Ceramics & Glass Highlights

Tiffany Studios blown out glass and bronze oil lamp with original Favrile iridescent shade, c.1899. Bottom of base impressed TIFFANY STUDIOS NEW YORK D436 / 7, with Tiffany Glass & Decorating Co, monogram. Exterior top of base also impressed D436. Base has cold patina finish and is fitted with a bronze collar having pierced decoration to top and a ring to hold the shade. Base 13 3/8″H. Gold iridescent shade with wave design, etched S4319. 9 3/4″ diameter. Height overall: 18 1/2″ (excluding chimney).

CONDITION: Some losses to bronze fitting around the bulb socket. Residue to crevices between bronze top of lamp base and body. Some small orange reside spots to a few sections of glass in base; these flake off but we have not attempted to clean the more persistent ones. Glass on base is otherwise in excellent condition, no damage. 1/4″ dark stain to bronze on foot, near power switch. Switch and socket added later. Formerly electrified; cord has been cut. Shade in overall excellent condition with a few scattered tiny imperfections in the making. Clear glass chimney is not original. [See more photos →]

George Rodrigue (American/Louisiana, 1944-2013), limited edition cameo glass “Blue Dog Bowl”, designed in collaboration with Kelsey Murphy (20th Century, American/West Virginia) and the Pilgrim Glass Company, numbered #15/35. Layered and sandblasted design to the sides featuring a repeating motif of three seated blue dogs punctuated by live oak trees. Raised “Rodrigue” signature below one tree. Additionally etched on the base “903056”, 15/35 (limited edition number); “P” for the Pilgrim Glass Company and production date of 1994. 5″ H x 9″ dia. Note: George Rodrigue worked with Kelsey Murphy and Pilgrim Glass in West Virginia to recreate his Blue Dog designs in cameo glass. The layered pieces are sandblasted, revealing Rodrigue’s raised patterns. A total of three bowls and one vase were designed, each in editions of thirty-five. With the exception of the glass, bronzes, and some jewelry, Rodrigue created these novelty items for his own collection and experimentation, offering very few for sale. One of the bowls of this edition was featured in the Louisiana State University Museum of Art Exhibition which ran July 23 through September 18, 2011. (Source: https://legacyarttour.org/2011/07/blue-dog-glass-and-other-unique-rodrigue-items.html)

PROVENANCE: Private Southern collection.

CONDITION: Overall excellent condition. The base with very faint minor scuffs. [See more photos →]

Tiffany Studios table lamp with “Crocus” pattern domed leaded glass shade in yellow, cream and green leaded glass, unsigned, together with a # D805 Tiffany Studios lamp base having an onion bulb design base above four scrolled feet. Fitted with a 3 socket light cluster and signed on the base “Tiffany Studios New York D805″ together with Tiffany monogram stamp. Shade: 6 1/2″ H x 16″ dia. Base: 18” H. American, circa 1910. Provenance: the estate of Edith (Edie) M. Bass, Nashville, Tennessee, by descent from her parents, Walter Paul McBride and Claire Childs of Lake Forest, Illinois. The lamp likely originally belonged to Mrs. Bass’s grandfather, C. Frederick Childs (1875-1955), founder of the C.F. Childs & Co. Securities Co. Mr. Childs was the first dealer of U.S. Government Securities. His offices in Chicago and New York were across the street from the Federal Reserve in each city and his trading office was located at One Wall Street. Edie McBride Bass attended Miss Porter’s School and graduated from Vassar. She married Jack Maddin Bass of Nashville, Tennessee, whose father owned J.M. Bass and Co., one Nashville’s first securities firms. Edie served numerous charitable institutions in Nashville. She was a Lifetime Trustee of Cheekwood Botanical Gardens and the Ensworth School, and served on the Board of Miss Porter’s School. She was a driving force in establishing fund raising for the Swan Ball, The Land Trust of Tennessee, and the M.S. Society. Additional items from her estate will be offered in our January auction. Condition: Shade overall good condition with no apparent breaks. Base with nice old green brown patina. Heat cap is a replacement. Functional at time of inspection (see photos of illuminated lamp). [See more photos →]

