Below is a sampling from our upcoming two-day Winter Auction on January 25th & 26th, 2020 in Knoxville, Tennessee. Saturday’s auction will have about 700 lots and will start at 9am EST. Sunday’s auction will have about 400 lots and will start at 1pm EST. This sale will feature Tennessee and Kentucky estates with Southern Decorative Arts, Fine Art, Estate Jewelry, Historical Ephemera, and Silver. Public preview is Friday, January 24th from 10am to 6pm Eastern or by appointment. Email bid@caseantiques.com or call (865) 558-3033 for more information. Join our mailing list to be notified about auctions and other events.
William Edmondson (American/Tennessee, 1874-1951) carved limestone sculpture, “Preacher,” depicting a minister with his left arm raised and a Bible in hand, open eyes and mouth, and attired in a long-tailed coat and bow tie, standing on a pedestal. 23 1/2″ H x 12 1/2″ W x 8 1/4″ D. This sculpture appears in an Edward Weston photograph of Edmondson’s yard taken in 1941. Ref. Edmund Fuller, Visions in Stone, p. 11. Illustrated, ibid, p. 36. Exhibited at the Tennessee State Museum’s 1981 exhibit titled: “William Edmondson: A Retrospective” and featured in the exhibition catalog of the same name on page 38, catalog entry #8. Also exhibited 2006 at the Frist Center for the Visual Arts “The Art of Tennessee” exhibit, and illustrated in the catalog, p. 281. Provenance: Private Southern Collection. More to come in the following weeks.
Carroll Cloar acrylic on board pointillist painting, “The Landlady,” signed lower right; additionally signed, titled, and dated 1980 en verso. Weathered wood frame with linen liner and gilt rabbet edge. 28″ x 39″ sight, 34″ x 45″ framed. Provenance: Private Nashville collection, ex-Forum Gallery (New York City), ex-Dr. Benjamin Caldwell, Nashville, Tennessee. Note: video footage of Carroll Cloar at work on this painting is featured near the end of a documentary on his life and work, “Friendly Panthers, Hostile Butterflies,” produced by WKNO-TV and currently available to view on YouTube: View it Here.
Civil War Union Cavalry Swallowtail Guidon Flag of Corporal Marcellus Ovando Messer (1842-1938), 19th Regiment, Ohio Volunteer Infantry, Company C. The silk flag has a double wreath of 35 gilt-painted stars, indicating use between the admission of West Virginia as a state in 1863, and the admission of Nevada in 1865; canton and stripes are pieced and treadle-sewn. 26 14″ x 36 3/4″ sight, 30″ x 40″ framed. Cpl. Messer was born Nov. 2, 1842 in Guilford, New Hampshire. His family moved to Warren, Ohio when he was 14. When the Civil War broke out, Messer joined the 19th Ohio Volunteer Infantry, Company C., on Sept. 7, 1861 and was promoted to Corporal in 1863. According to his discharge record, he was discharged as a corporal on Dec. 31, 1863 at Flat Creek, Tennessee “by reason of re-enlistment as a veteran volunteer” and again served in C Company. After Lee’s surrender, he went to Texas as part of General Grant’s army to monitor Mexican Emperor Maximillian. He was discharged Oct. 24, 1865 at San Antonio. According to his records, he “served continually in the same Company and Regiment through the entire war… without being sick or wounded or on detached service, and having never missed a battle in which the regiment was engaged. He did not taste of liquor while in the service.” The battles in which Messer’s company engaged – some fought in Tennessee – were among the war’s most infamous: Shiloh, Missionary Ridge, Perrysville, and Chickamauga. They also participated in the Atlanta campaign, under General William Tecumseh Sherman. In all, the 19th regiment participated in 21 battles and crossed Tennessee 16 times, marching over 6,000 miles and traveling another 6,500 by rail and water. After the war, Messer returned to Warren, Ohio, and married Frances “Frannie” M. Dickey. They had one son and lived in the old Dickey homestead. Messer, a Republican, went on to serve as a member of the city council for five years in the 1880s and on other municipal boards. He also served as a bailiff in the Probate Court for more than 20 years. Note: some of this biographical information comes from a newspaper article on Messer in the Youngstown OH Vindicator newspaper, August 14, 2005. A laminated copy of the article is included with this lot. Provenance: by descent in the Messer family to present consignor. Note: remnants of a box formerly used to store the flag bears pen inscription: “A regimental flag of the 19 O.V.I. carried during Nov. 1861-65.”
Andrew Clemens (American, 1857-1894) patriotic sand art bottle, dated 1889. Glass bottle with round flat-top stopper and a tall cylindrical body filled with multicolored, layered sand in decorative stripe, swag and diamond patterns, one side with vignette of a spread-winged eagle a 36-star American flag, the alternate side with a detailed floral vignette including forget-me-nots, rose and pansy, enclosing a date of 1889. Height 6 5/8″. Note: Andrew Clemens was born in Dubuque, Iowa, in 1857 and later moved to the town of MacGregor. At the age of five, he contracted an illness (possibly encephalitis) which caused him to become deaf and mute. He attended the Iowa School for the Deaf. As an adult, he began working with sand from the naturally colored sandstone in the Pictured Rocks area of Iowa to form detailed pictures in glass bottles. Clemens created his designs using self-made tools including “brushes” of tiny hickory twigs; no glue was used. The bottles were well received by the public – particularly riverboat travelers to MacGregor, seeking souvenirs – and he was able to earn a livelihood selling sand art bottles until his death in 1894 at the age of 37. While many were sold, few have remained intact over the years. Source: the Des Moines Register. Provenance: the estate of Stanley Horn, Nashville, Tennessee, by descent in his family to current consignor.
Two European flintlock pistols, history of ownership in the family of President Andrew Jackson, who is said to have seized the guns from Robert Christie Ambrister (1797-1818) and Alexander (George) Arbuthnot (1748-1818) during the First Seminole War. The two British citizens were captured and charged with aiding the Seminole and Creek Indians against the United States, and executed by then-General Jackson near what is still known today as Court Martial Lake, Florida. The “Ambrister and Arbuthnot Incident” triggered a Congressional investigation, the findings of which were critical of Jackson’s actions, but did not result in censure. Lot is accompanied by a 1954 sworn affadavit from the pistols’ late owner Stanley Horn stating that according to Donelson family tradition, the firearms were given by Jackson to his friend and aide, General John Coffee, who later gifted the pistols to Jackson’s adopted son, Major Andrew Jackson Donelson. Major Donelson bequeathed them to his son, William Donelson, who sold them to a Nashville bookseller, Paul Hunter, who in turn sold them to Mr. Horn; they have descended in the family of Stanley Horn to the present consignor. More information to come in the upcoming weeks.
Large Teco Pottery (Terra Cotta, IL) Jardiniere, Model #106, reticulated lotus blossom design with green matte glaze and charcoal accents, designed by Hugh M. G. Garden. Stamped TECO three times to base. 9 1/2″ H x 11 1/4″ dia. Circa 1905. Provenance: Private Nashville Collection.
Newcomb College art pottery matte glaze vase, decorated by the artist Anna Frances Simpson (Louisiana, 1880-1930), carved and painted narcissus paperwhite floral decoration in shades of green, cream, and blue. Base with impressed Newcomb logo, date code for 1912 (FC the artist’s initials AFS in blue slip and the incised initial mark of potter Joseph Meyer). 9″ H.
