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1,000 YEARS OF COLLECTING: THE JEFFREY M. KAPLAN COLLECTION APRIL 6, 2017

www.freemansauction.com THE JEFFREY M. KAPLAN COLLECTION

1808 Chestnut Street Philadelphia Pennsylvania 19103

APRIL 6, 2017


1,000 YEARS OF COLLECTING: THE JEFFREY M. KAPLAN COLLECTION FINE ART

AUCTION Sale 1567, Session 1 (Lots 1-237) Thursday, April 6, 2017 at 10am 1808 Chestnut Street, Philadelphia PA 19103 Cover Image: Lot 59, Inside Front Cover: Lot 157 (detail), Inside Back Cover: Lot 221 (detail)


THE JEFFREY M. KAPLAN COLLECTION

J

effrey M. Kaplan is the definition of a true renaissance man; Kaplan’s remarkable taste is coupled with an insatiable curiosity regarding all things cultural. While many collectors choose to focus only on one area of collecting, Jeffrey Kaplan’s life and experiences have led him to work with many. He acquired the works of artists in depth and aspired to create a collection of collections: Chinese ceramics, 20th century design, European furniture & decorative arts, Art Glass of the 19th-21st centuries, American modernist works on paper as well as European prints. This passion for collecting has allowed Jeffrey Kaplan to assemble an astonishing body of works in many media, that spans 1,000 years. Jeffrey Kaplan was raised in an artistic and cultured family. He graduated from the University of Michigan where he studied Art History and English literature before attending Yale Law School. He began collecting in earnest in his thirties, and was intensely involved in the cataloguing, physical care, and presentation of his collection. Transcending the role of collector, Jeffrey Kaplan has served as his own curator: hanging, re hanging, and even acquiring adjunct spaces in order to live with his entire collection within his residence. It is rare for an auction house to have the opportunity to offer a collection of such breadth, quality, and diversity that it justifies a title such as One Thousand Years of Collecting, but in this sale of over 500 works of fine and decorative arts carefully acquired by Jeffrey Kaplan, the title is more than justified. It is with the greatest pleasure that Freeman’s presents One Thousand Years of Collecting; The Jeffrey M. Kaplan Collection at auction.

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THE JEFFREY M. KAPLAN COLLECTION

1,000 YEARS OF COLLECTING: THE JEFFREY M. KAPLAN COLLECTION FINE ART Alasdair Nichol Vice Chairman, Head of Department American Art anichol@freemansauction.com 267.414.1211

Anne Henry Senior Specialist Modern & Contemporary Art ahenry@freemansauction.com 267.414.1220

Dunham Townend Head of Department Modern & Contemporary Art dtownend@freemansauction.com 267.414.1221

Shannon Jeffers Cataloguer | Department Administrator Modern & Contemporary Art sjeffers@freemansauction.com 267.414.1231

David Weiss Senior Vice President, Head of Department European Art dweiss@freemansauction.com 267.414.1214

Nicholas B. A. Nicholson Senior Vice President, Head of Sale nnicholson@freemansauction.com 267.414.1212

EXHIBITIONS Friday, March 31

10:00am-5:00pm

Saturday, April 1

12:00pm-5:00pm

Sunday, April 2

12:00pm-5:00pm

Monday, April 3

10:00am-5:00pm

Tuesday, April 4

10:00am-5:00pm

Wednesday, April 5

10:00am-5:00pm

By appointment only on the morning of the sale

CLIENT SERVICES Mary Maguire Director | Client Services mmaguire@freemansauction.com 267.414.1236

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Joslyn Moore Bidding Registration jmoore@freemansauction.com 267.414.1207

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THE JEFFREY M. KAPLAN COLLECTION

1 ALBRECHT DÜRER (german, 1471-1528) “THE SUDARIUM HELD BY TWO ANGELS” 1513, with thread margins. Engraving on laid paper. image: 3 15/16 x 5 7/16 in. (10 x 14.1cm) sheet: 4 1/16 x 5 1/2 in. (10.3 x 13.9cm) [Bartsch, 25] provenance: Pia Gallo Fine Old Master and Modern Prints, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2009).

$1,500-2,500

4 GIOVANNI DOMENICO TIEPOLO (italian, 1727-1804) “OLD MAN WITH A TURBAN” from “raccolta de teste” Circa 1770, with thread margins. Etching on laid paper. image: 5 3/8 x 4 1/4 in. (13.7 x 10.8cm) sheet: 5 7/16 x 4 5/16 in. (13.8 x 11cm) [DeVesme, 121; Rizzi, 165] provenance: Charles Ryskamp, New York, New York and Princeton, New Jersey. Pia Gallo Fine Old Master and Modern Prints, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2009).

$1,000-1,500

2 ALBRECHT DÜRER (german, 1471-1528) “SAINT SIMON” 1523, a 19th century impression, with thread margins. Engraving on paper. image: 4 9/16 x 3 in. (11.6 x 7.6cm) sheet: 4 5/8 x 3 1/16 in. (10.1 x 7.7cm) [Bartsch, 49]

3 ALBRECHT DÜRER (german, 1471-1528) “THE NATIVITY” plate 4 from “the small passion” 1511, with thread margins. Engraving on paper with Latin text printed verso, as issued. image: 5 x 3 7/8 in. (12.7 x 9.8cm) sheet: 5 1/16 x 3 15/16 in. (12.9 x 10cm) [Bartsch, 20]

5 HENDRIK GOLTZIUS (dutch, 1556-1617) “MARCUS CURTIUS” 1586, with thread margins. Copper engraving on paper. image: 14 5/8 x 9 3/8 in. (37 x 23.8cm) sheet: 14 13/16 x 9 1/2 in. (37.7 x 24.1cm) [Bartsch, 99; New Hollstein, 167]

provenance: Jeffrey M. Kaplan, Washington, D.C.

provenance: Jeffrey M. Kaplan, Washington, D.C.

provenance: Jeffrey M. Kaplan, Washington, D.C.

$800-1,200

$500-800

$600-1,000

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6 five prints ANTHONY VAN DYCK (flemish, 1599-1641) PAUL DE VOS together with four companions Five portrait etchings on various papers. image (largest): 10 3/8 x 7 1/4 in. (26.3 x 18.4cm) sheet (largest): 10 9/16 x 7 1/2 in. (26.8 x 19cm) Including: Josse De Momper, Michel Van Miereveld, Diego Felipe de Guzman, and Emmanuel Pimentel Frockas. provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,500-2,500

GIOVANNI BATTISTA PIRANESI

B

orn in Venice in 1720 and educated as an architect, Giovanni Battista Piranesi left for Rome in 1740 where he studied etching under Giuseppe Vasi, achieving his own success

producing a constant series of etchings illustrating the architecture & antiquities of Rome & its environs. Known as much for his artistic diligence as for his impetuous & quarrelsome nature, Piranesi, more than any other figure, was responsible for forming the image held of Rome’s architectural antiquities for educated Europeans outside of Italy. The subjects of the Vedute di Roma, although accurate in every detail, are each presented from entirely imaginary, although idealized, perspectives. Goethe, in his Italian Journey of 1786-1788, found something lacking in the grandure of Rome’s actual antiquities compared to the expectation raised in him by Piranesi’s ultimately romantic vision. The Carceri, or Prison series, are entirely fantastic creations of an emerging romantic imagination, leading, as the art critic Kenneth Clark postulated, to the abstract intimations and terrors of the 20th-century.

7 two prints REMBRANDT VAN RIJN (dutch, 1606-1669) “NUDE MAN SEATED ON THE GROUND WITH ONE LEG EXTENDED” 1646, a 19th century impression, Usticke’s fourth state of four, with thread margins. Etching on laid paper. image: 3 13/16 x 6 9/16 in. (9.7 x 16.7cm) sheet: 4 3/16 x 6 15/16 in. (10.6 x 17.6cm) [Bartsch, 196] provenance: Christie’s, London, “Old Master, Modern, British and Contemporary Prints,” October 29, 1988, lot 188. Jeffrey M. Kaplan, Washington, D.C. (purchased directly from the above sale). together with:

HANS SEBALD BEHAM (german, 1500-1550) “CHRIST BEARING THE CROSS” 1521, with thread margins. Woodcut on paper. image: 4 15/16 x 3 5/16 in. (12.5 x 8.4cm) sheet: 5 x 3 3/8 in. (12.7 x 8.6cm) [Bartsch, 89] provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,500-2,500

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THE JEFFREY M. KAPLAN COLLECTION

8 GIOVANNI BATTISTA PIRANESI (italian, 1720-1778) “THE ARCH WITH A SHELL ORNAMENT” plate xi from “carceri d’invenzione” 1749, printed 1770s or later, the sixth state of seven, with margins. Etching and engraving on laid paper. image: 16 x 21 9/16 in. (40.6 x 54.8cm) sheet: 18 1/4 x 23 1/4 in. (46.4 x 59.1cm) [Robinson, 37 VI] provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,500-2,500

9 GIOVANNI BATTISTA PIRANESI (italian, 1720-1778) “THE PIER WITH THE LAMP” plate xv from “carceri d’invenzione” Circa 1747-1760, the first state of seven. Etching and engraving on laid paper. image: 16 7/16 x 22 in. (41.8 x 55.9cm) [Robinson, 41 I] provenance: Paul Prouté S.A, Paris, France. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2004).

$3,000-5,000

10 GIOVANNI BATTISTA PIRANESI (italian, 1720-1778) “THE GOTHIC ARCH” from “carceri d’invenzione” 1749-1750, printed circa 1770, the fourth or fifth state of six, with margins. Etching and engraving on laid paper. image: 16 1/2 x 22 in. (41.9 x 55.9cm) sheet: 19 1/4 x 25 in. (48.9 x 63.5cm) [Robinson, 40 IV/V] provenance: Jeffrey M. Kaplan, Washington, D.C.

$4,000-6,000

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11 GIOVANNI BATTISTA PIRANESI (italian, 1720-1778) “THE STAIRCASE WITH TROPHIES” plate viii from “carceri d’invenzione” Circa 1749, printed circa 1770s, the fifth state of seven, with full margins. Etching and engraving on laid paper. image: 21 3/8 x 15 5/8 in. (54.3 x 39.7cm) sheet: 21 7/8 x 33 in. (55.6 x 83.8cm) [Robinson, 34 V] provenance: 539 Gallery, New Orleans, Louisiana. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1998).

$2,000-3,000

12 GIOVANNI BATTISTA PIRANESI (italian, 1720-1778) “THE ROUND TOWER” plate iii from “carceri d’invenzione” 1749, printed 1830s or later, the sixth (final) state, with wide margins. Etching and engraving on wove paper. image: 21 5/8 x 16 1/4 in. (54.9 x 41.3cm) sheet: 28 x 22 in. (71.1 x 55.9cm) [Robinson, 30 VI]

13 GIOVANNI BATTISTA PIRANESI (italian, 1720-1778) “THE WELL” plate xiii from the second edition of “carceri d’invenzione” Circa 1749, printed circa 1770, the fifth state of six, with full margins. Etching and engraving on laid paper. image: 16 x 21 3/4 in. (40.6 x 55.2cm) sheet: 21 x 28 in. (53.3 x 71.1cm) [Robinson, 39 V] provenance: Pia Gallo Fine Old Master and Modern Prints, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2012).

$2,500-4,000 14 GIOVANNI BATTISTA PIRANESI (italian, 1720-1778) “THE PIER WITH THE LAMP” plate xv from “carceri d’invenzione” 1749, printed circa 1770s or later, sixth state of seven, with wide margins. Etching and engraving on laid paper. 16 1/4 x 21 5/8 in. (41.3 x 54.9cm) sheet: 22 x 28 in. (55.9 x 71.1cm) [Robinson, 41 VI]

provenance: Jeffrey M. Kaplan, Washington, D.C.

$500-800

provenance: Paul Prouté S.A, Paris, France. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2004).

$1,500-2,500

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15 GIOVANNI BATTISTA PIRANESI (italian, 1720-1778) “VEDUTA DELL’ARCO DI SETTIMIO SEVERO” from “vedute di roma” 1772 or later, the first state of three, with margins. Etching and engraving on paper. image: 18 3/4x 28 in. (47.6 x 71.1cm) sheet: 19 1/2 x 28 1/2 in. (49.5 x 72.4cm) [Hind, 99 I] provenance: Pia Gallo Fine Old Master and Modern Prints, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2008).

$800-1,200

18 GIOVANNI BATTISTA PIRANESI (italian, 1720-1778) “AVANZI DI UN ANTICO SEPOLCRO OGGI DETTO LA CONOCCHIA” from “vedute di roma” 1776 or later, the first state of three, with margins. Etching on laid paper. image: 28 5/16 x 18 13/16 in. (71.9 x 47.9cm) sheet: 29 5/16 x 19 7/8 in. (74.5 x 50.5cm) [Hind 130, I]

19 GIOVANNI BATTISTA PIRANESI (italian, 1720-1778) “VEDUTA DEL SOTTERRANEO FONDAMENTO DEL MAUSOLEO” volume iv, plate ix from “le antichità romane” 1784, from the second edition, with margins. Etching and engraving on paper. image: 27 1/2 x 18 in. (69.9 x 45.7cm) sheet: 29 7/8 x 21 7/8 in. (75.9 x 55.6cm) [Focillon, 341; Wilton Ely, 474]

provenance: Pia Gallo Fine Old Master and Modern Prints, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006).

provenance: St. Luke’s Gallery, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1998).

$400-700

$400-700 16 GIOVANNI BATTISTA PIRANESI (italian, 1720-1778) “‘VEDUTA DELL’ ANFITEATRO FLAVIO, DETTO IL COLOSSEA” from “vedute di roma” 1757, the first state of four (with the address and price), with margins. Etching and engraving on paper. image: 17 1/4 x 27 1/2 in. (43.8 x 69.9cm) sheet: 20 3/8 x 29 1/4 in. (51.6 x 74.3cm) [Hind, 57 I]

20 GIOVANNI BATTISTA PIRANESI (italian, 1720-1778) “VEDUTA DEL PORTO DI RIPA GRANDE” from “vedute di roma” 1753 or circa 1800, from the late Rome or first Paris edition, with margins. Etching and engraving on laid paper. image: 15 7/8 x 24 1/8 in. (40.3 x 61.2cm) sheet: 21 1/8 x 30 3/8 in. (53.6 x 77cm) [Hind, 27 IV]

provenance: Jeffrey M. Kaplan, Washington, D.C.

$600-900

provenance: Jeffrey M. Kaplan, Washington, D.C.

$500-800 17 GIOVANNI BATTISTA PIRANESI (italian, 1720-1778) “VEDUTA DEL PONTE LUGANO SU L’ANIONE NELLA VIA TIBURTINA RISARCITO NE’ TEMPI BASSI” from “vedute di roma” 1763, the first state of four, with narrow margins. Etching and engraving on paper. image: 17 9/16 x 25 11/16 in. (44.6 x 65.4cm) sheet: 18 7/16 x 26 3/8 in. (46.8 x 67cm) [Hind 68, I]

21 GIOVANNI BATTISTA PIRANESI AND GIOVANNI BATTISTA NOLLI (italian, 1720-1778) and (italian, 1701-1755) “LA TOPOGRAFIA DI ROMA IN QUESTA MINORA TAVOLA, RIDOTTO” 1748, engraved map on paper. image: 17 15/16 x 26 1/4 in. (45.6 x 66.7cm) sheet: 18 3/8 x 27 3/4 in. (47.6 x 70.5cm) [Focillon, 40; Wilton-Ely, 1007]

provenance: Jeffrey M. Kaplan, Washington, D.C.

provenance: Pia Gallo Fine Old Master and Modern Prints, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2012).

$500-800

$400-700

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THE JEFFREY M. KAPLAN COLLECTION

22 GEORGE STUBBS (british, 1724-1806) “A HORSE AFFRIGHTED AT A LION” 1788, Lennox-Boyd’s second or third state of three, with thread margins (likely trimmed). Etching with roulette on wove paper. image: 8 7/8 x 12 3/8 in. (22.5 x 31.4cm) sheet: 8 15/16 x 12 1/2 in. (22.7 x 31.7cm) [Lennox-Boyd, 70; Taylor, 3]

23 GEORGE STUBBS (british, 1724-1806) “A TYGER/A SLEEPING CHEETAH” 1788, Lennox-Boyd’s second (final) state with the engraved inscription just above the platemark, with thread margins. Mezzotint on wove paper. image: 6 x 8 in. (15.3 x 20.3cm) sheet: 6 1/16 x 8 1/8 in. (15.3 x 20.7cm) [Lennox-Boyd, 77; Taylor, 8] provenance: William Weston Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1989). note: The animal depicted in this print was initially said to be Lord Pigot’s cheetah, but in fact its spotting is more consistent with those of a leopard. The present work is one of only two images Stubbs chose to render in mezzotint, a medium that is uniquely suited to capture the rich, velvety blacks of the background and subject’s fur.

provenance: William Weston Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1988).

$5,000-8,000

$2,000-3,000

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24 JOHN CONSTABLE AND DAVID LUCAS (british, 1776-1837) and (british, 1802-1881) “A MILL - WATERMILL DEDHAM, ESSEX” 1829/30, a proof of the completed image and before all letters, with wide margins. Mezzotint on wove paper. image: 7 1/8 x 9 15/16 in. (18.1 x 25.3cm) sheet: 10 15/16 x 14 7/8 in. (27.8 x 37.8cm)

26 THOMAS ROWLANDSON (british, 1756-1827) AT THE OPERA Signed bottom right, watercolor on paper laid to thin card. 4 7/16 x 7 9/16 in. (11.3 x 19.2cm)

provenance: William Weston Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1987).

$2,000-3,000

provenance: Jeffrey M. Kaplan, Washington, D.C.

$600-1,000 25 WILLIAM BLAKE (british, 1757-1827) “THEN WENT SATAN FORTH FROM THE PRESENCE OF THE LORD” from “illustrations of the book of job” 1825, from the edition of 215, with wide margins, the artist and J. Linnell, London, publishers. Engraving on wove paper. image: 8 9/16 x 6 11/16 in. (21.7 x 17cm) sheet: 14 3/16 x 10 1/4 in. (36 x 26cm) [Bindman, 635]

27 JOHN WHITE ABBOTT (british, 1763-1851) HILLSIDE, CHUDLEIGH Inscribed and dated ‘Chudleigh - July 27 1797’ bottom right, pen and ink with gray wash on laid paper. 12 7/8 x 9 in. (32.7 x 22.9cm) provenance: Jeffrey M. Kaplan, Washington, D.C.

$150-200

provenance: Jeffrey M. Kaplan, Washington, D.C.

$500-700

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28 three works THOMAS HEARNE (british, 1744-1817) ROTHESAY CASTLE Pen and ink with watercolor on paper. 7 1/4 x 9 15/16 in. (18.4 x 15.6cm) together with: AFTER THOMAS HEARNE, BY W. BYRNE AND S. MIDDIMAN (british, 1744-1817) “STIRLING CASTLE” 1779. Engraving on paper. image: 8 3/4 x 10 11/16 in. (22.2 x 27.1cm) sheet (widest): 10 5/8 x 14 3/8 in. (27 x 36.5cm)

together with: SEYMOUR HAYDEN (british, 1818-1910) “KENSINGTON GARDENS” 1860, pencil signed, presumably the second (final) state, with wide margins. Etching on laid paper. image: 7 13/16 x 4 7/8 in. (19.8 x 12.3cm) sheet: 8 7/8 x 5 7/8 in. (22.5 x 14.9cm) [Harrington, 28] provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1981).

$800-1,200

29 JOHN GLOVER (british, 1767-1849) “BOATMEN IN A RIVER VALLEY” Watercolor heightened with gum arabic on paper. 11 13/16 x 16 15/16 in. (30 x 43cm) provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

30 JOHN SHERRIN (british, 1819-1896) OUTDOOR STILL LIFE OF MIXED FRUIT Signed bottom center right, watercolor on paper. 8 5/8 x 12 1/4 in. (21.9 x 31.1cm) provenance: Jeffrey M. Kaplan, Washington, D.C.

$400-600

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31 ALBERT GOODWIN (british, 1845-1932) “SUNSET IN JAMAICA” Signed and dated 1925 bottom right, oil on board. 5 7/8 x 12 3/4 in. (14.9 x 32.4cm)

32 JOHN VARLEY THE ELDER (british, 1778-1842) “BOATSMEN ON THE THAMES AT LAMBETH” Signed bottom left, watercolor, bodycolor and varnish on tinted paper. 4 1/4 x 9 in. (10.8 x 22.9cm)

provenance: Chris Beetles Limited, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1996).

$1,000-1,500

provenance: Chris Beetles Limited, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1989).

$600-1,000

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33 HERCULES BRABAZON BRABAZON (british, 1821-1906) “GENOA” Inscribed ‘Genoa’ verso, watercolor heightened with gouache on paper. 9 5/16 x 12 3/4 in. (23.7 x 32.4cm)

36 ALBERT GOODWIN (british, 1845-1932) “SUNSET OFF SPANISH COAST” Signed and dated 1909 bottom right and titled bottom left, watercolor on paper. 10 1/4 x 14 1/4 in. (26 x 35.6cm)

provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,200-1,800

provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

34 AUGUSTUS OSBORNE LAMPLOUGH (british, 1877-1930) THE EVENING HOUR Signed and inscribed indistinctly bottom left, watercolor on paper. 9 5/8 x 13 11/16 in. (24.5 x 34.8cm) provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500 37 ALBERT GOODWIN (british, 1845-1932) “THE SHIPBREAKERS YARD” Signed bottom right and titled bottom left, ink and watercolor on paper. 10 x 14 3/8 in. (25.3 x 36.5cm)

35 HERCULES BRABAZON BRABAZON (british, 1821-1906) ON THE RIVIERA Signed with initials bottom left, pastel on paper. 9 x 11 7/8 in. (22.9 x 30.2cm)

provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

provenance: Chris Beetles Limited, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1990).

$1,200-1,800

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38 ALAN LEE (british, b. 1947) “THEY COULD SEE A WALLED TOWN, THE FAIREST ANYONE HAD EVER SEEN” Signed and dated 82 bottom right, watercolor on paper with drawn border. 9 7/8 x 9 5/8 in. (25.1 x 24.4cm) provenance: Chris Beetles Limited, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1993).

$1,000-1,500

39 two works ERIC FRASER (british, 1902-1983) “HE LEAPED BEHIND A TREE AND... BROUGHT HIS CLUB CRASHING DOWN...” an illustration from “sir william & the wolf and other stories from the days of chivalry (the london illustrated classics)” Pencil, colored pencil, gouache and pastel on paper laid down to another sheet. image: 9 x 6 in. (22.8 x 15.3cm) support: 11 1/4 x 8 3/4 in. (28.6 x 22.2cm) and: “ST. GEORGE AND THE DRAGON” Signed upper left, ink with white gouache on board. 4 1/4 x 12 5/8 in. (10.8 x 32cm)

40 QUENTIN BLAKE (british, b. 1932) “WE RACED ACROSS THE SKY, THE ROLY POLY BIRD AND I” Signed bottom left, pen, black ink and watercolor on Arches. Executed circa 1984. 15 x 11 7/8 in. (38.1 x 30.2cm) provenance: Jeffrey M. Kaplan, Washington, D.C. note: Quentin Blake is a British cartoonist and illustrator. He is perhaps best known for his collaborations with Roald Dahl, many of whose classic children’s books he famously illustrated. The Roly Poly Bird is featured in several of Dahl’s stories, including “The Enormous Crocodile” and “The Twits.” The present example references a line from Dahl’s short story “The Toad and the Snail” from the book of poems “Dirty Beasts,” in which a young boy encounters the Roly Poly Bird on one of his many adventures. Blake illustrated the second edition of “Dirty Beasts,” which was published in 1984.

$1,000-1,500

provenance: Jeffrey M. Kaplan, Washington, D.C.

$400-600

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41 ARTHUR RACKHAM (british, 1867-1939) “ROOFTOP SILHOUETTE AND IRISES” Signed and dated 99 bottom center, ink on paper. Executed in 1899. 5 1/4 x 8 1/8 in. (13.3 x 20.6cm)

42 LESLEY ANNE IVORY (british, b. 1934) “‘BLUE’ IN ART NOUVEAU SETTING” Signed and titled verso, watercolor and gouache on board. Executed in 1991. 18 1/2 x 15 1/2 in. (47 x 39.3cm)

provenance: Chris Beetles Limited, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1993).

$800-1,200

28

exhibited: “Louis Wain and the Summer of the Cat,” Chris Beetles, London, August 1997, no. 89. provenance: Jeffrey M. Kaplan, Washington, D.C.

$800-1,200

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GROSVENOR SCHOOL OF MODERN ART

F

eatured in this auction are works

Specifically, instead of overprinting the

by Cyril Power, Sybil Andrews

outline of the design from a single key

and Ethel Spowers, each alumni of the

block, he printed in multiple layers, with

Grosvenor School of Modern Art.

separate blocks cut for every individual

The Grosvenor School artists, not unlike

color. The linocuts of the Grosvenor School

their Italian ‘Futurist’ counterparts, were

are thus characterized by an overlaying of

revolutionaries, desiring not only that their

colors from multiple blocks, resulting in distinct

artworks be available and affordable to

and vibrant bands of color and form.

everyday people, but that their favored medium, the linoleum-cut, be executed in

Other proponents of the Grosvenor School

a very non-traditional manner to express

style of linoleum cut printmaking featured

in visual terms their notions of modern

in this sale include Leonard Beaumont,

life in the interwar years.

whose print ‘Rush Hour’ is as much a study in color, shape and movement as it is a figural

Bold, decorative colors with stylized,

composition, and William Greengrass,

exaggerated lines and shapes were created

whose aesthetically pleasing ‘Hurdlers’

to express speed, dynamism and movement.

conveys movement and energy via a simplified

In an effort to emphasize the latter, Flight’s

expression of the human form (lots 48, 49).

innovation was to abandon the traditional method of making linocuts.

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43 CYRIL POWER (british, 1874-1951) STUDY FOR “AIR RAID” Pencil with additions in blue and black ink on tissue-thin tracing paper (the upper sheet folded back twice approximately 2 1/2 inches). Executed circa 1935. approx.: 16 x 14 5/8 in. (40.6 x 37.1cm) [see Coppel CEP, 42; see Redfern, 42] provenance: Scholar Fine Art, London, United Kingdom. Jeffery M. Kaplan, Washington, D.C. (acquired directly from the above in 2001). note: This is a working drawing for the 1935 linocut, ‘Air Raid,’ which is printed in reverse. The present drawing exhibits the artist’s notes on registration holes and measurements and the composition is reinforced in blue and black ink verso.

44 CYRIL POWER (british, 1874-1951) “THE CONCERTO” Circa 1935, pencil signed and titled, numbered 27/60, with margins. Color linocut on tissue-thin Japan laid paper. image: 13 1/4 x 12 in. (33.6 x 30.5cm) sheet: 15 3/8 x 13 1/8 in. (39 x 33.3cm) [Coppel CEP, 43; Redfern, 90] provenance: Osborne Samuel, Ltd., London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2007). literature: Philip Vann, Cyril Power Linocuts: A Complete Catalogue, Farnham: Lund Humphries, 2008 (another impression illustrated, no. 43)

$15,000-25,000 44

$3,000-5,000

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45 CYRIL POWER (british, 1874-1951) ROWING STUDY Inscribed ‘a juffle’ top center and ‘No. 1 ’ bottom left, pencil with crayon on tissue paper. Executed circa 1930. 9 15/16 x 16 1/8 in. (25.2 x 41cm) provenance: Osborne Samuel, Ltd., London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2010). literature: Philip Vann, Cyril Power Linocuts: A Complete Catalogue, Farnham: Lund Humphries, 2008 (illustrated p. 62).

$1,000-1,500

46 CYRIL POWER (british, 1874-1951) ROWING STUDY Inscribed ‘No. 2’ bottom left, pencil on tracing paper. Executed circa 1930. 7 1/2 x 15 in. (19 x 38cm) provenance: Osborne Samuel, Ltd., London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2010). literature: Philip Vann, Cyril Power Linocuts: A Complete Catalogue, Farnham: Lund Humphries, 2008 (illustrated p. 62).

$800-1,200

47 CYRIL POWER (british, 1874-1951) ROWING STUDY Inscribed ‘No. 3’ bottom left, pencil, pen and colored crayon on tracing paper. Executed circa 1930. 5 15/16 x 14 7/8 in. (15.1 x 37.8cm) provenance: Osborne Samuel, Ltd., London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2010). literature: Philip Vann, Cyril Power Linocuts: A Complete Catalogue, Farnham: Lund Humphries, 2008 (illustrated p. 62).

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$1,000-1,500

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49 LEONARD BEAUMONT (british, 1891-1986) “THE RUSH HOUR” 1933, pencil signed, Dickson’s first state of two (the second state executed in purple, pale yellow and brown), with margins. Color linocut on thin laid Japan. image: 7 15/16 x 11 3/16 in. (20.2 x 28.4cm) sheet: 9 1/4 x 13 7/16 in. (23.5 x 34.1cm) [Dickson, 66; Urbanelli 15] provenance: Scolar Fine Art, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2002).

$2,000-3,000

50 LEONARD BEAUMONT (british, 1891-1986) “LEAVE” 1932, pencil signed and inscribed ‘H.C.’ (an hors commerce proof, aside from the regular edition of a small but unknown size), with wide margins. Color linocut on thin laid Japan. image: 7 x 5 in. (17.8 x 12.7cm) sheet: 9 3/16 x 6 7/16 in. (23.3 x 16.4cm) [Dickson, 61] provenance: Jeffrey M. Kaplan, Washington, D.C.

48 WILLIAM GREENGRASS (british, 1896-1970) “HURDLERS” 1932, pencil signed, titled and dated, numbered 39/50, with wide margins. Color linocut on tissue-thin Japan. image: 9 x 10 13/16 in. (22.9 x 27.5cm) sheet: 10 3/8 x 11 15/16 in. (26.4 x 30.3cm) [Urbanelli, 29]

$1,200-1,800

provenance: Scholar Fine Art, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2002).

$2,000-3,000

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51 CLAUDE FLIGHT (british, 1881-1955) “INTO THE SEA” Circa 1925, presumably from the edition of up to 500 tipped-into ‘The Original Colour Print Magazine’ (there was also an edition of 100), with wide margins. Linocut on tissue-thin laid paper. image: 5 1/4 x 4 1/4 in. (14 x 11cm) sheet: 6 x 4 11/16 in. (15.1 x 11.9cm) [Coppel C.F., A3]

WOMEN PRINTMAKERS

T

he Kaplan collection includes a rich

worked with, and attended the Grosvenor

array of women printmakers working

school with instructor Claude Flight (lot

in the late 19th through early 20th century.

51) and Cyril Power (lots 43-47). These

Interestingly, Kaplan seemed to gravitate

artists were known for their linoleum cuts

towards women artists who worked in the

executed in sweeping lines and bright

tactile printmaking techniques including

graphics that were meant to convey the

etching (requiring tools with which to

speed and movement of modern city life.

incise the metal plate), woodcutting and

Andrews worked during the first World

linoleum cuts (both of which require

War as a welder in an aircraft factory, and

cutting blocks of wood or linoleum, usually

during the second as a boat builder, both

one for each color in an image). These

manual jobs that likely influenced and

include American Bertha Jaques (see lot

informed her chosen printmaking technique.

provenance: Wingrove Fine Prints, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1990).

$800-1,200

128), a self-taught etcher who founded the Chicago Society of Etchers in 1910, a

Also represented here is Austrian woodcut

group that exhibited internationally, and

artist, Norbertine Bresslern-Roth (lot 57)

promoted etching as a popular printmaking

who is celebrated for her images of animals;

technique for decades thereafter. Jaques’

Ethel Mars, an American living in Paris

husband was a surgeon, and loaned his

who executed delicate woodcuts influenced

wife his surgical tools as she experimented

by American artist Mary Cassatt;

with, and taught herself etching on copper

Bertha Lum (lots 125-127; 130) who

plates in the 1890s. A professed lover of

purchased woodcutting tools on a 1903

plants and flora, she went on to create over

honeymoon in Japan, returned to study

400 plates depicting delicate botanicals that

the medium for 14 weeks a few years later,

were often colored by hand. A few decades

and went on to exhibit and receive awards

later, several women artists including

for her woodcuts in Asian, Europe and

Sybil Andrews (lot 56), Margaret Barnard

American expositions.

