Our next major auction, scheduled for July 24th and 25th in Knoxville will feature fine art, Southern furniture and decorative arts, a large collection of Southern coin silver, American sterling silver, Native American, Mid-Century modern, Asian, jewelry, and historical ephemera from several Southern estates and fine collections. A few items from the upcoming auction are below. Watch for more items to be added to this page in the coming weeks and our full catalog in June. Join our email list and we’ll notify you when the catalog is live.
Large George Rodrigue (Texas, 1944-2013) acrylic on canvas titled “Trees Are Green; Dogs are Not Supposed to be Blue.” Depicting Blue Dog foreground and moss laden tree background, against an abstract yellow, gold, blue and green ground. Signed Rodrigue lower left, additionally signed and dated 2011 en verso. Housed in a gilt wood frame. Sight: 35″ x 47″ W. Framed: 42 3/4″ H x 55″ W.
Beauford Delaney (American, Tennessee,1901 – 1979) large abstract oil on canvas painting having a multicolored striped ground with two centric colored arcs or areas of distorted reflection and applied drips of brown and white paint throughout. 63 3/4″ x 51 1/4″. The Estate of Lois Imogene Delaney. More information in the coming weeks.
William Edmondson (American/Tennessee, 1874-1951) limestone “Critter” sculpture of a small animal sitting upright on its hind legs, with front legs and feet cast downward, atop a rectangular integral base. 12 1/4″ H x 5″ W x 7 3/4″ D. Note: This example is stylistically similar to a sculpture sold by Case Antiques in 2011, Lot #190 and in 2020, Lot #153. 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.
Helen La France (American/Kentucky, 1919-2020) large panoramic oil on board painting depicting a group of cows resting and grazing by a barn structure in the foreground with a group of houses and barns nestled among hills in the background below a bright blue sky. Figures in the background are depicted around the side yard and clothesline for one house facing a dirt road bordered by a whitewashed fence. Two additional figures are depicted walking on the the dirt road with fishing poles in the right middle margin. Signed and dated lower right “Helen Lafrance ’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.
Helen La France (American/Kentucky, 1919-2020) oil on canvas painting depicting a Sunday church scene. More information in the coming weeks.
Elizabeth O’Neill Verner (South Carolina, 1883-1979), “The Brown Singer”, etching on paper, 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.
Tiffany Studios table lamp, comprised of an “Arrowroot” conical form shade in colors of green, white, yellow, rust, and blue, signed “Tiffany Studios, New York” along the lower inside rim, together with a #6701 Tiffany Studios lamp base having an artichoke style riser and an onion bulb design platform above four scrolled feet. Fitted with a 3 socket light cluster and signed on the base “6701 Tiffany Studios New York”. Shade 20 1/2″ Diameter x 8 1/2″H. Base measures 26″ H.
Tiffany Studios leaded glass and bronze table lamp, comprised of a “Crocus” dome shade in colors of yellow, cream and green 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 measures 6 1/2″ H x 16″ dia. Base measures 18” H.
An important collection of Grueby Faience Company Art Pottery to be offered in the July sale. Artists marked forms include Lilian Newman, Marie Seaman, Ruth Erickson, and a Model #84 vase designed by George Prentiss Kendrick.
San Ildefonso pottery jar by Tony Da (1940-2008) having a blackware body and reddish brown rim with carved Avanyu serpent design to the upper shoulder. Incised “DA” on the base. 3 1/4″ H x approx. 4 1/4″ dia.
Leon Dabo (New York/France,1864 – 1960) oil on canvas tonalist nocturnal landscape, depicting an open field with a split rail fence in the foreground and trees and illuminated house in the distance, and a dimly lit moon and stars in the sky. Signed lower left “Leon Dabo” together with the artist’s monogram. Housed in a reeded Whistler style giltwood frame with linen liner. Sight: 26 3/8″ H x 35″ W. Framed: 37″ H x 46″ W.
Henri Farre (Illinois/France, 1871-1934) impressionistic oil on canvas painting depicting a Chicago street scene, three skyscrapers, including the Chrysler Building, are visible in the background beneath a cloudy blue sky. Signed “HFarre” and circa 1930’s date or other number, lower right. Housed in a carved rococo style giltwood frame with pierced centers and corners, an off white linen liner, and a giltwood fillet. Sight: 38 3/4″ H x 28 1/2″ W. Framed: 47 5/8″ H x 37 3/4″ W.
