Judy Garland and Mae West screen-worn gowns turned heads at Freeman’s Hindman Spring Fashion sale

Judy Garland-worn gown from 'In the Good Old Summertime', designed by Irene, which sold for $27,500 ($36,025 with buyer’s premium) at Freeman's Hindman.

CHICAGO — Two Hollywood dresses last sold at auction in 2017 met contrasting fortunes when they returned to the block as part of the Freeman’s Hindman Spring Fashion and Accessories sale on March 12. Judy Garland’s dress from In The Good Old Summertime made a handsome return, but Mae West’s Elsa Schiaparelli gown from Every Day’s a Holiday fell short.

The cherry red number worn by Judy Garland as Veronica Fisher in the 1949 MGM musical In the Good Old Summertime had last sold at Julien’s Auctions in November 2017, when it hammered for $10,000. Designed by MGM’s costume supervisor Irene Maud Lentz (known simply as Irene), Garland had worn it while singing I Don’t Care. Retaining an MGM dry cleaning label, it was sold with three black and white stills of Garland wearing the dress alongside her co-star Van Johnson. Estimated in Chicago at $6,000-$8,000, instead it hammered at $27,500 ($36,025 with buyer’s premium).

Mae West wore several Elsa Schiaparelli gowns while playing the role of con artist Peaches O’Day in the 1937 Paramount Pictures film Every Day’s a Holiday. The story goes that Schiaparelli had been reluctant to travel to Hollywood and instead worked on the costumes by using a dress form of West’s body. Schiaparelli had been so impressed with the dress form’s curves that it became the inspiration for her next perfume bottle.

This particular black velvet gown with an oversize fur collar and hem had sold for $40,000 as part of the October 2017 auction of personal property from Carrie Fisher and Debbie Reynolds conducted by Profiles in History. Recreating the fevered competition of that celebrity sale provided difficult: this time, the dress brought $14,000 ($18,340 with buyer’s premium).

Judy Garland-worn gown from 'In the Good Old Summertime', designed by Irene, which sold for $27,500 ($36,025 with buyer’s premium) at Freeman's Hindman.

Judy Garland-worn gown from 'In the Good Old Summertime', designed by Irene, which sold for $27,500 ($36,025 with buyer’s premium) at Freeman's Hindman.

Mae West-worn Elsa Schiaparelli gown from 'Every Day's a Holiday', which sold for $14,000 ($18,340 with buyer's premium) at Freeman's Hindman.

Mae West-worn Elsa Schiaparelli gown from 'Every Day's a Holiday', which sold for $14,000 ($18,340 with buyer's premium) at Freeman's Hindman.

Roland Arkell

Roland Arkell

Roland Arkell is editor of Auction Central News and deputy editor at Antiques Trade Gazette. He has been writing about all aspects of the art and antiques market for more than 25 years.

African American historical ephemera was the focus at Freeman’s Hindman

'I Am A Man' poster, which sold for $7,500 ($9,825 with buyer’s premium) at Freeman's Hindman.

CINCINNATI — Nearly 330 lots of historical ephemera crossed the block at Freeman’s Hindman February 27, with the focus on African American items. Complete results are available at LiveAuctioneers.

The sale’s top lot was a first edition of Their Eyes Were Watching God by Zora Neale Hurston (1891-1960), the prominent black author and civil rights advocate. Published by Lippincott in 1937, the book recounts a strong, independent black woman protagonist on a quest to find her true identity. It hammered for $15,000 ($19,650 with buyer’s premium).

The legendary ‘I Am A Man’ poster became a powerful and prominent symbol of the Civil Rights Movement after its use, originally during the Memphis sanitation workers’ strike, which continued from February to April of 1968. More than a thousand black sanitation workers in Memphis walked off the job after two of their own were crushed by a garbage truck compactor and the public works department refused compensation to their families. The cause drew the attention and support of Martin Luther King, Jr. The poster sold for $7,500 ($9,825 with buyer’s premium).

Two photographs of ‘Buffalo Soldiers’ from Company D, 24th US Infantry, sold for $7,000 ($9,170 with buyer’s premium). One of the images was credited to African American photographers J. P. Ball & Son of Helena, Montana. The image dated to 1902-1904.