52 ETHEL SPOWERS (australian, 1890-1947) “REFLECTIONS OF A CHINA FAWN” 1932, pencil signed, titled and dated, numbered 2/30, with margins. Color linocut on tissue-thin Japan. image: 9 x 7 3/16 in. (22.8 x 18.3cm) sheet: 10 9/16 x 8 3/4 in. (26.8 x 22.2cm) provenance: Wingrove Fine Prints, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1986).

$1,000-1,500

(lot 53), and Ethel Spowers (lot 52)

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53 MARGARET BARNARD (british, 1901-1992) “MOUNTAIN VILLAGE” Color linocut on tissue paper, with narrow margins. image: 10 3/4 x 13 3/8 in. (27.3 x 34cm) sheet: 11 13/16 x 16 3/16 in. (30 x 41.1cm)

56 SYBIL ANDREWS (british/canadian, 1998-1992) “SWIFT LONDON NO. 1” 1928, pencil signed and titled, with wide margins. Etching on wove paper. image: 14 3/4 x 10 3/8 in. (37.5 x 25.4cm) sheet: 18 15/16 x 12 1/2 in. (48.1 x 37.8cm)

provenance: Jeffrey M. Kaplan, Washington, D.C. note: Barnard attended the Glasgow School of Art, where her first exhibition was held in 1922. Later, she briefly attended the Grosvenor School where she studied under Claude Flight, and later designed posters for the London Underground.

provenance: Jeffrey M. Kaplan, Washington, D.C.

$800-1,200

$400-600

54 ISABEL DE BOHUN LOCKYER (british, active circa 1930’s) “EN PROVENCE” Circa 1930, pencil signed and numbered 25/25, with wide margins. Color linocut on Japan. image: 4 1/2 x 7 in. (11.3 x 17.8cm) sheet: 6 1/2 x 9 7/8 in. (16.5 x 22.8cm) provenance: Jeffrey M. Kaplan, Washington, D.C.

$200-300

57 NORBERTINE BRESSLERN-ROTH (austrian, 1891-1978) CRANES Pencil signed and inscribed “handdruck,” with margins. Color woodcut on tissue-thin Japan. image: 8 1/2 x 8 1/2 in. (21.6 x 21.6cm)

55 EDWARD LOXTON KNIGHT (british, 1905-1993) “NOTTINGHAM GOOSE FAIR” Circa 1920’s, pencil signed and numbered 39/50, with margins. Color woodcut on wove paper. image: 9 1/16 x 11 1/8 in. (23 x 28.3cm) sheet: 10 1/16 x 11 3/4 in. (25.6 x 29.8cm)

sheet: 10 1/16 x 10 1/16 in. (25.6 x 25.6cm) provenance: Jeffrey M. Kaplan, Washington, D.C.

$500-800

provenance: Jeffrey M. Kaplan, Washington, D.C.

$200-300

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EDWARD ALEXANDER WADSWORTH

W

42

adsworth was a leading proponent

works, which drew the viewer’s eye

of the short-lived ‘Vorticism’

toward the center of the composition.

movement in England — a term coined

Wadsworth is also well remembered

by Ezra Pound in 1913 and applied to a

for his involvement in the practice of

group of British avant-garde artists

so-called ‘dazzle camouflage,’ in which

founded by Wyndham Lewis. The Vorticists

ships, mainly during the first World War,

sought to relate art to industrialization.

were painted in complex, geometrically-

This movement’s doctrinal differences

shaped patterns of contrasting colors

combined cubistic fragmentation of

designed to strategically obscure an

reality with hard-edged imagery derived

enemy’s visual observation. Dazzling did

from the mechanized urban environment.

not conceal a ship from the enemy, but

Its practitioners, including Wadsworth,

rather made it more difficult to calculate

produced angular and energetic

a target’s range, speed and heading.

compositions highlighted by stark,

Remarkably, Wadsworth oversaw the

contrasting color in their painted

dazzling of over 2000 ships.

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58 EDWARD ALEXANDER WADSWORTH (british, 1889-1949) “RIPONELLI: A VILLAGE IN LEMNOS” 1917, from the edition of unknown size, with wide margins. Woodcut in greys and black on cream wove paper. image: 4 x 3 in. (10.2 x 7.6cm) sheet: 7 x 5 3/8 in. (17.7 x 13.6cm) [Colnaghi, 124]

provenance: Scolar Fine Art, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2002).

$2,000-3,000

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59 EDWARD ALEXANDER WADSWORTH (british, 1889-1949) “STREET SINGERS” Circa 1914, from the edition of unknown size, with wide margins. Woodcut in grey and black on cream wove paper. image: 5 1/2 x 4 1/4 in. (13.9 x 10.3cm) sheet: 6 7/8 x 5 1/4 in. (17.5 x 13.3cm) [Colnaghi, 107]

provenance: Scolar Fine Art, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2002).

$3,000-5,000

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THE JEFFREY M. KAPLAN COLLECTION

60 EDWARD ALEXANDER WADSWORTH (british, 1889-1949) “THE S.S. JERSEYMOOR” Ink signed, inscribed and dated ‘Liverpool 1918,’ with wide margins. Woodcut on wove paper (Colnaghi calls for Japan). image: 4 9/16 x 8 1/4 in. (11.5 x 20.9cm) sheet: 9 1/8 x 11 3/16 in. (23.1 x 28.4cm) [Colnaghi, 130]. provenance: Scolar Fine Art, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2002).

$30,000-50,000

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61 EDWARD ALEXANDER WADSWORTH (british, 1889-1949) “INVENTION” 1917, pencil signed and dated, Colnaghi’s state B of B (State A was executed in black, blue-grey and light-brown), with wide margins. Woodcut in greys and black on wove paper. image: 4 1/8 x 3 1/4 in. (10.5 x 8.3cm) sheet: 6 15/16 x 5 5/16 in. (17.6 x 13.5cm) [Colnaghi, 120] provenance: Scolar Fine Art, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (purchased directly from the above in 2002).

$1,000-1,500

62 EDWARD ALEXANDER WADSWORTH (british, 1889-1949) DISRUPTION 1916-1917, with wide margins. Woodcut in black and brown on thin wove paper. image: 2 13/16 x 3 1/2 in. (7.1 x 8.9cm) sheet: 4 3/4 x 6 in. (12.1 x 15.2cm) [see Colnaghi, 121 where this work appears, but is incorrectly titled ‘Scene for a FairyTale’] provenance: Osborne Samuel, Ltd., London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2007).

63 EDWARD ALEXANDER WADSWORTH (british, 1889-1949) “MINESWEEPERS IN PORT” Circa 1918, inscribed ‘Minesweepers’ and numbered 3 in pencil, with margins. Woodcut on laid Japan (Colnaghi calls for wove). image: 1 7/8 x 5 1/4 in. (4.7 x 13.3cm) sheet: 3 3/8 x 7 1/4 in. (8.6 x 18.4cm) [Colnaghi, 132] provenance: Scolar Fine Art, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2001).

$2,000-3,000

$800-1,200

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T

he black country, black by day and red by night, cannot be matched, for vast and varied production, by any other space of

equal radius on the surface of the globe... Indeed the Sunday evening halo it wears when the church bells are ringing to service on winter nights, glows “redder than the moon,” or like the moon dissolved at its full on the clouds above the roaring furnaces.

— Elihu Burritt, Walks in The Black Country and its Green Border-Land 64 EDWARD ALEXANDER WADSWORTH (british, 1889-1949) “BLACK COUNTRY” 1919, presumably a rare proof before the ‘Modern Woodcutters, 4’ book edition of 1921, with margins. Woodcut on bright orange coated paper. image: 4 3/16 x 5 3/4 in. (10.6 x 14.6cm) sheet: 7 9/16 x 9 7/8 in. (19.2 x 25.1cm) [Colnaghi, 135] provenance: Osborne Samuel, Ltd., London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006).

$4,000-6,000

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66 MAX KURZWEIL (austrian, 1867-1916) “DER POLSTER” 1903, with wide margins, Gesellschaft für vervielfältigende Kunst, Vienna, publisher. Color woodcut on tissue-thin Japan, with the top 1 1/4 inch folded under and mounted to its original support, presumably as issued. image: 11 1/8 x 10 1/8 in. (28.3 x 25.7cm) sheet: 15 1/8 x 12 in. (38.4 x 30.5cm) provenance: William Weston Gallery, London, United Kingdom. Andrew Terry Keats Fine Art, San Francisco, California. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1989). note: One of the most famous prints from the Jugendstil or Art Nouveau period in Vienna, this print was published in the first issue of the Annual Print Portfolio of the Society of Art, Vienna, and features Kurzweil’s wife Martha as the subject.

$500-800

67 HEINRICH VOGELER (german, 1872-1942) “SOMMERABEND” Circa 1890, pencil signed by the artist and the printer (one of ten impressions signed by both), with full margins, O. Felsing, printer. Etching on Japan. image: 6 15/16 x 5 1/2 in. (17.6 x 14cm) sheet: 10 7/8 x 9 1/4 in. (27.6 x 23.5cm) [Rief, 35b; Roeper, 46] provenance: William Weston Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1990).

$400-600 65 PETER BEHRENS (german, 1868-1940) “DER KUSS” 1868, from the edition of 1100 (there were also 38 numbered artist’s proofs on Japan and a deluxe numbered edition of 75 on copper-plate printing paper), Genossenschaft Pan GmbH, Berlin, publisher for Pan Volume IV, 2 (with their text in bottom margin). Color woodcut on laid paper. image: 10 3/4 x 8 1/2 in. (27.3 x 21.6cm) sheet: 14 5/8 x 11 1/16 in. (37.1 x 28.1cm) [Heft, 2]

provenance: Andrew Terry Keats Fine Art, San Francisco, California. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1988).

$600-1,000

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69 HENRI EVENEPOEL (belgian, 1872-1899) “AU SQUARE” 1897, with wide margins, published for L’Estampe Moderne, Vol VII, November 1897 and with their blindstamp. Color lithograph on wove paper. image: 13 x 9 in. (33 x 22.8cm) sheet: 15 1w5/16 x 12 1/16 in. (40.4 x 30.6cm) [Lught, 2790] provenance: William P. Carl Fine Prints, Boston, Massachussetts. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1992).

$800-1,200

68 two prints GEORGES DE FEURE (GEORGES JOSEPH VON SLUIJTERS) (dutch, 1868-1943) “HOMECOMING (RETOUR)” 1897, with margins, L’Estampe Moderne, Paris, publisher. Color lithograph on wove paper. image: 10 x 12 7/8 in. (25.4 x 32.7cm) sheet: 12 1/8 x 16 in. (30.8 x 40.6cm)

together with: PAUL BALLURIAU (french, 1860-1917) “CREPUSCULE’ (DUSK)” Circa 1897, with margins, L’Estampe Moderne, Paris, publisher. Color lithograph on wove paper. image: 13 x 9 1/8 in. (33 x 23.2cm) sheet: 15 3/4 x 12 1/8 in. (40 x 30.8cm) provenance: Circa 1900 - European Graphics, Freehold, New Jersey. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1988).

$500-800

70 HENRI HERAN (NEE PAUL HERMANN) (german, 1864-1940) “SPIELENDES MEERWEIB” 1897, Pan GmbH, Berlin, publisher and with their printed text in bottom margin. Color woodcut and lithograph on wove paper. image: 11 7/16 x 8 in. (29.1 x 20.3cm) sheet: 14 9/16 x 11 1/8 in. (37 x 28.1cm) provenance: Andrew Terry Keats Fine Art, San Francisco, California. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1990).

$100-150

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71 AUGUSTE LOUIS LEPÈRE (french, 1849-1918) “PARIS SOUS LA NEIGE, VU DU HAUT DE SAINT-GERVAIS” from “le monde illustré” 1890, pencil signed (from the edition of 160), with wide margins. Wood engraving on wove paper. image: 11 15/16 x 17 7/8 in. (30.3 x 45.4cm) sheet: 18 1/2 x 25 9/16 in. (47 x 64.9cm) [Lotz-Brissonneau, 230] provenance: Harbor Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1988).

$1,000-1,500

72 AUGUSTE LOUIS LEPÈRE (french, 1849-1918) “LE BASSIN DES TULLERIES” 1898, pencil signed and numbered ‘No. 40’ (from the edition of 50), with wide margins, L’Estampe Nouvelle, Paris, publisher. Color woodcut on wove paper. image: 8 1/2 x 13 1/8 in. (21.6 x 33cm) sheet: 10 3/4 x 17 in. (27.3 x 43.2cm) [Lotz-Brissonneau, 265ii] provenance: Long Fine Art, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1993).

$500-800

73 HENRI DE TOULOUSE-LAUTREC (french 1864-1901) ‘REJANE ET GALIPAUX, DANS MADAME SANS-GENE’ 1893, with the artist’s red monogram inkstamp and illegibly numbered in pencil (from the edition of 100), with margins, Kleinmann, Paris, publisher. Lithograph on wove paper. image: 12 1/4 x 10 1/4 in. (31.1 x 26cm) sheet: 15 1/4 x 11 1/16 in. (38.7 x 28.1cm) [Delteil, 52; Adhemar, 56; Wittrock, 44] provenance: Sotheby’s, New York, “The Life and Art of Toulouse-Lautrec,” March 23, 2001, lot 43. Long Fine Art, New York, New York (acquired from the above sale). Jeffrey M. Kaplan, Washington, D.C (purchased directly from the above in 2001).

$800-1,200

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74 ÉDOUARD VUILLARD (french, 1868-1940) “INTÉRIEUR AUX TENTURES ROSES I” from “paysages et intérieurs” 1899, from the unsigned edition of 100, with wide margins, Ambroise Vollard, Paris, publisher. Color lithograph on Chine. image: 13 3/4 x 10 3/4 in. (35 x 27.3cm) sheet: 15 7/16 x 12 1/16 in. (39.2 x 30.7cm) [Roger-Marx, 36] provenance: Pia Gallo Fine Old Master and Modern Prints, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2009).

$2,000-3,000

75 PIERRE BONNARD (french, 1867-1947) “BOULEVARD” from “quelques aspects de la vie de paris” 1899, pencil signed and inscribed ‘no. 56’ (from the edition of 100), with margins, Ambroise Vollard, Paris, publisher. Color lithograph on Japan.

image: 6 7/8 x 16 15/16 in. (17.5 x 43cm) sheet: 12 5/8 x 20 5/8 in. (32.1 x 52.4cm) [Bouvet, 63]

76 PAUL SIGNAC (french, 1863-1935) “EN HOLLANDE - LA BALISE” 1894, signed twice by the artist in green crayon at bottom left (once in the image and once on the support), inscribed ‘no. 13’ and initialed ‘gp’ in ink at bottom right of support (from the edition of 20 with the sailboat remarque at bottom left of support), K&W’s second state of three (there were also 40 in the third (final) state lacking the remarque), Gustave Pellet, Paris, publisher and with his inkstamp (Lugt 1190) at bottom right of support, inscribed by Pellet to Signac, “Monsieur Signac, veuillez signer les épreuves et faire la marqué,” in red pencil verso of the support. Color lithograph on Chine, trimmed to the image and affixed to a cream wove support as issued. image/sheet: 12 1/8 x 16 1/8 in. (30.7 x 41cm) support: 19 5/8 x 25 3/8 in. (50 x 64.5cm) [Kornfield & Wick, 8 ii/iii]

provenance: Swann Galleries, “19th & 20th Century Prints & Drawings,” September 18, 2008, lot 18. Pia Gallo Fine Old Master and Modern Prints, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2010).

$4,000-6,000

provenance: Jeffrey M. Kaplan, Washington, D.C.

$2,000-3,000

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THE JEFFREY M. KAPLAN COLLECTION

77 two prints FÉLIX EDOUARD VALLOTTON (swiss, 1865-1925) “PORTRAIT DE PUVIS DE CHAVANNES” 1898, with wide margins, published as an inset plate in The Studio Magazine, London and with their red-ink stamp in the margin bottom right. Woodcut on wove paper. image: 7 1/8 x 5 1/8 in. (18 x 13cm) sheet: 11 1/8 x 7 7/8 in. (28.3 x 20cm) [Vallotton & Goerg, 200 b] provenance: Craddock & Barnard, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1985). and: “L’ABSOUTE” 1894, stamped with the monogram bottom left and numbered in pencil 25/25 (from the posthumous edition, there was also a lifetime edition of 100), with full margins. Woodcut on Japan. image: 7 x 8 13/16 in. (17.8 x 22.4cm) sheet: 10 x 12 3/16 in. (25.4 x 31cm) [Valloton & Goerg, 146 b] provenance: Maison Sagot-Le Garrec & Cie, Paris, France. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2004).

$600-1,000

78 JEAN-EMILE LABOUREUR (french, 1877-1943) “LE BAL BULLIER” 1898, pencil signed, titled and dated, numbered 57/60 (the total edition was 61), with full margins. Woodcut on laid paper.

image: 8 5/8 x 11 1/4 in. (21.9 x 28.6cm) sheet: 12 15/16 x 17 1/2 in. (32.9 x 44.5cm) [Laboureur, 579] provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

79 FÉLIX EDOUARD VALLOTTON (swiss, 1865-1925) “LES CYGNES” 1892, from the edition of unknown size (there was also a signed and sometimes numbered edition of 100), with wide margins. Woodcut on cream wove paper. image: 5 1/4 x 6 7/8 in. (13.3 x 17.4cm) sheet: 8 3/4 x 10 15/16 in. (24.7 x 27.8cm) [Vallotton & Goerg, 100 c] provenance: Maison Sagot-Le Garrec & Cie, Paris, France. Jeffery M. Kaplan, Washington, D.C. (acquired directly from the above in 2004).

$1,000-1,500

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81 ANDRÉ DERAIN (french, 1880-1954) “PAYSAGE (LE MORIN)” 1911, pencil signed and numbered 2/50, with wide margins, Galerie Paul Guillaume, Paris, publisher. Etching and drypoint on Arches. image: 11 1/2 x 14 1/16 in. (29.2 x 35.7cm) sheet: 15 3/8 x 17 1/4 in. (39.1 x 43.8cm) [Adhémar, 49] provenance: William Weston Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1999).

$1,000-1,500

82 KÄTHE KOLLWITZ (german, 1867-1945) “SELBSTBILDNIS” plate 3 from “die schaffenden” 1924 or 1925, pencil signed, Knesebeck’s state 6b of 6b, (from the edition of 100, there were also 25 in Roman numerals), with margins, Euphorion Verlag, Berlin, publisher. Woodcut on very fine Japan. image: 8 3/16 x 11 7/8 in. (20.8 x 30.2cm) sheet: 12 x 16 1/16 in. (30.5 x 40.8cm) [Klipstein, 202 VII. b; Knesebeck, 203 VI. b] provenance: Jeffrey M. Kaplan, Washington, D.C.

80 ROBERT DELAUNAY (french, 1885-1941) “SAINT SEVERIN” 1923-1925, very faintly signed, indistinctly inscribed and numbered ‘40’ imps in red crayon (rubbed), with wide margins. Lithograph in beige and black on heavy wove paper. image: 22 3/8 x 16 5/8 in. (56.8 x 42.2cm) sheet: 25 7/8 x 18 3/4 in. (65.7 x 47.6cm) [Loyer & Perusssaux, 2]

$1,500-2,500 provenance: Christie’s, New York, “Nineteenth and Twentieth Century Prints,” November 2nd, 1999, lot 269. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above sale).

$1,000-1,500

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84 MAX KLINGER (german, 1857-1920) “DRAMEN, OPUS IX” the complete set of ten etchings 1883, from the posthumous sixth edition or later (the total edition was 200 lifetime suites plus 30 posthumous suites published by Amsler and Ruthardt, Berlin in 1922 plus an unknown number in the posthumous Klinger portfolio published by J. Hartmann and Fel. Becker, Verlag KlingerHaus, Leipzig in 1925) each with the artist, printer and image number ‘Rad. Op S No. [1-10]’ printed in the margins, all with full margins, all within individual paper folders with mat cutout, title/tale of contents pages (folded as issued) within brown leather-covered portfolio with printed artist’s name and title. The complete set of ten etchings on wove paper. all images: approx. 16 1/2 x 9 1/2 in. (41.8 x 24cm) all sheets: 22 x 18 5/8 in. (55.6 x 47.3cm) portfolio: 24 x 19 1/4 in. (60.8 x 48.8cm) [see Singer, 147-156] Including: IN FLAGRANTI; EIN SCHRITT; EINE MUTTER I; EINE MUTTER II; EINE MUTTER III; IM WALDE; EIN MORD; MARZTAGE I; MARZTAGE II; and MARZTAGE III. provenance: Jeffrey M. Kaplan, Washington, D.C.

$2,000-3,000

83 KÄTHE KOLLWITZ (german, 1867-1945) “FRAU MIT TOTEM KIND” 1903, pencil signed, Knesebeck’s ninth state of ten (from the edition of 50 printed in 1921), with wide margins, Emil Richter, Dresden, publisher. Etching, drypoint and soft-ground etching on heavy wove paper. image: 16 1/4 x 18 1/2 in. (41.3 x 47cm) sheet: 20 3/8 x 26 5/8 in. (51.8 x 67.6cm) [Klipstein, 72; Knesebeck, 81/IX]

85 MAX KLINGER (german, 1857-1920) “WEIBLICHER AKT IN SCHABKUNST” 1891, Singer’s second or third (final) state, with no evidence of the letterpress text indicative of the third state, with wide margins. Etching and mezzotint on laid paper. image: 11 5/16 x 6 5/8 in. (28.7 x 16.8cm) sheet: 12 7/16 x 16 1/4 in. (31.6 x 41.3cm) [Singer, 271] provenance: Falteri Grafica Antica e Moderna di Antonio Berni & c.sas, Florence, Italy. Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

provenance: Galerie St. Etienne, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2007).

$5,000-8,000

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THE JEFFREY M. KAPLAN COLLECTION

GERMAN EXPRESSIONISM

D

86 EMIL NOLDE (german, 1867-1956) “HAMBURG, SCHIFF IM DOCK” 1910, pencil signed, bears title possibly by the hand of the artist, Schiefler’s second (final) state, with wide margins. Etching on Van Gelder laid paper. image: 12 x 16 in. (30.4 x 40.8cm) sheet: 18 x 22 1/4 in. (45.7 x 56.5cm) [Schiefler & Mosel, 138 II]

eveloped as a reaction to the

their new aesthetic- the jagged, block-like

constraints of bourgeois culture

shapes provided them with a means

during the reign of Kaiser Wilhelm II,

towards abstraction and helped them

the Expressionist movement arose at

achieve a more angular, reductive and

the start of the 20th century in multiple

startlingly direct style. They explored

cities simultaneously across the Empire.

lithographic and etching techniques as well,

Its members included a younger

playing with a variety of tones and textures,

generation of artists who rejected the

contrasts between white and black, the

existing artistic canon of the Academy

portrayal of space and the distortion of

in favor of a new visual language

perspective. While the flexibility and

characterized by spontaneity, immediacy

simplicity of the print medium allowed

and abstraction. They were visionaries

them to easily experiment and innovate, it

who used their art as tools to promote

also helped them disseminate their new

authenticity, encourage freedom of

ideas and engage with a wider audience.

expression and attain emotional truth.

Artists confronted important religious,

Their preferred mode of expression was

social and political issues of the day and

the print, and in particular the woodcut,

relayed their critical utopian messages

a medium with a long-established

through portfolios, journals, posters

tradition in Germany. The Expressionists

and manifestos, thereby allowing the

revived this late Gothic technique and

emotional poignancy of their art to reach

transformed it in order to conform to

the broader public.

provenance: Jeffrey M. Kaplan, Washington, D.C.

$10,000-15,000

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THE JEFFREY M. KAPLAN COLLECTION

87 FRANZ MARC (german, 1880-1916) “TIGER” 1912, pencil signed by Maria Marc verso and also with the ‘Handdruck vom Originalholzstock bestätig’ stamp verso, with wide margins. Woodcut on thin Japan-type paper. image: 7 3/4 x 9 5/16 in. (19.7 x 23.7cm) sheet: 9 11/16 x 13 5/8 in. (24.6 x 34.6cm) [Lankheit, 833] provenance: William Weston Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1996).

$3,000-5,000

88 ERICH HECKEL (german, 1883-1970) “AM STRAND” 1923, pencil signed and dated, the final state IIIB of IIIB (from the edition of 300), with wide margins, Edition Marées-Gesellschaft, Munich, publisher and with their blindstamp. Woodcut on tissue-thin Japan. image: 15 7/8 x 10 1/2 in. (40.3 x 26.6cm) sheet: 17 11/16 x 13 7/8 in. (44.9 x 35.2cm) [Dube, 336 III B] provenance: Roger Genser, the Prints & the Pauper, Santa Monica, California. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2004).

$1,000-1,500

89 ERICH HECKEL (german, 1883-1970) “STRALSUND” 1911-12, printed 1921, pencil signed and dated (from the edition of 40), with wide margins, J.B. Neumann, New York, publisher. Woodcut on heavy wove paper. image: 11 3/4 x 14 1/4 in. (29.8 x 36.3cm) sheet: 16 1/8 x 18 1/8 in. (41 x 46cm) [Dube, W 243B] provenance: Sotheby’s, London, “Old Master, Modern & Contemporary Prints,” December 5, 2002, lot 135. Scholar Fine Art, London, United Kingdom (acquired directly from the above sale). Jeffrey M. Kaplan, Washington, D.C.

$4,000-6,000

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93 MAURICE DE VLAMINCK (french, 1876-1958) “LE MOULIN VERT” 1914, pencil signed and numbered 17 (from the edition of 30, some of which were printed on Van Gelder), with full margins, Editions Henri Kahnweiler, Paris, publisher. Woodcut on Japan. image: 6 1/2 x 8 7/8 in. (16.5 x 22.5cm) sheet: 11 x 13 11/16 in. (27.9 x 34.8cm) [Walterskirchen, 21] provenance: Seconde Modernité, Levallois-Perret, France. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006).

$800-1,200

90 ERICH HECKEL (german, 1883-1970) “TÜBINGEN” 1920, pencil signed and dated, inscribed ‘1 zustand’ bottom left, state one of four, with wide margins. Lithograph on laid paper. image: 19 1/8 x 15 in. (48.6 x 38.1cm) sheet: 26 5/8 x 19 11/16 in. (67.6 x 50cm) [Dube, L 264 I] provenance: C. & J. Goodfriend, New York, New York. Jeffrey M. Kaplan Washington, D.C. (acquired directly from the above in 2001).

$2,000-3,000

91 ERICH HECKEL (german, 1883-1970) “PARKSEE” 1914, pencil signed and dated, from the edition of unknown but small size, with wide margins, J.B. Neumann, Berlin, publisher. Etching and drypoint on laid paper. image: 9 7/8 x 7 13/16 in. (25.1 x 19.8cm) sheet: approximately 12 11/16 x 10 5/8 in. (32.2 x 27cm) (taped along all four edges to its overmat) [Dube, E 122] Unframed

94 MAURICE DE VLAMINCK (french 1876-1958) “LE PORT DE MARTIGUES” 1922, pencil signed and numbered ‘No. 58’ (from the edition of 60), with wide margins, Galerie Simon, Paris, publisher. Woodcut on wove paper (Walterskirchen calls for Arches, Van Gelder or Japan). image: 13 5/16 x 16 1/4 in. (34 x 41.4cm) sheet: 15 1/16 x 18 1/4 in. (38.5 x 46.4cm) [Walterskirchen, 24] provenance: William Weston Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington D.C. (acquired directly from the above in 1993).

$800-1,200

provenance: Jeffrey M. Kaplan, Washington, D.C.

$2,000-3,000 92 ERICH HECKEL (german, 1883-1970) “FRANZÖSISCHE FLUSSLANDSCHAFT” 1916, pencil signed and dated, also bears title and illegible inscription possibly in another hand (presumably from the edition of 25), with margins, Verlag Neue Kunst Hans Goltz, publisher. Drypoint on heavy wove paper. image: 6 1/8 x 7 1/16 in. (15.5 x 17.9cm) sheet: 13 11/16 x 11 3/4 in. (34.7 x 29.8cm) [Dube, E 136] provenance: Jeffrey M. Kaplan, Washington, D.C.

95 MAURICE DE VLAMINCK (french, 1876-1958) “RUE À LOUVECIENNES” 1914, pencil signed and numbered 9 (from the edition of 30), with full margins, Editions Henri Kahnweiler, Paris, publisher. Woodcut on Van Gelder laid paper. image: 6 9/16 x 9 11/16 in. (16.7 x 24.6cm) sheet: 11 x 14 5/8 in. (27.9 x 37.2cm) [Walterskichen, 20] provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

$1,000-1,500

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97 MAURICE DE VLAMINCK (french 1876-1958) “MONTRAL” 1913, pencil signed and numbered 4 (from the edition of 60), with wide margins, Editions Henri Kahnweiler, Paris, publisher. Woodcut on Van Gelder laid paper. image: 10 1/8 x 13 1/4 in. (25.7 x 33.7cm) sheet: 17 x 19 1/4 in. (43.2 x 48.9cm) [Walterskirchen, 8] provenance: Long Fine Art, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1996).

$1,200-1,800

98 MAURICE DE VLAMINCK (french, 1876-1958) “LE PONT À CHATOU” 1914, pencil signed and numbered 4 (from the edition of 30 in black, there were also 30 ‘en bistre’), with wide margins, Editions Henri Kahnweiler, Paris, publisher. Woodcut on Van Gelder laid paper. image: 10 1/8 x 13 1/4 in. (25.7 x 33.7cm) sheet: 14 1/16 x 19 5/16 in. (35.7 x 49.1cm) [Walterskirchen, 10]

96 MAURICE DE VLAMINCK (french, 1876-1958) “ARGENTEUIL” 1914, pencil signed and numbered 3 (from the edition of 30), with full margins, Editions Henri Kahnweiler, Paris, publisher. Woodcut on Van Gelder laid paper. image: 6 7/8 x 9 15/16 in. (17.5 x 25.2cm) sheet: 11 x 14 9/16 in. (27.9 x 37cm) [Walterskirchen, 17]

provenance: Long Fine Art, New York, New York (purchased for the below in 1996). Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

provenance: Sotheby’s, New York, “19th and 20th Century Prints,” November 5, 1999, lot 467. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above sale).

$2,000-3,000

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THE JEFFREY M. KAPLAN COLLECTION

99 MAURICE DE VLAMINCK (french, 1876-1958) “LE VIEUX PORT DE MARSEILLE” 1914, pencil signed (presumably a proof apart from the numbered edition of 30), with wide margins (right margin unevenly trimmed), Editions Henri Kahnweiler, Paris, publisher. Woodcut on Van Gelder laid paper. image: 9 1/16 x 13 1/4 in. (23 x 33.7cm) sheet: 15 9/16 x 19 9/16 in. (39.5 x 49.7cm) [Walterskirchen, 14]

101 MAURICE DE VLAMINCK (french, 1876-1958) “SAINT-ADRIEN” 1914, ink signed and numbered 12 (from the edition of 30), with wide margins, Editions Henri Kahnweiler, Paris, publisher. Woodcut on Van Gelder laid paper. image: 10 1/16 x 13 1/4 in. (25.6 x 33.7cm) sheet: 15 9/16 x 17 5/16 in. (39.5 x 44cm). [Walterskirchen, 13]

provenance: Long Fine Art, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1997).

provenance: Seconde Modernité, Levallois-Perret, France. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2002).

$800-1,200

$1,200-1,800

102 MAURICE DE VLAMINCK (french, 1876-1958) “MAREIL” 1913, pencil signed and numbered 20 (from the edition of 30), with wide margins, Editions Henri Kahnweiler, Paris, publisher. Woodcut on Van Gelder laid paper. image: 10 1/8 x 13 1/4 in. (25.7 x 33.7cm) sheet: 17 1/2 x 19 1/4 in. (44.6 x 48.9cm) [Walterskirchen, 7]

100 MAURICE DE VLAMINCK (french, 1876-1958) “LE PORT DE MARTIGUES” 1913, pencil signed and numbered 19 (from the edition of 30, some of which were on Japan), with wide margins, Editions Henri Kahnweiler, Paris, publisher. Woodcut on Van Gelder laid paper. image: 9 13/16 x 13 5/8 in. (24.9 x 34.6cm) sheet: 12 5/8 x 16 1/2 in. (32.1 x 41.9cm) [Walterskirchen, 6]

provenance: C. & J. Goodfriend Drawings and Prints, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2001).

provenance: William Weston Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1987).

