Freeman's

In 1805 Tristram B. Freeman opened an auction house with the desire to “cherish the arts in the new world.” Over 200 years later, Freeman’s is still committed to exceptional art and exceptional people. We believe in a unique standard of one-on-one service, where people are just as important as their possessions. As America’s oldest auction house, we have spent decades building relationships with a loyal, diverse and passionate group of collectors in Philadelphia and beyond.

Freeman’s holds more than 25 auctions a year in the following categories: 20th Century Design; American Art & Pennsylvania Impressionists; American Furniture, Folk & Decorative Arts; Asian Arts; Books, Maps & Manuscripts; English & Continental Furniture, Silver & Decorative Arts; European Art & Old Masters; Jewelry & Watches; Modern & Contemporary Art.

Countries
  • USA
Objects "Freeman's"

ANATOLIAN KUSURA IDOL C

ANATOLIAN KUSURA IDOL C. 2700-2100 BC Carved marble, with a shield shaped body, long neck and triangular shaped head with drill holes framing a human face, raised on a mount. H: 4.1 in. (mounted). PROVENANCE: with Royal-Athena Galleries, New York, 2000, inventory number CLX229. The Jeff Hunter Collection, New York (copy of the original purchase invoice to be included). Estimate $1,000-1,500 Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Freeman's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Freeman's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Freeman's. For that reason, Freeman's condition report is not an alternative to taking your own professional advice regarding the condition of the lot. All transactions are governed by Freeman's Conditions of Sale. Leave a Bid Bid in the Room Bid Live Online Freeman's Live Invaluable Bid on the Telephone, Estimate $1,000-1,500, Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Freeman's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Freeman's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Freeman's. For that reason, Freeman's condition report is not an alternative to taking your own professional advice regarding the condition of the lot. All transactions are governed by Freeman's Conditions of Sale. Leave a Bid Bid in the Room Bid Live Online Freeman's Live Invaluable Bid on the Telephone, Leave a Bid, Leave a Bid Bid in the Room, Bid in the Room, Bid Live Online, Freeman's Live, Invaluable, Bid on the TelephoneRead more

  • USAUSA
  • 22d 0h

CORNELIS SAFTLEVEN (dutch 1607-1681) "DEATH

CORNELIS SAFTLEVEN (dutch 1607-1681) "DEATH, THE REAPER" Signed and dated 'C. Saftleven. fc. 1649.' bottom center left, oil on cradled panel 27 1/8 x 39 in. (68.9 x 99.1cm) provenance: The Hawkins Collection, New Orleans. The Berghoffer Collection, Chicago. Collection of Judge John Barton Payne. A gift from the above, 1919. Property from the Virginia Museum of Fine Arts, Sold to Benefit Future Acquisitions. LITERATURE: Wolfgang Schulz, Cornelis Saftleven 1607-1681: Leben und Werke, Mit Einem Kritischen Katalog der Gemälde und Zeichnungen,De Gruyter, Berlin and New York, 1978, no. 518, pp. 8, 28, and 188 (illustrated). Peter C. Sutton, A Guide to Dutch Art in America, The Netherlands-American Amity Trust, Washington D.C; Eedmans, Grand Rapids, 1986. NOTE: Cornelis Saftleven was born into an important family of Dutch artists in Gorinchem in 1607. After training in Rotterdam, possibly with his father Herman Saftleven (d. circa 1627), Cornelis traveled to Antwerp around 1632, where he became familiar with the work of genre scene painters Adriaen Brouwer (c.1605-1638) and David Teniers the Younger (1610-1690). While in Antwerp, Saftleven gained considerable fame and collaborated with Sir Peter Paul Rubens (1577-1640) on no less than four projects. By 1634, Cornelis was in Utrecht where he painted a portrait of the Godard van Reede family, together with his brother Herman the Younger (1609-1685). He returned to Rotterdam by 1637, where he was appointed dean of the prestigious Saint Luke's Guild in October 1667. Saftleven was among artists of the Dutch Golden Age who never specialized in one particular genre, and thus his œuvre includes genre scenes, portraits, allegories and mythological themes, landscapes, and still lifes. Today, his images of Hell and his satires of Dutch society are considered to be his most important contributions to Dutch painting. With its attention to details and its captivating theme, the present work stands out as a unique subject in Stafleven's oeuvre. It falls within spookerijen ("spookery"), a common Dutch theme which includes a wide range of ghoulish images, such as Temptations of Saint Anthony, witchcrafts, Black Sabbaths, deaths and hells. Although Hieronymus Bosch (c.1450-1516) and Pieter Bruegel the Elder (c.1525-1566) were pioneers in this domain, Cornelis Saftleven brought the theme to a new level, creating a modern standard that strongly impacted later artists, and enjoyed continued popularity in the 17th century Netherlands. Such images were aimed at an audience of enlightened collectors, who did not necessarily believe in demons, but collected such paintings as a reflection on mortality and detachment from earthly vanities, thus mimicking the Christian philosophy of Memento Mori. Set in a hilly landscape near a forest entrance, this scene depicts Death disguised as a skeleton. A scythe in its hand, the threatening figure stands in front of various animals, for the most part exotic, as typified by the elephants and the camels in the background. While some are shown dead, others are still trying to escape. In the foreground a leopard leaps at a horse's neck. To the right, a ferocious lion who just struck a cattle is devouring his prey. Near him lies a dead goat, a sign of the devil. The majority of the figures depicted here are animals. However, Saftleven also represents men. While a scary group of bathers is shown fleeing in the distance, one can spot the remnants of human bones, including a skull, in the center of the composition, a painful reminder that no one escapes death. Saftleven executed the present painting in 1649, a decade after his return to the city of Rotterdam. The subdued palette of brown, maroon, and grey tones is typical of his earlier compositions, and resembles the tavern scenes by Brouwer. The impact of his contemporary Jan Brueghel the Younger (1601-1678) is also evident in the careful rendering of the subject and attraction to grisly details. The work combines precise scientific observation - as shown in the impressive body of the dead bull in the center of the composition - with a sense of powerful forces, as typified by the dramatic, and chaotic dispersion of the animals in the foreground. Dutch artists of the 17th century could study exotic animals like the ones shown here at fairs, markets, and menageries. But artists did not always have the opportunity to paint from real life, and sometimes had to rely on stuffed animals or the work of their contemporaries. In Safteleven's case, Roelandt Savery (1576-1639) inspired him to produce a large production of both fanciful animal allegories and detailed studies of lions, leopards, owls, and monkeys. According to Wolfgang Schulz (b. 1943), the present painting can be related to some drawings of lions and camels Saftleven produced during the 1640s, examples of which can be seen in the collections of the Rijksmuseum in Amsterdam and the Art Institute of Chicago, respectively. Estimate $8,000-12,000 Leave a Bid Bid in the Room Bid Live Online Freeman's Live Invaluable Bid on the Telephone, (dutch 1607-1681), provenance:, Cornelis Saftleven 1607-1681: Leben und Werke, Mit Einem Kritischen Katalog der Gemälde und Zeichnungen, A Guide to Dutch Art in America, Memento Mori, Estimate $8,000-12,000, Leave a Bid Bid in the Room Bid Live Online Freeman's Live Invaluable Bid on the Telephone, Leave a Bid, Leave a Bid Bid in the Room, Bid in the Room, Bid Live Online, Freeman's Live, Invaluable, Bid on the TelephoneRead more

