Knoxville (865) 558-3033 • Nashville (615) 610-8018 •

Winter 2022 Auction Preview

Our next  auction scheduled for January 29th and 30th  in Knoxville will feature fine art, Southern furniture and decorative arts, 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 late December.  Join our email list and we’ll notify you when the catalog is live.

Ladies platinum engagement ring featuring a 4.00 carat rectangular modified brilliant diamond, Clarity-SI2, Color-H, measuring 9.45 x 8.78 x 6.30 mm. 71.7% Total Depth; 80% Table; ETN to THK Girdle. Good polish and symmetry and no flourescence. Accented by 12 scrolled princess cut and 16 tapered baguette diamonds, approximately 1.68 carats, Clarity-VS2, Color-G. The diamonds are mounted in a custom platinum mounting marked “PLAT”, size 7 1/4. Gross weight of the ring is 26.31 grams, 5.68 total carat weight. GIA report 2225004988 dated September 3, 2021. Provenance: Estate of Nicole Maslanka, Atlanta, GA.

Ladies 18K white gold bracelet featuring 48 natural blue sapphires accented by 234 round brilliant diamonds approximately 2.34 carats, Clarity-SI2, Color-G. The bracelet is marked “18K” and is 7″ L. Gross weight of the bracelet is 44.56 grams. Provenance: Estate of Nicole Maslanka, Atlanta, GA.

4.01 square emerald cut diamond, Clarity-VS2, Color-G. with GIA report 5222038169 dated September 27, 2021, measurements 9.21 x 8.81 x 5.85 mm. Depth: 66.4%; Table: 73%; Girdle: Very thin to Very thick; Culet: Medium; Polish: Very Good; Symmetry: Good; Flourescence: None. Clarity Characteristics: Feather, Needle, Indented Natural, Natural, Extra Facet. Diamond is mounted in a four-prong 14K yellow gold mounting. The ring is marked “14K” and is size 5 3/4. Gross weight of the ring is 3.68 grams. Provenance: private Nashville, TN estate.

Ladies platinum solitaire engagement ring featuring one old European cut 3.79 carat diamond, Clarity-SI1, color-L, Polish-Good, Symmetry-Very Good, Fluorescence-None. GIA report number 6223107536. The ring tests platinum and is size 6 3/4. Gross weight of the ring is 3.51 grams.

Antique Persian Farahan Sarouk rug, wool on cotton, center-shaped medallions on salmon, dark blue and red fields surrounded by floral or foliate designs with ivory medallions to the corners. Secondary colors of ivory, red, green, and dark blue. 11’2″ H x 8′ 5 1/2″ W. First quarter of the 20th century. Provenance: the estate of David Caldwell, Nashville, TN. 

Charles Marion Russell (American, 1864-1926), “Smoking with the Spirit,” California Art Bronze Foundry, circa 1929. Bronze sculpture depicting a Native American Medicine Man seated on a naturalistic ground, smoking a long pipe with the skull of a buffalo. Signature “CM Russell” with a copyright symbol, skull mark, and California Art Bronze Foundry mark to base. Mounted on a later graduated oval wooden base. Sculpture: 4 1/2″ H x 9″ W x 5 1/2″ D. Overall with base: 6 7/8″ H x 10 5/8″ W x 8 1/8″ D. Note: In 1929, three years after Charles M. Russell’s death, his widow Nancy acquired the model for this work from Roman Bronze Works and had the California Art Bronze company produce an unknown number of casts. This is believed to be one of those castings. (Ref. Rick Stewart, “Charles M. Russell, Sculptor”, p. 203). This sculpture has been in a private collection since being acquired directly from Nancy Russell in 1929.

Frank Earle Schoonover (1877 – 1972) oil on canvas titled “A Daughter of the South”. Depicting a middle aged determined woman wearing a black dress and white apron, standing on the columned veranda of a Southern home, holding and pointing a revolver at a large group of menacing men, approaching the veranda steps. Signed lower left “Frank E. Schoonover” and dated 1909. An illustration of this painting was published in “The Century Illustrated Monthly Magazine”, April 1910: 820, in a feature written by Caroline Abbot Stanley (1849-1919, Missouri) titled “A Daughter of the South” with the caption: “You set one foot on this porch and I’ll shoot you like a dog.” The painting was additionally exhibited at Clubhouse Art Gallery, Media, Pennsylvania, 1968. Housed in a painted wood frame with linen matte and wood liner. Brass placard with artist name, title and date fixed to lower frame margin. Sight 35 3/8″ x 23 3/8″. Framed: 40 3/8″ H x 28 1/4″ W. Note: This painting is number 382 in the Frank Schoonover Raisonne. Commentary: (Courtesy of Norman Rockwell Museum: Frank Schoonover catalog raisonne) After considering the first image sent by Schoonover, the Editorial Editor, R.U. Johnson of The Century Illustrated Monthly Magazine, wrote this letter on April 15, 1909, asking for a change: “Mr. Gilder and I feel that while this picture of Mr. Schoonover’s is a striking one, the woman’s face and figure do not indicate the type of Southern lady which is expected in the stories of old Southern families. The story of her feminine gentleness and kindness make an effective contrast to the determination displayed in this scene. Mr. Schoonover has well expressed the determination – almost too well. Can she not be made less hard, more lovable to look upon, with more Southern high lady style of the kind that goes with the pillars – perhaps with war-time curls? We are sure Mr. Schoonover can make something very fetching”(archives, correspondence). Upon receipt of the letter and the painting, the artist re-drew parts of the figure of the woman and added some curls around her face. The enhanced painting was published as a half-tone plate engraved by R. Barley.