$1,000-1,500

$1,000-1,500

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LYONEL FEININGER

L

yonel Feininger’s impact on 20th century modernism in fine art cannot be overstated.

His immediately recognizable style — precise, linear, delicate, exacting — can be linked directly to his time spent at the Bauhaus. Indeed, in 1919 Feininger became the first faculty appointment charged with running the printmaking workshop and he designed the iconic cover for the Bauhaus manifesto that same year. Remarkably, Feininger did not begin his storied career as a fine artist until the age of 36, although he had worked as a highly successful cartoonist and caricaturist for numerous publications earlier in his career. Born in New York, he first travelled to Germany at the age of 16, and would have a lifelong fascination and association with that country and its various post-war movements. He was a member of the artist groups Berliner Secession, Die Brucke, Novembergruppe, Gruppe 1919, the Blaue Reiter and Die Blaue Vier. Feininger was ultimately a very prolific draftsman, painter and

103 MAURICE DE VLAMINCK (french, 1876-1958) “SAINT-MICHEL” 1914, pencil signed and inscribed ‘N. 9’ (from the edition of 30), with full margins, Editions Henri Kahnweiler, Paris, publisher. Woodcut on Van Gelder laid paper. image: 9 3/4 x 6 7/8 in. (24.8 x 17.5cm) sheet: 14 9/16 x 11 in. (37 x 27.9cm) [Walterskirchen, 19]

printmaker, as well as a photographer. His work has also been associated with Expressionism and even Cubism.

provenance: Seconde Modernité, Levallois-Perret, France. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2002).

$1,500-2,500

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104 LYONEL FEININGER (american/german, 1871-1956) “DER REEDER” 1911-12, printed circa 1950, pencil signed, state B of B (from the edition of approximately 25), with wide margins. Etching and drypoint on Arches. image: 5 7/16 x 8 1/2 in. (13.8 x 21.6cm) sheet: 9 7/8 x 12 7/8 in. (25.1 x 32.7cm) [Prasse, E41B] provenance: Sylvan Cole Gallery, New York, New York. Jeffery M. Kaplan, Washington, D.C. (acquired directly from the above in 1995).

$3,000-5,000

78

105 LYONEL FEININGER (american/german, 1871-1956)
 “SPAZIERGANGER” from “neue europaische graphik - erste mappe - meister des staatlichen bauhauses in weimar” 1921, pencil signed (an unnumbered proof aside from the total edition of 130), with wide margins, Bauhaus, Weimar and Verlag Muller und Co., Potsdam, publishers. Woodcut on tissue-thin laid Japan. image: 14 9/16 x 11 9/16 in. (37 x 29.4cm) sheet: 19 x 13 1/2 in. (48.3 x 34.3cm) [Prasse, W113]

79

provenance: Sotheby’s, London, “Old Master, 19th & 20th Century & Contemporary Prints,” October 22, 1997, lot 180. Long Fine Art, New York, New York (acquired from the above sale). Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1997).

$5,000-8,000

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THE JEFFREY M. KAPLAN COLLECTION

106 LYONEL FEININGER (american/german, 1871-1956) “HANSAFLOTTE” 1920, with the artist’s name and title printed verso (from the trade edition, there was also a numbered edition of 100), with margins. Woodcut on wove paper. image: 6 5/16 x 8 9/16 in. (16 x 21.7cm) sheet: 9 5/16 x 12 3/4 in. (23.6 x 32.3cm) [Prasse, W115]

109 AFTER LYONEL FEININGER (american/german, 1871-1956) “DIE AUSFAHRT” 1919, pencil numbered 2/100 (from the posthumous edition of 1964), Associated American Artists, New York, publisher and with the blindstamp combining the emblems of Lyonel and Julie Feininger. Woodcut on tissue-thin paper. image: 6 5/8 x 7 7/8 in. (16.8 x 20cm) sheet: 13 x 15 in. (33 x 38.1cm) [Prasse, W161]

provenance: William Weston Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1989).

provenance: Pia Gallo Fine Old Master and Modern Prints, New York, New York.Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2005).

$250-400

$300-500 107 LYONEL FEININGER (american/german, 1871-1956) “MARINE” Circa 1912, one of only two known proofs documented by Prasse for a presumably unrealized edition, with wide margins. Woodcut on deep-yellow tissue paper. image: 3 x 3 7/8 in. (7.6 x 9.8cm) sheet approx.: 4 1/4 x 5 3/4 in. (10.8 x 14.6cm) [Prasse, W128]

110 AFTER LYONEL FEININGER (american/german, 1871-1956) “TOPPSEGEL-KETSCHEN, 1” 1931, pencil numbered 2/100 (from the posthumous edition of 1964), Associated American Artists, New York, publisher and with the blindstamp combining the emblems of Lyonel and Julie Feininger. Woodcut on tissue-thin paper. image: 6 7/8 x 9 1/2 in. (17.5 x 24.1cm) sheet: 13 x 15 in. (33 x 38.1cm) [Prasse, W271]

provenance: Pamela K. Stratton, San Diego, California. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1996).

$600-800

provenance: Pia Gallo Fine Old Master and Modern Prints, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2005).

108 AFTER LYONEL FEININGER (american/german, 1871-1956) “IN THE OFFING/ZUR AUSFAHRT BEREIT” 1919, pencil numbered 2/100 (from the posthumous edition of 1964), with wide margins, Associated American Artists, New York, publisher and with the blindstamp combining the emblems of Lyonel and Julie Feininger. Woodcut on Japan. image: 6 7/8 x 8 3/8 in. (17.4 x 21.3cm) sheet: 13 x 15 in. (33 x 38.1cm) [Prasse, W119]

$300-500 111 AFTER LYONEL FEININGER (american/german, 1871-1956) “SCHIFFE UND STERNE” 1919, pencil numbered 37/100 (from the posthumous edition of 1964), Associated American Artists, New York, publisher and with the blindstamp combining the emblems of Lyonel and Julie Feininger. Woodcut on tissue-thin paper. image: 5 1/2 x 9 in. (14 x 22.9cm) sheet: 13 x 15 in. (32 x 38.1cm) [Prasse, W178]

provenance: Jeffrey M. Kaplan, Washington, D.C.

$300-500

provenance: Jeffrey M. Kaplan, Washington, D.C.

$250-400

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THE JEFFREY M. KAPLAN COLLECTION

113 LYONEL FEININGER (american/german, 1871-1956) “BARKE UND BRIGG AUF SEE/SEGLER,” from “die febel, erste mappe” 1919, pencil signed, Prasse’s second (final) state (from the edition of unknown size), with wide margins, Karl Lang Verlag, Munich, publisher. Woodcut on cream laid paper. image: 7 x 7 in. (17.8 x 17.8cm) sheet: 16 1/4 x 12 in. (41.2 x 30.4cm) [Prasse, W99] provenance: William Weston Gallery, London, United Kingdom. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1989).

$1,500-2,500

114 LYONEL FEININGER (american/german, 1871-1956) “TELTOW I “ 1914, pencil signed and bears date 1912, possibly Prasse’s state B of B printed circa 1950 (possibly a proof before the edition of 25) and with the Feininger Estate stamp and number ‘GE no. 10,’ with wide margins. Etching on Arches. image: 7 x 9 5/16 in. (17.8 x 23.6cm) sheet: 9 7/8 x 12 15/16 in. (25 x 32.8cm) [Prasse, E53B]

112 LYONEL FEININGER (american/german, 1871-1956) “KRIEGSFLOTTE I” from “zwölf holzschnitte von lyonel feininger” 1921, pencil signed (from the edition of 10 printed on Japan, the total edition was 50), with wide margins, Staatliches Bauhaus Weimar, publisher. Woodcut on Japan. image: 6 1/2 x 9 1/4 in. (16.5 x 23.5cm) sheet: 8 x 12 in. (20.3 x 30.5cm) [Prasse, W150]

provenance: C.& J. Goodfriend, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2001).

$1,000-1,500

provenance: Sotheby’s, New York, ‘Prints,” May 2, 2003, lot 158. Jeffrey M. Kaplan, Washington, D.C.

$3,000-5,000

82

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THE JEFFREY M. KAPLAN COLLECTION

116 JAMES ABBOTT MCNEILL WHISTLER (american, 1834-1903) “THE ADAM AND EVE, OLD CHELSEA” 1878, with the printed butterfly signature at top left in plate, the third (final) state (from the edition of 92 known impressions), with wide margins, Hogarth & Son, London, publisher. Etching and drypoint on tissue-thin paper. image: 6 7/8 x 12 in. (17.5 x 30.5cm) sheet: 9 1/16 x 14 9/16 in. (23 x 37cm) [Kennedy, 175] provenance: Harbor Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1982).

$800-1,200

117 CHILDE HASSAM (american, 1859-1935) “THE CHASE HOUSE (ANNAPOLIS)” 1929, pencil signed with the artist’s monogram and inscribed ‘imp,’ with wide margins. Etching on wove paper. image: 6 7/8 x 8/5/16 in. (17.5 x 21.1cm) sheet: 9 3/4 x 11 1/2 in. (24.8 x 29.2cm) [Cortissoz & Clayton, 309] provenance: Forum Gallery, Los Angeles, California. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2005).

$800-1,200

115 JAMES ABBOTT MCNEILL WHISTLER (american, 1834-1903) “THE KITCHEN” from “twelve etchings from nature” 1858, inscribed with the title and bears inscription ‘K.24.II,’ the second state of three (from the edition of 67), with wide margins. Etching on wove paper.

image: 8 7/8 x 6 1/8 in. (22.5 x 15.6cm) sheet: 11 1/8 x 7 in. (28.3 x 17.8cm) [Kennedy, 24] provenance: Jeffrey M. Kaplan, Washington, D.C.

$3,000-5,000

84

118 JOHN TAYLOR ARMS (american, 1887-1953) “WHERE THE JUNK SAILS LIFT” 1922, pencil signed, the second (final) state, (from the edition of 150 printed in color, there was also an edition of 10 printed in black and white), with margins, Frederick Reynolds, New York, printer. Color etching and aquatint on wove paper. image: 12 7/16 x 13 7/16 in. (31.6 x 34.1cm) sheet: 18 3/16 x 20 3/16 in. (46.2 x 51.3cm) [Fletcher, 130] provenance: Harbor Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1985).

$300-500 Not Illustrated

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122 THE JEFFREY M. KAPLAN COLLECTION JOHN MARIN (american, 1870-1953) “L’HÔPITAL, SEINE” 1906, from the rare, unpublished edition of approximately 6-12, with margins. Etching on Japan. image: 5 x 7 1/8 in. (12.7 x 18.1cm) sheet: 6 1/4 x 7 7/8 in. (15.9 x 20cm) [Zigrosser, 17]

119 JOHN MARIN (american, 1870-1953) “PLACE SAINT JACQUES, PARIS” 1907, pencil signed and titled, numbered 20/30 (Zigrosser calls for an edition of about 25), with margins, Roullier Galleries, Chicago, publisher. Etching on Japan. image: 5 1/16 x 7 1/16 in. (12.9 x 17.9cm) sheet: 6 3/4 x 8 1/16 in. (17.1 x 20.5cm) [Zigrosser, 77]

provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1989).

provenance: Hatay Stratton Fine Prints and Drawings, Vero Beach, Florida. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1995).

$800-1,200

$500-800

120 JOHN MARIN (american, 1870-1953) “L’OPERA, PARIS” 1908, from the edition of about 30, with wide margins, Roullier Galleries, Chicago, publisher. Etching on Japan. image: 10 3/4 x 12 15/16 in. (27.3 x 32.9cm) sheet: 15 x 17 in. (38.1 x 43.2cm) [Zigrosser, 80]

121 JOHN MARIN (american, 1870-1953) “CHARTRES CATHEDRAL” 1910, titled in pencil (from the edition of approximately 25), with margins, Roullier Galleries, Chicago, publisher. Etching on wove paper. image: 11 x 8 3/4 in. (27.9 x 21.3cm) sheet: 13 1/2 x 10 1/2 in. (34.3 x 26.7cm) [Zigrosser, 99]

provenance: Kennedy Galleries, Inc., New York, New York.

provenance:

Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1989).

Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

$600-800

86

123 JOHN MARIN (american, 1870-1953) “LE PONT NEUF” 1905, pencil signed and titled (from the edition of about 25), with margins, Roullier Galleries, Chicago, publisher. Etching on Japan. image: 7 7/8 x 5 7/16 in. (20 x 13.8cm) sheet: 10 3/8 x 7 15/16 in (26.4 x 20.2cm) [Zigrosser, 11]

124 JOHN MARIN (american, 1870-1953) “NOTRE DAME, PARIS” 1908, pencil signed and titled, Zigrosser’s fourth state of five (from the edition of about 30), with wide margins, Roullier Galleries, Chicago, publisher. Etching and drypoint on Japan. image: 12 1/2 x 10 9/16 in. (31.8 x 26.8cm) sheet: 16 3/16 x 13 3/4 in. (41.1 x 34.9cm) [Zigrosser, 79]

provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C.

provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C.

(acquired directly from the above in 1989). note: Although there are ten etchings by Marin documented prior to this work, “Le Pont Neuf” was Marin’s first print to be formally published.

(acquired directly from the above in 1989).

$600-1,000

87

$800-1,200

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THE JEFFREY M. KAPLAN COLLECTION

125 two prints BERTHA BOYNTON LUM (american, 1869-1954) “TANABATA” 1912, pencil signed in the image, with margins. Color woodcut on tissue-thin Japan. image: 14 15/16 x 7 1/8 in. (37.9 x 18cm) sheet: 15 x 7 1/4 in. (38 x 18.3cm) [Gravalos & Pulin, 36] and: “GOBLIN DANCE” 1912, pencil signed in the image, with thread margins. Color woodcut on tissue-thin Japan. image: 9 1/16 x 14 3/4 in. (23 x 37.5cm) sheet: 9 1/8 x 14 7/8 in. (23.2 x 37.8cm) [Gravalos & Pulin, 28]

126 BERTHA BOYNTON LUM (american, 1869-1954) “SPIRIT OF THE SEA” 1916, pencil signed, dated and inscribed ‘copyright 1916 by Bertha Lum,’ numbered ‘41,’ with thin margins. Color woodcut on Japan. image: 16 3/4 x 11 in. (42.5 x 27.8cm) sheet: 17 1/2 x 11 5/8 in. (44.4 x 29.5cm) [Gravalos & Pulin, 47] provenance: Conrad R. Graeber Fine Art, Glyndon, Maryland. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1991).

$600-800

provenance: Andrew Terry Keats Fine Art, San Francisco, California. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1996 and 1998).

$600-1,000

“T

“L

anabata and her husband became too fond of each other and neglected their duty to her father, the God of Heaven. Therefore he separated the pair with the river of heaven, the Milky Way, flowing between them.

On certain nights the birds of heaven become a bridge over the stream. “If the skies are clear on the seventh night of the seventh moon, lovely Tanabata comes, clad in blue and lighted by a yellow candle, to meet her parted lover on the Milky Way.

— Bertha Lum, Vogue, April 15, 1914 88

ovely as the ever breaking waves, though surrounded by all the jewels of the deep, only the spirits of the

dead for company.

— Bertha Lum

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THE JEFFREY M. KAPLAN COLLECTION

129 ETHEL MARS (american, 1876-1956) UNTITLED (PORTRAIT OF A MAN WITH DOG) Circa 1903-08, with the artist’s red signature-stamp verso (from the edition of unknown but presumably very small size), with thin margins. Color woodcut on Japan. image: 10 x 7 3/4 in. (25.3 x 19.6cm) sheet: 11 1/8 x 9 in. (28.3 x 22.8cm) provenance: Mary Ryan Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2000).

$800-1,200

127 BERTHA BOYNTON LUM (american, 1869-1954) “PINES BY THE SEA” 1918, pencil signed, dated and inscribed ‘copyright 1918 by Bertha Lum,’ with margins. Color woodcut on Japan. image: 8 3/4 x 12 5/8 in. (22.2 x 32cm) sheet: 9 1/2 x 13 3/8 in. (24 x 33.9cm) [Gravalos & Pulin, 34]

128 BERTHA JACQUES (american, 1863-1941) “COLUMBINE” Circa 1930, pencil signed and titled (from the edition of unknown size), with wide margins. Drypoint with hand-coloring on tissue-thin Japan. image: 9 1/4 x 4 5/8 in. (23.5 x 11.7cm) sheet: 10 3/4 x 8 1/8 in. (27.3 x 20.6cm)

provenance: Andrew Terry Keats Fine Art, San Francisco, California. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1991).

provenance: Pia Gallo Fine Old Master and Modern Prints, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2005). note: Bertha Jacques was a largely self-taught printmaker who began etching on copper using her husband’s surgical tools. She created over 400 etchings and drypoints, with botanicals as a favorite subject. She was a founder of the Chicago Society of Etchers, and one of the first artists to experiment with cynotypes using botanicals as her subject.

$1,000-1,500

130 two prints BERTHA BOYNTON LUM (american, 1869-1954) “BUTTERFLY DANCE” 1924, pencil signed and inscribed ‘copyright 1924 by,’ with narrow margins. Hand-colored, raised-line woodcut on wove paper laid down to Japan (possibly working method). image: 14 15/16 x 10 1/4 in. (37.9 x 26cm) sheet: 15 5/8 x 10 7/8 in. (39.7 x 27.6cm) [Gravalos & Pulin, 66] provenance: Paramour Fine Arts, Franklin, Michigan. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2005). and:

“THE HOMECOMING” 1905, pencil signed, dated and inscribed ‘copyright 08 by Bertha Lum,’ with margins. Color woodcut on Japan. image: 8 15/16 x 3 3/8 in. (22.7 x 8.6cm) sheet: 9 1/4 x 3 1/2 in. (23.5 x 8.9cm) [Gravalos & Pulin, 6]

$200-300

provenance: Andrew Terry Keats Fine Art, San Francisco, California. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1995).

$600-1,000

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THE JEFFREY M. KAPLAN COLLECTION

131 ROCKWELL KENT (american, 1882-1971) “FOREST POOL” 1927, pencil signed (from the edition of 150), with margins. Woodcut on wove paper. image: 5 1/2 x 8 in. (13.9 x 20.3cm) sheet: 8 5/8 x 11 5/16 in. (21.8 x 28.8cm) [Burne-Jones, 14]

132 ROCKWELL KENT (american, 1882-1971) “TWILIGHT OF MAN” 1926, pencil signed (from the edition of 120), with margins. Wood engraving on wove paper. image: 5 1/2 x 8 in. (14 x 20.3cm) sheet: 8 3/4 x 11 1/4 in. (22.2 x 28.6cm) [Burne-Jones, 6]

provenance: Harbor Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1988).

$1,500-2,500

provenance: Harbor Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1988). note: Created during a so-called “ intense mystical period” born out of extreme loneliness in Alaska and Newfoundland, this image was made in illustration of the poem “An Ancient to Ancients” by Thomas Hardy:  “...And ye, red-lipped and smooth-browed; list, Gentlemen; Much is there waits you we have missed; Much lore we leave you worth the knowing, Much, much has lain outside our ken; Nay, rush not: time serves: we are going, Gentlemen.”

$1,200-1,800

92

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THE JEFFREY M. KAPLAN COLLECTION

133 JOHN BRADLEY STORRS (american, 1885-1956) “ROMANTIC NIGHT (EAGLE)” 1916, pencil numbered 16/16, with full margins. Woodcut on laid paper. image: 4 1/16 x 4 1/16 in. (10.6 x 10.6cm) sheet: 10 3/8 x 7 13/16 in. (26.4 x 19.8cm)

135 BORIS ARTZYBASHEFF (american/russian, 1899-1965) “THE LAST TRUMPET” 1937, pencil signed and titled (from the edition of 200), with wide margins, The Woodcut Society, Kansas City, Missouri, publisher. Woodcut on paper. image: 11 3/16 x 7 13/16 in. (28.4 x 18.3cm) sheet: 14 5/8 x 11 3/16 in. (37.1 x 28.4cm)

provenance: Swann Auction Galleries, New York, “Works of Art on Paper,” November 9, 2000, lot 868. Sylvan Cole Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2002). literature: Noel Frackman, John Storrs, New York: Whitney Museum of American Art, 1986 (an exhibition catalogue).

provenance: William Greenbaum Fine Prints, Gloucester, Massachusetts. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1994).

$600-1,000

$1,000-1,500

134 JOHN BRADLEY STORRS (american, 1885-1956) “EMBRACING COUPLE” 1919, pencil signed with initials and numbered ‘6th of 32’ (from the edition of unknown size), with full margins. Woodcut on wove paper. image: 4 3/8 x 4 5/16 in. (11.1 x 11cm) sheet: 11 1/4 x 7 1/2 in. (28.6 x 19.1cm)

136 DON FREEMAN (american, 1908-1978) “CASTING FOR CHARACTER” 1934, pencil signed (from the edition of 184), with margins, Associated American Artists, New York, publisher. Lithograph on wove paper. image: 9 13/16 x 11 7/8 in. (24.8 x 30.1cm) sheet: 11 3/8 x 15 in. (28.9 x 38.1cm)

provenance: Sylvan Cole Gallery, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1995). literature: Noel Frackman, John Storrs, New York: Whitney Museum of American Art, 1986 (an exhibition catalogue).

provenance: Hatay-Stratton, Northampton, Massachusetts. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1986).

$400-600

$1,200-1,800

94

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THE JEFFREY M. KAPLAN COLLECTION

137 two prints ISABEL BISHOP (american, 1902-1988) “SNACK BAR” 1959, published 1978, pencil signed and titled, annotated AP verso (an artist’s proof, aside from the regular edition of 50), with wide margins. Etching on wove paper. image: 6 15/16 x 4 3/8 in. (17.6 x 11cm) sheet: 9 13/16 x 6 9/16 in. (24.8 x 16.5cm) [Teller, 53] and: “ICE CREAM CONES NO. 2” 1945, printed 1981, pencil signed, bears inscription ‘early proof with drawing’ (presumably an early proof before the regular edition of 25), with wide margins. Etching on wove paper. image: 7 x 3 1/2 in. (17.8 x 8.8cm) sheet: 8 x 5 1/2 in. (20.3 x 13.9cm) [Teller, 37] provenance: Midtown Galleries, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1985).

$1,000-1,500

139 KERR EBY (american, 1889-1946) “SEPTEMBER 13, 1918 ST. MIHIEL (THE GREAT BLACK CLOUD)” 1934, pencil signed, the fourth (final) state (from the edition of 100), with wide margins. Etching and aquatint on laid paper. image: 10 5/16 x 15 13/16 in. (26.2 x 40.2cm) sheet: 13 3/4 x 18 9/16 in. (34.9 x 47.1cm) [Giardina, 182]

138 ISABEL BISHOP (american, 1902-1988) “EIGHT ETCHINGS 1930-1959” the complete set of eight etchings Conceived variously between 1930-1985, printed 1985, all pencil signed and numbered 19/50 (there were also 7 artist’s proof suites in Roman numerals), all with full margins, Sylvan Cole Gallery, New York, publisher. All loose within paper folders with printed titles and dates, title, text and pencil signed and numbered justification, all within grey cloth-covered portfolio box with metallic printed text (as issued). The complete set of eight etchings on Rives. images: various sheets (each): 13 x 9 7/8 in. (33 x 25cm) album: 14 1/4 x 11 1/2 in. (36.2 x 29.3cm). including: “SLEEPING MAN,” 1930; “DELAYED DEPARTURE,” 1935; “PUTTING ON THE JACKET,” 1945; “PARK BENCH,” 1946; “IN THE SQUARE,” 1949; “SWEET SIXTEEN,” 1954; “LUNCH BREAK,” 1956; and “GIRL AT THE SODA FOUNTAIN,” 1959.

provenance: Harbor Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1984).

$2,000-3,000

provenance: Sylvan Cole Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1987).

$600-800

96

97

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THE JEFFREY M. KAPLAN COLLECTION

EDWARD HOPPER

E

dward Hopper is one of the true

at the Rehn Gallery. Hopper’s mature

giants of 20th century American

style became characterized by depictions

art. His childhood home is depicted

of lonely urban and small town scenes

in the present work, a pencil drawing

inhabited by a handful of solitary figures

completed early in the artist’s career

(e.g. ‘The Nighthawks, 1942, The Art

when he studied under William Merritt

Institute of Chicago — which was said

Chase, Kenneth Hayes Miller and

to be inspired by “a restaurant on

Robert Henri at the New York School of

New York’s Greenwich Avenue where

Art and Design. However, some years

two streets meet”).

of struggle would ensue before Hopper was to achieve fame and notoriety.

Hopper is best known for his particular

At first, it was Hopper’s etchings — he

vision of the American scene — one of

completed around 70 of them — that

anxiety and alienation, wherein detached

garnered recognition. He sold his first

figures exist alone and immobile within

painting at the 1913 Armory Show, but

strikingly lit, often claustrophobic spaces.

it was not until seven years later, at

Hopper himself once said, “great art is

the age of 37, that he received his first

the outward expression of an inner life of

one-person show at the Whitney Studio

the artist, and this inner life will result in

Club, followed by another solo show

his personal vision of the world.”

140 EDWARD HOPPER (american, 1882-1967) “NYACK WITH STEEPLE OF SAINT ANNE’S CHURCH” Pencil on card. Executed circa 1905. 7 9/16 x 10 5/16 in. (19.2 x 26.1cm) provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1986).

$20,000-30,000

98

99

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THE JEFFREY M. KAPLAN COLLECTION

141 MILTON AVERY (american, 1885-1965) “WOMAN SEATED” Signed bottom right, signed again and titled verso, pencil on paper. Executed circa 1935. 11 x 8 7/16 in. (27.9 x 21.4cm) provenance: Jeffrey M. Kaplan, Washington, D.C.

142 MILTON AVERY (american, 1885-1965) FEMALE NUDE Pencil signed bottom right, conte crayon and light pencil on pale pink paper. Executed circa 1935. 11 x 8 1/2 in. (27.9 x 21.6cm)

143 GEORGE BELLOWS (american, 1882-1925) “STANDING NUDE WITH UPWARD GLANCE” Initialed and inscribed ‘Geo Bellows’ by the artist’s daughter, Jean Bellows Booth bottom right, conte crayon on tracing paper. 18 5/8 x 12 in. (47.3 x 30.5cm) provenance: Estate of the Artist. Widing & Peck Fine Art, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1996).

provenance: Burt Chernow, Westport, Connecticut. Pensler Galleries, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1995).

$1,000-1,500

$800-1,200

$2,000-3,000

100

101

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THE JEFFREY M. KAPLAN COLLECTION

144 PAUL CADMUS (american, 1904-1999) “NATURE MORTE, PUERTO RICO” Signed bottom right, colored crayon on toned paper. 12 9/16 x 17 11/16 in. (31.9 x 44.9cm) provenance: Midtown Galleries, New York, New York. Jeffrey M. Kaplan, Washington D.C. (acquired directly from the above in 1987).

$3,000-5,000

PAUL CADMUS

B

ased in New York City, Paul Cadmus

and casein paintings, murals, and

not only came from a family of

occasionally in oils. His notorious painting

artists, but was himself a child prodigy.

‘The Fleet’s In,’ executed early in his career

As a teenager, he entered the prestigious

while in Mallorca, caused enough of a

National Academy of the Arts and Art

controversy that it was withdrawn from a

Students League where he studied under

show at the Corcoran Gallery of Art. That

Jared French, Kenneth Hayes Miller,

painting did, however, help launch Cadmus

William Auerbach Levy and Joseph Pennell.

to recognition and fame. His work has been

Cadmus was, above all, a master draftsman

said to show the influence of the 15th-16th

who specialized in male figural works,

century Italian master Luca Signorelli, and

sometimes rendered with a satirical edge.

Cadmus’s keen interest in traditional form

He worked in myriad media including

and perspective are clearly on display in

crayon and chalk drawings, egg tempera

the three works offered here (lots 144-146).

102

103

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THE JEFFREY M. KAPLAN COLLECTION

146 PAUL CADMUS (american, 1904-1999) PRELIMINARY STUDY FOR THREE DANCERS RESTING Signed and inscribed ‘NM85a’ at center left, crayon on paper. Executed in 1971. 13 1/2 x 13 in. (34.3 x 33cm) provenance: Midtown Galleries, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1987).

$2,000-3,000

147 ROBERT LIBERACE (american, b. 1967) MALE FIGURAL STUDIES Pastel and watercolor on laid paper with the ‘PERVSIA’ griffon watermark. 9 1/4 x 13 in. (23.5 x 33cm) 145 PAUL CADMUS (american, 1904-1999) “MALE NUDE NO. 238” Signed and inscribed ‘NM 238’ bottom center, conte crayon on grey cason paper. Executed circa 1969. 12 5/8 x 12 3/8 in. (32 x 31.4cm)

provenance: Jeffrey M. Kaplan, Washington, D.C.

$300-500

provenance: Midtown Payson Galleries, New York, New York. Jeffrey M. Kaplan, Washington, D.C.

$1,500-2,500

104

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148 WALTER TANDY MURCH (american, 1907-1967) “STUDY FOR MARZIPAN I” Signed bottom left, watercolor and pencil on paper. Executed in 1950. 15 13/16 x 20 in. (40.1 x 50.7cm)

provenance: Betty Parsons Gallery, New York, New York. Mr. and Mrs. Lawrence A. Fleischman, Detroit, Michigan (acquired from the above circa 1963). Kennedy Galleries, Inc., New York, New York (acquired from the above in 1995). Dekelboum Collection, Palm Beach, Florida (acquired from the above in 1996). Kennedy Galleries, Inc., New York, New York (acquired from the above in 2000). Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2005). exhibited: “Contemporary American Still Life,” The Museum of Modern Art, New York, November 22, 1966 - February 6, 1967.

$1,500-2,500

106

149 WALTER TANDY MURCH (american, 1907-1967) “STILL LIFE WITH BLUE RIBBON” Pastel and charcoal on paper laid down to board. Executed in 1945. 15 1/2 x 19 in. (39.3 x 48.2cm)

exhibited: “Walter Murch, Paintings and Drawings,” Whitney Museum of American Art at Philip Morris, New York, September 12 - November 18, 1986; and Hillwood Art Gallery at Long Island University, Greenvale, New York, December 12, 1986 - January 30, 1987.

$1,500-2,500

provenance: Galerie Jan Krugier, Geneva, Switzerland. Kennedy Galleries, Inc., New York, New York. Sotheby’s Arcade, New York, “American Paintings, Drawings and Sculpture,” September 24, 1998, lot 358. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above sale).

107

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151 LEONARD BASKIN (american, 1922-2000) “CONTINUITY” 1967, signed and dated, numbered 1/8, also with the ‘BEDI-RASSY’ foundry stamp on lower edge. Bronze relief. 19 x 15 3/4 x 1 in. (48.3 x 40 x 2.5cm) provenance: Sotheby’s Arcade, New York, “American Paintings,” September 23, 1988, lot 316. Harbor Gallery, New York, New York (acquired from the above sale). Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1988).

$800-1,200

150 two works on paper LEONARD BASKIN (american, 1922-2000) “HOSIE’S ZOO” “mandrill” and “tiger” Each signed and dated 1980 respectively and one titled verso, watercolor on paper. each: 11 x 7 5/8 in. (27.9 x 19.4cm)

152 LETTERIO CALAPAI (american, 1902-1993) “CIRCUS II (SPACE MAN)” 1950, pencil signed and titled, numbered 39/50. Color etching, engraving and aquatint on BFK Rives. image: 8 3/4 x 5 15/16 in. (22.2 x 15.1cm) sheet: 11 x 8 7/8 in. (27.9 x 22.5cm) provenance: Catherine E. Burns, Oakland, California. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1987).

provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2004 and 1987).

