challenging curators, dealers, and experts with a deceptively simple question: “What do you see?” His legacy reminds us that asking questions—and trusting your own eye—can lead to a deeper connection with the work and a more meaningful collection. 5) Mix and Match Starting a collection with smaller or more affordable works doesn't mean you're limited to that path forever. Over time, your collection can grow in both scale and ambition. In fact, you can explore both ends of the spectrum simultaneously. Sidney Rothberg did exactly that—acquiring works by both blue-chip artists and emerging voices—not out of strategy, but from a deep instinct and a desire to draw meaningful connections between the pieces he loved. Interior shot of Sidney Rothberg’s Penthouse in Philadelphia For Rothberg, collecting wasn’t about price tags. It was about resonance. He might pair a $25,000 Daumier oil with a modest Gritchenko drawing, not because they matched in era or medium, but because they spoke to each other. Both artists were admired by Dr. Albert Barnes, who famously displayed works by masters and unknowns side by side in his foundation, granting them equal respect. Rothberg embraced that philosophy. To him, the value of a work wasn’t dictated by its cost, but by what it added to the story he was building, to what it taught him about color and light, and what it pushed him to study about one's brushstroke, or their personal background etc. The least expensive piece in a collection doesn’t diminish the most expensive—it complements it. Each work offers its own perspective, its own voice. The Barnes approach of mixing artists, periods, and even forms of art is a powerful reminder that collecting should reflect the full spectrum of human curiosity. It’s a generous, inclusive vision of art: a vision that Rothberg embodied with every acquisition 6) Buy What you Like By following the guiding principles shared above—and staying true to your personal vision—you can build a collection that remains meaningful and relevant over time. But above all, one rule should always take precedence: buy what you love. Art is deeply personal. It’s meant to live with you, to reflect your tastes, your journey, and your values. If a piece doesn’t move you or loses its appeal, then its presence—no matter how prestigious—loses its purpose. As in the case of Rothberg, if a piece has, on the contrary, provided all of this joyful experience for you, then maybe consider selling at auction, so the story continues with another, younger generation. Sidney Rothberg understood this intuitively. Some of the works he purchased in his twenties remained with him throughout his life—pieces he continued to live with, contemplate, and cherish into his eighties. That enduring connection is a testament to the power of collecting based on passion, not just price. While art can be a viable investment, treating it purely as such often narrows your field to the safest, most conventional options. In Rothberg’s case, that mindset might have excluded artists like Betty Parsons, Romare Bearden, or Kiki Smith—visionaries whose work may have once been overlooked by the market, but whose creative voices he recognized and championed. Believing in an artist before the world catches up, trusting your eye and your instincts is, in many ways, the most meaningful and lasting investment a collector can make. It’s not just about acquiring objects; it’s about building a legacy of taste, curiosity, and conviction. As Saranne Rothberg says: "You are never too young to start collecting: Rothberg taught me and my own daughter when we were toddlers, and handed us paddles to take action in the bidding room. Don't be intimidated: it's now your turn to start an amazing collection such as my dad's."
