Mak­ing Im­pres­sions

Buy­ers con­nect with im­pres­sion­is­tic land­scapes and cityscapes dur­ing Free­man’s De­cem­ber 3 sale

American Fine Art Magazine - - Event Report: New York, Ny -

Buy­ers con­nect with im­pres­sion­is­tic land­scapes and cityscapes dur­ing Free­man’s De­cem­ber 3 sale

Lo­cated in Philadel­phia, Free­man’s Auc­tion­eers spe­cial­izes in the works of Penn­syl­va­nia Im­pres­sion­ists and has two yearly sales promi­nently fea­tur­ing their paint­ings.the auc­tion house’s sec­ond Amer­i­can Art & Penn­syl­va­nia Im­pres­sion­ists sale of 2017 took place on De­cem­ber 3 and con­tin­ued its trend of be­ing a leader in the cat­e­gory. Dur­ing the sale, which yielded a to­tal of $1.8 mil­lion, the seg­ment had a 94 per­cent sell-through rate. There also was strong in-house par­tic­i­pa­tion in the auc­tion, as well as a num­ber of new buy­ers show­ing in­ter­est in the sale.alas­dair Ni­chol, Free­man’s chair­man and di­rec­tor of fine art, says, “Fifty-six per­cent of bid­ders were in the room.”the num­ber was higher than those bid­ding on­line and by phone, which Ni­chol says is “un­usual these days, but I thought it was en­cour­ag­ing.” In ad­di­tion, he pointed out that the top three lots went to pri­vate col­lec­tors.

Daniel Gar­ber’s A Jersey Road (est. $200/300,000), the high­est sell­ing piece of the day, was what Ni­chol called a “per­fect storm.”the paint­ing, he cites, was fresh to the mar­ket, in un­touched con­di­tion, a great sub­ject and in its orig­i­nal Harer frame. It brought $334,000. The sec­ond high­est achiev­ing lot was Ed­ward

Willis Red­field’s The Snow Storm (est. $100/150,000), which also sold above its pre­sale es­ti­mate at $187,500. “The Red­field went to some­one in the room who had bought four lots in the sale,” says Ni­chol.“it was his first time bid­ding at auc­tion. We’re still get­ting new col­lec­tors com­ing into the field, which is healthy for that mar­ket.” Round­ing out the top three was The Old and New New York by Guy Car­leton Wig­gins, which dou­bled its low es­ti­mate when it sold to a phone buyer for $100,000. The piece had come to mar­ket from a fam­ily in up­state New York, and was in­dica­tive of Wig­gins’ paint­ings but in a rather large size.

A new auc­tion record for Susette In­loes Schultz Keats was set dur­ing the sale when her piece The In­ner Harbor (est. $10/15,000) achieved $40,625.“It was the best one [by the artist] I’ve ever seen,” says Ni­chol.“it came from the artist’s grand­daugh­ter, and sold to a pri­vate col­lec­tor who had bought from us be­fore. I was pleased it did well.”

Other stand­out re­sults were Fern Is­abel Coppedge’s The Gar­den Wall (est. $30/50,000) at $87,500; a Euro­pean scene by Red­field ti­tled Coast of France (est. $30/50,000) at $81,500;Thomas Eakins’ por­trait Miss Eleanor S.F. Pue (est. $50/80,000) at $56,250; and Alexan­der Phimis­ter Proc­tor’s bronze Buf­falo (est. $30/50,000) at $35,000.

Clock­wise from above: Daniel Gar­ber (1880-1958), A Jersey Road. Oil on can­vas, 30 x 28 in., signed bot­tom left cen­ter: ‘Daniel Gar­ber’; in­scribed with ti­tle on up­per stretcher verso. Es­ti­mate: $200/300,000 SOLD: $334,000; Ed­ward Willis Red­field...

Guy Car­leton Wig­gins (1883-1962), The Old and New New York. Oil on can­vas, 24¼ x 361/8 in., signed bot­tom left: ‘Guy Wig­gins. N.A.’; signed verso; dated verso: ‘Mar. 1956’. Es­ti­mate: $50/80,000 SOLD: $100,000

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