$300-500

$1,500-2,500

108

109

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153 JACOB LAWRENCE (american, 1917-2000) “THE MARCH” from “the life of toussaint l’ouverture” 1995, pencil signed, dated and titled, numbered AP 11/14 (an artist’s proof, aside from the regular edition of 120), with wide margins, co-published by Amistad Research Center, New Orleans and Spradling-Ames, Key West. Color screenprint on Rising Two Ply Rag paper. image: 18 x 28 13/16 in. (45.7 x 73.2cm) sheet: 22 x 32 in. (55.9 x 81.3cm) [Nesbitt, L95-2]

154 JACOB LAWRENCE (american, 1917-2000) “THE CAPTURE” from “the life of toussaint l’ouverture” 1987, pencil signed, dated and titled, numbered AP 8/30 (an artist’s proof, aside from the regular edition of 120), with margins, Amistad Research Center, New Orleans, publisher. Color screenprint on Bainbridge Two Ply Rag paper. image: 27 15/16 x 18 1/4 in. (71 x 46.4cm) sheet: 31 7/8 x 21 7/8 in. (81 x 55.6cm) [Nesbitt, L87-2] provenance: DC Moore Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2010).

provenance: DC Moore Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2010).

$2,000-3,000

$2,500-4,000

110

154

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155 JACOB LAWRENCE (american, 1917-2000) “TOUSSAINT AT ENNERY” from “the life of toussaint l’ouverture” 1989, pencil signed, dated and titled, numbered WP 6/20 (a working proof, aside from the regular edition of 99), with wide margins, co-published by Amistad Research Center, New Orleans and Spradling-Ames, Key West. Color screenprint on Bainbridge Two Ply Rag paper. image: 18 5/8 x 28 7/8 in. (47.3 x 73.3cm) sheet: 22 x 32 in. (55.9 x 81.3cm) [Nesbitt, L89-3]

156 JACOB LAWRENCE (american, 1917-2000) “THE SWEARING IN” from “inaugural impressions” 1977, pencil signed, titled and dated, numbered 97/100, with wide margins, published by the Presidential Inaugural Committee, Washington, D.C. Color screenprint on cream wove paper. image: 18 x 29 in. (45.7 x 71.1cm) sheet: 19 3/4 x 29 13/16 in. (50.2 x 75.7cm) [Nesbitt, L-771] provenance: Jeffrey M. Kaplan, Washington, D.C.

$3,000-5,000

provenance: DC Moore Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2010).

$2,500-4,000

112

113

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THE JEFFREY M. KAPLAN COLLECTION

CHARLES EPHRAIM BURCHFIELD

V

ariously described as a “mystic,”

This year was an especially important

a “visionary,” a “naturalist,” an

year for the artist and he himself once

“inlander” and a “painter of transcendental

mused “I have always believed 1917

landscapes, trees with telekinetic

to be the ‘golden year’ of my career.”

halos and haunted houses emanating

Art historian John Baur further reflected

ectoplasmic auras,” painter and printmaker

upon the importance of this time

Charles Ephraim Burchfield was, by the

period in the evolution of the artist’s

late 1930s, hailed by Life Magazine as

unique vision, noting in his 1982

one of America’s ten greatest painters.

book The Inlander: Life and Work of

An Ohio and Buffalo, New York — based

Charles Burchfield, “the main direction

artist who is best known for his depictions

of Burchfield’s work in 1917 was

of Midwestern townscapes, landscapes

unquestionably his intensified search for

and woodland scenes, Burchfield imbued

a way to express moods.” Other works

his compositions with his own very

from this time period in the auction

distinctive sensitivities and avant-garde

include ‘Dusk,’ ‘Trees in the Yard,’ ‘Beech

leanings, producing a form of abstracted

Tree and the Valley of the Little Beaver,’

realism that evokes feeling, fantasy and

‘Winter Twilight in the Village,’ ‘Wellsville,

mood. The artist’s expressive imagination

Ohio,’ ‘Freight Car’ and ‘The Quarry’

is particularly evident in ‘March Pools

(lots 159, 160, 167, 168, 170-173).

at Twilight’ (lot 158), painted in 1917.

157 CHARLES EPHRAIM BURCHFIELD (american, 1893-1967) “LANDSCAPE: SUN AND CYPRESS” Signed verso, gouache on paper. 8 7/8 x 5 in. (22.5 x 12.7cm) provenance: Estate of the Artist. Richard York Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1990).

$10,000-15,000

114

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THE JEFFREY M. KAPLAN COLLECTION

158 CHARLES EPHRAIM BURCHFIELD (american, 1893-1967) “MARCH POOLS AT TWILIGHT” Signed and dated 1917 bottom right, watercolor on paper. 20 15/16 x 17 3/4 in. (53.2 x 45.1cm) provenance: The Artist. Mr. and Mrs. Lawrence A. Fleischman, Detroit, Michigan. Arthur Magill, Greenville, South Carolina (acquired from the above in 1982). Kennedy Galleries, Inc., New York, New York. Private Collection, New York, New York. Widing & Peck Fine Art, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1997). exhibited: “Drawings in Watercolor by Charles Burchfield,” Kevorkian Gallery, New York, New York, 1920. “Charles E. Burchfield Watercolors,” Kennedy Galleries, Inc., New York, New York, 1974 (exhibition catalogue no. 3, illustrated). “Burchfield’s Seasons,” Kennedy Galleries, Inc., New York, New York, 1974 (exhibition catalogue no. 10, illustrated). “Charles E. Burchfield: Watercolors from 1915 to 1920,” Kennedy Galleries, Inc., New York, New York, 1974 (exhibition catalogue no. 25, illustrated). literature: Joseph S. Trovato, Charles Burchfield: Catalogue of Paintings in Public and Private Collections, Utica: Munson-Williams-Proctor Institute, 1970 (no. 277). Kevin J. Avery, “Kennedy Galleries, New York Exhibit,” Arts Magazine 57, September, 1982, p. 17. Ilene S. Fort, “Charles Burchfield,” Arts Magazine 57, September, 1982, p. 30. J. Patrick Harrington, “The Moon, the Stars and the Artist: Astronomy in the Works of Charles E. Burchfield,” The American Art Journal, 1990, vol. 22, no. 2, p. 38 (figure 5, illustrated). Colleen L. Makowski, Charles Burchfield: An Annotated Bibliography, Lanham, Maryland: Scarecrow Press, 1996, pp. 48, 51, 78, 80, 105, 114, 116 and 128.

$20,000-30,000

116

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THE JEFFREY M. KAPLAN COLLECTION

159 CHARLES EPHRAIM BURCHFIELD (american, 1893-1967) “DUSK” Signed bottom right and dated June 1915 verso, watercolor on paper. 19 7/8 x 13 7/8 in. (50.4 x 35.2cm) provenance: Private Collection, New York, New York. Hirschl & Adler Galleries, New York, New York. Corporate Collection, Texas. Martha Parrish & James Reinish, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2005).

exhibited: “Age of Innocence: American Impressionism and Its Influence,” San Antonio Museum of Art, San Antonio, Texas, June 29 - September 1, 1996. “American Images: Selections from SBC Collection of 20th Century American Art,” The Ashby-Hodge Gallery of American Art, Central Methodist College, Fayette, Montana, October 17 - December 9, 1999. “Arkansas Arts Center 2005 Collector’s Show,” Arkansas Arts Center, Little Rock, December 2, 2005 - January 8, 2006 (exhibition no. 138). literature: Betsy Fahlman, et al., American Images: The SBC Collection of TwentiethCentury American Art, New York: Harry N. Abrams, Inc., 1996, p. 284.

$12,000-18,000

118

160 CHARLES EPHRAIM BURCHFIELD (american, 1893-1967) “TREES IN THE YARD” With the Burchfield Foundation stamp ‘B-195’ bottom right, watercolor and graphite on paper laid down to board. Executed circa 1916. 14 7/8 x 12 3/8 in. (37.8 x 31.4cm) provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2001).

exhibited: “Charles E. Burchfield at the Kennedy Galleries: The Early Years, 1915-1929,” The Kennedy Galleries, Inc., New York, New York, October 13 - November 12, 1977 (exhibition catalogue no. 6). “Charles E. Burchfield: The Imaginative Landscape,” The Kennedy Galleries, Inc., New York, New York, November 10, 2001 - January 19, 2002. literature: John I. H. Baur, The Inlander: Life and Work of Charles Burchfield, 1893-1967, Newark: University of Delaware Press, 1984, p. 40 (pl. v, illustrated).

$10,000-15,000

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THE JEFFREY M. KAPLAN COLLECTION

161 CHARLES EPHRAIM BURCHFIELD (american, 1893-1967) “THE YELLOW BANK” Signed with artist’s monogram and dated 1939 bottom right, inscribed ‘April 17, 1939/(North of Otto-SpringvilleOtto RD)’ verso, watercolor on board. 18 x 25 in. (45.7 x 63.5cm)

provenance: The Artist. Mr. and Mrs. Norris Rahming, Gambier, Ohio (gifted from the above). By family descent. Private Collection. Sotheby’s, New York, “American Paintings, Drawings & Sculpture,” December 4, 2002, lot 92. Jeffrey M. Kaplan, Washington, D.C. (acquired from the above sale). literature: Joseph S. Trovato, Charles Burchfield: Catalogue of Paintings in Public and Private Collections, Utica: Munson-Williams-Proctor Institute, 1970 (no. 921).

$15,000-25,000

120

162 CHARLES EPHRAIM BURCHFIELD (american, 1893-1967) “STUDY FOR TELEGRAPH HARP” Signed with artist’s monogram and dated 1947 bottom left, conte crayon on paper. 10 15/16 x 17 3/16 in. (27.8 x 43.7cm)

exhibited: “The Nature of Charles Burchfield: A Memorial Exhibition,” Museum of Art, Munson-Williams-Proctor Institute, Utica, New York, April 9 - May 31, 1970. literature: Edith H. Jones, ed., The Drawings of Charles Burchfield, New York, Washington and London: Praeger, 1968, pl. 38 (illustrated).

provenance: Frank Rehn Gallery, New York, New York. Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1988).

$4,000-6,000

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THE JEFFREY M. KAPLAN COLLECTION

163 CHARLES EPHRAIM BURCHFIELD (american, 1893-1967) “STUDY FOR LAVENDER AND OLD LACE” With ‘C.E.B.’ stamp and ink notation ‘C-145’ bottom right, charcoal on tan board with drawn borders. Executed circa 1940. 6 1/8 x 8 1/2 in. (15.6 x 21.6cm) provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2001). note: This pencil drawing is a preliminary study for Burchfield’s important watercolor “Lavender and Old Lace,” currently in the collection of the New Britain Museum of Art, New Britain, Connecticut.

$2,000-3,000

164 CHARLES EPHRAIM BURCHFIELD (american, 1893-1967) “STREET SCENE” With the Burchfield Foundation stamp bottom right, pencil on paper. Executed circa 1928. 9 13/16 x 14 in. (24.9 x 35.6cm) provenance: Frank Rehn Gallery, New York, New York. Hollis Taggart Galleries, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2007). exhibited: “Art on Paper,’ Weatherspoon Art Museum, University of North Carolina, Greensboro, 1974. Burchfield Center, Buffalo State University College, Buffalo, New York (extended loan). literature: Joseph S. Trovato, Charles Burchfield: Catalogue of Paintings in Public and Private Collections, Utica: Munson-WilliamsProctor Institute, 1970 (no. 1024).

$2,000-3,000

122

165 CHARLES EPHRAIM BURCHFIELD (american, 1893-1967) “CROWS IN MARCH” 1952, pencil signed and titled (from the edition of 60), with wide margins, George C. Miller, printer. Lithograph on wove paper. image: 13 5/8 x 9 3/4 in. (34.6 x 24.8cm) sheet: 15 15/16 x 12 in. (40.5 x 30.4cm) [Czestochowski, 14; Prasse, 192]

123

provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1987).

$2,000-3,000

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THE JEFFREY M. KAPLAN COLLECTION

166 CHARLES EPHRAIM BURCHFIELD (american, 1893-1967) “AUTUMN WIND” 1952, pencil signed and titled (from the edition of 60), with wide margins, George C. Miller, printer. Lithograph on wove paper. image: 7 3/8 x 13 1/2 in. (18.7 x 34.3cm) sheet: 12 x 15 15/16 in. (30.5 x 40.4cm) [Czestochowski, 15]

167 CHARLES EPHRAIM BURCHFIELD (american, 1893-1967) “BEECH TREE AND THE VALLEY OF THE LITTLE BEAVER” 1919, pencil signed and dated (from the edition of 10 printed in 1953, there were also a few trial proofs printed in 1919), with wide margins. Etching on wove paper. image: 5 1/8 x 8 5/8 in. (13 x 20.8cm) sheet: 9 5/8 x 14 1/8 in. (24.4 x 35.8cm) [Czestochowski, 1]

provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006). OR Sylvan Cole Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1995). note: As there are two impressions of this print in the collection, and no defining characteristics are mentioned in their respective invoices, both galleries are mentioned here and in lot 173.

$3,000-5,000

provenance: Jeffrey M. & Rhoda Kaplan, Massapequa, New York.

$3,000-5,000

124

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THE JEFFREY M. KAPLAN COLLECTION

170 CHARLES EPHRAIM BURCHFIELD (american, 1893-1967) “WELLSVILLE, OHIO” 1919, pencil signed, dated and titled, numbered 1 (a trial proof), with wide margins. Etching on paper. image: 4 5/16 x 6 7/8 in. (11 x 17.5cm) sheet: 8 5/8 x 11 1/4 in. (21.9 x 28.6cm)

168 CHARLES EPHRAIM BURCHFIELD (american, 1893-1967) “WINTER TWILIGHT IN THE VILLAGE” Signed and dated 1918 bottom right, conte crayon on paper laid down to board. 5 7/8 x 9 3/8 in. (15 x 23.8cm) provenance: Kennedy Galleries, Inc., New York, New York. Pensler Galleries, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2003). exhibited: “Charles Burchfield - His Golden Year: A Retrospective,” University of Arizona Art Gallery, Tucson, November 14, 1965 - January 9, 1966.

$1,500-2,500

169 CHARLES EPHRAIM BURCHFIELD (american, 1893-1967) “LANDSCAPE STUDY: THE SENTINEL” Conte crayon on wove paper. 12 13/16 x 19 in. (32.5 x 48.3cm)

provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006).

$600-1,000

171 CHARLES EPHRAIM BURCHFIELD (american, 1893-1967) “FREIGHT CAR” 1919, pencil signed, titled and dated, numbered 1 (a trial proof), with wide margins. Etching on paper. image: 4 1/8 x 3 15/16 in. (10.5 x 10cm) sheet: 8 3/4 x 8 1/8 in. (22.2 x 20.6cm) provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006).

$500-800

provenance: The Artist. Mortimer Spiller, Buffalo, New York. Pensler Galleries, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2003). exhibited: “The Nature of Charles Burchfield: A Memorial Exhibition,” Munson-Williams-Proctor Art Institute, Utica, New York, April 9 - May 31, 1970. Sheldon Swope Art Gallery, Terre Haute, Indiana, 1977 (extended loan).

172 CHARLES EPHRAIM BURCHFIELD (american, 1893-1967) “THE QUARRY” 1919, pencil signed, titled and dated (a trial proof), with margins. Etching on wove paper. image: 3 15/16 x 5 3/4 in. (10 x 14.6cm) sheet: 8 1/4 x 11 in. (21 x 28cm)

$1,500-2,500

provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006).

$400-600

126

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174 AFTER CHARLES EPHRAIM BURCHFIELD, BY J.J. LANKES (american, 1893-1967) “THE HEAVENS” Circa 1923-1924, inscribed in pencil ‘Chas. Burchfield, del.’ and ‘J.J. Lankes - sculpt.’ and titled, numbered ‘No. 4.’ (from the edition of 13), with wide margins. Engraving on thin paper. image: 6 x 4 1/2 in. (15.2 x 11.4cm) sheet: 10 3/8 x 7 9/16 in. (26.4 x 19.2cm) [Czestochowski, 3] provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1989).

$500-800

173 CHARLES EPHRAIM BURCHFIELD (american, 1893-1967) “BEECH TREE AND THE VALLEY OF THE LITTLE BEAVER” 1919, pencil signed and dated (from the edition of 10 printed in 1953, there were also a few trial proofs printed in 1919), with wide margins. Etching on wove paper. image: 5 1/8 x 8 5/16 in. (13 x 21.4cm) sheet: 10 9/16 x 13 15/16 in. (24.2 x 35.3cm) [Czestochowski, 1]

175 AFTER CHARLES EPHRAIM BURCHFIELD, BY J.J. LANKES (american, 1893-1967) “SATURDAY NIGHT” 1924, inscribed in pencil ‘Chas. Burchfield - del.’ and ‘J.J. Lankes. sculpt.’ and dated, numbered ‘No. 10,’ the second (final) state (from the edition of approximately 25), with wide margins. Wood engraving on Japan. image: 5 5/16 x 6 5/16 in. (13.5 x 16cm) sheet: 9 1/4 x 10 9/16 in. (23.5 x 26.8cm) [Czestochowski, 10]

provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006) OR Sylvan Cole Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1995) note: As there are two impressions of this print in the collection, and no defining characteristics are mentioned in their respective invoices, both galleries are mentioned here and in lot 167.

$3,000-5,000

provenance: William P. Carl Fine Prints, Boston, Massachusetts. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1992).

$800-1,200

128

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THE JEFFREY M. KAPLAN COLLECTION

176 AFTER CHARLES EPHRAIM BURCHFIELD, BY J.J. LANKES (american 1893-1967) “THE HAYMOW” 1924, inscribed in pencil ‘Chas. Burchfield - del.’ and ‘J.J. Lankes - sculpt.’ and numbered ‘No. 13’ (from the edition of 25), with wide margins. Wood engraving on Japan. image: 7 x 10 1/16 in. (17.8 x 25.6cm) sheet: 10 11/16 x 13 3/4 in. (27.1 x 34.9cm) [Czestochowski, 8] provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1989).

$1,000-1,500

177 AFTER CHARLES EPHRAIM BURCHFIELD, BY J.J. LANKES (american, 1893-1967) “THE DESERTED CITY” 1924, inscribed in pencil ‘Chas. Burchfield del.’ and ‘J.J. Lankes sculpt.’ and numbered 13 (from the edition of 21), with wide margins. Wood engraving on Japan. image: 5 7/16 x 4 3/16 in. (13.8 x 10.6cm) sheet: 10 5/16 x 7 1/2 in. (26.2 x 19.1cm) [Czestochowski, 5]

178 AFTER CHARLES EPHRAIM BURCHFIELD, BY J.J. LANKES (american, 1893-1967) “CAIN AND ABEL” 1926, inscribed ‘Charles Burchfield, del.’ and ‘J.J. Lankes sculpt.’ and numbered 16 (from the edition of 25), with full margins. Wood engraving on Japan. image: 11 1/8 x 8 1/8 in. (28.3 x 20.6cm) sheet: 14 1/8 x 10 3/4 in. (36 x 27cm) [Czestochowski, 6]

provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2006).

$500-800

130

179 AFTER CHARLES EPHRAIM BURCHFIELD, BY J.J. LANKES (american, 1893-1967) “THE WHIRLING WIND” 1924, inscribed in pencil ‘Chas. Burchfield - del.’ and ‘J.J. Lankes - sculpt.’ and numbered ‘No. 11’ (from the edition of 29), with wide margins. Wood engraving on Japan. image: 6 1/16 x 4 9/16 in. (15.4 x 11.6cm) sheet: 10 7/8 x 8 5/8 in. (27.6 x 21.9cm) [Czestochowski, 4]

provenance: Sotheby’s, New York, “Prints,” May 2 & 3, 2003, lot 8. Jeffrey M. Kaplan, Washington, D.C. (acquired from the above sale).

provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1989).

$800-1,200

$500-800

131

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THE JEFFREY M. KAPLAN COLLECTION

180 three drawings JOSEPH STELLA (american, 1877-1946) “TWO STUDIES OF A HEAD” Pencil on paper. 9 3/8 x 4 7/8 in. (23.8 x 102.8cm) provenance: Mrs. Giovanni Stella. Pensler Galleries, Washington, D.C. (acquired directly from the above in 1996). Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1996).

and: “LADY WITH A BOWED HEAD” Pencil signed and with the Joseph Stella Estate stamp verso, pencil and charcoal on paper. 6 3/4 x 4 1/2 in. (17.1 x 11.3cm) provenance: Forum Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1994).

and: “MAN READING NEWSPAPER” Pencil on paper. 7 11/16 x 4 1/16 in. (19.5 x 10.3cm)

JOSEPH STELLA

A

provenance: Mrs. Giovanni Stella. Josephine M. Lettera (acquired directly from the above). Pensler Galleries, Washington, D.C. (acquired directly from the above). Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1996).

student of William Merritt Chase at the Art Students League in New York, Joseph Stella was a native of Italy whose association with numerous art

movements — Fauvism, Futurism, Precisionism, and Cubism– unquestionably make

$600-1,000

him one of the premier American artists of the 20th century. He was also a remarkable draftsman whose artistic career began as an academic realist. His drawing and printmaking talents are on display in many of the lots in this sale, including ‘San Rocco,’ ‘Two Studies of a Head’ and ‘Woman in Window’ (lot 180, 181, 189). Stella was an important figure in early 20th century New York City art circles. Amongst the artworld luminaries and fellow artists with whom he associated are Gertrude Stein — whose salon he attended, Alfred Steiglitz and Walter Arensberg, along with Gino Severini, Umberto Boccioni, Marcel Duchamp and Albert Gleizes. Importantly, Stella was also a noted contributor to the seminal 1913 Armory Show, with his much heralded contribution ‘Battle of Lights, Coney Island’ which was said to beget…”a general sensation, an artistic upheaval as sudden and unexpected as it was universal (in avant-garde circles).”

181 JOSEPH STELLA (american, 1877-1946) “SAN ROCCO” Monotype on wove paper. 13 7/16 x 11 7/8 in. (34.1 x 30.2cm) provenance: Pensler Galleries, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1997).

$500-800

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185 three drawings JOSEPH STELLA (american, 1877-1946) “ALOE PLANT” Pencil on paper. 7 7/8 x 9 7/8 in. (20 x 25.1cm)

THE JEFFREY M. KAPLAN COLLECTION

provenance: Pensler Galleries, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1999). exhibited: “Joseph Stella: Paintings and Works on Paper,” Pensler Galleries, Washington, D.C., 1990 (exhibition catalogue no. 28, illustrated).

and: “TREE STUDY” Pen and ink on paper. 9 7/8 x 4 1/2 in. (25.1 x 11.4cm) 182 JOSEPH STELLA (american, 1877-1946) “THE IMMIGRANT” Charcoal and white chalk on cream laid paper. 21 1/8 x 15 3/8 in. (53.7 x 39.1cm) provenance: Mrs. Giovanni Stella. Josephine M. Lettera (acquired directly from the above). Pensler Galleries, Washington, D.C. (acquired directly from the above). Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1996).

$600-1,000

183 two drawings JOSEPH STELLA (american, 1877-1946) “SEATED OLD MAN WITH STAFF” Signed bottom center, pencil on paper. 11 1/16 x 6 11/16 in. (28.1 x 17cm) provenance: Forum Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2000). literature: Rabin & Krueger, Drawings of Joseph Stella from the

provenance: Mrs. Giovanni Stella. Josephine M. Lettera (acquired directly from the above). Pensler Galleries, Washington, D.C. (acquired directly from the above). Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1996).

and: “TROPICAL PLANT FORM” With the J. Stella JML Cc blue stamp bottom right, pencil, colored pencil and gouache on board. 12 1/8 x 9 1/4 in. (30.7 x 23.4cm) provenance: Pensler Galleries, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2000).

$1,000-1,500

and: “SLEEPING BOY WITH HAT” Pencil on paper. 4 7/8 x 3 1/2 in. (12.2 x 8.8cm) provenance: Mrs. Giovanni Stella. Josephine M. Lettera (acquired directly from the above). Pensler Galleries, Washington, D.C. (acquired directly from the above). Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1996).

$800-1,200

Collection of Rabin & Krueger, New York: Rabin & Krueger Gallery, 1962, no. 21 (illustrated).

184 JOSEPH STELLA (american, 1877-1946) “SEATED OLD MAN” Graphite on shaped paper. Executed circa 1909-10. approx.: 20 1/2 x 19 in. (52.1 x 48.3cm) provenance: Richard York Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1994). literature: Barbara Haskell, Joseph Stella, New York: Whitney Museum of Art, 1994, p. 31 (exhibition catalogue no. 44, illustrated).

$600-1,000

134

186 two drawings JOSEPH STELLA (american, 1877-1946) ITALIAN VISTAS Each pencil on paper. largest: 4 7/8 x 6 5/8 in. (12.4 x 16.8cm)

187 JOSEPH STELLA (american, 1877-1946) “SWAN” Colored pencil and graphite on paper. 11 x 8 3/8 in. (28 x 21.4cm) provenance: Pensler Galleries, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1999). literature: John I. H. Baur, Joseph Stella, New York and London: Praeger Publishers, 1971, figure 77 (a similar example illustrated).

provenance: Mrs. Giovanni Stella. Josephine M. Lettera (acquired directly from the above). Pensler Galleries, Washington, D.C. (acquired directly from the above). Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1996).

$600-1,000

$500-800

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THE JEFFREY M. KAPLAN COLLECTION

188 JOSEPH STELLA (american, 1877-1946) “PITTSBURGH STEEL MILL” Signed bottom left, charcoal on paper. 14 3/4 x 20 3/4 in. (37.5 x 52.7cm)

189 JOSEPH STELLA (american, 1877-1946) “WOMAN IN WINDOW” Charcoal and pastel on paper. 15 1/16 x 11 1/8 in. (38.3 x 28.3cm)

provenance: Tibor de Nagy, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2000). literature: Rabin & Krueger, Drawings of Joseph Stella from the Collection of Rabin & Krueger, New York: Rabin & Krueger Gallery, 1962, no. 76 (illustrated).

provenance: Pensler Galleries, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1997).

190 OSCAR FLORIANUS BLUEMNER (american, 1867-1938) MOONLIGHT OVER CREEK Signed with artist’s monogram bottom right, also inscribed in pencil ‘Record 382’ upper left, charcoal on paper. 5 5/8 x 4 1/8 in. (14.3 x 10.5cm)

191 OSCAR FLORIANUS BLUEMNER (american, 1867-1938) HOUSE IN BLOOMFIELD, NEW JERSEY Signed with artist’s monogram and inscribed ‘S 20-16/S’ and ‘Bloomfield’ bottom left, charcoal on paper. Executed 1910. 4 3/4 x 5 7/8 in. (12.1 x 14.9cm)

provenance: Jeffrey M. Kaplan, Washington, D.C. (acquired in 2000).

provenance: Forum Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1994).

$400-600

$400-600

192 OSCAR FLORIANUS BLUEMNER (american, 1867-1938) SKETCH FOR MILLTOWN PAINTING Pencil signed with artist’s monogram bottom right, charcoal on paper. 5 1/16 x 7 1/16 in. (12.9 x 17.9cm)

$500-800

provenance: Pensler Galleries, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2000).

$2,000-3,000

$400-600

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THE JEFFREY M. KAPLAN COLLECTION

193 two works on paper OSCAR FLORIANUS BLUEMNER (american, 1867-1938) “EBBERFIELD” Signed with artist’s monogram and titled in pencil, also inscribed indistinctly in watercolor bottom right, watercolor on paper. 6 9/16 x 4 3/4 in. (16.7 x 12.1cm) and: VIEW IN DERBEN GERMANY Inscribed ‘Derben’ and dated 1889 bottom right, pencil on laid paper. 5 3/4 x 9 in. (14.6 x 22.9cm) provenance: Jeffrey M. Kaplan, Washington, D.C. (acquired in 2000).

$400-600

194 two drawings OSCAR FLORIANUS BLUEMNER (american, 1867-1938) “HUDSON RIVER AT 160TH STREET, FIVE P.M.” Signed with the artist’s monogram and dated ‘May 19, ‘08’ bottom right, also inscribed ‘Hudson River’ bottom left, pencil on paper. 4 3/4 x 5 7/8 in. (12.1 x 14.9cm) provenance: Forum Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1994).

and: “SECAUCUS” Signed with the artist’s monogram, titled and inscribed indistinctly bottom right, pencil on paper. 5 x 6 3/8 in. (12.7 x 16.2cm) provenance: Pensler Galleries, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1998).

$500-700

195 OSCAR FLORIANUS BLUEMNER (american, 1867-1938) FIVE DRAWINGS (AFTER ANDO HIROSHIGE) Each inscribed, pencil on paper, one heightened with watercolor. each approx.: 3 1/2 x 5 7/16 in. (8.9 x 13.8cm) provenance: Jeffrey M. Kaplan, Washington, D.C.

$600-1,000

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THE JEFFREY M. KAPLAN COLLECTION

SCENES OF NEW YORK

P

erhaps more than any other visual theme, the

skyscrapers (lots 217-221), all of which show

Manhattan skyline clearly captivated Jeffrey

dramatic variation in tone and light, and take

M. Kaplan, whose family business was real estate

liberties with line to create skylines that feel as if

development out of Long Island, New York. In the

they vibrate with the energy of the pulsing city.

following 27 lots, quintessential city landmarks like the Woolworth Building (lots 197 and 198),

Upon its completion in 1912, the Woolworth

the Chrysler Building (lot 218), or Williamsburg

Building was the tallest building in the world

Bridge (lot 199) are rendered in dramatic, detailed

until the Chrysler Building surpassed it in 1930,

etching and lithography. Similarly, his collection

which in turn was surpassed by the Empire State

contains larger sweeping views of the city from

Building in 1931. The anticipatory excitement of

the water or down an avenue, including Lozowick’s

the roaring Twenties rapid development occurring

Central Park on a snowy day, or a neighborhood

during those years is evident even in the moments

scene in Chelsea or Brooklyn by John Sloan. With a

of groundbreaking, as shown in Muirhead Bone’s

few notable exceptions, most of these prints were

richly detailed rendering of the vast chasm dug

executed in the 1920s and 1930s as many of these

for the foundation of the Roosevelt Hotel began at

architectural phenomena were being built.

45th & Madison Avenue (lot 211).

Artists like John Taylor Arms and Howard Cook,

Dramatic angles, rich detail and striking lights and

who lived and worked in New York during these

darks characterize all of these images, and serve

years, shared in the public’s awe and delight

as metaphors for the sweeping grandeur of these

as these feats of engineering were erected in

future icons as in Stow Wengenroth’s Grand Central

adamant affirmation of America’s wealth and

Station (lot 212), or Howard Cook’s ‘Chrysler

strength. In fact, both Arms and Gerald Kenneth

Building’ (lot 218). Artists from overseas were also

Geerlings were architects by profession. Their

drawn to, and captivated by the beauty and drama

prints (lots 196, 198, 200, 203 and 204) in particular

of this rapidly growing city, as evidenced by their

show incredible attention to, and reverence for,

own depictions of the famous skyline. England’s

the detail of these buildings. Arms titled his image

William Walcot (lot 197) and Muirhead Bone (lot

of the Woolworth building ‘American Cathedral,’

211) and French painter, Bernard Buffet (lot 224)

elevating its importance to that of historic European

were all compelled to capture its dizzying drama and

Gothic cathedrals he so admired. Howard Cook’s

beauty, much of which still stands today, and defines

fascination with these buildings is evident in the

the skyline that is so well known the world-over.

number of times he visited the theme of New York

140

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THE JEFFREY M. KAPLAN COLLECTION

197 WILLIAM WALCOT (british, 1874-1943) “DOWNTOWN MANHATTAN FROM THE EAST RIVER, WITH THE WOOLWORTH BUILDING” Circa 1924, pencil signed (from the edition of unknown size), with wide margins. Etching with drypoint and aquatint on wove paper watermark ‘A.C. & H.W.D. INC. NEW YORK.’ image: 8 1/2 x 5 3/4 in. (21.6 x 14.6cm) sheet: 14 9/16 x 9 3/4 in. (37 x 24.8cm) provenance: Jeffrey M. Kaplan, Washington, D.C.

$600-1,000

142

196 JOHN TAYLOR ARMS (american, 1887-1953) “DOWNTOWN, NEW YORK” 1921, pencil signed and dated, numbered 14/75, with wide margins. Etching and aquatint on wove paper. image: 8 1/8 x 4 9/16 in. (20.6 x 11.6cm) sheet: 12 9/16 x 9 3/4 in. (31.9 x 24.8cm)

198 JOHN TAYLOR ARMS (american, 1887-1953) “AMERICAN CATHEDRAL (THE WOOLWORTH BUILDING)” 1921, pencil signed (from the edition of 75), presumably with wide margins (sealed within the mat), Frederick Reynolds, New York, printer. Etching in dark brown on wove paper. image: 16 13/16 x 6 7/16 in. (42.7 x 16.4cm) [Fletcher, 107]

provenance: Harbor Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1985).

provenance: Harbor Gallery, Cold Spring Harbor, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1981).