Grueby Faience Company Art Pottery vase, Model #84, having a green matte glaze and pinched neck with stylized leaf design, designed by the pottery’s first director of design, George Prentiss Kendrick. Base with impressed circular mark reading “Grueby Faience Co., Boston, U.S.A. and 84″ together with a Grueby paper label and artist cypher. 11 3/4″ H x 8” W. Late 19th/Early 20th century. Private Southern Collection. Condition: Overall very good condition. No cracks or chips. While the UV inspection revealed no visible repairs or restoration, this example appears to be same Rago auctions sold on June 8, 2013 and the condition report listed the vase with “restoration to two small areas at rim.” [See more photos →]

Important Minton Pate-Sur-Pate porcelain tray with colored paste by Louis Marc Solon (1835-1913), made for the Paris Exposition Universelle of 1878. Rectangular “Hildesheim” form with Neoclassical handles accented in gold and platinum having dark brown-black ground with white relief decoration of four female figures in a dressing room or toilette setting; two use a ewer at a sink, while one admires herself in a hand mirror, and another selects a necklace from a box. A blue-colored paste shadow figure of Cupid stands at the center behind a draped cloth. Signed and dated “L. Solon ’78” in the paste lower right, with gilded fleur de lis Minton mark for the Paris Exhibition of 1878 en verso along with incised mark and shape number 1765. 1 1/4″ H x 13″ W x 7″ D. Metric width: 33 cm. Note: Solon rarely used colored pastes in his pate sur pate work; it usually appears only on pieces made for exhibitions.

PROVENANCE: The Estate of Edward Laudermilk, Nashville, Tennessee. Purchased Skinner Auctions, December 1995. The original invoice is available to the winning bidder.

CONDITION: Two rim chips, both under 1/4″ (about 5 mm), one to underside of handle at center left side (only visible from back), the other to tip of lowermost right edge of handle. Otherwise very good condition with minimal scattered wear. [See more photos →]

Stephen Rolfe Powell (Alabama/Kentucky, 1951-2019) untitled double-lobed and multi-colored murrine art glass sculpture or vase, comprised of multiple bands of fused colored canes. Signed and dated on one side near the base “Stephen Powell 1995″ and initialed BZ. 31 1/2″ H x 20″ W x 10” D.

CONDITION: Overall excellent condition. [See more photos →]

Tiffany Studios table lamp comprised of a #470 Lemon Leaf shade with gold dore finish and a #587 Mock Turtle bronze base with three light sockets and a brown/dark green finish. Shade marked along the edge “Tiffany Studios/New York/470” and lamp base marked “Tiffany Studios/New York/587”. Base – 22 7/8″ H. Shade – 18″ dia. 23 1/4″ total H of base with shade. CONDITION: Replaced cap. Old repairs to outer edge and inner cap edge of shade, see photos. Lamp base slightly tilted. Shade and lamp are not original to one another. [See more photos →]

Stephen Powell (Kentucky, b. 1951) large tri-lobe murrine glass vessel form, engraved signature near base, “Stephen Powell 1999 RO”. 44 3/8″ H x 18″ x 17″ (56″ circumference at widest point). Provenance: Lexington, Kentucky area collection. Condition: Overall excellent condition – no chips, cracks, abrasions noted. CONDITION: Overall excellent condition – no chips, cracks, abrasions noted. [See more photos →]

Pablo Picasso (Spanish, 1881-1973) limited edition Madoura charger titled “Visage aux Feuilles” (Face with Leaves), white earthenware ceramic having engobe glaze and partially textured or latticed surface to the center, blue glazed raised face to center with blue glazed raised leaves and raised yellow glazed stars to the rim. Marked and numbered en verso “Madoura Plein Feu / Empreinte Originale de Picasso / C 108 / 32/100”. 16 1/2″ dia. Originally created in 1956.

PROVENANCE: Private Cleveland, Tennessee collection.