Alfred De Breanski, Sr. R.B. A. (United Kingdom/Scotland, 1852-1928) oil on canvas mountain landscape painting titled “Derwentwater”. Depicting Derwentwater lake (located in the Lake District National Park) at sunset, a group of cattle by a grove of trees drinking from the lake foreground, with some cattle, a lone figure and cottage visible mid-ground, all against wooded fells or hills in the background, with golden sunlight visible through the upper left sky. Signed “Alfred De Breanski” and dated 1876 lower left. Housed in a carved giltwood fluted cove frame with projecting shell and foliate corner elements, placard fixed to lower edge with painting title, artist information and date. Sight: 19 3/8″ H x 29 1/8″ W. Framed: 28″ H x 38″ W. Originally purchased from Cider House Galleries, Bletchingley, Surrey, UK.

Antoine Blanchard (French, 1910-1988) oil on canvas Impressionistic painting, titled “Quai du Louvre” or “Paris”, depicting Rue de Rivoli. The bustling Parisian street includes a lighted streetcar, horse-drawn buggies, and pedestrians traversing the wet road, a sparsely leaved tree to the left above a lighted kiosk, and the west end of the Louvre to the right under a cloudy gray sky. Signed “Antione Blanchard” in black lower right. Housed in a painted wooden frame with foliate and bead and reel decorations and a gilt fillet. W. T. Burger Co. stamp, en verso of the canvas, along with Burger label and label with artist biographical information, en verso. Sight: 12 7/8″ H x 17 7/8″ W. Frame: 19 1/8″ H x 24 1/4″ W. Biography: Antoine Blanchard began his study of fine arts in Rennes for three years and then studied at the School of Fine Arts in Paris for four years. He exclusively painted Parisian street scenes, depicting the city in all seasons but always in 1900. (Adapted from Dictionnaire Critique et Documentaire Des Peintres Sculpteurs Dessinateurs et Graveurs, New Edition, Volume II, by E. Benezit, published by Editions Grund, 1999, p. 374).

Circle of Jean Francois Lagrenee (French, 1725-1805), monumental 18th century mythological painting titled Hercules Going to War, depicting the Roman god departing a marble portico with club in hand and cherub at his side, leaving behind 3 women (one likely Minerva) and a child. Sight: 93″ H x 61 1/2″ W. Frame: 99 1/2″ H x 67 3/4″ W. Note: this painting bears an old plaque attributing it to German painter Anton Raphael Mengs (1728-1779), however, we believe the theme and style are more closely related to that of Jean Francois Lagrenee. Provenance: the estate of David Caldwell, Nashville, Tennessee. This painting, and its companion in the next lot, depicting Hercules Returning from War, have been a focal point of two important Belle Meade mansions in Nashville. Most recently the centerpieces of David and Yvonne Caldwell’s home, they were acquired approximately 30 years ago from James Fowler Sr. of Nashville.

Circle of Jean Francois Lagrenee (French, 1725-1805), monumental 18th century mythological painting titled Hercules Returning From War, depicting the Roman god seated and relaxing in a landscape setting with women (one possibly Minerva) and a child, with cherub figures overhead and a lion laying at his feet. Molded parcel gilt frame. Sight: 93″ H x 61 1/2″ W. Frame: 99 1/2″ H x 67 3/4″ W. Note: this painting bears an old plaque attributing it to German painter Anton Raphael Mengs (1728-1779), however, we believe the theme and style are more closely related to that of French painter Jean Francois Lagrenee. Provenance: the estate of David Caldwell, Nashville, Tennessee. This painting, and its companion in the previous lot, depicting Hercules Going to War, have been a focal point of two important Belle Meade mansions in Nashville. Most recently the centerpieces of David and Yvonne Caldwell’s home, they were acquired approximately 30 years ago from James Fowler Sr. of Nashville.

17th century German painted “Armada” or war chest with overall overlapping riveted iron strap fittings. The lid with a covered central keyhole, the front with a raised decorative false lock and two hasps, fitted with shaped iron carrying handles to each sides. Polychrome paint decoration throughout including a green painted ground with painted landscape decoration on the top and front panels and foliate decoration to the side panels and iron straps. The underside of the lid with decorative iron open work and raised lock cover. Fitted with an iron key. 16″ H x 30″ W x 16 1/4″ D.

Trumeau mirror framed with oil on canvas in the manner of Thomas and William Daniell, featuring a river landscape with an Indian long boat containing numerous figures and two ships bearing British flags. Overlooking the river is a terrace leading to large whitewashed Colonial style buildings and trees. Below the painting are three mirrored panels, two having etched crown decorations. All housed within a Neoclassical bombe gilt carved frame with canted molding to top edge and rosette carved lower corners. Painting measures: 16 3/4″ H x 43 1/8″ W. 33 2/2″ H x 49 1/4″ W overall. Old Christie’s Auction label en verso of each lower corner. English, late 18th to early 19th century.

Kentucky cherry sugar press consisting of an upper rectangular dovetailed well with an interior divider over a lower cupboard case with a medial molding and two post and panel cupboard doors, paneled sides. Case rests on tapered turned feet, poplar secondary wood. More information in the coming weeks.

East Tennessee walnut pie safe, poplar secondary. Rectangular top over two dovetailed drawers with wood pulls, two cupboard doors each having four punched tins decorated with starburst circle and hearts in the corners, sides with three punched tins with similar decoration as the front, over a base with turned Sheraton feet. 49 1/2″ H x 52″ W x 16 3/4″ D. Mid-19th century.