This June 8, Freeman’s Hindman is honored to present In Naaman’s House, a powerful and evocative canvas by celebrated American illustrator N.C. Wyeth. Offered directly from the Brandywine Baptist Church in Chadds Ford, Pennsylvania—where the painting has been treasured for over half a century—this historic sale marks the first appearance of the oil on the open market. Lot 65 | N. C. Wyeth (American, 1882-1945) In Naaman's House (from Children of the Bible), 1929 A Moment of Faith and Transformation Commissioned in 1929 by Good Housekeeping to illustrate Bruce Barton's story The Little Maid in the Captain’s House, In Naaman’s House captures a pivotal biblical scene from the Second Book of Kings. In the narrative, a young Jewish maid persuades her master, the Syrian military commander Naaman, to seek healing from the prophet Elisha after witnessing his affliction with leprosy. Wyeth’s painting renders this encounter with characteristic drama and emotional resonance. The girl, placed humbly a step below Naaman, nevertheless radiates strength and conviction—a quiet yet profound challenge to the hierarchy of power. Her courage, as conveyed through Wyeth’s bold brushstrokes and nuanced composition, transforms the moment into a timeless allegory of faith, humility, and spiritual awakening. As Barton wrote, biblical stories “leave the pictures to the reader’s imagination, and we are fortunate to have the eyes of Mr. Wyeth through which we may look and see.” Here, Wyeth doesn’t just illustrate a story—he enshrines its moral force in paint. A Gift Rooted in Legacy and Devotion In 1964, more than three decades after the painting’s creation, Wyeth’s widow Carolyn donated the work to the Brandywine Baptist Church in memory of her late husband, who had died tragically in 1945. “I felt that presentation of the painting to the only church in Chadds Ford was what N.C. Wyeth would have wanted,” she explained. Founded in 1692, Brandywine Baptist Church is the second-oldest congregation in Pennsylvania. The painting was formally dedicated during a special ceremony that same year, with church leaders praying it would serve as both a reminder of the biblical story and a source of spiritual inspiration for all who worship there. For decades, it has fulfilled that role—gracing the sanctuary walls with artistic and sacred significance. From Sacred Space to Public Auction Brandywine Baptist Church was first organized in what was then Birmingham Township, Chester County, and traces its origins to early settlers associated with Thomas Powell of Upper Providence. During the American Revolutionary War, the church grounds stood witness to the Battle of the Brandywine, with historical figures such as George Washington and famed evangelist George Whitefield connected to its storied past. Revolutionary soldiers remain buried in the nearby cemetery—now a focus of restoration by the Brandywine Heritage Preservation Foundation in preparation for the United States Semiquincentennial in 2026. Proceeds from the sale of In Naaman’s House will support these preservation efforts, particularly the restoration of the historic cemetery and interpretive projects related to the Battle of the Brandywine. As the three-century-old church passes on this extraordinary piece of its heritage, collectors and admirers of American illustration now have a rare opportunity to acquire a museum-worthy piece with a deeply personal provenance. Offered in pristine condition, with direct provenance and imbued with the legacy of one of America’s foremost illustrators, In Naaman’s House stands not only as a masterwork of narrative painting, but as a testament to the bond that united the Wyeth family to the Brandywine region.
On June 8 and June 18, Freeman’s | Hindman will offer a remarkable chapter in American collecting history through the sale of the family collection of Dr. Percival Eaton Jr.—an intimate and meticulously curated trove of fine art that spans the golden era of the Provincetown and Pittsburgh art scenes. From Pittsburgh to Provincetown Born in Malden, Massachusetts, in 1862, Dr. Percival Eaton Jr. distinguished himself early in both medicine and public life. After graduating from Harvard Medical School in 1888, his studies took him across Europe before he established his career in Pittsburgh in 1891. There, he helped develop the Children’s Hospital and the University of Pittsburgh’s pediatrics department—pioneering contributions that earned him widespread respect. Yet Dr. Eaton’s passions extended well beyond the clinic. A devoted supporter of the arts, he served for decades as director and later president of the Pittsburgh Art Society. This lifelong dedication to cultural enrichment would flourish even further in retirement, when he and his wife, Emily Craft Eaton, relocated to Provincetown—a place that would become both his home and artistic sanctuary. Settling into a handsome brick home on Commercial Street—still a local landmark today—Dr. Eaton immersed himself in Provincetown’s vibrant creative community. As director and treasurer of the Provincetown Art Association (now PAAM), he played a vital role in shaping the town’s artistic legacy. A Lesson of American Art Collecting In his home, Dr. Eaton cultivated a deeply personal collection—around fifty works in all, many of them small in scale but rich in narrative. Never before seen at auction or exhibited publicly, the collection now serves as a time capsule of early 20th-century American art and its intimate ties to place and memory. Among the most significant works are tied to Eaton’s Pittsburgh years, including a stunning nocturne by George Sotter (A Winter Night, $50,000–80,000), showcasing the artist’s signature pearly blues and hushed elegance. The painting was once exhibited at the prestigious Carnegie Institute—an indicator of its historical and artistic importance. The heart of the collection, however, lies in Provincetown. Works by colony luminaries such as Richard E. Miller, Gerrit A. Beneker, Frank H. Desch, and Henri Hensche reveal Dr. Eaton’s close personal relationships with the artists he admired. Miller’s Seated Lady ($10,000–15,000) captures a moment of quiet domestic glamour, while Desch’s formal Portrait of Dr. Eaton, draped in black with bold red lapels, offers a striking window into the collector’s stature and character. Equally poignant are portraits of Eaton’s daughter, Mary “Mimi” Groves, a student of Hensche, and her family—images that reinforce how deeply this collection was woven into the fabric of family life. The collection also reveals Eaton’s cosmopolitan taste, including Sunday Morning, Québec by Canadian artist Clarence Alphonse Gagnon ($30,000–50,000) – a peaceful, yet colorful and lightly humoristic snowscape depicting lined up sleighs before the Sunday service, which speaks to Eaton’s broader cultural ambitions, and his desire to introduce international art to American audiences. Reflecting on their great-grandfather’s legacy, Josh and Ned Groves shared: “Growing up with this collection was such a privilege. Our grandparents, parents, and aunt all cherished the paintings and treated them as members of the family. After the Provincetown house was sold, these works became a lasting connection to Provincetown’s arts community. We are happy that they will find new, appreciative homes.”