Richard Hayley Lever (Australian-American, 1876-1958) impressionist oil on canvas view of Central Park before the New York City skyline, cast in an early morning glow. Signed “Hayley Lever” with a possible illegible date, lower left. Typed artist’s biography, en verso. Housed in a giltwood frame with carved corners. Sight: 24 1/2″ H x 29 1/2″ W. Framed: 35 1/2″ H x 40 1/2″ W. Provenance: Estate of Russell McAdoo, Murfreesboro, TN. Biography: Australian born Hayley Lever was known for his impressionist town-shore landscapes and his use of color, which was deeply influenced by Van Gogh. He studied in London in the 1890s and then went to Cornwall, where he painted seaside paintings at an artist’s colony on the coast of St. Ives and also some scenes in Northern France. Lever came to America in 1911 and soon became one of the most widely exhibited artists in New York; he taught at the Art Students League from 1919 to 1931 and became director of the Studio Art Club in Mount Vernon, New York. He maintained a studio in Gloucester, Massachusetts and traveled internationally throughout his career. His work is in the collection of several major museums. (Source: Michael David Zellman: 300 Years of American Art).
Frederick Stuart Church (New York, Michigan, 1842-1924) oil on canvas painting titled “Out for Spin” depicting a young woman seated at the bow of a rowboat manned by four cherubs, each holding an oar, the scene observed by two seagulls on a bank, lower left. Inscribed, signed, and dated “Copyright F.S.Church NY 1904″ lower left. Gilt placard with title and artist’s name, affixed lower center of frame. Housed in a Louis XIV style giltwood frame with pierced corners and centers. Sight: 15 3/4″ H x 42 3/4″ W. Framed: 30 1/4″ H x 57″ W x 4” D.
Alfred De Breanski Sr. (United Kingdom/Scotland, 1852-1928) oil on canvas landscape painting titled “Moonrise on a Perthshire Loch” depicting a group of cattle wading in a lake in Scotland with a jagged mountain range before the rising moon, partially obscured by clouds in the background. Signed “A.F.de.Breanski” lower right. Additional signed and titled with “Copyright reserved,” en verso of canvas. Two paper labels, including one Theo. J. Gidden, London, England, en verso of frame. Gilt metal placard with partial title and artist’s name, affixed lower center of frame. Housed in a giltwood frame with pierced corners and centers. Sight: 19 1/4″ H x 29 1/4″ W. Framed: 25″ H x 35 1/2″ W.
American Colonial oil on canvas portrait of a young woman attributed to Robert Feke (Massachusetts/Rhode Island 1707-1751). The subject is depicted seated against a partially draped backdrop with a landscape visible to the right and is attired in a soft coral or pink satin dress with a satin blue wrap. She is holding a sprig of white flowers and roses in her hands. Unsigned. Inscription en verso reads “Portrait by FEKE Early American Painter”. Martha T. Daniel Estate, Bristol, Virginia (formally collection of Peck Daniel). Sight: 37 1/8″ H x 27 1/8″ W. Framed: 40 3/4″ H x 33″ W.
Manner of Carlo Ceresa large oil on canvas portrait of a woman attired in formal dress. 17th century, Italian school. More information in the coming weeks.
Oil on canvas after Domenico Caprioli, “Self Portrait, 1512”. More information in the coming weeks.
Italian Micromosaic circular plaque depicting St. Peter’s Square, the Vatican, Rome, housed in original large and ornate painted wooden easel style frame. 13 5/8″ square by 2 1/2″ deep. Provenance: Cornelia Crittenden Craft (1870-1953) of Holly Springs, Mississippi, brought this plaque back from her Grand Tour in Europe in 1902-1903.
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 backgound. Signed “Chumley” lower left and titled en verso. Housed under glass in a gilt wood frame with linen liner. Sight: 16″ H x 28″ W. Framed: 25 1/2″ H x 37 1/4″ W.
East Tennessee oil on fabric portrait of John A. McKinney (1781-1845) attributed to 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. This portrait is illustrated in the Tennessee Portrait Project and referenced in “Portraits in Tennessee Before 1866”, page 78, entry #318. Provenance – Estate of Alice Wright Summers Hale, Rogersville, Tennessee. 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.
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. Frame – 16 1/4″ H x 20 1/4″ W. This watercolor landscape depicting harvesting activities was possibly inspired by 16th and 17th Flemish harvest landscapes by artists like Pieter Bruegel (Brueghel) Elder or Younger and Joos de Momper the Younger. The rendering of the dog in the lower right corner is especially remniscent 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.
Georgia huntboard, Southern yellow pine throughout with dark black and red swirl decorated paint pattern. Comprised of an overhanging rectangular two-board top above two square nail drawers and tall square tapered legs. Attributed to Clark Co. GA. 46 1/2″ H x 57 3/4″ W x 23 1/8″ D. Mid-19th century.
Southern brandy table or board, coastal Carolina or Georgia, walnut primary, yellow pine secondary. Comprised 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 for bottles or cordials, all above tall squared tapering legs. 33″ H x 33 1/4″ W x 25″ D. Circa 1825.
Southern, Coastal Carolinas or Georgia, Sheraton style cherry huntboard, yellow pine and poplar secondary. Comprised of a plain top above two dovetailed drawers with molded brass pulls above tall Sheraton turned 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.