Wythe County, Virginia walnut sugar table, poplar secondary. Consisting of a simple molded hinged squared top, a plain square case with two interior dividers yielding three rectangular compartments. The case rests on delicately turned legs. Retains the original lock. 27 3/4″ H x 18 1/2″ W x 16 7/8″ D. Circa 1825.

Monumental Helen La France (American/Kentucky, 1919-2020) panoramic double sided oil on canvas painting, one side depicting a large African watering hole with various animals; the reverse depicting a Kentucky fox hunter on horseback. Housed in a simple wood frame. Sight: 33 3/4″ H x 81 3/4″ W. Framed: 35 3/4″ H x 83 3/4″ W. Note:  acquired by the consignor directly from the artist, who was a personal friend. It appears to be one of LaFrance’s early works.


Helen La France (Kentucky, 1919-2020) large oil on canvas landscape painting depicting an African American congregation gathering for a Church Picnic, with automobiles parked in grassy areas around the church and a family driving a horse and buggy approaching lower left via a dirt road; a table is being prepared right mid-ground between two shade trees and little girls play a circle game in the right foreground. Signed “Helen La France” lower right. Additionally titled en pen en verso on the canvas perimeter. Housed in a simple wood frame. Sight: 23 3/8″ H x 35 3/8″ W. Framed: 25 1/4″ H x 37 1/8″ W.

Helen La France (Kentucky, 1919-2020) oil on canvas landscape painting depicting an African American congregation gathering for a baptism, with automobiles and horse-drawn buggy parked in grassy areas around a church depicted next to a lone tree and congregants gathered around a river left midground to observe the baptisms. Signed “Helen La France” lower right. Additionally titled en pen en verso on the canvas perimeter. Unframed. 22″ H x 28″ W.

Helen La France (Kentucky, 1919-2020) oil on board painting, believed to be a self portrait. Signed lower right “Helen La France” and dated 7-2004 lower left. Housed in an antique gilt carved and ebonized wood frame. Sight: 20 3/8″ H x 15 3/8″ W. Framed: 30 1/2″ H x 25 1/2″ W. 

Helen LaFrance (Kentucky, 1919-2020) oil on board portrait depicting Cornell Jones (1923-1998) from Mayfield, Kentucky. Signed “Helen La France” lower right and dated ’89. Pen notes en verso identifying sitter along with a quote from the artist “ALWAYS dressed nice”. Sight – 22 1/4″ H x 18 3/4″ W. Framed – 26 1/2″ H x 22 1/2″ W. Note: In 1973, Cornell Jones became the first African American elected to the Mayfield, KY, City Council, and the first African American councilman in Graves County. He was re-elected to a third term in 1977. Jones was also a former president of the Mayfield NAACP Branch. He was a WWII Army veteran. Cornell Jones was born in Paris, TN, the son of Velma L. Jones Blythe and James Provine. For more see “Mayor, 45 councilmen are black city officials,” in 1978 Kentucky Directory of Black Elected Officials, Fifth Report by the Commission on Human Rights, p. 2; and Papers of the NAACP, Selected Branch Files, 1956-1965: Series A: The South, Jones, Cornell 7:0035 (Courtesy: 

Elizabeth O’Neill Verner (South Carolina, 1883-1979) pastel on silk portrait depicting a Charleston flower vender seated with a bouquet of flowers in her hands while smoking a pipe. Faint, smeared signature lower right corner. Housed in an oak frame. Originally purchased from Knoke Galleries of Atlanta, Georgia, original gallery label included. Sight: 8 3/8″ H x 7 3/4″ W. Framed: 11 5/8″ H x 11 1/8″ W.

William Stamms Shackleford (Kentucky/Tennessee, 1814-1878) oil on canvas oval portrait of a very young child holding a blue shoe, and wearing a lace dress rendered in precise detail. The child is seated on a bed with a red and green leaf-patterned quilt, against a plain background with a small window visible to the left. Unsigned. Housed in a period giltwood frame. Sight: 27 1/2″ H x 22 1/2″ W. Framed: 31 1/2″ H x 27″ W. Artist Biography: William Shackelford, alternate spelling Shackleford, is believed to have been born in 1814 in Kentucky. In 1833, Shackleford assisted Oliver Frazer in painting the full length portrait of George Washington in the old Statehouse at Franklin, KY. He worked as a portrait painter in several Kentucky towns including Bowling Green and Paris. In the 1850s he moved to Clarksville, Tennessee (and also worked in Franklin, TN). Shackelford also dabbled in inventing and claimed to have invented the Revolver before Samuel Colt. He died in Missouri, where he had family, sometime in or after 1878. (Source: Portrait Painting in Tennessee, Tennessee Historical Quarterly vo. XLVI no. 4).

Bill Sawyer (North Carolina/Tennessee, b. 1936) Naive style oil on board painting titled “Flower Growing from a Tire” depicting an African American infant sitting on the top step of a small red brick house with a small group of flowers growing in a tire to the front yard, additional buildings visible in the background beneath a hazy, late afternoon sky. Signed “Bill Sawyer” lower right. Titled with faintly visible inscription reading “from Bill Sawyer” en verso. Float mounted in a carved wooden frame with traces of gilt, an off white linen liner, and a white wooden fillet. Board: 16″ H x 20″ W. Framed: 22 3/4″ H x 26 1/2″ W. Provenance: private Nashville, TN collection. 