$300-500

$1,000-1,500

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THE JEFFREY M. KAPLAN COLLECTION

199 JOSEPH PENNELL (american, 1857 - 1926) “SUNSET FROM WILLIAMSBURG BRIDGE” 1915, pencil signed (from the edition of approximately 100), with margins. Etching on wove paper. image: 8 5/16 x 10 13/16 in. (21.1 x 27.5cm) sheet: 10 3/4 x 15 in. (27.3 x 38.1cm)

201 VLADIMIR DIDUR (american, 1902-1981) “CENTRAL PARK” Pencil signed and titled, with margins. Drypoint with etching on wove paper. image: 7 1/16 x 10 in. (17.9 x 25.4cm) sheet: 10 3/16 x 13 3/8 in (25.9 x 34cm)

provenance: Wunderlich & Company, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1984).

provenance: Jeffrey M. Kaplan, Washington, D.C.

$100-150

$400-600

200 two prints JOHN TAYLOR ARMS (american, 1887-1953) “SKETCH, NEW YORK SKYLINE” 1921, the second (final) state (from the edition of 75), with wide margins. Etching on thin laid paper. image: 6 13/16 x 5 in. (17.3 x 12.7cm) sheet: 11 7/16 x 9 in. (29.1 x 22.9cm) [Fletcher, 103] together with: AFTER JOHN TAYLOR ARMS, BY BOLTON BROWN (american, 1865-1936) “SKETCH, NEW YORK SKYLINE” From the edition of 20, with wide margins. Lithograph on thin laid paper. image: 6 13/16 x 5 in. (17.3 x 12.7cm) sheet: 8 13/16 x 6 3/4 in. (22.4 x 17.1cm) [Fletcher, 435]

202 LOUIS LOZOWICK (american/russian, 1892-1973 ) “‘WHITE MANSIONS” 1945, pencil signed and dated 44 (presumably an early proof before the edition of 20), with wide margins. Lithograph on wove paper. image: 8 1/16 x 12 1/2 in. (20.5 x 31.8cm) sheet: 11 7/8 x 15 13/16 in. (30.2 x 40.2cm) [Flint, 220] provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1985).

$300-500

provenance: Jeffrey M. Kaplan, Washington, D.C.

$400-600

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THE JEFFREY M. KAPLAN COLLECTION

205 SAMUEL CHAMBERLAIN (american, 1895-1975) “MANHATTAN - OLD AND NEW” 1929, pencil signed and titled, numbered 83/100, with wide margins. Etching on wove paper. image: 8 7/8 x 7 15/16 in. (22.5 x 20.2cm) sheet: 12 15/16 x 9 11/16 in. (32.9 x 24.6cm)

203 JOHN TAYLOR ARMS (american, 1887-1953) “WEST FORTY SECOND STREET” 1920, pencil signed, titled and dated, numbered 29/75, with wide margins, Frederick Reynolds, New York, printer. Etching on cream wove paper. image: 13 1/16 x 10 1/2 in. (33.2 x 26.7cm) sheet: 15 3/8 x 11 15/16 in. (39.1 x 30.3cm) [Fletcher, 41]

provenance: Harbor Gallery, Cold Spring Harbor, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1980).

$300-500

provenance: Associated American Artists, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1987).

$1,000-1,500

204 GERALD KENNETH GEERLINGS (american, 1897-1998) “OLYMPUS (NEW YORK)” 1929, pencil signed, titled and dated (from the edition of 100), with wide margins. Drypoint on pale blueish-green wove paper watermark ‘Hand Made.’ image: 8 3/4 x 5 7/8 in. (22.2 x 14.8cm) sheet: 15 15/16 x 10 11/16 in. (40.4 x 27.1cm) [Czestochowski, 7] provenance: Jeffrey M. Kaplan, Washington, D.C. note: In reference to Greek mythology, the present work likens one of the majestic architectural constructions of New York to the highest mountain in Greece, which according to ancient legend was the living place of the gods.

$600-1,000

206 two prints SYD BROWNE (american, 1907-1991) “RAINY NIGHT, NEW YORK” Pencil signed and titled, with margins. Lithograph on wove paper. image: 8 3/4 x 15 in. (22.2 x 38.1cm) sheet: 10 3/4 x 16 1/2 in. (27.3 x 41.9cm)

and: “SHEEPSHEAD BAY, BROOKLYN” 1936, pencil signed, titled and dated, inscribed ‘Ed 50,’ with wide margins. Etching on wove paper. image: 5 15/16 x 8 7/8 in. (15.1 x 22.5cm) sheet: 9 x 11 3/4 in. (22.9 x 29.8cm) provenance: Bethesda Art Gallery, Bethesda, Maryland. Jeffrey M. Kaplan, Washington D.C. (acquired directly from the above in 1984).

$300-500

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THE JEFFREY M. KAPLAN COLLECTION

209 WILLIAM MEYEROWITZ (american, 1887-1981) NEW YORK CENTRAL PARK Circa 1935, pencil signed and numbered 14/40, inscribed ‘New York Central Park’ (partially crossed out), with margins. Etching on wove paper. image: 11 11/16 x 9 3/4 in. (29.7 x 24.8cm) sheet: 13 1/2 x 10 7/8 in. (34.3 x 27.6cm)

207 JOHN MARIN (american, 1870-1953) “ST. PAUL’S, NEW YORK CITY” Signed bottom right, pencil on paper. Executed circa 1913. 8 5/8 x 11 in. (21.9 x 27.9cm) provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1985).

provenance: Kennedy Galleries, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1987).

$3,000-5,000

$400-600

210 CLAIRE LEIGHTON (british/american, 1898-1989) ‘SNOW SHOVELERS NEW YORK’ 1929, pencil signed and titled, numbered 16/50, with wide margins. Wood engraving on Japan. image: 8 x 6 in (20.3 x 15.2cm) sheet: 9 7/16 x 7 1/8 in. (24 x 18.1cm) [Boston Public Library, 146]

208 JOHN MARIN (american, 1870-1953) “DOWNTOWN, THE EL” 1921, printed 1924 after steel-facing, pencil signed (from the edition of unknown size), with wide margins, The New Republic, New York, publisher. Etching on wove paper. image: 6 7/8 x 8 3/4 in. (17.4 x 22.2cm) sheet: 10 7/8 x 13 5/8 in. (27.6 x 34.6cm) [Zigrosser, 134]

provenance: Jeffrey M. Kaplan, Washington, D.C.

$500-800

provenance: Susan Sheehan, Inc., New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1986).

$1,000-1,500

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The Jeffrey M. Kaplan Collection

211 MUIRHEAD BONE (british, 1876-1953) “MANHATTAN EXCAVATION” 1923, printed 1925, pencil signed and inscribed in a different hand ‘Manhattan Excavation’ and ‘XVII,’ the seventeenth state of nineteen (from the total edition of 151), with wide margins. Drypoint on wove paper.

image: 12 1/4 x 10 in. (31.1 x 25.4cm) sheet: 19 3/4 x 13 15/16 in. (50.2 x 35.4cm) [Campbell & Dodgson, 390] provenance: Hatay-Stratton, Williamsburg, Massachusetts. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1984).

$3,000-5,000

150

212 STOW WENGENROTH (american, 1906-1978) “GRAND CENTRAL” 1949, pencil signed and inscribed ‘Ed/ 40 (from the edition of 40), with wide margins. Lithograph on wove paper. image: 8 9/16 x 15 3/4 in. (21.7 x 40cm) sheet: 12 3/8 x 18 1/2 in. (31.4 x 47cm) [Stuckey, 183] provenance: Sotheby’s, New York, ‘19th and 20th Century Prints,’ November 15, 1989, lot 88. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above sale).

$3,000-5,000

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The Jeffrey M. Kaplan Collection

213 JOHN SLOAN (american, 1871-1951) “SNOWSTORM IN THE VILLAGE” 1925, pencil signed and inscribed ‘100 proofs,’ bears title (possibly by the hand of the artist), the third (final) state (from the edition of 100), with wide margins. Etching on wove paper. image: 6 7/8 x 5 in. (17.4 x 102.6cm) sheet: 12 1/2 x 9 1/2 in. (31.8 x 24.1cm) [Morse, 216]

214 JOHN SLOAN (american, 1871-1951) “‘FOURTEENTH STREET, THE WIGWAM” 1928, pencil signed and titled, inscribed ‘100 proofs,’ the seventh (final) state (from the edition of 110), with margins. Etching on wove paper. image: 9 3/4 x 6 15/16 in. (24.8 x 17.6cm) sheet: 17 1/16 x 12 5/8 in. (43.3 x 32.1cm) [Morse, 235]

provenance: Jeffrey M. Kaplan, Washington, D.C.

provenance: Jeffrey M. Kaplan, Washington, D.C.

$3,000-5,000

152

$1,000-1,500

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The Jeffrey M. Kaplan Collection

217 HOWARD NORTON COOK (american, 1901-1980) “SKYSCRAPER #1 (NEW YORK TOWERS)” 1928, pencil signed (from the edition of 100), with wide margins. Wood engraving on tissue-thin paper. image: 3 1/8 x 3 in. (7.9 x 7.6cm) sheet: 5 7/8 x 4 3/8 in. (14.9 x 11.1cm) [Duffy, 97]

215 ABRAHAM WALKOWITZ (american, 1878-1965) CITYSCAPE Signed and dated 1914 bottom right, charcoal on paper. 19 3/4 x 15 in. (50.2 x 38.1cm) provenance: ACA Galleries, New York, New York. Hirschl & Adler Galleries, Inc., New York, New York. Gerald Peters Gallery, Santa Fe, New Mexico. Forum Gallery, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2000). $2,000-3,000

216 CARL SPRINCHORN (american, 1887-1971) “NEW YORK” Signed bottom left, crayon on paper. 14 7/8 x 19 13/16 in. (37.8 x 50.3cm) provenance: Pensler Galleries, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2000).

$1,000-1,500

provenance: Bethesda Art Gallery, Bethesda, Maryland. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1985).

$1,000-1,500

218 HOWARD NORTON COOK (american, 1901-1980) “SKYSCRAPER #2 (CHRYSLER TOWER)” 1930, pencil signed bottom right (from the edition of 50), with wide margins. Wood engraving on thin Japan. image: 4 7/8 x 3 in. (12.4 x 7.7cm) sheet: 7 5/16 x 5 in. (18.6 x 12.7cm) [Duffy, 141] provenance: Bethesda Art Gallery, Bethesda, Maryland. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1985).

$1,000-1,500

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The Jeffrey M. Kaplan Collection

219 HOWARD NORTON COOK (american, 1901-1980) “RUBBER CENTER” 1928, pencil signed and annotated 50 (from the edition of 25, the original edition was intended to be 50), with wide margins. Woodcut on thin Japan. image: 10 1/4 x 12 5/8 in. (26 x 32.1cm) sheet: 11 3/4 x 12 5/8 in. (29.8 x 32.1cm) [Duffy, 93] provenance: Bethesda Art Gallery, Bethesda, Maryland. Jeffrey Kaplan, Washington, D.C. (acquired directly from the above).

$1,000-1,500

220 HOWARD NORTON COOK (american, 1901-1980) “TOWERS” 1928, pencil signed and inscribed ‘imp,’ (from the edition of 50), with margins. Etching on tissue-thin laid paper. image: 6 7/8 x 4 15/16 in. (17.4 x 12.5cm) sheet: 7 1/2 x 5 1/2 in. (19 x 14cm) [Duffy, 100] provenance: Bethesda Art Gallery, Bethesda, Maryland. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1985).

$1,000-1,500

221 HOWARD NORTON COOK (american, 1901-1980) “CHRYSLER BUILDING (CHRYSLER BUILDING IN CONSTRUCTION)” 1930, pencil signed (from the edition of 50, the edition was originally intended to be 75), with wide margins. Wood engraving on tissue-thin cream Japan. image: 10 x 6 1/2 in. (25.3 x 16.5cm) sheet: 11 13/16 x 8 7/8 in. (29.9 x 22.5cm) [Duffy, 122] provenance: Bethesda Art Gallery, Bethesda, Maryland. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1984).

156

$5,000-8,000

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The Jeffrey M. Kaplan Collection

222 RALSTON CRAWFORD (american, 1906-1978) “THIRD AVENUE ELEVATED #1” 1951, pencil signed and numbered 5/50 (Freeman calls for an edition of 55), with wide margins. Lithograph in black and yellow on Rives. image: 10 1/4 x 17 1/4 in. (26 x 43.7cm) sheet: 12 7/8 x 19 3/4 in. (32.7 x 50.1cm) [Freeman, L.51.4] provenance: Bethesda Art Gallery, Glen Echo, Maryland. Jeffrey Kaplan, Washington, D.C. (acquired directly from the above in 1997).

223 RALSTON CRAWFORD (american, 1906-1978) “THIRD AVENUE ELEVATED #2” 1951, pencil signed and numbered 24/24, with wide margins. Color lithograph on Rives. image: 16 3/4 x 10 1/4 in. (42.5 x 26cm) sheet: 19 13/16 x 12 3/4 in. (50.3 x 32.3cm) [Freeman, L 51.11] provenance: Bethesda Art Gallery, Glen Echo, Maryland. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1995).

$1,000-1,500

$1,000-1,500

158

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The Jeffrey M. Kaplan Collection

224 BERNARD BUFFET (french, 1928-1999) “SKYSCRAPER” from “album, new york” 1964, pencil signed and numbered 94/150 (there were also an unrecorded number of artist’s proofs), with wide margins, Editions A. C. Mazo, Paris, publisher. Lithograph on Arches. image: 26 7/8 x 19 1/4 in. (68.3 x 48.9cm) sheet: 29 1/16 x 21 1/4 in. (73.8 x 54cm)

225 WOLF KAHN (american/german, b. 1927) “GOLDEN FOREST” Signed and dated 86 in purple crayon in the margin, monotype on wove paper. image: 22 1/2 x 30 1/16 in. (57.2 x 76.6cm) sheet: 24 x 31 5/8 in. (61 x 80.3cm)

provenance: Jeffrey M. Kaplan, Washington, D.C.

provenance: Associated American Artists, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired from the above in 1992).

$1,000-1,500

$1,000-1,500

226 NATHAN OLIVEIRA (american, 1928-2010) “SITE CASTELLO RODRIGO #3” 1998, pencil signed, titled and dated, with full margins. Monotype with hand-coloring on wove paper. image: 19 13/16 x 17 11/16 in. (50.3 x 44.9cm) sheet: 29 9/16 x 21 13/16 in. (75.1 x 55.4cm) provenance: Marsha Mateyka Gallery, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. exhibited: “Nathan Oliveira,” San Jose Museum of Art, San Jose, California, February 8 - May 12, 2002. Traveling exhibition: Neuberger Museum of Art, Purchase, New York; Palm Springs Desert Museum, Palm Springs, California; Orange County Museum of Art, Newport Beach, California; Tacoma Art Museum, Tacoma, Washington (exhibition catalogue no. 144, illustrated).

$1,000-1,500

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The Jeffrey M. Kaplan Collection

227 LAXMAN SHRESHTHA (indian, b. 1939) UNTITLED Signed and dated 94 bottom right and signed again verso, watercolor on paper. 11 x 14 in. (27.9 x 35.6cm)

228 LAXMAN SHRESHTHA (indian, b. 1939) UNTITLED Signed and dated 94 bottom right and signed and dated again in marker verso, mixed media on paper. 22 3/8 x 30 in. (56.8 x 76.2cm)

provenance: Jeffrey M. Kaplan, Washington, D.C.

provenance: Jeffrey M. Kaplan, Washington, D.C.

$800-1,200

$2,000-3,000

162

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The Jeffrey M. Kaplan Collection

229 PATRICIA TOBACCO FORRESTER (american, 1940-2011) “ROSES FALLING” Signed bottom right and titled and dated 2006 on the support verso, watercolor on paper. 42 x 29 3/4 in. (106.7 x 75.6cm)

231 PATRICIA TOBACCO FORRESTER (american, 1940-2011) “IN ANNE’S MEADOW” Signed bottom right, watercolor on paper (diptych). Executed in 1980. overall: 50 x 40 in. (127 x 101.6m)

provenance: Jeffrey M. Kaplan, Washington, D.C.

provenance: Addison Ripley Fine Art, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. exhibited: “Community of Creativity: A Century of MacDowell Colony Artists,” The Currier Gallery of Art, Manchester, New Hampshire, September 13 - December 2, 1996, no. 19.

$500-800

$800-1,200

230 PATRICIA TOBACCO FORRESTER (american, 1940-2011) “SIMPLY HIBISCUS” Signed bottom right and itled and dated 1999 verso, watercolor on paper. 25 3/4 x 40 3/4 in. (65.4 x 103.5cm) provenance: Jeffrey M. Kaplan, Washington D.C

$500-800

232 PATRICIA TOBACCO FORRESTER (american, 1940-2011) “MOONLIGHT BIRCHES” Signed bottom right, watercolor on paper (diptych). Executed in 1986. overall: 60 x 80 in. (152.4 x 203.2cm) provenance: Fendrick Gallery, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1988).

$1,000-1,500

164

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The Jeffrey M. Kaplan Collection

233 NELL BLAIR WALDEN BLAINE (american, 1922-1996) “OCTOBER PINE AND ASH” Pencil signed bottom left and signed, titled, dated 1989 and inscribed ‘Gloucester, Ma,’ watercolor with unfixed pastel on heavy paper. 18 x 24 in. (45.7 x 61cm)

234 JACOB KAINEN (american, 1909-2001) “ENVOY I” Signed, titled and dated 1990 verso, oil on canvas. 32 x 38 1/2 in. (81.3 x 97.8cm) provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,500-2,500

provenance: Fischbach Gallery, New York, New York. Jean Efron Art Consultants, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1990).

$1,000-1,500

166

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The Jeffrey M. Kaplan Collection

235 ROBERT MOTHERWELL (american, 1915-1991) “CALLIGRAPHIC STUDY IV” 1976, ink signed and numbered III/V ap (an artist’s proof, aside from the regular edition of 30), published by the artist and released by Brooke Alexander Inc., New York, and with the artist’s circular blindstamp. Lift-ground etching and aquatint on HMP handmade paper image: 8 3/4 x 11 3/4 in. (22.2 x 29.8cm) sheet: 22 5/8 x 18 in. (57.5 x 45.7cm) [Engberg & Banach, 197; Belknap, 162]

237 ROBERT MOTHERWELL (american, 1915-1991) “PRIMAL SIGN IV” 1979-1980, ink signed and numbered 6/62 (there were also ten artist’s proofs in Roman Numerals), with full margins, Petersberg Press, New York, publisher. Aquatint on wove paper. image: 23 3/16 x 11 3/4 in. (58.9 x 29.8cm) sheet: 29 7/8 x 21 1/8 in. (75.9 x 53.7cm) [Belknap, 237]

provenance: Long Fine Art, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1997).

provenance: Associated American Artists, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1990).

$2,000-3,000

$2,000-3,000

236 ROBERT MOTHERWELL (american, 1915-1991) “CALLIGRAPHIC STUDY V” 1976, ink signed and numbered 20/30 (there were also 10 artist’s proofs), with wide margins, published by the artist and released by Brooke Alexander Inc., New York, and with the artist’s circular blindstamp. Lift-ground etching and aquatint HMP handmade paper. image: 8 13/16 x 11 7/8 in. (22.4 x 30.2cm) sheet: 22 7/8 x 18 in. (58.1 x 45.7cm) [Engberg & Banach, 198; Belknap, 163] provenance: Long Fine Art, New York, New York. Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 1997).

$1,200-1,800

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The Stanley Bard Collection: A Life at The Chelsea Auction 05/16/17

The Jeffrey M. Kaplan Collection

Alasdair Nichol | 267.414.1211 anichol@freemansauction.com

Modern & Contemporary Art

PABLO PICASSO (spanish, 1881-1973) “PICASSO THEATRE” Signed, dated ‘le 10.11.67’ and dedicated ‘pour mon cher ami Feld,’ India ink, wash and chalk on paper. 11 11/16 x 21 1/4 in. (29.7 x 54cm) $150,000-250,000

Auction 05/16/17 Dunham Townend | 267.414.1221 dtownend@freemansauction.com

170

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The Jeffrey M. Kaplan Collection

American Art & Pennsylvania Impressionists Auction 06/04/17 Alasdair Nichol | 267.414.1211 anichol@freemansauction.com

172

DANIEL GARBER (american 1880-1958) “LONE SYCAMORE” Signed ‘Daniel Garber’ bottom right; also inscribed with artist and title on stretcher verso, oil on canvas 56 x 52 in. (142.2 x 132.1cm) In a Badura frame. $400,000-600,000

European Art & Old Masters

ALBERTO PASINI (italian 1826-1899) AT THE WELL Signed ‘A. Pasini’ bottom right, oil on canvas 10 5/8 x 8 3/4 in. (27 x 22.2cm) provenance: Private Collection, New Jersey. $30,000-50,000

Auction 06/12/17 David Weiss | 267.414.1214 dweiss@freemansauction.com

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1,000 YEARS OF COLLECTING: THE JEFFREY M. KAPLAN COLLECTION FURNITURE & DECORATIVE ARTS

AUCTION Sale 1567, Session 2 (Lots 250-465) Thursday, April 6, 2017 at 2pm 1808 Chestnut Street, Philadelphia PA 19103 Cover Image: Lot 450, Inside Front Cover: Lot 328 (detail), Inside Back Cover: Lot 288 (detail)


THE JEFFREY M. KAPLAN COLLECTION

1,000 YEARS OF COLLECTING: THE JEFFREY M. KAPLAN COLLECTION FURNITURE & DECORATIVE ARTS Nicholas B. A. Nicholson Senior Vice President, Head of Sale nnicholson@freemansauction.com 267.414.1212 Benjamin A. Farina Vice President, Head of Department Asian Arts bfarina@freemansauction.com 267.414.1219

Tim Andreadis Head of Department 20th Century Design tandreadis@freemansauction.com 267.414.1215

Cong Wang Cataloguer, Department Administrator Asian Arts cwang@freemansauction.com 267.414.1219

Tessa Laney Associate Specialist, Cataloguer British & European Furniture & Decorative Arts tlaney@freemansauction.com 215.940.9826

EXHIBITIONS Friday, March 31

10:00am-5:00pm

Saturday, April 1

12:00pm-5:00pm

Sunday, April 2

12:00pm-5:00pm

Monday, April 3

10:00am-5:00pm

Tuesday, April 4

10:00am-5:00pm

Wednesday, April 5

10:00am-5:00pm

By appointment only on the morning of the sale

CLIENT SERVICES Mary Maguire Director | Client Services mmaguire@freemansauction.com 267.414.1236

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Joslyn Moore Bidding Registration jmoore@freemansauction.com 267.414.1207

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THE JEFFREY M. KAPLAN COLLECTION

250 A Chinese couched gold and silver embroidered emperor’s ‘five-clawed dragon’ roundel qianlong period, 18th century D: 11 1/2 in., 29.2cm provenance: Linda Wrigglesworth, London, January 11, 2001. Jeffrey M. Kaplan, Washington, D.C.

$2,000-3,000

CHINESE RANK BADGES lots 250-267

F

ollowing Ming dynasty precedents,

best described as a quadruped with dragon’s

the Chinese government of the Qing

head, scaled body, deer legs and flowing tail.

dynasty (1644-1912), promulgated a series of

The badges of the nine civil ranks bore various

regulations in the 18th century that codified

birds, the first rank bearing a Manchurian

a series of insignia to be applied to an outer

crane. In addition, there was a badge for the

coat, identifying the rank and government

important position of the censor, with a lion-

branch of the bearer. These insignia are

like quadruped with dragon’s head bearing

commonly known as “Rank Badges.” There

a single horn and bushy tail. These badges

are three main categories of badges: those for

generally came in pairs, one for the divided

the imperial court, the military administration,

front of the surcoat (the badge itself also

and the civil administration. Badges for the

divided), and one for the back of the coat;

imperial court, including the Emperor and his

with regard to the emperor’s roundels, and

consorts, princes and highest rank officials

those of his sons, a full complement would

bear a dragon, either in a roundel for the upper

consist of four. Badges were generally executed

ranks or a square for the lower. These dragons

in needlework or tapestry weave (kesi) on

are differentiated by the number of claws (five

a dark ground. The dragon, beast or bird

or less), whether the dragon is full face or in

would be centered, surrounded by scrollwork,

profile, and if there are accompanying symbols.

clouds and/or auspicious symbols, above

There were nine military ranks, identified by

stylized waves and rockwork, all within a

various animals, mythical and otherwise.

stylized border of key-fret, scrollwork or

For example, the first rank badges bear a qilin,

additional auspicious symbols.

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251 A Chinese kesi tapestry first or second rank imperial prince’s ‘five-clawed dragon’ roundel 18th century D: 11 3/4 in., 29.8cm provenance: Christie’s New York, March 19, 2008 E & J Frankel, New York Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

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THE JEFFREY M. KAPLAN COLLECTION

252 A pair of Chinese kesi tapestry fifth civil rank ‘silver pheasants’ roundels guangxu period (1875-1908) D: 11 in., 27.9cm provenance: Linda Wrigglesworth, London, September 4, 2008. Jeffrey M. Kaplan, Washington, D.C.

$800-1,200

253 A Chinese kesi tapestry imperial ‘five-clawed dragon’ roundel yongzheng/qianlong period, 18th century D: 11 1/2 in., 29.2cm provenance: European private collection Linda Wrigglesworth, London, February 1, 2008. Jeffrey M. Kaplan, Washington, D.C.

$3,000-5,000

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THE JEFFREY M. KAPLAN COLLECTION

255

256

254 A Chinese couched silver and silk-embroidered second civil rank ‘golden pheasant’ badge qing dynasty, 19th century W: 12 in., 30.5cm; L: 10 1/2 in., 26.7cm provenance: Jeffrey M. Kaplan, Washington, D.C.

$300-500 Not Illustrated

256

257

256 Two Chinese embroidered rank badges Comprising: A couched gold and silk-knot embroidered third military rank ‘leopard’ badge 19th century H: 11 3/4 in., 29.8cm; W: 12 1/4 in., 31.1cm A silk embroidered yellow satin possibly ninth civil rank ‘paradise flycatcher’ badge 19th century H: 10 1/2 in., 26.7cm; W: 11 in., 27.9cm. provenance: Linda Wrigglesworth, London, September 4, 2008 (Leopard) Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

255

255 Three Chinese embroidered military rank badges Comprising: A couched gold and silk embroidered first military rank ‘qilin’ badge 19th century H: 11 1/4 in., 28.6cm; W: 11 1/2 in., 29.2cm A couched gold, silver and silk embroidered fifth milirary rank ‘bear’ badge 19th century H: 11 1/4 in., 28.6cm; W: 12 in., 30.5cm A kesi tapestry censor’s ‘xiezhai’ badge 19th century, xiangfeng period (1851-1861) H: 12 in., 30.5cm; W: 12 in., 30.5cm. provenance: L’Asie Exotic, La Jolla California, August 26, 1998 (xiezhai). Jeffrey M. Kaplan, Washington, D.C.

$1,500-2,500

257 Three Chinese textiles Comprising: A kesi tapestry censor’s ‘xiezhai’ badge early 19th century H: 11 1/2 in., 29.2cm; 11 3/4 in., 29.8cm A couched gold and silver, silk embroidered and appliqued either a purchased second military rank ‘lion’ or a fourth military rank ‘tiger’ badge H: 13 in., 33cm; W: 12 1/2 in., 31.8cm A kesi tapestry ‘shuangxi, butterflies and gourds’ roundel circa 1840 D: 11 3/4 in., 29.8cm.

257

provenance: Linda Wrigglesworth, London, June 25, 2007 (xiezhai). Linda Wrigglesworth, June 25, 2007 (shuangxi) E & J Frankel, August 4, 2005 (lion). Jeffrey M. Kaplan, Washington, D.C.

$2,000-3,000

10 255

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THE JEFFREY M. KAPLAN COLLECTION

259 A pair of Chinese kesi tapestry first military rank ‘kylin’ badges xianfeng period, circa 1850 H of each: 11 1/2 in., 29.2cm; W: 11 3/4 in., 29.8cm provenance: Valery Garrett Collection, Hong Kong. Linda Wrigglesworth, London, February 12, 2008. Jeffrey M. Kaplan, Washington, D.C.

$2,000-3,000

258 Two Chinese embroidered rank badges Comprising: A couched gold and silk embroidered imperial censor’s ‘two-clawed dragon’ roundel circa 1788 D: 10 1/4 in., 26cm A couched gold and silver imperial prince’s ‘five-clawed dragon’ roundel guangxu period (1875-1908) D: 10 1/2 in., 26.7cm. provenance: Linda Wrigglesworth, London, February 1, 2008 (two-clawed dragon). Linda Wrigglesworth, London, September 14, 2005 (five-clawed dragon). Jeffrey M. Kaplan, Washington, D.C.

$1,500-2,000

260 A pair of Chinese metalic couched thread second civil rank ‘golden pheasant’ badges late 19th century H: 10 1/2 in., 26.7cm; W: 11 1/2 in., 29.2cm

261 A pair of Chinese gold and silver couched and coral bead ninth civil rank ‘paradise flycatcher’ badges c. 1880 H of each: 11 1/2 in., 29.2cm; W: 11 1/2 in., 29.2cm

provenance: Jeffrey M. Kaplan, Washington, D.C.

provenance: Linda Wrigglesworth, London, June 25, 2007. Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

$1,500-2,500

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THE JEFFREY M. KAPLAN COLLECTION

262 A group of six Chinese embroidered civil rank badges Comprising: A couched gold, silver and silk sixth civil rank ‘quail’ badge late 19th century H: 8 3/4 in., 22.2cm; W: 8 in., 20.3cm A silk embroidered seventh civil rank ‘mandarin duck’ badge 19th century H: 11 1/2 in., 29.2cm; W: 11 1/2 in., 29.2cm A couched gold and knotted silk embroidered second civil rank ‘golden pheasant’ badge 19th century H: 12 in., 30.5cm; W: 12 in., 30.5cm A couched gold, silver and silk embroidery and applique sixth civil rank ‘egret’ badge 19th/20th century H: 11 1/2 in., 29.2cm; W: 12 in., 30.5cm A couched gold and silk fifth civil rank ‘silver pheasant’ badge c. 1850 H: 11 1/2 in., 29.2cm; W: 11 3/4 in., 29.8cm A silk embroidered seventh civil rank ‘mandarin duck’ badge H: 11 1/4 in., 28.6cm; W: 12 1/4 in., 31.1cm.

264 A pair of Chinese couched gold and silk embroidered fourth civil rank ‘wild goose’ badges 19th century H of each: 11 1/2 in., 29.2cm; W: 11 3/4 in., 29.8cm provenance: Jeffrey M. Kaplan, Washington, D.C.

265 A pair of Chinese petit point and applique fifth civil rank ‘silver pheasant’ badges 19th century H of each: 11 1/2 in., 29.2cm; W: 11 3/4 in., 29.8cm

$1,000-1,500

provenance: Linda Wrigglesworth, London, September 4, 2008. Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

provenance: Linda Wrigglesworth, London, September 14, 2005 (quail). Jeffrey M. Kaplan, Washington, D.C.

Not Illustrated

$3,000-5,000 266 Four assorted Chinese embroidered civil rank badges Comprising: A couched gold and silver embroidered third civil rank ‘peacock’ badge circa 1860 H: 11 1/4 in., 28.6cm; W: 11 1/2 in., 29.2cm A couched gold second civil rank ‘golden pheasant’ badge 19th century H: 11 in., 27.9cm; W: 11 1/4 in., 28.6cm A couched metalic thread and applique ninth civil rank ‘paradise flycatcher’ badge Guangxu period (1875-1908) c.1880 H: 11 1/2 in., 29.2cm; W: 12 in., 30.5cm A silk embroidered sixth civil rank ‘egret’ badge guangxu period (1875-1908) H: 11 3/4 in., 29.8cm; W: 11 3/4 in., 29.8cm.