As part of our In Conversation Series, we’re delighted to spotlight a dynamic collaboration between Freeman’s | Hindman and celebrated fashion house Jonathan Cohen Studio. In anticipation of The Collective—a unique showcase of designers coming to life at 32 East 67th Street this May—Gemma Sudlow sat down with co-founders Jonathan Cohen and Sarah Leff to discuss the story behind their brand, the spirit of community within the fashion world, and how values like sustainability, creativity, and longevity continue to shape their work. Gemma Sudlow: We are so excited to partner with you on this unique collaboration! Before we dive into what will be on view at East 67 Street in May, tell us your story and how you developed Jonathan Cohen. Sarah Leff: Thank you, we’re thrilled to be partnering with the gallery to create the first event for the fashion community, The Collective. Jonathan and I conceived the brand with a passion for creating something special. This event will bring together 16 brands, providing the opportunity to showcase some of our classics and seasonal fabrics. Jonathan Cohen: There is this misconception about designers that we are all competitive. The truth is, we all really support one another, both in good times and bad. This is a great way to show how our community can come together and thrive! There is space for all of us. GS: 32 East 67 Street has a wonderful fashion history embedded in the architecture. Our Deco lacquer and mirrored stairwell were couturier and fragrance magnate Marcel Rochas’ legacy from his tenure in the 1930s. It was his homage to Chanel in Paris. What historical influences, if any, come into play in your designs and brand ethos? JC: It really depends from season to season. These photos inspired our last collection; I found one of Elizabeth Taylor attending a boxing match (which I had no idea she attended boxing matches!). I then discovered a quote from Muhammad Ali in my research talking about how he was knocked out during a match because he was distracted by looking at Taylor in the audience. Every season tells a story, and a lot of research is done in preparation before I even sketch. GS: Freeman’s I Hindman has always believed in the power and community central to couture and the fashion arts, and we are one of the very few auction houses that have a dedicated team committed to promoting luxury accessories and couture year-round. To what extent is your market still seasonal versus always-on? SL: While the traditional fashion calendar still exists, we have always been more intentional, focusing on garments that stand the test of time. Our clients want pieces that feel relevant beyond a single season; these garments are meant to carry meaning and can live in their wardrobes for years. One of the greatest joys is hearing from a client how they wore us for a family wedding, baby shower, and then made it work into a day dress. We’ve also grown our custom business, which allows us to create special pieces using our techniques and fabric remnants. It’s less about chasing trends and more about building lasting wardrobes. GS: Sustainability is a word that seems ever important in all industries and walks of life. How does it inform your practice and production? SL: Sustainability has always been a core pillar of our brand—not just as a practice but as a mindset. We prioritize small production runs, take responsibility for our own deadstock, and work with upcycled materials. We originally launched The Studio in 2019, focusing on our deadstock and finding opportunities to give new life to what already exists. Beyond products, it’s about systems: designing a business that’s built to last, where quality, ethics, and creativity coexist. JC: Sustainability for me is really about being responsible. It’s about doing the work and creating systems within your company to minimize the impact as much as possible. Fashion generates a lot of waste that can have a damaging impact. If you can find ways in your company to help mitigate waste, why wouldn’t you? GS: Last but certainly not least: what and who will we see at East 67 Street on the 18-20 May? What will the Jonathan Cohen woman be wearing this summer season? SL: We are thrilled about this opportunity to share some new and limited-edition pieces with everyone later this month. There is always something floral in our mix! We’re also bringing some of our staples as well as a few limited-edition archival pieces. JC: What is great about our dresses is that they can work for various occasions, from the office to a cocktail party. I think that’s essential when buying one of our pieces. I love the prints for spring that were inspired by “synesthesia,” perfect colorful inspiration for summer!