Gilbert Gaul (American, 1855-1919 ) Southern impressionist oil landscape painting depicting two black figures on a country road, standing or walking next to a grove of trees; across the road stand two houses and an empty buggy. Signed “Gaul” lower right. Framed under glass in an ornate period giltwood and composition frame with high relief acanthus carving and beaded and fluted molding; artist name plaque lower center. Sight – 11 1/2″H x 15 1/2″W, Frame – 25″H x 29″W.  Provenance: private Nashville, TN collection. 

Rudolph Ingerle (American, 1879-1950) oil on canvas landscape painting titled “Sundown on the Hollo”. Depicting a mountain valley view, with a couple of birch trees bordered by other evergreen trees center foreground with a valley floor, winding river and farm structures mid-ground, and sun-dappled mountains with profuse fall foliage in the background. Signed lower left “R. F. Ingerle”. Housed in the original gilt carved and molded frame. Titled en verso upper left with old paper label with title, artist’s biography and awards. Sight: 37 1/4″ H x 39 1/4″ W. Framed: 43 1/2″ H x 45 1/2″ W.areness of the need for protection, which helped result in the establishment of the Great Smoky Mountains National Park in 1934. His work was exhibited in one man shows at the Mint Museum and Hickory Museum of Art during his lifetime, and was featured in the 2006 Art of Tennessee exhibit at the Frist Center for the Visual Arts.

Large Charles Krutch (Tennessee, 1849-1934) East Tennessee watercolor on paper depicting a verdant mountain landscape with a river and road visible in the foreground. Scene likely depicts the Great Smoky Mountain National Park. Signed lower right in red “Krutch”. Sight -19 7/8″ W x 10 7/8″ H. Framed – 28″ W x 19 3/4″H.

Louis Edward Jones (Tennessee, 1878-1958) impressionistic oil on canvas board painting depicting a group of trees with early autumn foliage before a mountain, likely part of the Great Smoky Mountains range, beneath a blue sky. Signed “LE Jones” en verso of board. Housed in a grey and off white wormy wood frame. Sight: 11 5/8″ H x 13 3/8″ 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.

Harvey Joiner (Kentucky/Indiana, 1852-1932) oil on board landscape painting depicting sunlight breaking through a lone road or path in a lush springtime forest setting. Signed “Harvey Joiner” lower left. Housed in a gilt carved rococo style frame with molded giltwood liner, placard with artist name attached to lower margin of liner. Sight: 9 1/2″ H x 19 1/2″ W. Framed: 18 1/4″ H x 27 1/4″ W. 

Werner Wildner (Nashville, Tennessee, 1925-2004) surrealist oil on panel still life painting titled “October Leaf” depicting an upright leaf behind a nest filled with eggs and surrounded by feathers, on a wooden table against a black background. Signed with a monogram “W.” lower right. Handwritten label with title and additional information, en verso. Housed in a black painted wooden frame with dark gilt trim and a giltwood fillet. Sight: 9 1/2″ H x 7 1/2″ W. Framed: 16″ H x 14 1/4″ W. Provenance: Private Nashville, TN collection. 

Cornelius Hankins (Mississippi/Tennessee/Virginia, 1863-1946) oil on canvas vertically oriented still life painting depicting a branch with two bunches of purple grapes with both fresh green and dried brown leaves, against a reddish-brown background. Signed and dated “Cornelius Hankins 1899″, lower right. Housed in a carved, fluted giltwood frame. Sight: 23 1/4″ H x 15 1/8″ W. Frame: 28 1/2″ H x 20 1/4” W.

John Wesley Chumley (Virginia/Tennessee, 1928-1984) watercolor on bristol board forest scene painting titled “Dark Forest”. Depicting a lush woodland interior with orange Jack-O-Lantern mushrooms emerging around the base of tree along with a meandering vine and a tree trunk dotted with white button type mushrooms. John Chumley label with painting title and dimensions en verso. Housed in a molded giltwood frame with linen liner. Sight: 21 3/4″ H x 27 3/4″ W. Framed: 29 5/8″ H x 35 1/4″ W. Note: This painting was exhibited at the show “The World of Chumley” held at The Columbia Museum of Art (Columbia, SC) in 1977. A copy of the exhibit catalog is available with this painting. 

John Wesley Chumley (Virginia/Tennessee, 1928-1984) forest scene watercolor titled “Columbine & Butterflies”. Depicting a lush woodland interior with flowering columbine emerging around a fallen tree along with two yellow swallowtail butterflies. Signed lower left. John Chumley label with painting title, date of 1976, and dimensions en verso. Housed in a molded giltwood frame with linen matte and gilt wood liner. Sight: 18 7/8″ H x 23 1/4″ W. Framed: 29 3/4″ H x 33 3/4″ W. Note: This painting was exhibited at the show “The World of Chumley” held at The Columbia Museum of Art (Columbia, SC) in 1977. A copy of the exhibit catalog is available with this painting.

John Wesley Chumley (Virginia/Tennessee, 1928-1984) watercolor on bristol board winter landscape painting titled “Foot Path”. Depicting rolling hills dotted with farmsteads and barns with freshly fallen snow. A footpath in the snow is visible far right foreground leading to a house with large barren tree mid-ground. Signed “Chumley” lower left, titled and dated 1973 en verso. The Bonfoey Gallery (Cleveland, OH) label en verso. Housed under glass in a silvered frame with linen matte and beaded wood liner. Sight: 13 3/4″ H x 23 1/4″ W. Framed: 24″ H x 34″ W. Note: This painted was exhibited at Hirschl Adler Galleries, located in New York City, in 1975, together with 18 other works. It is listed on page 6 of the gallery exhibition book, a copy will be available with this lot.

