Southern

The Smith Briggs Coin silver presentation tea service, Civil War and Railroad interest. Includes 4 pieces, all engraved SMITH BRIGGS: a teapot with hinged lid, cream pitcher, waste bowl, and covered sugar bowl, all with pear shaped bodies having repousse decoration of morning glory flowers and vines, laurel decorated bands at rims and around bases. Sugar bowl and teapot are accented with three-dimensional floral finials, and all pieces except waste bowl have floral chased handles. All pieces feature cartouches engraved: SMITH BRIGGS; teapot with opposite cartouche additionally inscribed: PRESENTED BY THE EMPLOYEES OF THE HUDSON R.R. CO AT EAST ALBANY SEPT. 15 1864. Signed (incuse) on underside: B. MARSH / ALBANY / J.L.W. Teapot: 12" H. Combined weight: 89.47 oz troy. Provenance: Private Indiana estate, acquired from an East Coast dealer. Note: The USS Smith Briggs was a Union Army gunboat destroyed in the American Civil War. Originally a tugboat built in East Albany, NY for the Schuyler Steam Towing Company, it was named for Smith Briggs, Freight Agent of the Hudson River Railroad. The private ship was leased by the U.S. Government for use in the Civil War and converted into a gunboat in 1863. During the Battle of Smithfield in Virginia on Feb. 1, 1864, it was hit and run aground, with its crew taken prisoner. Confederate soldiers and civilians converged on the ship and looted it, taking its eagle figurehead and anything else on board of value they could find. The ship was then set on fire and blown to bits. The exact connection of this silver tea service to the boat – including whether it was ever actually used onboard – is unknown. It may have been made after the ship's destruction as a consolation gift to Smith Briggs, the Hudson River Railroad executive for whom the ship was originally named. Condition: Excellent condition. [See more photos →]

Gorham coin silver water pitcher and two goblets, all monogrammed "Alcorn" and descended in the family of James Lusk Alcorn, KY politician, Confederate General, Governor of Mississippi, and U.S. Senator. Pitcher, marked with early Gorham Lion-anchor-G marks and stamped 290 COIN, features a draped ribbed handle with Bacchus or Satyr mask; a flared, scalloped rim and spout; acanthus, egg and dart banding at neck, and a body with elaborate Rococo style repousse floral bouquets and central cartouche with engraved monogram ALCORN, all on a ribbed, spreading footring. 11" H. 39.17 oz troy. Goblets are unmarked with beaded rims, grape clusters, leaves and vine motifs surrounding cartouches engraved ALCORN, and beaded foot rings. 6 5/8" H. 11.75 oz troy. Combined weight: 50.92 oz troy. Provenance: Private Indiana collection, acquired from Benjamin Solomon Antiques of Indianapolis, who acquired the pieces from the great grandson of Gov. Alcorn. Note: The High Victorian style pitcher bears a strong resemblance to the Gorham silver tea set acquired by First Lady Mary Todd Lincoln in 1861, with its masks, Rococo floral vignettes, and naturalistic leaf forms. That pattern was not made expressly for the White House but is believed to have been an off-the-shelf item. Ref. Charles H. Carpenter, "Gorham Silver," pp. 54-57. Biography: James Lusk Alcorn was born in Illinois, and attended college in Kentucky. He served in the Kentucky House of Representatives in 1843 before moving to Mississippi, where he set up a law practice in Panola County. His practice flourished, allowing him to amass large holdings of land and slaves. A Whig, he served in the Mississippi House of Representatives and Mississippi Senate in the 1840s and 50s, and initially opposed Secession. But when the Civil War began, he joined the Confederacy and served as a Brigadier General for 18 months. Two of his sons died during the war. Alcorn managed to hold on to his wealth by trading cotton with the North, and by the time the war ended, he was estimated to be one of the 50 wealthiest men in the South. Now a Republican, Alcorn supported suffrage for Freedmen, endorsed the 14th Amendment, and became the leader of the Scalawags. He was elected Governor of Mississippi in 1869 and served until 1871, when he resigned to become a U.S. Senator. An advocate of education, he supported (segregated) public schools for African American students and a new college for African American students in Mississippi, now known as Alcorn University. Although a former slaveholder himself, he called slavery "a cancer upon the body of the Nation". Alcorn lived and died at his plantation, Eagle's Nest, in Coahoma County. He was married to Mary C. Stewart of Kentucky and, following her death in 1849, to Amelia Walton Glover of Alabama. He is buried in the cemetery on his family's former property; the house was destroyed by fire many years ago. Source: National Governor's Association website; Congressional Globe, 42 Congress 2 Session, pp. 246-247; Eric Foner, "Reconstruction" (1988). Condition: Overall very good condition. Pitcher: several scattered minor scratches and very small dents, under 1/4". Goblets: The section of foot next to the base of the stem has a lower profile on one goblet than the other, possibly a result of dents being repaired or possibly as made (they are otherwise identical). Goblets otherwise in excellent condition with minimal scratching and a few tiny dents. No additional monograms (other than Alcorn) or monogram removal on any of the pieces. [See more photos →]

Rare Kentucky coin silver salver or small footed tray, 10" diameter, with engraved scenic designs, one of a Gothic style building and tower, the other of an Arabian or Russian style building in a landscape, both enclosed in cartouches, with two other vacant cartouches and a center one engraved WILLIAM ROBINSON HUNTER FROM HIS FATHER AND MOTHER NOV. 15, 1857, all enclosed within an ovolo border and supported on three scrolled feet. Stamped HINTON and COIN en verso, attributed to William M. Hinton, working Paris, KY c. 1844-1847 and 1854, and Shelbyville, KY c. 1847-1854. 14.57 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Overall good condition with some wear to engraving and a couple of small scratches. [See more photos →]

Five (5) Kentucky coin silver mint julep cups, all with reeded rims and foot rings, all marked GARNER & WINCHESTER and LEX KY in rectangles for Eli Garner and Daniel Frank Winchester, working Lexington 1842-1862. Two of the cups are 3 1/2" H and are not monogrammed. Two cups measure 3 1/4" H and are engraved "Presented to M.A. Payne by her Father" on side and additionally marked 10 OZ 15 in rectangle on base. One measures 3 3/8" H and is monogrammed LHY and additionally marked 10 OZ 15 in rectangle on base. (Note: 10 oz 15 was a 19th century mark sometimes used to indicate coin silver). Combined weight 23.61 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Scattered small scratches and minor dents to each cup (up to 3/8" L, on one of the Mary Payne cups); overall very good condition. [See more photos →]

Coin Silver mint julep cup stamped A. BLANCHARD in rectangle for Asa Blanchard, working Lexington, KY, 1808-1838, with eagle psuedohallmark (mark used circa 1820-1838). Tapering cylindrical sides and reeded rim and foot ring, monogrammed C. 3"H, 4.35 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Overall excellent condition with a couple of tiny dents, under 1/4"L. [See more photos →]

Kentucky agricultural premium coin silver pitcher or ewer, pear shaped form with molded rim and acanthus overlaid C scroll handle, raised on a tall circular beaded foot. Engraved inscription AGRICULTURAL AND MECHANICAL ASSOCIATION to body underneath spout. Stamped on bottom, J. KITTS for John Kitts, working Louisville, Ky 1836-1878, along with C, COIN and C&B. 10 3/4"H. 15.3 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Several scattered small dents and scratches, up to 1/4", overall good condition. [See more photos →]

Three (3) Kentucky coin silver julep cups, all with incuse marks G. SHARP JR DANVILLE KY for George Sharp Jr., working Danville circa 1857-late 1860s. One has beaded rim and monogram AGNES BRIGHT, one has beaded rim with no monogram, and the third has a molded rim and monogram S G CLARKSON. Heights differ for each cup and range from 3 1/2" to 3 1/4" H. Combined weight 15.17 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Cups in overall very good condition with scattered minor scratching and denting, largest is a 1/2" dent on Clarkson cup. Clarkson cup also has some pitting to interior. [See more photos →]

Three (3) Kentucky coin silver agricultural premium mint julep cups, each with beaded rim and foot ring and engraved inscription "South Western Agricultural & Mechanical Association / Mallory". Incuse mark "J. KITTS" to underside for John Kitts, Louisville, Kentucky (working 1843-1878; this mark used circa 1836-1874). Heights range from 3 3/4" to 3 7/8" H, combined weight 15.99 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: All items overall good condition. One cup with shallow, 1/4" linear dent to side. One cup with dent to foot ring and some scratching under "Mallory." [See more photos →]

Assembled set of eight (8) Kentucky coin silver tablespoons or serving spoons attributed to Asa Blanchard, working Lexington, c. 1808-1838. Includes 4 with plain fiddle handles marked A BLANCHARD in rectangles; 2 with reverse tipt handles marked A BLANCHARD in rectangles; and 2 with reverse tipt handles and incuse mark BLANCHARD. All approximately 8 3/4" L, combined weight 12.97 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: All with some minor dents to bowls; one bowl has signficant denting. One spoon has repair to handle. All with varying degrees of loss to bowl ends. Various monograms. Some marks worn. [See more photos →]

Assembled set of twelve (12) Kentucky coin silver teaspoons, all marked BLANCHARD in rectangles for Asa Blanchard, working Lexington, c. 1808-1838 (this mark used c. 1820-1838; ref Boultinghouse, Marquis. Silversmiths of Kentucky, 1785-1900, p. 299 fig. 29E.). All 5 3/8" L, combined weight 5.04 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: No monograms; 1 or more monograms possibly removed. Some marks worn. [See more photos →]

Three (3) Kentucky coin silver julep cups or beakers, each having molded rim and footrings, one with additional beading at rim and footring, tapered bodies, underside with incuse marks MCDANNOLD for George W. McDannold, working Mt. Sterling, Winchester and Covington, Kentucky, 1829-1863. One has engraved inscription reading "J.P. Gouley." 3 5/8" H x 3 1/4" dia. 15.480 total troy ounces. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: All items in overall good condition with surface scratches, dents, largest 3/4". Possible repair to rim or cup with beaded trim. [See more photos →]

Two (2) Kentucky coin silver mint julep cups, each marked T. AYRES in rectangle for Thomas Ayres, working Danville, 1823-1857. One cup is monogrammed DLC, the other is not monogrammed. Both measure 3 3/8" H, combined weight 9.56 oz troy. Note: Thomas Ayres, son of one of Kentucky's earliest silversmiths, Samuel Ayres, worked in Danville, Kentucky and later in Keokuk, Iowa before returning to Danville in 1861-c.1870. Marquis Boltinghouse attributes the T. AYRES mark in rectangle, along with an eagle pseudo hallmark that is not present on these cups, to his 1823-1857 period of residence (ref. "Silversmiths of Kentucky" pp. 297-298). The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Both with some scratching (especially the monogrammed cup), but in overall very good condition. [See more photos →]

Kentucky coin silver cream ladle and tongs, attributed to Asa Blanchard, working Lexington circa 1808-1838, 2 items total. 1st item: Sugar tongs with round grips and plain, elongated arms, double struck on each arm with incuse marks BLANCHARD, script monogram FB. 5 3/4" L. 2nd item: Cream ladle with plain fiddle handle, worn mark A. BLANCHARD in rectangle. 5 1/4" L. Combined weight: 1.68 oz troy. Both circa 1820-1838. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Tongs: Excellent condition. Ladle: Possible old worn monogram erasure. Maker's mark worn. Some dents to bowl, otherwise very good condition. [See more photos →]

Kentucky Agricultural Premium coin silver cream pitcher or milk jug with elaborate floral and scroll repousse decoration, rocaille chased rim and center cartouche inscribed SOUTHWESTERN AGRICULTURAL AND MECHANICAL ASSOCIATION, beaded and scrolled handle, with flat spiral reeded foot. Stamped PURE COIN / K&P / J. KITTS for John Kitts, working Louisville, 1836-1878. 6 1/2"H, 7.18 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Some denting to footring, shallow dent to left side of cartouche, scattered minor dents and scratches, overall good condition. [See more photos →]

Kentucky coin silver ladle marked TK MARSH and PARIS KY in rectangles (Thomas King Marsh, working Paris, Kentucky, 1831-1877+), the fiddle handle is monogrammed "AC". 8 5/8" L, 2.19 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Overall very good condition. [See more photos →]

Scarce pair of Kentucky coin silver eyeglasses, one arm of frame marked R FRAZIER in serrated rectangle, attributed to Robert Frazier Sr., working Paris KY prior to 1799 and Lexington 1799-1851. Exterior of opposite arm marked 44. 4 1/2" W x 4" D. Provenance: The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Note: Mrs. Spiller is seen discussing these eyeglasses on a 2015 episode of "Kentucky Collectibles" https://www.youtube.com/watch?v=uDWhOdCYvgA . Condition: Very good condition. Glass may or may not be original. [See more photos →]

Two (2) Kentucky coin silver mint julep cups with reeded rims, incuse marks on underside H.McC for Hugh McConaghy, working Danville, KY c. 1870. Cups range in size from 2 3/4" to 3 3/4" H. Combined weight 6.92 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Overall excellent condition with no monograms or inscriptions. A few tiny dents and scratches. [See more photos →]

Three (3) Kentucky coin silver julep cups or beakers, each having molded tops, foot rings, and tapered bodies, underside with incuse retailer marks J. B. AKIN DANVILLE KY for John B. Akin (working Danville, Kentucky circa 1855-1860), and additionally stamped *PLK* STANDARD or P. L. Krider Philada Standard for maker Peter Krider (Philadelphia, PA working 1850-1860). One (1) monogrammed with script "B" below a crest of a raised arm holding a dagger and one (1) with inscription reading "From Noah To Kate." All approximately 3 1/2" H x 3 1/4" dia. 14.855 total troy ounces. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Overall good condition with surface scratches, dents, largest 1 1/2". [See more photos →]

Two (2) Kentucky or Ohio Coin silver mint julep cups with beaded upper and lower rims, incuse stamp on underside W.R. EVANS for William R. Evans, working Cincinnati c. 1844-prior to 1850 and in Covington, KY by 1850-1855. One with engraved monogram OPC and the other with engraved monogram J.P. COX. Both 3 3/4" H, 9.75 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: One cup with a couple of shallow scratches/dents up to 1/3" L, the other with a deep tiny dent. Overall good condition. [See more photos →]

Two (2) coin silver cups or mugs, marked for G.W. Stewart, Lexington, and W.M. Hinton. 1st item: Coin silver cup with floral wreath design enclosing an inscription, ROBERT SPOTSWOOD RUSSELL FROM HIS MOTHER, with reeded rim and foot ring, and angular handle. Incuse mark G. W. Stewart for George W. Stewart, working Lexington, 1843-1852. 3 1/2"H. Note: the recipient of this cup was likely Robert Spotswood Russell of Fayette Co., Kentucky (1818-1852), son of Thomas Allen Russell and Anne Mastin Allen, and grandson of the General Robert Spotswood Russell who established "Poplar Hill" on Russell Cave Pike in the 1790s. 2nd item: Coin silver cup with floral/scroll cartouche and engraved inscription SAB FROM PS, with molded rim, egg and dart banding at foot ring, and C scroll handle. Marked in rectangle for William M. Hinton, working Paris, KY 1844-1847 and 1854-1900 and Shelbyville, KY 1847-1854, along with pseudohallmarks and incuse mark for M.W. Galt & Bro., working Washington, DC 1847-1879. 3 1/2"H. Combined weight 9.85 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Stewart cup has very rubbed mark; a couple of fairly deep dents, under 1/4" L, and some scratches, Hinton cup slightly out of round, especially on bottom, with some shallow denting to side. [See more photos →]

Diminutive Kentucky coin silver julep cup with molded rim and foot ring, stamped J. EUBANK in rectangle on underside for James, John or Joseph Eubank, working Glasgow, KY circa 1808-1850. No monograms. 3 1/4" H, 3.6 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Mark has some wear. 1/4" small dent to side, otherwise very good condition. [See more photos →]

Scarce Jonesborough, Tennessee, watercolor landscape painting on cardstock, depicting various figures and animals harvesting a crop of wheat and engaging in various activities. Including a female resting below a tree with two young children, a female gathering hay and a young girl with dog holding a water barrel foreground with other figures gathering wheat, a figure riding on horseback, a horse-drawn carriage and a cottage in the background. Titled lower center margin THE HARVESTERS. Signed lower left by Elizabeth E. George and lower right "Jonesboro F. Academy Feb. 1838-9". Cardstock/Paper -15 3/4" H x 12 3/4" W. Framed – 16 1/4" H x 20 1/4" W. This watercolor landscape, depicting harvesting activities, was possibly inspired by prints of 16th and 17th Flemish harvest landscapes by artists like Pieter Bruegel (Brueghel) the Elder or Younger and Joos de Momper the Younger. The rendering of the dog in the lower right corner is especially reminiscent of animals depicted from an earlier era. Additional note: The Jonesboro Female Academy was organized in 1833 by a local group of citizens and continued to operate until 1852, when it was combined with the Odd Fellow Female High School. The artist of this work may be Elizabeth George, born circa 1820 in Greene County, daughter of William George (son of a German immigrant) and his wife Elizabeth Clutz. She married Richard Elder in Greene County in 1847. Condition: Overall toning noted to paper. Horozontal line of residue extending through the head of the little girl with the dog and above the woman seated, holding a child. No attempt was made to remove this residue. Some fading to ink inscriptions to lower margin. [See more photos →]

Sallie Smith (Tennessee, 19th/20th Century) charcoal and gouache on paper drawing, possibly an allegory, depicting a young boy, likely meant to represent the god Dionysus, holding a bunch of grapes and a young girl, likely meant to represent the goddess Demeter, holding a sickle and a small bunch of grapes, seated next to a sheaf of wheat. Signed and inscribed "Sallie Smith/Soule Female College/Murfreesboro. Tenn." lower left. Housed under glass in a distressed giltwood frame. Sight: 29" H x 21" W. Framed: 34" H x 26" W. Note: "Located on North Maple Street from 1853 to 1917, Soule College was Murfreesboro's longest-lived female academy. Soule offered instruction from primary education through college. Women always made up more than half the faculty. The school reached its apex in 1904, when 28 women received diplomas under the leadership of progressive educator Virginia Oceania Wardlaw. The 1908 catalog emphasized that the college was "not a fashionable society school" but a place designed to teach women 'how to live as well as how to think.' Well-known local women who attended Soule include Mattie Ready (who later married General John Hunt Morgan), Kate Carney (who later taught at Soule), artist Willie Betty Newman, and Jean Marie Faircloth (who later married General Douglas MacArthur)." (source: https://www.mtsuhistpres.org/wp-content/uploads/2014/08/In-the-Footsteps-of-Notable-Women.pdf). The Estate of James W. Perkins, Jr., Nashville, Tennessee. Condition: Overall good condition with toning. Areas of loss/acid burn, largest 1 1/4", to paper with overpainting, primarily to left side of girl's face and chest. 1" tear, top center of sheet. Not examined outside of frame. [See more photos →]

Pair of oil on canvas landscape paintings, attributed to Joseph Rusling Meeker (Missouri/Louisiana, 1827 – 1887). 1st item: Oil on canvas landscape painting titled "Farm Scene" depicting a farmstead with a wooden bridge and cows drinking from a stream foreground, farmstead with figures conversing mid-ground and a body of water with sailboats in the background. Inscription en verso reads "Pt. by J. R. Meeker Jan. 1846". Housed in an carved wood frame with giltwood liner and brass nameplate attributing the work to Meeker. Sight: 19 3/8" H x 23" W. Framed: 26 1/4" H x 30 1/2" W. 2nd item: Oil on canvas landscape painting titled "Country Bridge at Dusk" depicting figures on a stone bridge and in a rowboat with a dog foreground, cows entering the water with a figure rowing a boat left mid-ground and figures walking along a pathway with a farmstead visible left background. Inscription en verso reads "J R Meeker Jan 1846". Housed in a carved wood frame with giltwood liner and brass nameplate attributing the work to Meeker. Sight: 19 1/2" H x 23" W. Framed: 27" H x 30 3/8" W. Note: the 1846 date for Meeker is very early in his painting career. Similar compositions and treatment of figures and architecture are seen in two 1849 dated Meeker paintings sold by Skinner on November 8, 2009, lots 35 and 36. Condition: 1st item: Painting overall good condition. Canvas has been wax-lined and re-stretched with some wear noted to upper margin, overall light cracklure. Frame with some slight scattered abrasions. 2nd item: Painting overall good condition. Canvas has been wax-lined and re-stretched, overall light cracklure. Frame with some slight scattered abrasions. [See more photos →]

Cornelius Hankins (American/Mississippi/Tennessee, 1863-1946), Impressionist style oil on board painting of a New Orleans courtyard. Signed lower left. Devoe and Raynolds artist board label en verso. Matte textured giltwood frame. 8" H x 11" W sight, 12" H x 15" W framed. Provenance: by descent from the estates of Thomas and Peggy Connor, Nashville, Tennessee. Note: Mississippi-born artist Cornelius Hankins studied in Nashville with Professor E.M. Gardner, founder of the Nashville Art Association, and George Chambers. He also studied with Robert Henri, leader of the Ashcan School, and with William Merritt Chase in New York. He was active for much of his career in the Nashville area and in Richmond, Virginia. Condition: Overall good condition with some light grime. A few miniscule scattered flakes along right side. Note: the white spots under the window appear to be painted white flowers, not paint losses. [See more photos →]

Large George Rodrigue (Louisiana, 1944-2013) acrylic on canvas titled "Trees Are Green; Dogs are Not Supposed to be Blue". The painting depicts two of Rodrigue's best known images: a Blue Dog with yellow eyes, foreground, and a moss laden "Rodrigue Oak" tree against an expressionist yellow, gold, blue and green background. Signed Rodrigue lower left, additionally signed and dated 2011 en verso. Housed in a molded gilt wood frame. Canvas: 36" x 48". Framed: 43" H x 55 1/4" W. Provenance: Private Southern Collection, acquired from George Rodrigue Gallery, New Orleans, 2012. This painting will be included in the forthcoming catalog raisonne of George Rodrigue works being prepared by the artist's estate. Note: this painting was begun by Rodrigue on Nov. 11, 2010 during an event at the Central School Arts and Humanities Center in Lake Charles, Louisiana to raise funds and awareness for the George Rodrigue Foundation for the Arts. We wish to thank the Rodrigue estate for providing a digital photograph George Rodrigue at work on this painting. Biography: Born and raised in Cajun Country, artist George Rodrigue "portrayed on his canvas what he feared was his dying heritage – including its land, people, traditions, and mythology and sought to "graphically interpret the Cajun culture, preserving it in the face of a progressive world". Rodrigue began to draw and paint as a child, after being confined to bed with polio. Recovered, he went on to study art at the University of Southwest Louisiana and the Art Center College of Design, then in Los Angeles. In the early 1990s he was commissioned to create art for a book of Cajun ghost stories. This project was the genesis of his Blue Dog Series, inspired by the French-Cajun loup-garou legend, and modeled after his own childhood dog, Tiffany. Blue Dog catapulted him to worldwide fame. Rodrigue portrayed his famous melancholy canine subject in a variety of unlikely settings, with Presidents, celebrities and in ads for Absolut Vodka, as well as in traditional bayou landscapes. A passionate philanthropist, Rodrigue later founded the George Rodrigue Foundation of the Arts www.rodriguefoundation.org, advocating the importance of the arts in education. Programs include art supplies for schools, scholarships, and arts integration through Louisiana A+ Schools. Rodrique died of cancer in 2013 at the age of 69. (Source: The George Rodrigue Foundation). PRE-APPROVAL IS REQUIRED TO BID ON THIS LOT. PLEASE CONTACT CASE ANTIQUES, INC. AT THE KNOXVILLE GALLERY FOR DETAILS. 865-558-3033 or BID@CASEANTIQUES.COM. Condition: Overall excellent condition, no damage. [See more photos →]

Nell Choate Jones (Georgia/New York, 1879-1981), "Peille, France," oil on canvas landscape painting depicting a road winding through a village, set into the side of a steep mountain. Signed faintly lower right corner. Float mounted in a frame with narrow gilt metal edges. Entry card label en verso of painting for the National Association of Women Artists 59th Exhibition in New York City, 1951, held at the National Academy of Design. Additional labels for Marbella Gallery Special Exhibition 5/22-6/15/1979 and and Phillips Auction house, Manhattan. Canvas: 20 3/4" H x 22 3/4" W. Framed: 23" H x 25" W. Provenance: Estate of Carl Klein, Brentwood, TN. Biography: Born in Hawkinsville, Georgia, Nell Choate was only five years old when her father, who had served as a captain in the Confederate forces, died and her family relocated to Brooklyn. Following graduation from Adelphi Academy, she taught elementary school. Her career objectives changed in the 1920s, when her husband, the etcher and painter Eugene Arthur Jones, encouraged her to focus on art. Her impressionistic landscapes appeared in the Southern States Art League's 1925 exhibition in Atlanta and, two years later, at the Holt Gallery in New York City. Jones traveled to Paris in 1929, where she was awarded a scholarship to the Fontainebleau School of Art, located in the heart of the French countryside made famous by the Barbizon painters. In 1936, Jones returned to Georgia and found inspiration in the South; this subject matter triggered a shift in Jones' aesthetic. She began to make periodic trips to the South, where she created landscapes as well as genre scenes of regional traditions. Frequently, her paintings depict African Americans at labor and in moments of leisure. Jones served as president of the National Association of Women Artists and, simultaneously, as the first female president of the Brooklyn Society of Artists. In 1941, Jones initiated efforts to establish an art museum at Berry College in Rome, Georgia, to which she donated twelve paintings. As Jones neared her centennial birthday, she was named Woman of the Year by the National Association of Women Artists and was honored with a Distinguished Citizen Award from the Brooklyn Museum. (adapted from The Johnson Collection). Condition: UV light examination suggests some possible restoration to window/balcony area of the largest building, lower left quadrant, otherwise excellent condition. [See more photos →]

Helen La France (American/Kentucky, 1919-2020) large oil on board panoramic painting depicting a group of cows resting and grazing by a barn structure with two male figures working far right foreground, a dirt road bordered by a whitewashed fence and a farmhouse with two female figures and a clothesline mid-ground, and several farmsteads nestled amongst rolling green hills below a bright blue sky background. Signed and dated lower right "Helen Lefrance '95". Housed in an ebonized and gilt wood frame. Sight: 23 1/2" H x 47 3/8" W. Framed: 26 1/2" H x 50 1/4" W. Biography: Self-taught African American artist Helen LaFrance was born on a Kentucky farm and began painting in her 40s. She is known for her "memory paintings", drawn from her recollections of life growing up in the rural South. Several museums and private collectors, including Oprah Winfrey, own examples of her work." (Source: "Helen LaFrance Folk Art Memories" by Kathy Moses). Helen Lafrance died November 22, 2020, in a Mayfield, Kentucky nursing home at the age of 101. Condition: Painting overall very good condition. Frame with minor wear to back corners. [See more photos →]

Helen La France (Kentucky, 1919-2020) large oil on canvas landscape painting depicting an African American congregation gathering for a Church Picnic, with automobiles parked in front of a church and horse and buggy approaching lower left; a table is being spread in the background, while little girls play a circle game in the right foreground. Signed "Helen La France" lower right. Molded stained wood frame with Lyzon, Nashville frame label en verso. Sight: 15 1/2 "H x 29 1/2" W. Framed: 21" H x 35" W. Provenance: Private Tennessee collection, acquired by consignor's parents directly from the artist. Biography: "Self-taught African American artist Helen LaFrance was born on a Kentucky farm and began painting in her 40s. She is known for her "memory paintings" drawn from her recollections of life growing up in the rural South. Several museums and private collectors, including Oprah Winfrey, own examples of her work." (Source: "Helen LaFrance Folk Art Memories" by Kathy Moses). Helen LaFrance died November 22, 2020 in a Mayfield, Kentucky nursing home at the age of 101. Condition: Overall excellent condition. Tiny spot of trapped debris or cluster of dried paint on limb of center tree. A few minor abrasions to frame. [See more photos →]

Purvis Young (Florida, 1943-2010) outsider art mixed media on board assemblage painting depicting a semi-truck foreground with a multi-colored abstract city skyline in the background. Signed upper right "Young". Painting is float mounted on black painted wood panel with a conforming black painted wood frame. Painting: 27 3/4" H x 31 1/4" W. Overall: 29 1/2" H x 33 7/8" W. Provenance: Private East TN collection. Condition: Overall good condition with minor losses to both left painting corners and light overall grime. Old holes in painting board are original. Minor wear and losses to frame. [See more photos →]

Mary Tillman Smith (Mississippi, 1905-1995) folk art house paint on found wood portrait depicting a woman waving her hands on a yellow background. Signed in pen en verso. Rustic wood frame, painted black. 21 1/2"H x 35"W. Frame: 26 1/2" x 40". The Collection of Sylvia Roberts, Nashville, TN. Condition: Painting overall excellent condition with a few flyspecks. Some chips and losses to frame. [See more photos →]