A final highlight was an 1866 marriage license and certificate for a freedman and freedwoman in Talbot County, Georgia. The license authorized the union of ‘Cicero Vaughn (freedman) and Ellen Gorman (freedwoman)’ in holy matrimony, and was dated 15 September 1866. It hammered for $6,000 ($7,860 with buyer’s premium).

Zora Neale Hurston, 'Their Eyes Were Watching God,' which sold for $15,000 ($19,650 with buyer’s premium) at Freeman's Hindman.

Zora Neale Hurston, 'Their Eyes Were Watching God,' which sold for $15,000 ($19,650 with buyer’s premium) at Freeman's Hindman.

'I Am A Man' poster, which sold for $7,500 ($9,825 with buyer’s premium) at Freeman's Hindman.

'I Am A Man' poster, which sold for $7,500 ($9,825 with buyer’s premium) at Freeman's Hindman.

Two photographs of 'Buffalo Soldiers,' which sold for $7,000 ($9,170 with buyer’s premium) at Freeman's Hindman.

Two photographs of 'Buffalo Soldiers,' which sold for $7,000 ($9,170 with buyer’s premium) at Freeman's Hindman.

1866 marriage license and certificate for a freedman and freedwoman in Talbot County, Georgia, which sold for $6,000 ($7,860 with buyer’s premium) at Freeman's Hindman.

1866 marriage license and certificate for a freedman and freedwoman in Talbot County, Georgia, which sold for $6,000 ($7,860 with buyer’s premium) at Freeman's Hindman.

Jim Bunte

Jim Bunte

Jim Bunte has worked in editorial, design and the toy and auction industries for more than 30 years. He co-founded Auction Central News in 2007.

Historic Americana offers a view to the 18th century at Freeman’s Hindman March 15

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CINCINNATI — Freeman’s Hindman brings three family collections to market Friday, March 15, with a large selection of Americana from the late 18th and early 19th century. The catalog is now open for bidding at LiveAuctioneers.

Early American portraits are lead items in the sale. Charles Lyman (1775-1818) was an American portraitist engaged to depict Thaddeus and Elizabeth Leavitt in July of 1803. Their portraits measure 27.5 by 24.325in and are oils on canvas. Both are marked by the artist on the back and the lot also includes a watercolor on silk titled View of Cronberg Castle near Elsineur (sic), done by Elizabeth in 1806. The complete three-item lot is estimated at $8,000-$12,000.

The next set of husband and wife portraits contain something of a mystery. Everyone involved — subjects and artist — are French, but they were apparently rendered in the United States in 1807. Charles Balthazar Saint-Mémin (1770-1852) was a French aristocrat who came to America and painted hundreds of portraits using a Physiognotrace, a mechanical device that allowed for the relatively easy creation of profile portraits. His subjects, Maurice and Marguerite Tristant de Verdun, are historically known but show no evidence of having been in America at the time. The lot is estimated at $6,000-$8,000.

The sale also includes a large selection of early American-themed Liverpool and Staffordshire creamware featuring transfer-printed Founding Father political figures. Most are pitchers, but the selection also features bowls, plates, and even mugs. Some of the highlights include:

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Charles Lyman, portraits of Thaddeus and Elizabeth Leavitt, estimated at $8,000-$12,000 at Freeman’s Hindman.
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Charles Balthazar Saint-Mémin, portraits of Maurice and Marguerite Tristant de Verdun, estimated at $6,000-$8,000 at Freeman’s Hindman.
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Staffordshire transfer-printed creamware ‘Hero of the Thames’ William Henry Harrison platter, estimated at $1,000-$2,000 at Freeman’s Hindman.
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Liverpool transfer-printed George Washington equestrian mug, estimated at $1,500-$2,500 at Freeman’s Hindman.
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Liverpool transfer-printed creamware ‘John Adams’ pitcher with Masonic decoration, estimated at $3,000-$5,000 at Freeman’s Hindman.
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Liverpool transfer-printed creamware ‘John Adams’ pitcher, estimated at $3,000-$5,000 at Freeman’s Hindman.
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Liverpool transfer-printed creamware ‘Thomas Jefferson’ pitcher, estimated at $4,000-$6,000 at Freeman’s Hindman.
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Black American history is brought to life at Freeman’s Hindman Feb. 27

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CINCINNATI — Freeman’s Hindman’s American Historical Ephemera and Early Photography sale on Tuesday, February 27 features documents, historical artifacts, and photography from throughout American history, with a focus on the pioneering figures and key moments that shaped the African American experience during the last 300 years. The complete catalog is available for bidding at LiveAuctioneers.