Kentucky cherry sugar table having a deep rectangular drawer and highly figured cherry drawer front with a burl banded veneer border, poplar secondary. The dovetailed 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. Turned Sheraton legs ending with conical spike feet. More information in the coming weeks.
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.
Southern walnut cellarette, poplar secondary. Comprised of a plain top with tendoned breadboard ends, a dovetailed case fitted with five interior compartments, ogee medial molding above lower case fitted with one dovetailed drawer and acorn wooden pull, all above tall ring turned legs. Circa 1825.
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. Serpentine front with interior section construction. 48 1/4″ H x 43 1/2″ W x 21 1/4″ D. Circa 1820.
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 measures: 43 5/8″ H x 46 1/2″ W x 14″ D. Base measures: 47 1/4″ H x 45 1/4″ W x 19 3/4″ D. Circa 1825.
Scarce inlaid East Tennessee tea table, attributed to Hawkins Co., 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.
Middle Tennessee Hepplewhite sugar sideboard form, Davidson County history, cherry primary and poplar secondary. Comprised of a rectangular overhanging top over two large scratch-beaded dovetailed drawers transitioning to square tapered legs. Drawers with brass pulls and brass inlaid escutcheons. 38″ H X 38 5/6″ W X 22 7/8″ D. Circa 1820. Note: The overhanging top on the back edge indicates the form accommodated wainscoting in a house and retains the original height.
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. 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.
Very large American burl wood ash bowl, turned with plain rim. Retains an older surface, possibly Native American. 6 1/2″ H x 23 3/8″ dia. Early 19th century. The estate of Charles K. Davis, Jr., Nashville, Tennessee, by descent from his father, Charles K. Davis of Fairfield, CT.
Queen Anne mahogany dressing table or lowboy in an older surface, overhanging top with ogee molding, one long drawer over three drawers with center lower drawer having a carved fan. Shaped skirt with triple arch and acorn finial drops transitioning to cabriole legs and pad feet. Retains the original brasses. The estate of Charles K. Davis, Jr., Nashville, Tennessee, by descent from his father, Charles K. Davis of Fairfield, CT, purchased from Israel Sack Inc. November 8, 1937. Illustrated, “Antiques in Domestic Settings: The Home of Mr. and Mrs. Charles K. Davis,” The Magazine Antiques (January 1941), p. 21. Note: Charles K. Davis Sr. (1889-1968) was president of the Remington Arms Company and a noted Americana collector who purchased nearly all of his furniture and many decorative accessories from his close friend, Harold Sack. Many pieces from the Davis collection are now in the collections of Winterthur and other American museums.
Large Pennsylvania William & Mary period walnut gate-leg table, oval top with elongated drop leaves, two dovetailed drawers and scalloped skirts over ring and baluster legs and stretchers. Oak, poplar, and white pine secondary. Older brasses and iron hinges. Early 18th century. The estate of Charles K. Davis, Jr., Nashville, Tennessee, by descent from his father, Charles K. Davis of Fairfield, CT, purchased from Israel Sack Inc.
Walnut Polyphon Upright Coin-Operated Music Box by Schutzmarke, Leipzig, Germany. Comprised of a two-part case, the upper case fitted to play 19 1/2″ discs, with dual combs and crank handle, and the lower case fitted with a fall front door and compartments for disc storage. Serial number 5134, marked on the disc arm. Marked “Polyphon” on the plate and DRGM on the bar. Carved pediment and elements throughout the case. Lower disc case with remnants of old paper labels detailing song names. 83″ total H x 29″ W x 16″ D. Circa 1895-1900.
A sampling of Kentucky coin silver from the estate of Cora Jane Spiller, Bowling Green, Kentucky. More information in the coming weeks.
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.
Kentucky 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. Provenance: The estate of Cora Jane Spiller, Bowling Green, Kentucky.
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 tea pot 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.
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 them 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).
5 piece Baker Manchester Repousse sterling silver tea service, including matching tray, 6 items total. Comprised of a teapot, coffeepot, creamer, covered sugar bowl, wastebowl, and rectangular tray, each with hand-chased floral decorations. Maker’s marks, “STERLING,” “HAND-CHASED,” and “1016,” “1017,” or “1018” stamped to underside of bases. Not monogrammed. Hollowware pieces ranging in size from 4 3/4″ H x 4 7/8″ dia. to 11 1/4″ H x 9 1/2″ W. Tray: 1 1/4″ H x 23 5/8″ W x 13 3/4″ D. 164.792 troy ounces.
Reed & Barton Francis I sterling silver water pitcher. Base marked with Reed & Barton hallmark, “Sterling”, “570A” “S. Kirk & Sons, Francis I” and a date mark for 1930. 10 3/4″ H. 43.540 total troy ounces.