Freeman’s | Hindman is honored to present salient works from the distinguished collection and Estate of Mimi Kazon in Park Avenue, New York. Mimi Kazon, a lifelong supporter and friend of artists and creatives, amassed a meaningful collection of Post War works during her lifetime, demonstrating the breadth and depth of her collecting activity and singular passion. From spending the summer season in Springs in East Hampton–an enclave for artists, particularly those associated with the Abstract Expressionist movement–to regularly attending gallery shows in Manhattan and museum exhibitions at The Museum of Modern Art, Mimi Kazon developed a deft eye for extraordinary, often intimately scaled works of art. Indeed, we are particularly excited to present two exceptional works from the Estate of Mimi Kazon by Tom Wesselmann and Robert Smithson in our May 13 Post War and Contemporary Sale in New York. Tom Wesselmann’s Little Great American Nude #10, 1961, exemplifies his pioneering approach to representing the female form in Post War American art. This oil and collage on panel, part of his Great American Nude series, is intimate in scale and audacious in the subject, reflecting Wesselmann’s bold embrace of sensuality, American iconography, and the visual language of popular culture. Lot 22 | Tom Wesselmann (American, 1931-2004) | Little Great American Nude #10, 1961 | Estimate: $60,000 - 100,000 Emerging in the early 1960s alongside contemporaries such as Roy Lichtenstein and Andy Warhol, Tom Wesselmann was a key figure in the Pop Art movement, though his work diverged through its overt eroticism and painterly lushness. In Little Great American Nude #10, a reclining female figure is rendered in flat swathes of pinks and reds, surrounded by domestic details such as patterned wallpaper, fruit, and a mirror. The figure operates simultaneously as an object of desire and as a symbol–both critiquing and celebrating Post War American ideals of femininity, beauty, and comfort. The integration of cultural markers, including a flag-inspired curtain and campy décor, firmly situates the nude within a distinctly American context, reflecting Wesselmann’s fascination with the consumerist American dream and its imagery. The Great American Nude series–particularly early, smaller works like this–redefined traditional depictions of the nude in art. Rather than shying away from sexuality, Wesselmann embraced it fully, transforming the body into a bold, stylized emblem of American culture. In doing so, he both acknowledged the conventions of the Western art tradition and simultaneously disrupted them. Lot 1 | Robert Smithson (American, 1938–1973) | Ziggurat Mirror, 1966 | Estimate: $10,000 - 15,000 Produced in 1966, Robert Smithson’s Ziggurat Mirror is a lesser-known but conceptually rich work that aligns with his broader explorations of entropy, mirrors, surfaces, and ancient architectural forms. Although not as widely discussed as his iconic Spiral Jetty, Ziggurat Mirror taps into many of the salient themes that define his overall practice. Indeed, the reflective surfaces stand vertically, providing a shimmering reflective surface that overlaps itself and conveys Smithson’s interest in experimentation with layering mirrors and glass to produce a complex yet remarkably beautiful three-dimensional form. Among the other highlights from the Estate are notable works by Richard Anuszkiewicz, Roy Lichtenstein, and Willem de Kooning, further underscoring Mimi Kazon's defining taste.