CONDITION: Overall excellent condition. Some minor voids to slip glaze and clear glaze, in the making. No visible chips or cracks under UV light inspection. [See more photos →]

Arts & Crafts Handel bronze floor lamp having a cylindrical standard, five socket cluster and bulbous shaped base. Fitted with a metal overlay cattail pattern shade comprised of eight (8) shaped panels of glass in colors of green, tan and reddish brown and fitted with a openwork fleur de lis cap. Shade retains the original Handel tag, base with impressed Handel stamp mark. Shade measures 22″ dia x 11 1/4″ H. Lamp measures 66″ total H. 1st Qtr. 20th century. CONDITION: Overall very good condition with minor wear to patina on lamp. Shade glass in excellent condition. [See more photos →]

Four (4) blown, cut and engraved glass tumblers, 18th century. Each decorated with swags and stars and an oval cartouche with the initials JM for Jacob Motte (1700-1770), Charleston, South Carolina city treasurer and wealthy land owner, or his son Jacob Motte II (1730-1781). 2 1/2″ H, 2 3/8″ diam. at top. Possibly Irish, exported for use in America, c. 1760.
PROVENANCE: By descent in the historic Pinckney family of Runnymede Plantation, South Carolina. Note: Jacob Motte Jr.”s wife was Rebecca Brewton, sister of Frances Brewton Pinckney (wife of Col. Charles Pinckney).

CONDITION: 1 with small internal scratch-like flaw; a couple of scattered tiny fleabites to feet, a few scattered tiny bubbles/flaws in the making; 1 with two tiny flakes (1/4″ and 1/16″ to underside). [See more photos →]

Pablo Picasso (Spanish, 1881-1973) enameled earthenware with engobe and paraffin decoration titled “Centaur au Visages”. Signed and numbered “Madoura Plein Feu Edition Picasso, 80/125 R. 153″ underside of base. 10″ H x 9 1/2″ W x 7 1/2” D. Includes copy of 1997 French purchase receipt from Galerie Madoura, Vallauris, France. Provenance: Private Collection of a Retired Sculptor and Art Collector, Middle Tennessee. CONDITION: Excellent condition. [See more photos →]

Group of sixteen (16) American Brilliant Period cut glass wine glasses, including three different patterns. Ten (10) Colonna pattern goblets by Libbey, with teardrop stem and ray design to underside of base. Hobstar and cross hatch design to bowl. Most with stamped maker’s marks to tops of bases. 4 3/4″ H x 2 1/2″ dia.; four (4) goblets with sawtooth bases and diamond cut design to base, with hobstar design to base and bowls. Maker’s marks stamped to interiors of bowls. 5″ H x 2 1/2″ dia.; two (2) unmarked with faceted stems and ray design to underside of bases, with hobstar and wreath design to bowls. Unmarked, 4 1/2″ H x 2 1/2″ dia. All items likely early to mid 20th century. CONDITION: Overall good condition. Five with minor chips to bases, including 1 Colonna pattern, 1 of the unmarked, and 3 of the sawtooth bases; largest loss 3/8″ x 1/4″. At least two of the Colonna pattern goblets appear to have rims ground down. [See more photos →]

Large Grueby Art Pottery vase by the artist Ruth Erickson (active with Grueby 1889-1910), with a curdled brown over green glaze and carved elongated leaf decoration. Base with impressed circular mark GRUEBY POTTERY BOSTON U.S.A. together with a partial Grueby Pottery paper label and the artist cypher for Ruth Erickson. 14 3/4″ H x 9″ W. Early 20th century. Private Southern Collection. Condition: Overall very good condition, base with grinding chips. No cracks or chips. UV inspection reveals no visible repairs or restoration. [See more photos →]