Two (2) Mose Ernest Tolliver (Alabama, 1919-2006) folk art house paint on wood panel paintings, including one (1) depicting a human figure wearing a blue hat and holding two purple walking sticks against an off white background and surrounded by a purple border, and one (1) depicting two birds, rendered in shades of blue, off white, and green, against an off white background with purple dots throughout. Both signed "MOSET" with backward "S," lower left. Human figure painting with a metal bar, bird painting with a soda can tab, en verso. Bird painting housed in a rustic wooden frame, human figure painting is unframed. Human figure panting: 26 1/2" H x 17 3/4" W. Bird painting: Sight: 13" H x 19 1/2" W. Framed: 18" H x 24 1/2" W. The Collection of Sylvia Roberts, Nashville, TN. Condition: Both items in overall good condition with natural age shrinkage to panels. Human figure painting with areas of loss, largest 1 1/4", to edges of panel. [See more photos →]

Jimmie Lee Sudduth (Alabama, 1910-2007) paint and mud on board outsider art painting depicting a locomotive train engine. Signed left center. Natural rough hewn wood frame. Sight 35" H x 47"W, frame 41"H x 53"W. The Collection of Sylvia Roberts, Nashville, TN. Condition: Overall very good condition, 8" natural crack in wood extending from top left edge, some scattered splatters and flyspecks. Some scattered wear to frame. [See more photos →]

Jimmie Lee Sudduth (Alabama, 1910-2007) paint and mud on board outsider art painting depicting a cow on green grass. Signed upper left. Sight – 35"H x 47"W. Frame – 41"H x 53"W. The Collection of Sylvia Roberts, Nashville, TN. Condition: Overall very good condition. Some natural cracking to wood, small hole lower center likely in wood before paint was applied; some scattered white paint spots possibly as applied; some light splatters upper right corner. [See more photos →]

Jimmie Lee Sudduth (Alabama, 1910-2007) mud and paint on board outsider art painting, depicting a young girl riding a bicycle, with her dog in a crate on the back, and a train to the left. Signed upper right "Jim Sudduth". Unframed. 24" H x 48 1/4" W. 20th century. Provenance: Estate of Carl Klein, Brentwood, TN. Condition: Overall very good condition. [See more photos →]

Charles Counts (Kentucky, 1934-2000) Civil Rights inspired art pottery lidded jar, with allover incised decoration including figures being doused by a fireman’s water hose, a dog barking at a figure and other figures with raised hands and shouting. Incised inscription around the shoulder reads “Lift Up Our Voices Against The Mob”. Additionally incised on the base “Charles Counts/Rising Fawn/Georgia/1963”. 13 3/4″ H. Charles Counts (1934 – 2000) was inspired to create this piece by the Birmingham Race Riots of 1963. The Kentucky born potter, designer, textile artist, and quilter was also a social activist, as well as a writer and teacher who worked to preserve the art forms of his native Appalachia. Counts attended Berea College in Kentucky and earned a master’s degree in pottery and weaving at Southern Illinois University in 1957. He then studied under Bauhaus-trained master potter, Marguerite Wildenhain in California and also did advanced work in ceramic technology at the University of Southern California under Carlton Ball and Susan Peterson. Counts established a pottery studio with his wife Rubynelle in Oak Ridge, Tennessee in 1959, before moving to Lookout Mountain, Georgia in 1963. His Georgia studio was called The Pottery Shop at Rising Fawn. The Counts helped form the Designer-Craftsmen of the Southern Appalachians, and were prominent members of the Southern Highland Handicraft Guild. They later moved to Nigeria where Charles taught at the University of Maiduguri until his death. Private Chattanooga, TN collection. Condition: Excellent condition. Protective felt pads added to rim and base. [See more photos →]

William Edmondson (American/Tennessee, 1874-1951) limestone "Critter" sculpture depicting a small animal sitting upright on its hind legs, with front feet cast downward, atop a rectangular integral base. 12 3/8" H x 5" W x 7 3/4" D. Provenance: Private Southern collection. Note: This "Critter" is stylistically similar to 2 sculptures sold by Case Antiques in 2011, Lot #190 and in 2020, Lot #153. While this form is most similar to the example sold in 2020 in the sculpting of the ears and the slope of the neck, this example has an elongated oval head more similar to the form sold in 2011. Biography: William Edmondson was born in Davidson County, Tennessee, the son of freed slaves, and worked most of his life as a railroad employee and janitor. A spiritual experience at the age of 57 prompted him to begin sculpting limestone using a railroad spike as chisel, and he claimed divine inspiration for the works produced during his 17 year art career. In 1937, Edmondson became the first African American artist to have a solo show at the Museum of Modern Art, and he is regarded as one of the most important self-taught artists of the 20th century. PRE-APPROVAL IS REQUIRED TO BID ON THIS LOT. PLEASE CONTACT CASE ANTIQUES, INC. AT THE KNOXVILLE GALLERY FOR DETAILS. 865-558-3033 or BID@CASEANTIQUES.COM. Condition: Overall good condition with general wear to surface. Underside front corner of base with old chip. [See more photos →]

Elizabeth Catlett (American, 1915-2012) bronze sculpture titled "The Family", depicting an African American father, mother and child standing and embracing one another. Initialed "EC" on the sculpture base. Sculpture with ebonized brushed patina and mounted onto a square wood base. Sculpture: 14 5/8" H x 5" W. 16 3/4" overall total H. Provenance: private California collection, by descent from the estate of Clara D'Agostino, New York. Artist biography: Elizabeth Catlett is best known for her prints and sculpture, which she believed could help inspire social change, particularly in regards to African American women. She earned a Bachelor of Arts degree from Howard University and a Master of Fine Arts degree in 1940 from the University of Iowa. Her painting teacher at Iowa was the artist Grant Wood, who encouraged his students to make art about the subjects that they knew best and to experiment with different art mediums. Catlett went on to become the Chair of the Art Department at Dillard University in New Orleans. and from 1944-1946 taught at the George Washington Carver School in Harlem, which offered instruction for the working men and women of the city. In 1946, she was awarded a Rosenwald Fellowship. She and her husband, the artist Charles White, traveled to Mexico. She eventually settled there and eventually married the artist Francisco Mora. She worked as the first woman professor of sculpture and later Chair of the department at the National School of the Fine Arts in Mexico. (Source: Charlotte Streifer Rubinstein, "American Women Artists," and the National Museum of Women in the Arts). Condition: Overall very good condition. [See more photos →]

Joseph Delaney (Tennessee/New York, 1904-1991) watercolor on cream paper depicting a nude female figure with her left arm raised and resting on a wall with her lower arm by her side and holding fabric. Signed lower right JOSEPH DELANEY. Float mounted onto cream board and housed in a gilt wood frame. Sight/Paper: 17 3/4" H x 11 5/8" W. Framed: 27" H x 22 1/2" W. Condition: Some overall toning to paper, pin pricks to upper corners, slight bending to upper right corner. [See more photos →]

Elizabeth O'Neill Verner (South Carolina, 1883-1979), etching titled "The Brown Singer", depicting a young African American woman in a profile portrait pose, with upswept hair and flowing dress. Pencil signed by the artist lower right. Housed in a modern chrome frame. Image: 9 1/2" H x 7 3/8" W. Sight:10 3/8" H x 7 5/8" W. Framed: 16 1/2" H x 14" W. Provenance: Estate of Ruth T. Simpson, Fort Lauderdale, FL. Previously in the collection of Douglas Kearny Valldejuli, a past president of the Paralyzed Veterans of America. Bequeathed to Ruth T. Simpson. Additional biographical information on Valldejuli available to winning bidder upon request. Condition: Etching in overall very good condition. Chrome frame with some scattered abrasions. Not examined out of the frame. [See more photos →]

Carroll Cloar (Tennessee, 1913-1993) large signed graphite drawing on paper, doublesided, the first side depicting a smiling man wearing a hat and seated on a wooden crate, with three figures in the background. Titled lower left "Stevedore in Guayaquil, Ecuador" and signed "Carroll Cloar" lower right. Sketches en verso of a young girl. Float mounted and housed in a textured giltwood frame. Sheet: 40 1/2" H x 26 1/2" W. Framed: 50 3/8" H x 36 1/4" W. Likely one of Cloar's drawings from his travels in South America, circa late 1940s. Provenance: the Collection of Sylvia Roberts, Nashville, TN, formerly in the collection of Dr. Benjamin Caldwell of Nashville; acquired Brunk Auctions, May 20, 2006, lot 508. Biography: Carroll Cloar was known for incorporating nostalgic images from his Southern childhood, often merged with dreamlike motifs, into powerful magic realist scenes, and noted that literature, particularly by Southern Gothic writers such as William Faulkner or Eudora Welty, influenced his artistic approach. Cloar graduated from Southwestern College (now Rhodes College) in Memphis, Tennessee, and went on to study at the Memphis Academy of Arts under the artist George Oberteuffer. In 1936, he moved to New York to attend the Art Students League. There, CloarÕs achievements earned him a McDowell fellowship which he used to travel across the American Southwest, West Coast and Mexico. Cloar served with the Army Air Corps during World War II and upon his return, he was awarded a Guggenheim traveling scholarship to fund an extended sojourn to Central and South America. Two years later, several of his images were featured in a Life Magazine article titled 'Backwoods Boyhood', and Cloar's career went on to receive additional national acclaim. By the mid-1950s, Cloar had settled permanently in Memphis, where he produced paintings, often executed in casein tempera and acrylic paints. His works are in the collections of the Hirshhorn Museum and Sculpture Garden, Metropolitan Museum of Art, Museum of Modern Art, Brooks Museum of Art, and Library of Congress. In 1993, Cloar's painting, Faculty and Honor Students, Lewis Schoolhouse, was one of six paintings by American artists selected to commemorate the inauguration of President Clinton. (Source: The Johnson Collection/Memphis Brooks Museum of Art). Condition: Overall good condition. Perimeter of paper with creasing, minor scattered losses and very slight tears visible lower edge and left margin. Losses to paper upper left corner. Some minor brown specks, left mid section. [See more photos →]

McCullough Partee (Tennessee, 1900-1989) oil on canvas illustration art grisalle painting titled "The Wishing Well" depicting a young woman with long hair and a black, off the shoulder dress gazing at the viewer and standing by a well as she is approached by a man in a fedora and jacket, before a brick wall and a staircase in the background. Signed "MCC Partee" lower left and "McCullough Partee" lower right. Typed artist's biography and Lyzon, Nashville, TN label, en verso. Housed in a silver metallic painted wooden frame with black trim. Sight: 27 1/4" H x 33 1/2" W. Framed: 33 1/4" H x 39 1/8" W. Provenance: Art Collection of former Watkins College of Art; proceeds benefit scholarship endowment for students in the new Watkins College of Art at Belmont University. Biography: Mccullough Partee was born in Nashville in his grandfather's home across from the Tennessee State Capitol. He studied at the Chicago Academy of Fine Arts, and at the Art Institute of Chicago (where he later taught). In New York, he studied at the Art Students League with George Bridgman and Edward Penfield, at Grand Central School of Art with Harvey Dunn and Pruett Carter, and at the National Academy of Design with Charles Hawthorne (whose work is also represented in this auction). Although an easel painter, he was perhaps known for his illustration work, which appeared in Colliers, Liberty, and the Country Gentleman. In 1948, while working as art editor of the Southern Agriculturist, he was named a director of the Nashville Museum of Art; he also taught at the Nashville School of Fine Arts and was listed in Who's Who in American Art. A retrospective of his work was held at the Nashville Artist Guild in 1987 (Source: the Nashville Tennessean, June 5, 1987, Oct 11, 1951). Condition: Overall very good condition with craquelure. Areas of paint flakes, largest 3/8", primarily top right of canvas. 2" white paint mark with slight dent, lower left. Frame with minor areas of loss to paint. [See more photos →]

John Wesley Chumley (Virginia/Tennessee, 1928-1984) watercolor landscape painting titled “Bloodroot”. Depicting a woodland interior with flowering bloodroot plants emerging around a fallen tree with a rock wall background. Signed “Chumley” lower left and titled en verso. Housed under glass in a giltwood frame with linen liner. Sight: 16″ H x 28″ W. Framed: 25 1/2″ H x 37 1/4″ W. Biography: John Wesley Chumley was born in 1928 in Rochester, Minnesota while his father, a Tennessee native, was in his surgical residency at Mayo Clinic. He attended McCampbell School and the Tennessee Military Institute in Sweetwater, Tennessee. His concentration on art quickly grew. His post-graduate study under Walter Stuempfig at the Pennsylvania Academy of Fine Arts further convinced him that his field was realism and the rural countryside his stimulus. As he refined his work, there were other influential centers of art along the way–the Ringling School of Art in Sarasota, Florida, where he met his wife Bettye (Skip) Roberts; and the Fort Worth Center of Art, Fort Worth, Texas, where he was artist-in-residence from 1958-1961. In 1961 the couple moved to a 200-acre farm in Middleton, VA that provided scenery, wildlife, plants and inspiration for the artist. Chumley’s character and personality were reflected in the choice of his chief medium–egg tempera, the most difficult and “slowest,” although he also painted in watercolors and oil. His painstaking representation of scenery, plants, and lifelike human and animal subjects with tempera–a tedious process involving a mixture of pigment, egg yolk, and water which dried quickly–enabled him to express his perception of light. As John observed, “Light is my bag.” (source: Adapted from Askart, taken from http://www.fountaincitytnhistory.info/People5-Chumley.htm with the permission of Fountain City Historian J.C. Tumblin) Condition: Watercolor overall excellent condition. Frame with a few slight abrasions. [See more photos →]

Carl Sublett (Tennessee, 1919-2008) watercolor on paper landscape painting titled "Wintered Ridge #178" depicting a ridge with snow and brown grass beneath a cloudy grey and blue sky. Signed "Carl Sublett," lower right. Housed and matted under plexiglass in a wooden frame. Sight: 26 3/4" H x 34 3/4" W. Framed: 35 1/4" H x 42 3/4" W. Note: This painting was included in the Carl Sublett Exhibition, at the James K. Polk Center, Tennessee State Museum, in Nashville, TN, held February 15-May 6, 1984, and is pictured in the exhibition catalog on page 35. Biography: Carl Sublett studied Art History at the American Academy in Florence, Italy, after serving as a sergeant in World War II. He moved to Knoxville in 1954 where he studied with Kermit Ewing and eventually became a Professor of Fine Art at the University of Tennessee. Sublett was a founding member of the art group, The Knoxville Seven, a progressive group working from 1955-1965, which produced some of the first abstract expressionist art in Tennessee. In 1982 he retired from teaching and in 1984, he opened the Sublett Gallery in Knoxville. In 1991, "The Unseen Carl Sublett" was the first exhibit at the new Knoxville Museum of Art (built on the site of the 1982 World's Fair). Sublett won numerous awards for his paintings and was a member of the National Academy of Design. His works are in the collections of the National Academy of Design, The Tennessee State Museum, and Cheekwood, Nashville. (Source: The Tennessee Arts Commission). Condition: Overall good condition, L-shaped scratch to surface of watercolor in center of the frame approximately 5" long. Not examined outside of frame. Frame with minor abrasions. [See more photos →]

Mayna Treanor Avent (Tennessee, 1868-1959) impressionistic oil on canvas landscape painting depicting a bridge spanning a body of water, surrounded by trees with autumn foliage, a red farm visible in the background beneath a cloudy blue sky. Signed “Mayna T Avent” lower right. Handwritten note describing treatment performed by Frances de Brun Brown, circa July 1984, affixed en verso. Housed in carved giltwood frame. Sight: 18 1/2″ H x 24 1/2″ W. Framed: 24 1/2″ H x 30 1/2″ W. Biography: Mayna Treanor Avent was the daughter of Thomas O. and Mary Andrews Treanor. She was born September 17, 1868 at Tulip Grove Mansion, across the Lebanon Pike in Nashville from Andrew Jackson’s Hermitage. Study at Cincinnati was followed by two years at the Academie Julien in Paris. In 1891 she married Frank Avent, a Murfreesboro attorney who later served as State Railroad Commissioner for many years. He died in 1941. Avent taught painting in Nashville for many years and exhibited throughout the US. She painted in Mass. and SC, as well as TN. She produced oil and watercolor paintings, occasional drawings, and wood block prints in the Japanese manner. She was a member of the Nashville Studio Club, the Nashville Artists Guild, and the Centennial club, which in 1951 held a retrospective of her 68 year artistic career. She spent her last 3 years with her son in Sewanee, TN, where she died on Jan. 2, 1959. (source: THE SOUTH ON PAPER: LINE, COLOR AND LIGHT, “The South on Paper: Line, Color and Light” by James C. Kelly, published by South Carolina Department of Natural Resources, 1985, p. 22). Condition: Overall good condition with craquelure. Two areas of repair, largest 4″ x 5 1/2″, visible en verso. Inpainted, cleaned, and varnished by Frances de Brun Brown, circa July 1984. (See original hand written note en verso). Minor scattered areas of exfoliation, paint loss, largest 1/4″, top left quadrant. [See more photos →]

Louis Edward Jones (Tennessee, 1878-1958), "A Burst of Sunlight in the Smokies," impressionistic oil on canvas board landscape painting depicting a road leading into the Great Smoky Mountains, with a grove of trees in early autumn foliage in the foreground, and cloudy gray sky overhead. Signed and dated "L. E. Jones 1953" lower left. Titled, signed, and dated, en verso of board. Housed in a wooden frame with gilt trim. Sight: 9 5/8" H x 11 5/8" W. Framed: 13 1/2" H x 15 1/2" W. Note: Jones was an Impressionist painter from Woodstock, New York and established the Cliff Dwellers studio in Gatlinburg, Tennessee. Private Washington, DC area collection. Consignor's great uncle purchased directly from the artist. Condition: Overall good condition with a couple of minute paint touch ups (visible under UV light), less than 1/16" diameter in the upper middle part of painting. [See more photos →]

Louis Edward Jones (Tennessee, 1878-1958) impressionistic oil on board landscape painting depicting a group of trees with red and yellow autumn foliage at the base of a Smoky Mountain range, beneath a partly cloudy blue sky. Signed "Louis E. Jones" lower right. Housed in a wooden frame. Sight: 11 3/4" H x 13 3/4" W. Framed: 15 1/2" H x 17 1/2" W. Note: Jones was an Impressionist painter from Woodstock, New York and established the Cliff Dwellers studio in Gatlinburg, Tennessee. Private Washington, DC area collection. Consignor's great uncle purchased directly from the artist. Condition: Overall very good condition with a couple of minute paint touch ups (visible under UV light) less than 1/16" diameter. Dirt accretions, primarily to sky quadrant. Slight gap between board and frame across the top edge. [See more photos →]

Matilda Lotz (Tennessee/California/Europe 1858-1923) oil on canvas landscape painting depicting cattle in a meadow with a pond or stream in the foreground. Signed lower right corner "Matilda Lotz". Sight – 19"H x 28"W, Frame – 37"H x 40"W. Provenance: Private Middle Tennessee collection. Biography: Matilda Lotz was born in Franklin, Tennessee. She showed artistic promise at a very early age, drawing the household pets and farm animals. During the Civil War, her family's home was commandeered by Confederate forces for a hospital. (It stands today as the Lotz House Historic House Museum and is open to the public for tours in downtown Franklin). Following the war, the Lotz family left Tennessee and settled in San Jose. In 1874 Matilda began a six-year course of study under Virgil Williams at the School of Design in San Francisco. While there, she won several medals and graduated with the highest honors. Matilda also studied with William Keith, and in the 1880s in Paris under Felix Barrias and the animal painter Emile Van Marcke. While in Paris she received an honorable mention for her work exhibited at the Paris Salon and was awarded two gold medals by the Paris Academy of Painting (the first woman ever to be honored by the Academy). Returning to San Francisco in the mid-1880s, she painted portraits of such notables as William Randolph Hearst and Leland Stanford. In the 1890s, she returned to Paris where she was closely associated with Rosa Bonheur for several years. She received several European commissions from members of British nobility for her animal paintings. At the outbreak of WWI, she was living in Algiers until she was expelled by the French. Abandoning her belongings and paintings, in 1915 fled to Tata, Hungary, where she remained until her death. Her work is in the collections of the Corcoran Gallery of Art, the Oakland Museum, and the Milwaukee Art Center. (Sources: Interview; AAA 1907-08; KOV; Ben; CSL; WWA 1923." Adapted from Edan Hughes, ÒArtists in California, 1786-1940"). Condition: Overall very good condition. Tiny 1/16" hole, center, in trees; 1/2" scratch lower center near frame edge. Some minor losses and wear to frame. [See more photos →]

East Tennessee oil on fabric portrait of Judge John A. McKinney (1781-1845) by Samuel Shaver (TN, 1816-1878). The subject is attired in a dark suit and gold waistcoat and depicted seated in the “Napoleonic” pose. Housed in a carved mahogany veneer wood frame. Sight: 27 1/2″ H x 24″ W. Framed: 34″ H x 30 1/2″ W. Note: This portrait is illustrated in the Tennessee Portrait Project and referenced in “Portraits in Tennessee Before 1866,” page 78, entry #318. Note: Family history states that this portrait was completed circa 1842, making it one of the earliest known Shaver attributed portraits. Biography of the sitter: John Augustine McKinney emigrated from Ireland to the United States in 1800. He married Elizabeth Ayer and moved to Rogersville, Tennessee to practice law. McKinney was a successful lawyer and landowner and built many prominent structures in Rogersville. In 1824-1825, he built the McKinney Tavern House which hosted three U.S. Presidents including Jackson, Polk, and Johnson. The tavern was eventually renamed The Hale Springs Inn which was famous for being the oldest, continuously run Inn in the state of Tennessee. McKinney tried cases in Hawkins, Hancock, Sullivan, Washington, Greene, Grainger, Claiborne, Campbell, and Union Counties. He was appointed U.S. District Attorney by President John Quincy Adams and was chosen to represent his County in the State Constitutional Convention in 1834. Biography of the artist (Courtesy of James C. Kelly, Virginia Historical Society) Portraitist Samuel M. Shaver was born in Sullivan County, the son of David Shaver and Catherine (Barringer) Shaver. He may have been influenced by William Harrison Scarborough (1812-1871), a native-born Tennessee artist, four years Shaver’s senior, who did portraits of Shaver’s relatives. Shaver’s earliest known painting dates to 1845, but he was probably painting before that time. For the next quarter-century, he was East Tennessee’s standard portraitist. In 1851 Shaver was a professor of drawing and painting at the Odd Fellows Female Institute in Rogersville. In 1852 he advertised in Greeneville and Knoxville papers; for several years thereafter his whereabouts are unknown. The death of his first wife in January 1856 recalled him to Rogersville, where he remained until the Civil War. At the outset of the war, Shaver moved to Knoxville, where he became one of the founders of the East Tennessee Art Association. From 1863 to 1868 Shaver lived and worked near Russellville. About 1868 he joined his mother-in-law and family in Jerseyville, Illinois, near St. Louis, where he continued painting. He died June 21, 1878. The Estate of Alice Wright Summers Hale, Rogersville, TN. Condition: Conserved in the winter of 1989-90 by Cumberland Art Conservation in Nashville, TN. Relined with some light inpainting to subject’s forehead and new wax coating. A black light photo is included and an abbreviated conservation report is en verso of painting. [See more photos →]

Samuel Shaver (Tennessee, 1816-1878) portrait of Winifred Berry Benson of Culpeper, VA, oil on canvas, laid on board. The subject is depicted seated in a red chair wearing a dark dress with a white lace collar and matching cap, hands crossed in her lap and gold spectacles on her head. Housed in a carved gilt wood frame with an oval opening and beaded edge with stenciled spandrels. Includes Easter greeting cruciform card from the sitter or a relative. Sight: 29 1/2" H x 24" W. Framed: 36 3/4" H x 31 1/4" W. Biography of the sitter: Winifred Berry Benson was the daughter of James Benson and Dulcibella Berry. She married Captain James Richards (1774-1844), of Culpeper County, Virginia, circa 1799. They had seven children, including Harriet Somerville Richards, born March 12, 1820 at Culpeper County, VA, who married Philip Smith Hale, son of George Hale and Margaret Hamilton, on September 3, 1846 at Culpeper County, VA, and had ten children. Harriet appeared on the census of June 24, 1880 at Rogersville, Hawkins County, Tennessee, USA, as a widow. Harriet died on January 24, 1908 at Rogersville, Hawkins County, Tennessee, at age 87. She was buried Presbyterian Church Cemetery, Rogersville, Hawkins County, TN. (source: http://pembertonfamily.com/history/koplend/richards001.htm). Artist Biography (Courtesy of James C. Kelly, Virginia Historical Society): Portraitist Samuel M. Shaver was born in Sullivan County, the son of David Shaver and Catherine (Barringer) Shaver. He may have been influenced by William Harrison Scarborough (1812-1871), a native-born Tennessee artist, four years Shaver's senior, who did portraits of Shaver's relatives. Shaver's earliest known painting dates to 1845, but he was probably painting before that time. For the next quarter-century, he was East Tennessee's standard portraitist. In 1851 Shaver was professor of drawing and painting at the Odd Fellows Female Institute in Rogersville. In 1852 he advertised in Greeneville and Knoxville papers; for several years thereafter his whereabouts are unknown. The death of his first wife in January 1856 recalled him to Rogersville, where he remained until the Civil War. At the outset of the war, pro-Confederate Shaver moved to Knoxville, where he became one of the founders of the East Tennessee Art Association. The association commissioned him to do portraits of fifteen Confederate leaders and generals, presumably from photographs. None of the portraits have been located, and perhaps they were never painted. From 1863 to 1868 Shaver lived and worked near Russellville. About 1868 he joined his mother-in-law and family in Jerseyville, Illinois, near St. Louis, where he continued painting. He died June 21, 1878. The Estate of Alice Wright Summers Hale, Rogersville, TN. Condition: Original canvas laid on board. Overall light craquelure. Old repairs to left side of subjects face and left margin. A circular area of loss upper right quadrant. [See more photos →]

Hawkins County, Tennessee highly figured walnut serpentine chest of drawers, yellow pine and poplar secondary. Shaped top with diagonal grain banded walnut veneer over one overhanging dovetailed serpentine drawer above three graduated serpentine dovetailed drawers, all with cockbeading, inlaid kite escutcheons, and brass pulls. Highly figured stiles transition into fully fluted quarter columns topped and terminating with gilt spiral fluted carved balls, applied molding to inset paneled sides, case resting on turned Sheraton feet. 48 1/4" H x 43 1/2" W x 21 1/4" D. Circa 1820. Note: The incorporation of highly figured walnut into other Hawkins County furniture forms include a corner cupboard example illustrated in the book "The Art of Tennessee", illustrated on page 68, plate #33 and now in the collection of Historic Williamsburg Foundation. The Estate of Alice Wright Summers Hale, Rogersville, TN. Condition: Overall very good condition with older refinish. Three of four drawers retain the original locks, brass pulls later replacements. Top veneered edge with losses, mostly to front corners, and top right front side. [See more photos →]

Scarce inlaid East Tennessee tea table, butternut or walnut top with center having a circular inlaid fan of alternating light and dark wood inlay within an alternating inlaid center circle and the outside edge having an alternating inlaid band with cut corners. Top supported by a birdcage with square pilasters on a ringed vasiform pedestal, tripod base with shaped snake feet. Feet are dovetailed into the tripod base. 36 1/8" W x 25 7/8" D x 29 7/8" H. Circa 1825. The Collection of Ann Hale-Smith, Rogersville, Tennessee. Condition: Overall very good condition with an older refinish. Old split to center of top with a butterfly repair to underside. [See more photos →]

East Tennessee, Hawkins County, figured cherry Jackson press, poplar secondary, two-part construction with inlaid escutcheons for upper and lower cases. Top section with slanted ogee molded cornice over two astragal glazed doors opening to four shelves; the lower section having one dovetailed drawer over two paneled doors, flanked by half turned pilasters, paneled case sides, the whole resting on turned Sheraton feet. Appears to retain the original locks. Top: 43 5/8" H x 46 1/2" W x 14" D. Base: 47 1/4" H x 45 1/4" W x 19 3/4" D. Circa 1825. The Estate of Alice Wright Summers Hale, Rogersville, TN. Condition: Overall good condition. Older refinish with some sun bleaching of the left side. Top of base with some scattered scratching, minor abrasions to lower case base molding above turned legs, wear commensurate for age. [See more photos →]

Middle Tennessee Hepplewhite cherry sugar sideboard, poplar secondary. Comprised of a rectangular overhanging top over two deep scratch-beaded drawers, all dovetailed with brass pulls and brass inlaid escutcheons, over square tapered legs. 38" H x 38 5/6" W x 22 7/8" D. Probably Davidson County, TN, Circa 1820. Note: The overhanging top on the back of the sideboard indicates it was constructed to accommodate wainscoting and indicates the form maintains the original height. Provenance: private Nashville, TN collection, acquired from collectors Roy and Florence Striegel of Nashville 40 years ago. Condition: Overall very good condition with expected use wear. Older refinish with some wood shrinkage and staining to top, very small patch repair to left and right drawer support edge and old small patch repair to lower right corner of right drawer. Pulls have oxidation, drawer sides with slight buildup and replaced drawer supports. [See more photos →]