Rare Tennessee Nonconnah art pottery cameo pitcher or tankard and four (4) handled mugs, 5 items total, each with applied cameo dogwood flower and branch decoration on a matte green glaze and brown glazed interior. Bases with slip signatures “Nonconnah”. Pitcher – 11-1/2″ H. Mugs – 6- 1/4″ H. Provenance: Private West Tennessee Collection.
Important and extremely early Tennessee Nonconnah art pottery cameo vase, molded ovoid form with flat, slip painted cotton blossoms and leaves on matte green ground. Clear to white crackle glazed interior. Signed with Nellie Stephens’ initials (NS) on front and “Stephen and Son / Capleville Ten” on base. 6 3/4″ H. Illustrated and discussed, p. 18-19, “Pisgah Forest and Nonconnah: The Potteries of Walter B. Stephen” by Rodney Henderson Leftwich. In the book, Leftwich notes this vase may be the first vase the mother and son team of Nellie and Walter Stephen sold and may actually pre-date their naming of the pottery; he also describes the difficulties Walter faced in firing the pieces early on and the encouragement of his mother that led to the eventual production of their first saleable wares. Nonconnah is an Indian term translating as ‘Long Stream’. The Nonconnah Pottery was started in 1901 in Memphis, Tennessee and operated by Walter and Nellie Randall Stephen. They produced molded or wheel thrown pieces there until 1910, then relocated to Skyline, North Carolina. The company produced pottery in N.C. from 1913 to 1916, when Walter left to go into the construction business. He continued to experiment with pottery, however, and founded the Pisgah Forest Pottery in 1926. Provenance: Private West Tennessee Collection.
Anna Catherine Wiley (TN, 1879-1958) oil on canvas beach scene depicting two young seated females shaded under a parasol on a beach. Signed monogram upper left. Additionally pencil inscribed verso “C. Wiley (1532?) White Ave Knoxville Tenn”. Housed in the original molded gilt wood frame. Sight – 14″ H x 15″ W. Framed – 21 1/2″ H x 22 1/2″ W. Biography: Catherine Wiley is one of Tennessee’s most important nationally recognized artists. She was one of the early female students at the University of Tennessee, and was later credited with establishing formal art instruction at the school. Wiley studied at the Art Students League in New York under Frank DuMond, and spent summers learning from major American impressionists such as Robert Reid, Jonas Lie, and Martha Walter. She won numerous prizes including two Gold Medals at the Appalachian Exposition in 1910 and her paintings were exhibited at prominent American venues including the National Academy of Design in New York and the Pennsylvania Academy of Fine Arts. Her thriving career was ended by a mental collapse which left her institutionalized until her death.
North Carolina (Lincoln County) alkaline glazed folk art pottery face jug, stamped “H. F. Reinhardt/Vale, NC” (Harvey Fort Reinhardt, 1912-1960) along the lower backside edge. Depicted with large ears and eyes, mustache and an open mouth with ceramic teeth, strap handle. Some scattered rutile drips around ears. 6 3/4″ H. Early 20th century. See the book Turners and Burners: The Folk Pottery of NC by Charles G. Zug III, page 277, Figure 9-4. Provenance: Private Middle TN collection.
Kentucky stoneware pottery face vessel having an Albany slip glaze with curly hair parted in the middle, unglazed eyes and open mouth with scored teeth. Script signature to the underside of the base “E. Galloway/Paducah, KY” for Ernest H. Galloway (1878-1910). 9 3/4″ H x approx. 10″ dia. Circa 1900 – 1910. Note: A similar jar is part of the Milwaukee Art Museum collection, and is mis-attributed Galloway, Zanesville, Ohio region. http://collection.mam.org/details.php?id=4809. There is an E. H. Galloway, Pottery, listed in a 1904 Paducah, Kentucky city directory. and an Ernest H. Galloway listed in the 1900 US Census whose occupation is listed as a potter and is again listed in the 1910 US Census as a “Jug Maker”. Provenance: Private Kentucky collection.
Lewis Miles Pottery, Edgefield, South Carolina stoneware pottery jar with an olive colored alkaline glaze, ovoid form with two lug handles, impressed initial signature on the shoulder “L. M.” and dated March 12, 1857 below the rim with four additional punch marks (denoting capacity) and two incised slash marks to the left of the initials. 13 7/8″ H. Provenance: Private Middle TN Collection. Note: This jar originally sold in 2002 at the Southern Folk Pottery Collectors Society auction from the Collection of George & Shirley Plaster, page 118 of the catalog.
Gilbert Gaul (New York/Tennessee/New Jersey, 1855-1919) oil on board interior scene depicting an older African American woman seated by a window working on a needlework project. Signed lower right. Housed in a carved gilt wood frame. Sight: 9 1/2″ H x 8 1/4″ W. Framed: 14 1/2″ H x 13 1/4″ W. Provenance: Private Middle TN Collection. 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. (Biography courtesy The Johnson Collection)
Hubert Shuptrine (American/Tennessee, 1936-2006) watercolor on paper painting titled “Western Exposure” depicting an older man wearing a dark coat and cowboy hat looking to the right against a gray backdrop. Titled upper left corner “Western Exposure/Brazzaville, Texas”. Signed and dated “1976” mid-left margin. Exhibited at the Hunter Museum of Art Oct – Nov, 1977, exhibition label verso. Housed in an ebonized and gilt wood frame with linen matte and ebonized wood liner. Sight – 14″ H x 12″ W. Framed – 23″ H x 20 1/2″ W. Third quarter 20th century. Provenance: Dr. Joseph and Mrs. Josephine Lavecchia estate, Chattanooga, TN.
Hubert O. Shuptrine, Jr. (Tennessee, 1936-2006) oil on canvas abstract painting titled “Fish Nets” depicting a large fish net with several fish against a white, black, blue, and grey background. Signed “Shuptrine” lower right. Titled and signed with museum accession numbers, Mid-South Exhibition of Paintings 1957, Brooks Memorial Art Gallery, Overton Park, Memphis, Tennessee exhibition label with artist’s name, title, and location, Mid-South First Prize Winners exhibition label, and additional paper label en verso. Housed in a grey painted wooden frame. Sight – 24 1/4″ H x 48″ W. Framed – 31 1/2″ H x 55 3/4″ W. Mid 20th century. Provenance: Deaccessioned from the Memphis Brooks Museum of Art.
George Ayers Cress (Alabama/Tennessee, 1921-2008) oil on canvas abstract city scape painting titled “River Patterns” depicting a bridge over a river, in the fore and middle ground, a city below a cloudy grey sky in the background. Signed and dated “George Cress 1958”. Mid-South Exhibition of Paintings 1958, Brooks Memorial Art Gallery, Overton Park, Memphis, Tennessee exhibition label en verso. Housed in a light grey painted wooden frame. Sight – 30″ H x 40″ W. Framed – 37 7/8″ H x 47 3/4″ W. Mid 20th century. Provenance: Deaccessioned from the Memphis Brooks Museum of Art.
George Ayers Cress (Alabama/Tennessee, 1921-2008) abstract oil on canvas still life painting titled “Peonies” depicting flowers rendered in colors of blue, green, purple, and pink. Signed and dated “1980” lower right corner. Housed in a wooden frame with off white linen liner. Sight – 31 3/4″ H x 35 1/2″ W. Framed – 34 3/4″ H x 38 3/4″ W. Late 20th century. Biography (courtesy Tennessee Historical Quarterly Vol. XLIV No. 2: “Landscape and Genre Painting in Tennessee 1810-1985”): 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 and 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. Provenance: The collection of Dr. William Kendall Striker, Chattanooga, TN.