The leading lot of the sale is Roll, Jordan, Roll, number 122 of a total press run of 350 books signed by author Julia Peterkin and photographer Doris Ulmann. Published by Robert O. Ballou in 1933, the book is a sympathetic and non-stereotypical view of former slaves living in the Gullah coastal region of South Carolina. It carries an estimate of $8,000-$10,000.

A Reconstruction-era broadside political poster alerting voters to how their votes would be interpreted with regard to ‘Negro suffrage’ is another top lot. It reads in part, “Every Republican vote is a vote for Negro suffrage / In favor of Congress compelling us to let the Negro vote.” Published by the Democratic campaign of Charles T. Molony, his message was apparently heard as he went on to win his New Jersey State Assembly race. The broadside is in fair condition with some areas of loss; its estimate is $7,000-$9,000.

Another New Jersey-related item focuses on the Republican Party’s attempt to push voting rights for Black males in the 1868 election. It is estimated at $3,000-$4,000.

Maria Howard Weeden (1847-1905) was an Alabama-based poet and artist who published and signed her works as ‘Howard’ Weeden. Her sympathetic portraiture of emancipated Blacks earned her great respect throughout her career, and even exhibitions in Europe. This watercolor of an elderly woman has an estimate of $5,000-$7,000.

This carte de visite of Frederick Douglass was imaged by J. B. Roberts around 1867 at his Rochester studio, located at 58 State Street. The lot notes describe it as “Possibly a previously unknown image”, though it resembles another image in the Rochester Public Library collection. It is estimated at $2,000-$3,000.
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‘Roll, Jordan, Roll,’ estimated at $8,000-$10,000 at Freeman’s Hindman.
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‘Attention! Voters! Don’t Be Deceived’ political poster, estimated at $7,000-$9,000 at Freeman’s Hindman.
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‘The Two Records. Voters. Read and Remember’ political tract, estimated at $3,000-$4,000 at Freeman’s Hindman.
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Maria Howard Weeden portrait of an elderly woman, estimated at $5,000-$7,000 at Freeman’s Hindman.
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Carte de visite of Frederick Douglass, estimated at $2,000-$3,000 at Freeman’s Hindman.
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Choice Renoir and Diebenkorn from Sidney Rothberg’s collection showcased at Freeman’s Hindman Feb. 27-28

[av_heading heading=’Choice Renoir and Diebenkorn from Sidney Rothberg‘s collection showcased at Freeman’s Hindman Feb. 27-28′ tag=’h1′ style=” subheading_active=” show_icon=” icon=’ue800′ font=’entypo-fontello’ size=” av-desktop-font-size-title=” av-medium-font-size-title=” av-small-font-size-title=” av-mini-font-size-title=” subheading_size=” av-desktop-font-size=” av-medium-font-size=” av-small-font-size=” av-mini-font-size=” icon_size=” av-desktop-font-size-1=” av-medium-font-size-1=” av-small-font-size-1=” av-mini-font-size-1=” color=” custom_font=” subheading_color=” seperator_color=” icon_color=” margin=’,,35px,’ av-desktop-margin=” av-desktop-margin_sync=’true’ av-medium-margin=” av-medium-margin_sync=’true’ av-small-margin=’,,20px,’ av-mini-margin=” av-mini-margin_sync=’true’ headline_padding=” headline_padding_sync=’true’ av-desktop-headline_padding=” av-desktop-headline_padding_sync=’true’ av-medium-headline_padding=” av-medium-headline_padding_sync=’true’ av-small-headline_padding=” av-small-headline_padding_sync=’true’ av-mini-headline_padding=” av-mini-headline_padding_sync=’true’ padding=’10’ av-desktop-padding=” av-medium-padding=” av-small-padding=” av-mini-padding=” icon_padding=’10’ av-desktop-icon_padding=” av-medium-icon_padding=” av-small-icon_padding=” av-mini-icon_padding=” link=” link_target=” title_attr=” id=” custom_class=” template_class=” av_uid=’av-lsjasv0x’ sc_version=’1.0′ admin_preview_bg=”][/av_heading]

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PHILADELPHIA — An art collection assembled by Philadelphia native Sidney Rothberg — some of it originally purchased at Freeman’s saleroom — returns to market in a two-day sale at Freeman’s Hindman on Tuesday, February 27 and Wednesday, February 28. The catalogs are now open for bidding at LiveAuctioneers.