Unusual Reclining Writing Armchair and Framed Saddlebag, both originally belonging to Carey Allen Harris (1806-1842), Acting Secretary of War and Commissioner of Indian Affairs under U.S. President Andrew Jackson. 1st item: Late Classical or Empire style mahogany reclining armchair with upholstered seat and seat back; curved stiles and partially upholstered armrests, the curved hand rests each mounted with brass receptacles for a brass arm mounted with rosewood writing box and candlestick which can be fitted into either hand rest. Chair with ogee molded front seat rail flanked by ring turned front feet with brass casters; rear feet are raked and have never had casters. Old but not original light green velvet upholstery with brass tacks. Rosewood writing box features mother of pearl plaque inscribed "C.A. Harris" and a mother of pearl escutcheon, and a fitted and baize lined interior. Chair overall: 40" H x 20 1/2" W x 33" D. 2nd item: Leather saddlebag with brass plaque engraved C.A. Harris, mounted to linen lined shadowbox with burlwood frame. Saddlebag: 6" x 5", Frame: 11 1/2" x 10 1/2". Provenance: both items descended in the family of Carey A. Harris to current consignor. Note: Harris was a native of Williamson County, Tennessee. He and Abram P. Maury founded the Nashville Republican newspaper in 1824, and he went on to marry Maury's daughter, Martha. Harris was politically active and a part of President Andrew Jackson's inner circle. He worked as a clerk in the War Department and occasionally served as Acting Secretary of War when Lewis Cass was unavailable. Andrew Jackson appointed Harris Commissioner of Indian Affairs in 1836, a post he retained under President Martin Van Buren. He was involved in the forcible removal of Native Americans from the Southeast, and was forced to resign and return to Tennessee after evidence of his role in a scheme to speculate in Indian allotments came to light in 1838. He died a few years later at the age of 36. Although his political career ended in disgrace, Harris is also remembered for his role in printing "The Western Harmony" in 1824, which marked the beginning of music publishing in Nashville. A state historical marker stands at the site of Harris's former press near Third Avenue in downtown Nashville. Condition: 1st item: Overall good condition. Upholstery with wear and some scattered stains and grime. Some small losses to turned front feet; rear feet have been repaired and reinforced. Some losses to edges of sides. Writing box: Baise replaced; some age related separations and veneer repairs to lid. 2nd item: Saddlebag with alligatored surface, considerable wear, other half of saddlebag may not be present. Not examined out of frame; method of mounting to shadowbox is unknown. [See more photos →]

Middle Tennessee cherry sugar chest, possibly Williamson or Davidson County. Poplar secondary. Top with breadboard ends above a dovetailed case with inlaid escutcheon and an interior well originally fitted with a divider (removed earlier 20th century). Lower case with a plain, rounded molding over one dovetailed drawer and inlaid escutcheon, all resting on turned Sheraton legs. Signed in paint LWT to underside. 35 1/8" H x 24" W x18 1/2" D. Circa 1825. Provenance: descended in an early Williamson County family. Condition: Older refinish, interior well with original divider removed, locks are older replacements, replaced hinges, top with old replaced strip at the hinges (7/8" width), old replaced right breadboard end edge (1/2" width), old front edge replaced strip (1 1/2" width), right edge of case with old replaced strip (1/2" width), brass hinged bracket added to left side, lower drawer sides built up approximately 3/8". [See more photos →]

Southern sugar table or low work table with an overhanging top and large dovetailed drawer with an inlaid escutcheon and lock. Poplar with a red wash, backboard chesnut or walnut species. Case rests on turned tapered legs transitioning to ring turnings and ball feet. The table appears to retain the original wooden pulls. 29" H x 33 7/8" W x 26 1/8 D. Possibly East Tennessee, second quarter of the 19th century. The collection of Dr. Robert and Diana Marsh, Lawrenceville, Georgia. Condition: Older cleaned surface, scattered abrasions wiith front stiles having abrasions to right side and patch to the back right side of the same stile. Retains the original lock. [See more photos →]

Georgia Hepplewhite huntboard, Southern yellow pine throughout with old dark swirled paint decorated finish. Overhanging rectangular two-board top with gallery above two square nail drawers and tall square tapered pegged legs. Attributed to Clark Co. GA. 46 1/2" H x 57 3/4" W x 23 1/8" D. Mid-19th century. The collection of Dr. Robert and Diana Marsh, Lawrenceville, Georgia. Condition: Overall very good condition with expected use wear, particularly to front corners. Top with minor losses and wear, some separation to two boards. [See more photos →]

Southern Sheraton walnut cellarette, poplar secondary. Comprised of a plain top with tenoned breadboard ends, a dovetailed case fitted with five interior compartments, ogee medial molding above lower case, fitted with one dovetailed drawer and acorn shaped wooden pull, all on tall ring-and-vase turned legs. 38 1/2" H x 21 1/2" W x 22" D. Circa 1825. The collection of Dr. Robert and Diana Marsh, Lawrenceville, Georgia. Condition: Older refinish. Stains to top. Chip to back upper left side of case, small loss adjacent to one dovetail on back right board. Front of case with split/separation. Interior well with uniform patina. Missing pegs to back legs. [See more photos →]

Diminutive Sheraton sugar chest in the original surface, likely Northern Kentucky. Old red varnished surface with cherry primary, poplar secondary. Consisting of a plain rectangular top, the post and panel constructed case with one interior divider and one dovetailed drawer with wood pulls, atop turned feet. Brass escutcheons. Possible signature to back with C in circle. 29 3/4" H x 28 1/2" W x 17 5/8" D. Circa 1840. The collection of Dr. Robert and Diana Marsh, Lawrenceville, Georgia. Condition: Overall good condition. Some scattered stains to top, wood shrinkage crack to front case panel. Some alligatoring to surface. [See more photos →]

Southern brandy table or board, coastal Carolina or Georgia, walnut primary, yellow pine secondary. Consisting of a plain, slightly overhanging top above two deep dovetailed drawers with kite inlaid escutcheons and elongated wood pulls, the left drawer fitted with interior dividers, all above tall squared tapering legs. Scratchbeading applied to the case surrounds of the drawers. 33" H x 33 1/4" W x 25" D. Circa 1825. The collection of Dr. Robert and Diana Marsh, Lawrenceville, Georgia. Condition: Overall very good condition. Older refinish with some light wear and staining to top. Pulls are likely old replacements. [See more photos →]

Shenandoah Valley of Virginia fylfot tin pie safe in black/green paint, cherry primary and yellow pine secondary. Rectangular top over two hinged doors each with four larger fylfot punched tin panels over two smaller fylfot punched tin panels. Each side of the case with the repeating fylfot punched tin pattern. Interior with two fixed shelves. Case rests on tall turned legs transitioning to ring turnings and ball spike feet. Tins with traces of dark green paint. 54 3/4"H x 51 3/4"W x 22 1/2"D. Mid 19th century. The collection of Dr. Robert and Diana Marsh, Lawrenceville, Georgia. Condition: Scattered losses to painted surface, abrasions to corners of stiles of safe, oxidation and rusting of tins on the lower right and left side, minor losses to left side lower tins and the tins on the front lower left door. [See more photos →]

Kentucky Sheraton cherry sugar table, poplar secondary, having a plain top over deep rectangular locking drawer with a highly figured cherry drawer front and burl banded border, The dovetailed and cockbeaded drawer retains the original lock and glue blocks on the underside of the drawer. Interior hidden drawers of rectangular form rest between drawer supports and medial supports on case sides. Substantial ring and cylinder turned legs ending with conical spike feet. 32 1/4" H x 32 1/2" W x 22 1/4" D. Circa 1825. The Estate of Donna Norton, Glasgow, KY. Condition: Overall very good condition. Refinished surface, expected wear commensurate with age. [See more photos →]

Southern, likely South Carolina, Sheraton form cherry huntboard, yellow pine and poplar secondary. Plain top above two dovetailed drawers with molded brass pulls above tall Sheraton turn legs. Old label to underside of right drawer with partial name reading "____cy T. Simpson". 42 3/4" H x 61 1/4" W x 22 3/4" D. Circa 1825. The collection of Dr. Robert and Diana Marsh, Lawrenceville, Georgia. Condition: Overall good condition. Older refinish. Drawer sides with buildup, some drawer supports replaced. [See more photos →]

Southern miniature or child's walnut cupboard or press, poplar secondary. Cupboard in the old surface and consisting of a molded top with tall arched gallery, two paneled doors opening to reveal two shelves and chamfered interior, paneled sides, front turned Sheraton legs with unusual flared foot and straight back legs. Back boards have circular saw marks and case is joined by tenons to back stiles. 34 1/4" H x 27 1/2" W x 16" D. Circa 1850. Note: Oral history states that this piece originated from the Tatum Family in Patrick County, Virginia. The collection of Dr. Robert and Diana Marsh, Lawrenceville, Georgia. Condition: Overall good condition with the original surface. Surface with general wear and losses, top with minor scattered stains. Losses to left front side of gallery and left back side of gallery. [See more photos →]

Southern Beaten Biscuit Table or biscuit board, likely Georgia, yellow pine throughout with a marble insert. Hinged top with nailed construction and lower section with nailed boards and a large underside medial support post for marble top secured to inset side panels with molded surrounds on the outside case on three sides. Hinged door with screen opens to access lower interior. Marble biscuit top also supported by four large 3 3/4" x 2" interior stiles ending in square legs and feet. 36 3/4"H x 25 3/4"W x 23"D. Oral history from the Pennington (Seed) family of Morgan County, Georgia, Mid 19th century. The collection of Dr. Robert and Diana Marsh, Lawrenceville, Georgia. Condition: Overall very good condition with marble top having an old break to the left back corner edge. Screen door with some damage to wire screen and a small section of lower molding missing to the screen door (approx. 2 1/2" length). [See more photos →]

Southern Sheraton walnut and cherry work or sugar table, poplar secondary. Walnut hinged top having a convex square center panel revealing a shallow well with a lapped wooden bottom, two dovetailed lower drawers with cherry fronts, two side panels having square convex panels like the top, and a back inset panel. Case resting on turned legs. Underside of upper drawer with a checkerboard shaded in pencil. 30 1/4"H x 20 7/8" x 20 5/8". Possibly Tennessee, second quarter of the 19th century. The collection of Dr. Robert and Diana Marsh, Lawrenceville, Georgia. Condition: Overall very good condition with older refinish. Lock missing to shallow well. Top drawer has a circular plug near a faux escutcheon, splits to right convex panel. [See more photos →]

Southern reddish brown painted one drawer table with a two board overhanging top, drawer with large dovetails and reinforced with square nails, wooden pull and original lock. Delicate ring turned tapered legs. Primary wood appears to be walnut and cherry, yellow pine secondary. 28" H x 32 1/2" W x 24 7/8"D . Second quarter of the 19th century. The collection of Dr. Robert and Diana Marsh, Lawrenceville, Georgia. Condition: Overall very good condition in the older painted surface. Scattered abrasions to painted top edge. Wear and abrasions to top commensurate for age. [See more photos →]

Pair of diminutive John Bell/Waynesboro manganese and lead glazed earthenware pottery jugs, ovoid form with applied handles, upper shoulders impressed JOHN BELL WAYNESBORO, signed on the base with the identical date. The larger jug signed on the base "Waynesboro June (or Jan) 14 82" and the smaller jug signed on the base, "Wayne Jun (or Jan) 14 1882". Both with initial inscriptions and incised marks on base. 5" to 5 1/2" H. Pennsylvania, 1882. Provenance: The estate of Charles K. Davis, Jr., Nashville, Tennessee, by descent from his father, Charles K. Davis of Fairfield, CT. Note: Charles Krum Davis Sr. (1889-1968) was chairman of the Remington Arms Company, and a passionate early collector of Americana. With the help of a few important dealers, primarily Israel Sack, Davis built what has been called one of the most important private collections of early Americana. His home was profiled in the Magazine Antiques, January and March, 1941. Much of Mr. Davis Sr.'s collection ultimately went to Winterthur and other museums. Condition: Both jugs in overall excellent condition. [See more photos →]

Middle Tennessee, DeKalb County, stoneware pottery pitcher with hand-written description on the body reading “Brighthill Lumes chaise Brother Prohibition May God Bee with you my Brother, L.D. Moore Superintendent”. 9 1/2″ H. Late 19th century. Note: Page 336 of the book “Tennessee Potteries, Pots, and Potters – 1790’s to 1950, Volume 1”, by Smith and Rogers, mentions a Lee D. Moore from DeKalb County, TN, “Both the 40DK11 pottery site and the clay bank were owned by a Moore family, though perhaps not until the late 1870s. L. D. Moore sold the clay bank between 1877 and 1879 then again in 1882. In 1917 his son H. L. Moore repurchased this same one-acre tract, which was reincorporated into the Moore farm. Both Lee D. Moore and his son Harmon L. Moore are indicated to have been farmers with no obvious connection to pottery making”. Condition: Overall excellent condition with glaze drips and a few scattered unglazed inclusions around rim edge. Base underside edge with chips where there was likely an excess pooling of glaze. [See more photos →]

Roy Pace (Tennessee, 1911-2011) hand carved and painted Nativity Set, comprised of fourteen (14) pieces including one (1) manger with trumpeting angel, one (1) Mary kneeling over the infant Jesus, one (1) Joseph holding a lantern, three (3) wise men, three (3) camels, one (1) shepherd with staff, one (1) donkey, one (1) cow, and two (2) sheep. All figures and animals signed on the base and dated 1995, 1996, or 1998. All range in size from 4" H x 4 1/2" W to 18 3/4" H x 20 1/2" W. Condition: All pieces in overall very good condition. [See more photos →]

Three (3) Roy Pace (Tennessee, 1911-2011) hand carved and painted Christmas themed folk art figures, including one (1) depicting Santa Claus at his work bench painting a toy, one (1) depicting Mrs. Claus at a podium checking the "Naughty and Nice" list, and one (1) depicting an elf dressed in a green hat and coat with red pants, all mounted on carved wooden bases. Elf figure inscribed "Carved by Roy Pace at Euro Disney Paris France 1994" to underside of base, Santa and Mrs. Claus signed "Roy Pace" and dated "1992" or "1993". Figures ranging in size from 10 1/8" H x 3 1/2" W x 4 3/4" D to 11" H x 6 7/8" W x 7 3/4" D. Condition: All items in overall very good condition. Two brush tips broken on paintbrush in cup to Santa figure. [See more photos →]

Kentucky coin silver mint julep cup, with molded and reeded rim and foot ring, engraved monogram LITTLE DAVID, stamped J. BEST & CO. in rectangle on underside for John Best, working in Lexington prior to 1860 through at least 1867. 3 5/8" H, 5.18 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Deep 1/16" dent to upper rim forcing it out of round; a couple of other small dents and a couple of spots of pitting. Otherwise good condition. [See more photos →]

Kentucky coin silver mint julep cup, flaring reeded rim and foot ring, stamped in rectangle MCCLURE & VALENTI, for James McClure and Philip Valenti, in partnership in Bowling Green, KY, circa 1867. 3 1/2" H, 3.77 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Very good condition with minimal scratching and denting, no monograms. [See more photos →]

Kentucky coin silver mint julep cup with molded and reeded rim and foot ring, engraved TC & SMB in script, stamped S. WHERITT with eagle pseudo hallmark to underside for Samuel Wheritt, working Richmond, KY 1824-d. 1877. 3 1/3" H, 4.77 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: A couple of tiny dents, overall very good condition. [See more photos →]

Kentucky coin silver julep cup with flaring, reeded rim, stamped on underside B SETTLE for Benjamin Settle, working Russellville, KY prior to 1867, through 1892. No monogram. 3 1/2" H, 3.84 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Very good condition with some light scratches and a shallow 1/4" dent at foot. [See more photos →]

Scarce and early Kentucky coin silver cream ladle with beveled elongated oval handle, marked E OUTTEN in rectangle for Ephraim Outten, working Maysville by 1816-d. 1825. 6 7/8" L, .92 oz troy. Reference: Boultinghouse, Marquis. Silversmiths of Kentucky, 1785-1900, mark illustrated p. 304, fig. 113. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Some short deep scratches to bowl; some wear to mark; overall good condition. [See more photos →]

Group of Lexington, Kentucky coin silver flatware with marks for R. Frazer Jr. and Bruce & Till, total 17. 1st-13th items: Twelve (12) coin silver tablespoons with fiddle pattern handles, all stamped R.F. FRAZER JR. in rectangles for Robert Frazer, Jr., working Lexington, Kentucky 1800-1860+; six monogrammed CB and six without monograms; plus one unsigned coin silver tablespoon of similar form and size, monogrammed B. 14th-17th items: Coin silver knife with twist handle and engraved decoration, 2 fiddle pattern dessert spoons, and 1 fiddle pattern teaspoon, all with incuse marks COIN and BRUCE & TILL (B.G. Bruce, in Lexington by 1840, working with W.B. Till circa 1870-73). Ranging in size from 6" to 8 7/8" L. Total combined weight: 25.4 oz troy. Provenance: the estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Frazer spoons: Wear to tips of bowls, some marks worn, overall good condition. Bruce & Till items: excellent condition. [See more photos →]

3 assembled groupings of Louisville Coin Silver from makers including John Hall, Speigelhalder & Werne, and Smith & Grant, 29 items total. 1st-13th items: 2 tablespoons, 1 dessert spoon, and 10 teaspoons of fiddle pattern, varying sizes, marked SMITH & GRANT in banner for Richard Ewing Smith and an unknown Mr. Grant, working Louisville, 1827-1831. 14th-26th items: 1 tablespoon, 6 dessert spoons, and 6 teaspoons of assorted fiddle and fiddle and fiddle swell patterns marked for Ferdinand Spiegelhalder & Joseph Werne, working Louisville, 1836-1858. Teaspoons marked in rectangles, other spoons with incuse marks. 27th-29th items: 2 teaspoons and 1 dessert spoon marked J. Hall, incuse, for John Hall, working Louisville, c. 1848-1852. Ranging in size from 5 1/4" to 9 3/8" L. Combined weight: 19.09 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Most pieces monogrammed. Some wear to tips of bowls of spoons and scattered denting to bowls. [See more photos →]

Kentucky coin silver hair comb, attributed to Walter C. Smith (b. Greensburg, Kentucky, working Bowling Green prior to 1858 and Louisville, c. 1858-1864). Nine pointed teeth and a scalloped shaft with engraved floral design to front, engraved inscription en verso: "Made by Walter C. Smith and presented to Mrs. W.L. Underwood December 25, 1855." 4 3/8" W x 4 1/4" D. .96 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Overall good condition with some slight bends to teeth. 1/4" tear to lower right side of shaft. [See more photos →]

Kentucky coin silver mint julep cup with flaring molded rim and foot ring, monogram McC, stamped on bottom S. S. CUTLER & CO. in rectangle, attributed to Lexington, circa 1840s. 3 3/4" H, 4.88 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Overall good condition. A couple of tiny minor dents, overall very good condition. [See more photos →]

Set of twelve (12) Kentucky coin silver forks, all with fiddle thread handles marked POINDEXTER, incuse, for William P. Poindexter, active Lexington, 1818-1859. All with script monogram P on front. 6 7/8" L. Combined weight 15.99 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: A couple of tines slightly bent, some wear to marks, overall excellent condition. [See more photos →]

Assembled set of 25 Lexington coin silver spoons, all marked for William P. Poindexter, active Lexington, 1818-1859. Includes 7 tablespoons or serving spoons, 2 dessert spoons, and 16 teaspoons, all with fiddle swell handles and varying monograms. All marked POINDEXTER in rectangle except for one tablespoon, which has an incuse POINDEXTER mark. Ranging in size from 6 1/8" to 9 1/4" L. Combined weight 22.1 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: 3 tablespoons with significant wear to tips of bowls; 1 of these spoons also has significant denting to bowl. 1 teaspoon has a flattened handle. All others very good condition with minimal scattered dents to bowl. Varying monograms. [See more photos →]

Scarce and early Kentucky coin silver condiment ladle with coffin end handle, marked AYRES & HAYDON in rectangle for Samuel Ayres and Noah Haydon, active Lexington, 1811-1813. Script monogram WAR. Reference: Boultinghouse, Marquis. Silversmiths of Kentucky, 1785-1900, p. 43, mark illustrated p. 297, fig. 9. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Excellent condition. [See more photos →]

Twenty (20) silver teaspoons marked for Georgetown, Kentucky makers and retailers Capt. Edward C. and Sarah (Sallie) E. Barlow, and T.J. and A.X.F. Shepard. Includes four (4) coin silver teaspoons with Fiddle Swell handles, marked E.C. BARLOW in rectangles for Edward Callistus Barlow (working 1849-c. 1894) and four (4) sterling fiddle handle teaspoons with marks for Gorham and incuse retailer marks S.E. BARLOW for Sarah (Sallie) E. Barlow, who succeeded her husband as proprietor of his jewelry store until her death in 1923. Note: E.C. Barlow, born 1829, worked in Georgetown 1849-1851 as apprentice to T.J. Shepard before establishing his own business. He left the trade during the Civil War to fight for the Union army, a decision complicated by the fact that he was a slave owner and his brother served the Confederacy under John Hunt Morgan. E.C. Barlow was eventually was promoted to Captain of Company B of the Kentucky Mounted Volunteer Infantry. He returned to his business following the war, and when he died in about 1894, his wife Sallie took over his business. Although E.C. Barlow was trained as a silversmith, entries in Barlow's diary (held by the University of Kentucky Special Collections) suggest that most of his inventory was imported from elsewhere and retailed. Sources: The Jeweler's Circular, Sept. 19, 1923; "Silversmiths of Kentucky," Marquis Boultinghouse pp. 46-50. This lot also includes one (1) table or serving spoon, six (6) dessert spoons, two (2) teaspoons and one (1) shovel shaped spoon with fiddle or fiddle swell handles stamped T.J. SHEPARD (italicized) in rectangles for Thomas Jefferson Shepard, working Georgetown, KY circa 1820-1828 and 1831-1875, and one (1) tablespoon with fiddle handle stamped SHEPARD in rectangle for Alpheus Xavier Francis Shepard, working Georgetown circa 1817-1831. Gross total weight of items is 19.46 troy ounces. Note: Thomas and Alpheus Shepard were brothers; their mother's maiden name was Barlow. Thomas apprenticed under his older brother Alpheus before moving to Louisville to work with other silversmiths for a few years. Upon his return to Georgetown in 1831, Thomas bought out Alpheus's silver and jewelry business. (Ref. Boultinghouse, pp. 244-246.). Items ranging in size from 5 3/8" to 9" L. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Barlow Spoons: Sterling spoons are monogrammed MDD. Other Barlow spoons are not monogrammed and one is shorter than the other. T.J. Shepard teaspoons and A.X.F. Shepard tablespoon are monogrammed. All items overall very good condition. Scattered light wear to marks. [See more photos →]

Coin silver ladle and 8 spoons attributed to Simpson of Knoxville, Tennessee or Bardstown, Kentucky, and William Russell, working Bardstown prior to 1859-1870+. Includes 6" Ladle with fiddle handle marked RUSSELL in rectangle, with additional lettering not visible due to wear; 1 spoon marked W. RUSSELL in rectangle; and 3 spoons with incuse mark RUSSELL. Also includes 1 fiddle handle tablespoon and 3 teaspoons marked J. SIMPSON in rectangle, all 4 pieces circa 1820s. Note: This type mark was used both by Jonathan Simpson, working Bardstown post 1820-1845+, and James Simpson, working Knoxville, TN 1818-d. 1821. Ranging in size from 5 5/8" to 8 5/8" L. Combined weight 5.6 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Various monograms to most pieces. Some faint bends visible to handle of ladle. Some denting to bowls of spoons. Wear to tip of bowl on Simpson tablespoon. [See more photos →]

5 pieces coin silver by Benjamin McKenny Riggs, working Paris, Kentucky 1825-1839. Includes 1 coffin end cream ladle, 2 fiddle pattern tablespoons,1 fiddle teaspoon and 1 fiddle swell teaspoons, all marked B.M. Riggs in rectangles. 1 teaspoon and 1 tablespoon with script monograms. Ranging in size from 4 3/4" to 9 1/4" L. 5.29 oz combined weight. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Wear to some marks and to tip of 1 tablespoon. Monogram worn or erased on cream ladle. Some bending to edges of end of fiddle swell teaspoon. [See more photos →]

Coin silver julep cup or beaker, having a beaded rim and foot ring, tapered sides, underside with incuse mark for S.B. Hall (working Nicholasville, KY and Clayton, IN, c. 1837-1850). Monogrammed with script "MD." 3 5/8" H x 3 1/4" dia. 5.299 total troy ounces. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Overall good condition with normal surface scratches. Bends, largest 1", to footring. [See more photos →]

18 pieces of coin silver attributed to Paris / Bourbon County, Kentucky coin silver by makers including Joseph Stephens, James and George Snyder, B.B. Marsh, Abraham Shire, and more. 1st-5th items: 5 teaspoons with fiddle handles stamped J STEPHENS in rectangle for Joseph Lawrence Stephens, working 1810-1820+ (d. 1848, Cynthiana). 6th item: Teaspoon with fiddle handle monogrammed WSB, stamped B.B. MARSH in rectangle for Benedict Beal Marsh, working Paris, Ky 1844-1857+. 7th-9th items: 3 dessert spoons with fiddle swell handles, one monogrammed T.C., all stamped A. SHIRE in rectangle with rounded edges for Abraham Shire, working Paris KY 1865-1900. 10th-11th items: 2 teaspoons with fiddle handles monogrammed THS, stamped ROBINSON in rectangle, possibly for Jacob Robinson, working Paris circa 1860. 12th item: Tablespoon or serving spoon with fiddle swell handle monogrammed JMH and stamped J & G SNYDER and PARIS KY in separate rectangles for James C. and George W. Snyder, working as partners in Paris from pre 1845-1848. 12th item: Salt ladle with oval fiddle handle stamped GS in rectangle, attributed to George Snyder, working Paris, 1803-1813. 14th-18th items: 5 teaspoons with fiddle tipt handles monogrammed SEG and stamped with incuse mark C or G SNYDER and COIN, possibly George Snyder. Ranging in size from 3 3/4" to 9 3/4" L. 10.12 oz troy combined weight. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: J. Stephens spoons: wear to tips of bowls, 2 spoons with small tears to bowls, all with some dents to bowls. B.B. Marsh spoon with wear to mark. Shire spoons: Good condition. J & G Snyder spoon: wear to tip of bowl, deep short scratch to bowl, generally very good condition. Salt ladle: very good condition. Snyder teaspoons: significant denting to bowl, one has short tear. [See more photos →]

Coin silver soup or punch ladle, Louisville, Kentucky or Cincinnati, Ohio. Oval bowl and broad fiddle handle with engraved monogram MC, marked W & A COOPER in rectangle en verso for William and Archibald Cooper, working in partnership in Cincinnati, 1836-1837, and Louisville, Kentucky, 1837-1846. 11" L, 4.7 oz troy. (Ref. Marquis Boultinghouse, Silversmiths of Kentucky, p. 300). The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: A couple of deep scratches and minor pitting, otherwise excellent condition. [See more photos →]

Frankfort, Kentucky coin silver gravy ladle, teaspoon, and tablespoon, all bearing marks for Benjamin F. Meek, working 1834-1838 (and later under different partnership names). Ladle and teaspoon marked MEEK in serrated rectangles. Tablespoon with incuse mark BF MEEK and pseudo hallmarks. Ranging in size from 5 3/4" to 8 3/8" L. 2.7 oz troy combined weight. Note: both marks are pictured p. 304 of Kentucky Silversmiths by Marquis Boultinghouse with 1834-1838 date attributions. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Wear to tip of tablespoon bowl. Tablespoon monogrammed LHE. Teaspoon monogrammed Emeline. Ladle monogrammed A.P. [See more photos →]

Kentucky coin silver sugar tongs, stamped J.C. REILLY in serrated rectangle for J.C. Reilly & Co., working Louisville, c. 1816-1832. Fiddle handles with oval grips, no monogram. 5 1/2" L, .91 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Tiny loss to side of one grip, some wear to bottom of mark. Overall good condition. [See more photos →]

11 pieces of Kentucky coin silver marked for John Beauchamp, working Bowling Green prior to 1847 to 1871 and possibly later. Includes 1 cream or gravy ladle; 2 tablespoons or serving spoons; 7 teaspoons, and 1 salt spoon. The two tablespoons are marked in rectangles, all other marks are incuse. The two teaspoons with rounded fiddle handles bear additional pseudo hallmarks. Ranging in size from 3 7/8" to 9 1/8" L. Combined weight 9.83 oz troy. (Ref. Marquis Boultinghouse, Silversmiths of Kentucky, p. 298). The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Most/all with assorted monograms. The two teaspoons with rounded fiddle handles have small tears at bowl and dents. Other items overall very good condition with some scattered minor dents to bowl and wear to a few tips. [See more photos →]