Olin Herman Travis (Texas, 1888-1975) oil on board interior forest landscape with a sun-dappled canopy. Signed lower right “Olin Herman Travis”. Housed in a carved giltwood Newcomb-Macklin style frame with matching carved giltwood liner and silk cream matte, all under glass. Sight: 11 1/2″ H x 15 3/4″ W. Frame: 22 3/8″ H x 26″W. Biography: Olin Herman Travis was born and lived most of his life in Dallas, Texas, where he was a prolific painter of landscapes and portraits. He was the son of professional printer Olin Few Travis, whose family was related to William Barret Travis, commander of the Republic of Texas at the Battle of the Alamo. Travis’ early art instructors included R. Jerome Hill, Florence Rhine, Hans Krunz-Meyer, and Max Hagendorn. In 1909 he began studying at the Art Institute of Chicago where his teachers included: Kenyon Cox, Charles Francis Browne, Ralph Elmer Clarkson, Harry Mills Walcott, and Joaquin Sorollo y Bastida. Travis became an instructor at the institute in 1914. Travis married his former student, Kathryne Hail Travis, in 1916 and the two moved back to Dallas in 1924. In 1926, along with James Wadden, the Travis’ founded the Dallas Art Institute where Travis served as the director until 1941. They later opened the Ozark Summer School of Painting in Cass, Arkansas, near where his wife was born. Travis also spent time traveling and painting on the Great Lakes, in Florida, and throughout Texas.
Lucien Whiting Powell (District of Columbia/Virginia, 1846-1930) oil on canvas landscape painting titled “Yellow Stone Park” depicting a waterfall, likely the Lower Falls of the Grand Canyon of Yellowstone, cascading down into a river situated in a canyon, fore and middle ground, hills below a late afternoon sky in the background. Signed and titled lower left. Housed in a gilt wood frame with scrolling molded edge and lamb’s tongue running pattern. Sight – 22 3/4″ H x 36 1/2″ W. Framed – 31 1/4″ H x 45″ W. American, late 19th/early 20th century. Biography: Lucien Powell was born at “Levinworth Manor,” near Upperville, Virginia. He served with the Confederate Army from 1863-65, after which he studied with Thomas Moran at the Pennsylvania Academy of The Fine Arts. He was also heavily influenced by J.M.W. Turner. Powell traveled extensively in Europe and studied with Fitz at the London School of Art, circa 1876. Powell lived in Washington, D.C., 1885-1930 and was also patronized by Senator and Mrs. John B. Henderson, who established a studio for him in their Washington mansion, known as the “Castle”. In 1901, Powell accompanied a group conducting a geological survey of the Grand Canyon. The expedition was among the factors prompting President Theodore Roosevelt to visit the Canyon personally in 1903 and proclaim it as a National Monument in 1908. (Roosevelt also became one of Powell’s best known admirers and patrons). J. Edgar Hoover was also an ardent collector and owned more than a dozen of Powell’s works. (For additional reading, see: Andrew J. Cosentino and Henry H. Glassie The Capital Image: Painters in Washington, 1800-1915, Washington, D.C.: Smithsonian Institution Press for the National Museum of American Art, 1983.)
William Trost Richards (American (Pennsylvania, Rhode Island), 1833-1905) watercolor on paper entitled, “Naragansett Bay”, signed lower left “Wm. T. Richards”. Housed in a gilt wood frame with cream linen matte and gilt wood liner. Sight: 11″ H x 23″ W. Framed: 20″ H x 32″ W. Provenance: The collection of Dr. William Kendall Striker, Chattanooga, TN.
Bror Julius Olsson Nordfeldt (New Mexico/New Jersey/Kansas/Sweden, 1878-1955) colored woodcut on cream Japan paper titled “The Quarry”, depicting three working men hauling stones against a mountainous landscape. Pencil signed and dated “Nordfeldt, No. 45, 1906″ lower right. Hinge mounted and double matted. Sight – 8″ H x 11″ W. Sheet – 8 1/2″ H x 11 3/4” W. Early 20th century.
William Louis Sonntag, Sr. (American, 1822-1900) oil on canvas painting titled “Wooded Interior” depicting a wooded forest interior scene with an atmospheric sky. Faintly signed and dated “1886” lower right. Wonderly Galleries/Pittsburgh, PA label en verso top stretcher. Housed in the original gilt and gesso carved and molded frame. Sight – 29 1/2″ H x 20 3/4″ W. Framed – 40″ H x 31″ W. Provenance: Private Middle TN Collection.
Harvey Joiner (Kentucky/Indiana, 1852-1932) oil on board landscape painting depicting sunlight breaking through a grove of trees onto a forest path. Signed in green, lower left. Housed in a gilt molded and gesso frame, with a conforming gilt and gesso matte and artist’s nameplate. Sight: 9 1/4″ H x 19 1/4″ W. Framed: 17 1/2″ H x 27 3/4″ W. Provenance: Pendleton Estate, Owensboro, KY.
Harvey Joiner (Kentucky/Indiana,1852-1932) oil on board autumn landscape depicting a stand of trees in a forest with a stream running through the center and rays of sunlight beaming in from the left. Housed in a gilt molded and gesso frame, with a conforming gilt and gesso matte and artist’s nameplate. Sight: 9 3/8″ H x 19″ W. Framed: 16 3/4″ H x 26 1/2″ W. Provenance: Pendleton Estate, Owensboro, KY.
William McKendree Snyder (Indiana, 1848 – 1930) oil on canvas interior forest landscape depicting a wooded path and stream foreground, split rail fence and sky visible background. Signed and dated in red lower right “Will. M. Snyder, 1893”. Housed in the original molded and carved gilt and gesso frame with gilt wood liner. Sight – 25 5/8″ H x 13 5/8″ W. Framed – 33 1/8″ H x 21 1/8″ W. Provenance: Pendleton Estate, Owensboro, KY.
William McKendree Snyder (Indiana, 1848-1930) oil on canvas interior forest landscape depicting a central forest dirt road or pathway flanked by trees and large rocks. Signed faintly in black lower right. Housed in a carved gilt and gesso frame with gilt wood liner. Sight – 9 5/8″ H x 17 5/8″ W. Framed – 17 3/8″ H x 25 3/8″ W. Provenance: The estate of Dr. Sara Parks Pendleton, Owensboro, KY.
Clementine Reuben Hunter (Louisiana, 1886-1988) oil on canvasboard folk art painting farm scene titled “Picking Flowers”. Depicting an older African American man with white beard and young girl in a bright yellow dress with red hair ribbons tending to and picking flowers around the base of a birdhouse on pole foreground, large white goose and vegetable garden to left of girl, young boy with two dogs left background and cabin lower right background, blackbirds flying above right. Monogram signature lower right. Knoke Gallery (Atlanta, GA) label en verso. Housed in a carved dark wood frame with gilt painted wood liner. Sight: 17 1/2″ H x 23 3/8″ W. Framed: 23 1/2″ H x 29 1/4″ W. American, mid/late 20th century. Provenance: Private Middle TN Collection.