Richard Jolley (Tennessee, born 1952) blown and hot formed glass “totem” titled “Memories Lingering” with fabricated and acid etched elements. Colors of amber, clear, cobalt, purple, aqua and gold. Signed and dated “1997” en verso on base. 34″ H x 9 1/2″ dia. 20th century. Biography (Courtesy of the Knoxville Museum of Art): Richard Jolley was born in Wichita, Kansas, in 1952 and as a youth, he moved to Oak Ridge, Tennessee. He began his art training at Tusculum College in Greenville, Tennessee in 1970, studying under noted glass artist Michael Taylor. After receiving his B.F.A. from George Peabody College in Nashville (now part of Vanderbilt University), Jolley continued graduate studies at North CarolinaÃs Penland School of Crafts, under the instruction of studio glass artist Richard Ritter. He currently maintains a studio in Knoxville. To date, JolleyÃs work is represented in more than 33 public collections, including the Carnegie Museum of Art; the Corning Museum of Glass; the Frederick Weisman Art Foundation, Los Angeles, the Knoxville Museum of Art; the Los Angeles County Museum of Art; the Museum of Fine Arts, Boston; and the Renwick Gallery of the Smithsonian American Art Museum. Purchased in 1997 by owner. Provenance: Property of the estate of Arlene Goldstine, Knoxville, TN. Condition: Overall excellent condition. [See more photos →]

Tall Grueby Art Pottery vase by the artist Marie Seaman, having a bolbous lower body transitioning to a straight neck, dark green matte glaze and overlapping elongated carved leaf decoration. Base with impressed circular maker’s mark GRUEBY POTTERY BOSTON U.S.A. and lotus blossom and the initials M. S. for the artist Marie Seaman. 12 1/2″ H x 8″ W. Early 20th century. Private Southern Collection. Condition: A couple of fleabites to leaf edges, some minor rubbing to lower body. No cracks or chips. UV inspection reveals no visible repairs or restoration. [See more photos →]

Tiffany Studios “turtleback” table or desk lamp, comprised of two favrile turtleback panels of green, gold, brown and blue iridescent glass, in a verdigris bronze frame with rope and bead decoration over a single socket, shade is mounted within two bronze curved arms leading to base with stylized leaf design and green art glass cabochon jewels around base edge. Marked on underside base, TIFFANY STUDIOS/NEW YORK/D545 and with the Tiffany Glass & Decorating Company monogram. 14″ H x 8 3/8″ W. Circa 1892-1900. Provenance: Private Knoxville, TN collection. CONDITION: Base and glass appear to be in excellent condition. Older wiring with some fraying to cord. Bronze fatigue crack visible to both arms near mounts to shade (appears stable). [See more photos →]

Pablo Picasso (Spanish, 1881-1973) unglazed ceramic plate titled “Visage” by Madoura Pottery. Stamped en verso “Madoura Plein Feu/Empreinte originale de Picasso”. Inscribed en verso “A102″ and numbered in black marker 20/100. 14 1/2” dia. Circa 1965. Provenance: Property of a private Knoxville, TN collection. CONDITION: Overall very good condition with minor area of yellowing bottom left rim edge. Possible minor errant pencil marks lower rim below nose. No cracks or chips. [See more photos →]

Grueby Art pottery low form vase, having a green matte glaze and alternating carved wide leaf and bud design. Center of base with impressed illegible Grueby mark with other marks, obscured by heavy glaze. 6 1/4″H x approx. 9″ dia. Early 20th century. Private Southern Collection. Condition: Overall very good condition, a few slight areas of glaze imperfections noted below the rim. A couple of pin head size areas of glaze loss. UV inspection reveals no visible repairs or restoration. [See more photos →]

Pablo Picasso (Spanish, 1881-1973) red earthenware with black paint titled “Yan Barbu”. Signed and numbered “Madoura Plein Feu Edition Picasso, 294/300 V. 104″ underside of base. 10 1/2″ H x 6 1/4″ W x 4” D. Mid 20th century. Includes copy of 1997 French purchase receipt from Galerie Madoura, Vallauris, France. Provenance: Private Collection of a Retired Sculptor and Art Collector, Middle Tennessee. CONDITION: Overall excellent condition. [See more photos →]

Rene Lalique Art Deco Rinceaux chandelier or plafonnier, introduced 1926, amber frosted and clear glass shade, molded in a honey comb pattern. “R Lalique, France” signature engraved on the side. Suspends from ceiling on four silk-covered wire hanging cords, which appear original, and retains the original molded glass ceiling cap. 14 3/4″ D. CONDITION: No cracks or chips, but some general expected wear and some internal imperfections as made. [See more photos →]