22 pieces of Bowling Green, Kentucky coin silver marked for James McClure, Philip Valenti, and W.C. Smith, including 1 knife and 1 shovel spoon, 23 items total. 1st-15th items: 3 tablespoons or serving spoons, 1 butter knife, and 11 teaspoons, all with fiddle swell handles with incuse mark MCCLURE & VALENTI for James McClure and Philip Valenti, in partnership c. 1867 (note teaspoons are of 3 different sizes ranging from 5 1/8" to 6"L). 16th-17th items: 2 Fiddle Tipt handled teaspoons stamped J MCCLURE in rectangle for James McClure, working Bowling Green 1840s-1881. 18th-22nd items: 2 dessert spoons, 2 teaspoons, and 1 shovel spoon, all with incuse marks W.C. SMITH BOWLING GREEN for Walter C. Smith, working Bowling Green circa 1846-circa 1858. Also includes 1 teaspoon with fiddle swell handle with incuse mark DUHME & CO for Duhme and Company (Cincinnati, 1842-1888). Ranging in size from 5 1/4" to 9" L. Combined weight: 15.93 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Most items very good condition with some minor denting to bowls and scattered wear to tips of bowls. 1/2" tear to bowl on 1 McClure & Valenti tablespoon. 1 McClure & Valenti teaspoon has a repaired tear to bowl. 1 Smith teaspoon has a very deep 1/2" dent to bowl. Duhme & Co teaspoon with disposal damage to handle. Most with varying monograms. [See more photos →]

Coin silver soup or punch ladle, Louisville, Kentucky or Cincinnati, Ohio. Oval bowl and broad fiddle handle with engraved monogram French, marked W & A COOPER in rectangle en verso for William and Archibald Cooper, working in partnership in Cincinnati, 1836-1837, and Louisville, Kentucky, 1837-1846. 12 1/8" L, 5.175 oz troy. (Ref. Marquis Boultinghouse, Silversmiths of Kentucky, p. 300). The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Minor pitting to bowl with overall general surface wear. [See more photos →]

Coin silver spoons and ladle, marked "Simpson" and "Foster," attributed to Samuel Simpson of Hopkinsville, Kentucky or Clarksville, Tennessee, and to Jeremiah Foster of Hopkinsville, KY or John Foster of Winchester, Virginia – total 10 items. 1st-3rd items: 3 teaspoons with fiddle swell handles stamped S. SIMPSON in rectangle, likely the mark of Samuel Simpson, working Clarksville, TN, c. 1840-1858 and probably the same S. Simpson who appears in various Hopkinsville, KY references 1859-1860 (see Marquis Boultinghouse, Kentucky Silversmiths, p. 121 and Dr. Benjamin Caldwell, Tennessee Silversmiths, p. 154-155). 4th-10th items: 1 gravy/cream ladle with shell back, 1 tablespoon, and 5 assembled teaspoons (3/2) all with fiddle handles, stamped J. FOSTER in rectangles, possibly Jeremiah Foster of Hopkinsville, KY (1791-1823). Note: the two teaspoons with narrower handles are almost certainly the mark of John Foster of New York (working 1809-1818) based on the two sizes of uppercase letters used in the mark. The remaining pieces may be work of John Foster II, working Virginia and Maryland 1812-1858 (ref. Catherine Hollan, Virginia Silversmiths, p. 272-273). Ranging in size from 6 1/8" to 9 1/4" L. Combined weight 7.2 oz troy. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Overall very good condition. All pieces except ladle have various monograms. Wear to mark on tablespoon and to tips of bowls on the 2 narrower Foster spoons. [See more photos →]

1st – 6th items: Set of six (6) coin silver tablespoons with rounded fiddle handles and rounded fins marked in rectangle P. NEGRIN (The book TENNESSEE SILVERSMITHS by Dr. Benjamin H. Caldwell lists Paul Negrin working in Nashville from 1823-1844. He was one of the eight men who formed the Association of Watchmakers, Silversmiths and Jewellers of Nashville in 1836.) Engraved monogram "JEH" to the handles. 8 1/4" L. 7.325 total troy ounces. 7th – 11th items: Set of five (5) early sterling silver teaspoons with fiddle handles and rounded fins marked "W&H Sterling" for the maker Wood & Hughes, New York and "B.H. Stief" for the retailer B. H. Stief Jewelry Company, Nashville, TN. Monogrammed "LBH" to the handles. 7" L. 5.695 total troy ounces.12th item: C. Bard & Sons Philadelphia coin silver spoon with fiddle handle and rounded fins. Marked "C. Bard" with partial address within a rectangle en verso handle. Monogrammed "LSC" .7 1/4" L. 1.145 troy ounces. 8.47 total coin troy ounces. 5.695 total sterling troy ounces. Private Nashville, TN Estate. Condition: All spoons overall good condition with general use wear, all monogrammed. [See more photos →]

Five (5) Coin Silver Items, Cup & 4 Spoons, including Hope. 1st item: Coin silver cup with octagonal sides, relief floral decoration and C-scroll handle, engraved "Frank" to one panel and base marked COIN. 4 1/4" H. 2nd & 3rd items: Two (2) East Tennessee coin silver teaspoons by David Large Hope, working Knoxville, TN, 1828-1869, marked HOPE in rectangle. Engraved GM. 5 3/4" L. 4th & 5th items: Two (2) coin silver tablespoons with with fiddle tipt handles marked C. BRO. & CO. STANDARD, engraved KYLE. 7 3/4" L. 7.640 total troy ounces. The Collection of Ann Hale-Smith, Rogersville, Tennessee. Condition: Mug with minor wear to base. All spoons with heavy use wear and pitting to bowls. [See more photos →]

Maryland coin silver punch or soup ladle, bright cut engraved oval handle, marked on underside with Baltimore eagle's head mark and WARNER in rectangle, overstruck by A. STONE in rectangle, for Andrew Ellicott Warner (working Baltimore c. 1805-1870) and Adam Stone (working Petersburg, VA 1802 and Baltimore, 1803-1812) 13 1/4" L. 6.090 troy ounces. Circa 1810. Condition: Overall very good condition with light general use wear. No monograms. [See more photos →]

3 Coin silver fiddle tipt pattern flatware items, marks for Emile Profilet of Mississippi and August Conery of Kentucky. 1st-2nd items: 2 forks with incuse marks E. PROFILET in rectangle for Emile Profilet (b. 1801-d.1868, working Natchez, MS 1823-1868) and G & H in oval with date 1848 in diamond for Gale & Hayden (working New York City 1846-1850). Monogrammed with script "M.C.F." to handle. 7 3/4" L. 3rd item: Tablespoon with incuse mark A. CONERY (August Conery, working Frankfort, KY c. 1838-1859). Monogrammed with script "ATs" to handle. 8 3/4" L. 5.385 total troy ounces. Condition: Overall good condition with normal surface wear. 3rd item: Minor dents, largest 1/4", to bowl. [See more photos →]

Two (2) Olen L. Bryant (American/Tennessee, 1927-2017) ceramic figural sculptures. 1st item: Ceramic sculpture depicting a figure emerging from a rectangular block, with corona around its head and upper torso. Buff colored glaze. Signed and illegibly dated en verso. 23" H x 18" W x 8" D. 2nd item: Ceramic sculpture depicting a figure with buff colored glaze, arms encircling a cluster of natural crystals, face tilted slightly upwards. Signed O Bryant on bottom, undated. 11 1/4" H x 10" W x 8" D. Biography: Born in Cookeville, TN, Bryant was a 1950 graduate of Murray State University and a 1954 graduate of the Cranbrook Academy of Art in Bloomfield, Michigan with a Master's Degree in Fine Arts. He additionally studied at the Cleveland Institute of Art, the Institute in the Visual Arts in American Culture at the University of Delaware and the Winterthur Museum in 1967. Bryant was a professor at Austin Peay State University from 1964 to 1991. Bryant's artwork is widely collected around the United States and is a part of several museum collections, including the Hunter Museum of American Art in Chattanooga, the Tennessee State Museum of Art and the Cheekwood Museum of Art in Nashville and his works have been displayed at the Tennessee Performing Arts Center and at the Governor's Mansion during the Phil Bredesen administration. He was a founding member of the Nashville Artist Guild and the Tennessee Association of Craft Artists (source: Nashville Fine Arts Magazine & The Leaf Chronicle). Provenance: Estate of Olen Bryant, Cottonwood/Clarksville, TN. A letter of authenticity and provenance from the artist's niece, who served as his studio assistant and personal representative for his estate, is available to the winning bidder on this lot. Condition: Both items in overall very good condition. 1st item: Firing crack below figure's chin. [See more photos →]

Two (2) Carl Sublett (Tennessee, 1919-2008) artworks. 1st item: Watercolor on paper painting titled "Vergura Schoolhouse" depicting a white school house with rust colored shutters, portico, and roof, with a bell tower, against a line of trees and a mountain range beneath a grey and blue late afternoon sky. Sight "Sublett" lower right. Collector's Gallery, Nashville, Tennessee, label with artist's name, title, and additional information, en verso. Housed and double matted under glass in a cove molded wooden frame. Sight: 13 1/2" H x 19 3/8" W. Framed: 20 5/8" H x 26 1/2" W. 2nd item: Abstract oil on canvas painting titled "August Blue" rendered in shades of blue, black, brown, red, orange, yellow, and green. Signed "Carl Sublett" lower right. Carl Sublett Studio, Knoxville, TN label en verso. Housed in a wooden frame. Sight: 19 1/2" H x 15 3/4" W. Framed: 21" H x 17 1/4" W. Provenance: Estate of Carl Klein, Brentwood, TN. Biography: Carl Sublett studied Art History at the American Academy in Florence, Italy after World War II, and became Professor of Fine Art at the University of Tennessee. Sublett was a member of the National Academy of Design. His works are in the collections of the National Academy of Design, The Tennessee State Museum, and Cheekwood Museum of Art, Nashville. Condition: 1st item: Overall very good condition with slight waviness to paper. Not examined outside of frame. 2nd item: Overall good condition with craquelure, two areas of paint loss, largest 1/8" x 1/8", to brown paint. Canvas is loose in frame. Frame with minor abrasions. [See more photos →]

Carl Sublett (Tennessee, 1919-2008) abstract watercolor on paper, possibly from his Flagg Island series. Signed and dated "72 lower right. Housed in a modern chrome frame and float mounted onto a linen weave backing. Together with an exhibition book titled Carl Sublett, published by the Tennessee State Museum for the February 15 – May 6, 1984 exhibition of his works. Sight: 13 3/4" H x 21 3/4" W. Framed: 19 1/4" H x 27 1/4" W. Biography: Carl Sublett studied Art History at the American Academy in Florence, Italy, after serving as a sergeant in World War II. He moved to Knoxville in 1954 where he studied with Kermit Ewing and eventually became a Professor of Fine Art at the University of Tennessee. Sublett was a founding member of the art group, The Knoxville Seven, a progressive group working from 1955-1965, which produced some of the first abstract expressionist art in Tennessee. In 1982 he retired from teaching and in 1984, he opened the Sublett Gallery in Knoxville. In 1991, "The Unseen Carl Sublett" was the first exhibit at the new Knoxville Museum of Art (built on the site of the 1982 World's Fair). Sublett won numerous awards for his paintings and was a member of the National Academy of Design. His works are in the collections of the National Academy of Design, The Tennessee State Museum, and Cheekwood, Nashville. (source: The Tennessee Arts Commission). Condition: Overall very good condition with toning to linen mat. [See more photos →]

George Ayers Cress (Alabama/Tennessee, 1921-2008) expressionist mixed media landscape painting titled "Island Map". Signed and dated 1967 lower left. Additionally signed and titled en verso. Housed in a gilt wood frame with linen matte and gilt liner. Sight: 12 3/8" H x 16 1/4" W. Framed: 21" H x 24 3/8" W. Biography: George Cress was born in Anniston, Alabama and studied at Emory University, American University, and the University of Georgia, where he studied under fellow Southern contemporary artist Lamar Dodd. He was a central figure in Chattanooga's arts community and served as President of the Tennessee Arts Council. He sat on the board of the Hunter Museum of Art. From 1951-1984 he was painter in residence at the University of Tennessee in Chattanooga. The Cress Gallery of Art at UTC is named in his honor.(Source: The Tennessee Historical Quarterly Vol. XLIV No. 2: "Landscape and Genre Painting in Tennessee 1810-1985"). Condition: Overall very good condition. Not examined out of the frame. [See more photos →]

Paul Lancaster (Tennessee/Colorado, 1930-2019) oil on canvas painting titled "Tropical Princess" depicting a young woman in an elaborate dress, seated next to a large black bird in a jungle landscape setting. Signed "Lancaster" lower right. All State Art Exhibition 1994 label and Watkins College of Art label, en verso. Housed in a wooden frame. Sight: 39 1/2" square. Framed: 45 1/2" square. Provenance: Art Collection of former Watkins College of Art; proceeds benefit scholarship endowment for students in the new Watkins College of Art at Belmont University. Biography: Self-taught artist Paul Lancaster began painting in the late 1950s in Colorado, while training as an Army medic. His grandfather and great grandfather were Cherokee Indian, and Lancaster's love of nature and spirituality influence many of his canvases. His work has been included in numerous exhibitions including The Art of Tennessee at the Frist Center for the Visual Arts and a 2013 one man show at the Parthenon in Nashville, which brought together many of his works created over the last 50 years. Condition: Overall very good condition. Frame with loss, abrasions, largest 3 1/4". [See more photos →]

Paul Lancaster (Tennessee/Colorado, 1930-2019) oil on canvasboard painting titled "Christmas 1975" depicting a snow covered city street scene with children playing and additional buildings visible in the background beneath a late afternoon sky. Titled and signed "Lancaster" lower right. Numeral ink inscriptions, en verso of board. Housed in a wooden frame. Sight: 19 1/4" H x 23 1/4" W. Framed: 26" H x 30 1/4" W. Provenance: Estate of Carl Klein, Brentwood, TN. Biography: Self-taught artist Paul Lancaster began painting in the late 1950s in Colorado, while training as an Army medic. His grandfather and great grandfather were Cherokee Indian, and Lancaster's love of nature and spirituality influence many of his canvases. His work has been included in numerous exhibitions including The Art of Tennessee at the Frist Center for the Visual Arts and a 2013 one man show at the Parthenon in Nashville, which brought together many of his works created over the last 50 years. Condition: Overall very good condition. [See more photos →]

Joe Parrott (American/Tennessee, 1944) oil on board depicting a historic house at sunrise or sunset beneath a bright blue sky, rendered in a heavy impasto technique. The Frameworks, Nashville, TN stamp en verso. Housed in a silvered and ebony wood frame with linen matte. Sight: 17 1/2" H x 23 1/2" W. Framed: 22 1/2" H x 28 1/2" W. Provenance: Estate of Carl Klein, Brentwood, TN. Biography: (Courtesy of the artist) Joe Parrott was born and lives in Knoxville, Tennessee. He earned a BS degree in Business Administration from the University of Tennessee in 1967 and is a self-taught artist. He worked in the graphic arts industry for 43 years while continuing to pursue his artistic aspirations. He currently paints full-time and is dedicated to a lifelong pursuit of creative evolution and exploration. Influences include Edward Hopper, Van Gogh and printmaker Martin Lewis. Condition: Painting overall very good condition. Matte with one area of staining upper left corner. [See more photos →]

Two (2) works on paper by Tennessee artists Robert Birdwell and Xavier Ironside.1st item: Robert Birdwell (Tennessee, 1924 -2016) etching on paper titled "Two Blind Beggars," numbered 5/25, depicting an elderly man and woman, the man with sunglasses and a cane. Titled, in pencil, lower left below plate and numbered in pencil lower center below plate, signed and dated "Robert Birdwell 52," in pencil lower right below plate. Four labels, including one typed label indicating that this print won a Purchase Prize Award in Drawing or Print during the Tennessee All-State Artist Exhibition 1953-54. Housed and matted under plexiglass in a carved wooden frame. Plate: 23 3/4" H x 12 1/4" W. Sight: 24 1/4" H x 12 5/8" W. Framed: 38" H x 23 3/4" W. Note: Birdwell was a member of The Knoxville Seven, an influential group of progressive artists in Knoxville who invigorated East Tennessee's art scene between 1955 and 1965. 2nd item: Xavier Ironside (Tennessee, 20th century) watercolor on paper painting titled "Winter Evening" depicting a farmhouse in a snow covered landscape beneath a hazy blue and grey sky. Signed and dated "Xavier Ironside '57" center right. Mounted to a card stock board. Sheet: 18 3/4" H x 23 3/4" W. Board: 22" H x 26 3/4" W. Provenance: Art Collection of former Watkins College of Art, proceeds benefit scholarship endowment for students in the new Watkins College of Art at Belmont University. Condition: 1st item: Overall good condition with toning to sheet and mat. Not examined outside of frame. 2nd item: Overall good condition with light toning. [See more photos →]

Two (2) McCullough Partee (Tennessee, 1900-1989) watercolor on paper paintings including one (1) titled "First Avenue Near the Square" and one (1) titled "Scene Near the River" both depicting the railroad tracks along downtown Nashville's historic First Avenue. Both signed "McCPartee" lower left and/or top right. Both with handwritten labels, "Scene Near the River" with a typed Watkins Institute Art Collection label indicating that the painted was a gift from Betty Partee, McCullough's wife, en verso. Both housed and double matted under glass in identical metallic silver wooden frames. Sights: 9 1/4" H x 13 1/4" W. Frames: 17 1/8" H x 20 1/4" W. Circa 1950. Provenance: Art Collection of former Watkins College of Art; proceeds benefit scholarship endowment for students in the new Watkins College of Art at Belmont University. Biography: Mccullough Partee was born in Nashville in his grandfather's home across from the Tennessee State Capitol. He studied at the Chicago Academy of Fine Arts, and at the Art Institute of Chicago (where he later taught). In New York, he studied at the Art Students League with George Bridgman and Edward Penfield, at Grand Central School of Art with Harvey Dunn and Pruett Carter, and at the National Academy of Design with Charles Hawthorne (whose work is also represented in this auction). Although an easel painter, he was perhaps known for his illustration work, which appeared in Colliers, Liberty, and the Country Gentleman. In 1948, while working as art editor of the Southern Agriculturist, he was named a director of the Nashville Museum of Art; he also taught at the Nashville School of Fine Arts and was listed in Who's Who in American Art. A retrospective of his work was held at the Nashville Artist Guild in 1987 (Source: the Nashville Tennessean, June 5, 1987, Oct 11, 1951). Condition: Both items in overall good condition with slight waviness to paper. Not examined outside of frames. Glass is slightly loose in frames. [See more photos →]

Two (2) Werner Wildner (Nashville, Tennessee, 1925-2004) works on paper depicting gnomes. 1st item: Watercolor and gouache painting with graphite on paper depicting a gnome wearing a red hat, a green suit, and holding a cane, standing in profile. 2nd item: Graphite and gouache on paper depicting a partially bald gnome wearing a fitted suit, holding his hat in his right hand and his cane in his left, depicted from behind. Both initialed "W." lower left. Both matted and housed under glass in matching wooden frames. Sights: 13 1/2" H x 10" W. Frames: 21" H x 17" W. Provenance: Estate of Carl Klein, Brentwood, TN. Biography: Nashville painter Werner Wildner, known for his fantastical paintings and drawings of whimsical, sometimes grotesque creatures, was known to joke that he was "the reincarnation of Hieronymus Bosch." Wildner was born in Germany but emigrated to America with his family as a child and, as by his teenage years, was living in Nashville. He served in the Army in 1944 and studied art briefly at the Meinzinger Art School in Detroit. He practiced commercial art in Nashville for awhile, but by the mid-1950s had decided to pursue his own art career. A 1962 exhibit of his art at the Nashville art institution now known as Cheekwood led to greater renown as well as critical and commercial success. However, the death of his parents and collapse of his marriage in the 1970's led him to become reclusive in the last two decades of his life. Condition: Both items in overall very good condition. Not examined outside of frames. [See more photos →]

2 John Frederick Richardson (Tennessee/Illinois, 1906-1998) watercolor landscapes. 1st item: Watercolor on paper landscape painting titled "Autumn Waterfall" depicting a waterfall surrounded by trees with fall foliage. Signed "John Richardson" with copyright symbol, lower left. Label en verso for the 1983 Tennessee All-State Artists Exhibition at Parthenon Galleries, Nashville, TN, and a Watkins College of Art and Design Collection label indicating that it won the purchase prize, along with framing and accession labels. Float mounted and housed under plexiglass in a silver metal frame. Sheet: 18" H x 27 3/4" W. Sight: 19 3/4" H x 29 1/2" W. Framed: 20 1/4" H x 30 1/4" W. 2nd item: Watercolor on paper coastal landscape painting titled "Western Shore" depicting cliff with trees overlooking a rocky coastline, with additional rock formations in the water beneath a cloudy sky. Signed "J. Richardson" lower right. Allstate Art Exhibition, 1992 identification tag with handwritten notation indicating that the painting won a purchase award, and a label with a museum accession number, en verso. Housed and double matted under plexiglass in a silver metal frame. Sight: 21 1/2" H x 30" W. Framed: 28 1/4" H x 36 1/4" W. Biography: "Preferring watercolor to oil, John Richardson had a long career painting landscapes in many styles and mediums and in many places from Tennessee to Arizona to Washington State. He lived in Tennessee and Illinois. He studied at Vanderbilt University, Pennsylvania Academy of the Fine Arts and the University of Chicago. Exhibition venues included the Pennsylvania Academy, Art Institute of Chicago and Vanderbilt University. Richardson taught at Watkins Institute in Nashville from 1938 to 1942 and from 1949 to 1969 at the University of Illinois in Chicago Circle." (Source: Peter Falk, "Who Was Who in American Art"). Provenance: Art Collection of former Watkins College of Art; proceeds benefit scholarship endowment for students in the new Watkins College of Art at Belmont University. Condition: 1st item: Overall very good condition with waviness to paper. Some debris trapped under plexiglass. Not examined outside of frame. 2nd item: Overall very good condition with waviness to paper. Not examined outside of frame. [See more photos →]

Harold Kraus (Tennessee, b. 1940s), "Snow Day #3," oil on board painting depicting children preparing to sled down a snowy hill. Signed lower right "Kraus", additionally signed and titled en verso. Gilt molded frame with linen mat and title plaque, lower center. Board: 7 1/2" H x 9 1/2" W. Framed: 12"H x 13 3/4"W. Private Nashville Collection. Condition: Excellent condition, no damage. [See more photos →]

Louis Oscar Griffith (American/Texas/Indiana, 1875-1956) oil on canvas, laid on board, landscape painting depicting two trees in a scrubby landscape, possibly Texas Hill Country. Signed L.O. Griffith lower left. Molded giltwood frame. 17 1/2" H x 23 1/2" sight, 24 1/2"H x 30 1/2"W. Biography: Although born in Indiana, painter and printmaker L.O. Griffith spent most of his youth in Texas and later returned there to study with Frank Reaugh and to do a series of landscapes (mostly etchings). He is believed to have studied the St. Louis School of Fine Arts and at the School of the Art Institute of Chicago, in Paris and Brittany; and the National Academy of Design. Griffith settled in Nashville, Indiana, but painted landscapes in a variety of locations including New Orleans. He was awarded the 1921 Gold Medal at the Palette and Chisel Club, the 1925 Daughters of Indiana Typical Indiana Scene Prize at the Hoosier Salon, and First Prize at the 1929 Texas Wild Flower Competition, San Antonio Art League at Witte Memorial Museum, and numerous other awards for his etchings. The Collection of Sylvia Roberts, Nashville, TN. Condition: Some scattered craquelure upper left quadrant, sky area, overall excellent condition. [See more photos →]

Margit Varga (New York, b. 1908) oil on canvas landscape titled "Telephone Poles in NC" depicting a rural dirt road at sunrise or sunset, with telephone poles and tall trees with a house to the left foreground and mountains background. Signed lower left and dated 1936. Housed in a foliate carved giltwood frame. Sight: 29 1/4" H x 35 1/4" W. Framed: 36 1/2" H x 42 1/2" W. Condition: Overall good condition. Painting has been relined and has three areas of repair visible on the back. Frame with later added gilt paint, losses to frame corners, mostly upper left. [See more photos →]

Nicholas U. Comito (New York/Texas, 1906-1990) oil on canvas landscape painting, possibly a Texas scene, titled "House on the Hill," depicting a wooden house on a hill with children playing on a country road in the foreground. Additional houses and buildings before a low mountain range are visible in the background beneath an ominous grey sky. Signed "Nicholas U. Comito" lower right. Three paper labels, including exhibition label for Audubon Artists Annual at the National Academy Galleries, New York, en verso. Housed in a giltwood frame with carved corner elements. Sight: 24 1/2" H x 29 3/8" W. Framed: 33 3/4" H x 38 3/4" W. Provenance: Estate of Russell McAdoo, Murfreesboro, TN. Biography: Nicholas Comito was born in New York City and studied at New York University, the National Academy of Design School and in Italy. He exhibited paintings at the 1934 Salons of America. In 1940, his Fig Leaves and Fruit won the Second Hallgarten Prize at the National Academy of Design; he also exhibited there again in 1944. He also exhibited at the Brooklyn Museum; Carnegie Institute; the Currier Gallery of Art; Irvington, NJ, 1945 (prize); the Jersey City Art Museum, 1945 (prize); the Library of Congress; the Philadelphia Watercolor Club; the Washington Watercolor Club; and the Wawasee Art Gallery, Syracuse, Indiana, 1945 (prize). Source: Askart; Who Was Who in American Art. Condition: Overall very good condition with scattered craquelure. [See more photos →]

James Vance Miller (West Virginia/Virginia, 1912-2002), "Mountain Stream," oil on board impressionist landscape painting depicting sun-dappled water cascading along a treelined bank. Signed "J. Vance Miller" lower right. Titled en verso "Mountain Stream" and dated "May, 1967," along with inscription "Sold to Rufus Buchanan / Vance Miller 8/22/69" with deposit and balance information and possible additional artist signatures. Carved giltwood frame and fillet with beige mat. Sight: 12" H x 18" W. Framed: 18 3/4" H x 22 3/4" W. Provenance: Estate of Carl Klein, Brentwood, TN. Condition: Overall very good condition. Some wear/exfoliation to upper left edge, some scattered spots of unpainted canvasboard visible lower left (does not appear to be flaking). Some staining to mat and scattered small losses/abrasions to frame. [See more photos →]

Olive Ruth Holbert Chaffee (Missouri/Alabama, 1886-1980) oil on canvas landscape painting depicting a countroy road flanked by trees with a mountain range in shades of blue beneath a cloudy blue sky in the background. Signed "Olive H. Chaffee" lower right. Typed artist's biography paper label, en verso. Housed in a giltwood frame. Sight: 24 1/2" H x 29 1/2" W. Framed: 29" H x 34" W. Provenance: Estate of Carl Klein, Brentwood, TN. Condition: Overall good condition with scattered minute paint flakes. Frame with some touch up, top left area. [See more photos →]

Southern Hepplewhite work table or stand, walnut primary, poplar secondary. Comprised of an overhanging top over one string inlaid and square nailed drawer with brass pull and resting on tall square tapered legs. 29 1/2" H x 20 3/4" W x 14 1/2" D. Probably Kentucky, Circa 1820. The Estate of Cora Jane Spiller, Bowling Green, Kentucky. Condition: Older refinish, some staining to top. Interior of drawer with old paper lining remnants. Pull is a replacement and original lock is missing. [See more photos →]

Red painted Southern huntboard or sideboard, yellow pine throughout. Comprised of a plain top, case having two nailed drawers on left side, paneled center door, and one large deep dovetailed drawer to the right side, supported by turned Sheraton legs, pegged and square nail construction, wooden pulls. 41 5/8" H x 52 1/2" W x 18 1/2" D. 2nd Qtr. 19th century. The collection of Dr. Robert and Diana Marsh, Lawrenceville, Georgia. Condition: Top board on left side has and 8 inch age crack. Right side of case has age cracks and repair break at upper panel. Right side drawer front with large edge chip. Overall wear to case commensurate with age. [See more photos →]

Large Georgia hunt board with tall turned legs, yellow pine throughout. Overhanging two board top over two square nailed drawers with overlapping fronts. Drawer bottoms having square nails and wooden pegs. Baluster turned legs separated by a center ring turning and ending in compressed ball feet. Old iron L brackets supports at front and back of the case. 44 1/2" H x 58" W x 30 1/4" D. Possibly Northern Georgia, mid 19th century. The collection of Dr. Robert and Diana Marsh, Lawrenceville, Georgia. Condition: Overall all very good condition. Older refinish with traces of white paint, couple of drawer supports later replacements, edges of ring turnings on legs with old losses, drawer pulls older but possibly not original. Surface stains and wear commensurate with age. [See more photos →]