Clementine Reuben Hunter (Louisiana, 1886-1988) oil on canvasboard folk art painting interior scene, “Mother Teaching the Children to Pray”depicting an elderly woman standing in a bedroom with four small girls kneeling and praying, against a pink background with weeping willow tree to right of home and bright blue sky above. Monogram signature lower right. Knoke Gallery (Atlanta, GA) label en verso. Housed in a carved wood and gilt frame with cut corners under glass. Sight” 15 1/2″ H x 19 1/2″ W. Framed: 27 1/8″ H x 31″ W. American, mid/late 20th century. Provenance: Private Middle TN Collection.
Helen La France (American/Kentucky, b. 1919) oil on canvas landscape painting depicting a woman doing laundry in tubs on the porch of a rural house while chickens and chicks peck the ground below, and another figure works in a fenced side yard. Brightly patterned quilts hang on clothes lines in the foreground, and clouds dot the blue sky in the background. Signed lower right, “Helen LaFrance.” Written en verso, on stretcher: ” June 1999″ and “Mrs. Hough.” There is also an address label en verso of frame for Humphries Studio, Hopkinsville, KY. 17 1/2″ x 23 1/2″ sight, 21 1/2″ x 27 1/2″ in stained molded wood frame. Provenance: Private Middle TN collection.
Bill Sawyer (American/Tennessee, b. 1936-d. ? ) oil on masonite portrait of a black man wearing a hat, striped shirt and large blue stone ring, smiling as he holds a guitar. “Property of C King” inscribed en verso in pen. Dark giltwood frame with egg and dart and bead molding and linen liner. 17 1/2″ H x 13 1/2″ W sight, 20 1/2″ x 24″ framed. Circa mid 1960s. Biography: Bill Sawyer was a self-taught artist. He graduated from Hillsboro High School in North Carolina, in 1954 and took up painting while stationed in France in the U.S. Army Corps of Engineers. His first exhibition was in Nashville in May of 1959 and he went on to have one-man shows at Daniel Orr’s Gallery in San Diego, the Little Gallery in Memphis, TN, and the Parthenon in Nashville. Joseph Patterson, then the president of the American Association of Museums, arranged for a show of Sawyer’s work at the Durlacher Brothers Gallery in New York in 1964.
Grouping of six (6) Tom Brown (Tennessee, 1884-1947) folk art carved and painted figures, including a woman in polka dot dress with turban standing on painted cloth, an old man in overcoat, a boy carrying watermelon, a girl in polka dot dress with apple, a woman in red dress with folded hands, and a man carrying a basket of cotton. Size ranges 4 7/8″ to 5 1/2″. Early 20th century. Tom Brown (1884-1947) was a noted woodcarver from Pleasant Hill Academy, Pleasant Hill, TN.
John George Brown (New York, California, 1831-1913) oil on canvas painting depicting a young girl with short brunette seated on the grass under a tree and wearing a white peasant dress and a red ribbon in her hair, a bunch of flowers held in her right hand with additional flowers in a straw hat, foreground, a path leading to a picket fence before a row of trees, middle and background. Signed and dated “J. G. Brown 1871″ lower right. Housed in a newer molded gilt wood frame with off white linen liner. Sight – 173/8″ H x 11 1/2″ W. Framed – 26 1/2″ H x 20 1/2” W. Third quarter 19th century. Provenance: Dr. Joseph and Mrs. Josephine Lavecchia estate, Chattanooga, TN.
Men’s 18K yellow gold Patek Philippe wristwatch, Golden Ellipse Model #3548, Serial #2697942, jewel manual wind movement, cobalt blue dial. Case measures approximately 32 x 26.5mm and has an 18K yellow gold Patek Philippe mesh bracelet band. Marked “750” 81.5g. Provenance: Dr. Joseph and Mrs. Josephine Lavecchia estate, Chattanooga, TN.
Ladies Patek Philippe Aquanaut wristwatch, #4960/1A-001, small Aquanaut in steel, with stainless steel strap with folding clasp. Cal. E19 quartz movement with date. Structured dial with luminous hands and hours. Movement # 3155837/4108003. Retains the original papers and box. 6″ L.
Ladies Patek Philippe Aquanaut wristwatch, #4960/1A-001, small Aquanaut in steel, with stainless steel strap with folding clasp. Cal. E19 quartz movement with date. Structured dial with luminous hands and hours. Movement # 3155837/4108003. Retains the original papers and box. 6″ L.
Men’s Rolex Oyster Perpetual Datejust Jubilee watch, stainless and gold band, two tone champagne pin-striped dial with baton hour markers and hands, manual movement, calendar date aperture at three, sapphire crystal, 35mm gold bezel. Serial # 9007450, 1985, bracelet marked 62523H-18, and end links marked 455.
Pair of stud earrings with 2 diamonds, approx. 2ctw. (VS1-VS2, H-I), with fair to good cut grades. Marked “585” and “S/o” 1.6 grams. Provenance: The estate of Dr. Sara Parks Pendleton, Owensboro, KY.
Ladies platinum and diamond engagement ring containing 1 round brilliant cut diamond measuring 11.90 x 11.76 x 6.60mm. 5.70 carats. (VS1, Q-R). Good polish, good symmetry, and no fluorescence for an overall good cut grade. 2 rectangular baguettes (3 x 1.75mm) on each shoulder. Band stamped “PLATINUM 43702”. 5.3 total grams. GIA report number 2203740197. Provenance: Dr. Joseph and Mrs. Josephine Lavecchia estate, Chattanooga, TN.
Ladies platinum engagement ring featuring 1 round brilliant diamond in a four prong setting flanked by 2 tapered baguette diamonds. The round stone measures 10.90 x 11.10 x 6.57mm and weighs 4.85 cts. (SI1, F). Very good polish, fair symmetry, and no fluorescence for an overall good cut grade. The baguette stones are approx. 0.33 ctw. (VS1, I-J). Ring is marked 10% IR Plat. Ring contains spacers sizing it at 1 3/4. 5.7 grams total weight. GIA report number 2205740188. Provenance: The estate of Dr. Sara Parks Pendleton, Owensboro, KY.
Ladies 18k white gold pendant with 1 round brilliant diamond, measuring 10.27 x 10.38 x 6.37mm and weighing 4.18 cts. (VVS2, E), Very good polish, good symmetry, and faint blue fluorescence for an overall good cut grade. Pendant tests 18K. 3.5 total grams. GIA report number 6204740302. Provenance: The estate of Dr. Sara Parks Pendleton, Owensboro, KY.
Lady’s platinum bracelet with 16 round brilliant diamonds approx. 8ctw. (VS1-VS2, I-J) and 16 square cut emeralds approx. 7ctw. Tests platinum. Marked BB&B and 72302 30.9g. 7″ length. Provenance: Pendleton Estate, Owensboro, KY.
Lady’s platinum tennis style line bracelet with 29 round brilliant diamonds approx. 13ctw. (VS1-VS2, H-I) Marked Plat 25.2g. 5mm wide, 6.5″ length. Provenance: Pendleton Estate, Owensboro, KY.
Ladies 14k white gold tennis style line bracelet, containing 19 round brilliant diamonds, approx. 3.5ctw. (VS2-SI1, H-I), 10 rubies, approx. 3ctw., and 10 sapphires, approx. 3ctw. Marked 14K. 6.5″ length. 17.2 grams. Provenance: The estate of Dr. Sara Parks Pendleton, Owensboro, KY.
Pair of nearly identical S. Kirk & Son floral repousse compotes with inverted scalloped rims and circular quadruped bases. Maker’s marks, 925/1000, and 38 stamped underside of bases. Monogrammed “RB”. 6 1/4″ H x 9 1/2″ dia. 65.49 total troy ounces.