Nellie Augusta Knopf (American, 1875-1962) impressionist oil on board landscape painting depicting a mountain range with rock faces cast in contrasting light and shadow with grassy foothills below. Signed “N.A. Knopf.” in lower middle. Housed in a carved giltwood frame with linen matte and giltwood liner. Sight: 9 7/8″ H x 13 1/2″ W. Framed: 20″ H x 24 1/8″ W. Biography: Born and raised in Chicago, Nellie Augusta Knopf became known for her mountain landscapes and seascapes. She graduated from the Art Institute of Chicago and also studied with Charles H. Woodbury in Ogunquit, Maine. For 43 years she taught and was Director of Art at Illinois Women’s College, later MacMurray College. Provenance: Private Nashville, TN collection. 

Oil on canvas South Pacific landscape by Theodore Wores (California/Hawaii, 1859-1939), depicting huts beneath palm trees in a grassy, tropical landscape setting in Samoa. Signed “Theodore Wores.” lower right. Housed in a giltwood frame. Sight: 18 1/2″ H x 27 1/2″ W. Framed: 22 1/2″ H x 31 1/2″ W.

Paul Cornoyer (New York/Missouri, 1864-1923) oil on canvas cityscape painting depicting figures in late 19th/early 20th century attire strolling along a street before a monument of a man on a pedestal, with trees and buildings in the background. Signed “Paul Cornoyer” lower right. Housed in a carved giltwood frame. Sight: 10 1/4″ H x 7 3/8″ W. Framed: 16 1/4″ H x 13 3/8″ W. Provenance: the estate of Judge John Nixon, Nashville, Tennessee. 

Horatio Walker (New York/Ontario, 1858-1938) watercolor painting depicting three cows gathered under the shade of trees with rural landscape and a small creek flowing in the background. Signed “Horatio Walker 1903”. Housed in a gilt Louis XIV style frame. Sight: 21 1/4″ W x 16 1/4″ H. Framed: 32″ W x 26 1/2″ H. Provenance: the estate of Edie Bass, Nashville, TN. 

Miniature watercolor portrait, possibly American, titled JOHN WATSON ~ TAKEN 1837 AGE 8 YEARS, depicting the profile of a young boy in a chair, holding a toy ship. Rectangular gold frame, 3″H x 2 3/4″W. One of several miniature portraits in this auction from the estate of Raymond White, Nashville, Tennessee.

A Chinese Export porcelain small punch bowl with enameled decoration including portraits of John Wilkes (1727- 1797) and Lord Mansfield, both within satirical coats of arms bearing the mottos ALWAYS READY IN A GOOD CAUSE and JUSTINE SANS PITIE with the title ARMS OF LIBERTY above the portrait of John Wilkes, who was a proponant of American rights. Sides and interior with additional decoration including floral sprays and patterned border. Base with Cohen & Cohen dealer label. 4 1/2″ H x 10″ dia. Circa 1770-1775. Note: Examples of this porcelain punch bowl were made and decorated in China around 1770 for export to Britain and its American colonies. The design on the exterior of the bowl was intended to poke fun at those who had opposed the English politician John Wilkes (1727-97), a proponent of English civil liberties, parliamentary reform, and American rights. Wilkes was elected to the House of Commons several times, but was repeatedly expelled for attacking King George III and his loyalists. American patriots, including Boston’s Sons of Liberty, rallied to the cry of “Wilkes and Liberty!” and incorporated his name and likeness into broadsides, drinking bowls, cuff links, and other items (Courtesy of Museum of the American Revolution). Provenance: Private Nashville, TN estate. 

Pair Delft polychrome pyramidal tulipieres or tulip vases with obelisk covers, Cashmere palette, marked LVE on the base for Lambertus van Eenhoorn, the “De Metaale Pot” workshop, c. 1691-1724. Each having an obelisk cover with 8 small nozzles and mask on the front and back, mounted on a vase with lizard or chi-lung dragon handles and 10 nozzles. Mark VE ligated and “2” in blue, old sales sticker for The Antique Company of New York on one. Height 12 5/8″ or 32 cm overall. Provenance: the estate of Raymond White, Nashville, TN. 

Monumental Molaroni Pesaro Majolica Tray, exhibited at the 1897 Tennessee Centennial Exposition. The oval ceramic platter, measuring 24″ x 19″, features a deep well with raised center and raised lion and human masks, separated by raised cartouches containing polychrome decorations emblematic of land, water, wind and fire; with a ruler and subjects at the center and a border decorated with cherubs and griffins, enclosed within an ovolo relief-decorated rim. Impressed Molaroni Pesaro mark en verso, along with a paper US Customs label designating this item for exhibit placement at the Tennessee Centennial Fine Arts building. Provenance: a Nashville, Tennessee collection.

Pair of large Sevres style bronze mounted lidded porcelain urns having fond jaune or yellow grounds with hand-painted landscape vignette decorations depicting lovers with putti, signed POITEVIN. Floral vignettes verso, floral band decoration to the lid and base, and gilt painted highlights throughout. Gilt bronze mounts throughout including an acorn finial to the lid, large ram’s head mask handles, and an acanthus leaf stem and base. Blue Sèvres style mark to the underside of each lid. 24″ H x 13″ W. 19th century. Provenance: Deaccessioned by the Arkansas Museum of Fine Arts Foundation to benefit the acquisitions fund.