Southern walnut high chest, yellow pine secondary. Consisting of a stepped ogee cornice, three drawers over two half drawers over four graduated drawers configuration with molded drawer edges, and tall bracket feet with large comma returns. All drawers are dovetailed and fitted with brass pulls. Top and bottom of case dovetailed. 59 3/4" H x 43 5/8" W x 22" D. Circa 1800-1810. The collection of Dr. Robert and Diana Marsh, Lawrenceville, Georgia. Condition: Old refinish, replaced brasses, upper left drawer front with old patch to corner, right half drawer with patch to upper right corner, lower four long drawers with repair to top drawer front edges, some wear losses to a couple of drawer dividers near locks, glued breaks to feet and returns, overall general expected use wear. Age split and separation to right side of case. [See more photos →]

Southern yellow pine painted diminutive corner cupboard in red with a step molded pitched pediment cornice, upper and lower paneled doors separated by a deep carved medial molding resting on a bracket foot base. Interior top section with three shelves over a lower section with two shelves. The cupboard doors simulate beveled panel and post construction but actually have outside flat post members nailed to a flat plank of wood. Rosehead nail construction throughout. 63 1/2" H x 38" W x 26" D. Southern, possibly Carolinas, late 18th century. The collection of Dr. Robert and Diana Marsh, Lawrenceville, Georgia. Condition: Bracket base is a later addition, bottom board of cupboard replaced, brace to back corner is replaced. Various scratches and abrasions to paint commensurate with age of cupboard. [See more photos →]

Southern Sheraton sugar chest, poplar secondary. Post and panel construction, rectangular form with partially hinged top opening to interior with original divider, case with paneled sides and one lower dovetailed drawer with wood pulls, all resting on turned Sheraton feet. 33 1/2" H x 28 7/8" W x 20" D. Probably Kentucky, Circa 1835. The Estate of Donna Norton, Glasgow, KY. Condition: Older refinish. The original top has been modified with the addition of a strip of wood to accommodate the hinges being repositioned. Some warpage to hinged top, minor loss at top left and right corner above drawer, drawer pulls are old replacements. Some minor light scratching and staining to top. [See more photos →]

Sheraton server or press, walnut with mahogany veneer, poplar and white pine secondary woods. Plain rectangular top over a single wide dovetailed drawer veneered with figured mahogany and scratchbeaded at edges and having two original round wood knobs; two paneled and hinged doors opening to a single fixed shelf; full length reeded stiles and four turned and tapered feet. Paneled back and sides. 40"H x 41"W x 19 5/8" D. Virginia or Mid-Atlantic, circa 1825. Provenance: private Holly Springs, Mississippi collection, by descent from a relative in Tennessee. Condition: Overall very good condition. Retains old key and locks. Small pest hole to back. Scattered shrinkage cracks including one to front. Drawer supports replaced. Case Divider below long drawer with marks for old hinges, possibly re-purposed for this press since the patination is consistent with remaining case. [See more photos →]

Tennessee Federal inlaid sugar chest, rare Hepplewhite form, probably Davidson County (Nashville area). Cherry primary, poplar secondary. Line-inlaid hinged lid opening to an interior with original dividers, dovetailed vertical case with inlaid kite escutcheon, one dovetailed drawer with an oval brass pull above tapered and line-inlaid Hepplewhite legs. 35" H x 25" W x 20 1/2" D. Circa 1800. Provenance: the collection of Sylvia Roberts, Nashville, Tennessee; formerly in the collection of Dr. Benjamin Caldwell of Nashville, purchased Brunk Auctions, May 20, 2006, lot 798. Condition: Old refinishing, brass pull replaced, backboard with 8 in. strip repair at hinge attachment, battens with some filled nail holes, very minor cracks, separations, expected wear throughout, some staining to front of case, proper right rear leg is replaced. [See more photos →]

East Tennessee Cherry Jackson Press, likely Hawkins County, two part construction with yellow pine secondary. Upper section with stepped ogee cornice over two sixteen pane glass doors enclosing four shelves; lower section having two scratch beaded dovetailed drawers over two paneled doors, paneled case sides, resting on ring turned ball feet. Appears to retain the original locks and possibly the original pulls. Top: 52 1/2 H x 49 1/2" W (cornice, 44" W of case) x 12" D. Base: 43" H x 45" W x 19 1/4" D. Circa 1835. The Collection of Ann Hale-Smith, Rogersville, Tennessee. Condition: Older refinish with the backboard for the top section replaced early 20th century, Old cornice may have been removed when backboard replaced and reworked. Drawer sides built up and drawer supports replaced in lower section. [See more photos →]

Pair of East Tennessee banquet end tables which join to form a dining table. Figured walnut and cherry primary, poplar secondary. Tables with semicircular design and drop leaf, figured curved aprons and turned Sheraton legs. Rear swing leg for leaf. 29 1/2" H x 46" W x 38 1/2" D (w/ leaf) x 20" D (w/out leaf). Circa 1825. The Estate of Alice Wright Summers Hale, Rogersville, TN. Condition: Overall good condition, older refinish, general expected use wear. One table with left curved apron missing part of the lower cockbeaded edge, splits and discoloring to veneer. [See more photos →]

Vannoy Streeter (Tennessee, 1919-1998) wire sculptures depicting a six-piece band, 8 items total, comprised of a vocalist, a guitar player, a fiddle player, a banjo player, a drum player seated at a drum set, and a piano player seated at a piano. Ranging in size from 5 5/8" H x 5 3/4" W x 5" D to 7 3/4" H x 5 1/2" W x 3" D. Biography: "Self-taught sculptor Vannoy Streeter was known as "Wireman" because of the fanciful creations he fashioned from coat hangers and metal wire. Best known for his depictions of the Tennessee Walking Horse, Streeter also created scores of other images using wrapped and twisted wire. By the time of his death in 1998, Streeter had gained national exposure. He participated in the National Black Arts Festival in 1990, and his work attracted collectors from around the United States. Born in 1919 in Wartrace, Tennessee, Streeter moved with his family to what would later become a Tennessee Walking Horse farm. At the time, owners were still training their mixed thoroughbreds to prance in front of buggies. The oldest of six brothers, he learned the horse grooming and training business from his father. When the first Walking Horse Celebration was held in Wartrace, Streeter was there to observe the high-stepping front legs and sliding, low-slung back legs that created the characteristic rocking gait. After the Walking Horse Celebration moved to its current home in the county seat of Shelbyville, Streeter took special pride in the fact that African American trainers helped develop the Walking Horse style and that champion horse "Strolling Jim" was from Wartrace." (source: The Tennessee Encyclopedia). The Collection of Sylvia Roberts, Nashville, TN. Condition: Oxidation to wire. Note that some loose tips (as made) are sharp. [See more photos →]

Mose Ernest Tolliver (Alabama, 1919-2006) folk art house paint on wood panel painting depicting a portrait of Southern (Alabama) artist Fred Nall Hollis, more commonly refer to as "Nall," rendered in shades of pink and black against a green background. Signed "MOSET" with backwards "S," lower left. Metal bar and a soda can tab, en verso. Unframed. 27 1/4" H x 16" W. The Collection of Sylvia Roberts, Nashville, TN. Condition: Overall good condition with minor surface scuffs, errant paint marks, natural age shrinkage to panel. [See more photos →]

Six (6) Peti Clements (Alabama, 1911-1999) Black Americana folk art acrylic on board paintings, including one (1) titled "Dinner on the Ground", "General Store", "Jones Grocery", "Sunning Quilts", "Last Short Round", and "Jump on the Broom" each depicting African African figures engaged in various scenes of everyday Southern rural life, including a wedding scene. All signed "Peti Clements" lower left. Additionally signed with titles and dates, en verso of frame. All housed in similar wooden frames. Sights approximately 4 1/2" H x 5 1/2" W. Frames approximately 6 1/2" H x 7 1/2" W. Circa 1982-85. Note: A female, African American folk artist, Peti Clements was raised on a rural Alabama farm and many of her paintings depict scenes of her early everyday life. Her work is represented in the permanent collection of the Tennessee Valley Art Museum, Tuscumbia, AL. Condition: All items in overall very good condition. [See more photos →]

James Harold Jennings (North Carolina, 1931-1999) painted wood whirligig comprised of a cross beam structure with applied figures in the form of animals, a truck, a crown, a moon, stars, and a Native American man with a windmill, top. Applied lettering reading "James Harold Jennings" across the bottom. Signed "James Harold Jennings" with a sun, moon, and star, en verso. Wire hook for hanging, en verso. 24 1/2" H x 36 1/2" W x 6 1/4" D. Condition: Overall very good condition with expected natural age shrinkage to wood. [See more photos →]

Leroy Almon, Sr. (Georgia, 1938-1997) outsider art autobiographical bi-fold painting, mixed media, signed en verso and dated 1990. This assemblage is composed of scenes from the artist's life, rendered in paint and markers on paper and applied to a painted and hinged pair of plywood boards with applied rope edging. Scenes include his birthplace in 1938, his childhood, his sales career with Coca-Cola, his move to Atlanta and, on the final panel, a list of events including his Governor's Award for the Arts in 1985, in 1986 "Anointed Preacher of the Gospel by Jesus Christ," and 1990 "Established Artist and Preacher." 32" H x 48" W x 1/2" D. Provenance: Estate of Carl Klein, Brentwood, TN. Biography: Leroy Almon, Sr. was a non denominational evangelical preacher known for his interpretations of spiritual and secular themes carved in low relief with knife and chisel. Almon was born in Tallopoosa, Ga, but grew up in Columbus Ohio and worked as a shoe salesman and for the Coca Cola Co. in Columbus. Following a job loss in 1979, he apprenticed and eventually collaborated with Elijah Pierce, the well known African American lay minister and woodcarver. In 1982, Almon returned to Tallapoosa, and converted his boyhood home into a workshop and gallery and became an ordained minister." (source: Lynda Hartigan, "Contemporary Folk: Treasures from the Smithsonian American Art Museum" and the Souls Grown Deep Foundation). Condition: Overall excellent condition. 1/2" tear to "Art Career Begins" painting, a few other spots with tiny minor tears or scratches and corner folds, some not fully adhered to boards. [See more photos →]

Ed (Eddy) Mumma (Florida/Ohio, 1908-1986) Folk Art house paint on board painting depicting a woman with orange skin against an orange background, rendered in a heavy impasto technique. Unsigned. Housed in a giltwood frame. Sight: 15 1/2" H x 11 1/2" W. Framed: 21" H x 17" W. Provenance: Estate of Carl Klein, Brentwood, TN. Condition: Overall good condition. Frame is not wired for hanging. [See more photos →]

Three (3) folk art items by Howard Finster (Georgia, Alabama, 1916-2001) and Michael Finster (Georgia, b. 1969). 1st item: Howard Finster poured concrete mosaic plaque comprised of various materials including glass, hardware and a transistor or computer board. Signed on the back "Howard Finster Studio, Summerville, GA. 9 7/8" square. 2nd item: Howard Finster outsider art painted camel titled "Desert Taxi" depicting angels and other figures. Signed lower right and additionally signed "Jesus Saves". 8" H x 10 3/4" W. 3rd item: Michael Finster outsider art bookend in the form of a dragon, titled "Dragon Dog". Titled, dated signed on the base "By Michael Finster/3478th Piece of Art/12-1-94 7:45 AM" together with additional drawings. Also signed and dated on the back. 6 3/4" H x 7 5/8" W. Private Chattanooga, TN collection. Condition: 1st item: Overall very good condition. 2nd-3rd items: Overall good condition with light general wear. [See more photos →]

Tim Lewis (Kentucky, b. 1952) folk art carved sandstone sculpture depicting Noah's Ark, with giraffe heads and necks protruding out of the stern onto the roof, sheltering a male and female to one side and a hippo and and other animal to the other. Another male and female figure with kissing birds to the stern and two lions depicted on the bow. Various animals depicted in each window. Signed and dated "T 04/Lewis" top of bow. 14 1/4" H x 24 1/2" W x 8 1/2" D. Sculpture weighs 113.3 pounds. The Collection of Sylvia Roberts, Nashville, TN. Condition: Overall good condition with weathered, green patina. Few minute chips to ear of right giraffe. [See more photos →]

Rosa Brooks Beason (Kentucky, 1904-2000) oil on board painting depicting a Amish church wedding scene with several people approaching the church and milling about the surrounding landscape, including a bride and her father in a horse drawn buggie, a graveyard and trees in a hill in the background beneath a cloudy blue sky. Signed and dated "Rosa B. Brooks 47" lower right. Handwritten label, en verso. Housed in a wooden frame with metallic silver paint and an off white linen liner. Sight: 17 1/2" H x 23 3/8" W. Framed: 20 3/8" H x 26 1/2" W. Provenance: Estate of Carl Klein, Brentwood, TN. Condition: Overall good condition with 6 3/4" horizontal abrasion, to church steeple and adjoining tree. Staining to linen liner. [See more photos →]

Greg Ridley (American/Tennessee, 1925-2004) abstract oil on board depicting a centaur with flaming headdress holding a bow with the sun to his back amongst a black background. Signed and dated "Greg Ridley '99," lower left. Photocopy of additional signature and inscription to back of board, en verso. Housed in a giltwood frame. Sight: 19 3/4" H x 15 5/8" W. Framed: 21" H x 17" W. Biography: Greg Ridley was born in Smyrna, TN, and moved with his family to Nashville, TN in 1936. After his service in the US Navy during WWII, he earned a degree in art education from Tennessee State University and went on to become the first African-American to receive a master's degree in fine arts from the University of Louisville. Ridley also attended Fisk University (where he later worked), and where he studied under Aaron Douglas, the Harlem Renaissance painter and muralist, who remained a close friend and mentor until his death in 1979. Ridley taught at various Southern universities as well as the City University of New York. One of his last and best-known works was the creation of 80 copper panels for the Grand Reading Room of the Nashville Public Library, Nashville, Tennessee. Condition: Overall very good condition. [See more photos →]

Philip Perkins (Tennessee, 1907-1970) abstract multicolored artworks, including one (1) oil on paper painting and one (1) pastel on paper drawing. Unsigned. Both with Nashville, TN framing gallery labels en verso. Both housed under plexiglass in black wood frames. Sights ranging in size from 14" H x 17" W. 19 3/4" H x 14 3/4" W. Frames 20 1/4" H x 23 1/4" W x 29" H x 24" W. Provenance: acquired by consignor from the estate of Philip Perkins. Biography: Philip Perkins received critical acclaim for his geometric, cubist influenced work of the 1940s and his abstract expressionism in the 1950s. He was born in Waverly, Tennessee and studied at Vanderbilt University and the Art Institute of Chicago. In 1932 he moved to Paris, France, where he studied under Jean Marchaud, Louis Marcoussis, and Fernand Leger. In 1934 he exhibited at the Salon D'Automne and the Salon de Tuileries. In 1940 he moved to New York City and in 1947 participated in the International Surrealist Exhibition. He spent seven years teaching art at the University of Tennessee in Nashville (1948-1955) but went back to Europe for several more years before returning to Nashville in 1961. Condition: Overall very good condition. Not examined outside of frames. [See more photos →]

Charles Brindley (American/Tennessee, 20th-21st century), "Study of Mound on Bright Day, Mid Summer," oil pastel on paper painting depicting a grassy Tennessee mound under a bright blue sky, with sunlight concentrated on the center of the mound. Signed lower right. Float mounted in a giltwood frame with linen mat and gilt fillet. Sheet: 22" H x 28" W. Framed: 27 1/2" H x 35" W. Biography (from artist's website): He lives and works north of Nashville, Tennessee and his work appears in public and corporate collections throughout the United States and in private collections internationally. Five touring exhibitions of Brindley's works have traveled to museums and art centers in the Southeast and Midwest. His subject matter generally encompasses trees, architecture, panoramic landscapes, rock formations, and mounds including Native American burial mounds. His images are highly representational but contain multi-layered abstract elements. In 1998 the Tennessee State Museum presented Landscape Vision: Works of Charles Brindley 1980-1997 and in 2007 the Evansville Museum organized an exhibit of his work spanning a twenty year period. Far Hills: Images of the Tennessee Residence, an exhibit of commissioned drawings and paintings of the historic mansion of Tennessee's Governors, completed a schedule of eight venues throughout the state in 2006. Private Nashville Collection. Condition: Excellent condition. [See more photos →]

Anton Weiss (Tennessee/Arkansas, born 1936) abstract acrylic on canvas painting titled "Residual I" depicting a multicolored wash in shades of red, brown, blue, yellow, grey, and black, against a white background. Signed and dated "Anton Weiss 87" lower right. Nashville, TN All-State Art Exhibition, 1987 identification tag with a handwritten "W," possibly indicating that the painting won an award, and typed artist biography, en verso of canvas, titled, en verso of stretcher. Float mounted in a wooden frame. Canvas: 36" square. Framed: 38" square. Provenance: Art Collection of former Watkins College of Art; proceeds benefit scholarship endowment for students in the new Watkins College of Art at Belmont University. Condition: Overall very good condition. [See more photos →]

Two (2) Olen Bryant (American/Tennessee, 1927-2017) carved wood hanging sculptures. 1st item: Wooden sculpture or mask of a face with bead eyes. Unsigned. 21 3/8" H x 8" W x 3" D. 2nd item: Wooden figure with face and headdress, possibly carved from a vintage ironing board. Unsigned. 31" L x 5 1/2" W x 1" D. Biography: Born in Cookeville, TN, Bryant was a 1950 graduate of Murray State University and a 1954 graduate of the Cranbrook Academy of Art in Bloomfield, Michigan with a Master's Degree in Fine Arts. He additionally studied at the Cleveland Institute of Art, the Institute in the Visual Arts in American Culture at the University of Delaware and the Winterthur Museum in 1967. Bryant was a professor at Austin Peay State University from 1964 to 1991. Bryant's artwork is widely collected around the United States and is a part of several museum collections, including the Hunter Museum of American Art in Chattanooga, the Tennessee State Museum of Art and the Cheekwood Museum of Art in Nashville and his works have been displayed at the Tennessee Performing Arts Center and at the Governor's Mansion during the Phil Bredesen administration. He was a founding member of the Nashville Artist Guild and the Tennessee Association of Craft Artists (sources: Nashville Fine Arts Magazine & The Leaf Chronicle). Provenance: Estate of Olen Bryant, Cottonwood/Clarksville, TN. A letter of authenticity and provenance from the artist's niece, who served as his studio assistant and personal representative for his estate, is available to the successful bidder on this lot. Condition: Overall very good condition with minor wear. 1st item has errant paint drip to figure's forehead. [See more photos →]

Attributed to Thomas Puryear Mims (American/Tennessee, 1906-1975), limestone sculpture depicting a standing nude woman on an integral base; the subject's head is tilted up toward her right side, and her right arm is stretched across her torso. Unsigned. 29" H x 10 1/2" W x 7 1/2" D. Sculpture weighs 95 pounds. Provenance: The Estates of Ora and Eleanor Eads, Nashville, TN. Biography: Born into a distinguished Southern literary family, Puryear Mims earned an English degree from Vanderbilt University and taught the subject for a brief period. His fascination with sculpture eventually led him to study at the Academie Julian in Paris and the Art Students League in New York, where he trained under two of America's pioneer abstractionists, Robert Laurent and William Zorach. He also worked in the studio of the sculptor Saul Baizerman in New York. In 1934 he worked on the Mount Rushmore project as an assistant to Gutzon Borglum, but found it to be more "mechanical" than artistic. He returned to the Art Students League and eventually, to Nashville. Mims taught art at Vanderbilt University and in 1958 was appointed Sculptor in Residence. He created numerous public sculptures around Nashville, participated in several one-man and multi-artist exhibits, and, following his death, was the subject of a retrospective at Cheekwood. While Mims's early work was largely representational, he was influenced by cubism in the late 1950s and evolved into an abstract, organic, curvilinear style of sculpture. Women as voluptuous, creative beings, in particular Eve and Athena, were frequent subjects in the 1960s. Mims retired from Vanderbilt in 1972 and taught privately until his death three years later. (Source: "Thomas Puryear Mims" by Philancy Holder, published by Tennessee Botanical Gardens & Fine Arts Center, Inc., Cheekwood, Nashville, TN., 1977). Note: Mims's work is sometimes compared with that of another prominent Nashville sculptor working around the same time, William Edmondson. Works by the two artists were displayed together in a 1988 exhibition at the Nashville Metropolitan Arts Commission Gallery, "Spirit and Form: the Art of William Edmondson and Puryear Mims." Condition: Some chips and losses to base, wear and some brownish discoloration to stone, suggesting previous use outside. [See more photos →]

Attributed to Thomas Puryear Mims (American/Tennessee, 1906-1975), limestone sculpture depicting two intertwined human figures, Unsigned. 20" H x 13" W x 7" D. Sculpture weighs 86.6 pounds. Provenance: The Estates of Ora and Eleanor Eads, Nashville, TN. Biography: Born into a distinguished Southern literary family, Puryear Mims earned an English degree from Vanderbilt University and taught the subject for a brief period. His fascination with sculpture eventually led him to study at the Academie Julian in Paris and the Art Students League in New York, where he trained under two of America's pioneer abstractionists, Robert Laurent and William Zorach. He also worked in the studio of the sculptor Saul Baizerman in New York. In 1934 he worked on the Mount Rushmore project as an assistant to Gutzon Borglum, but found it to be more "mechanical" than artistic. He returned to the Art Students League and eventually, to Nashville. Mims taught art at Vanderbilt University and in 1958 was appointed Sculptor in Residence. He created numerous public sculptures around Nashville, participated in several one-man and multi-artist exhibits, and, following his death, was the subject of a retrospective at Cheekwood. While Mims's early work was largely representational, he was influenced by cubism in the late 1950s and evolved into an abstract, organic, curvilinear style of sculpture. Women as voluptuous, creative beings, in particular Eve and Athena, were frequent subjects in the 1960s. Mims retired from Vanderbilt in 1972 and taught privately until his death three years later. (Source: "Thomas Puryear Mims" by Philancy Holder, published by Tennessee Botanical Gardens & Fine Arts Center, Inc., Cheekwood, Nashville, TN., 1977). Note: Mims's work is sometimes compared with that of another prominent Nashville sculptor working around the same time, William Edmondson. Works by the two artists were displayed together in a 1988 exhibition at the Nashville Metropolitan Arts Commission Gallery, "Spirit and Form: the Art of William Edmondson and Puryear Mims." Condition: Overall very good condition. [See more photos →]

Ralph Eugene Meatyard (_Kentucky/Illinois, 1925-1972) gelatin silver print depicting a young boy in a hooded sweat suit and boots seated outside and holding flowers, the broken pieces of a stone planter at his feet on the grass. Photograph signed verso near hinge, "Madelyn O. Meatyard" (artist's widow). Includes the original shipping materials from Howard Greenberg Gallery, New York, NY. Hinge mounted to a white mat. Photograph: 5 7/8" H x 6 7/8" W. Sight: 5 1/2" H x 6 1/2" W. Mat: 15 1/2" H x 12 1/2" W. Note: Meatyard's work was featured in the Howard Greenberg Gallery exhibition titled "Family Photographs from Home," March 11-April 30, 2005. Private Chattanooga, TN collection. Condition: Overal very good condition. [See more photos →]

Two (2) Maria von Matthiessen (American, 1944-2001) gelatin silver prints, each depicting a dilapidated barn in a rural setting. Both signed "Maria von Matthiessen" lower right, below image. Both housed under glass in matching wooden frames with giltwood fillets. Includes a group of photocopied letters, newspaper articles, and exhibition records, including a letter from President George H.W. Bush regarding a portrait the photographer took of him, circa 1992. Images range in size from 6 1/4" H x 9 1/8" W to 10 5/8" H x 7" W. Sights: 13 1/2" H x 10 5/8" W. Frames: 17" H x 14 1/8" W. Note: Maria von Matthiessen was known for her images of rural Southern scenes along with photographic portraits of well known celebrities like Jimmy Stewart, politicians, and particularly country music singers (her book, Songs from the Hills: An Intimate Look at Country Music, was published in 1993). Her work was recently the subject of an exhibit at the Michelson Museum in Texas. Private Chattanooga, TN collection. Condition: Overall very good condition. Not examined outside of frames. [See more photos →]

Four (4) 19th Century Maps of North America and Mexico. 1st item: NORTH AMERICA map, drawn and engraved by John C. Russell, Jr., from GEOGRAPHY, ON A POPULAR PLAN, FOR THE USE OF SCHOOLS AND YOUNG PERSONS by the Rev J. Goldsmith, published by Longman, Rees, Orme, Brown, and Green, London, circa 1809. Copper plate engraving with later hand coloring depicting the Continent of North America, including the lands of "New Louisiana," west of the Mississippi, acquired during the Louisiana Purchase in 1803. Title, lower left. Surrounded by scale notations and a line border. Plate: 8" H x 9 5/8" W. Sheet: 9" H x 11 1/8" W. 2nd item: A NEW MAP OF NORTH AMERICA AGREEABLE TO THE LATEST DISCOVERIES, attributed to John Lodge, London, circa 1812. Copper plate engraving with later hand coloring depicting the Continent of North America, including "New Albion," along the west coast. Title, top left. Surrounded by scale notations and a line border. Hinge mounted to a white mat. Sheet: 10 5/8" H x 10 3/4" W. Mat: 16" H x 15 3/4" W. 3rd item: NORTH AMERICA map, engraved and published by John Cary, London, circa 1822. Copper plate engraving with later hand coloring depicting the Continent of North America, including "New Albion," along the west coast. Title, lower left. Surrounded by scale notations and a line border. Plate: 8 1/2" H x 10" W. Sheet: 9 1/8" H x 10 1/4" W. 4th item: MEXIQUE map, drawn by Bernard, engraved by L. Grenier, printed by Mangoen, published by Auguste-Henri Dufour, Paris, circa 1833. Engraved map with later handcoloring depicting Mexico and the Southern United States, with an inset map of Guatemala, lower left. Title and scale of miles, lower right. Surrounded by scale notations and a decorative border. Sheet: 16 1/4" H x 12" W. The estate of David B. Person, Historic Burton Place, Holly Springs, Mississippi. Condition: All items in overall good condition with toning. Pencil inscription from previous owners to margins. 3rd item: Margins have been cut down. 4th item: Scattered minute foxing spots. 1/4" area of loss, lower left corner. [See more photos →]

Four (4) Maps of Kentucky and Tennessee and one (1) Civil War era full-page illustration from HARPER'S WEEKLY, 5 items total. 1st item: MAP OF THE STATES OF KENTUCKY AND TENNESSEE, by John H. Hinton, engraved and printed by Fenner Sears and Company, published by Issac T. Hinton and Simpkin and Marshall, London, 1831. From THE HISTORY AND TOPOGRAPHY OF THE UNITED STATES OF AMERICA by John H. Hinton. Steel plate engraving with hand coloring of Kentucky and Tennessee depicting towns and roads, county lines, names of counties, rivers, mountains, and a notation on the location of the "Cherokee Indians", lower right of state of Tennessee. Title and scales of miles, top left. "Longitude West from Washington", centered above map, "Longitude West from Greenwich", centered below map. Map surrounded by scale notations and triple line border. Encapsulated (not laminated) in a plastic archival sleeve and mounted to a mat. Image: 9 1/4" H x 15" W. Sheet: 11" H x 17" W. Mat: 17 1/8" H x 23 1/8" W. 2nd item: TENNESSEE AND KENTUCKY Map by Thomas G. Bradford, engraved by George W. Boynton, published by William D. Ticknor, Boston, 1835. From A COMPREHENSIVE ATLAS, GEOGRAPHICAL, HISTORICAL & COMMERCIAL by Thomas G. Bradford. Copperplate engraving with hand-colored outlines of Tennessee and Kentucky depicting towns and roads including Murfreesboro as the Tennessee state capital, county lines, names of counties, rivers, mountains, and a notation on the location of the "Cherokee Indians," lower right of state of Tennessee. Title and scale of miles, top left. "Longitude West from Washington," centered below map, "Longitude West from London," centered below map. Map surrounded by scale notations and triple line border. Encapsulated (not laminated) in a plastic archival sleeve. Image: 7 3/8" H x 9 7/8" W. Plate: 9" H x 11 1/2" W. Sheet: 10 3/8" H x 13 1/8" W. Sleeve: 11" H x 13 7/8" W. 3rd item: COUNTY MAP OF KENTUCKY AND TENNESSEE, published by Samuel Augustus Mitchell, Jr., Philadelphia, 1860. From MITCHELL'S NEW GENERAL ATLAS by Samuel Augustus Mitchell, Jr. Steel plate engraving with hand coloring of Kentucky and Tennessee depicting towns and roads, county lines, names of counties, rivers, and mountains. Title and scale of miles, top left. "Longitude West from Greenwich", centered above map, "Longitude West from Washington", centered below map. Map surrounded by scale notations and decorative floral border. Encapsulated (not laminated) in a plastic archival sleeve. Image: 9" H x 11 5/8" W. Sheet: 12 3/8" H x 15 1/2" W. Sleeve: 13 3/8" H x 16 3/4" W. 4th item: WAR MAP OF KENTUCKY, SHOWING THE PRESENT FIELD OF OPERATIONS IN THAT STATE, published in HARPER'S WEEKLY, October 4, 1862, p. 630. Lithographed map with later hand coloring depicting all of Kentucky and most of Tennessee depicting towns and roads, names of counties, rivers, and other points of interest identified, inset map of "Louisville and Vicinity," top left. Text page with illustrations, en verso. Mounted under archival plastic to a mat. Image: 9 1/4" H x 13 7/8" W. Sheet: 10 3/4" H x 15 3/4" W. Mat: 13 3/4" H x 17 7/8" W. Note: This map is very similar to a map that was previously published in Harper's Weekly on February 8, 1862, except that markers for Union and Confederate camps (and some of the Confederate camps named) have been removed. 5th item: THE WAR IN KENTUCKY–IN AND ABOUT PADUCAH, sketched by J. C. Beard and Bill Travis, published in HARPER'S WEEKLY, October 26, 1861, p. 684. Lithographed page with later hand coloring depicting five Civil War scenes of Paducah, Kentucky, including "[John Charles] Fremont's Fleet of 13 Steamers and 125 Barges off New Albany at the Fall of the Ohio." Text page, en verso. Mounted under archival plastic to a mat. Sheet: 10" H x 14 3/4" W. Mat: 13" H x 16 1/4" W. Condition: All items in overall good condition with toning/acid burn, scattered minute foxing spots. Pencil inscriptions, en verso. All with David Lloyd Swift labels indicating that the items were professionally cleaned and deacidified, 1st-3rd items encapsulated, circa 1987-1996. 1st item: Creases, largest 10 3/4". Edges of sheet lined with white archival tape, visible en verso. 3rd item: Minute areas of loss to sheet and 7/8" x 1 7/8" piece of white archival tape, visible lower left en verso. [See more photos →]