Whiting Art Nouveau sterling silver two-handled presentation trophy or loving cup, the body with raised leaf and vine decoration and the two c-scroll handles decorated with leaves and vines, raised on a squared foliate stem and shaped base with leaf and vine decoration. Marked on base “Whiting logo/ Sterling/8 pints/6859”. Presentation engraving to top of trophy partially reads “Missouri Bankers Association, Championship Golf Trophy, 1937, to be won three times for permanent possession, won by Harry H. Broadhead, 1953”. Additional winner names and dates engraved on the other side. 14 1/4″ H x 12 1/4″ W. 77.575 oz troy.
Sterling silver tea service with retailer marks for Shreve & Company, San Francisco, seven (7) total pieces comprised of a tilting tea kettle with sterling burner, coffee pot, tea pot, insulators in handles, creamer, covered sugar, waste bowl, with gilt wash interiors, and tray. All pieces bulbous form with gadrooned borders, c-scroll handles, acanthus leaf decoration on handles and spouts, tray with gadrooned and shell borders. Retailer marks, Sterling, and 10866 or 11131 stamped underside of bases. Tray and coffee pot with engraved date inscription “April 16, 1949” underside of bases. Monogrammed “H”. Tea kettle on stand – 15 3/8″ H, coffee pot – 11″ H, tea pot – 8 1/4″ H, sugar bowl – 6 1/4″ H, cream pitcher – 4 3/4″ H, waste bowl – 4 1/8″ H, tray – 1 1/2″ H x 29 1/2″ W x 19 1/4″ D. Approximately 291 troy ounces.
George III sterling silver tea tray, 17″ x 22″ (26″ including handles), rectangular with curved corners, having a gadrooned rim enclosing an elaborately engraved center with Rococo scroll and floral motifs. Marks for London, 1762, makers Daniel Smith and Robert Sharp. 78.91 oz troy.
Kentucky coin silver footed pitcher, repousse flower and cartouche decorations to urn-shaped body with incurved neck and footed base, naturalistic branch form c-scroll handle with grape decorations, outward-flared spout. Incuse marks on underside J. Kitts in reference to retailer John Kitts (Louisville, Kentucky, working from 1836 -1878). Not monogrammed. 12″ H x 9 1/2″ W x 6 1/2″ D. 27.920 total troy ounces.
S. & B. Brower New Orleans, Classical coin silver melon form covered sugar bowl and creamer with acanthus leaf c-scroll handles, sugar bowl lid with floriform finial, lobed bases. Marked S & B. BROWER, 17 CAMP ST, and NEW . ORLEANS in rectangles underside of bases. Not monogrammed. Covered sugar bowl – 7 3/4″ H x 8 1/2″ W x 5 1/2″ D. Creamer – 6 1/2″ H x 4 1/8″ W x 7″ D. 42.84 total troy ounces. Note: The firm of S. & B. Brower of Albany, New York, established their New Orleans branch at 17 Camp Street in 1833.
Neoclassical French gilt-bronze figural clock, decorated with symbols of world freedom and peace. At left stands a winged female figure emblematic of Liberty, holding a torch and spreading a star-spangled banner over a globe. The front of the globe holds a clock face with enameled dial having black steel hands and enameled Roman numerals, signed PERRIN B.B. NOUVELLE NO. 19. The globe is supported on a circular plinth ringed with figural angel or putti heads and adorned with a half man half horse flanked by a lion and a lamb, the base ringed with a figural serpent symbolizing wisdom. At right stands a Rooster figure emblematic of France. Rectangular plinth base with relief decoration of Greco-Roman goddess and putto figures with a horse drawn chariot, and four round feet with egg and dart and guilloche decoration. 21 1/2″ H x 15 1/2″ W x 6 1/2″ D. Provenance: Descended in a Nashville, Tennessee family. By oral history, this clock was a wedding present from John Jacob Astor to the consignor’s grandparents.
Bronze “Aladdin” or Genie Lamp with iridescent art glass shade, the base modeled as a Genie’s lamp, with mask and arabesque decorated sides, and a circular base stamped TIFFANY & CO. on side indicating it was retailed by Tiffany. 20 1/2″H overall. Green, iridescent glass shade with pulled feather design, etched S9054 at interior of neck, also attributed to Tiffany. Shade 6 3/4″ diameter by 4 1/2″H. Provenance: private Nashville collection.
Set of twenty-three (23) Saint Louis, France gilt crystal stemware, Thistle pattern, solid band foot, including eight (8) water goblets, eight (8) wine goblets, and seven (7) champagne flutes. All with “St. Louis Crystal France” stamp underside of bases. Water goblets – 7 1/2″ H, wine goblets – 6 3/8″ H, champagne flutes – 7 1/2″ H. Circa 1950’s. Provenance: The collection of Dr. William Kendall Striker, Chattanooga, TN.
Pair of Neoclassical ormolu mounted red marble or hardstone urns attr. Raingo Freres, Paris; each with domed basket weave style lids having pineapple finials and supported by three caryatid ram figures, each with a single, curved, leaf-overlaid leg ending in a hoof, joined by a low-relief gilt bronze band with scene of cherubs at work and play, cast floral swags, and a tripodal base with pineapple final and inset bands of foliage. All raised on three toupie feet. Stamped “Raingo” on underside. 18 3/4″ H x 8 1/2″ diameter. French, late 19th century.
Robert Cauer, The Elder (Germany, 1831-1893) carved white marble bust of a gentleman with sideburns, draped in a classical robe. Signed “R. Cauer 1864″ verso, mounted onto a round integral marble stand. 28″ H x 20″ W x 12” D.
Katharine D M Bywater (United Kingdom, active 1879-1896) oil on canvas painting depicting a young girl in a white dress and bonnet with a pink necklace and pink sash, holding a doll to her body, against a dark, wooded, foliate background. Signature “Katharine D.M. Bywater” in lower left corner. Label en verso partially reads, “South St., Farnha” (Farnham, UK). Housed in a molded gilt wood frame. Sight: 36″ H x 24″ W. Frame: 43″ H x 31″ W.
Marie Garay (French, 1861-1953) oil on mahogany panel interior scene painting depicting a woman in fine 18th century clothing, knitting, while seated in a Louis XV style giltwood chair with her back to the viewer. Another finely dressed lady leans over her shoulder and a footman holds a skein of yarn, while a basket of yarn occupies the center foreground. The room’s luxurious 18th century style furnishings including fauteuils, screens, clock and porcelain urns, are rendered in fine detail. Signed M. de Garay lower right. Vielle Paris art supply store stenciled label en verso of panel. Later parcel gilt molded frame. 21″ H x 25 1/2″ W panel, 27 1/2″ x 31 1/2″ frame.
Bruce (Robert Bruce) Crane (American/CT, NY 1857 – 1937) oil on canvas landscape depicting a stream flowing through a grove of beech trees, with sunlight filtering through mist in the background. Signed lower right. Housed in a giltwood frame with carved fluted and ribbon molded frame and a linen rabbet edge. Sight: 16″ H x 22″W. Frame: 22″ x 28″.