Viennese gilt silver and carved crystal casket, rectangular form with carved crystal panels to the top, sides and base depicting mythological Greco-Roman figural scenes bordered by red-painted enamel plaques with gilt silver flower, scrolling foliate, bust, and griffin feet decoration. Austrian Diana head hallmark to the inner box rim with maker’s initials JW. 4″ H x 5 1/4″ W x 4 1/4″ D. Circa 1872-1922.

German sterling silver figure depicting a jousting knight on horseback having a carved bone face attired in full armor including a movable face shield and removable jousting lance atop a naturalistic oval-shaped plinth base. Marked along the base edge STERLING .925 GERMANY. 11 3/4″ H x 11 1/2″ W x 3 1/2″ W. 59.800 troy ounces. Early 20th century.

Large English 18th Century Sterling Silver Soup Tureen, Neoclassical form with oval, fluted base raised on an oval foot, with gadrooned edges and two fluted side handles; the fluted cover with tassel style gadrooned handle. Engraved coat of arms to front, with motto VIRTUTE ET NUMINE and additional crest to lid of knight with sword between crowns. The arms are that of Valentine Brown Lawless, Baron of Cloncurry. Base hallmarked for John Wakelin & William Taylor, London, 1783, lid also stamped with maker’s mark. 11″H x 16″W overall, 100.63 oz troy. The Estate of Edith (Edie) M. Bass, Nashville, Tennessee.

George III sterling silver epergne or centerpiece, George Ashforth and Company, Sheffield, 1799. Comprised of an oval cut glass center bowl, set in an oval frame with gadrooned edges, supported by four legs with pierced foliate capitals, terminating in paw feet, and joined by an oval under tier with a turned finial. Four removable oval arms with repeated gadroon and foliate decorations fit into legs and support four oval cut glass bowls. Frame and arms with full hallmarks. Fully assembled: 11 3/8″ H x 22″ W x 19″ D. Frame only: 9 3/8″ H x 12 7/8″ W x 9 1/4″ D. 33.45 total troy ounces. Deaccessioned by the Arkansas Museum of Fine Arts Foundation to benefit the acquisitions fund.

Pair of Georgian sterling silver trays or salvers bearing the mark of Paul Storr, London, 1808. Each of circular form with scalloped openwork rim in the manner of Paul de Lamerie, with foliate and shell engraved center featuring an engraved coat of arms depicting a lion and dog surmounted by a crown and reading “Nec Temere Nec Timide” (Neither random nor timidly). Both raised on scrolled and pierced rocaille feet. Hallmarked to underside, with additional engraved leopard crest. 13 3/4″ dia. (33 cm). 86.90 total troy ounces.

English Sheffield George IV sterling silver dish by Robert Gainsford. Oval form having a shaped gadrooned rim with foliate scrolled and mask decoration to rim and sides, the center with an engraved griffin passant armorial. Rim with maker’s hallmark, and English hallmarks and date letter for 1827. 16″ W x 11 3/4″ H. 35.55 troy ounces.

Scarce large Southern coin silver platter or tray, incuse stamp COIN and F.H. CLARK & CO. for Frederick Harvey Clark and company, working Memphis, Tennessee, c. 1840-1860. Oval form with anthemion banded rim, the center with engraved floral and anthemion decoration and side cartouches with landscape decoration, raised on four scrolled anthemion feet. 1 3/8″H x 18″W x 13″D. 45.06 oz troy.

American coin silver water pitcher, c. 1845, marked for Anthony Rasch, working New Orleans, Louisiana 1820-1858 and Philadelphia, 1805-1820. Baluster form with flared rim, the body with repousse naturalistic decoration of grapes and leaves, over a band of laurel decoration crowning a circular domed foot. C scroll handle decorated with a repousse cluster of grapes at top. Stamped to the base A. RASCH in rectangles. Height 12 5/8″H. 24.36 oz troy. Circa 1845.

Rare Georg Jensen “No. 3” Sterling and Ebony Coffee and Tea Service, designed 1906 by Georg Jensen, made circa 1915-1927. Eight (8) pieces including kettle on detachable stand, coffee and tea pots, milk jug, cream pitcher, sugar and waste bowls, and tea caddy; the lidded items each topped with bulbous ebony finials over a stylized leaf cap; handled forms with ring and ball or bud designs; each with tapered melon-form body having a hammered ground atop a round, beaded foot. All pieces hallmarked with Jensen marks used 1915-1927. Marks on sugar bowl, waste bowl and cream jug are marked with 925S in rectangle versus the 925S oval mark on other pieces. Heights range from waste bowl, 3 1/2″H, to Kettle on stand (excluding handle) – 12 3/4″h. Weight including lids but excluding kettle and stand: 97.72 oz troy.

Seven (7) pieces Gorham sterling silver tea service comprised of a hot water kettle on stand, teapot, coffeepot, covered sugar bowl with two handles, creamer with flared spout, and waste bowl together with matching two handled tray. All pieces with urn form bodies on pedestal feet having beaded decoration to shoulders and bases. Hot water kettle, teapot and coffeepot with S-shaped gooseneck spouts and hinged lids with flower bud finials. Coffeepot, teapot and creamer with gilt wash interiors. Hot water kettle, creamer, covered sugar bowl and waste bowl with Spaulding & Co. and Whiting Manufacturing Co. marks. Coffeepot with Whiting Manufacturing Co. mark. Teapot with Gorham, Spaulding & Co. and Whiting Manufacturing Co marks. Tray with Spaulding-Gorham, Inc. mark. All pieces with sterling marks and script monogram CCMcB. Serving pieces range from 4 1/4″ H x 4 3/8″ dia. to 14 1/2″ H x 9 1/2″ W x 7 3/4″ D. Tray measures 25 1/4″ W x 17 3/8″ D. 243.914 total troy ounces. Circa 1919-1924.