MISSISSIPPI TERRITORY, drawn by Samuel Lewis, engraved by David Fairman, from A NEW AND ELEGANT GENERAL ATLAS, drawn by Aaron Arrowsmith and Lewis. Published by Thomas and Andres, Philadelphia, 1812. Copper plate engraving with later hand coloring depicting of Mississippi Territory, extending from the Mississippi River to the Chattahoochee River and incorporating all of Alabama, depicting settlements, bodies of water, early roads, mountain ranges, and other areas of interest including the locations of the Native Americans such as the Upper, Middle, and Lower Creeks, the Chickasaws, and Choctaws and military companies, including Georgia Company, Tennessee Company and Upper Mississippi Company. Title cartouche and scale of miles, lower right. Surrounded by scale notations and a line border. Image: 8" H x 10" W. Sheet: 9 1/8" H x 10 3/4" W. Provenance: private Holly Springs, MS collection. Condition: Overall good condition. Margins trimmed. Likely deacidified. Faint ink numeral inscription, lower left margin. Possible contemporary coloring of plate. [See more photos →]

GEOGRAPHICAL, STATISTICAL, AND HISTORICAL MAP OF TENNESSEE drawn by Fielding Lucas, Jr., engraved by William Kneass, from A COMPLETE HISTORICAL, CHRONOLOGICAL, AND GEOGRAPHICAL AMERICAN ATLAS, published by Henry C. Carey and Issac Lea, Philadelphia, 1822. Copper plate engraving with hand coloring of Tennessee depicting towns and roads, county lines, names of counties, rivers, and mountains with four columns of text below including statistical information detailing the number of "Whites," Free blacks," "Slaves," and "All others," with a total count per county. Full title, centered above map, short title and scale of miles, lower right. Map surrounded by scale notations and triple line border. Partial receipt from The Antiquarian Gallery, Nashville, TN, en verso. Housed and matted under plexiglass in a giltwood frame. Plate: 12 1/2" H x 19 1/2" W. Sight: 17" H x 21 1/4" W. Framed: 22 3/4" H x 26 3/4" W. The estate of a Vanderbilt University professor, Nashville, Tennessee. Condition: Overall good condition with light toning, scattered foxing spots, largest 1/4", to sheet. Not examined outside of frame. [See more photos →]

Archive of three hundred and thirty-six (136) approximately pertaining to Philip Smith Hale (1830-1911), 60th Regiment, Tennessee Mounted Infantry (Crawford's) (79th Infantry), of Hawkins County, Tennessee. 1st-7th items: Group of seven (7) photographic images and one (1) one (1) carte de visite (cdv) album, including one (1) souvenir World's Columbian Exposition of 1893 tintype of Hale, two (2) albumen print depicting the Rogersville Female College, Rogersville, TN, one (1) silhouette, likely depicting Hale, CDVs depicting members of Hale's family, and more. 8th-135th items: Group of approximately one hundred and twenty-eight (128) documents, primarily promissory notes and receipts, with four (4) circuit court of Tennessee notes and one (1) sheriff summons, related to Hale and other family members including Phillip S. Hale, his father, and Alexander Hale, his brother, dated circa 1838-1886. Many housed in a hand sewn fabric organizer, each pocket with alphabetical letters. Biography: Phillip S. Hale, a prominent citizen and well-to-do farmer of Hawkins County, was born in that county December 10, 1830, son of Phillip S. and Elizabeth (Bachman) Hale. They were of Scotch-Irish and German descent, and natives of East Tennessee, the father of Greene County, and the mother of Sullivan County. They were married in the latter county, and lived at Kingsport, same county, after their marriage several years, then moved to Hawkins County, where the father died in 1867, at the age of seventy-four. His father was a farmer, and in his early days he was engaged in the mercantile business. He was one of twelve children. He was born in Hawkins County, where he secured an academical education, and, with the exception of one year, part of which (1865-66) he spent at Bristol, lived in that county all his life, engaged in farming. He owned upward of 210 acres in the fifth District, on the Holston River. On July 23, 1857, he married Miss Margaret Smith, of Hawkins County, daughter of Samuel and Elizabeth Smith. They had eight children–four sons and four daughters. He died on May 16, 1911 at the age of eighty and was buried in the McPheeters Bend Baptist Church Cemetery, Church Hill, Hawkins County, Tennessee. (Adapted from Goodspeed's History of Tennessee, 1886). The Estate of Alice Wright Summers Hale, Rogersville, TN. Condition: All items in overall good condition with toning/acid burn, tears, dampstaining, foxing spots, to be expected from age and manner of use. Album front cover is separated from spine, back cover is not present. [See more photos →]

Document archive related to the family of Judge John Williams Green of Culpeper County, Virginia, 80 items total. Topics include the USS Ontario, the Texas Revolution, Slavery, and more. The family included William B. Green (c. 1804-1880), Lawyer; Dr. Daniel S. Green (1811-1864), U.S. Navy Surgeon; and Rawleigh B. Green (born c. 1806), businessman, all sons of Judge Green (1781-1834), a Virginia lawyer, soldier, plantation owner, politician, War of 1812 veteran, member of the Virginia State Senate, and judge on the Virginia Supreme Court of Appeals.1st-11th items: Eleven (11) ALS from Rawleigh, to William and Daniel, including four (4) from Vicksburg, VA, dated May 4, 1832-March 10, 1836, two (2) from new Orleans, dated January 4-15, 1836, two (2) from an Indian Camp in Hinds County, MS, dated May 25-June 26, 1836, two (2) from Geisers Store, MS, dated August 20-October 31, 1836, and one (1) from Bellegrove, VA, dated October 7, 1837. Two (2) letters, one (1) from New Orleans, dated January 15, 1836 and one (1) from Vicksburg, March 10, 1836, include detailed ink drawings and descriptions of a new steam engine that he designed. He also discusses the Texan Revolution and the Mexican-American War, specifically in one (1) letter from Vicksburg, VA, dated December 5, 1835, writing that a cousin had told him that "…Texas would soon belong to this country…" and, based on his information "…if the war is not over I will join the [Texan] army and recieve[sic] their premium of a thousand acres of land if it be true that they so handsomely reward volunteers…" 12th-26th items: Fifteen (15) ALS from Dr. Daniel S. Green, U.S. Navy, to William and Rawleigh, including twelve (12) composed while he was stationed on the U.S.S. Ontario, during expeditions to Rio de Janero, St. Salvador, Monte Video, and other locations in South America, dated March 14, 1834-November 7, 1835, and three (3) written while he was recuperating at a Naval Hospital in Philadelphia, dated February 20, 1837-August 18, 1837. 27th-64th items: Thirty-eight (38) assorted letters, receipts, and other documents addressed to William, dated July 11, 1827-February 16, 1853, including one (1) letter referring to Williams's farm and the wellbeing of the slaves, stating "…the Negroes and Family are to be furnished with what…the Farm and all that will be purchased for the Negroes will be paid for by you…" from Millon Green, his step-mother, dated February 28, 1834. 65th-80th items: Sixteen (16) assorted ephemera items related to Virginia, including two (2) documents pertaining to the sale of slaves, dated January 21, 1816, January 16, 1821, and November 16-17, 1825, one (1) hardbound book of handwritten and pasted poems and recipes, two (2) Court of Appeals of Virginia imprints, one (1) titled "Whitely v. Commonwealth" dated circa 1858 and one (1) titled "Alexander & ALS vs Smyth &c." dated circa 1859, two (2) Civil War era broadsides detailing the taxation of Naval Stores, Wines, and Agricultural Products by the Confederate Government, and one (1) envelope containing eighteen (18) red and green George Washington two cent stamps and six (6) blue Franklin one cent stamps, all postmarked. Private Chattanooga, TN collection. Condition: Overall good condition with toning/acid burn, foxing spots, areas of dampstaining, insect damage, tears, to be expected from age. Signatures in overall good, legible condition. [See more photos →]

Archive of fifty-eight (58) items pertaining to Peter Gordon, Merchant of Alexandria and Fredericksburg, Virginia, including a slave related letter, legal papers, and documents in relation to the ship Fabius under the command of Captain James Hughes and Thomas Farrell, circa 1804-1811. 1st-11th items: Eleven (11) invoices, letters, receipts and other documents pertaining to Gordon's business endeavors, including items from Baldwin M. Lee, a Justice of the Peace of Westmoreland County and family member of Gordon's wife, Susan Hancock [Lee] Gordon Thornton (1795-1867), dated circa July 26, 1803-March 8, 1811. One (1) letter from Baldwin, dated February 10, 1810, refers to the sale of Gordon's slaves, including a reference to Mr. Murray "…of this neighborhood, who is very anxious to purchase Maria & her child at $450…" Note: Susan married Gordon circa May 24, 1806 or 1808 in Westmoreland County. Her second marriage was to John Stuart Thornton of Montpelier, Rappahannock County, VA, b. 1780.12th-13th items: Two (2) legal documents, including one (1) indenture between Gordon and his wife and John Stewart, junior of the Corportation of Fredericksburg and Commonwealth of VA, for a tract of land containing seven hundred and fifty-six acres in Culpepper County, for the sum of one thousand four hundred and ten pounds and one shilling, dated and witnessed October 1, 1808, and one (1) answer of a bill of complaint issued against Gordon and another in the Court of the United States for the fifth circuit and Virginia District by David Wilson, with attached copies of evidence, given under oath before Baldwin M. Lee, a Justice of the Peace of Westmoreland County, dated December 29, 1810.14th-37th items: Twenty-four (24) bills of lading issued to Peter Gordon and others, primarily Robert Patton and William Ramsey Wilson, confirming the shipment of goods such as hogsheads of Virginia leaf tobacco, coffee, and wine, aboard the Fabius, including twelve (12) from Alexandria to Bordeaux, dated June 23, 1804, one (1) includes an invoice, dated May 25, 1804, ten (10) from Bordeaux to New York, dated October 8, 1804, and two (2) from Bordeaux, with French text, dated September 21, 1805. 38th-58th items: Twenty-one (21) invoices, manifests, letters, and other documents pertaining to the shipment of goods by Gordon and others aboard the Fabius, dated circa May 31, 1804-May 3, 1808. Note: An Invoice for Wines and Food shipped on board the Fabius was recorded in The Papers of Thomas Jefferson, Volume 44: 1 July to 10 November 1804, pp. 383-84. The ship, carrying cases of wine and preserved fruit, was bound to New York and consigned to the Collector of the Custom there on account of the President of the United States. Private Chattanooga, TN collection. Condition: All items in overall good, legible condition with toning, foxing spots, dampstaining, insect damage, tears, to be expected from age and manner of use. [See more photos →]

Archive of over three hundred (300) items primarily pertaining to Colonel William Little Vance (1815-1888), early Memphis, Tennessee businessman, slave trader, and witness to the assassination of President Abraham Lincoln. Includes slave receipts, inventory lists, and other documents related to Vance and members of his prominent family including his wife Letitia Hart Thompson Vance (1826-1896), his father Samuel Vance (1784-1823), his mother Elizabeth Little Brown Vance (1792-1854), his son George Thompson Vance (1852-1926), and other family members. 1st item: Governor of Tennessee Samuel Houston (1793-1863) secretarial signed land document, granting Joseph Kerr one thousand eight hundred fifty-four acres in Obion County "…by virtue of Warrant No 93–dated the 17th of September 1808.." dated May 1, 1828. Secretarial signatures for Houston and Daniel Graham, below. Encapsulated (not laminated) in a plastic archival sleeve. Document: 16" H x 10 3/4" W. Sleeve: 18" H x 12 1/2" W. 2nd-4th items: Three (3) ledgers and date books belonging to William L. Vance, detailing personal and business expenses, such as the buying and selling of slaves, including one (1) group of unbound pages comprising a slave inventory including names, ages, and the amount the slaves were sold or purchased for, dating circa 1847-1859, one (1) brown leather book with business and personal expense records, including a record of expenses related to a trip to Washington, D.C., indicating that Vance purchased a ticket to Ford's Theatre on April 14, 1865, where he witnessed Lincoln's assassination, dating from circa 1857-1885, and one (1) black leatherette date book for the year of 1864. Ranging in size from 6" H x 3" W x 1/2" D to 12 1/2" H x 7 3/4" W x 1 1/2" D. 5th-7th items: Three (3) slave receipts, including one (1) detailing the temporary hiring of a "…negro girl named Fanny…" belonging to William L. Vance, stating that "…she is to be well treated in sickness and in health, and not transferred to the possession of any other person, or removed out of Mercer County, unless by Vance's consent…" It additionally states that she is to be returned at Christmas and that she is to be given several items of clothing. Twice signed by William Simpson and dated January 1, 1862. Also includes two (2) blank receipts. 6 1/4" H x 7 5/8" W. 8th item: Civil War era ALS. Two page handwritten bifolium letter on Thirty-Seventh Congress, House of Representatives, Washington City, United States of America stationary pertaining to William Little Vance, Esquire, stating that "…(the bearer) is a true and loyal citizen and a citizen of Ky…" and that Vance wishes to travel behind Federal lines during to conduct business, dated November 7, 1862. Encapsulated (not laminated) in a plastic archival sleeve. Document: 8 1/8" H x 10" W. Sleeve: 9 1/4" H x 12" W. 9th item: Hamilton Fish signed document stating that "…all whom is may concern to permit and freely to pass William L. Vance, accompanied by a minor son, a Citizen of the United States, and in case of need to give him all lawful Aid and Protection…" with a description of Vance's physical characteristics, dated July 10, 1873. Hamilton Fish signature below (Fish was a New York Governor and U.S. Senator who, during the Civil War, served on Lincoln's presidential commission that made successful arrangements for Union and Confederate prisoner exchanges; he later became U.S. Secretary of State from 1869-1877). Encapsulated (not laminated) in a plastic archival sleeve. Document: 18 1/4" H x 12 1/8" W. Sleeve: 19 1/2" H x 13 3/4" W. 10th item: Governor of Tennessee Albert H. Roberts signed commission naming George T. Vance a Notary Public in Shelby County, TN, dated January 17, 1920. Roberts and Ike B. Stevens, Secretary of State, signatures below. 15 3/4" H x 9 3/8" W. 11th-30th items: Twenty (20) land documents pertaining to land primarily in Shelby County, TN, including indentures and plat maps, dated from March 5, 1795 to June 12, 1873. 31st item: Civil War era copy of a letter from President Abraham Lincoln and Commanding General of the U.S. Army Ulysses S. Grant regarding "…James Hughes of Indiana…a worthy gentleman, and a friend…" originally dated October 22, 1864 and February 25, 1864. Encapsulated (not laminated) in a plastic archival sleeve. Document: 8 1/4" H x 6 1/2" W. Sleeve: 8 3/4" H x 7 1/2" W. 132nd-134th items: Approximately one hundred and two (102) tax receipts, inventory lists, promissory notes, checks, a ledger, and other legal and business related documents, dated February 12, 1848 to March 17, 1909. 135th-338th items: Approximately two hundred and four (204) letters, dated June 1770 to November 12, 1933, pertaining to members of the Vance family and others, including letters from the Civil War era (1861-1865) and the World War I era (circa 1917-18) from Corporal John Vance, Headquarters Company 120 Infantry, Sevier Branch, Greenville, South Carolina. The letters discuss personal matters and business, including the operation of his farm. Also includes approximately forty (40) envelopes, primarily addressed to William Vance. 339th-378th items: Approximately forty (40) souvenir postcards, blank or addressed to various members of the Vance family, advertisements, and other paper ephemera items, dated circa 1917 to 1923. Many of the documents, postcards, letters, and other paper ephemera items are encapsulated (not laminated) in plastic archival sleeves. Biography: Colonel William L. Vance, was born in Clarksville, TN, November 26, 1816, and educated in Nashville. He landed in Memphis, February 6, 1835, more by accident than design. He was en route home from New Orleans by steamer, among the passengers on board being three agreeable gentlemen, merchants in the then new town of Memphis. They prevailed upon him to stop here and accept a business engagement, and he was promptly installed as clerk in a store on Winchester street, between Main and Front row. In the fall of that year he was one of a party of Nashville gentlemen forming a horseback expedition to the then Mexican Territory of Texas. There he found an opportunity for investment in lands, and did so, a few years later selling at an advance that formed a nucleus for his future fortune. While in that State he was present at the meeting called to declare its independence of Mexico, and was appointed to the secretaryship of the legation to the United States, headed by his brother-in-law, George C. Childress, Minister. He took a prominent part in the erection of many landmarks of the city, some of which still stand and are ornaments. The most prominent of these is the Gayoso Hotel, which was the result of his enterprise and that of his brother-in-law, Robertson Topp. In 1844, Col. Vance was married to Miss Letitia Thompson, daughter of George C. Thompson, of Kentucky. When the war broke out Col. Vance, who was then engaged in farming in Kentucky, deposited upward of $100,000 with the Barings, of London, and awaited the cessation of hostilities, though he took no active part in them, being beyond the age for military service. On the evening of April 14, 1865, he was in Washington, and attended Ford's Theater and witnessed the assassination of President Lincoln. Col. Vance was the first who reached Willard's Hotel with the news. In 1867 he went with a commission from Gov. Bramlette, of Kentucky, to the World's Exposition at Paris, France, accompanied by his daughters, Misses Bettie and Sue. In 1868 he sold his Kentucky property and returned to Memphis, where he resided until his death in 1888. (source: THE MEMPHIS APPEAL obituary, November 14, 1888). Condition: All items in overall good, legible condition with expected toning, scattered tears, stains and small losses, 1st item: Separated along center fold line with dampstaining, toning, and foxing spots. Houston signature with 1" area of loss to first name. 2nd-4th items: Covers in fragmentary condition, pages in overall good, legible condition with some fading and foxing. [See more photos →]

Civil War era photographic and book archive, 3 items total, including one (1) carte de visite (cdv) album containing three (3) CDVs, 10 total, of Confederate and Union military leaders, including Brigadier General George Hume Steuart (1828-1903), Major General Edward Otho Cresap Ord (1818-1883), and General John McAllister Schofield (1831-1906). Also includes one (1) CDV of American author, poet and editor Nathaniel Parker Willis (1806-1867). Also includes one (1) albumen print depicting students, including Will Hale, third row, and officers, including Captain Davis and Major Davis, top row, at the McMinn Military Academy, Rogersville, TN, and one (1) copy of SCIENCE OF WAR: TACTICS FOR OFFICERS OF INFANTRY, CAVALRY AND ARTILLERY, arranged and compiled by L. v. Buckholtz, published by J. W. Randolph, Richmond, 1861. The Estate of Alice Wright Summers Hale, Rogersville, TN. Condition: All items in overall good condition with toning/acid burn, tears, dampstaining, foxing spots, to be expected from age and manner of use. [See more photos →]

Archive of approximately ninety-eight (98) items pertaining to CSA Private Joseph M. Meredith, 6th Regiment, Tennessee Cavalry, formerly Wheeler's 1st Tennessee Cavalry, Company G, including one (1) General Joseph E. Johnston parole document, dated May 3, 1865, and one (1) United Confederate Veterans (UCV) 11th Reunion Nathan Bedford Forrest Badge, Memphis 1901.1st item: Parole document signed by the officers and men who served in General Joseph E. Johnston's Army, dated May 3, 1865, issued from Charlotte, North Carolina. The one page, typed and handwritten document reads "In accordance with the terms of the Military Convention, entered into the twenty-sixth day of April, 1865, between General Joseph E. Johnston, commanding the Confederate army, and Major-General W. T. Sherman, commanding the United States Army in North Carolina, "Jos M. Meredith private Co G…Regt Tenn Cavalry Ashby…, has given his solemn obligation not to take up arms against the Government of the United States until properly released from this obligation, and is permitted to return to his home, not to be disturbed by the United States authorities so long as he observes this obligation and obeys the laws in force where he may reside." Signed by Special Commissioner, U.S. Army, and the soldier's commanding officer, Confederate Army. 4 1/2" H x 8 1/4" W. Note: On April 17, Johnston and Sherman met at the Bennett farm. Negotiations between the two men lasted several days, but on April 26, the Generals agreed on the terms of Johnson's surrender. As part of this agreement, the Union would not take any prisoners, but the men in Johnson's army would sign paroles, agreeing to not take up arms in support of the Confederacy. As long as each soldier abided by the terms outlined in this document, he would be free to return to his home. (source: https://www.ncpedia.org/anchor/parole-signed-officers-and). Note: 6th Cavalry Regiment, formerly Wheeler's 1st Tennessee Cavalry, was organized in May, 1862. It was assigned to F.C. Armstrong's, H.B. Davidson's, Humes', and H.M. Ashby's Brigade. The unit participated in the operations in North Mississippi during the balance of 1862 and in January, 1863, contained 430 officers and men. It went on to fight at Chickamauga, skirmished in Middle Tennessee, then was active in the Atlanta Campaign. Later the regiment saw action in various engagements in North Alabama and Middle Tennesee, moved to South Carolina, and in 1865 joined the Army of Tennessee. After fighting at Averysboro and Bentonville, it was included in the surrender on April 26. The field officers were Colonels Jacob B. Biffle and James T. Wheeler, Lieutenant Colonels W.W. Gordon and James H. Lewis, and Majors Joseph J. Dobbins and William S. Hawkins. (source: https://www.nps.gov/civilwar/search-battle-units-detail.htm?battleUnitCode=CTN0006RC). 2nd-5th items: Group of three (3) UCV 11th Reunion, Memphis, TN, held from May 28-30, 1901 souvenirs, including one (1) Nathan Bedford Forrest scroll-style badge, comprised of a red silk ribbon hanger with a celluloid drop depicting a portrait of Forrest inside a laurel wreath with three different flying Confederate flags below, surrounded by text; one (1) mess hall menu; and one (1) sheet of nine (9) tickets for the mess hall. Also includes one (1) copy of an article from the Columbia Herald describing a joint reunion between the 1st TN Cavalry and the 9th Battalion. 6th-97th items: Approximately ninety-two (92) letters, receipts, promissory notes, publications, and other documents, including one (1) handwritten list of members of the 6th Regiment, Tennessee Cavalry, one (1) handwritten list of members of the Family Record of Thomas Meredith and one (1) reproduction photograph of members of the Meredith family, and two (2) Tennessee Public Schools Primary Grade Teacher's certificates, dated circa October 8, 1841 to August 13, 1902. Documents housed in plastic sleeves, including some in older plastic sleeves with adhesive backing, in a white, three-ring binder. 98th item: Doll in the form of a young girl, having a painted ceramic head, arms, and lower legs and wearing a floral fabric dress. Circa 1875. 13" L. Provenance: all items descended together in a Nashville, Tennessee family to current consignor. Condition: All items in overall good condition with toning, tears, foxing spots, and general handling wear to be expect from age and manner of use. 1st item: Area of acid burn from 5/8" x 4 3/4" area of old tape repair across center of document, en verso, slightly obscuring handwritten text. Tears, largest 2", to fold lines. Housed in an older plastic sleeve with adhesive backing. 2nd-5th items: Forrest badge with light surface grime fraying to ribbon, otherwise overall very good condition. 98th item: Doll with wear, missing hand; some fading and small losses to original dress. [See more photos →]

Civil War era Limber ammunition chest, light grey or green painted walnut boards with a slightly domed hinged lid and iron hardware, including two handles, and a cast brass lock ring, constructed with round screws. Handwritten inscription reading "285/93/SPANISH," to iron plate, back right. 21" H x 48" W x 22" D. Note: A limber was a two wheeled carriage used to haul a cannon and its carriage on the battlefield, and typically required a six horse team to transport. The limber also carried an ammunition chest like this along with tar and water buckets, and a tarpaulin. Provenance: Private Holly Springs, Mississippi collection. By oral tradition, found in a barn in South Carolina, left behind by Sherman's army as they pursued General Johnston's Army of Tennessee in 1865. Condition: Lacking interior divider. Partially retains original wartime paint, with some losses and wear. Areas of oxidation to metal. Copper sheet originally affixed to lid is not present. [See more photos →]

Group of twelve (12) items pertaining to the South Carolina United Confederate Veterans (UCV), Knights Templar, Spanish American War, and more. 1st item: Charleston, SC UCV reunion souvenir badge, May 1899. Comprised of a pinback brass tone metal hanger embossed "SOUVENIR" with a maltese cross shaped metal drop with embossed lettering surrounding a central Confederate battle flag. C. M. Robbins, Attleboro, MA maker's mark, en verso of drop. 2nd item: South Carolina Commandery No. 1 Knights Templar ribbon, St. Louis, MO 1886. Comprised of a red silk ribbon with gold lettering surrounding the central image of a man in a uniform holding a sword aloft before a group of tents. C. F. Beatty, New York maker's paper label, en verso. 3rd item: Columbia, SC Centennial Confederate Survivors Reunion ribbon, May 13-15, 1891. Comprised of a blue silk ribbon with gold lettering surrounding the image of a palm tree and shields, terminating in gold tone metal tassels across the bottom. 4th item: Chester, SC UCV Reunion of the South Carolina Division Veteran Ribbon, July 26 & 27, 1899. Comprised of a tan silk ribbon with red lettering. 5th item: Anderson, SC Spanish American War U.S.W.V. and Auxiliary Department of South Carolina 16th Annual Encampment Visitor badge, June 19-21, 1938. Comprised of a gold tone metal pinback hanger with handwritten paper label reading "Margaret/Bedsley" with a red ribbon and gold lettering surrounding the image of a Spanish American War maltese cross symbol. 6th item: Confederate Colonel Lawrence Massillon Keitt Carte de Visite depicting a three quarter bust view portrait of Keitt dressed in a 19th century suit. E. & H.T. Anthony, New York studio marks, en verso. 7th item: Charleston, SC United Daughters of the Confederacy 34th Annual Convention Delegate badge, November 15-19, 1927. Comprised of a pinback metal hanger with a red and white silk ribbon with gold lettering. Whitehead and Hoag Company, New Jersey maker's marks to hanger. 8th item: Bennettsville, SC UCV 37th Annual Reunion of the South Carolina Division Veteran badge, June 13-15, 1928. Comprised of a plastic pinback hanger with a paper label and navy lettering with images of the Confederate battle flag and the third Confederate national flag and a red and white silk ribbon with gold lettering. 9th item: Columbia, SC UCV 44th Annual Reunion South Carolina Division badge, July 30-August 1935. Comprised of a gold tone metal pinback hanger with a red and white ribbon and gold lettering surrounding the image of three Confederate national flags. Greenduck Co., Chicago maker's marks, en verso of hanger. 10th item: Columbia, SC 48th Annual Confederate Reunion Delegate badge, 1938. Comprised of a gold tone metal pinback hanger with embossed lettering, a red and white grosgrain ribbon with gold lettering reading "DELEGATE," terminating in a gold tone metal drop with embossed lettering and images of Robert E. Lee, the South Carolina State House, the Confederate battle flag, and the third Confederate national flag. Greenduck Co., Chicago maker's marks, en verso of hanger and drop. 11th item: Partial Columbia, SC 43rd Annual Confederate Reunion Convention Delegate badge, 1938. Comprised of a gold tone metal pinback hanger with embossed lettering and a gold tone metal drop with embossed lettering and images of Jefferson Davis, the South Carolina State House, the Confederate battle flag, and the third Confederate national flag. Greenduck Co., Chicago maker's marks, en verso of hanger and drop. 12th item: UCV Reunion Sponsored by Palmetto Camp, SC No. 22 Badge, August 29-31, 1940. Comprised of a gold tone metal pinback hanger with handwritten paper label reading "R.S. Younginer" and a red and white ribbon with silver lettering. Items ranging in size from 2" to 7 7/8" L. Condition: All items in overall good condition with tears/fraying, tarnishing, foxing spots, fading, and toning to be expected from age. 3rd item: Gold lettering is in faded condition. 6th item: Areas of loss to corners of card stock backing. 7th item: Bottom of ribbon almost completely separated from top section attached to hanger. [See more photos →]