In her intimately scaled works, Lois Dodd focuses on familiar places, often executed in one plein-air sitting: Cushing, Maine, the Delaware Water Gap, Blairstown, New Jersey, or New York’s Lower East Side. Her subjects–both natural and architectural–include bucolic summer gardens, dried leafless plants, nocturnal moonlit skies, and myriad views through interior windows. Drawing from fundamental principles of observed natural light and repeated looking that characterize the work of artists like Paul Cézanne and Edward Hopper, Dodd adopts an understated palette, and a shorthand of lyrical, rhythmic brushstrokes, with an intentional use of paint applications. Indeed, the suite of superlative works by Dodd included our May 13 Post War and Contemporary Sale in New York–October Barn & Trees Afternoon, Bush + Tree, Artichokes in Midnight, and Moon + Tree, encompass the range and deft skill that typify these principles and formal qualities throughout her oeuvre. Dodd’s 1997 October Barn & Trees Afternoon depicts a calm, seemingly mundane, autumn scene while Bush + Tree, completed years later, captures the serenity and starkness of a snow scene, all becoming an ode to the natural world’s short-term flux and long-term rhythms. In these works, Dodd affirms she is not striving for illusion, but rather keenly engaged in the material, concrete reality of the world as seen through paint. Lot 92: Bush + Tree, 2009 Lot 91: Moon + Treetop, 1983 Lot 90: Artichokes in Moonlight, 1998
Freeman’s | Hindman is thrilled to welcome Emily Friedman, founder of Emily Friedman Fine Art, a full-service advisory specializing in contemporary and post-war art, for the next installment of our In Conversation series. Join us as Emily sits down with Zack Wirsum, Senior Vice President and Head of Post-War & Contemporary Art, for a dynamic discussion ahead of our May 13 Post-War and Contemporary Art sale. They’ll explore Emily’s journey through the art world and highlight some compelling works featured in A Vision in Color: A Curated Session by Emily Friedman, which is offered in our upcoming sale. Zack Wirsum: Where did your art world journey begin? Is there something specific that inspired your interest in and passion for art? What ultimately led you to Art Advising, and how long have you worked as an advisor? Emily Friedman: My art world journey began in my college Art History 101 class, where I was first introduced to the New York School and Abstract Expressionism. I was immediately swept off my feet. I still remember writing my first paper on Franz Kline, completely immersed in the raw energy captured by his powerful brushwork. That paper unlocked a door; suddenly, I wanted to learn everything I could about the movement, from Jackson Pollock to Helen Frankenthaler. Now, nearly 20 years after professionally entering the art world, I’m still driven by the same passion. I started my career at Heather James Fine Art in 2007 as the registrar and, over several years, moved exclusively into sales. I was fortunate to get a front-row seat to the inner workings of the secondary market from a very young age. I decided not to finish college; instead, I poured everything into building my career in the art world. In 2016, I started my business, Emily Friedman Fine Art, and began my advising journey. I began advising because I love the discovery process and enjoy getting to know people and understanding what resonates with them. Collecting is such a personal journey - whether someone’s just starting out or has been collecting for decades, I find it rewarding to help shape something meaningful. There’s nothing like the thrill of the chase, the strategy, and the satisfaction of finding just the right piece for the right person. It feels like magic when it all comes together. Lot 41 | Kikuo Saito (Japanese, 1939-2016) | Silver Landing, 1987 | Estimate: $40,000 - 60,000 ZW: We have enjoyed working with you for years as a buyer. During that time, I have always admired and appreciated your discerning and forward-thinking taste as a bidder, so I was thrilled when you first approached us to collaborate on the sale of a large consignment, knowing that the material had been selected with your sophisticated eye and market savvy. What attracted you to working with Freeman’s | Hindman on the first consignment, and how did it evolve into an even larger, tightly curated, cohesive session in the sale? EF: First of all, thank you! That means a lot coming from you, and it has been a pleasure working with you and the entire Freeman’s | Hindman team over the years. I care deeply about this particular collection. From the start, I knew I wanted to place it with a house that would contextualize the work with thoughtfulness, transparency, and a shared commitment to the vision. Because the collection spans categories—fine art, design, jewelry, and couture—your enthusiasm, nuanced approach, and appreciation for its range made Freeman’s | Hindman feel like a natural fit. Once we decided to partner on the sale, the opportunity to expand the offering became very exciting. I started thinking about how to build on the core group to create something that felt bigger than a single collection, something that could also reflect my eye, my advisory work, and the range of works I’ve placed and gravitated toward over the years. That’s how the larger group came together: through a mix of works from clients I advise and a few from my own collection, all to tell a broader story. Lot 55 | Lita Albuquerque (American, b. 1946) | Red on Red on Blue, 2005 | Estimate: $10,000 - 15,000 ZW: Despite coming from multiple and varied sources and the works themselves spanning decades, the works you have included in the auction are visually consistent. What are you looking for when sourcing artwork for clients? Do you have an advisory philosophy? Are there specific artists or movements that you gravitate towards and champion? Are any of those artists represented in this present offering to whom special attention should be paid? EF: My approach to collecting and advising is generally this: buy what makes you happy, what moves you, and what you can't live without while also keeping an eye on the market. I believe your collection should grow with you. Tastes shift, life happens, and ideally, the artwork on your walls should be both emotionally meaningful and support your personal evolution. I pay close attention to the market and am always looking for under-recognized or undervalued artists. There’s nothing more rewarding than discovering an artist with a compelling story and helping bring that story to a wider audience. I deal primarily in blue-chip Post-War and Contemporary art, focusing on Post-War abstraction and the Light and Space movement. For me, these works go far beyond the visual. They engage the nervous system. They’re intuitive and visceral. You don’t need to be a scholar or a seasoned collector to feel something when you stand in front of them. They invite you to pause, reflect, and be present. That kind of stillness feels more important than ever right now. Several artists in the sale really embody this energy and have been a close part of my world: Peter Alexander, Mary Abbott, Lita Albuquerque, Emily Mason, Alice Baber, and Paul Jenkins, to name a few. These are artists I’ve followed, admired, and placed with many collectors, and I’m thrilled to spotlight them in this sale. They each speak to that visceral, emotional response that defines my collecting philosophy. Lot 33 | Emily Mason (American, 1932-2019) | Ginseng Hill, 1969 | Estimate: $8,000 - 12,000 ZW: Over the years, I have observed you having a knack for being ahead of the market curve and acquiring works by artists like Mary Corse, Alma Thomas and Emily Mason before their prices jumped significantly. Are there artists in the present group that you can identify as undervalued and could be due for an upward market correction? EF: I'm so glad you asked. This sale includes quite a few works that I consider compelling opportunities. There is a group of smaller works by some of my favorite AbEx artists, including Mary Abbott (Lot 34), Alice Baber (Lots 31 and 32), Sonia Gechtoff (Lot 36), and Emily Mason (Lot 33). These are very strong examples at accessible price points and present wonderful opportunities for collectors. I’m so excited to include three works by Lita Albuquerque (Lots 55, 56, and 57) in this sale. She’s an important figure in California’s art history and a key voice in the Light and Space movement. Her work explores big ideas - time, space, our place in the universe- doing so in a way that feels personal and immediate. Lita has had a remarkable career, working in permanent collections of institutions like the Getty, LACMA, and the Whitney. If you don’t already know her, now is a great moment to take a closer look. She’s long overdue for wider recognition. Lot 59 | Peter Alexander (American, 1939-2020) | Rose Wedge, 2011 | Estimate: $20,000 - 30,000 The Peter Alexander Rose Wedge (Lot 59) is a beautiful, luminous piece that feels every bit like a slice of a California sunset. It’s a special opportunity to acquire a great example from one of the founding voices of the Light and Space movement. Lot 35 | Ethel Schwabacher (American, 1903-1984) | Ode #I, 1954 | Estimate: $30,000 - 50,000 Ethel Schwabacher (Lot 35) is another standout. She's a historically significant artist whose work comes to market very rarely. Only eight paintings have ever been sold at auction, and just a couple in the last five years. The last work, a small 9 x 12-inch canvas, sold for $45,360 on a $10–15k estimate in 2023. The piece in this sale is not only larger, it’s a knockout, and it has the potential to set a new record for her. The Kikuo Saito (Lot 41) painting is one of my personal favorites, a fantastic example that feels joyful and sophisticated. I’m also thrilled to offer a couple of his beautiful works on paper, which you rarely see come up at auction. Lot 46 | Al Held (American, 1928-2005) | Fathom Mark XIX, 1989 | Estimate: $40,000 - 60,000 The Al Held (Lot 46) and Robert Natkin (Lot 43) are also beautiful, high-quality works, and their estimates are well below what you might typically see in a gallery setting. Lot 43 | Robert Natkin (American, 1930-2010) | Bern No. 338A, 1983 | Estimate: $15,000 - $25,000 Last, but not least, the Enrico David (Lot 81) is a museum-quality painting offered at a very timely moment, as White Cube just announced representation. That kind of momentum can create a new wave of interest, and this is the kind of piece that could really benefit. ZW: Turning to the broader sale, outside of what you have selected to be included in it as a guest curator, are there other lots in the