Large Reed and Barton Francis I Sterling Silver Flatware Service, 249 pieces total. Includes 30 knives (18 with New French Blades, ranging in size from 8-7/8″ to 9-1/2″, and 12 with modern blades, all 9″ L); 12 steak knives; 16 dinner forks (7-3/4″ L); 25 luncheon forks (7-1/8″ L); 23 salad/dessert forks; 23 teaspoons; 12 iced tea spoons; 12 place/oval soup spoons (6-3/4″ L); 10 dessert/oval soup spoons (7-1/4″L); 16 round bowl soup spoons; 16 ice cream forks; 12 cocktail forks; 16 flat handle butter spreaders; 7 demitasse spoons; 3 table/serving spoons; 3 fruit knives; 4 baby forks; 2 baby spoons; 1 youth fork; and 2 long handled infant feeding spoons. Also included is 1 sugar shell; 1 jelly server; 1 master butter knife; and 1 lemon fork. Some old Reed and Barton pictorial marks, some with script marks, all marked sterling. 286.09 oz total weighable silver. Provenance: the estate of James W. Perkins, Jr. Nashville, TN.

Set of four (4) large Tiffany & Company graduated sterling silver serving trays, pattern 20370, all with reeded borders and curvilinear corners. The undersides marked “Tiffany & Co. 20370 Makers 13383 Sterling Silver 925-1000 and date letter M (1907-1947). Ranging in size from 14″ W x 10″ H to 20″ W x 14 3/4” H. 207 total troy ounces.

18K yellow gold Tiffany & Company split-second Rattrapante chronograph open face pocket watch. Triple signed with numbers matching case and movement, Serial #6416, 1880 patent date. Movement marked “Tiffany & Co. New York, Adjusted, 6416, Patent 1880, Swiss. White enameled face, chapter ring with Arabic numbers, 48mm case.

Ladies 18K white gold Cartier quartz Caliber 687 watch featuring 328 round brilliant diamonds approximately 3.28 carats, Clarity-VS2, Color-G. The watch is marked “Cartier”, “Quartz”, “18K”, “387907 000180”, and “swiss made”. The watch has a 7″ circumference and a gross weight of 70.00 grams. Provenance: Estate of Nicole Maslanka, Atlanta, GA.

Ladies 14K white gold cocktail ring featuring an oval natural tanzanite approximately 10.13 carats, eye clean, vivid violetish blue color. The main stone is accented by 62 round brilliant diamonds approximately 3.08 carats, Clarity-VS2, Color-H. The ring is marked “14K” and is size 9 1/2. Gross weight of the ring is 12.67 grams.

Ladies platinum necklace featuring 437 channel set graduated tapered and straight baguette diamonds approximately 19.67 carats, Clarity-SI2, Color-H. The necklace is marked “PT900″ and is 18” L. Gross weight of the necklace is 119.6 grams. Provenance: Estate of Nicole Maslanka, Atlanta, GA.

Ladies 18K white gold ring featuring 58 round brilliant diamonds approximately 1.97 carats, Clarity-VS1, Color-G, as well as 1 pear-shaped natural ruby as the eye. Marked “750”, “Cartier”, “51”, and “64088A”. The ring is a size 6 and has a gross weight of 14.46 grams.

George Edwin Bissell (American, 1839 – 1920) bronze depicting President Abraham Lincoln, 16th President of the United States, standing and holding a copy of the Emancipation Proclamation in his right hand. Signed “Geo. E. Bissell” on the rear left corner of the base and “Copyright 1898″ on the rear right corner of the base. 15 7/8” H.  Provenance: the estate of Ira Lipman, Memphis, TN.

Jo (Joseph) Davidson (New York/Paris, 1883-1952) patinated bronze sculpture depicting Russian dancer and arts patron Ida Rubinstein in her role as Cleopatra in the 1909 ballet by Michael Fokine. Signed and dated, “JO DAVIDSON PARIS 1909” at the back of base. 11 1/8” H x 11 1/4” W x 5 1/2” D. Note: This sculpture was created during Davidson’s studies at the Ecole des Beaux-Arts in Paris.

William Lewis Lester (Texas, 1910-1991) oil on canvas Expressionist-style landscape, titled “Ship Channel”, rendered in saturated colors, depicting an aerial view of a man-made waterway emptying into a body of water to the right with a tree line, road, and rising hills in the midground and a lock system with ships in the background below a bright blue sky. Dated, titled, and signed “1959/Ship Channel/Wm Lester”, en verso. Additional handwritten label with artist name, title, year, and Austin, TX and additional numbering, en verso. Housed and matted in a modern ebonized wooden frame with a white wooden fillet. Sight: 29 5/8″ H x 43 3/4″ W. Frame: 36″ H x 50 1/8″ W. Provenance: the estate of Carl Klein, Brentwood, TN. 

Red Grooms (Tennessee/New York, b. 1937), “Traffic,” also called “Street Life,” lithographed paper 3-D sculpture of the New York City intersection of Broadway at Canal Street, portraying a chaotic scene with streetwalkers, firefighters and fire engine, double decker tour bus, policeman, and vendors. Signed lower right in red marker and numbered 26/75. Approximately 20″H x 23″W x 8″D. Cased in clear acrylic/plexiglass case, 23 1/4″H x 28 1/2″ W x 10″D. Circa 1999. Provenance: Private Nashville, TN collection.