263 A pair of Chinese kesi tapestry gold and black silk second civil rank ‘golden pheasant’ badges circa 1810 H of each: 12 3/4 in., 32.4cm; W: 11 3/4 in., 29.8cm provenance: Linda Wrigglesworth, London, May 12, 2009. Jeffrey M. Kaplan, Washington, D.C.

provenance: Linda Wrigglesworth, London, circa February 1, 2008 (peacock). Linda Wrigglesworth, London, September 13, 2002 (paradise flycatcher). Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

$1,500-2,500

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THE JEFFREY M. KAPLAN COLLECTION

268 A Chinese couched gold and silk-embroidered red velvet robe fragment late ming/early qing dynasty, 16th/17th century overall H: 18 in., 45.7cm; W: 20 in., 50.8cm provenance: Linda Wrigglesworth, London, September 13, 2002. Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

267 Three pairs of Chinese embroidered rank badges Comprising: A pair of couched gold second civil rank ‘golden pheasant’ badges 19th century H of each: 12 1/8 in., 30.8cm; W of each: 11 1/2 in., 29.2cm A pair of couched gold and silk embroidered fourth military rank ‘tiger’ badges H of each: 9 in., 22.9cm; W of each: 9 in., 22.9cm A pair of couched gold, silver and silk second civil rank ‘golden pheasant’ badges 19th/early 20th century H of each: 9 1/2 in., 24.1cm; W of each: 10 in., 25.4cm. provenance: Jeffrey M. Kaplan, Washington, D.C.

$2,500-3,500

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THE JEFFREY M. KAPLAN COLLECTION

271 A pair of Chinese couched gold thread and blue silk sleevebands circa 1880 H of each: 23 1/4 in., 59cm; W: 3 1/2 in., 8.9cm provenance: Linda Wrigglesworth, London, September 14, 2005. Jeffrey M. Kaplan, Washington, D.C.

$300-500

269 A Chinese couched metalic thread and silk embroidered rosy gold silk ‘eight dragons’ image robe 19th century Embroidered with ten five-clawed dragons among cloudscrolls. approximate L: 41 in., 104.1cm

272 A Chinese golden silk gauze summer robe circa 1850 The gauze woven with eight buddist symbols, light blue silk horseshoe cuffs. approximate L: 54 in., 137.2cm

provenance: l’Asie Exotique, La Jolla, CA, January 9, 1998 Jeffrey M. Kaplan, Washington, D.C.

$800-1,200

provenance: Mrs. Adele Peterson collection, Indian Wells, California. L’Asie Exotique, New York, NY, September 13, 2009. Jeffrey M. Kaplan, Washington, D.C.

270 A Chinese embroidered silk hood with tassels, fengguo Of couched gold and embroidered deep blue silk, decorated with five-clawed dragon and phoenix, eight Buddhist symbols and bats among cloud scrolls, the border with butterflies, peacocks and pavillions. approximate L: 32 in., 81.3cm

$300-500

provenance: Christie’s, New York, March 19, 2008 E & J Frankel, New York Jeffrey M. Kaplan, Washington, D.C.

$300-500

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THE JEFFREY M. KAPLAN COLLECTION

274 Two Chinese plum voided velvet women’s outer vests late 19th century The first with crane and banana plant roundels, various Daoist and ornamental motifs to borders, light blue silk lining: the second with cranes, deer and bats in an extensive landscape, borders with cranes, deer and pavillions, turquoise blue lining. approximate L: 32 in., 81.3cm provenance: First: Mrs. Adele Peterson collection, Indian Wells, California. L’Asie Exotique, New York, NY, September 13, 2009. Jeffrey M. Kaplan, Washington, D.C. Second: Jeffrey M. Kaplan, Washington, D.C.

273 A Chinese couched gold and silk embroidered lady’s longevity robe late 19th century Bearing a gold couched fifth civil rank ‘silver phasant’ insignia to front and back, further embroidered with ten five-clawed dragon roundels and ‘shou’ characters, on black silk. approximate L: 40 in., 101.6cm

$800-1,200

provenance: Linda Wrigglesworth, London, June 25, 2007. Jeffrey M. Kaplan, Washington, D.C.

$1,200-1,500

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275 A group of five Japanese silk brocade obis Of heavy gold brocade, comprising one with crane, pine and diaper; one with peacock feathers and pine; one with roundels, flower sprays and bamboo; one depicting crane roundels; the last obi with chrysanthemum. approximate L of each: 149 in., 378.5cm provenance: L’Asie Exotique, New York, May 31, 2006 (crane). Jeffrey M. Kaplan, Washington, D.C.

$250-350

276 A group of five Japanese silk brocade obis Four of heavy gold brocade, one depicting crane flying over pavillions and mountains; one with marriage boxes and chrysanthemums; another with cart, boxes, pine and birds; the fourth with roundels, pavillions, pine and chrysanthemum, the last with stylized patterns on a plum blossom ground. approximate L of each: 149 in., 378.5cm provenance: L’Asie Exotique, New York, October 1, 2005 (pine, chrysanthemum, and marriage box). L’Asie Exotique, New York, May 31, 2006 (cart and boxes). Jeffrey M. Kaplan, Washington, D.C.

$250-350

277 A group of three Japanese silk brocade obis Of heavy gold brocade, one depicting boxes, chrysanthemum and pine; the second with a bridge, pine and diaper; the last depicting flowers and pine. approximate L of each: 149 in., 378.5cm provenance: L’Asie Exotique, New York, October 1, 2005 (chrysanthemum). Jeffrey M. Kaplan, Washington, D.C.

$250-350

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275

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276

276

277

276

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THE JEFFREY M. KAPLAN COLLECTION

ASIAN ARTS lots 279-327

L

ike the greater collection, the Asian arts in the Kaplan collection are varied and show the sure eye of a connoisseur, focused on form, color and decoration.

From the dramatic exuberance of dragon entwined about a Japanese bronze vase, to the more subtle but no less interesting Japanese woven fiber tortoise-form tobacco case, the Asian objects in the Kaplan collection reward the viewer with a sense of discovery and delight. Ranging from Japanese lacquer and brocaded textiles, to Chinese archaistic bronzes and porcelain, the collection covers a wide range of periods, materials and origins, all linked by the taste of the collector, and informed by his refined sense of line, surface and quality.

278 A Chinese kesi ‘boys’ tapestry panel late ming/early qing dynasty sight H: 29 1/2 in., 74.9cm; W: 15 1/2 in., 39.4cm provenance: E & J Frankel Co., Ltd., New York, January 10, 2010. Jeffrey M. Kaplan, Washington, D.C.

$800-1,200

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THE JEFFREY M. KAPLAN COLLECTION

279 A Chinese pottery model of a horse with textured saddlecloth tang dynasty Depicted standing foursquare on a rectangular base, with arched neck, open mouth, the saddlecloth with applied texturing, retaining traces of pigment. H: 22 1/4 in., 56.5cm provenance: Throckmorton Fine Art Inc., New York, March 18, 2011. Jeffrey M. Kaplan, Washington, D.C.

$5,000-7,000

280 A Gandhara style carved stone figure of a standing Bodhisattva, Maitreya The powerful mustachioed figure with flowing garments, elaborate jewelry, his left hand bearing a water vessel, the left leg flexed, the base carved with two supplicantes before an altar. H overall: 32 1/2 in., 82.6cm provenance: Throckmorton fine Art, Inc., New York, March 18, 2011, as 2nd-3rd century. Jeffrey M. Kaplan, Washington, D.C.

$30,000-50,000

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THE JEFFREY M. KAPLAN COLLECTION

282 A Chinese carved three-color lacquer peach-form box and cover qing dynasty, 18th/19th century the cover decorated with daoist immortal Han Zhong Li and a crane with lingzhi, bordered by various fruits and foliage. L: 6 1/4 in., 15.9cm

281 A Chinese lacquered bronze figure of a seated warrior late ming dynasty or later Depicted seated with one leg raised, bearing a sword intertwined with a serpent, carved and lacquered wood rockwork base, on a square plinth carved with archaistic scrolls. H overall: 27 in., 68.6cm

provenance: E&J Frankel Ltd., New York, April 15, 2003.

provenance:

Jeffrey M. Kaplan, Washington, D.C.

E & J Frankel, New York, January 8, 2012 Jeffrey M. Kaplan, Washington, D.C.

$5,000-7,000

$4,000-6,000

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THE JEFFREY M. KAPLAN COLLECTION

285 A Japanese patinated bronze Kirin-form Koro circa 1900 Depicting the fabulous beast with turned head, hinged tail. H: 8 in., 20.3cm provenance: Phoenix Oriental Art, London, January 9, 2002. Jeffrey M. Kaplan, Washington, D.C.

$600-800

286 A Chinese archaistic patinated bronze vessel, Gu late ming/early qing dynasty With flared lip and base, flanged sides, decorated with cicada lappets and Taotie masks. H: 16 3/4 in., 42.5cm provenance: Phoenix Oriental Art, London, January 9, 2002. Jeffrey M. Kaplan, Washington D.C.

$2,500-3,500

283 A Chinese carved stone head of a Bodhisattva northern wei/northern qi style Depicted with flowing draperies and elaborated jewelry, surface with traces of gilding. H of sculpture: 15 1/4 in., 38.7cm provenance: E & J Frankel, New York, January 9, 2009 Jeffrey M. Kaplan, Washington, D.C.

$3,000-5,000

284 A Thai partially lacquered sandstone bust of a Buddha Depicted with tight curled hair and peaceful expression, a robe draped across his chest, retaining traces of black laquer and gilding. H of bust: 10 in., 25.4cm

287 A Chinese Dali marble and carved Hongmu table screen qing dynasty, 19th century The frame carved with stylized lotus, a bat, and cloud scrolls, qilong supports. H: 27 1/2 in., 69.9cm; W: 18 in., 45.7cm

provenance: L’Asie Exotique, New York, January 8, 2005, as 15th century. Jeffrey M. Kaplan, Washington, D.C.

provenance: L’Asie Exotique, New York, February 15, 2001. Jeffrey M. Kaplan, Washington, D.C.

$800-1,200

$1,000-1,500

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THE JEFFREY M. KAPLAN COLLECTION

288 A Chinese carved cinnabar lacquer circular box and cover qing dynasty The circular box densely carved with flower and foliage, a bud shaped finial to cover. D: 8 in., 20.3cm

289 A Chinese inlaid and patinated archaistic bronze vessel, Hu han dynasty style inlaid with gold, silver wire and green patination. H: 14 in., 35.6cm

provenance: E & J Frankel Ltd., New York, January 6, 2006. Jeffrey M. Kaplan, Washington, D.C.

provenance: E & J Frankel Ltd., New York, April 15, 2003, as Song dynasty. Jeffrey M. Kaplan, Washington, D.C.

$1,000-2,000

$4,000-6,000

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THE JEFFREY M. KAPLAN COLLECTION

290 A Japanese archaistic style patinated bronze vessel meiji period, 19th century Of compressed hexagonal section, with swelling body and flared foot, the neck with archaistic band, a pair of scrolled ‘qilong’ handles, underside casted with six character Xuande mark. H: 15 3/4 in., 40cm provenance: Phoenix Oriental Art, London, September 29, 2005. Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

291 A Japanese patinated bronze figure of a Shishi with cub edo period, 18th/19th century H: 11 in., 27.9cm provenance: Phoenix Oriental Art, London, September 26, 2002. Jeffrey M. Kaplan, Washington, D.C.

$400-600

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292 A Japanese archaistic patinated bronze Koro meiji period Modeled with dragons, with qilong handles and mask and paw feet, underside with six-character Xuande mark. H: 12 in., 30.5cm; L: 17 in., 43.2cm

293 A Chinese carved stone standing figure of a Bodhisattva northern qi style Depicted in flowing robes with elaborate jewelry, one hand in a bestowing mudra, wood base. approximate H: 35 in., 89cm

provenance: Phoenix Oriental Art, London, circa September 29, 2005. Jeffrey M. Kaplan, Washington, D.C.

provenance: Throckmorton Fine Art, New York, April 30, 2012 Jeffrey M. Kaplan, Washington, D.C.

$700-900

$25,000-35,000

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THE JEFFREY M. KAPLAN COLLECTION

294

294 AFTER HUANG QUAN THREE CATS Ink and color on silk, hand scroll, bearing signature ‘shu ren huang quan’ at lower left corner and six seals, together with a separate unframed end section with four collophon inscriptions and seals. sight H: 11 3/4 in., 29.8cm; W: 78 1/4 in., 198.8cm provenance: E & J Frankel Ltd., New York, January 6, 2006. Jeffrey M. Kaplan, Washington, D.C.

$1,500-2,500

295 CHINESE SCHOOL MEIREN AND PRUNUS BLOSSOMS Ink and color on silk, framed, signed and dated ‘bing shen year, winter, twelfth month’ by the artist, with three seals sight H: 57 in., 144.8cm; W: 19 1/2 in., 49.5cm provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

296 A pair of Chinese incised camel bone scroll weights Incised with river landscapes, inscribed and with seals. L of each: 8 1/2 in., 21.6cm; W: 1 1/4 in., 3.2cm provenance: L’Asie Exotique, La Jolla, California. Jeffrey M. Kaplan, Washington, D.C.

$200-300

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THE JEFFREY M. KAPLAN COLLECTION

297 A pair of Japanese patinated bronze figures of Buddhist lions One depicted wuth closed mouth, the other with opened mouth, the base cast with mirrored dedicatory inscriptions. H: 12 1/4 in., 31.2cm provenance: Phoenix Oriental Art, London, September 26, 2002. Jeffrey M. Kaplan, Washington, D.C.

$500-700

298 A Japanese iron-mounted wood tansu 19th century With seven various drawers and one door concealing three additional drawers, the mounts modeled with stylized flowers and foliage. H: 34 in., 86.4cm; W: 46 in., 116.8cm; D: 16 1/2 in., 41.9cm provenance: L’Asie Exotique, New York, October 9, 2007. Jeffrey M. Kaplan, Washington, D.C.

$500-700

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299 A Japanese gold lacquered box with landscape meiji period Finely decorated depicting cottages, boats, fish and nets, along the shore, Mount Fuji in the distance. H: 3 3/4 in., 9.5cm; W: 7 7/8 in., 20cm provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

302 Three assorted Japanese containers Comprising: a three-tiered square box with woven exterior, nashiji interior, apparently unsigned; a lacquered rectangular box with silver and iron-inlaid chrysanthemum; the third, a woven fiber minogame (tortoise) tobacco case with a marbled green glass ojime. L of tortoise: 5 3/4 in., 14.6cm provenance: L’Asie Exotique, New York, January 8, 2005 (minogame). Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

303 A Japanese brown-patinated bronze spherical vase early 20th century Modeled with three koi, calligraphic three-character inscribtion to side, above foot. H: 9 1/4 in., 23.5cm provenance: Phoenix Oriental Art, London, January 9, 2002. Jeffrey M. Kaplan, Washington, D.C.

300 A group of three small Japanese lacquer boxes Comprising a circular box and cover, decorated with three crane mon; a small rectangular box and cover with chrysanthemum, underside signed; a small circular box and cover, the top decorated with various dramatic elements. D of largest: 4 1/2 in., 11.4cm

$500-700

provenance: Jeffrey M. Kaplan, Washington, D.C.

$900-1,200

304 A Japanese gold-lacquered octagonal stacking box Decorated with plantain or palm leaves, cinnabar interior. H: 12 1/4 in., 31.1cm

301 A Japanese black and gold lacquered box Of four-tiered rectangular section with rounded corners, finely decorated with flowers and foliage on a nashiji ground. H: 9 in., 22.9cm; W: 8 in., 20.3cm

provenance: E & J Frankel Ltd., New York, April 15, 2003. Jeffrey M. Kaplan, Washington, D.C.

provenance:

$700-900

Jeffrey M. Kaplan, Washington, D.C.

$800-1,200

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307 A Japanese scroll and mon decorated lacquer rectangular box late edo period With two drawers, the lower drawer fitted for a inkstone (lost) and a gilt metal water dropper engraved with prunus blossom and waves. H: 8 1/2 in., 21.6cm; W: 8 1/4 in., 21cm; D: 10 in., 25.4cm provenance: Tom collection, London. E & J Frankel Ltd., New York, January 11, 2003. Jeffrey M. Kaplan, Washington, D.C. illustrated: The 48th Washington Antiques Show Catalogue, p. 107

$800-1,200

308 A group of two Japanese lacquer boxes and a Chinese carved red cinnabar lacquer box Comprising a Japanese box decorated with insects, reptiles and amphibians on a nashiji ground, the interior with a matching tray; the second a Japanese rectangular box decorated with hydrangea flowers and insects on a grained ground; the Chinese box decorated with sages with an attendant under pine, diaper ground. L of largest: 7 1/8 in., 18.1cm; W: 5 1/4 in., 13.3cm provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,500-2,500

305 A tall Japanese patinated bronze ‘dragon’ vase Of waisted attenuated form with flared lip, low circular base, modeled in high relief with an encircling dragon in heavy rain or waterfall, with scattered maple leaves, the base modeled with shellfish, underside with indistinct two character cartouche. H: 23 3/4 in., 60.3cm

309 Two large Japanese inlaid lacquer boxes The first with lacquered and inlaid figures of warrior and dragon, the second decorated with various auspicious symbols. H of first: 6 in., 15.2cm; W of first: 16 1/4 in., 41.3cm; H of second: 8 1/2 in., 21.6cm; W of second: 12 in., 30.5cm

306 A Japanese patinated bronze ‘cranes’ vase masatsune, circa 1890 In the form of four wading cranes, underside with seal ‘masatsune chu’ H: 9 in., 22.9cm

provenance: Roman Vishniac, New York. E & J Frankel Co., Ltd., New York, August 8, 2009. Jeffrey M. Kaplan, Washington, D.C.

provenance: Orientations Gallery, New York, November 18, 1996. Jeffrey M. Kaplan, Washington, D.C.

provenance: Phoenix Oriental Art, London, September 29, 2005. Jeffrey M. Kaplan, Washington, D.C.

$700-900

$600-800

$900-1,200

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THE JEFFREY M. KAPLAN COLLECTION

314 A Chinese silver repousse eight-lobed bowl luen wo, shanghai; circa 1890 Decorated with dragon, phoenix, chrysanthemum, birds, insects and other flowers, together with a sage and attendant. H: 6 1/4 in., 15.9cm; D: 10 1/8 in., 25.7cm provenance: S. & J. Stodel, London, September 13, 2002. Jeffrey M. Kaplan, Washington, D.C.

$2,500-3,500

315 A Japanese blue-ground Arita porcelain charger first half of 18th century With central six lobed reserves, decorated with chrysanthemum and shishi, modern carved wood stand, made by William Molloy, Molloy Studios, Fall River, Massachusetts. D of charger: 19 1/4 in., 48.9cm 310 A Chinese blue and white porcelain spherical jar the porcelain probably kangxi period Decorated with prunus on ‘cracked ice’ ground, pair of silver metal handles applied to shoulders, with later carved wood cover and stand. H of porcelain: 6 in., 15.2cm; D: 9 in., 22.9cm

311 A Chinese blue and white ‘lilies’ ginger jar and cover 18th century Decorated with stylized lily motifs and cloud scrolls. H: 10 in., 25.4cm

provenance: E & J Frankel Ltd., New York, January 13, 2008. Jeffrey M. Kaplan, Washington, D.C.

provenance: E & J Frankel Ltd., New York, January 13, 2008. Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

$1,500-2,000

provenance: E & J Frankel Ltd., New York, January 6, 2006. Jeffrey M. Kaplan, Washington, D.C.

312 A Chinese carved hardwood low table with drawers With three drawers over two drawers, scroll and bird mask carved base, the sides carved with peaches, the table possibly assembled of older elements. H: 9 1/2 in., 24.1cm; W: 26 1/2 in., 67.3cm

$1,000-1,500

provenance: E & J Frankel Ltd., New York, January 6, 2006. Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

313 A Japanese carved hardwood gourd-form tea tray late 19th century L: 19 1/4 in., 48.9cm; W: 11 1/2 in., 29.2cm provenance: L’Asie Exotique, New York. Jeffrey M. Kaplan, Washington, D.C.

316 A Chinese silver three-piece part tea service apparently unmarked, circa 1850 comprising teapot, sugar, and creamer; monogrammed ‘CBJ’ to underside. H of teapot: 6 in., 15.2cm; Weight: 35.62 oz. t. provenance: E & J Frankel, New York, January 9, 2009 Jeffrey M. Kaplan, Washington, D.C.

$400-600

$300-500

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THE JEFFREY M. KAPLAN COLLECTION

321 A massive Japanese patinated bronze Gu-form vase with dragon handles meiji period The vessel of quadralobed form, with a pair of writhing dragon handles at the waist, the surface with dense archaistic patterns, cast archaistic four character Wanli mark to base. H: 36 1/4 in., 92.1cm provenance: Jeffrey M. Kaplan, Washington, D.C.

$2,500-3,500 317 An Anglo-Indian carved wood work box 19th century Carved with elephant, foliate scrolls, and a central roundel with fabulous beast, the interior fitted for sewing implements. approximate L: 13 in., 33cm

318 A Chinese export silver four-piece part tea service luen wo, shanghai, circa 1900 Comprising a teapot, a creamer, a sugar, and a pair of unmarked sugar tongs. H of teapot: 5 1/2 in., 14cm; Weight: 34.01 oz. t.

provenance: Chor Bazaar, Mumbai, India, 1995. Jeffrey M. Kaplan, Washington, D.C.

provenance: S. & J. Stodel, London, September 13, 2002. Jeffrey M. Kaplan, Washington, D.C.

$500-700

$1,200-1,500 Not Illustrated

319 A Japanese patinated bronze figure of a snarling tiger late 19th/early 20th century With inset glass eyes and a inset rectangular seal to underside ‘Misumoto saku’. L: 24 in., 61cm

320 A Japanese patinated bronze figure of a snarling tiger late 19th/early 20th century Underside indistinctively inscribed. L: 17 in., 43.2cm

provenance: Jeffrey M. Kaplan, Washington, D.C.

provenance: Miguet Frères, Le Louvre des Antiquaires, Paris, 1998. Jeffrey M. Kaplan, Washington, D.C.

$1,200-1,500

$600-800

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322 A pair of large Japanese carved and pierced wood panels 19th century The first depicting Gama sennin with a three legged toad, the other panal depicting Roko sennin standing in the back of a minogami, both mounted on ebonised wood plinths. H of each carving: 52 in., 132.1cm; W: 19 1/2 in., 49.5cm

323 A large Japanese burlwood free-form sculpture, Shizen boku meiji period, circa 1890 The dramtic burl with numerous abstract forms, the skin with gentle folds caressing the rough interior, augmented by a fine finish and polish. H: 60 3/4 in., 154.3cm; W: 35 in., 88.9cm provenance: L’Asie Exotique, New York, NY, October 9, 2007. Jeffrey M. Kaplan, Washington, D.C.

$1,200-1,500

provenance: Alan Scott Pate Antique Japanese Dolls, Washington D.C., April 4 2008. Jeffrey M. Kaplan, Washington, D.C.

$1,500-2,500

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THE JEFFREY M. KAPLAN COLLECTION

324 A Chinese scholar’s rock with carved wood stand The dark gray limestone with white veins of a irregular arched form mounted on a rockwork carved wood base. H overall: 20 1/2 in., 52.1cm provenance: E & J Frankel, New York, August 4, 2005. Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

325 CHINESE SCHOOL 20th century THREE INK ON PAPER PAINTINGS comprising of two paintings of mountainous landscapes and a painting of rose, signed Wu Yong, unmounted ink on paper, all bearing signature of artists, with seals. L: 26 1/2 in., W: 15 3/4 in. ; L: 23 3/4 in., W: 14 in. ; L: 26 1/2 in., W: 14 in.

326 CHINESE SCHOOL MOUNTAINOUS LANDSCAPE Ink on paper, unmounted, bearing signature of the artist upper left, one seal H: 23 1/4 in., 59cm; W: 13 3/4 in., 34.9cm FLOWER AND BUTTERFLY Ink and color on paper, unmounted, four seals H: 25 1/4 in., 64.1cm; W: 10 1/2 in., 26.7cm

provenance: Jeffrey M. Kaplan, Washington, D.C.

provenance: Jeffrey M. Kaplan, Washington, D.C.

$300-500

$100-200

Not Illustrated

327 WU CHENGQING 20th century SUZHOU WATERWAYS Color woodblock print on paper, 1989, numbered 21/100, pencil signature and seal to bottom right. H: 18 in., W: 14 in.

BRITISH & EUROPEAN FURNITURE AND DECORATIVE ARTS

I

n his broad collection of furniture

Biedermeier, with its architectural forms

and decorative arts, Jeffrey M. Kaplan

and restrained lines, was the first new

embraced the entirety of the 19th century’s

style of the nineteenth century, designed

visual extravagance. From the opulently

for practicality, functionality, and comfort.

well-figured veneers of his Biedermeier

As the century progressed, European

pieces, to the lavish ornamentation of

architects and furniture-makers reached

his furniture in the revival styles of the

back to a romanticized past in a series of

mid nineteenth century, and in the sinuous

nationalistic revival styles that alluded to

sensuality of his Art Nouveau pieces,

pre-Napoleonic times. Kaplan’s furniture

it is clear that Kaplan admired line,

collection also embraces the ébénistes of

sculptural form, and dramatic impact

the Art Nouveau, with examples by Gallé

in equal measure.

and Majorelle, whose sinuous curves served as a brilliant counterpoint to his

His collection features robust pieces that

bold and graphic art collection.

touch on the high points of the stylistic development of 19th century design.

I do not know any character of design which may be more easily recognized at a glance than this over-lusciousness; at yet it seems to me that at the present day there is nothing so little understood…

— John Ruskin, The Stones of Venice; “The Fall,” (Vol. III), John Wiley; New York, 1880, p. 4

provenance: Jeffrey M. Kaplan, Washington, D.C.

$300-500 Not Illustrated

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THE JEFFREY M. KAPLAN COLLECTION

BIEDERMEIER lots 328-338

T

he Congress of Vienna met from October 1814 until June 1815; it remade the map

328 An Austrian Biedermeier walnut veneered bookcase vienna, before 1825 Of rectangular form, overall veneered in well-figured walnut, the moulded crown above two glazed and paneled bi-fold doors before an interior fitted with ladder-step adjustable shelves, the case surmounting a conforming plinth on block feet. H: 93 1/2, W: 69, D: 15 3/4 in.

provenance: Ritter Antik, New York, 2009. Jeffrey M. Kaplan, Washington, D.C. note: This lot is accompanied by a certificate of authenticity from Heinrich “Heinz” Leichter, Founder & President, Ritter Antik. A comparable example is illustrated in J. A. Lux, Von der Empire-zur Biedermeierzeit (Stuttgart, 1906) depicting furniture from the Royal Castle in Ludwigsburg, p. 8.

$2,500-3,500

of Europe after Napoleonic devastation and signaled the beginning of a fragile

pan-European peace that lasted for decades. Beginning in Vienna, a new style was born reflecting the aspirations of this blessedly quiet period. The term Biedermeier first appeared as a nom de plume, “Gottlieb Biedermeier,” which was used by the authors of series of poems published in the Munich journal “Fliegende Blätter.” One of the poems, Biedermanns Abendgemütlichkeit (Biedermann’s Evening Comfort) parodied the obsession of the people of the period for cozy bourgeois comfort, and it ultimately became the term by which the whole period is now known. Throughout the Austro-Hungarian empire and the German princely states, neoclassical furniture forms were stripped down to their most basic sculptural elements. These new, highly functional and architectural pieces of furniture were veneered in warm local and imported woods, relying only on their form and quality to express solidity and comfort. This new utterly domestic scale, designed for quiet socialization and family comfort, caught fire in central Europe, and clearly impressed Kaplan, with his eye for line and sculptural form.

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THE JEFFREY M. KAPLAN COLLECTION

329 A pair of Biedermeier walnut veneered cornucopia chairs likely austrian or south german, circa 1835 With shaped crestrails and cornucopia-form upholstered arms ending in penwork roundels, on square bases issuing scroll feet. H: 31 1/2, W: 35 1/2, D: 26 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,500-2,000

330 A contemporary round olivewood veneered pedestal side table possibly italian, 20th century With circular top above a tripartite pedestal raised on a parcel-ebonized circular base. H: 25 1/2, Dia: 20 in.

331 A set of six Austrian Biedermeier walnut veneered balloon chairs vienna, before 1825 Each with arched and waisted pierced backrest centered by a stylized ‘fountain’ splat above padded drop-in seat, raised on square tapering front legs and rear sabre legs. (6). H: 36 1/2, W: 18, D: 20 in.

provenance: Ritter Antik, New York, 2009. Jeffrey M. Kaplan, Washington, D.C. note: This lot is accompanied by a certificate of authenticity from Heinrich “Heinz” Leichter, Founder & President, Ritter Antik. A related example is illustrated in Prof. Rainer Haaff, Das Süeddeutsche Biedermeier (Westheim/Pfalz, Rhein-Verlag-Haaff, 1991), p. 248, fig. 508.

$3,500-5,000

provenance: Jeffrey M. Kaplan, Washington, D.C.

$200-300

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332 A Biedermeier walnut veneered pier table austrian, circa 1840 Of canted rectangular form with edges banded above a central drawer, the corners with scrolling volutes decorated with penwork, the rear mirrored above a concave shaped plinth. H: 32 1/4, W: 40 1/4, D: 18 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,200-1,500

333 A Biedermeier parcel-ebonized birch veneered secretary northern european, possibly baltic, 19th century Rectangular with curved corners centering a single drawer above a drop front opening to reveal twelve drawers and two small doors banded in ebonized molding, above three drawers above a conforming base on bun feet. H: 53, W: 42, D: 18 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

334 A Biedermeier walnut veneered pedestal center table south german, circa 1830 The round top with kaleidosopic bookmatched walnut veneer on tilt-top mechanism mounted above a hexagonal urn-form baluster on a stepped inverted scallop-shaped platform base. H: 30, Dia: 47 in.

335 An Austrian Biedermeier walnut veneered sofa likely vienna, second quarter 19th century The rectangular back with feather-form volutes supporting a turned rod above the veneered walnut frame issuing scrolling arms on a rectangular base supported by scrolling feathered volutes on turned toupie feet. H: 41, W: 77, D: 25 1/2 in.

provenance: Jeffrey M. Kaplan, Washington, D.C.

provenance: Jeffrey M. Kaplan, Washington, D.C.

$2,000-4,000

$800-1,200

$1,500-2,000

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338 A Scandinavian Biedermeier Revival inlaid mahogany sofa possibly danish, circa 1900 The rectangular upholstered back framed by a moulded and inlaid surround issuing rounded rectangular armrests similarly inlaid; the rectangular seat above an oblong upholstered ottoman base banded and ended in mahogany, above three round supports with turned ends on conforming rectangular plinths. H: 34 1/2, W: 65 1/2, D: 25 1/2 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

$800-1,200

336 A pair of Biedermeier parcel ebonized and walnut veneered upholstered tub chairs austro-hungarian, circa 1825 With undulating crestrails issuing outswept arms supported by entasisized parcel-ebonized columns springing from parcel-ebonized block feet. (2). H: 35, W: 31 1/2, D: 28 1/2 in. provenance: Ritter Antik, New York, 2009. Jeffrey M. Kaplan, Washington, D.C. note: This lot is accompanied by a certificate of authenticity from Heinrich “Heinz” Leichter, Founder & President, Ritter Antik. Related forms are illustrated in Angus Wilkie, Biedermeier (Abbeville Press Publishers, New York, 1987), p. 84, fig. 63, and p. 204, fig. 195.

$1,500-2,000

337 An American contemporary studio parcel-ebonized mahogany, rosewood, and marble four-legged pedestal jon bensen, 1996 Signed and dated. H: 21, W: 14 1/2, D: 14 1/2 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

$250-500

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REVIVAL STYLES AND THE XIX CENTURY lots 339-379

F

rom the end of the French Empire, artisans began to look back at the pre-Napoleonic periods of furniture-

making and the decorative arts. They did so with a romantic nostalgia and a longing for the perceived quiet stability and solid national identities that existed before the French revolution and European domination by Bonaparte. As a result, the nineteenth century became a crucible of design revivals. Mining the Gothic, Renaissance, Baroque, and Rococo periods for visual reference, designers allowed a newly empowered haute bourgeoisie to purchase pieces that emphasized their taste, national identity, and growing power as consumers. Jeffrey Kaplan acquired numerous

339 A Pair of Empire Revival giltmetal-mounted inlaid mahogany tub chairs possibly baltic, late 19th/early 20th century Of typical form, the curving crestrail inlaid with scrolling foliate motifs issuing square arms above scrolls fitted with giltmetal winged sphinx-form mounts, above volute-form tapering front legs terminating in paw sabots, and canted tapering rear legs. H: 33 1/2, W: 26, D: 26 in.

provenance: Karl Kemp & Associates, New York. Jeffrey M. Kaplan, Washington, D.C.