Large Historical Staffordshire polychrome creamware Liverpool jug or pitcher, transfer print and enameled decoration of the American masted ship the General Mercer to front and the reverse with the coat of arms for the baker’s guild reading “The Baskers Arms/Praise God For All”; decorated underneath the spout with monogram DFN and vignette of an American eagle with American shield, holding a laurel branch and arrows in its talons. Anthemion border design around the top and spout. 9 1/2″ H. Circa 1800-1810. CONDITION: Overall light crazing to glaze. Spider crack to one lower side, hairline to base. [See more photos →]

Richard Jolley (Tennessee, born 1952) blown and hot formed glass totem sculpture on stand titled “Force of Gravity”. Depicting a male head with fabricated and acid etched elements in colors of amber, red, lime and yellow. Signed and dated “Richard Jolley 2006″ lower right front edge. Fitted with a custom metal display stand. Sculpture – 22″ H x 9 3/4″ W. Stand – 19″ H x 12” W. Early 21st century. Biography (from the Knoxville Museum of Art): Richard Jolley, internationally recognized as one of today’s most important glass sculptors, was born in Wichita, Kansas, in 1952. As a youth, he moved to Oak Ridge, Tennessee, and in 1970 began his art training at Tusculum College in Greenville, Tennessee, studying under noted glass artist Michael Taylor. After receiving his B.F.A. from George Peabody College in Nashville (now part of Vanderbilt University), Jolley continued graduate studies at North Carolina’s Penland School of Crafts, under the instruction of studio glass artist Richard Ritter. One of Jolley’s early assistants was glass artist Tommie Rush. They married in 1988 and now share a studio full time in Knoxville. Jolley has participated in over 65 solo museum and gallery exhibitions throughout the United States and in Australia, Europe, Israel, and Japan. In 1997, the Mint Museum of Art in Charlotte, North Carolina, organized the first extensive exhibition of Jolley’s mature glass sculptures; and in 2002, the Knoxville Museum of Art presented the first major retrospective of Jolley’s work, which later traveled nationally to 14 museums over five years. Jolley’s works have been showcased in numerous important museum surveys of contemporary glass, including the Hokkaido Museum of Modern Art in Sapporo, Japan; the International Exhibition of Glass in Kanazawa, Japan; the Indianapolis Museum of Art; the Museum of Fine Arts, Boston; the Renwick Gallery of the Smithsonian American Art Museum, Washington, D.C.; and the Carnegie Museum of Art, Pittsburgh. Jolley has received several prestigious private and public commissions, including Everything and the Cosmos (2007), installed at 7 World Trade Center, New York City. Jolley’s large, permanent exhibitiontitled “Cycle of Life: Within the Power of Dreams and the Wonder of Infinity” has been on display at the Knoxville Museum of Art since 2014. Provenance: Private Knoxville, TN collection. CONDITION: Overall very good condition. [See more photos →]

1st item: Minton Pate-Sur-Pate Vase, decorated by Louis Solon, on dark teal ground with a narrow neck, relief decoration of Aphrodite and two cherubs on front, and decoration of a cherub carried aloft by a hot air balloon en verso. Signed L. Solon. Vase has been mounted to a wooden base. Vase: 11 1/2″ H. Overall with base: 12 1/2″ H. 2nd item: Minton Pate-Sur-Pate vase, brown ground with white slip relief decoration of calla lilies and an insect; silver and gilt Greek key decoration to neck, base, and four feet; and two ring-style handles. 10″ H.

PROVENANCE: The Estate of Edward Laudermilk, Nashville, Tennessee.