Lot of two (2) Gilbert Gaul (American, 1855-1919 ) World War I impressionist battlefield paintings including one (1) oil on canvas scene depicting soldiers gathered around a campfire and one (1) oil on board depicting a group of soldiers feeding a young child and another group petting an animal. Both are unframed and unsigned. 9 3/4" H x 14 3/4" W and 11 1/4" H x 15 1/4" W. Both early 20th century. Note: Although both paintings are unsigned, included are copies of two authentication letters by John Reeves and David Saltzman, attesting that these paintings were painted by Gilbert Gaul. A handwritten note included with the series of paintings states that the paintings were done "on the battlefields of France during the World War". Copies of the authenticity letters are available to the winning bidder of this lot. Biography: New Jersey born artist Gilbert Gaul studied art with Lemuel E. Wilmarth at the school of the National Academy of Design from 1872 to 1876, and privately with the noted genre painter, J. G. Brown. He continued his training at the Art Students League during 1875 and 1876. Gaul first exhibited his work at the National Academy in 1877. In 1881, he inherited a farm in Van Buren County, Tennessee, from his mother's family, and lived there four years to fulfill terms of the bequest. In 1885, he returned to New York though he also continued to spend time at the farm in Tennessee. Gaul gained acclaim for his illustration art and portrayals of Civil War scenes. He became a regular exhibitor at the National Academy annuals between 1877 and 1902; in 1882, he was accorded the status of full academician-the youngest artist to attain the honor. He exhibited at the 1889 Paris Exposition; the 1893 World Columbian Exposition in Chicago; and the 1902 Pan-American Exposition in Buffalo, where he was awarded medals. In 1876 Gaul made his first trip to the American West, an area for which he developed a particular affinity. He made numerous western trips in subsequent years, photographing and rendering scenes of Native Americans and the frontier, which he would later work up into paintings in his studios in New York or Tennessee. In 1890, he worked for the United States census on reservations in North Dakota. He also visited Mexico, the West Indies, Panama, and Nicaragua. An account of his travels was published in Century Magazine in 1892. In 1904, he returned to Tennessee and settled in Nashville. The decreasing interest in Civil War subjects resulted in financial hardship for Gaul. He gave private art lessons and taught at the Watkins Institute, Nashville, and at Cumberland Female College, in McMinnville. He also spent time in Charleston, South Carolina. By 1910, he had moved to Ridgefield, New Jersey, where he continued to paint and live out his remaining years. (source: The Johnson Collection). Condition: Both paintings are unframed and the oil on canvas has been relined. Painting on board with some minor wear to corners. [See more photos →]

Ralph William Creasman (Tennessee/Illinois, 1920-1999) oil on canvas painting depicting two African American men walking down a dirt road before a small wooden house with a woman standing on the front porch, additional houses and trees visible in the background beneath a blue sky. Signed "R. Creasman" lower left. Additionally signed, en verso of canvas. Housed in a gilt wooden frame with black trim. Sight: 13 1/2" H x 19 3/8" W. Framed: 18 1/4" H x 24 1/8" W. Provenance: Estate of Carl Klein, Brentwood, TN. Biography: "Ralph William Creasman was a Chicago-based illustrator active during the latter portion of the 20th century. He was born August 14, 1920 in Spring City, Tennessee. He graduated from high school in Nashville and attended the Chicago Art Institute for one year before enlisting the army in 1942 and serving in World War II. While in the army, he was assigned to a graphics unit that was responsible for producing information material and maps for the Quartermaster Corps. Creasman left the service in 1946 and lived in New York and Dallas before returning to Chicago in the early 1950s. Creasman was particularly active from the 1950s through the 1990s, with illustrations appearing in numerous children's books, textbooks, magazine articles, and advertisements. His illustrations were primarily whimsical linocuts of animals and people. He joined the STA Type Workshop when it started in 1952 and learned to set type and print his linocuts directly from the blocks. He generally worked as a freelance artist, particularly for Scott Foresman. Creasman was a member of the Artists Guild and the Society of Typographic Arts, and was made a Fellow of STA in 1973. He was often formally recognized by both organizations for his work. He was close to the designer Muriel Underwood, with whom he frequently collaborated. Creasman died on December 14, 1999 in his Rogers Park apartment in Chicago." (source: https://explore.chicagocollections.org/ead/uic/25/fw39/). Condition: Overall good condition with light craquelure to lower half of canvas, few minute areas of paint loss, left side of canvas. 1" x 1" area of dirt encrustation, top center of canvas, visible en verso. Frame with minor abrasions. [See more photos →]

Stephen Thomas Rascoe (Texas, 1924-2008) oil on board painting titled "Sunflowers and Broken Stone Wall," depicting a cluster of sunflowers growing against a broken stone wall, with a blue sky background. Signed "Stephen Rascoe" lower right. Housed and matted in a wood frame. Sight – 23 1/2" square. Framed – 25 3/4" square. American, last half of 20th century. Provenance: Stephen Rascoe received his BFA and MFA from the Art Institute of Chicago. He worked as a draftsman for Shell Oil Company and had cartoons published in several national magazines during World War II. In 1964, Rascoe accepted a position as a professor of fine art at the University of Texas in Arlington, where he taught and continued to paint. Rascoe retired in 1990. His paintings are in the collections of the Dallas Museum of Art, the Houston Museum of Art, the Art Museum of South Texas and numerous other institutions. Condition: Overall good condition. Minor brown stain in top right quadrant along top edge, 1/2" dia. Minor stains to matting along bottom edge, largest 1 1/2" x 3/4". [See more photos →]

Stephen Thomas Rascoe (Texas, 1924-2008) oil on board painting titled "Small Vase of Flowers" or alternatively "Flowers for my wife," depicting flowers arranged in a vase, rendered in shades of bright orange, yellow, and blue. Signed "S. Rascoe" lower right. Housed in a black plastic frame. Sight – 23 3/8" H x 11 3/8" W. Framed – 25" H x 13" W. American, last half of 20th century. Provenance: Stephen Rascoe received his BFA and MFA from the Art Institute of Chicago. He worked as a draftsman for Shell Oil Company and had cartoons published in several national magazines during World War II. In 1964, Rascoe accepted a position as a professor of fine art at the University of Texas in Arlington, where he taught and continued to paint. Rascoe retired in 1990. His paintings are in the collections of the Dallas Museum of Art, the Houston Museum of Art, the Art Museum of South Texas and numerous other institutions. Condition: Minor surface grime. Scattered errant white paint flecks around lower left margin and in flowers, each less than 1/8". Minor scattered brown stains, largest 1/2" x 1/8" in bottom right quadrant along left margin. [See more photos →]

Southern School, possibly South Carolina, style of Charles Kingsmore, oil on canvas painting depicting a mother wearing a black dress, and her daughter in a light gold dress, both with dark hair arranged in ringlets, against a red background. Unsigned. Housed in an oval carved giltwood frame with leaf and acorn running pattern. Sight: 27 5/8" H x 23" W. Framed: 35 1/2" H x 30 1/2" W. Mid 19th century. Provenance: Private Southern collection. According to family oral history, this painting came from South Carolina. Condition: Overall good condition with craquelure. Canvas has been relined. UV light reveals areas of inpainting, largest area approximately 2" x 4", to faces, mother's neck, daughter's dress, and the lower left edge of canvas with a few scattered areas to the top right (see UV photos). Approximately 5" x 5" area of repair, visible en verso of canvas. [See more photos →]

Three (3) Edwin Maximilian Gardner (Tennessee, 1845-1935) paintings including oil on board seascapes and self portrait drawing. 1st and 2nd items: Two (2) marine paintings, including one (1) titled "Sea of Galilee," each depicting ocean waves beneath late afternoon skies. Smallest painting signed "Edwin M. Gardner WAX." en verso of board, largest painting with an old Nashville Museum of Art paper label with artist's name, title, and additional information, en verso of board. Both housed in carved wooden frames. Sights range in size from 5 3/4" H x 7 3/4" W to 9 3/4" H x 15 3/4" W. Frames range in size from 8 3/4" H x 10 5/8" W to 15 1/2" H x 21 1/2" W. 3rd item: Edwin Maximilian Gardner (Tennessee, 1845-1935) graphite on paper self portrait drawing depicting a three quarter view of the artist as a young man, wearing a Civil War era kepi style hat with lyre and wreath insignia and a suit and bow tie. Unsigned, possibly obscured by mat. Handwritten inscription reading "Portrait of Edwin M. Gardner/Drawn By Himself 28th August, 1871/Framed by Jack Ansley 20th February, 1972" en verso of frame. Housed and double matted under glass in a wooden frame. Sight: 17 3/4" H x 12 3/4" W. Framed: 28 3/4" H x 23 1/2" W. Provenance: Art Collection of former Watkins College of Art; proceeds benefit scholarship endowment for students in the new Watkins College of Art at Belmont University. Biography: "Edwin M. Gardner, illustrator, portraitist, and cartographer, was born near Pulaski in Giles County, TN, but while still a young boy, he moved with his family to Mississippi, where he probably had some formal training in art. While in his teens, Gardner fought in the Civil War as a member of Nathan Bedford Forrest's cavalry. Following the war, he began his formal art education in Memphis, then moved to Europe to train at the Royal Academy in Brussels, with later studies in France and Italy. Upon his return to the United States, Gardner resumed study at the National Academy of Design in New York. Afterwards, he moved to Aberdeen, Mississippi, where he taught art at a female academy. He next moved to Winchester in Franklin County [TN], where he spent five years on the faculty at Mary Sharp College. Gardner made his last home in Nashville, where he had his greatest artistic influence. He made the first woodcuts and pen portraits for photoengraving used in the local daily newspapers, including the first published pen portrait of Sarah Childress Polk. Although Gardner was listed in the catalogue of the 1885 Watkins Institute Art Show as a teacher there, he actually taught under the auspices of the Nashville Art Association [which he co-founded] in the art room which Watkins provided. His first official association with Watkins's Night School probably came in September 1910, when he was hired to teach industrial art. (School commissioners were perhaps still uncomfortable with the term "fine" art.) Gardner's presence on the Watkins Institute faculty gave the school a teacher trained in commercial and fine arts. He encouraged his students to draw by taking casts and using live models, and this laid the foundation for the school's Department of Fine Art." (source: "Edwin M. Gardner" by Madeline Reed, Tennessee Encyclopedia, originally published October 8, 2017,https://tennesseeencyclopedia.net/entries/edwin-m-gardner/). Condition: 1st and 2nd items: Both items with yellowing to varnish layer. Largest painting with surface scratches, areas of loss, largest 1/4" at midsection of top edge, Board slightly shifted in frame. Smallest painting with craquelure, board slightly bowed to center. Both frames with areas of loss, largest 2 1/4". 3rd item: Sheet in fragile condition with foxing spots, tears, largest 2 1/4", areas of loss, largest 2 1/2" x 2 1/2". Edges of sheet with old masking tape repairs. Sheet has shifted down in frame. Not examined outside of frame. [See more photos →]

Donald Vaughan (Mississippi/Tennessee, 1903-1975) oil on canvas landscape titled "Road to River, Memphis," depicting a rural road leading past a cabin to the edge of a river. Signed and dated "D. Vaughan '36" lower left. Titled en verso. Giltwood frame with painted rabbet edge and carved corner decorations. Canvas: 18" H x 24" W. Framed: 23" H x 29" W. Biography (credit: Michael Kelly): Donald Vaughan studied under Daniel Garber at the James Lee Memorial Academy of Arts in Memphis, Tennessee. He was active during the 1930s and early 1940s, producing works for the Federal Art Project (WPA). He specialized in bird subjects painted in tempera and gouache, and in rural Tennessee genre subjects painted in oil. Provenance: Estate of Carl Klein, Brentwood, TN. Condition: Canvas overall good condition with some light buckling; 2 small areas of craquelure/tenting lower right quadrant and 1 small area of same to upper right quadrant, all under 1/2" in length; some scattered extraneous white paint flecks (not losses). [See more photos →]

Clare Leighton (British/American 1901-1988), "Moonshine Still," wood engraving on paper depicting a man engaged in the production of moonshine while another keeps watch with rifle in hand. Deckled edges, matted. Unsigned. Image: 7 1/4" H x 5" W. Sheet: 8 3/4" H x 5 3/4" W. Matted: 13 3/4" H x 11 1/2" W. Provenance: Estate of Carl W. Klein, Brentwood, TN. Note: This rare print by the British born printmaker Clare Leighton is one of 24 illustrations created for The Frank C. Brown Collection of North Carolina Folklore, published in a seven-volume series by Duke University Press from 1952 to 1964. Caroline Mesrobian Hickman, in the essay "Clare Leighton's Art and Craft: Exploring Her Rich Legacy through the Pratt Collection," published by the Mint Museum, writes: "Leighton's wood engravings portray the rural folk of North Carolina as they harvest, gather for social rites, and participate in recreational activities typical of their region… In her quest for accuracy, Leighton coordinated her sketching trips throughout the state with the harvesting of various crops, lived and worked with the agricultural people, and even located a still in the mountains for the engraving Moonshine Still (plate 135). The illustrations are not only a harvest of her creativity but also an accurate visual record of the customs and agricultural practices of a by-gone era." Size of edition unknown; scarce. Other versions of this print are in the collections of the Ackland Art Museum and the Mint Museum, North Carolina. Condition: Hinge mounted to cream mat. Ink stains en verso have bled through and are visible in upper margin, along with some ink smudges. Some light smudges to lower left of mat. [See more photos →]

Two (2) Elizabeth Verner Signed Prints and one (1) Signed Book, 3 items total. 1st & 2nd items: Two (2) Elizabeth O'Neill Verner (South Carolina, 1883-1979) offset prints, one titled "In the Shadow of St. Michael's, Charleston" and the other "Looking Up Meeting Street, Charleston", both pencil signed lower right. Together with the book "Mellowed by Time" by Elizabeth O'Neill Verner, signed by Verner on the free endpaper page. 2nd printing, published by Bostick & Thornley, Columbia, South Carolina, 1947. Prints are housed in ebonized wood frames. Prints – Image: 9" H x 7" W, Framed: 12 3/4" H x 9 1/2" W and Image: 9 1/2" H x 6 1/2" W, Framed: 13" H x 9 1/2" W. Book: 9 1/2" H x 6 5/8" W. Condition: Prints: Both overall good condition with overall toning to paper. Frames with slight wear. Book: Retains the original dustcover, interior clean with some toning. Free endpaper additionally signed by the original owner. Dustcover with toning and losses. [See more photos →]

Two (2) Adrian Deckbar (Louisiana, born 1950) graphite on paper drawings titled "Study for Dancing II" and "Taking a Break," each depicting the same partially nude woman seated on the floor of a room, including one in which she is looking over her right shoulder and one in which she is smoking a cigarette. The one with the woman smoking is signed and dated "Adrian Deckbar 1978" lower right. Double matted and housed together in a black wooden frame. Sights: 21 1/2" H x 17" W. Framed: 34 1/4" H x 47 3/4" W. Provenance: Art Collection of former Watkins College of Art, proceeds benefit scholarship endowment for students in the new Watkins College of Art at Belmont University. Condition: Overall good condition with scattered foxing spots/acid burn, largest 2". Not examined outside of frame. [See more photos →]

John Frederick Richardson (Tennessee/Illinois, 1906-1998) watercolor on paper titled "Skaters" depicting a winter scene with several ice skaters on a frozen pond before a hilly landscape, a town visible in the distance beneath a cloudy grey sky. Signed "John Richardson" with a copyright symbol, lower left. Exhibition label from the CSAE (Caucus on the Spiritual in Art Education) 1992 with artist's information en verso upper left and museum accession label, en verso lower right. Housed and matted under plexiglass in a grey painted wood frame. Sight: 21" H x 29 3/8" W. Framed: 30" H x 38 3/4" W. Provenance: Art Collection of former Watkins College of Art; proceeds benefit scholarship endowment for students in the new Watkins College of Art at Belmont University. Biography: "Preferring watercolor to oil, John Richardson had a long career painting landscapes in many styles and mediums and in many places from Tennessee to Arizona to Washington State. He lived in Tennessee and Illinois. He studied at Vanderbilt University, Pennsylvania Academy of the Fine Arts and the University of Chicago. Exhibition venues included the Pennsylvania Academy, Art Institute of Chicago and Vanderbilt University. Richardson taught at Watkins Institute in Nashville from 1938 to 1942 and from 1949 to 1969 at the University of Illinois in Chicago Circle." (Source: Peter Falk, "Who Was Who in American Art"). Condition: Overall good condition with pin prick holes and tape residue to edges of sheet. Slight waviness to paper. Not examined outside of frame. [See more photos →]

Tim Hazell (Illinois/Tennessee/Mexico, 20th/21st Century) abstract mixed media on board painting titled "Ritmo (Rhythm)' depicting a musician playing an instrument. Signed and dated "Tim Hazell '96" lower right. Float mounted and housed in a black wooden frame. Board: 24 5/8" H x 20 1/2" W. Sight: 29 5/8" H x 25 3/4" W. Framed: 31 3/4" H x 27 5/8" W. Provenance: Art Collection of former Watkins College of Art; proceeds benefit scholarship endowment for students in the new Watkins College of Art at Belmont University. Note: Interdisciplinary artist Tim Hazell was an instructor at Watkins Institute of Art and Design and Cheekwood in Nashville TN. He has acted as a consultant for the faculty of the University of Juarez and thirteen primary and secondary schools in Chicago in the area of the implementation of creative arts programs. He has taught comparative and artistic anatomy, painting, drawing, composition and techniques and procedures at the Instituto Allende, where he acted as academic advisor in both the Bachelor of Visual Arts and Master of Fine Arts programs. Condition: Overall good condition with minor areas of loss, largest 6", to edges of board. Frame with minor areas of loss, abrasions. [See more photos →]

Steve "Jum" Yee (Chinese/California/Tennessee, b. 1934) abstract watercolor on paper painting titled "Gravel Creek" depicting shades of brown, grey, and off white. Signed "S. Yee" lower right. Eighteen Annual Tennessee All-State Artist Exhibition, Parthenon Galleries, Centennial Park, Nashville, TN label with artist's name, title, medium, and additional information, en verso. Matted and housed under plexiglas in a silver metal frame. Sight – 37 1/2" H x 28" W. Framed – 40 1/4" H x 30 5/8" W. American, third quarter 20th century. Provenance: Art Collection of former Watkins College of Art; proceeds benefit scholarship endowment for students in the new Watkins College of Art at Belmont University. Note: Yee was born in China but active in Memphis in the 1960s. A solo exhibition of his work was held at the Brooks Museum in August, 1968. Since the 1970s, he has worked as an art director, teacher and painter in California. Condition: Overall good condition. Not examined outside of frame. White and black paint flecks, surface scratches to exterior of plexiglas. [See more photos →]

Scott Paulk (Mississippi/Tennessee, 20th Century) colored pencil drawing titled "On Patrol" depicting a red, white, blue, and yellow Coast Guard airplane on a runway. Titled, signed, and dated "Scott Paulk 1997" lower left below image. All-State Art Exhibition 1997 Identification Tag, en verso. Housed under plexiglass in a black wooden frame. Image: 25" H x 33 1/4" W. Sight: 26 1/2" H x 34 1/2" W. Framed: 34 1/2" H x 43 3/4" W. x 2" D. Provenance: Art Collection of former Watkins College of Art, proceeds benefit scholarship endowment for students in the new Watkins College of Art at Belmont University. Biography: Scott Paulk was born in Aberdeen, Mississippi, but grew up in East Tennessee. He graduated from Middle Tennessee State University in the 1970s. He has been working in a realist style for the past 20 years using the medium of colored pencil and acrylic paint. Condition: Overall very good condition. Not examined outside of frame. Frame with minor abrasions. Plexiglass is slightly loose. [See more photos →]

Marion Bryant Cook (Tennessee, 1933-2018) oil on canvas painting depicting a barn with mare and filly under a pink-tinged sky; fence and trees in the background. Signed Marion Cook and dated 11-1970 lower right. Housed in a burlwood veneer frame with gilt molded edges. Sight – 13 1/2" H x 17 1/2"W. Frame – 20"H x 24"W. Condition: Overall very good condition with some scattered inclusions to sky area and wear with minor losses to frame edges. [See more photos →]

Louis Edward Jones (Tennessee, 1878-1958) oil on board landscape painting depicting the Great Smoky Mountains beneath a hazy sky. Signed and dated "L.E. Jones 1940," lower center. Additionally signed and dated en verso of board. Housed in a giltwood frame. Sight: 8" H x 10" W. Framed: 9 3/4" H x 12" W. Provenance: Private Arkansas Collection. Note: Louis Jones was an impressionist painter originally from Woodstock, New York who established the Cliff Dwellers Studio in Gatlinburg, Tennessee. Condition: Overall good condition with areas of inpainting, largest 1/4", to trees, lower center, and sky, top left and right. [See more photos →]

Three (3) etchings depicting scenes of the Smoky Mountains, Tennessee. 1st-2nd items: Two (2) Louis Edward Jones (Tennessee, 1878-1958) drypoint etchings, including one (1) titled "A Mountain Barn," and one (1) "An Old Mountain Bridge." Titled with medium, in pencil, lower left below plate, signed and dated "Louis E. Jones – 1940" in pencil, lower right below plate. Both housed and matted under plexiglass in matching black wooden frames. Plates: 4" H x 5" W. Sights: 4 1/2" H x 5 3/8" W. Frames: 10 3/4" H x 11 3/4" W. Note: Jones was an Impressionist painter from Woodstock, New York and established the Cliff Dwellers studio in Gatlinburg, TN. 3rd item: Leon Rene Pescheret (Wisconsin/Illinois/Arizona/England, 1892-1971) etching titled "The little Pigeon River, Tenn." depicting a man fishing by the Little Pigeon River, located in Sevier County, TN. Titled, in pencil, lower left below plate, signed "Leon Pescheret," in pencil lower right below plate. Housed and matted under plexiglass in a black wooden frame. Plate: 6 1/2" H x 9" W. Sight: 6 3/4" H x 9" W. Framed: 12 1/2" H x 14 3/4" W. Private Nashville Collection. Condition: All items in overall very good condition with light toning. Not examined outside of frames. [See more photos →]

Avery Handly, Jr. (Tennessee, 1913-1958) oil on board painting titled "Miss Aletha's Last Ride" depicting an early 20th century car that has crashed in a small lake within a rocky landscape.The occupants of the car are attempting to surrender to a group of three men, including one in another car, and two others shooting at them from behind a ledge on the bottom left of the painting. Titled and signed "Avery Handly" en verso of board. Housed in a giltwood frame. Sight: 35 1/2" H x 47 1/2" W. Framed: 41 1/4" H x 53 3/8" W. Provenance: Art Collection of former Watkins College of Art; proceeds benefit scholarship endowment for students in the new Watkins College of Art at Belmont University. Condition: Overall good condition with 3 3/8" surface scratche to roughly the center of the board. Scattered minute areas of paint loss. Board slightly loose in frame. [See more photos →]

Jim Gray (American/Tennessee, 1932-2019) oil on canvas beach scene depicting sand dunes with sea grasses foreground and the ocean background. Signed lower right "Jim Gray ASMA". Housed in a gilt wood frame with linen liner. Sight:17 3/8" H x 23 1/2" W. Framed: 23 3/4" H x 29 3/4" W. Condition: Painting overall very good condition. Some light staining to linen liner. [See more photos →]

Jim Gray (American/Tennessee, 1932-2019) oil on canvas seascape titled "Near Bar Harbor", depicting waves crashing against a rocky shoreline. Signed lower right in red "Jim Gray ASMA". Titled on stretcher en verso. Housed in a gilt wood frame with linen liner. Sight:15 1/2" H x 19 1/2" W. Framed: 21 7/8" H x 25 7/8" W. Condition: Painting overall very good condition. Some staining to linen liner. [See more photos →]

Washington Girard (Tennessee, 1873-1931), two (2) oil on board landscape paintings, the first depicting a house or barn set at the top of a snowy hill, with fence and trees in the foreground; the second depicting a snowy mountain range set in front of a small lake, with trees and spring wildflowers in the foreground. Both signed lower left and framed in the original carved wood frames. Both measure 14 1/2" x 5 1/2" sight, 16" x 7" framed. Biography: William Washington "Wash" Girard was born on Sycamore Creek in Cheatham County, TN and after high school traveled to New York to study under marine painter Edward Moran. Following the death of his girlfriend, he returned to Nashville, where he continued painting and was a prolific writer. "His paintings of beech trees, his favorite theme, were often small and painted on Sycamore Creek or Brown's Creek in the Nashville area. Not overly sentimental, these paintings were praised for their romanticism while remaining realistic." (source: Weesner, "William Washington Girard", Tennessee Historical Quarterly, Spring, 1986). Provenance: a Middle Tennessee estate. Condition: Both paintings with scattered small flakes, most concentrated along each side edge, up to 1/2". Snow scene has 1/4" flake to sky area above cabin. Mountain scene has 1/4" spot center left, about 3" from center of painting. Light stained discoloration to the right of the center of the work in the sky area, not easily removed. Not examined out of frame. [See more photos →]

Two (2) oil paintings by Tennessee artists, including Washington Girard and Cornelius Hankins. 1st item: Washington Girard (Tennessee, 1873-1931) oil on board Tennessee landscape painting depicting a small pond between two banks, a setting sun in the background. Signed "W. Girard." lower left. Housed in a giltwood frame. Includes copies of conservation reports for the painting, restored by Dee Minault of Cumberland Art Conservation, Nashville, circa 2003 and frame, restored by Reed's Gold Leaf, Nashville, along with a copy of Tennessee Historical Quarterly, Spring, 1986 that includes an article of biographical information on Girard. Sight: 7 3/4" H x 9 3/4" W. Framed: 14 1/2" H x 16 3/4" W. American, early 20th century. Biography: William Washington "Wash" Girard was born on Sycamore Creek in Cheatham County, TN and after high school traveled to New York to study under marine painter Edward Moran. Following the death of his girlfriend, he returned to Nashville, where he continued painting and was a prolific writer. "His paintings of beech trees, his favorite theme, were often small and painted on Sycamore Creek or Brown's Creek in the Nashville area. Not overly sentimental, these paintings were praised for their romanticism while remaining realistic." (source: Weesner, "William Washington Girard", Tennessee Historical Quarterly, Spring, 1986). 2nd item: Cornelius Hankins (Mississippi/Tennessee, 1863-1946) oil on board still life painting depicting a vase of yellow and pink roses against a dark background. Signed "Cornelius Hankins" lower right. Housed in an oval modeled gilt wood frame. Sight: 15 3/4" H x 12 1/2" W. Framed: 19" H x 15 3/4" W. Note: Hankins studied with Robert Henri, leader of the Ashcan School, and with William Merritt Chase in New York. He was active for much of his career in the Nashville area. The Estate of William Pursell, Nashville, Tennessee. Condition: 1st item: Overall good condition with craquelure. Painting and frame have been professional restored, please refer to the photographs for full details. 2nd item: Overall good condition with scattered areas of paint flaking and surface abrasions, largest 7/8". [See more photos →]

Early Cornelius Hankins (Mississippi/Tennessee, 1863-1946) oil on canvas landscape painting depicting a beached wooden boat in a field with a line of trees in the background. Signed and dated lower right "Cornelius Hankins 1896". Additional presentation inscription en verso reads "Christmas gift to Mr. and Mr. Coleman from Cornelius Hankins – picture and Miss Maude Hazlegrove- frame. A.D. 1896.". Housed in a carved gilt and gesso frame with scrolling foliate edge. Sight: 9 1/2" H x 13 1/2" W. Framed: 15 3/4" H x 19 3/4" W. Condition: Painting with light overall craquelure, grime. Frame with several scattered losses, discoloration, and some hairlines to frame edge. [See more photos →]