Four piece parcel gilt sterling silver Individual or “Bachelor” Tea Service including the sterling silver tray and a demitasse cup set in the Pompeiian pattern by Mount Vernon Silver, retailed by Brand-Chatillon Company, New York, 22 items total. Includes an oval sterling tray with guilloche banded rim and rectangular vermeil medallions depicting four cherubs, together with a teapot, creamer with giltwash interior, and sugar bowl, all of Neoclassical urn form with guilloche banded rims and reeded handles, the bodies adorned with engraved swags and vermeil repousse medallions depicting a Greek goddess on one side and monogram reserves on the other, raised on square bases with guilloche banding. Also includes a set of six (6) sterling silver demitasse cup holders and six (6) saucers, in the Pompeiian pattern, together with six (6) Lenox Neoclassical porcelain inserts. All sterling items stamped on reverse STERLING POMPEIIAN N186 with Mount Vernon hallmark and BRAND-CHATILLON CO. All sterling items with illegible Art Deco style monograms. Combined weight: 76.96 total troy ounces. Note: Brand-Chatillon was an upscale retailer located at 773 Fifth Avenue in New York. The company both made and retailed fine silver and jewelry and was out of business by 1940. Provenance: Private Indiana collection, acquired from Dawn Evers-Corley, D. Bigda Antiques, Charleston, South Carolina.
Set of Eight (8) Parcel Gilt Sterling Silver Charger Plates in the Pompeiian pattern by Mount Vernon Silver Co. Circular form with decorative guilloche bands at rim and vermeil gilt silver Neoclassical plaques at each side, accented with repousse husk swags. Illegible Art Deco style monograms. Stamped on reverse STERLING POMPEIIAN N186 with Mount Vernon hallmark and BRAND-CHATILLON CO. 12 5/8″ at handles x 11 3/4′ diameter.194.34 oz troy. Note: Brand-Chatillon was an upscale retailer located at 773 Fifth Avenue in New York. The company both made and retailed fine silver and jewelry and was out of business by 1940. Provenance: Private Indiana collection, acquired from Dawn Evers-Corley, D. Bigda Antiques, Charleston, South Carolina.
Large John Millard Ferren (New York, California, Oregon / France, 1905 – 1970) oil on canvas abstract painting titled “Summer”. White ground with brightly colored abstract geometric shapes. Signed lower right “Ferren”. A. M. Sachs Gallery label and The Phillips Collection Art Museum labels en verso. Housed in a simple chrome frame with black liner. Sight: 80″ H x 59″ W. Framed: 81 1/4″ H x 60″ W. Created 1952-1953.
Bridget Riley (New York/United Kingdom, born 1931) color silkscreen print titled “Elapse” depicting wavy lines in pastel shades of pink, green, and blue against a white background. Titled, in pencil, lower left below image, signed and dated “Bridget Riley ’82,” in pencil, lower right below image. The Print Club of Cleveland watermark, lower right below signature (partially obscured by mat). Includes informational paperwork regarding the artist and the print, published by The Print Club of Cleveland. Housed and matted under Plexiglass in a silver metal frame. Image: 40 1/8″ H x 25″ W. Sheet: 44 1/4″ H x 28 1/2″ W. Framed: 48″ H x 32 1/4″ W.
Viktor Schreckengost (Ohio/Florida, 1906-2008) watercolor on paper depicting multicolored images of fish contained in geometric shapes with stars. Signed “Viktor Schreckengost” lower right. Housed and matted under plexiglass in a wooden frame with white trim. Sight: 39″ H x 29 1/2″ W. Framed: 48 1/2″ H x 39″ W.
Angel Botello (Barros) (Puerto Rico/Haiti/Spain, 1913-1986) modernist signed colored linocut print on paper depicting a crowned figure atop a donkey, the figure pointing upwards to a star, rendered in bright, bold colors. Pencil signed “Botello” lower right, numbered 5/50 lower left and initialed NA upper left.
Charles Kermit “Buck” Ewing (Tennessee, 1910-1976) 3-D mixed media on wood painting titled “Moon Shot #2”. Depicts a cutout of the moon superimposed on wood, both in a metallic brown color. Titled, signed, and dated en verso “Moon Shot #2, 1970, C. Kermit Ewing, U.T., Knoxville TN”.
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.
A pair Mid-Century Knoll Industries Barcelona chairs, designed in 1929 by Ludwig Mies van der Rohe and manufactured in the 1980s. Original black tufted leather cushions with leather support straps, polished steel X-form legs. Both chairs retain the original Knoll Industries paper label. 30″ H x 30″ W x 29 1/2″ D. Provenance: The Guardsmark Collection, Lipman Holdings International, Memphis, Tennessee. Note – one of three sets of Knoll Barcelona chairs in the July 24th and 25th auction.
Pierre Paulin (French, 1927-2009) ABCD Artifort sofa/loveseat. Retains the Artifort Netherlands tag. One of several Artifort sofas in the sale.