“Mr. Rothberg was known for his expert eye and impeccable taste,” said Head of Sale Alasdair Nichol. “He regularly attended Freeman’s auction, so it is not only fitting, but also emotional, to see all these gems presented in the city he liked so much.”

The Portrait of Pierre Goujon dates from a pivotal moment in Pierre-Auguste Renoir’s (1841-1919) career, a professional crossroads where the artist was attempting to break the Impressionist mold and find a new aesthetic. Renoir grew discontented with Impressionism as early as 1879, when it became clear that cooperative exhibitions did not bring much success. Eager to make grander and more careful pictorial statements, Renoir sought an alternative. As he expressed to his friend and dealer Ambroise Vollard: “I had wrung Impressionism dry, and I finally came to the conclusion that I knew neither how to paint nor draw.” The Portrait of Pierre Goujon thus symbolizes a new path to making a painting. The Renoir work, which is the last of a foursome of portraits of child siblings remaining in private hands, is estimated at $250,000-$400,000.

Known for his abstract and landscape paintings, Richard Diebenkorn (1922-1993) delved into portraiture in the 1950s during the time he was associated with the Bay Area Figurative Movement. In response to the dominance of Abstract Expressionism, several California artists returned to a figurative, representational style. Regarding his motivation, Diebenkorn said, “I had never given representational painting a mature chance … I felt that I wanted to take a shot at it.” Girl in Tiled Room from 1957 is estimated at $200,000-$300,000.

Model for Giant Ice Bag on a Corner Site-Oberlin is a design study undertaken by conceptual artist Claes Oldenburg (1929-2022). Originally envisioned as a colossal monument at Oberlin College in Ohio, Giant Ice Bag eventually surfaced at the Osaka World’s Fair in 1970. It later was exhibited at the Los Angeles County Museum of Art in 1971. The design study is signed by Oldenburg and carries an estimate of $10,000-$15,000.

John Kane (1860-1934) was born in Scotland but came to the United States at the age of 20, where he took up industrial sign painting as a trade. He became an overnight sensation when one of his works was selected for the annual international exhibition of the Carnegie Institute in Pittsburgh in 1927. My Birthplace features what is likely his childhood home in Scotland, with an added self-portrait to lend a surreal and dreamlike quality to the piece. The painting is estimated at $15,000-$25,000.
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Pierre-Auguste Renoir, ‘Pierre Goujon en Costume Marin,’ estimated at $250,000-$400,000 at Freeman’s Hindman.
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Richard Diebenkorn, ‘Girl in Tiled Room,’ estimated at $200,000-$300,000 at Freeman’s Hindman.
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Claes Oldenburg, ‘Model for Giant Ice Bag on a Corner Site-Oberlin,’ estimated at $10,000-$15,000 at Freeman’s Hindman.
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John Kane, ‘My Birthplace,’ estimated at $15,000-$25,000 at Freeman’s Hindman.
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Alexander Archipenko, ‘Walking, Schreitende,’ estimated at $5,000-$8,000 at Freeman’s Hindman.
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Advertising and barbershop memorabilia got bidders in a lather at Freeman’s Hindman

