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Summer 2021 Auction Preview – July 24 & 25

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.

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. 

Elizabeth Catlett (1915 – 2012, District Of Columbia, New York/Mexico) bronze sculpture titled “The Family”, depicting an African American father, mother and child standing and embracing one another. Initialed “EC” on the sculpture base. Sculpture with ebonized brushed patina and mounted onto a square wood base. Sculpture:  14 5/8″ H x 5″ W. 16 3/4″ overall total height. Artist biography: Elizabeth Catlett is known for abstract sculpture, mod figure and portrait painting, graphics. She received a Bachelor of Arts degree from Howard University and subsequently she earned a Master of Fine Arts degree in 1940 from the University of Iowa. Her painting teacher at Iowa was the artist Grant Wood who encouraged his students to make art about the subjects that they knew best and to experiment with different art mediums. Catlett worked with many mediums including lithographs, linoleum cuts, and sculpture in various mediums including wood, stone, clay and bronze. She drew inspiration from her African American life experiences and later from life in Mexico, where she spent the last 35 years. (Adapted from Ask Art and the National Museum of Women in the Arts).

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.

Grueby Faience Company Art Pottery vase, Model #84,  having a green matte glaze and pinched neck with stylized leaf design, designed by the pottery’s first director of design, George Prentiss Kendrick.  Base with impressed circular mark reading  “Grueby Faience Co., Boston, U.S.A. and 84″ together with a Grueby paper label and artist cypher. 12″ H x 8″ W. Late 19th/Early 20th century.

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. 

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).

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 “” 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.

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 Judge 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. 

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.

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.

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.

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”. 

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.

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.

Large Japanese silver tea service. More information in the coming weeks.

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. 

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.

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.

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.”