Early Knox County, Tennessee walnut corner cupboard attributed to Tennessee’s earliest cabinetmaker, Moses Crawford (Knox County, 1743-1819). One piece cupboard form with a stepped, five-part cornice transitioning into a carved astragal/scalloped molding flush to the frieze over sixteen glazed pane doors opening to three interior shelves. Lower section with two paneled doors opening to one one interior shelf over a large stepped ogee molding resting on large ogee bracket feet with “fish tail” spur returns. Inset stop fluted quarter columns with lower section of capitals having a carved drape design. Large wooden pins protrude from the backside of ogee feet. Secondary wood poplar throughout. 89 1/2″ H x 66″ W x 37″ D. Late 18th century. Note: C. Tracey Park’s 2013 MESDA article “Moses Crawford: Tennessee’s Earliest Cabinetmaker Revealed” established Moses Crawford in Tennessee before 1780. Crawford was originally from Augusta County, Virginia. Parks further notes in his article the probate inventory of Moses Crawford’s estate itemized cabinetmaking tools, a workbench, a glue pot, various planes, chisels, punches, and gouges, as well as walnut plank. A 1775 deed signed by five Overhill Cherokee leaders and witnessed by Moses and Samuel Crawford provides the earliest documentation for any cabinetmaker within the political boundaries now recognized as the state of Tennessee. Histories of Crawford’s surviving furniture represent ownership traceable to Scots-Irish families who established themselves in Knox and Blount counties between the years 1787 and 1801 (courtesy C. Tracey Parks).
East Tennessee cherry press, McMinn County, attributed to the cabinetmaking school of Jacob Fisher. Two part construction, cherry primary with poplar secondary. Top section in cherry with ogee cornice transitioning to a plain frieze over sixteen glazed pane doors. Doors opening to three interior shelves. Lower section in cherry with top edge having a cherry figured veneer band and sides of lower case having inset panels. Overhanging bank of drawers with one cockbeaded dovetailed center drawer flanked by cockbeaded candle drawers with nailed construction. Highly figured cherry veneer stiles in a tombstone design over half-turned stacked-ring pilasters. Lower section with two vertical oriented cockbeaded drawers with nailed construction flanked by paneled cupboard doors opening to one interior shelf. Case rests on four turned legs. Top: 49 3/4″ H x 45″ W x 14″ D. Base: 44 1/4″ H x 42 3/4″ W x 21 5/8″ D. 94″ total H. Second quarter of the 19th century. Provenance: Living Estate of Elbert and Elizabeth Willson. Descended through family members from McMinn County. Note: Press attributed to the cabinet maker Jacob Fisher (working 1837 – 1843) or his son Richard Fisher (working 1837 – 1850) who lived and worked in McMinn County. Additional note: dovetails of top on upper case appear to have similar angles to dovetails of lower section center drawer and the oxidation on the back of the top and bottom case appear consistent.
Tennessee biscuit slab table, Rhea County, TN, cherry primary, poplar secondary. Rectangular huntboard or slab form comprised of an overhanging hinged box cover opening to an interior brown marble inset block above a center dovetailed drawer having a porcelain pull. Case rests on tapered Hepplewhite style legs. 39 1/2″ H x 36 3/8″ W x 18 1/4″ D. Third quarter of the 19th century.
Middle Tennessee (Maury County) Sheraton sugar chest, cherry primary, poplar secondary. Comprised of a molded top with breadboard ends, square case with interior divider and one dovetailed drawer with wood pulls over tall Sheraton ring turned and ball feet. Circa 1909 Tennessee newspaper pasted to inside of top. 39 3/4″ H x 27 1/4″ W x 19 1/2″ D. Circa 1830-1840.
Early Georgia blanket chest on tall legs, yellow pine primary, poplar secondary. Comprised of a molded top above a rectangular case with one full length dovetailed drawer fitted for wood pulls and mounted on tall, turned legs, all with a red wash. 28 1/8″ H x 39 1/2″ W x 14 7/8″ D. Circa 1825. Provenance: Private Middle Tennessee Collection.
East Tennessee, Blount or Knox County, stoneware pottery preserving jar, with 2 incised lines around the shoulder. Lower base with impressed stamp “W. Grinstaff” for William Grindstaff with an additional “cross” symbol incorporated into the stamp. Additionally stamped with an impressed “1” above, denoting capacity. 7 3/4″ H. Late 19th century. Provenance: Private Middle TN Collection.
Rare Daniel Seagle (1805-1867) North Carolina stoneware pottery jug, 8-gallon capacity ovoid form with olive glossy and matte alkaline glaze, and two applied handles and incised lines below the spout. Upper shoulder with incised initials “D S” for Daniel Seagle and a “8” denoting capacity. 19 1/2″ H x approx. 16 3/4″ dia. Provenance: Private Middle TN Collection.
North Carolina (Randolph County) salt-glazed stoneware jar, attributed to the Webster Pottery, possibly Chester Webster, having three bands of incised lines extending from the flared neck to upper body, incised “2” within a upper shoulder to denote capacity and applied lug handles. 11 1/2″ H. 2nd or 3rd qtr. 19th century. Provenance: Private Middle TN Collection. See: Turners and Burners: The Folk Pottery of NC by Charles G. Zug III, pages 36 and 37.
Western North Carolina (Lincoln County) medium olive alkaline glazed stoneware jug marked “MAH” for Martin Alexander Helton and “3” denoting capacity. According to Cinda Baldwin, author of Great and Noble Jar: Traditional Pottery of South Carolina, Martin Alexander Helton also established a pottery in the York County community of Sharon, South Carolina. M.A. Helton was a member of the Hilton (pottery) clan of North Carolina (p. 138). 15 1/2″ H. Mid-19th century.
Alabama double dipped alkaline glazed stoneware pottery jug with incised and combed sine wave decoration to the upper shoulder and lower midsection, applied pulled handle and a couple of areas with rutile drips. Sand Mountain, Alabama area. 10 1/2″ H. Third quarter 19th century. Provenance: Private Middle Tennessee Collection.
Scarce West Tennessee needlework sampler, silk on linen, by Mary Jane Russell of Brownsville TN, Haywood County, 1837, with unusually comprehensive biographical information. Multicolored border comprised of eyelet stitch on one side and cross stitched zig zag pattern on top, and cross-stitched green and white chainlink pattern on right side, enclosing 2 rows of upper case alphabets (cross and eyelet stitches), and 1 of lowercase alphabets plus 2 rows of numbers. Note: this sampler has been documented by the Tennessee Sampler Survey. It is one of only about ten documented samplers from West Tennessee, and the only known Tennessee sampler which contains the stitcher’s birthplace (Orange County, North Carolina, Feb. 3, 1825 – indicative of the migratory pattern of early Tennessee settlers as they advanced to the Western wilderness). Sampler also includes Russell’s birthdate, Feb. 3, 1825, along with her home location of Brownsville and sampler date, “Nov the 2. 1837.” According to genealogical information from the TSS, Mary Jane Russell came from NC to Haywood County, Tennessee in 1826 with her parents, James W. Russell and Nancy Brewer. Although there was a Brownsville Academy in the community by 1831 (which may have been co-ed), her school is unknown. The Brownsville Female Institute was not founded until 1842, but Mary Jane Russell may have been instructed by her aunt, Mrs. W.C. Russell, who was a teacher in the county. Sometime after 1840, Mary Jane, her parents, and several siblings moved to Texas. She married Stephen Decatur Rainey there in 1847 and they had three children. She died in Harrison County, Texas in 1898 and is buried in Marshall Cemetery. A packet of genealogical information will be provided to the winning bidder on request. Old, possibly original lemon gilt molded frame. Sight: 10 3/4″ H x 17 1/2″ W. Framed: 4 3/4″ H x 21 1/2″ W.