[av_heading heading=’Advertising and barbershop memorabilia got bidders in a lather at Freeman’s Hindman’ tag=’h1′ style=” subheading_active=” show_icon=” icon=’ue800′ font=’entypo-fontello’ size=” av-desktop-font-size-title=” av-medium-font-size-title=” av-small-font-size-title=” av-mini-font-size-title=” subheading_size=” av-desktop-font-size=” av-medium-font-size=” av-small-font-size=” av-mini-font-size=” icon_size=” av-desktop-font-size-1=” av-medium-font-size-1=” av-small-font-size-1=” av-mini-font-size-1=” color=” custom_font=” subheading_color=” seperator_color=” icon_color=” margin=’,,35px,’ av-desktop-margin=” av-desktop-margin_sync=’true’ av-medium-margin=” av-medium-margin_sync=’true’ av-small-margin=’,,20px,’ av-mini-margin=” av-mini-margin_sync=’true’ headline_padding=” headline_padding_sync=’true’ av-desktop-headline_padding=” av-desktop-headline_padding_sync=’true’ av-medium-headline_padding=” av-medium-headline_padding_sync=’true’ av-small-headline_padding=” av-small-headline_padding_sync=’true’ av-mini-headline_padding=” av-mini-headline_padding_sync=’true’ padding=’10’ av-desktop-padding=” av-medium-padding=” av-small-padding=” av-mini-padding=” icon_padding=’10’ av-desktop-icon_padding=” av-medium-icon_padding=” av-small-icon_padding=” av-mini-icon_padding=” link=” link_target=” title_attr=” id=” custom_class=” template_class=” av_uid=’av-lsklv3em’ sc_version=’1.0′ admin_preview_bg=”][/av_heading]

[av_post_metadata post_selected=” seperator=’ | ‘ before_meta_content=’Jim Bunte |’ after_meta_content=” margin=” margin_sync=’true’ padding=’,,35px,’ av-desktop-margin=” av-desktop-margin_sync=’true’ av-desktop-padding=” av-desktop-padding_sync=’true’ av-medium-margin=” av-medium-margin_sync=’true’ av-medium-padding=” av-medium-padding_sync=’true’ av-small-margin=” av-small-margin_sync=’true’ av-small-padding=” av-small-padding_sync=’true’ av-mini-margin=” av-mini-margin_sync=’true’ av-mini-padding=” av-mini-padding_sync=’true’ align=’left’ custom_title=” size=” av-desktop-font-size=” av-medium-font-size=” av-small-font-size=” av-mini-font-size=” alb_description=” id=” custom_class=” template_class=” av_uid=’av-lsklvbj2′ sc_version=’1.0′ admin_preview_bg=”]
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CINCINNATI — On January 30, Freeman’s Hindman staged A Cut Above, featuring the first wave of consignments from the James Carpenter barbershop and advertising collection. Complete results are available at LiveAuctioneers.

As anticipated, the sale’s top lot was a 1930s-era ‘Drink Moxie’ embossed lithographed tin advertising sign in like-new condition. Estimated at $8,000-$10,000, the sign hammered for $16,000 ($20,960 with buyer’s premium).

The leading barbershop-related lot was the shaving mug commemorating the owner’s World War I aviation service. It sold for $6,500 ($8,515 with buyer’s premium), more than double its $2,000-$3,000 presale estimate. Right behind it was the shipbuilder’s shaving mug, reaching $4,000 ($5,240 with buyer’s premium) with the same estimate.

A pair of leaded-glass barber pole globes also doubled its estimate, hammering for $4,250 ($5,567 with buyer’s premium). Made by Koken Barber’s Supply Company in St. Louis, Missouri, the pair had been estimated at $1,500-$2,500.

The sale’s top barber pole was a surprise. This early 20th-century ‘whirligig’ barber pole made of painted tin and wood was anticipated to bring between $400 and $600, but competition between the floor and LiveAuctioneers bidders sent it to $3,000 ($3,930 with buyer’s premium), with the LiveAuctioneers bidder winning out.
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‘Drink Moxie’ embossed lithographed tin advertising sign, which sold for $16,000 ($20,960 with buyer’s premium) at Freeman’s Hindman.
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Shaving mug commemorating the owner’s World War I aviation service, which sold for $6,500 ($8,515 with buyer’s premium) at Freeman’s Hindman.
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Shipbuilder’s shaving mug, which sold for $4,000 ($5,240 with buyer’s premium) at Freeman’s Hindman.
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Pair of leaded-glass barber pole globes, which sold for $4,250 ($5,567 with buyer’s premium) at Freeman’s Hindman.
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‘Whirligig’ barber pole, which sold for $3,000 ($3,930 with buyer’s premium) at Freeman’s Hindman.
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Mennello collection of American Impressionism showcased at Freeman’s Hindman Feb. 21