Large Chinese carved white jade figure of the goddess of mercy Guanyin, depicted standing and holding a scroll, with feet visible beneath her robe. Fitted with a hardwood stand which has been mounted onto a brass Chinoiserie style lamp base with pierced white jade plaque finial. Figure measures: 9 1/4″ H x 4 1/2″ W. Plaque measures: 2 1/4″ H x 1 3/4″ W. Lamp measures: 26 1/4″ H.
Large Chinese figural bronze foo dog or Luduan form censer, composed of two parts. Beast or lion is depicted standing, the head with pricked ears, two horns, a curled mane and an open mouth having four sharp teeth and broad tongue. The rotund body with raised flame decoration, a fanned tail and four stout legs having flaming pearl decoration and resting on claw type paws. Underside of torso with archaic mark. 21 3/4″ H x 9 1/2″ W x 14 1/2″ L. Provenance: A shipping manifest descended with this object shows that it was purchased on August 6, 1924 by W. P. McBride of Chicago, from Fu Teh Jung of 50 Jade St. in Peking, China, who acquired it from a retired Chinese military official, Mr. Huei, who was Governor of Chiu-Chiang, China under the Ching Dynasty. The bronze is recorded on the shipping manifest as Han Dynasty. Bronze weighs 56.5 pounds. Provenance: The estate of Edith (Edie) M. Bass, Nashville, Tennessee (Edie was the daughter of W. P. McBride).
Chinese gold (14K tested) figural dragon dog, fitted with a conforming hardwood stand. 2″ H x 3 1/2″ W. 73.3 grams. More information in the coming weeks.
Bronze censer or ding with an intricately carved and pierced hardwood cover and a jade figural finial. Censer is of tripod form with loop handles having hollow channels and archaic geometric designs around the midsection. More information in the coming weeks.
Chinese gilt bronze censer, compressed globular form with twin handles, the body with relief decoration depicting dragons chasing the flaming pearl, flowers and auspicious symbols, and raised on tripodal relief feet. Seal form mark to the base. 3″ H x 5″ W. Late 19th/Early 20th century.
Pair of gilt bronze figures depicting the bodhisattva Guanyin standing atop a double lotus base with a flame halo behind her head and a raised left arm holding a lotus blossom. 11″ H x 3″ W. 18th century or earlier.
Pair of late Qing Dynasty quatrefoil moon flask porcelain vases, modified as lamps; each with yellow ground and Famille Rose floral and geometric decoration to neck and sides; central vignettes outlined with blue fret design, finely enameled with opposing decoration of rooster and chicken in landscape to one side and plainer birds in landscape to reverse side; iron red figural Chilong style dragon handles to each side; mounted atop carved and pierced hardwood stand affixed to black and gold marble oval base. Later lamp hardware and Chinese style finials. Vases: 7″H (8 3/8″ including stands) x 4″W x 2 1/2″D. Overall Lamps from bottom of vase to top of finials: 21″h.
Japanese Art Nouveau sterling silver tea service with high relief iris decorations. Marks for Arthur and Bond, Yokohama. Includes a coffee pot, teapot, water kettle, tea caddy, covered sugar bowl, creamer, double-handled waste bowl, and a pair of tongs. ARTHUR & BOND, STERLING, and YOKOHAMA stamped to underside of bases. Also includes an International Silver Company burner. Ranging in size from 9 3/4″ H x 8″ W to 1″ H x 5″ L. 116.60 total troy ounces. Meiji Period.
Set of twelve (12) Chinese export sterling silver wine goblets, with scrolling grapevine repousse decoration, eleven goblets marked to the inside of foot ring YU CHANG STERLING. Together with one goblet with identical decoration marked STERLING 925/1000 FINE. Eleven (11) goblets with script monogram MKS. Sterling marked goblet with presentation inscription reading POLO TOURNAMENT CAMP KNOX, KY 1922 – WON BY ELEVENTH INFANTRY CAPTAIN F. M. SMITH. 6 3/4″ H. 58.98 total troy ounces. Note: The Yu Chang firm operated in Hong Kong and Shanghai circa 1900-1925.
Large Japanese .950 silver tea service, marked Asahi Shoten, seven (7) total pieces including a hot water kettle on stand, coffee pot, teapot, covered sugar bowl, creamer, waste bowl, and double-handled serving tray. All serving pieces with shaped bodies and angular handles. All pieces stamped on the base ASAHI SHOTEN STERLING 950 together with the “Rising Sun” hallmark and monogrammed MSK. Service ranges in size from 3 3/4″ H x 5″ W to 14 1/2″ H x 9 1/4″ W. Tray measures 29 1/4″ W x 19″ H. 1st half 20th century. 260 total troy ounces.