$1,500-2,000

pieces in these revival styles of the mid-19th century, all linked by their dramatic design, appropriate scale, and high quality execution. They formed a luxurious and highly textured background in his Washington, D.C. residence against which to display his collection.

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340 A French Gothic Revival walnut standing cabinet circa 1885 Of demi-hexagonal form, the moulded cornice supported by grotesque-carved volute corbels over a two-door cabinet, the doors carved with masques centered within an architectural setting; the stand with rinceaux-carved apron with five hanging bosses over a paneled back above a shaped and moulded conforming base. H: 64 3/4, W: 38, D: 17 in. provenance: Sparrows Importers of Fine French Antiques, Kensington, Maryland, 2009. Jeffrey M. Kaplan, Washington, D.C.

$1,500-2,000

341 A French Renaissance Revival marble-mounted and parcel-gilt carved walnut cabinet on stand circa 1865 The shaped and moulded cornice above a marblemounted and parcel-gilt frieze over two similarly decorated relief-carved cabinet doors flanked by four engaged tapering columns over a waisted base; the stand similarly decorated with a single frieze drawer supported by four turned columns united by an elaborately carved apron; the whole on six bun feet. H: 68 1/4, W: 37 1/2, D: 16 1/2 in. provenance: Sparrows Importers of Fine French Antiques, Kensington, Maryland, 2009. Jeffrey M. Kaplan, Washington, D.C.

$1,500-2,000

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344 After Marius-Jean-Antonin Mercié (French, 1845-1916) david, circa 1875 Bronze, warm brown patina, signed in cast “A. MERCIÉ” and with Achille Collas Réduction Méchanique Brevete pastille. H: 29 in. provenance: Jeffrey M. Kaplan, Washington, D.C. note: Marius-Jean-Antonin Mercié was born in Toulouse, France in 1845 and educated at the École des Beaux-Arts in Paris. In 1868, at age 23, he was awarded the highly prestigious Grand Prix de Rome. While still a student at the French Academy in Rome, Mercié modeled David, which would become one of his best known works. A nude version of this sculpture, cast by La Fonderie Thiébaut Frères, won a first class medal at the Salon of 1872 and was subsequently awarded the Cross of the Legion of Honor. The present lot is an example of the more common Barbedienne casting, in which David wears a loincloth, which was produced in several sizes. The original lifesize model of the Barbedienne version can be found today in the collection of the Musée d’Orsay, Paris.

$3,000-5,000

342 A Renaissance Revival mahogany Savonarola chair 19th/20th century Of typical form, the shaped backrest with carved grotesque decoration between two finial-topped uprights issuing curved masque-headed armrests above a curved seat with curule legs on paw feet. H: 42 1/2, W: 23, D: 19 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

$300-500

343 A Renaissance Revival carved walnut library table possibly french, last quarter 19th century The rectangular top with carved and moulded edge above a frieze alternating with rosettes and incised decoration; supported by seven turned, carved, and fluted tapering legs above a similarly carved H-form plinth ending in scrolling volutes. H: 31, W: 59, D: 31 1/2 in.

345 A Neoclassical style rosewood columnar pedestal last quarter 19th century Of typical form, the fluted and reeded shaft between circular moulded capital and base. H: 47, Dia: 17 in. provenance: Diehl Antiques & Artifacts, Alexandria, Virginia, 2006. Jeffrey M. Kaplan, Washington, D.C.

$400-600

provenance: Jeffrey M. Kaplan, Washington, D.C.

Not Illustrated

$400-600

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348 Robert Godefroy (French, b. 1928) sous le kilimandjaro, 20th century Bronze, brown patina, titled and signed in cast “R. GODEFROY” and numbered 2/8, with Fonderie Chapon stamp. H: 10 1/4, L: 19 in. provenance: Miguet Frères, Le Louvre des Antiquaires, Paris, 1998. Jeffrey M. Kaplan, Washington, D.C.

$1,200-2,200

346 After Paul Edouard Delabrierre (French, 1829-1912) tigre sur crocodile, 19th century Bronze, gold-brown patina, signed in cast “DELABRIERRE.” H: 9 1/2, L: 17 in.

347 After Antoine-Louis Barye (French, 1796-1875) tigre marchant, late 19th century Bronze, green patina, signed in cast “BARYE.” H: 8, L: 16 1/2 in.

provenance: Miguet Frères, Le Louvre des Antiquaires, Paris, 1998. Jeffrey M. Kaplan, Washington, D.C.

provenance: Miguet Frères, Le Louvre des Antiquaires, Paris, 1998. Jeffrey M. Kaplan, Washington, D.C.

$800-1,200

$2,000-3,000

349 After Paul Edouard Delabrierre (French, 1829-1912) lion, 19th century Bronze, dark green patina, signed in cast “DELABRIERRE.” H: 9 3/4, L: 15 in. provenance: Miguet Frères, Le Louvre des Antiquaires, Paris, 1998. Jeffrey M. Kaplan, Washington, D.C.

$2,000-3,000

350 After Antoine-Louis Barye (French, 1796–1875) lion, late 19th century Bronze, gold-brown patina, signed in cast “BARYE.” H: 9, L: 16 1/2 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

$800-1,200

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351 A Renaissance style inlaid and parcel-ebonized cabinet 20th century Rectangular, the upper section with two doors framed with tripartite mouldings centering scrolling foliate inlay in hardwoods and motherof-pearl between turned parcel-ebonized columns above a chest with two drawers over two doors similarly inlaid; the whole above a shaped and stepped ebonized plinth on bun feet. H: 70, 2: 39 1/4, D: 30 in.

352 Jay Hall Carpenter (American, b. 1959) narcissus, 1999 Gilt bronze, signed and dated in cast “© 1999/J. H. Carpenter” and numbered 5/20; raised on black granite plinth. H: 19 in. (incl. base) provenance: The Classical Gallery, Alexandria, Virginia, 2002. Jeffrey M. Kaplan, Washington, D.C.

$300-500

provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,200-1,500

353 After Maurice Prost (French, 1894–1967) vulture, 20th century Gilt bronze, signed in cast “M. PROST;” raised on marble base. H: 12 in. (incl. base) provenance: Jeffrey M. Kaplan, Washington, D.C.

$300-500

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354 Jay Hall Carpenter (American, b. 1959) icarus, 2002 Bronze, black patina, signed and dated in cast “© 2002/JAY HALL CARPENTER” and numbered 2/95. H: 25 in. provenance: The Classical Gallery, Alexandria, Virginia, 2002. Jeffrey M. Kaplan, Washington, D.C.

$600-800

355 David Newton (American, 1953–2011) the sentinel, 20th century Bronze, rich brown patina, signed with artist’s cipher and numbered in cast “XCV 11/12;” raised on mahogany stepped base. H: 25 in. provenance: The Classical Gallery, Alexandria, Virginia, 2001. Jeffrey M. Kaplan, Washington, D.C.

$1,200-1,800

357 A Continental carved onyx pedestal circa 1900 The octagonal top held aloft by a turned vasiform pillar, raised on a stepped octagonal base. H: 33 1/3 in.

358 An Indian marble pedestal early 20th century The rounded square top held aloft by a turned cylindrical pillar, raised on canted square base. H: 43, W: 10 1/2, D: 10 1/2 in.

359 An Italian white marble pedestal early 20th century The canted square top held aloft by a cylindrical pillar, raised on a stepped octagonal base. H: 41 1/2, W: 9 3/4, D: 9 3/4 in.

provenance: The Classical Gallery, Alexandria, Virginia, 2002. Jeffrey M. Kaplan, Washington, D.C.

provenance: Studio Antiques & Fine Arts Incorporated, Alexandria, Virginia, 2006. Jeffrey M. Kaplan, Washington, D.C.

provenance: Diehl Antiques, Alexandria, Virginia, 2006. Jeffrey M. Kaplan, Washington, D.C.

provenance: Jeffrey M. Kaplan, Washington, D.C.

$600-800

$150-200

356 Jay Holland (American, 1928-2016) dislocated man, 1986 Bronze, green patina, signed and dated in cast “Jay Holland 86.” H: 21 in.

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$150-200

$300-500

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360 A French Louis XVI style carved mahogany bibliothèque circa 1890 With moulded cornice above two glazed cabinet doors enclosing three shelves flanked by turned and fluted tapering columns, the moulded base set with a single long drawer; the whole raised on toupie feet. H: 61 1/4, W: 49 1/2, D: 9 1/2 in.

361 A French Louis XVI style mahogany secrétaire à abattant circa 1890 The shaped and moulded canted rectangular stepped top with a single drawer faced in entrelac moulding between two volutes above a square drop front carved with flowering ribboned garlands suspending a medallion with figures within a moulded frame, opening to reveal a workspace with four drawers; the whole above three moulded drawers above a conforming base with scrolling splayed paw feet. H: 58 1/2, W: 31, D: 18 1/2 in.

provenance: Sparrows Importers of Fine French Antiques, Kensington, Maryland, 1997. Jeffrey M. Kaplan, Washington, D.C.

provenance: Jeffrey M. Kaplan, Washington, D.C.

$800-1,200

$800-1,200

362 A pair of carved oak pilaster capitals likely american, early 20th century Modified corinthian corner capitals with foliate carved decoration. H: 11 1/4, W: 13 1/2, D: 16 1/2 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

$200-300

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363 A Boulle style traveling watch stand likely french, second half 19th century The rectangular traveling watch stand in the manner of André-Charles Boulle (1642–1732); sold together with a modern tortoisehell covered urn (2). H: 1 3/4, W: 2 1/2, D: 3 1/4 in. provenance: Tatum, London. Jeffrey M. Kaplan, Washington, D.C.

$300-500

366 A Victorian brass inlaid calamander traveling vanity case circa 1870 The rectangular brass-banded lid mounted with an etched brass plaque monogrammed “S.J.B.”; the interior lined in forest green velvet and fitted with two lidded glass bottles, three stoppered decanters, three rectangular glass boxes with chased and pierced lids, two small lidded glass canisters, a file, a corkscrew, a pair of tweezers, and a pair of scissors; the lower section fitted with a pop-out drawer housing a gilt-tooled leather writing surface enclosing a fitted jewelry compartment lined in green silk, velvet, and tooled leather. H: 7 1/4, W: 12, D: 9 in. provenance: Christine Tattum, London, 2007. Jeffrey M. Kaplan, Washington, D.C.

$1,000-2,000

364 A Staffordshire ironstone style blue and white vase Modern, hexagonal baluster form with fruiting handles. H: 11 in.

367 Three cased Victorian fish servers apparently unmarked, 19th century Each comprising a chased fish fork and chased fish knife in fitted leather-bound case. (3). L: 14, W: 4 1/4 in. (cases)

provenance: Jeffrey M. Kaplan, Washington, D.C.

$50-100

provenance: Jeffrey M. Kaplan, Washington, D.C.

Not Illustrated

$100-200 Not Illustrated

365 A William & Mary feather-banded burl and figured walnut fall-front secretary chest circa 1705 The flat moulded cornice with concealed torus drawer above two short drawers over a fall-front panel enclosing fitted drawers, pigeon holes, secret drawers, and a cupboard; the lower section with mid-moulding above two short and two long drawers, raised on moulded base and four bun feet. H: 72, W: 37, D: 20 in.

368 A Victorian burl walnut pop-up davenport circa 1850 With lidded pop-up top enclosing an assortment of pigeonholes above a rounded secretary panel enclosing two drawers, an extending tooled leather writing surface, a glass inkwell, and pen tray; the base with a hidden panel on proper left side enclosing four drawers; the whole raised on casters. H: 35, W: 32, D: 32 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

provenance: Fiske & Freeman Fine and Early Antiques, Belmont, Vermont, 2005. Jeffrey M. Kaplan, Washington, D.C.

$600-800

$800-1,200

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369 An Anglo-Indian brass and mother-of-pearl inlaid mahogany letterbox circa 1850 Rectangular, brass-banded and inlaid with a scrolling foliate motif on shaped square feet. H: 6 1/4, W: 16 1/4, D: 10 1/2 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

$400-600

370 A collection of five Indian Bidriware table boxes various unknown makers, dates Rectangular, each decorated in both geometric and traditional Asharfi-ki-booti patterns. H: 2, L: 7, W: 5 in. (largest) provenance: Jeffrey M. Kaplan, Washington, D.C.

$150-200 Not Illustrated

371 An Indian Parchin Kari table top 20th century Rectangular with moulded edge, the black marble substrate inset with various specimen marbles in a geometric floral motif; sold together with a specimen marble mosaic veneered trinket box. (2). L: 35, W: 23 1/4 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

$300-500

372 Two Victorian decorative jewelry caskets 19th century The first a Renaissance Revival gilt-bronze footed box mounted with mother-of-pearl medallions and inscribed with memorial for Prince Albert, together with a Victorian parcelgilt and mother-of-pearl inlaid black lacquer box. (2). H: 6, W: 9 1/2, D: 6 1/2 in. (largest) provenance: Tatum, London. Jeffrey M. Kaplan, Washington, D.C.

$300-500

373 A Victorian inlaid thuja veneered traveling box mid 19th century The banded top centered by an ebony, brass, and bone inlaid lozenge, the interior lined in tufted blue silk. H: 3, L: 12 1/2, D: 4 in. provenance: Tatum, London. Jeffrey M. Kaplan, Washington, D.C.

$600-800

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374 Four cut glass vessels 20th century Comprising a Waterford crystal baluster vase with flared rim, a blue-flashed oviform center bowl, a water pitcher, and an Art Deco blue-decorated vase. (4). H: 12 in. (largest)

376 A collection of Bohemian ruby cut-glass tablewares egermann, haida, bohemia, late 19th century Comprising six sherry glasses, six cordial glasses, three variously sized stoppered decanters, two goblets, two covered vases, two candlesticks, a fairy light, a large covered jar, a water pitcher, a vase, and an ice bucket. (26). H: 12 1/4 in. (tallest)

provenance: Waterford Factory Showroom, Waterford, Ireland, 1991 (Waterford vase). Cherub Antiques, Washington, D.C. (Art Deco vase). Jeffrey M. Kaplan, Washington, D.C.

provenance: Jeffrey M. Kaplan, Washington, D.C.

$150-250

$600-800

Not Illustrated

375 A Bohemian amber cut-glass drinking set egermann, haida, bohemia, late 19th century Comprising a stoppered decanter, one vase, and six shot glasses. (8). H: 8 3/4 in. (tallest) provenance: Jeffrey M. Kaplan, Washington, D.C.

$150-250 Not Illustrated

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377 A pair of English Arts & Crafts repoussé bronze plaques circa 1890 Each decorated with a pair of classical ladies depicting allegories of music and poetry. (2). H: 15 1/2, W: 7 in.

ART NOUVEAU lots 380-414

provenance: Jeffrey M. Kaplan, Washington, D.C.

I

$1,500-2,000

n 1895, a German art dealer in Paris, Siegfried Bing, opened a new gallery in Paris at 22 rue de

Provence, “Le Maison de l’Art Nouveau,” which was committed to the promotion of the latest works of painting and decorative arts. Bing showed artists such as Seurat, Signac, Gallé, Lalique, Beardsley and Louis Comfort Tiffany, and the gallery and its materials became both a sensation and a cultural

378 A plaster cast of a Mourner from the Tomb of Jean Sans Peur 20th century After the mourner “pleurant au chaperon rabattu, tenant un dizain de la main droit,” Burgundy, France, circa 1425. H: 18 1/2 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

$300-500

flash point. In 1902, Bing wrote “Art nouveau, at the time of its creation, did not aspire in any way to have the honor of becoming a generic term. It was simply the name of a house opened as a rallying point for all the young and ardent artists impatient to show the modernity of their tendencies.” These “young and ardent” artists, revolting against the academies and revival styles that had, they felt, strangled true creativity, created a fluid, organic new style of incomparable luxury that dominated Europe until the first world war in various national iterations including

379 A bronze architectural sculpture of rustic pedimented gates in a forest 20th century Bronze, green patina, signed in cast indistinctly with artist cipher “RC&CB”; on black marble base. H: 20 1/2, W: 12 1/2, D: 5 1/2 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

$300-500

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Jugendstil (Austria), Modernismo (Catalonia, Spain), and ’Модерн’ (modern, Russia). Kaplan greatly admired the style, adding representative pieces by important makers such as Majorelle, Gallé, and others, their sinuous forms providing a strong counterpoint to his collection of graphic works of art.

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380 A pair of Art Nouveau ‘Clematis’ cherrywood fauteuils louis majorelle (french, 1859-1926), circa 1900 Each with padded shaped and pierced backrest issuing downswept sinuous armrests over padded square seat; the gently bowed seatrail supported by arched apron springing from square legs and feet. (2). H: 40, W: 23 1/2, D: 26 in. provenance: Sparrows Importers of Fine French Antiques, Kensington, Maryland, 2009. Jeffrey M. Kaplan, Washington, D.C.

$2,000-3,000

381 An Art Nouveau floral marquetry étagère émile gallé (french, 1846-1904), circa 1890 The upright rectangular étagère with asymmetrical drawer, demi-shelf, and two cabinets, as well as a folio rack between organic foliate-carved column supports and undulating molded framing; the surfaces with marquetry inlaid iris and clematis flowers and foliage above carved cabriole feet; signed “Gallé.” H: 57, W: 28 3/4, D: 13 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,500-2,500

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382 A French acid-etched cameo glass vase with berries émile gallé (french, 1846-1904), circa 1900 With raised signature “Gallé.” H: 14 1/4, Dia: 5 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

$800-1,200

383 A Mettlach blue and white cameo pitcher villeroy & boch, mettlach, germany, circa 1900 Depicting a bacchic scene of water nymphs and sea creatures amongst bulrushes and lily pads; the underside incised with Mettlach abbey mark above “VB” and form number “7323.” H: 17 in.

384 An acid-etched cameo glass vase with parrots gary genetti (smerican, b. 1953), warwick, new york, 2001 With engraved signature, “Genetti 2001.” H: 13, Dia: 11 1/2 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

$300-500

provenance: Cherub Antiques, Washington, D.C., 1997. Jeffrey M. Kaplan, Washington, D.C.

385 An Art Nouveau mahogany pedestal desk circa 1910 The shaped and moulded rectangular top mounted to corners with two L-shaped bracket shelves and centered by a brown leather writing surface tooled with whiplash lines; the base with cupboard to proper left pedestal and three drawers to proper right pedestal; sold together with a chair en suite. (2). H: 35, W: 55, D: 27 1/4 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

$300-500

$400-600

Not Illustrated

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386 An Art Nouveau ‘Pirouette’ bedroom suite in gilt-bronze mounted figured mahogany louis majorelle (french, 1859-1926), circa 1910 Of the model ‘Pirouette’ no. 512, and comprising an armoire, bed, dresser with mirror, and nightstand. (5). H: 90 1/4, W: 71, D: 19 in. (armoire); H: 57, L: 81, W: 66 in. (bed) provenance: Jeffrey M. Kaplan, Washington, D.C. note: This design is illustrated in Alasdair Duncan, Louis Majorelle: Master of Art Nouveau (Harry N. Abrams, New York, 1991), fig. 83.

$8,000-12,000

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388 A Lalique glass “Coqs et Raisons” vase no. 1034, france, circa 1928 With blue patina. Etched siganture: “R LALIQUE FRANCE” H: 6 1/8, Dia: 3 5/8 in. provenance: Raul Arantes - R Lalique, London, 1997. Jeffrey M. Kaplan, Washington, D.C.

$1,500-2,500

387 Lalique glass “Aigrettes” vase no. 988, france, circa 1926 With blue patina. Engraved signature: “R LALIQUE FRANCE” H: 10, Dia: 7 3/4 in.

389 A Lalique glass “Coqs et Plumes” vase no. 1033, france, circa 1928 With blue patina. Etched siganture: “R LALIQUE FRANCE” H: 6 1/8, Dia: 3 5/8 in.

provenance: Raul Arantes - R Lalique, London, 1997. Jeffrey M. Kaplan, Washington, D.C.

provenance: Raul Arantes - R Lalique, London, 1997. Jeffrey M. Kaplan, Washington, D.C.

$4,000-6,000

$1,000-1,500

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390 A Lalique glass “Archers” vase no. 893, france, circa 1921 Molded signature: “R LALIQUE” H: 10 1/2, Dia: 9 in.

392 A Lalique glass “Antilopes” vase no. 875, france, circa 1925 With later, sienna brown patina Twice signed with acid-etched mark: “R LALIQUE” H: 10 3/4, Dia: 10 in.

provenance: Lalique Gallery, London, 1991. Jeffrey M. Kaplan, Washington, D.C.

provenance: Lalique Gallery, London, 1995. Jeffrey M. Kaplan, Washington, D.C.

$3,000-5,000

$1,000-2,000

393 A contemporary Lalique glass “Marguerites” bowl france, late 20th century Engraved script siganture: “Lalique France” H: 3, Dia: 14 1/4 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

$100-200 Not Illustrated

391 A Lalique glass decanter with chicks france, circa 1930 With sepia patina The bottle with acid-etched signature: “R LALIQUE FRANCE” The stopper engraved: “1” H: 10 1/4, Dia: 4 in. provenance: Style, London, 1990. Jeffrey M. Kaplan, Washington, D.C.

$600-800

394 A contemporary Lalique amber glass “Biches” vase no. 1082, france, late 20th century Engraved script signature: “Lalique France” Applied label: “Lalique France” H: 6 3/4, Dia: 5 1/4 in. provenance: Paris, 2005. Jeffrey M. Kaplan, Washington, D.C.

$300-500

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398 A Louis Comfort Tiffany blue favrile glass bowl new york, circa 1905 Engraved signature: “L.C.T. Favrile 7852” H: 3 1/4, Dia: 8 1/2 in.

395 An English Arts & Crafts glass vase probably whitefriars, circa 1900 H: 8 1/4, Dia: 4 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

provenance: Jeffrey M. Kaplan, Washington, D.C.

$200-300

$500-700

396 Two Steuben cut crystal vases corning new york, circa 1934 / late 20th century One engraved with a Pegasus, bearing engraved signature: “Sidney Waugh” and “Steuben” The other (contemporary) in original fitted red box, with peonies and bees, bearing engraved signature “Steuben” H: 7 1/4, Dia: 4 in. (Waugh), H: 6 1/2, Dia: 6 1/2 in. (Rose) provenance: Corning Glass, New York, 1992. Jeffrey M. Kaplan, Washington, D.C.

$200-300 Not Illustrated

399 An Austrian Loetz-style metal-mounted glass vase circa 1900 Unmarked. H: 12 1/2, Dia: 7 in. provenance: Style, London, 1988. Jeffrey M. Kaplan, Washington, D.C.

$100-200 Not Illustrated

400 Pair of Tiffany Studios bronze and glass candlesticks new york, circa 1900 Impressed mark: “TGDCO” monogram “TIFFANY STUDIOS NEW YORK 21100” H: 20 3/4, Dia: 5 3/4 in.

397 A Steuben glass “Cluthra” vase corning, new york, circa 1920 Acid-etched fleur-de-lis mark: “STEUBEN” H: 10, Dia: 9 1/2 in. provenance: Cherub Antiques, Washington, D.C., 1998. Jeffrey M. Kaplan, Washington, D.C.

provenance: Geoffrey Diner Gallery, Washington, D.C., 1996. Jeffrey M. Kaplan, Washington, D.C.

$500-700

$2,500-3,500

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THE JEFFREY M. KAPLAN COLLECTION

401 A Belgian Art Nouveau mahogany sideboard circa 1900 With shaped tripartite back, the center section framed with foliate carving above a demi-shelf, the paneled sides above curved conforming moulded cabinets, the center section with two drawers above two cabinet doors similarly moulded. H: 65, W: 78 1/2, D: 20 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

$1,500-2,500

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THE JEFFREY M. KAPLAN COLLECTION

404 Pair of large Jugendstil pewter candelabra wmf, germany, circa 1900 Impressed mark: “WMF EP as I/0” H: 24 1/2, W: 16 in.

405 Pair of Jugendstil pewter candlesticks kayserzinn, germany, circa 1900 Stamped: “KAYSERZINN 89 4427” H: 11 1/4, Dia: 4 1/4 in.

provenance: Style, London, 2003. Jeffrey M. Kaplan, Washington, D.C.

provenance: Jeffrey M. Kaplan, Washington, D.C.

$2,000-3,000

Not Illustrated

$200-300

402 Eleven gilt and enameled glass goblets probably theresienthal, austria, circa 1902 H: 8 3/8, Dia: 2 3/4 in. provenance: Style, London, 1990. Jeffrey M. Kaplan, Washington, D.C.

$400-600

403 Two Art Nouveau glass and pewter claret jugs wmf, germany, circa 1900 The larger stamped: “as WMF EP I/0” H: 15, W: 8, D: 7 in. provenance: Style, London, 1994 (larger). Style, London, 1997 (smaller). Jeffrey M. Kaplan, Washington, D.C. literature: Judith Miller, Art Nouveau, New York, 2004, p. 170 (for an illustration of the larger)

$800-1,200

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THE JEFFREY M. KAPLAN COLLECTION

406 Pair of Jugendstil pewter vases kayserzinn, probably hugo leven, germany, circa 1902 Impressed mark: “KAYSERZINN 4474 49” H: 10, Dia: 7 in.

408 Pair of Jugendstil pewter candlesticks kayserzinn, germany, 20th century Stamped marks: “KAYSERZINN 4427” H: 16 1/2, Dia: 6 in. provenance: Keith Lipert, Washington, D.C., 1997. Jeffrey M. Kaplan, Washington, D.C.

provenance: Style, London, 2007. Jeffrey M. Kaplan, Washington, D.C.

$250-350

$600-800

407 Four-piece Art Nouveau silverplate demitasse coffee set wmf, germany, circa 1900 Including coffee pot, creamer, sugar and tray Each marked: “B WMF I/O OX” H: 7 1/2 in. (teapot), L: 14, D: 10 in. (tray) provenance: Jeffrey M. Kaplan, Washington, D.C.

$200-300 409 Pair of Jugendstil pewter vases orivit, germany, circa 1905 With sylized trees Each stamped: “ORIVIT 2365” H: 14 1/4, Dia: 6 in. provenance: Justine Mehlman Antiques, Washington, D.C., 1998. Jeffrey M. Kaplan, Washington, D.C.

$800-1,200

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THE JEFFREY M. KAPLAN COLLECTION

410 An unusual three-headed pewter fish vase attributed to hermann gradl for osiris, germany, 1900 Marked: “OSIRIS 517” H: 12 1/2, Dia: 3 1/2 in. provenance: Cherub Antiques, Washinton, D.C., 1997. Jeffrey M. Kaplan, Washington, D.C.

$200-300

411 A large Jugendstil silverplate vase with faces argentor-werke, austria, circa 1905 Raised mark: “ARGENTOR OX” H: 23 1/2, W: 11, D: 9 in. provenance: Style, London, 2003. Jeffrey M. Kaplan, Washington, D.C.

$300-500

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THE JEFFREY M. KAPLAN COLLECTION

412 A Jugendstil pewter dressing table mirror probably german, circa 1905 H: 20 , W: 21, D: 7 1/2 in. provenance: Style, London, 1988. Jeffrey M. Kaplan, Washington, D.C.

$2,000-3,000

413 Three Jugendstil pewter articles wmf, germany, circa 1900 Including glass-lined two-handled bowl, pitcher, and tray. The bowl and tray marked: “WMF as I/0” The jug marked: “B WMF I/0 as” H: 6 /12, W: 17, D: 6 in. (bowl), H: 9 1/2, W: 5 1/2, D: 4 1/4 in. (pitcher), L: 18, W: 5 1/2 (tray) provenance: Cherub Antiques, Washington, D.C., 1998 (bowl). Cherub Antiques, Washington, D.C., 1995 (jug). Jeffrey M. Kaplan, Washington, D.C.

$300-500

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414 A pair of Jugendstil pewter “Osiris” table lamps germany, circa 1900 Stamped mark: “OSIRIS 950 ISIS” with impressed “NH” logo. H: 16 1/2, W: 16, Dia: 8 1/2 in. provenance: Style, London, 1989. Jeffrey M. Kaplan, Washington, D.C.

$6,000-8,000

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416 Glasgow school repousse brass mirror with peacocks possibly margaret gilmour, circa 1900 H: 17, W: 36 in. provenance: Geoffrey Diner Gallery, New York, 1996. Jeffrey M. Kaplan, Washington, D.C.

$800-1,200

417 Christopher Dresser (British, 1834–1904) silverplate toast rack, hukin & heath, birmingham, england, 1881 Stamped marks: “H&H 2556” with eagle, crown and registry mark for May, 1881. H: 4 3/4, W: 5 1/2, D: 4 in.

415 Five Japanese textile design prints L of largest: 6 in.; W of largest: 4 3/4 in.

provenance: Style, London, 2002. Jeffrey M. Kaplan, Washington, D.C. literature: Widar Halén, Christopher Dresser, London, 1993, p. 160

provenance: Jeffrey M. Kaplan, Washington, D.C.

$100-200

$1,000-1,500

418 An English Arts & Crafts inlaid mahogany envelope games table possibly liberty & co., circa 1900 Square, the handkerchief hinged corners inlaid with Art Nouveau ornaments in mixed metal, the body centering a single drawer with copper pulls above tapering square legs ending in splayed square block feet; the interior fitted with silvered reserves and laid with green baize. H: 26, D: 21 1/4, W: 21 1/4 in. (closed) provenance: Style, London, 1991. Jeffrey M. Kaplan, Washington, D.C.

$800-1,200

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THE JEFFREY M. KAPLAN COLLECTION

ARCHIBALD KNOX (BRITISH, 1864-1933) lots 419-448

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ith a life and career straddling the 19th and 20th centuries, designer Archibald Knox helped give the Art Nouveau style in Britain its distinctive look and timeless appeal.

Knox came of age in the shadow of Britain’s art reform movement and influenced by the luminaries William Morris and later, M.H. Baillie Scott. As early as 1897, Knox began designing jewelry and metalwares for the London retailer Liberty & Company, whose range of artistic home and giftwares catered to aesthetically-minded consumers in Britain and abroad. Much of Liberty’s “Cymric” and “Tudric” lines were designed by Knox, and exhibit his penchant for Celtic ornament, raised slightly from the body of the object and rounded, elongated, and tapered in service of the elegant, organic lines of the Art Nouveau style, then at its height in popularity in the early 1900s. Some designs were customized by Liberty with the addition of enameling, adding jewel tones in rich contrast to the grey pewter.

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THE JEFFREY M. KAPLAN COLLECTION

419 An associated pair of “Tudric” pewter two-arm candleabra archibald knox for liberty & co., london, circa 1900 One impressed: “TUDRIC 0530” The other: “ENGLISH PEWTER MADE IN ENGLAND 0530” Obscured registry marks. H: 11, W: 9 1/2, D: 5 1/4 in.

provenance: Style, London, 1990. Jeffrey M. Kaplan, Washington, D.C. literature: A.J. Tilbrook, The Designs of Archibald Knox for Liberty & Co., Somerset, 2000, p. 103 (for an illustration of a related model)

$600-800

421 A tall “Tudric” pewter bud vase liberty & co., london, circa 1902 Impressed mark: “2 TUDRIC 0212” H: 14 1/2, W: 6 1/2 in. provenance: Style, London, 2001. Jeffrey M. Kaplan, Washington, D.C.

$200-300

422 A “Tudric” two-handled rose bowl david veasey for liberty & co., london, circa 1900 Stamped mark: “ENGLISH PEWTER MADE BY LIBERTY & CO 011” H: 4 1/2, W: 12 1/2, D: 9 1/2 in.

420 A “Tudric” style pewter box attributed to archibald knox for liberty & co., london, circa 1902 H: 2 3/4, W: 8 1/4, D: 5 1/2 in. provenance: Style, London, 1995 Jeffrey M. Kaplan, Washington, D.C.

provenance: Style, London. Jeffrey M. Kaplan, Washington, D.C.