[av_heading heading=’Mennello collection of American Impressionism showcased at Freeman’s Hindman Feb. 21′ tag=’h1′ style=” subheading_active=” show_icon=” icon=’ue800′ font=’entypo-fontello’ size=” av-desktop-font-size-title=” av-medium-font-size-title=” av-small-font-size-title=” av-mini-font-size-title=” subheading_size=” av-desktop-font-size=” av-medium-font-size=” av-small-font-size=” av-mini-font-size=” icon_size=” av-desktop-font-size-1=” av-medium-font-size-1=” av-small-font-size-1=” av-mini-font-size-1=” color=” custom_font=” subheading_color=” seperator_color=” icon_color=” margin=’,,35px,’ av-desktop-margin=” av-desktop-margin_sync=’true’ av-medium-margin=” av-medium-margin_sync=’true’ av-small-margin=’,,20px,’ av-mini-margin=” av-mini-margin_sync=’true’ headline_padding=” headline_padding_sync=’true’ av-desktop-headline_padding=” av-desktop-headline_padding_sync=’true’ av-medium-headline_padding=” av-medium-headline_padding_sync=’true’ av-small-headline_padding=” av-small-headline_padding_sync=’true’ av-mini-headline_padding=” av-mini-headline_padding_sync=’true’ padding=’10’ av-desktop-padding=” av-medium-padding=” av-small-padding=” av-mini-padding=” icon_padding=’10’ av-desktop-icon_padding=” av-medium-icon_padding=” av-small-icon_padding=” av-mini-icon_padding=” link=” link_target=” title_attr=” id=” custom_class=” template_class=” av_uid=’av-ls4v63hx’ sc_version=’1.0′ admin_preview_bg=”][/av_heading]

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PALM BEACH, Fla. — Together with his wife Marilyn, Michael Mennello (1933-2020) spent his entire life collecting and championing regional artists from Florida, while amassing a one-of-a-kind collection of American Impressionists. The Menellos founded the Mennello Museum of American Art in Orlando, which today houses the largest collection of works by self-taught folk artist Earl Cunningham (1893-1977).

Freeman’s Hindman has been charged with dispersing the remainder of the Mennello collection in an event titled A Lasting Legacy: Estate of Michael Mennello. The catalog for the Wednesday, February 21 sale is now open for bidding at LiveAuctioneers.

The sale’s top-estimated lot is The Necklace (La femme au collier), a 1913 oil on canvas by Richard Edward Miller (1875-1943). A native of St. Louis, Miller studied in Paris and became a member of the Giverny (France) Colony of American Impressionists. He was known for his paintings of women sitting idly, which The Necklace typifies. Freeman’s Hindman estimates the 36 by 29in painting at $150,000-$250,000.

Joseph Raphael (1869-1950) was born in the California Gold Rush town of Jackson in the Sierra Nevada mountains, but as a young artist moved to Europe, where he resided until the outbreak of World War II. He would resettle in San Francisco, where he had previously conducted numerous sales of his American Impressionist originals with the assistance of local benefactors such as Alfred Bender, who also championed Ansel Adams and Diego Rivera. Children of the Artist is a 57.75 by 59.25in oil on canvas depicting Raphael’s three daughters in the 1920-24 period, when he and his wife lived in Uccle, Belgium. The work is estimated at $40,000-$60,000.

No collection of American Impressionism is complete without a Guy Carleton Wiggins (1883-1962). Silver and Gold at the Plaza was painted just a year prior to the artist’s passing, and features the snowy but adoring treatment of New York Wiggins is known for. Best of all, the work has been authenticated in writing by Wiggins’ son Noel. The 28 by 42in oil on canvas carries a $30,000-$50,000 estimate.