Christian Frederick Emil Eckardt (Denmark, 1832-1914) hand painted porcelain plaque depicting a young woman seated on a bench and holding a basket against a stone wall. Signed “Emil Eckardt/Dresden” lower left. Scepter above KPM mark above letter H with measurements, impressed en verso of plaque. Housed in a gilt wood Louis XIV style frame with brown linen liner and gilt wood fillet with bead course running pattern. Sight: 9 3/4″ H x 5 3/4″ W. Framed: 17″ H x 14″ W x 3″ D.
Large Stellmacher frog vase, signed lower side of the vase “Ed Stellmacher”. Approximately 21″ high. More information in the coming weeks.
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.); eight (8) cups (2 1/4″ H); eight (8) saucers (5 7/8″ dia.); eight (8) chargers (12″ dia.); 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.
Pair of Herend porcelain elephant head vases or candelabra with blue grounds and gilt decoration throughout. Baluster form with ruffled rims, the neck with elephant heads whose trunks support two candle sockets above gilt handles, the bodies with polychrome painted foliate and bird cartouche decoration and a pedestal base with four scrolled feet. 1st half 20th century blue Herend mark to the bases. Additionally impressed Herend mark along with C506. 16″ H x 13 1/8″ W x 6 1/2″ D. Part of a selection of Herend porcelain in the July sale including a large collection of Herend animals.
Ladies 14K white gold 2.6mm Art Deco style bracelet featuring 300 single cut diamonds approximately 1.5 carats, Clarity-VS2, Color-H, accented by 192 radiant cut natural sapphires approximately 4.5 carats. The bracelet is marked “14K” and “585”. The bracelet is 7 1/2″ L. and has a gross weight of 31.03 grams.
Ladies designer platinum & 14K yellow gold cluster ring designed by Oscar Heyman featuring 1 oval diamond approximately 0.72 carats, Clarity-VS1, Color-F, accented by 30 round brilliant diamonds approximately 3.59 carats Clarity-VS2, Color-G. The ring tests platinum on the head and 14K on the shank and is a size 4 1/2 with an opening shank. Gross weight of the ring is 9.08 grams.
A sampling of a large Native American jewelry collection in the upcoming sale. More information in the coming weeks.
A sampling of large Native American bolos including several with marks for Eddie Beyuka (1920-2002). More information in the coming weeks.
Richard MacDonald (American/California, born 1946) polychrome bronze sculpture titled “Piper”. Signed “R. MacDonald” on the base and numbered 1/175 and mounted onto a stepped black marble rectangular base. 13″ H x 13″ W x 8″ D. Created 1978.
Charles Webster Hawthorne (American, 1872-1930), “Summer Day,” oil on canvas painting, laid down on board, depicting a woman in hat and white dress, seated on the ground. The subject is devoid of facial features, a technique Hawthorne sometimes used in his teaching at Provincetown, positioning models with their backs to the light to place emphasis on conveying light and color rather than fine details. Signed, inscribed and dated lower right, “To my friend Walter Douglas – C.W. Hawthrone – 95.” Housed in a carved giltwood frame with beaded rabbet edge. Sight – 12-1/2″ H x 18″ W sight. Framed – 19″ H x 24″W. En verso is a label for the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, with artist, title and date 1895 and museum accession number HMSG 1966.2409. Provenance: by descent from the estates of Thomas and Peggy Connor, Nashville, Tennessee. Note: This painting was deaccessioned by the museum in 1988 to benefit the acquisitions fund and sold at Sotheby’s, where it was purchased by the Connors. The Walter Douglas referred to in the inscription was an artist friend of Hawthorne’s and fellow student of William Merritt Chase. Provenance: Walter Douglas (acquired from the artist), 1895. Davis Galleries, New York, 1957. Joseph H. Hirshhorn, New York, 1957-1966. Hirshhorn Museum, 1966-1988. Sotheby’s sale of American Paintings, Drawings and Sculpture, Lot no. 00177, purchased by Mr. and Mrs. Thomas Connor, Dec. 1, 1988. By descent to present consignor, 2013.
Carroll Cloar (Tennessee, 1913-1993) large signed graphite drawing on paper, likely a sketch or study for a painting, depicting a smiling male laborer seated on a wooden crate, with other figures in the background. Titled lower left “Stevedore in Guayaquil, Ecuador” and signed “Carrol Cloar” lower right. Float mounted and housed in a textured gilt wood frame. Sheet: 40 1/2″ H x 26 1/2″ W. Framed: 50 3/8″ H x 36 1/4″ W.
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.
Louis Edward Jones (Tennessee, 1878-1958) impressionist oil on board landscape painting depicting a group of trees with autumn foliage against the Great Smoky Mountains, beneath a 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.
Mayna Treanor Avent (Tennessee, 1865-1959) oil on canvas Fall landscape depicting a bridge over a stream. Signed lower right, “Mayna Avent”. More information in the coming weeks.
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″ x 11″ sight, 12″ x 15″ framed. 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.