Charles Cagle (Tennessee, 1907-1968) oil on canvas painting titled "Gardenia Corsage" depicting a blonde haired woman seated in front of a dressing mirror, wearing an off the shoulder white dress and choker, her hands resting below a white gardenia corsage at her left shoulder. Deep red background. Unsigned. Handwritten paper label with artist's name, medium, title, and "Collection-John Richardson" en verso. Housed in a grey wooden frame comprised of thin veneers applied to sides of canvas. Sight: 25" H x 30" W. Framed: 26" H x 30 1/2" W. 2nd item: Charles Cagle graphite and gouache on paper drawing of a young man seated on a stool, his back turned to the viewer. Unsigned. Two labels, en verso. Housed and matted under plexiglass in a black wooden frame. Sight: 23 1/2" H x 18 1/2" W. Framed: 31" H x 25 1/2" W. Note: According to the label on the back of the frame, this drawing was executed for a Life Drawing Class Demonstration when Cagle was an instructor at Watkins Institute. Provenance: Art Collection of former Watkins College of Art; proceeds benefit scholarship endowment for students in the new Watkins College of Art at Belmont University. Biography: Charles Cagle was born in Beersheba Springs, Tennessee. He studied at Watkins Institute of Art and Design and Peabody College in Nashville, as well as the Pennsylvania Academy of the Fine Arts and at the Barnes Foundation. In 1930 he won a Cresson Memorial Scholarship which allowed him to spend a year traveling in Europe. Cagle was influenced by post-Impressionists, particularly Cezanne and Matisse, and upon his return to Nashville in 1931 he created some controversy with his progressive attitudes toward art and some of the art itself (including a nude statue that had to be draped because of the outcry caused by its exhibition at the Centennial Club). In 1935 he left Nashville for Vermont, where he bought a farm and established the Charles Cagle Summer Painting Group, which continued for 27 years. In 1940 his painting Forest Interior was placed in the Richmond Museum and he won the Schilling Prize. His art career was interrupted by World War II, during which he served in the Army in France and won five battle stars and the French Legion of Honor. In the years after the war, Cagle had several shows in New York City and Nashville, the largest of which was at The Parthenon in 1966. (Source: Tennessee Historical Quarterly, Winter, 1987). Condition: Overall good condition with craquelure. [See more photos →]

Two (2) works on paper by Tennessee artists. 1st item: Ernest Pickup (Tennessee, 1887-1970), wood engraving depicting the Tennessee State Capitol, Nashville, TN, with humble houses at the foot of the hill (prior to urban renewal, which dramatically changed the look of Tennessee's Capitol Hill beginning in 1949). Signed in pencil lower right and with initials "EAP" in the plate. Housed and matted under glass in a black wooden frame. Sight: 12 3/4" H x 8 3/8" W. Framed: 15 1/4" H x 12 3/8" W. Biography: Ernest Pickup began his career in 1912 as a commercial artist working in Nashville. In the 1930's, he began to work with wood engraving and became nationally recognized for his work. He was one of the few Tennessee artists who worked with wood engraving. The majority of his prints reflected nature as well as historical and rural places in and around Nashville. He exhibited in the Exhibition of Lithographs, Woodcuts, and Block Prints in New York City and the Sixth International Exhibition of Lithography and Wood Engraving, held at the Art Institute of Chicago, both in 1937, along with international exhibitions in Sweden (1937) and Scotland (1939). 2nd item: Cliff Johnston (Tennessee, fl. 1940s), "I Gave A Son," original World War II pencil illustration for a Nashville Gas and Heating Company ad, poster or broadside. Illustration depicts an older woman clutching a photograph with service star posted in a window in the background. The printed text, laid atop the illustration, refers to wartime rationing of gas appliances. Housed under plastic wrap with a black mat. Sheet: 12 1/8" H x 10 1/4" W. Mat: 14" H x 12 3/4" W. Provenance: Estate of Carl Klein, Brentwood, TN. Condition: Both items in overall good condition with light toning. 1st item: Not examined outside of frame. 2nd item: Few spots of discoloration to printed text. [See more photos →]

Two (2) Gus Lafayette Baker (Tennessee, 1922-1994) oil paintings of a female and male nude. 1st item: Oil on canvas painting titled "Eva" depicting a seated nude female in an interior setting. Signed "Gus Baker," lower right. Housed in a giltwood frame with pierced corners and centers. Sight: 13 1/4" H x 10 1/4" W. Framed: 20" H x 17" W. Note: "Eva" was said to be Baker's muse, and may have been his patron Eva Jean Wrather (1908-2001). 2nd item: Oil on panel painting depicting a nude male reclining in a naturalistic setting. Unsigned. Unframed. Panel: 13 1/2" H x 10 1/4" W. Note: This painting may be a self-portrait or a study for his etching titled "Saint Francis in Ecstasy." Provenance: consignor of these paintings is one of Gus Baker's former students. Condition: 1st item: Overall very good condition. Frame with areas of loss, largest 1/4", to gilt. 2nd item: Overall good condition with areas of exfoliation/paint loss, largest 1 3/4", to edges of panel. [See more photos →]

Frank Bernard Nuderscher (Missouri, 1880-1959), "Stream Encampment," oil on canvasboard landscape depicting a cabin, grove of trees and fence at the edge of a wide stream, with hills visible in background. Signed "F. Nuderscher" lower left. Exhibition label en verso for the St. Louis Artists Guild with artist's name, title, original price of $40 and note: "Eligible for $25 purchase prize". Ripple molded giltwood frame appears original. Board: 14" H x 16 1/2" W. Framed: 18" H x 20" W. Provenance: Estate of Carl Klein, Brentwood, TN. Biography: "Nuderscher was a self-trained artist who became known for his industrial scenes of his hometown -St. Louis – and for Ozark landscape paintings. He was also an active member of the regional art scene; he was the last survivor of the Riverfront Art Colony, in 1936 he supervised the city's WPA (Works Progress Administration) projects, he was a member of the National Association of Mural Painters and of the Saint Louis Artist Guild where he won ten first prizes, he served as president of the Independent Artists of St. Louis, and he was one of the founding members of the Society of Ozark Painters. Nuderscher and the other Ozark painters were attracted to the region for the delicate colors produced by the hazy atmosphere. In the earlier years of the Society, the region was seen as a sanctuary of beauty from the horrors and ugliness of World War I, and works by Society artists, like Nuderscher, frequently retained an emphasis on a quiet, restful composition featuring soft, pleasant colors." Source: "Missouri Spendor: St. Louis Artists & the Landscape," The University of Missouri, St. Louis online exhibit. Condition: Overall excellent condition. A couple of small spots of possible inclusion, upper left in sky area. A few small scratches and abrasions to frame edges. [See more photos →]

Missouri, possibly St. Louis or Ste. Genevieve School, early to mid 20th century impressionist painting, oil on board, depicting the edge of a body of water with trees and a gate in the middle ground, hills in the background. The paint has a multi-layered, opaque texture with thick, pointillist brush strokes applied to the upper surface to create an almost three-dimensional appearance. Unsigned recto; pencil inscription en verso of frame reads "991 McNichols". Whitewashed molded frame. R. Ege Antiques, St. Louis dealer business card taped en verso with owner's note: "Jesse McNickol – St. Louis Artist – student of Frank Nuderscher – purchased Heart of Country from Rick Ege." Board: 17 1/2" H x 19 1/2" W. Framed: 22" H x 26" W. Provenance: Estate of Carl Klein, Brentwood, TN. Note: We have been unable to find any record of a Jessie or Jesse McNichol/McNickol who studied with Frank Nuderscher. Condition: Excellent condition. [See more photos →]

Ronald Lee Anderson (New York/Connecticut/Massachusetts, 1886-1961) oil on masonite board landscape painting titled "Suwanee[sic] River", likely South Georgia or Florida, depicting two people crossing a bridge over the Suwannee River, with trees on both banks, beneath a cloudy blue sky. Signed "RL Anderson" lower right. Typed label with artist's information and date "1916" en verso. Housed in a giltwood frame with carved corners and centers. Sight: 17 1/4" H x 23 1/8" W. Framed: 22 1/8" H x 28" W. Provenance: Estate of Carl Klein, Brentwood, TN. Condition: Overall very good condition. Frame with natural age shrinkage. [See more photos →]

Group of five (5) Carew Rice (South Carolina, 1899-1971) silhouettes on cardstock, all signed "Carew Rice" and dated 1958. Includes two (2) Tennessee related scenes including one(1) titled "In Tennessee Woods" and one (1) titled "Wildfowl in Old Hickory Lake" and three (3) silhouettes: two (2) females and one (1) male. Ranging in size from 6" H x 4" W to 6 1/4" H x 5" W. Biography: Carew Rice is known as one of America's leading Silhouette artists. His artistic training began at the University of Chattanooga where he is said to have taken an art course as an elective. Prompted by a professor's comment that most people identify their friends by profiles, Rice began cutting silhouettes of his friends. Rice is most commonly associated with South Carolina, where he born, and where he later became a folk-singer and story-teller in addition to creating intricate silhouette portraits and landscapes of Lowcountry landscapes. His figurative silhouettes were eagerly sought by Charleston society and collectors throughout the world during his lifetime. He died at his home, Brick House Plantation, in South Carolina in 1971. The Estate of William Pursell, Nashville, Tennessee. Condition: All overall good condition. Duck landscape silhouette with some minor lifting in a couple of areas. Deer scene with minute loss upper left margin. Boy silhouette with toning to cardstock. [See more photos →]

Jere Hardy Allen (Mississippi, b. 1944) mixed media on paper titled "Lady on a Gown" depicting the bust portrait of a woman attired in an off the shoulder dress with upswept hair, rendered in shades of red, pink, orange, blue, white, and black. Signed and dated "Allen 72" lower right. The Collector's Gallery, Nashville, TN paper label with artist's information and typed Vita, en verso. Housed and double matted under plexiglass in a giltwood frame. Sight: 21" H x 16 1/8" W. Framed: 29 1/8" H x 24" W. Private Nashville Collection. Condition: Overall very good condition. Not examined outside of frame. [See more photos →]

Southern diminutive one drawer Hepplewhite style table, cherry with a walnut drawer front, poplar secondary. Overhanging top above a thin dovetailed drawer with a sandwich glass pull, tapered legs. 27" H x 17 1/2" W x 16 3/4" D. Second quarter of the 19th century. The collection of Dr. Robert and Diana Marsh, Lawrenceville, Georgia. Condition: Overall very good condition with an older refinished surface, minor abrasions to left back leg and small varnish loss to left side of table. [See more photos →]

Southern Sheraton sugar chest, cherry primary, poplar secondary. Comprised of a hinged molded top, rectangular post and panel case and inlaid brass escutcheon, interior well with a divider, long dovetailed drawer with brass pulls, all over turned Sheraton legs. Retains the original lock and hinges. 29 1/2" H x 40 3/4" W x 18 3/4" D. Probably Kentucky or Tennessee, 2nd quarter 19th century. Condition: Old refinish, top with some ring marks and stains. Drawer pull are replacements and the interior divider possibly a later replacement. [See more photos →]

Two (2) walnut candlestands. 1st item: Augusta County, Virginia, walnut tilt-top candlestand, comprised of a circular top having line inlay to edge and sides, turned pedestal, and three cabriole legs terminating into snake feet. 29 3/8" H x 20 1/4" dia. Second quarter of the 19th century. 2nd item: Mid-Atlantic walnut candlestand comprised of a round dish top, vase turned pedestal and three cabriole legs terminating into snake feet. 28 1/2" H x 17 3/8" dia. Mid 19th century. The collection of Dr. Robert and Diana Marsh, Lawrenceville, Georgia. Condition: 1st item: Some stains noted to the top, older refinish, overall good condition. 2nd item: Older refinish. One leg with some reworking and refinishing on the bottom side. [See more photos →]

Southern Vernacular Turned Leg Low Table, coffee table height, yellow pine with walnut legs; three board yellow pine top over a single, nailed drawer with turned knob held in place by a square nail, and four ring turned walnut legs. 25 3/4"H x 37 1/2"W x 30"D. Mid 19th century. Provenance: Private Kentucky collection. Condition: A few missing nails and a few replaced nails, shrinkage to sides, shrinkage and separation to top boards, general wear. [See more photos →]

Group of three (3) North Carolina stoneware pottery pieces, all with dark olive alkaline glazes including two (2) 1-gallon capacity jugs and one small churn with flared rim, two handles and impressed "2" denoting capacity. Ranging in size from 11 1/2" H to 13" H. Third quarter of the 19th century. Condition: One jug with stabilized hairline emanating up from base to body, approx. 5 1/2" L. Churn with chip to rim. The other jug with fleabite to rim. [See more photos →]

Two (2) pieces of Southern stoneware pottery. 1st item: East Tennessee transitional stoneware pottery jar having a dark brown glaze with two lug handles and incised "4" below one handle denoting capacity. 15 3/4" H. 2nd item: Middle TN stoneware pottery jar, large ovoid form with flared rim and tan to brown transition glaze. 13" H. Both jars 19th century. Condition: 1st item: Overall good condition with scattered areas of firing imperfections to the body. 2nd item: Overall good condition, a few clustered areas of gouging below neck to one side with scattered areas of firing imperfections. Areas of loss to the base, possibly in the making. [See more photos →]

4-gallon Middle TN stoneware pottery churn, grey slip glaze with one strap and one lug handle, incised "4" below the rim denoting capacity. 19" H x 9 1/4" W. Late 19th/early 20th century. Provenance: The estates of sculptor Olen Bryant and late Vanderbilt University art professor Thomas Brumbaugh, Clarksville/Cottontown, Tennessee. Condition: Some chipping to underside of lug handle, chip/ding damage to side of upper body. Some glaze drips, in the making. [See more photos →]

Grouping of four (4) stoneware pottery face jugs by Betty Jo Cabe (Knoxville/TN, 1925 – 2008).1st item: A tall pear-shaped jug with attached handle, with applied eyebrows, eyes, nose, ears, lips, molded teeth, and wart. Shaped and incised cheekbones, dimples, and chin. White teeth and eyes with painted pupils. Stoneware with blue, green, and brown glaze running down jug on all sides. Incised on base, "B J CABE / MAY 5 1989". 9" H. 2nd item: A short and squat thrown jug with handle with applied eyes, nose, ears, lips, and molded teeth. White eyes and teeth, with allover brown glaze and dark green glaze drips. Signed "BJ CABE" in marker on base. 4 3/4" H. 3rd item: A tall ovoid jug with handle, with applied eyebrows, eyes, ears, nose, mouth, and applied teeth, with applied and incised facial hair. White teeth and eyes, with painted pupils. Allover reddish-brown glaze with green-blue glaze drips running from top all around. Incised on base "BJ CABE / '92" and where handle attaches to jug "BC/J". 9 1/4" H. 4th item: a tall ovoid jug with handle and shaped cheekbones, applied ears with hoop earrings, eyes, nose, lips, and molded teeth. White earrings, eyeballs, and teeth. Allover copperish red and black-green glaze, with blue-glass drip runs down either side of handle in back. Incised on base "BJ CABE" and where handle attaches to jug body "BJ/C". 10 1/4" H. Condition: All four face jugs in excellent condition. [See more photos →]

Mr. (Tim) Hooper (Tennessee, 20th/21st Century) Southern folk outsider art painting, acrylic on board, titled "Hank Williams Was Shaking His Legs on Stage at the Grand Ole Opry When Elvis Was Just / a Kid". Features a bust-length portrait of Country Music legend Hank Williams in a white suit and cowboy hat, with Nashville landmarks including the Ryman Auditorium and Tootsie's Orchid Lounge against a red patterned background. Signed and dated "Mr. Hooper 2000" lower right. Housed in a black wooden frame. Board: 18" H x 9" W. Framed: 22" H x 13" W. American, early 21st century. Provenance: Estate of Carl Klein, Brentwood, TN. Condition: Overall very good condition. Surface scuffs to frame. [See more photos →]

Tennessee pieced and embroidered crazy quilt, dated February 1907. Comprised of various fabrics, mostly cotton and wool, and stitched with various designs and motifs including floral sprays, a broom, a butterfly, and a guitar, red floral patterned border and backing. Multiple embroidered words, initials, and phrases including "Home," I CANT BY MYSELF RE," F.L.T," "Snow," "CMW," "MITTS," "COM," "U," and "NEIM," to panels. Dated on second upper right margin panel. 82" H x 83" W. Provenance: descended in a Williamson County family to present consignor. Condition: Overall good condition with minor staining, loose threads, some small holes (largest 1"). Areas of fraying, largest 9" x 4", primarily to edges. Two patches, largest 9" x 4". [See more photos →]

Framed Southern watercolor theorem on velvet, depicting a display of fruit and floral sprig in urn, housed in the original mahogany veneer frame. Sight: 17 1/2" H x 21 1/4" W. Framed: 21 1/4" H x 25 1/4" W. 19th century. Provenance: descended in an old Williamson County, Tennessee family. Condition: Overall toning. Some scattered shattering/fraying noted to velvet. [See more photos →]

Tennessee blue and cream coverlet, Maryville Woolen Mill, with Stokely family history. Corners inscribed "M.W.M. Tenn." Borders decorated with eagles, birds, potted flowers, foliage, and dogs carrying flags, center field with foliage decoration. 73" H x 82" W, including fringe. Late 19th century. The Maryville Woolen Mill Co. in Blount County, Tennessee operated from 1874 to 1906. Condition: Fair to poor condition. Previous repairs to center, largest approximately 1" dia., and along edge (6" L), just below a 13"L x 1" W tear with loss. Scattered minor areas of wear and loss to fabric and fringe, and minor staining. [See more photos →]

Grouping of six (6) Southern split oak baskets including one (1) miniature buttocks basket, one (1) small round basket with swing handle, dyed weavers and wood base, one (1) round basket with fixed handle and indented base, one (1) round basket with squared handle and indented base, one (1) round basket with fixed handle and footed base, and one (1) large buttocks basket. Ranging in size from 4" H x 4" W to 11 1/2" H x 13 3/4" W x 11 3/4" D. All baskets 1st half 20th century. Condition: Miniature basket with losses to rim and to one side. Swing handled baskets with losses to rim. Basket with squared handle with losses to rim. Footed basket with break to weavers on base center. Large buttocks basket with losses to rim and to one side of base. [See more photos →]

Large Cannon County Tennessee split white oak buttocks basket, signed on the base "Mrs. W H Blair" and "W H Blair". Additionally pencil inscribed on the handle "30.00". 20 3/4" H x 21" W x 26" W. Note: W.H. Blair was a basket maker working in Woodbury/Cannon County during the mid 20th century. His awards included Best of Show at the Webb School Festival in 1981 (source: Nashville Tennessean, 16 Oct. 1981). Private Chattanooga, TN collection. Condition: Overall good condition. A couple of loose weavers noted to the inside of one handle and some minor wear and minor losses to handle. [See more photos →]

Ten (10) Southern Decorative Arts related publications, including ART AND MYSTERY OF TENNESSEE FURNITURE. 1st item: THE ART AND MYSTERY OF TENNESSEE FURNITURE AND ITS MAKERS THROUGH 1850, by Nathan Harsh and Derita Coleman Williams, published by the Tennessee Historical Society, Nashville, 1988. Hardcover octavo, includes original dust cover. 11 1/4" H x 8 3/4" W x 1" D. 2nd item: Author signed WILLIAMSON COUNTY: MORE THAN A GOOD PLACE TO LIVE by Rick Warwick, published by Panacea Press, 2005. Hardcover octavo, includes original dust jacket. Author signature with date "Ryan Warwick May 2005" to title page. 11 3/8" H x 9" W x 7/8" D. 3rd item: BASKETS AND BASKET MAKERS IN IN SOUTHERN APPALACHIA by John Rice Irwin, published by Schiffer Publishing Ltd., Exton, 1982. Softcover octavo. 11 1/8" H x 8 5/8" W x 1/2" D. 4th item: THE MUSEUM OF EARLY SOUTHERN DECORATIVE ARTS (MESDA) catalog, published by Old Salem, Inc., Winston-Salem, 1979. Softcover quarto. 12 1/4" H x 9 1/8" W x 1/4" D. 5th item: ART & FURNITURE OF EAST TENNESSEE: The Inaugural Exhibit of the Museum of East Tennessee History by Namuni Hale Young, published by The East Tennessee Historical Society, Knoxville, 1997. Softcover octavo. 11 1/8" H x 8 5/8" W x 1/2" D. 6th item: Journal of Early Southern Decorative Arts, Winter 1997, Volume XXIII, Number 2, published by MESDA, Winston-Salem. Softcover octavo. 9 1/8" H x 8 1/8" W x 1/4" D. 7th item: LEGACY FROM THE PAST: A PORTFOLIO OF EIGHTY-EIGHT ORIGINAL WILLIAMSBURG BUILDINGS, published by The Colonial Williamsburg Foundation, Williamsburg, 1975. Softcover octavo. 11" H x 8 3/8" W x 1/4" D. 8th-9th items: Two (2) copies of TENNESSEE HISTORICAL QUARTERLY, including one (1) Spring 2003, Volume LXII, Number 1, and one (1) Spring 2015, Volume LXXIV, Number 1, published by the Tennessee Historical Society, Nashville. Softcover octavos. Both approximately 11 1/8" H x 8 5/8" W x 1/4" D. 10th item: ANTIQUES IN TENNESSEE, reprinted from The Magazine ANTIQUES, published by Historic Sites Federation of Tennessee, Nashville, August-December 1971. Softcover quarto. 12" H x 9 3/8" W x 1/4" D. Private Nashville Collection. Condition: 1st item: Dust jacket with shelf wear, rubbing to spine and top edge. Covers and pages in overall very good condition. 2nd item: Dust jacket, covers, and pages in overall very good condition. Author signature in good, legible condition. 3rd item: Normal shelf wear to covers. Pages in overall very good condition. 4th item: Shelf wear to covers. Front end paper and half title page partially separated from spine, otherwise pages are in overall good condition with light toning to edges. 5th item: Shelf wear to covers, 3/4" x 1/2" area of damage to bottom of spine. Pages in overall very good condition. 6th-10th items: Normal to light shelf wear to covers. Pages in overall very good condition. [See more photos →]

CARTE DE LA FLORIDE DE LA LOUISIANE ET PAY VOISINS, by Jacques-Nicolas Bellin, from Histoire Generale des Voyages by Antoine Francois Prevost, published by Jean Francois de La Harpe, Paris, 1757. Copper plate engraving with later hand coloring depicting Mississippi River Valley and the surrounding areas, depicting French forts, Native American villages, bodies of water, mountain ranges, and other areas of interest including regions in Northern Texas and settlements west of New Orleans along the Gulf Coast. Decorative title cartouche and scale of miles, top left. Surrounded by scale miles and a line border. Image: 8 1/2" H x 12" W. Sheet: 9 3/4" H x 13 5/8" W. Provenance: private Holly Springs, Mississippi collection. Condition: Overall good condition with toning, few scattered foxing spots. 1/2" tear, lower left of sheet. Sheet has been cut down. Pencil inscriptions, front and back of sheet. Contemporary coloring of plate. [See more photos →]

Two (2) Mississippi Related Maps. 1st item: GEOGRAPHICAL, STATISTICAL, AND HISTORICAL MAP OF MISSISSIPPI, drawn by Fielding Lucas, Jr., engraved by Young and Delleker, from A COMPLETE HISTORICAL, CHRONOLOGICAL, AND GEOGRAPHICAL AMERICAN ATLAS, by Henry Charles Carey and Isaac Lea, published in Philadelphia, 1827. Copper plate engraving with hand coloring depicting Mississippi and the surrounding territories with towns and cities, counties, roads, bodies of water, and other points of interest, including the location of Native Americans labeled. Title and scale top left. Map surrounded by scale notations, line border, and English text on three sides. Text surrounded by double line border. Map image: 11 3/4" H x 9" W. Plate: 13" H x 10 1/4" W. Sheet: 17 3/4" H x 22" W. 2nd item: DIAGRAM OF THE SURVEYING DISTRICT SOUTH OF TENNESSEE, 25th Congress, 3rd session. S. Doc. 17, No. 7, lithographed by William J. Stone, published by the Government Printing Office, Washington, D.C., 1838. Survey map depicting Choctaw and Chickasaw cessions after The Indian Removal Act of 1830. Title, top right, key, lower left. 16 3/4" H x 13" W. Provenance: Private Holly Springs, MS collection. Condition: 1st item: Overall good condition with toning, areas of dampstaining to edges of sheet. Slight waviness to paper. Old white archival tape repairs, largest 17 3/4" x 1 7/8", en verso. Pencil inscriptions, lower right. 2nd item: Overall good condition with areas of loss, tears, largest 2 1/2", to edges of sheet. [See more photos →]

Two (2) Tennessee Maps. 1st item: TENNESSEE map, engraved by Young and Delleker, from A NEW GENERAL ATLAS, COMPRISING A COMPLETE SET OF MAPS drawn and published by Anthony Finley, Philadelphia, 1831. Copperplate engraving with hand-coloring map featuring Tennessee divided by county, depicting cities, towns, rivers, mountain ranges, and train tracks. Title, top center, scale of miles, lower center. Surrounded by scale notations and a line border. Housed and matted under plexiglass in a wooden frame. Image: 8 1/2" H x 11 1/2" W. Sight: 10" H x 12 3/8" W. Framed: 14 1/4" H x 16 5/8" W. 2nd item: TENNESSEE map, drawn by Thomas G. Bradford, engraved by George W. Boynton, from A COMPREHENSIVE ATLAS, GEOGRAPHICAL, HISTORICAL & COMMERICAL, published by American Stationers' Company, Boston, 1838. Copperplate engraving with hand-coloring of Kentucky and Tennessee depicting towns and roads, county lines, names of counties, rivers, and mountains. Title and scale of miles, lower left. Map surrounded by scale notations and triple line border. Image: 11 1/2" H x 14 3/4" W. Sight: 12" H x 15 1/2" W. Framed: 15 1/4" H x 18 3/4" W. The estate of a Vanderbilt University professor, Nashville, Tennessee. Condition: Both items in overall good condition with light toning. Not examined outside of frames. 1st item: 1/2" area of staining, top right outside of image. [See more photos →]

Seventeen (17) Tennessee related bonds, including railroads, some canceled or unissued, including one (1) Mobile and Ohio RailRoadCompany, dated February 9, 1880, one (1) Choctaw and Memphis RailRoad, dated December 18, 1899, one (1) Holston ValleyRailway Company, undated, one (1) Citizens Street Railroad Company, undated, one (1) Bristol Iron and Steel Company, undated, two (2) East Tennessee Dairy Company, both dated June 12, 1906, two (2) Naive-Spillers Corporation, both dated February 21, 1920, one (1) The Tennessee Oil and Gas Company, February 14, 1910, one (1) Forest Park Land and Improvement Company, undated, one (1) Lafayette Lodge No. 491, Independent Order of Odd Fellows, undated, one (1) LeMoyne Corporation, undated, one (1) Kingsport Tire and Recapping Company, undated, one (1) Bolivar Land and Timber Company, dated November 29, 1905, one (1) Nu-Dry Bottling Company, Inc., undated, and one (1) First Mortgage Real Estate Gold Bond of "Pinnacle Mills," undated. Ranging in size from 8 3/8" H x 10 7/8" W to 15" H x 9 5/8" W. Condition: Overall good condition with toning/acid burn, handling wear, minor tears/areas of loss, pencil inscriptions from previous owners, to be expected from age. [See more photos →]

Two (2) Southern floral paintings, including Elizabeth Brandon and Josie Van Gent Edell. 1st item: Elizabeth Brandon (Tennessee, b. 1952) oil on canvas still life painting of lilies, bowl, and a pearl necklace. Signed lower right. Housed in giltwood frame. Sight – 17 5/8" H x 21 3/8" W. Framed – 23 5/8" H x 27 1/2" W. 2nd item: Josie Van Gent Edell (South Carolina, 1921-2007) watercolor on paper still life of red trumpet flowers. Signed lower right. Housed behind glass in a matted metal gold toned frame. Sight – 19 1/2" H x 25 5/8" W. Framed – 28 1/4" H x 34 1/4" W. Provenance: the collection of Valleau Caruthers, Brentwood, TN. Condition: Both items in overall excellent condition. [See more photos →]

James Sain (Virginia, 1936-2009) oil on board painting depicting three seagulls perched on wooden posts, presumably by a harbor, the outlines of a flock of birds visible against the cloudy brown sky. Signed "James L. Sain" lower right. Park Lane Framing, Seattle Washington gallery label en verso. Housed in a silver metallic painted wooden frame. Sight: 12 1/2" H x 15 5/8" W. Framed: 13 3/4" H x 17" W. The Estate of William Pursell, Nashville, Tennessee. Condition: Overall good condition with surface stains, areas of water damage, largest 4" x 2 3/4". Frame is loose at corners. [See more photos →]

Three (3) coin and sterling silver julep cups or beakers, all with tapering sides, reeded rim and footrings, including one (1) with incuse marks for Jaccard & Co, working St. Louis, Missouri, active 1837-1848; one (1) Newport sterling silver cup, inscribed "Keeneland 1973"; and one (1) Frank M. Whiting Company sterling silver cup, monogrammed with script "E." All with maker's or incuse marks to underside of bases. All approximately 3 3/4" H x 3" dia. Coin: 4.480 total troy ounces, sterling: 7.505 total troy ounces. Provenance: The Estates of Ora and Eleanor Eads, Nashville, TN. Condition: All items in overall good condition with normal surface scratches, dents, largest 1 1/2". [See more photos →]