The Mennello collection also contains two works by John French Sloan (1871-1951), a founding member of what was called the Ashcan School of American Art. Adherents focused on gritty depictions of working class life in New York City, and Sloan would often gain inspiration by peering through his studio window in Chelsea. Sloan did apparently leave the city now and again, as seen in Fassett’s Cove and Black Rocks and Ledges, both dated 1915 and both estimated at $25,000-$35,000.
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Richard Edward Miller, ‘The Necklace (La femme au collier),’ estimated at $150,000-$250,000 at Freeman’s Hindman.
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Joseph Raphael, ‘Children of the Artist,’ estimated at $40,000-$60,000 at Freeman’s Hindman.
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Guy Carleton Wiggins, ‘Silver and Gold at the Plaza,’ estimated at $30,000-$50,000 at Freeman’s Hindman.
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John French Sloan, ‘Fassett’s Cove,’ estimated at $25,000-$35,000 at Freeman’s Hindman.
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John French Sloan, ‘Black Rocks and Ledges,’ estimated at $25,000-$35,000 at Freeman’s Hindman.
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Lawton S. Parker, ‘Sylvia,’ estimated at $30,000-$50,000 at Freeman’s Hindman.
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Private collection of 20th-century design debuts at Freeman’s Hindman Feb. 8

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PHILADELPHIA — A private collector in New York spent decades assembling an incredibly strong collection of 20th-century design, with an emphasis on furniture from some of the biggest names in French Art Deco and Modernism. That collection heads to market at Freeman’s Hindman on Thursday, February 8 in a highly focused, 36-lot sale titled The Desire for Perfection: A New York Collection of 20th Century Design. The catalog is now open for bidding at LiveAuctioneers.

At the top spot for the sale’s estimates sits this sideboard designed by French furniture designer Jules Leleu (1883-1961). Released in 1960, just a year before his death, the sideboard’s exterior features lacquered wood, mahogany, brass, and gold leaf, while the interior consists of mahogany, five adjustable shelves, and two drawers. It is estimated at $15,000-$25,000.

One of the greats of the Art Deco period was René Prou (1887-1947), though his impact has since faded. Prou designed interiors for passenger ocean liners, the Orient Express Pullman cars, and high-end homes and banks throughout France. The sale includes three examples of his furniture line: a settee, two side chairs, and two armchairs, all clearly from the same period and patterns. The settee is estimated at $8,000-$12,000, while the two sets of chairs have identical estimates of $5,000-$7,000.

The New York collector was also a fan of Maxime Old (1910-1991), a French interior and furniture designer. Old helped lead the transition from Art Deco to modernism by employing bold colors and definitive geometry, as witnessed in the four lots by him in the sale. Old’s 1947 dining room cabinet is a clear transition away from the 1930s towards a bolder, more defined look. It is estimated at $7,000-$9,000.

Jacques Adnet (1900-1984) is considered a titan of French Modernism, who placed emphasis on luxurious design. At the young age of 28, Adnet was named director of La Compagnie des Arts Français (CAF), where he pursued his Modernist designs for decades. This pair of leather and iron armchairs date to 1960 and are indicative of his pared-down focus on functionality with minimal ornamentation. The chairs are estimated at $5,000-$7,000.
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Jules Leleu sideboard, estimated at $15,000-$25,000 at Freeman’s Hindman.
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René Prou settee, estimated at $8,000-$12,000 at Freeman’s Hindman.
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René Prou armchairs, estimated at $5,000-$7,000 at Freeman’s Hindman.
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René Prou side chairs, estimated at $5,000-$7,000 at Freeman’s Hindman.
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Maxime Old dining room cabinet, estimated at $7,000-$9,000 at Freeman’s Hindman.
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Jacques Adnet leather and iron armchairs, estimated at $5,000-$7,000 at Freeman’s Hindman.
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Hindman and Freeman’s auction houses merge to become Freeman’s Hindman

Gemma Sudlow on the rostrum for Hindman’s inaugural New York auction, Time & Space: Watches from the Collection of Glen de Vries. Image courtesy of Hindman.
Gemma Sudlow on the rostrum for Hindman’s inaugural New York auction, Time & Space: Watches from the Collection of Glen de Vries. Image courtesy of Hindman
Gemma Sudlow on the rostrum for Hindman’s inaugural New York auction, Time & Space: Watches from the Collection of Glen de Vries. Image courtesy of Hindman.

CHICAGO and PHILADELPHIA – Chicago auction house Hindman has announced a merger with Philadelphia-based Freeman’s and the opening of a permanent saleroom in Manhattan’s Upper East Side. The new firm, which consolidates two of America’s top regional firms, will henceforth operate under the name Freeman’s Hindman.

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