CONDITION: 1st item: Has been broken and professionally restored and mounted to the wood base. 2nd item: Restoration to one broken foot. [See more photos →]

Whiting Art Nouveau sterling silver overlay biscuit jar or humidor with lobed red art glass. Sterling lid with knob pull, cartouches of floral and crisscross patterns and scroll rim, jar of lobed cranberry glass overlayed with open sterling cartouches, swags and floral sprays, all on scroll base. Marked Sterling with Whiting maker’s mark and 3367 on base. 9″ H x 7 3/4″ W. American, circa 1890. Provenance: Private Knoxville, TN collection. CONDITION: Overall very good condition. Slight 1″ L bend in rim of lid. Slight surface abrasions to some lobed glass. Very few surface scratches to sterling. [See more photos →]

50 pieces Hermes Siesta pattern porcelain service for 8, including eight (8) dinner plates (11″ dia.); eight (8) dessert plates (9″ dia.); eight (8) bread and butter plates (6 1/2″ dia.), six (6) still in plastic wrap; eight (8) cups (2 1/4″ H); eight (8) saucers (5 7/8″ dia.); eight (8) chargers (12″ dia.), six (6) still in plastic wrap; 1 oval serving platter (16 1/2″ W); and 1 round tart dish (12 1/2″ dia.), both serving pieces include brown Hermes dust jackets. Each with pattern name and maker’s marks stamped to underside of bases. Includes thirteen (13) original Hermes orange boxes. Boxes ranging in size from 2″ H x 7 7/8″ square to 4″ H x 19 1/2″ W. Provenance: The Guardsmark Collection, Lipman Holdings International, Memphis, Tennessee. Condition: All items in overall very good, like new condition, some still with original retail tags or still in plastic wrap. Boxes with wear, 5 boxes with tears/damage to edges of lids, largest 14″. [See more photos →]

Pablo Picasso (1881-1973), Visage Barbu (A.R. 413), partially glazed ceramic terra cotta plate, stamped underside MADOURA / PLEIN FEU / EMPREINTE ORIGINAL DE PICASSO, and numbered 60/100. 9 7/8″ diameter (25 cm). Conceived on June 29, 1959 and executed in a numbered edition of 100. Literature: A. Ramié, Picasso, Catalogue of the Edited Ceramic Works, 1947-1971, Madoura, 1988.

CONDITION: 3/4″ rim chip, visible primarily from underside, otherwise excellent 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 →]

A Newcomb art pottery loving cup, 1907, decorated by Leona Nicholson (1847-1929) with a relief landscape of blue morning glories to the body. Base marked with the Newcomb cipher, decorator’s mark, registration # BU28, impressed JM for Joseph Meyer and impressed Q for clay color. 5 7/8″ H. Base dia. 6 1/2″. Provenance: The consignor’s grandmother acquired this piece directly from the artist who was married to her brother. Condition: One inside rim hairline approx. 1.5″ in length, possibly from firing process. [See more photos →]

Set of Baccarat Gilded crystal bowls and stoppers, 25 total pieces, each with gilt foliate rococo decoration. Includes a pair of decanter stoppers; 14 finger bowls, each with cut starburst foot and underplates (including 5 extra underplates); and 4 shallow centerpiece bowls or tazzas with cut starburst foot, each fitted with a conforming figural cherub ormolu bronze stand stamped on the underside with the Baccarat roundel. All pieces monogrammed. Finger bowls measure 3″ H x 5 1/4″ dia. Underplates measure 8″ dia. Centerpiece bowls/tazzas measure 7 1/2″ dia. Cherub stands measure 3″ H. Late 19th/early 20th century. Provenance: Baltimore estates of Virginia Howard Miller (c. 1880-1946) and Hugh Purviance King (1873-1966) passed down to present Living Estate of Virginia Johnston, Chattanooga, TN. CONDITION: All pieces overall excellent condition. [See more photos →]

English Staffordshire polychrome pearlware jug, eagle perched on a cannon with the American flag inscribed, “Arms of the United States-E. Pluribus Unum” on the side and under the spout inscribed with “Free Trade and Sailors Rights”. 6 3/4″ H x 7 1/2″ W x 6 1/2″ D overall. Provenance: From the Robert Teitelman collection. Pictured, pre-restoration state, page 280 of “Success to America, Creamware for the American Market”. Circa 1800-1820. Private East Tennessee Collection. CONDITION: Some staining. Base with old restoration. [See more photos →]