sale that speak specifically well to the works that you consigned and that you think bidders should take a closer look at? EF: Absolutely. I’m especially excited about the Bernice Bing (Lot 26) in the sale. I’ve long admired her work, and seeing the growing recognition of her contributions to postwar abstraction and the Bay Area art scene has been incredible. This painting is a beautiful example of the dualities she explored — it carries a certain darkness but also an inner luminosity that draws you in. Lot 26 | Bernice Bing (American, 1936–1998) | GAM SAAN, 1985-86 | Estimate: $10,000 - 15,000 The group of five Gertrude Abercrombie (Lots 93, 94, 95, 96, and 97) paintings are fantastic. Each one feels like a jewel, showcasing the range of her poetic, surreal vision. The estimates have been kept conservative, considering the incredibly strong auction results over the last year. I wouldn’t be surprised if we see more fireworks here. Lois Dodd’s pieces (Lots 89, 90, 91, and 92) also stand out. She’s one of those artists I’ve been watching for years, and every time a good work comes up, I think, “I better move on this before it’s too late.” Her work still trades at very reasonable prices, given her stature compared to peers she came up with, like Alex Katz. ZW: We’ve spent most of this conversation discussing how you so effectively use your keen aesthetic vision to advise others. I imagine you also take your work home with you, so to speak and collect yourself. Who do you have in your collection and who is on the wish list? EF: My wife and I have been collecting seriously for over ten years now. Our collection is very important to me, and I try always to practice what I preach! The first major piece we acquired was a Mary Corse white light painting. Over the years, we’ve been fortunate to collect works by many wonderful artists, including Alma Thomas, Mary Abbott, Emily Mason, Alice Baber, Kikuo Saito, Günther Förg, Ed Ruscha, Roy Lichtenstein, Lita Albuquerque, Peter Alexander, Larry Bell, Hank Willis Thomas, and Zanele Muholi. We fantasize about one day adding a Tracey Emin or Sam Gilliam collection. We’ve alsobeen talking about exploring photography in a deeper way. Wolfgang Tillmans and Catherine Opie are at the top of that list. It’s a collection that continues to grow with us.
Cowboys and Indians, one of Andy Warhol’s final projects before his death, offers an iconic study of the American West situated between perception and history. After two years of work, sourcing images from the collection of the Museum of the American Indian, various nineteenth-century photographs, and film stills, the portfolio of ten screenprints culminated in the images we are delighted to present here— an arresting mix of legendary Western figures like Theodore Roosevelt, General Custer, and Geronimo alongside traditional Native American artifacts and commercialized depictions of the West like the Buffalo Nickel. By blending mythologized symbols of the American West with his signature Pop Art aesthetic, Warhol adeptly critiques the way media and consumerism have shaped public perception of Indigenous cultures and historical figures. The vibrant colors, bold outlines, and layered imagery underscore Warhol’s ability to transform serious cultural subjects into striking visual commentary. This portfolio stands as a powerful exploration of America’s historical myths and their lasting impact on contemporary cultures. Particularly interesting in the idea of perception in this portfolio is the original drive of its creation, where publishers Edmund Gaultney and Kent Klineman specifically approached Warhol in 1984 with the request that he take on a project with this theme. Warhol’s exploration of which scenes would resonate most with the public—and his contemplation of why the American West so powerfully reflects national identity—was central to the creation of the portfolio and remains key to its enduring resonance. This exploration of American identity and the West has only become more meaningful over time, as the West continues to shape popular culture and discourse, including through popular media such as the recent Paramount series Yellowstone. Simultaneously, art historians have increased their investigation into this previously undervalued area of Warhol’s oeuvre. In 2019, the exhibition Warhol and the West traveled across the country, bringing familiarity with the imagery and a new appreciation for the subject matter within the traditional Western Art canon. This juxtaposition of the romanticization of the West, Warhol’s intentional use of imagery, and the art historical rediscovery of this critical theme in Warhol’s artistic output has thus allowed for a greater understanding and relevance of this portfolio today. We are thrilled to offer this complete portfolio in our May 7th Prints and Multiples auction as part of the Property from the David R. Smith Revocable Trust. The portfolio was acquired by the family in 1986, shortly following its publication. As one of the rare complete sets with the unique John Wayne screenprint—featuring yellow accents that differentiate it from other impressions—the full set’s pristine condition and provenance present an opportunity for the most discerning collector to add a prime example of Pop Art and American history to their collection. INQUIRIES: monicabrown@hindmanauctions.com