Charles Balthazar Julien Saint Memin (French, 1770-1852). Large portrait of General William Eaton (1764-1811), painted Richmond, Virginia circa 1808. Black and white chalk on paper; profile bust length view of the subject, wearing a dark coat and white ruffled shirt. No signature found. Matted and framed under glass in a molded period lemon-gilt frame. Sight – 19 1/4″ H x 13 5/8″ W. Framed – 24 1/2″ H x 18 1/2″ W. Note: Ellen Miles, author of SAINT-MEMIN AND THE NEOCLASSICAL PROFILE PORTRAIT IN AMERICA, has confirmed the authenticity of this work and identified the sitter as William Eaton (#298 in the catalog). Provenance: Private Alabama collection.
Important early Georgia related print depicting Tomo Chachi Mico or King of Yamacraw, and Tooanahowi his Nephew, Son to the Mico of the Etchitas. Circa 1734-1745 mezzotint engraving by John Faber the Younger (British, 1684–1756) after the painting by William Verelst (British, 1704-1752). Matted and housed under glass in a stained and ebonized wood frame. Sight approximately 14″ H x 9 7/8″ W. Framed – 22 1/2″H x 17 7/8″W. Background information: (from The Museum of Early Southern Decorative Arts): “When James Oglethorpe (1696-1785) landed in Georgia in 1733 he worked to quickly cement a friendship with the Creek Indians. Oglethorpe established a particularly close relationship with Tomo Chachi Mico, King of the Yamacraw, part of the Creek nation. Tomo Chachi Mico and his nephew Tooanahowi accompanied Oglethorpe back to London in 1734. In London Tomo Chachi Mico and his nephew met the Trustees of the Georgia colony. That meeting is recorded in group portrait by the artist William Verelst now in the collection of the Winterthur Museum (acc. 1956.0567a). The pair also sat for a portrait, now lost, by Verelst. The two Georgia natives were a sensation in London, and soon after the portrait was completed it was engraved by John Faber. Though we know the men dressed in both English and native clothing while in London, they are depicted here in native clothing against a tropical background. Tomo Chachi Mico wears a deerskin cape over his shoulder, perhaps a symbol of the valuable deerskin trade with the English that the Creeks were engaged in. Tooanahowi holds an American bald eagle, a native symbol of peace and an example of the fauna of the new world.” Provenance: the estate of Victor T. Patterson, Franklin, TN.
John Sevier (1745-1815), First Governor of Tennessee signed land grant as Governor, dated September 30, 1808 – possibly one of the earliest extant Maury County land grants. The document grants sixty three acres to Robert Neely, assignee of William P. Anderson (who was also surveyor of the land at issue). Curiously, the county is not named, but in stating boundary landmarks, the document makes reference to the Second District and to the mouth of Bradshaw’s Creek. The county now known as Maury was located in Tennessee’s original surveyor’s second district. It is also the site of a Bradshaw’s Creek, and a landowner named Robert Neely II (b. 1741, Augusta Co., VA) died in Maury County in 1830. Maury County was officially created Nov. 16, 1807 out of parts of Williamson and Davidson Counties. This document references the original land warrant dated August, 1807, suggesting the lack of a county name was due to the transitional status of the land during that early period, and the omission may have gone unnoticed when the grant was signed by Governor Sevier more than a year later. 15 1/2″ H x 12 1/2″ W.
Signed Abraham Lincoln Civil War era document appointing Green Clay of Kentucky (1839 – 1912) as Secretary of the Legation of the United States at St. Petersburg, Russia, July 15, 1861. Signed by President Abraham Lincoln and countersigned by Secretary of State William Seward. Embossed presidential seal lower left. 12″ x 18″ sight, framed under glass in later narrow black metal frame, 12 1/4″ x 18 1/4″. Col. Green Clay was a member of Bourbon, County Kentucky’s prominent Clay family. He was the son of Brutus Junius Clay and grandson of General Green Clay. He attended Transylvania University in Lexington, KY, and Yale University. He was a recent graduate of Harvard Law School in 1861, when his fellow Kentucky native, President Abraham Lincoln, appointed him Secretary to the United States Minister to Russia. That post was held by Clay’s uncle, the Honorable Cassius Marcellus Clay, a noted abolitionist. Green Clay worked only one year in Russia, helping his uncle secure Russian support for the Union cause before returning to the US to fight in the Civil War. He served as a Colonel in the Union Army, 3rd Kentucky Cavalry from 1862 to 1865.
Kenojuak Ashevak (Kenoyouk, Canadian, 1927-2013) Inuit stone cut print titled “Rudu in My Dreams”, depicting two birds. Signed “Kenoyouk, 1962, Cape Dorset N.W.T., 1/50”. Housed behind glass in a silver and black wood frame. Sight – 22 1/4″ H x 29″ W. Framed – 29 3/4″ H x 35 3/4″ W.
Red Grooms (Tennessee/New York, b. 1937) pen and watercolor on paper painting depicting an artist’s studio with model, at center, disrobing while the artist reaches for a palette and brush. A large green figural sculpture and partial paintings are visible in the middle and background. Signed and dated “Red Grooms ’96” upper center. Float mounted and matted under glass in a pale silver-gilt molded frame. Sheet: 16 3/4″ H x 14″W. Frame: 30″H x 27″W.
Meyer (Mike) R. Wolfe (New York/California/Tennessee, 1897-1985) abstract oil on canvas painting depicting a standing nude female holding a veil over her head, a Snowshoe Siamese cat by her feet, against a yellow, green, and blue background. Signed “M. Wolfe” lower right. Housed in a gilt bronze and black wooden frame with off white linen liner. Sight – 19 3/8″ H x 15 1/2″ W. Framed – 22 1/2″ H x 18 1/4″ W. American, early/mid 20th century. Artist Biography: Meyer Wolfe was a painter and printmaker born in Louisville, Kentucky and raised in Nashville, Tennessee. He studied in Chicago at the Academy of Fine Arts and in New York at the Art Students League under John Sloan, a member of the Ashcan school. Wolfe worked as a newspaper illustrator in New York during the 1920’s and in 1926, he went to Paris to train at the Academie Julian under Pierre Lauren. He subsequently resided in San Francisco in 1932, where he exhibited at the San Francisco Art Association, New York City around 1939 when he exhibited a the New York World’s Fair, and in Nashville, where he died in 1985. He was married to the photographer Louise Dahl-Wolfe. His works are represented in institutions including the Library of Congress, The Smithsonian Art Museum, and The Frist Center for the Visual Arts. (Source: The Art of Tennessee exhibit catalog, Frist Center for the Visual Arts, 2006; the International Fine Print Dealers Association; AskArt).
Carroll Cloar (Tennessee, 1913-1993) illustrated 1937 calendar and four signed Christmas cards. 1st item: Signed 1937 cardstock calendar with a watercolor drawing of a fashionably dressed young man. Signed “Carroll Cloar” in blue ink, lower right. Three (3) tear-off months, October-December, remaining. Pencil inscription reading “Chas. Sherman” top left. 12 5/8″ H x 7 5/8″ W. 2nd-4th items: Three (3) signed Christmas cards with color photographic prints depicting three of his paintings, left, and “Seasons Greeting” right. Two (1) signed “Carroll Cloar” in red ink, lower right obverse, one (1) inscribed and signed “and best wishes–Carroll Cloar” reverse. 3 5/8″ H x 7 1/8″ W.