Antoine Blanchard (French, 1910-1988) oil on canvas painting depicting Place de la Republique, Paris. The bustling scene includes pedestrians, carriages, and a streetcar, in the square surrounding the famous monument “Marianne” (personifying France). Signed “Antoine. Blanchard.” lower right. Painted wood frame with molded scroll and leaf decoration. W.T. Burger Co. label en verso along with Burger stamp (to canvas) and label with artist biographical information. Sight – 13″H x 18″W. Frame – 19″H x 24″W. Provenance: W.T. Burger Co, LaPorte, Indiana; Private collection, Birmingham, Alabama.
Anthony Thieme (Massachusetts/California, 1888-1954) impressionistic oil on canvas painting depicting a country road flanked by autumn foliage on each side, two figures visible in the distance before a small house with a large body of water in the background beneath a cloudy blue sky. Signed “A Thieme” lower left. Housed in a giltwood Arts and Crafts style frame. Sight: 29 1/2″ H x 35 3/8″ W. Framed: 38 1/2″ H x 44 1/4″ W. Provenance: Estate of Russell McAdoo, Murfreesboro, TN.
Douglas Denniston (Arizona, 1921-2004) abstract oil on canvas painting titled “Untitled Landscape” depicting a desert landscape with several cactuses and other plant life beneath a blue sky with clouds. Signed and dated “Denniston 96″ lower center. Eric Firestone Gallery, Scottsdale and Tucson, AZ paper label, en verso. Housed in a silver metal frame. Sight: 45 3/4″ H x 51 3/4″ W. Framed: 46 1/2″ H x 52 1/2” W. Provenance: Estate of Russell McAdoo, Murfreesboro, TN.
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″ H and 5 1/2″ H. Pennsylvania, 1882.
Middle Tennessee, DeKalb County, stoneware pottery pitcher with hand-written description on the body reading ” Brighhill Lumes chaise Brother Prohibition May God Bee with you my Brother, L.D. Moore Superintendent”. 9 1/2″ H. Late 19th century. Note: On page 336 of the book “Tenneesee 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.”
Currier and Ives large folio two-color lithograph with hand coloring, titled “American Forest Scene: Maple Sugaring,” after a painting by Arthur Fitzwilliam Tait (New York/England, 1819-1905), New York, 1856. Depicts a large group of people making maple syrup in a winter landscape forest setting. Signed and dated “A. F. Tait N.Y. 1855,” in the stone, lower left. Title with publication information, lower center and right below image. Housed and matted under glass in a giltwood frame. Image: 18 3/4″ H x 27″ W. Sight: 21 1/.4″ H x 28″ W. Framed: 30 1/2″ H x 37 1/2″ W. The estate of Charles K. Davis, Jr., Nashville, Tennessee, by descent from his father, Charles K. Davis of Fairfield, CT.
Governor of Tennessee Samuel Houston (1793-1863) signed land document, granting Andrew A. Brown fifty acres in Dixon County “…on the Beaver Dam fork of Turnbull Creek..,” dated October 20, 1827. 15″ H x 12″ W. Note: Sam Houston’s term as Tennessee governor lasted from 1827 until 1829, when he resigned and moved to Texas. Houston later became the President of Texas and its Governor. He is the only person in American History to be elected governor of two states by popular vote.
Confederate Personal or Bible flag found with personal belongings of Mrs. General John Hunt Morgan, hand sewn silk striped field and blue canton with fourteen embroidered stars encircling a large single star. Red silk cord and tassels. 5″ x 8 1/2″. Circa 1862. Provenance: this flag was found in a box containing 4 envelopes addressed to General John Hunt Morgan and his wife, Mattie Ready Morgan, which are included with this lot. 1st envelope: addressed to Mrs. M.R. (Mattie Ready) Morgan, Murfreesboro, TN, postmarked Vicksburg, Mississippi, November 23. 2nd envelope: addressed to Genl. John H. Morgan, McMinnville, Tenn., postmarked Atlanta, GA (date illegible, possibly March, with two CSA five-cent Jefferson Davis blue stamps). 3rd envelope addressed to Mrs. Genl. Jno. H. Morgan, care of Hon. C.W. Ready, Murfreesboro Tenn, postmarked Abingdon, VA, Feb. 7. 4th envelope: addressed to Mrs. Jno. H. Morgan, Murfreesboro Tenn., postmarked Memphis (?) Tenn., __ 28. All with 3 cent US Washington rose stamps except as noted.
Group of three (3) astronaut signed placards from a “Meet the Press” television broadcast, air date Sunday, May 21, 1967, signed by U.S. Navy Captain Walter Marty Schirra Jr. (1923-2007), one of the original seven astronauts and Commander of the Apollo 7 Mission, U.S. Air Force Colonel Frank Borman (born 1928), Commander of the Apollo 8 Mission, and U.S. Air Force Lieutenant Colonel Thomas P. Stafford (born 1930), Commander of the Apollo 10 Mission and the Apollo-Soyuz Test Project flight. Each comprised of red cardstock with signatures to left or right of white stenciled lettering. 6″ H x 22″ W. Provenance: Collected by a family member of the consignor who was a crew member of “Meet the Press” during this broadcast.