$300-500

$400-600

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THE JEFFREY M. KAPLAN COLLECTION

423 Pair of “Tudric” bullet-shaped pewter vases archibald knox for liberty & co., london, circa 1905 One marked: “ENGLISH PEWTER 0226 MADE BY LIBERTY & CO” H: 7 1/2, Dia: 4 1/4 in. provenance: Historical Design, New York, 1998. Jeffrey M. Kaplan, Washington, D.C.

$300-500

424 A “Tudric” inkwell and card tray archibald knox for liberty & co., london, circa 1902 The inkwell impressed: “MADE IN ENGLAND ENLISH PEWTER 0521 SOLKETS” The tray impressed: “TUDRIC 0161 4” H: 2 in. (inkwell), L: 9 1/4, W: 5 3/4 in. (tray)

426 Assembled seven-piece pewter and cane “Tudric” tea & coffee service archibald knox for liberty & co., london, circa 1902 Including teapot, coffee pot, hot water jug, milk jug, sugar bowl, slop bowl, and tray. Various marks, all including: “0231 RD420290” H: 8 3/4 in. (tallest), L: 20, W: 13 1/2 in. (tray)

provenance: Style, London, 1988. Jeffrey M. Kaplan, Washington, D.C.

provenance: Style, London, 1998. Jeffrey M. Kaplan, Washington, D.C. literature: A.J. Tilbrook, The Designs of Archibald Knox for Liberty & Co., Somerset, 2000, p. 105 (for an illustration of the model) Judith Miller, Arts & Crafts, New York, 2005, p. 165 (for an illustration of the slop bowl)

$500-700

$200-300

425 A “Tudric” pewter two-handled bowl archibald knox for liberty & co., london, circa 1903 Stamped mark: “4 TUDRIC RD4144200279” H: 5 3/4, W: 12, D: 10 in. provenance: Historical Design, New York, 1995. Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

427 A large “Tudric” bowl archibald knox for liberty & co., london, circa 1902 Impressed marks partially obscured:  “MADE IN ENGLAND 5 TUDRIC 06 RD427694” H: 7 3/4, D: 15 in. provenance: Style, London. Jeffrey M. Kaplan, Washington, D.C.

$300-500

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THE JEFFREY M. KAPLAN COLLECTION

430 A pewter and copper “Tudric” clock david veasey for liberty & co., london, circa 1902 With brass french movement Impressed mark: “TUDRIC 0159” H: 6 1/2, W: 5 1/4 sq. in. provenance: Cherub Antiques, Washington, D.C., 1997. Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500 428 English pewter jewelry casket and “Tudric” mug the mug archibald knox for liberty & co., london, circa 1905 Pewter, turquoise cabochon. The casket marked: “0637” The mug: “053 ENGLISH PEWTER” H: 4, W: 6 3/4, D: 4 3/4 in. (casket), H: 3 1/2, W: 3 3/4, D: 4 1/4 in. (mug)

429 Group of four “Tudric” pewter articles archibald knox for liberty & co., london, circa 1905 Including vase, pitcher, cannister and tray. The vase marked: “TUDRIC 0227 7 MADE IN ENGLAND” The jug marked: “TUDRIC 028” The cannister marked: “9 TUDRIC 0642” The tray marked: “H MADE IN ENGLAND TUDRIC 01263 SOLKETS” H: 9 1/4 in. (vase)

provenance: Liberty, London, 1997 (mug). Style, London, 2005 (casket). Jeffrey M. Kaplan, Washington, D.C.

provenance: Historical Design, New York, 1995 (vase). Liberty, London, 2002 (jug). Chevy Chase Antique Center, Maryland, 2002 (cannister). Jeffrey M. Kaplan, Washington, D.C.

$200-300

$400-600

431 A “Tudric” pewter bisuit box with cover david veasey for liberty & co., london, circa 1902 Impressed marks: “2 TUDRIC 049” H: 7, W: 5 1/2 in. sq. provenance: Liberty, London, 1997. Jeffrey M. Kaplan, Washington, D.C.

$300-500

432 A diminuitive British Arts & Crafts pewter and copper clock attributed to archibald knox for liberty & co., circa 1910 With brass Lenzkirch movement Impressed mark: “0018” H: 5 7/8, W: 3 1/2, D: 2 in. provenance: Style, London, 1997. Jeffrey M. Kaplan, Washington, D.C.

$200-300

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THE JEFFREY M. KAPLAN COLLECTION

433 A “Tudric” enameled pewter and brass clock liberty & co., london, circa 1905 With brass Lenzkirch movement Impressed marks: “TUDRIC 0761” H: 8 1/4, W: 5 1/2, D: 5 in.

436 An enameled pewter and copper “Tudric” clock david veasey for liberty & co., london, circa 1902 With brass Lenskirch movement Impressed mark: “ENGLISH PEWTER MADE BY LIBERTY & CO 0371” H: 9, W: 4 1/2, D: 2 in.

provenance: Style, London, 1987. Jeffrey M. Kaplan, Washington, D.C.

provenance: Style, London, 1988. Jeffrey M. Kaplan, Washington, D.C.

$800-1,200

$800-1,200

434 A “Tudric” pewter and enamel clock liberty & co., london, circa 1920 With brass Lenzkirch movement Marked: “TUDRIC 0407” H: 7 1/4, W: 5 in. sq. provenance: Style, London, 1994. Jeffrey M. Kaplan, Washington, D.C.

$500-700

437 An enameled pewter and copper “Tudric” clock archibald knox for liberty & co., london, circa 1902 Impressed marks: “1 0629 ENGLISH PEWTER MADE BY LIBERTY & CO” H: 7 1/2, W: 4 in sq.

435 A “Tudric” enameled pewter and copper clock liberty & co., london, circa 1905 With French brass movement Impressed marks: “01269 ENGLISH PEWTER MADE BY LIBERTY & CO” H: 8 1/2, W: 6 1/4, D: 3 1/2 in.

provenance: Style, London, 1992. Jeffrey M. Kaplan, Washington, D.C. literature: A.J. Tilbrook, The Designs of Archibald Knox for Liberty & Co., Somerset, 2000, p. 106 (for an illustration of the model) Stephen A. Martin, Archibald Knox, London, 2001, p. 233

provenance: Style, London, 1988.

$2,000-3,000

Jeffrey M. Kaplan, Washington, D.C.

$500-700

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438 An enameled pewter “Tudric’ bowl archibald knox for liberty & co., london, circa 1903 Impressed mark: “RD 414420 TUDRIC 0229” H: 5 3/4, W: 12, D: 10 in. provenance: Geoffrey Diner Gallery, Washington, D.C., 1996. Jeffrey M. Kaplan, Washington, D.C. literature: A.J. Tilbrook, The Designs of Archibald Knox for Liberty & Co., Somerset, 2000, p. 115 (for an illustration of the model)

441 A “Tudric” enameled pewter dish archibald knox for liberty & co., london, circa 1905 Impressed marks: “ENGLISH PEWTER MADE BY LIBERTY & CO 044” H: 1 1/4, Dia: 10 1/4 in. provenance: Historical Design, New York, 1998. Jeffrey M. Kaplan, Washington, D.C.

$200-300

$800-1,200

442 Three “Tudric” twin-handled vases archibald knox for liberty & co., london, circa 1900 Two in pewter (one with enamel), the other silverplate Silverplate vase with impressed mark: “2 TUDRIC 029” Enameled vase with impressed mark: “4 TUDRIC 029” H: 10, W: 6, D: 4 3/8 in. 439 Two “Tudric” pewter baskets archibald knox for liberty & co., london, circa 1902 The cake basket enameled and bearing impressed marks:  “RD 449088 0357 P MADE BY LIBERTY & CO” The other: “ENGLISH PEWTER 01172” H: 3 1/2, W: 12, D: 8 3/4 in. (larger), H: 7, W: 9, D: 6 1/2 in. (smaller) provenance: Liberty, London, 1997 (enameled cake basket). Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

provenance: Style, London (silverplate and enameled examples). Liberty, London, 1987 (pewter, no enamel). Jeffrey M. Kaplan, Washington, D.C. literature: Judith Miller, Art Nouveau, New York, 2004, p. 183

440 Two “Tudric” pewter biscuit boxes with covers archibald knox for liberty & co., london, circa 1905 One enameled. Both marked: “ENGLISH PEWTER MADE BY LIBERTY & CO. 0194” H: 4 1/2, W: 4 3/4 in. sq. provenance: Style, London, 1988 (unenameled). Liberty, London, 1987 (enameled). Jeffrey M. Kaplan, Washington, D.C. literature: A.J. Tilbrook, The Designs of Archibald Knox for Liberty & Co., Somerset, 2000, p. 95 (for an illustration of the model)

$800-1,200

$700-900

443 A “Tudric” enameled pewter inkwell archibald knox for liberty & co., london, circa 1900 With glass insert. Impressed marks: “9 TUDRIC 0141” H: 3, W: 6 in. sq. provenance: Justine Mehlman Antiques, Washington, D.C., 1997. Jeffrey M. Kaplan, Washington, D.C. literature: A.J. Tilbrook, The Designs of Archibald Knox for Liberty & Co., Somerset, 2000, p. 93 (for an illustration of the model)

$300-500

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THE JEFFREY M. KAPLAN COLLECTION

444 A “Tudric” enameled pewter and glass bisquit barrel archibald knox for liberty & co., london, and james powell & sons, circa 1910 H: 7, Dia: 5 1/4 in. provenance: Style, London, 2005. Jeffrey M. Kaplan, Washington, D.C.

$300-500

445 A “Tudric” pewter and “Clutha” glass coupe archibald knox for liberty & co., london and james couper & sons, glasgow, circa 1903 The pewter marked: “ENGLISH PEWTER MADE BY LIBERTY & CO 0276” H: 6 1/2, Dia: 8 in. provenance: Style, London, 1997. Jeffrey M. Kaplan, Washington, D.C. literature: A.J. Tilbrook, The Designs of Archibald Knox for Liberty & Co., Somerset, 2000, p. 114 (for an illustration of the model)

447 A European Arts & Crafts agate and glass cabochonmounted silver “nuptial” casket apparently unmarked, second half 19th century In the Gothic style, the recto engraved “Emily” and the verso engraved “Arthur.” H: 5 1/4, W: 8 3/8, D: 6 1/4 in.

$600-800

provenance: Fay Lucas Gallery, London, 1998. Jeffrey M. Kaplan, Washington, D.C.

446 A “Tudric” pewter and glass bullet-shaped vase archibald knox for liberty & co., london and james powell, circa 1900 Stamped marks: “TUDRIC PEWTER MADE IN ENGLAND 0226” H: 7, Dia: 4 1/2 in.

$1,500-2,500

448 Three British Arts & Crafts enameled silver articles the napkin ring and vesta case by archibald knox, circa 1905 Including bowl, napkin ring, and vesta case. The bowl with GLC mark within a clover, sterling standard, London, date mark for 1903. The napkin ring with Liberty & Co. maker’s mark, sterling standard, Birmingham, and date mark for 1908. The vesta case with Liberty & Co. maker’s mark, sterling standard, Birmingham, and date mark for 1902. H: 3 1/2, Dia: 5 in. (bowl), H: 1 3/8, Dia: 2 in. (napkin ring), H: 2, W: 1/2 in. (vesta) provenance: S&J Stodel, London, 2002 (bowl and napkin ring). Style, London, 1988 (vesta case). Jeffrey M. Kaplan, Washington, D.C.

$300-500

provenance: Style, London, 1991. Jeffrey M. Kaplan, Washington, D.C. literature: A.J. Tilbrook, The Designs of Archibald Knox for Liberty & Co., Somerset, 2000, p. 97 (for an illustration of the model)

$700-900

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THE JEFFREY M. KAPLAN COLLECTION

ALBERT PALEY, (AMERICAN, B. 1944) lots 449-454

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orking in upstate New York, Albert Paley is widely regarded as one of the great metalsmiths of our time. Paley began his career as a student in Philadelphia at

the Tyler School of Art. Upon graduating, Paley focused mainly on the creation of jewelry, worked in precious metals. In 1973 he was commissioned by the Renwick Gallery in Washington, D.C. to create his now famous “Portal Gates” in wrought iron and brass. The event marked a turn in Paley’s career to large-scale, architectural commissions and sculpture worked in iron. Paley’s creations are the product of his own mind, echoing the duality of our natural and machine-made worlds. His remarkably complex treatment of iron is masked by fluid, undulating forms that more closely resemble pulled taffy than coarse steel. Paley had created several noted large-scale public and private commissions and his work is housed in over 100 museums world-wide. He is the recipient of the American Institute of Architect’s Lifetime Achievement Award.

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THE JEFFREY M. KAPLAN COLLECTION

450 Albert Paley (American, b. 1944) coffee table, 1991 Patinated, forged and fabricated steel, glass Signed: “© Paley 1991” H: 16 1/2, Dia. 30 in. provenance: Studio Design, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C.

$8,000-12,000

449 Albert Paley (American, b. 1944) “sphere” floor lamp, 1994 Patinated, forged and fabricated steel, glass Signed: “© Albert Paley 1994” H: 73 1/2, Dia: 29 in. provenance: Studio Design, Washington, D.C., 1998. Jeffrey M. Kaplan, Washington, D.C.

$8,000-12,000

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THE JEFFREY M. KAPLAN COLLECTION

451 Albert Paley (American, b. 1944) pair of candlesticks, 1992 Patinated, forged and fabricated steel Each signed: “© Albert Paley 1992” Consecutively numbered: “38/40 and 39/40” H: 31 1/2, Dia: 7 in. provenance: Studio Design, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C.

$6,000-8,000

452 Albert Paley (American, b. 1944) table lamp, 1993 Patinated, fabricated, and forged steel, handmade paper shade Signed: “Albert Paley 1993” H: 30, Dia: 23 1/2 in. provenance: Studio Design, Washington, D.C., 2007. Jeffrey M. Kaplan, Washington, D.C.

$5,000-7,000

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THE JEFFREY M. KAPLAN COLLECTION

453 Albert Paley (American, b. 1944) pair of “ginko” candlesticks, 1994 Patinated, forged and fabricated steel, brass. Each signed: “© Albert Paley 1994” H: 14 1/2, Dia: 6 in. provenance: Studio Design, Washington, D.C. Jeffrey M. Kaplan, Washington, D.C.

$4,000-6,000

454 Albert Paley (American, b. 1944) pair of “ginko” candlesticks, 2001 Patinated, forged and fabricated steel, brass Each signed: “© Albert Paley 2001” With impressed marks to underside: “S-73.7” and “S-73.48” H: 13 1/2, Dia: 5 1/2 in. provenance: Maurine Littleton Gallery, Washinton, D.C., 2006. Jeffrey M. Kaplan, Washington, D.C.

$3,000-5,000

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THE JEFFREY M. KAPLAN COLLECTION

455 ANDERSON & LOW “PASHA, AERIAL SILK PERFORMER I” Conceived in 2008, printed in 2011, pencil signed, titled, dated and numbered 6/15 verso. Color pigment print on wove paper. image: 17 3/16 x 31 in. (44.2 x 78.8cm) sheet: 24 x 40 1/2 in. (61 x 102.8cm) provenance: Anderson & Law Ltd., London, England. Jeffrey M. Kaplan, Washington D.C. (directly acquired from wthe above in 2011).

456 ANDERSON & LOW “UNTITLED (EYES)” from “manga dreams” Conceived in 2009, printed in 2011, pencil signed and numbered 3/20 on a paper label affixed to the frame. Color pigment print on wove paper. image: 19 15/16 x 39 9/16 in. (50.6 x 100.5cm) sheet: 23 7/8 x 43 9/16 in. (60.6 x 110.6cm)

note: Jonathan Anderson and Edwin Low have collaborated as “Anderson & Low” since 1990. Their work includes portraiture, architectural studies, abstract works, and digitally altered photographic images. The series “Manga Dreams” from which this image comes was conceived in 2009, and draws heavily on contemporary youth culture and interest in Japanese anime. Several works from the series were exhibited at the 2011 Venice Biennale, and Kaplan acquired this work in that year. “Manga Dreams” was also acquired by the Metropolitan Museum of Art, New York, in October 2012. There were solo museum exhibitions of this project in the UK, Canada, and France during 2012.

$1,500-2,500

$1,500-2,500

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THE JEFFREY M. KAPLAN COLLECTION

CONTEMPORARY GLASS

T

he story of contemporary glass today orbits around two important centers for learning and glass production, the Pilchuck Glass School in Washington state and the island of

Murano in Venice, Italy. The later enjoys a rich glass tradition dating back to the 13th

457 Kyohei Fujita (Japanese, 1921-2004) “red & white plum blossoms” glass box Engraved signature: “Kyohei Fujita” H: 5 1/2, W: 5 in. sq. provenance: Maurine Littleton Gallery, Washinton, D.C., 2006. Jeffrey M. Kaplan, Washington, D.C.

$6,000-8,000

century, that has been described as secretive. Italian-born Lino Tagliapietra trained in the glass workshops of Murano before coming to teach in the United States following a visit by the American glass artist Dale Chihuly. Dale Chihuly came of age in the 1960s, studying glass blowing with Harvey Littleton. In the early 1970s, Chuihuly co-founded the Pilchuck Glass School and was largely responsible for jumpstarting the studio glass movement in the US. Today, cooperation between Muranese glass artists and others has contributed to a global pool of talent that borrow both technique and cultural influences from one another. The work of Charles Savoie and Kyohei Fujita borrow from, but reinterpret the Venetian tradition in their vessels. 458 Cliff Lee (American, b. 1951) knife-edged and fluted celadon-glazed porcelain bowl on pedestal, 1996 In two pieces The bowl signed and dated: “Cliff Lee 96” H: 9, Dia: 8 in. provenance: The artist, 1997. Jeffrey M. Kaplan, Washington, D.C.

$1,000-2,000

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THE JEFFREY M. KAPLAN COLLECTION

459 Dale Chihuly (American, b. 1941) five-piece saxony blue persian set with russett lip wraps, 1997 Signed and dated. H: 11, W: 21, D: 14 in. (approximate, overall)

460 Dale Chihuly (American, b. 1941) six-piece midnight blue persian set with red lip wraps, 1996 Signed and dated. H: 13, W: 18, D: 14 1/2 (approximate, overall)

provenance: Maurine Littleton Gallery, Washington, D.C., 1998. Jeffrey M. Kaplan, Washington, D.C.

provenance: Maurine Littleton Gallery, Washington, D.C., 1998. Jeffrey M. Kaplan, Washington, D.C.

$6,000-8,000

$6,000-8,000

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THE JEFFREY M. KAPLAN COLLECTION

463 Christopher Williams (British, b. 1949) “rough cut” glass bowl, circa 2000 Engraved signature: “Christopher Williams 5296 The Glasshouse” H: 6 1/2, Dia: 11 in.

461 Charles Paul Savoie (American, b. 1959) three zanfirico glass goblets, circa 2000 All with engraved signature. H: 15 1/2 in (tallest)

provenance: Glasshouse de Sivignon, France, 2000. Jeffrey M. Kaplan, Washington, D.C.

provenance: The artist, 1998 and 2000. Jeffrey M. Kaplan, Washington, D.C.

$400-600

$1,500-2,500

462 Charles Paul Savoie (American, b. 1959) glass and patinated bronze “pegasus” series vessel, circa 1998 H: 24, W: 16, D: 10 1/2 in.

464 Christopher Williams (British, b. 1949) a large glass “ripple cut” glass vessel, circa 2000 Engraved signature: “Christopher Williams 3978 The Glasshouse” H: 12 1/2, Dia: 8 1/2 in.

provenance: Turrocco Glass, Ripon, Wisconsin, 1998. Jeffrey M. Kaplan, Washington, D.C.

provenance: Glasshouse de Sivignon, France, 2000. Jeffrey M. Kaplan, Washington, D.C.

$1,000-1,500

$400-600

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Asian Arts Auction 04/25/17 Benjamin A. Farina | 267.414.1219 bfarina@freemansauction.com

465 Lino Tagliapietra (Italian, b. 1934) tall glass “borneo” vessel, 2007 Signed and dated: “Lino Tagliapietra 2007” H: 32, Dia: 8 1/2 in. provenance: Jeffrey M. Kaplan, Washington, D.C.

$10,000-15,000 A fine Japanese cloisonné enamel sake pot and cover $ 1,500-2,500

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THE JEFFREY M. KAPLAN COLLECTION

TERMS & CONDITIONS All property offered and sold (“property”) through Samuel T. Freeman & Co, (“Freeman’s”) shall be offered and sold on the terms and conditions set forth below which constitutes the complete statement of the terms and conditions on which all property is offered for sale. By bidding at the auction, whether present in person or by agent, by written bid, telephone, internet or other means, the buyer agrees to be bound by these terms and conditions. 1 Unless otherwise indicated, all Property will be offered by Freeman’s as agent for the Consignor. 2 Freeman’s reserves the right to vary the terms of sale and any such variance shall become part of these Conditions of Sale. 3 Buyer acknowledges that it had the right to make a full inspection of all Property prior to sale to determine the condition, size, repair or restoration of any Property. Therefore, all property is sold “AS-IS”. Freeman’s is acting solely as an auction broker, and unless otherwise stated, does not own the Property offered for sale and has made no independent investigation of the Property. Freeman’s makes no warranty of title, merchantability or fitness for a particular purpose, or any other warranty or representation regarding the description, genuineness, attribution, provenance or condition to the Property of any kind or nature with respect to the Property. 4 Freeman’s in its sole and exclusive discretion, reserves the right to withdraw any property, at any time, before the fall of the hammer. 5 Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the printed catalogue. Freeman’s reserves the right to determine any and all matters regarding the order, precedence or appropriate increment of bids or the constitution of lots. 6 The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer has the right to reject any bid, to advance the bidding at his absolute discretion and in the event of any dispute between bidders, the auctioneer shall have the sole and final discretion either to determine the successful bidder or to re- offer and resell the article in dispute. If any dispute arises after sale, the Freeman’s sale record shall be conclusive in all respects. 7 If the auctioneer determines that any opening or later bid or any advance bid is not commensurate with the value of the Property offered, he may reject the same and withdraw the Property from sale. 8 Upon the fall of the hammer, title to any offered lot or article will immediately pass to the highest bidder as determined in the exclusive discretion of the auctioneer, subject to compliance by the buyer with these Conditions of Sale. Buyer thereupon assumes full risk and responsibility of the property sold, agrees to sign any requested confirmation of purchase, and agrees to pay the full price, plus Buyer’s Premium, therefore or such part, upon such terms as Freeman’s may require. 9 No lot may be removed from Freeman’s premises until the buyer has paid in full the purchase price therefor including Buyer’s Premium or has satisfied such terms that Freeman’s, in its sole discretion, shall require. Subject to the foregoing, all Property shall be paid for and removed by the buyer at his/her expense within ten (10) days of sale and, if not so removed, may be sold by Freeman’s, or sent by Freeman’s to a public warehouse, at the sole risk and charge of the buyer(s), and Freeman’s may prohibit the buyer from participating, directly or indirectly, as a bidder or buyer in any future sale or sales. In addition to other remedies available to Freeman’s by law, Freeman’s reserves the right to impose a late charge of 1.5% per month of the total purchase price on any balance remaining ten (10) days after the day of sale. If Property is not removed by the buyer within ten (10) days, a handling charge of 1% of the total purchase price per month from the tenth day after the sale until removal by the buyer shall be payable to Freeman’s by the buyer; Freeman’s shall charge 1.5% of the total purchase price per month for any property not so removed

within 60 days after the sale. Freeman’s will not be responsible for any loss, damage, theft, or otherwise responsible for any goods left in Freeman’s possession after ten (10) days. If the foregoing conditions or any applicable provisions of law are not complied with, in addition to other remedies available to Freeman’s and the Consignor (including without limitation the right to hold the buyer(s) liable for the bid price) Freeman’s, at its option, may either cancel the sale, retaining as liquidated damages all payments made by the buyer(s), or resell the property. In such event, the buyer(s) shall remain liable for any deficiency in the original purchase price and will also be responsible for all costs, including warehousing, the expense of the ultimate sale, and Freeman’s commission at its regular rates together with all related and incidental charges, including legal fees. Payment is a precondition to removal. Payment shall be by cash, certified check or similar bank draft, or any other method approved by Freeman’s. Checks will not be deemed to constitute payment until cleared. Any exceptions must be made upon Freeman’s written approval of credit prior to sale. In addition, a defaulting buyer will be deemed to have granted and assigned to Freeman’s, a continuing security interest of first priority in any property or money of, or owing to such buyer in Freeman’s possession, and Freeman’s may retain and apply such property or money as collateral security for the obligations due to Freeman’s. Freeman’s shall have all of the rights accorded a secured party under the Pennsylvania Uniform Commercial Code. 10 Unless the sale is advertised and announced as “without reserve”, each lot is offered subject to a reserve and Freeman’s may implement such reserves by bidding through its representatives on behalf of the Consignors. In certain instances, the Consignor may pay less than the standard commission rate where Freeman’s or its representative is a successful bidder on behalf of the Consignor. Where the Consignor is indebted to Freeman’s, Freeman’s may have an interest in the offered lots and the proceeds therefrom, other than the broker’s Commissions, and all sales are subject to any such interest. 11 No “buy” bids shall be accepted at any time for any purpose. 12 Any pre-sale bids must be submitted in writing to Freeman’s prior to commencement of the offer of the first lot of any sale. Freeman’s copy of any such bid shall conclusively be deemed to be the sole evidence of same, and while Freeman’s accepts these bids for the convenience of bidders not present at the auction, Freeman’s shall not be responsible for the failure to execute, or, to execute properly, any pre-sale bid. 13 A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, and 12% thereafter. 14 Unless exempted by law from the payment thereof, the buyer will be required to pay any and all federal excise tax and any state and/or local sales taxes, including where deliveries are to be made outside the state where a sale is conducted, which may be subject to a corresponding or compensating tax in another state. 15 Freeman’s may, as a service to buyer, arrange to have purchased property posted and shipped at the buyer’s expense. Freeman’s is not responsible for any acts or omissions in packing or shipping of purchased lots whether or not such carrier is recommended by Freeman’s. Packing and handling of purchased lots is at the responsibility of the buyer and is at the entire risk of the buyer. 16 In no event shall any liability of Freeman’s to the buyer exceed the purchase price actually paid. 17 No claimed modification or amendment of this Agreement on the part of any party shall be deemed extant, enforceable or provable unless it is in writing that has been signed by the parties to this Agreement. No course of dealing and no delay or omission on the part of Freeman’s in exercising any right under this Agreement shall operate as a waiver of such right or any other right and waiver on any one or more occasions shall not be construed as a bar to or waiver of any right or remedy of Freeman’s on any future occasion. 18 These Conditions of Sale and the buyer’s, the Consignor’s and Freeman’s rights under these Conditions of Sale shall be governed by, construed and enforced in accordance with the laws of the Commonwealth of Pennsylvania and Consignor and Buyer agree to the exclusive jurisdiction of the Philadelphia, Pennsylvania Court of Common Pleas and the United States District Court for the Eastern District of Pennsylvania.

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IMPORTANT INFORMATION FOR BUYERS Registration All potential buyers must register for the sale prior to placing a bid. Registration information may be submitted in person at our reception desk, by fax or through our website at www. freemansauction.com. We will require proof of identification and residence and may require a credit card and/or a bank reference. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted Freeman’s Terms and Conditions of Sale. Buyer’s Premium A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, and 12% thereafter. Sales Tax All items in the catalogue are subject to the 8% Pennsylvania and Philadelphia sales tax. Dealers purchasing for resale must register their tax numbers on current PA forms. Forms should be submitted to our Client Services office on the second floor. Catalogue Descriptions All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. If potential buyers are unable to inspect lots in person, our specialists will be happy to prepare detailed Condition Reports on individual lots as quickly as possible. These are for guidance only, and all lots will be sold “as is” as per our Terms and Conditions of Sale. Bidding At the sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. The auctioneer will not mistake a random gesture for a bid. By phone A limited number of telephone lines are available for bidding by phone through a Freeman’s representative. Phone lines must be reserved in advance. Requests must be submitted no later than 24 hours prior to the scheduled start of the sale.

On the internet A fully-illustrated catalogue is available on-line at www.freemansauction.com. Registered bidders may leave absentee bids through the website and will receive email confirmation of their bid. Freeman’s is not responsible for errors or failure to execute bids. Payment Payment is due within ten (10) working days of the sale. Lots purchased will not be released until we have received full payment. Payment may be made in cash, by check, money order, or debit card. Payments by check must clear the bank before goods will be released. Removal of Purchases Deliveries will not be made during the time of the sale unless otherwise indicated by the auctioneer. All items must be paid for and removed within ten (10) working days of the sale. Purchases not so removed may be turned over to a licensed warehouse at the expense and risk of the purchaser. Shipping and Packing Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. Upon request, Freeman’s will provide the purchaser with names of professional packers and shippers known to us. Endangered Species Lots marked * are manufactured in whole or in part of restricted materials that may include tortoiseshell, ivory, mother-ofpearl, coral, rhinoceros horn, whalebone or marine ivory. Such materials may require specific licenses, certificates, or CITES documentation for import, export, moving between states in the U.S., or resale. Obtaining these documents may require scientific, laboratory or other expert analysis, in order to establish which species or genus the material came from. Freeman’s is unable to provide this information, and the obligation is on the purchaser of a lot containing any of these materials to ensure that they are able to obtain all the necessary or required documents should they need to, prior to bidding on the lot. If proper documentation or licenses etc. cannot be obtained for a purchased lot, the purchaser will still be required to make an on time payment for the lot as per our standard terms and conditions. Freeman’s cataloguing of the lots marked with this symbol * represents the best of our opinion, and the absence of this symbol from any lot description does not form a warranty that the lot will be free from any licensing or certification restrictions.

In writing Bid forms are available in the sale room and at the back of the catalogue. These should be submitted in person, by mail or by fax no later than one hour prior to the scheduled start of the sale. The auctioneer will bid on your behalf up to the limit.

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DIRECTORY Officers

Specialist Departments

Representatives

Samuel M. Freeman II Chairman

20th Century Design Tim Andreadis

New England Kelly Wright

tandreadis@freemansauction.com

kwright@freemansauction.com

Alasdair Nichol Vice Chairman

American Art & Pennsylvania

Margaret D. Freeman

Impressionists

Director Emeritus

Alasdair Nichol

Paul S. Roberts President Hanna Dougher Chief Operating Officer

anichol@freemansauction.com American Furniture, Folk & Decorative Arts Lynda Cain lcain@freemansauction.com

Appraisals Amy Parenti aparenti@freemansauction.com Business Development Thomas B. McCabe IV tmccabe@freemansauction.com Client Services Mary Maguire Carroll mmaguire@freemansauction.com Finance Whitney Long wlong@freemansauction.com Marketing & Communications Susannah McGovern smcgovern@freemansauction.com Museum Services Thomas B. McCabe IV tmccabe@freemansauction.com Photography Thomas Clark tclark@freemansauction.com Shipping & Receiving Stephanie Parker sparker@freemansauction.com Trust & Estates Amy Parenti aparenti@freemansauction.com

Matthew Wilcox mwilcox@freemansauction.com Southeast  Colin Clarke cclarke@freemansauction.com West Coast Michael Larsen mlarsen@freemansauction.com

Asian Arts

Departments

Mid-Atlantic

Benjamin Farina

Main Line

bfarina@freemansauction.com

Thomas McCabe

Books, Maps & Manuscripts Benjamin Truesdale btruesdale@freemansauction.com British & European Furniture & Decorative Arts Nicholas B. A. Nicholson nnicholson@freemansauction.com European Art & Old Masters David M. Weiss dweiss@freemansauction.com Jewelry & Watches Virginia Salem, GIA GG vsalem@freemansauction.com Modern & Contemporary Art Dunham Townend dtownend@freemansauction.com Musical Instruments Frederick Oster foster@freemansauction.com Oriental Rugs & Carpets Michael Farmer mfarmer@freemansauction.com Prints Anne Henry ahenry@freemansauction.com Silver & Objets de Vertu Nicholas B. A. Nicholson nnicholson@freemansauction.com

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1,000 Years of Collecting | The Jeffrey M. Kaplan Collection  

Freeman's is honored to present the collection of Jeffrey M. Kaplan on April 6. The definition of a true renaissance man; Kaplan’s remarkabl...

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