Daniel Leroy MacMorris (New York/Missouri, 1893-1981) oil on board diptych paintings, studies for an unidentified mural, one representing Pre-Columbian America with three Native American figures and animals in a forest setting, presided over by a defied chieftain illuminated by rays of sunlight; the other representing modern America with a group of Classical figures in a garden setting, surrounded by the Capitol Building and skyscrapers, presided over by the goddess Liberty, illuminated by rays of sunlight. The phrase “He Doeth Best Who Loveth Best All Things Both Great and Small/…For The Dear God Who Loveth Us: He Made and Loveth All” is inscribed on plaques held by figures in both paintings and surrounded by decorative borders. Both signed and dated “Macmorris 32″ lower left. Both housed in identical giltwood frames with off white linen and giltwood liner. 23 3/8″ H x 11″ W. Framed – 27″ H x 14 1/2” W. American, early 20th century. Biography: Daniel Leroy Macmorris worked as an illustrator for the Kansas City Star and studied with August Gorguet in Paris. Upon his return to the U.S. he set up a studio above Carnegie Hall in New York and while in the city studied with Joseph Pennell, Robert Henri, and George Bridgeman. He exhibited at the Durand Ruel Galleries in Paris, New York and Newport and also painted murals. After World War II (in which he taught camoflauge painting) he returned to Kansas City to teach and paint. He painted murals for the Nelson Art Gallery, the Liberty Memorial Building, and Public Library in Kansas City, and for what is now known as the Ohio Judicial Center in Columbis, OH. He also modified and installed the enormous “Pantheon de la Guerre” on the walls of what is now known as the National World War One Museum in Kansas City. (source: 60 Years Macmorris by Daniel Macmorris; Peter Falk, “Who Was Who in American Art.”) Provenance: private Knoxville collection. Consignor’s mother was a student of Daniel MacMorris and purchased these works directly from him.
Grant Wood (Iowa, 1891-1942) limited edition lithograph on paper titled “January”, from the edition of 250 published by Associated American Artists, New York. Winter landscape scene depicting several rows of haystacks covered with snow, lines of animal footprints leading away from a haystack in the right foreground. Signed “Grant Wood” in pencil, lower right under image. Includes original brown paper frame backing with artist’s label. Mounted to an off white mat. Sight – 9 1/2″ H x 12″ W. Mat – 15 1/8″ H x 17 5/8″ W. American, second quarter 20th century.
Thomas Hart Benton (Missouri/Massachusetts/Kansas, 1889-1975) limited edition lithograph on paper titled “In The Ozarks”, published by Associated American Artists, New York. Great Depression era/Dust Bowl scene depicting a farmer in a cowboy hat seated on a barrel and gazIng at three pigs, foreground, a farmhouse encircled by a dirt road below a cloudy sky, middle and background. Signed “Benton” lower right in the plate and in pencil, lower right under image. Includes original brown paper frame backing with artist’s label. Mounted to an off white mat. Sight – 10 1/2″ H x 13 1/8″ W. Mat – 16 1/8″ H x 18 3/4″ W. American, second quarter 20th century.
Phillip (1908-1988) and Kelvin LaVerne (active 1960/1970) “Eternal Forest” design coffee table, low round form; the top having an acid-etched, enameled and patinated bronze and pewter forest design over wood, supported on a shaped bronze pedestal base. Raised “Philip and Kelvin LaVerne” signature on table top surface. 41 7/8″ dia. x 17 3/8″ H. Note: another “Eternal Forest” table was sold by this auction house January 26, 2019.
Original Bambi (1942) animation cel, trimmed, depicting Bambi, butterfly, and rabbits, applied to a watercolor production background inscribed in pencil 0048 Seq 06.0, stamped on map Original WDP, inscribed Walt Disney’s Bambi and signed Walt Disney. Additional hand painted mat matching the forest background. Framed under plexiglass. Cel and background, 8″H x 11″W. Overall: 19H x 21 5/8″W. Provenance: private Nashville, TN collection.
Original Snow White animation cel, depicting the Prince carrying Snow White, surrounded by the rejoicing Seven Dwarves. Applied to a forest background and matted with Walt Disney signature, lower right. Framed under plexiglass in a molded giltwood frame. Cel plus background 11″H x 15″W. Frame: 21 1/2″ H x 24 1/2″W. Provenance: Private Nashville, TN collection.
Werner Wildner (Nashville, Tennessee, 1925-2004) surrealist pencil, gouache, and ink on paper drawing titled “Pinocchio Coloring Book” featuring distorted images of Pinocchio and Jiminy Cricket. Titled, top right, signed “K Kopyright Wildner” lower right. Paper label with artist’s name, title, medium, dimensions, and “On loan to V.U. [Vanderbilt University] Dept. of Fine Art” with additional artist’s label, and pencil inscription en verso. Matted and housed under glass in a gilt wood frame. Sight – 11 3/4″ H x 8 5/8″ W. Framed – 18 5/8″ H x 15 3/4″ W.
Extremely scarce World War II United States propaganda poster featuring world heavyweight champion boxer Joe Louis. Louis is depicted wearing a helmet and soldier’s uniform and holding a gun with bayonet, reading “Pvt. Joe Louis says – ‘We’re going to do our part….and we’ll win because we’re on God’s side”. Published by the U.S. Government Printing Office, 1942. Unframed. 40″ H x 28 1/2″ W. Note: Louis was the heavyweight champion from 1937-1949 and has been described as the best heavyweight of all time. He is widely regarded as the first person of African American descent to achieve the status of a nationwide hero within the United States and was also a focal point of anti-Nazi sentiment leading up to and during World War II. Provenance: Private Johnson City, TN collection.
Large East Tennessee whiskey or liquor stoneware pottery jug with two cobalt stencils reading “SULLIVAN SALOON R. H. JONES, PROP. 100 North Central Street, KNOXVILLE, – TENN.” and above “UHL POTTERY WORKS/3/EVANSVILLE, INDIANA” within a cobalt cartouche, 3 denoting capacity. Cream color slip glaze. 15″ H. Late 19th/early 20th century.
Memphis TN stoneware pottery jug modified into a coin bank with an applied strap handle across the top and slot for coins. Stamped “Jos. Jacer or Jager/Memphis” for Joseph Jaeger/Yeager (b. Germany 1819, d. 1883, working in Memphis 1876-1883). 11 1/4″H x 6 1/2″ dia. Note: This example is documented in the book “Tennessee Potteries, Pots, and Potters – 1790s to 1950”, by Samuel D. Smith and Stephen Rogers, pages 970 & 971.
Lloyd Branson (Tennessee, 1861-1925) oil on cardstock landscape painting depicting a small stream leading through a grove of trees with cabin visible in the background, all bathed in a soft pink early morning or evening light. Signed and dated “Branson 1905″ lower left. Housed in an oval molded gilt wood frame carved decorations. Sight – 9 1/2″ H x 7 1/2″ W. Framed – 12 3/8″ H x 10 3/4” W. Early 20th century. Biography: Enoch Lloyd Branson was best known for his Southern portraits and depictions of East Tennessee history. He moved to New York in 1873 to study at the National Academy of Design, where he won a first prize in 1875. In a partnership with Frank McCrary from 1885 to 1903, Branson became a leader in the East Tennessee arts community. He was a mentor to Catherine Wiley and is credited with discovering Beauford Delaney. (Research courtesy of James A. Hoobler, Tennessee State Museum).