President Harry S. Truman (1884-1972), 33rd president of the United States, serving from 1945 to 1953 signing pen and signed photograph with additional Truman photos. 1st item: Signed photograph depicting Truman signing the “Judicial Salary Bill” (Public Law 567) on July 31, 1946 at the White House, Washington, DC, surrounded by various politicians. Signed lower center to Truman’s image. Harris and Ewing, Washington, D.C. studio marks, lower left. Housed and matted together under glass in a black wooden frame with the 1331 Triumph fountain pen that was used to signed the bill and typed labels for the photograph and pen. Framed: 14 1/2″ H x 14 1/4″ W. 2nd-3rd items: Two (2) photographs depicting Truman and H. Graham Morison, Executive Assistant to the Attorney General, 1945-48; Assistant Attorney General and head of the Civil Division, 1948-50, including one (1) depicting them with William Pat Jennings (1919-1994), United States Representative from Virginia (serving from 1955-1967) at the Tri-Cities Airport, Blountville, Tennessee, in 1960. Handwritten paper label, en verso of Tri-Cities airport frame. Both housed and matted under glass in black or giltwood frames. Frames ranging in size from 8 3/4″ H x 10 3/4″ W to 11 1/8″ H x 13 1/4″ W.
Publisher Signed, THE WRITINGS OF HENRY DAVID THOREAU, Manuscript Edition, Vol. I-XX, No. 133/600, published by Houghton, Mifflin, and Company, Boston and New York, 1906. Hardcover octavoes, top edge gilt pages, each volume with handwritten number, frontispieces and additional illustration plates with tissue paper guards, hardbound in three-quarter green moroccan leather with tan marbled paper sides, gilt floral blindstamping and lettering to spines, five raised hubs, tan marbled end papers, each volume with a green grosgrain ribbon bookmark. Volume I includes a tipped in, double-sided handwritten page in ink from a letter by Thoreau discussing literature. All volumes approximately 9″ H x 6 1/2″ W x 1 1/2″ D. 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.
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. Note: The artist may have been inspired to create this piece from the Birmingham Race Riots of 1963. Artist Biography: Charles Counts (1934–2000) was an American potter, designer, textile artist, quilter, teacher, writer, and activist. Counts worked to preserve the art forms of his native Appalachia, and later moved to Nigeria where he taught until his death. Counts attended Berea College in Kentucky and earned a master’s degree in pottery and weaving at Southern Illinois University, Carbondale, in 1957. He then studied under Bauhaus-trained master potter, Marguerite Wildenhain at Pond Farm in Guerneville, California and also did advanced work in ceramic technology at the University of Southern California under Carlton Ball and Susan Peterson. The Bauhaus Movement had a lasting effect on 20th century art and craft and influenced Charles Counts’ work.
Gaspare J. Ruffolo (American/Illinois, 1908-1997) oil on canvas portrait painting depicting General Douglas MacArthur attired in his military uniform against a dark blue background interlaced with the abstract pattern of planes. Signed lower “Gaspare Ruffolo” and dated 1935. Brass plaque fixed to lower frame reads “General Douglas MacArthur, Gaspare J. Ruffolo”. Housed in the original Arts and Crafts style gilt carved frame with a gilt liner. Sight: 29 1/2″ H x 24 5/8″ W. Framed: 38 1/4″ H x 33″ W. Circa 1935.
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.
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 Tennessee collection.
After Pablo Picasso (Spain/France, 1881-1973) color lithograph on Arches wove paper titled “The Embrace,” published by Guy Spitzer, Paris, circa 1954. Depicts an affectionate couple in an interior bedroom setting. Signed “P. R. Picasso,” with Spitzer blind stamp, in the stone, lower left. Numbered “25/125,” in pencil, lower left below image, signed “Picasso,” in pencil, lower right below image. Typed label on cardstock backing. Housed and matted under plexiglass in a carved giltwood frame. Image: 20 1/4″ H x 21 3/4″ W. Sight: 22 1/2″ H x 23 1/4″ W. Framed: 34 1/2″ H x 35 1/2″ W.
Baccarat Bronze and Crystal Thirty (30) Light Chandelier, the bronze standard with two top tiers of acanthus decorated arms supporting large oblong and rosette/star shaped glass prisms and draped garlands of small octagonal prisms, and two lower tiers of bronze arms with rosette decoration, supporting candle form lights interspersed with additional large and small prisms. The standard terminates in a bronze pomegranate drop ornament and ball shaped cut crystal drop finial. All but about a half dozen crystal bobeches have visible raised BACCARAT signatures. Top of arms to end of glass finial: approximately 40″ H. Diameter approximately 42″. French, early 20th century.