  • USAUSA
  • 8d 1h

Blog posts about "Freeman's"

Modern jewellery masters Ed Weiner, Sam Kramer and Tina Chow at auction this month
On 27th June, Skinner's Fine Jewelry sale will feature pieces from the estate of Susan Freeman, renowned collector of jewellery and couture.
Tropic Thunder
Shake off the cobwebs this January, as we predict tropical interiors will be causing quite the storm.
What's it Worth? A Chinese Trio
A potent trio of Chinese items was sent to the valuation service last week, in the form of two Chinese bracelets and an accompanying dagger.
Art + Design: Masters at Freeman's
Freeman's Art + Design sale on 20th March, features three masters of Modern.
A talk with London dealer Luke Honey
Luke Honey has over twenty years experience working for major auction houses and art consultancies in London, New York and the United States. Today Barnebys talks with Luke to see where it all started, and what he has his eye on in the world of 'mantiques.'

Realised prices "Freeman's "

4 vols., Pearson, Karl. The Life, Letters and Labours of Francis Galton. Cambridge, 1914-1930.
4 vols.\nPearson, Karl. The Life, Letters and Labours of Francis Galton. Cambridge, 1914-1930.\n4to, orig gilt-pictorial green cloth, gilt-lettered spines; moderately scuffed, light edge wear, spines faded to brown. 4 frontis portraits, 179 plates, 7 fold charts &c in over pockets, facs. 8pp pub cat at back of last vol. Sound & internally clean.\n\nDescriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Freeman's
Federal cased liquor set, england, early 19th century
Federal cased liquor set\n\nengland, early 19th century\n\nThe oak case with brass bail handles at sides, the lid lifts to reveal mirrored underside etched with American eagle emblazoned with shield and the inscription "E Pluribus Unum," the velvet lined fitted base with seven gilt-decorated decanters, two wine glasses, two shot glasses, two thin bottles and a tray.\n\nH: 13 1/4 in. W: 15 3/4 in. D: 14 1/2 in.\n\nDescriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Freeman's
Provincial Georgian elm and oak tilt-top table, The circular top on a vasiform standard and pad feet.
Provincial Georgian elm and oak tilt-top table\n\nThe circular top on a vasiform standard and pad feet.\n\nH: 27 1/2, D: 22 1/2 in. Freeman's
1 vol., Guide to the City of Moscow. Moscow: Co-Operative Publishing Society of Foreign Workers in the U.S.S.R., 1937. 12mo, orig....
1 vol.\nGuide to the City of Moscow. Moscow: Co-Operative Publishing Society of Foreign Workers in the U.S.S.R., 1937. 12mo, orig. red & blue stamped grey cloth; light wear, minor dust soiling. Fold. maps, adverts (incl. double-page color adverts.). Presumed complete. Freeman's
Hunting In Georgia
OGDEN MINTON PLEISSNER\n(american 1905-1983)\nHUNTING IN GEORGIA\nSigned 'Pleissner' bottom right; also inscribed in pencil with date '1960' in the unpainted margin bottom right, watercolor over traces of pencil on paper\nImage size: 17 1/4 x 28 1/8 in. (18.4 x 71.4cm)\nSheet size: 18 1/4 x 29 3/8 in. (46.4 x 74.5cm) Freeman's

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Freeman's
1808 Chestnut Street
Philadelphia
Pennsylvania 19103

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