Large framed Carroll Cloar (American, 1913-1993) graphite on paper drawing, study for “The Epitaph of Ezekiel Polk,” depicting a little girl standing beside a tomb. Signed lower left. Sight – 38 1/2″H x 27 1/2″W. Frame – 39 1/4″H x 28 1/4″. Provenance: private Memphis collection, acquired from Guy Northrup, a writer and arts editor for the Memphis Commercial Appeal who wrote the introduction for the Carroll Cloar catalog raisonne: “Hostile Butterflies and Other Paintings” (Memphis State University Press, 1977). The painting for which this work is a study was featured on page 140 of that book. 

Burton Harry Callicott (Tennessee/Indiana, 1907-2003) abstract oil on canvas painting titled “Antahkarana” depicting two triangular shapes, one outlined in pink, orange, and yellow and one outlined in purple, blue, and green, connected at one edge by a near transparent white rectangular shape, against a light yellow and green background. Signed and dated “Callicott ’92” lower right. Albers Fine Art Gallery, Memphis, TN label, en verso. Housed in a white wooden frame with gilt trim. Sight: 60″ H x 44″ W. Framed: 61 1/2″ H x 45 1/2″ W. 

Caio Fonseca (New York, b. 1959) gouache on paper abstract painting, titled “Pietrasanta P09.30”, rendered with light impasto, depicting blue serpentine and line shapes speckled in orange and red on a pale yellow field with raised and incised lines throughout. Signed “Caio” lower right. Inscription with artist name, title, date “2009”, medium, and dimensions with additional Pamela Morgan framer’s sticker label, en verso of frame. Float mounted in a modern white wooden frame. Sight: 29 5/8″ H x 41 5/8″ W. Frame: 34 1/8″ H x 46″ W. Provenance: the estate of Russell McAdoo, Murfreesboro, TN. 

John Pasche (British, b. 1945) original gouache and charcoal on wove paper of the Rolling Stones iconic “Tongue and Lips” logo. Signed lower right. Unframed. 31″ square. Early 21st century. 

Paul Evans Jr. (American, 1931-1987) Cityscape console table from the PE 300 series manufactured by Directional Furniture. Comprised of sculpted high relief sections of polished brass and walnut burlwood and finished on all sides. 28 1/2″ H x 52 1/2″ W x 11″ D. Circa 1970’s.

A large and early Edward Moulthrop (American, 1916-2003) turned and figured tulipwood bowl, one side with light wood vertical splice running the full height of the bowl and a smaller vertical splice to another side. Artist’s cipher or monogram and inscribed signature MOULTHROP on the base. 9″ H x 14″ dia. Circa 1970’s. 

Rand McNally & Company 18″ Terrestrial floor globe with calibrated full brass meridian and horizon with applied paper calendar and zodiac. The horizon is raised on four supports turning on a pinion and is raised on a late Classical style base. Cartouche on side of globe reads “RAND MCNALLY & COMPANY/ TERRESTRIAL GLOBE/ 18 INCH/ Copyright by Rand McNally & Company, Chicago/ Made in U.S.A.” with a color key (red, blue or black) below for Submarine Telegraph Cables, Mean Isothermal Lines for January and July, and The International Date Line. 55 1/4″ total H x 24″ W.  Provenance: the estate of Raymond White, Nashville, TN. 

George III brass mounted inlaid Balloon Clock by Jabez Smith, London, circa 1790. Crossbanded satinwood case with urn finial having rams head masks at sides, over a pagoda top, inlaid floral medallion, and balloon shaped center enclosing a dial with Roman numerals and shaped pierced steel hands, signed Jabez Smith, Fenchurch Street, London. Raised on bronze leafy feet. Glass rear door enclosing time and strike brass works and pendulum with steel bell. Note: ‘Watchmakers and Clockmakers of the World’ by Brian Loomes lists Jabez Smith as working in London from 1786-1795. Overall – 22 1/2″H x 12 1/2″W x 9″D. Provenance: the estate of Raymond White, Nashville, TN. 

Louis Moinet Neoclassical French patinated and gilt bronze clock, featuring a Greek goddess figure, likely Athena, standing against a bronze plinth topped with books and decorated with rooster and torches, raised on a larger plinth base decorated with winged figure with tablet, profile of Athena and cherub, along with globe and other objects emblematic of learning and education. Silvered circular dial with Roman numerals and steel hands, enclosed in gilt anthemion banding. Works marked “L Moinet A. Paris”. 22″H x 15″W x 6″D. 19th century. Provenance: the estate of Judge John Nixon, Nashville, TN. 

A CHRISTMAS CAROL, First Edition, Second Issue, by Charles Dickens, with illustrations by John Leech, published by Chapman and Hall, London, 1843. Hardcover 12mo, 166 gilt edged pages with hand colored frontispiece and three plates, four vignettes, and one double-sided back advertisement page, title page printed in red and blue, half-title in blue, rebound by Riviere and Son, London in red morocco leather with gilt stamped covers and spine, five raised hubs, dark green paper doublures and endpapers, ex libris plate to interior of front cover. Original brown cloth blindstamped and gilt titled covers and spine laid down to back matter pages. 6 1/2″ H x 4 3/8″ W x 3/4″ D. Note: This copy includes the second issue points: Roman numerals with Staves in table of contents and numbers spelled out in chapter headings. Provenance: the estate of Edie Bass, Nashville, TN. 

Civil War Era Tiffany & Co. Naval presentation sword, presented to U.S. Navy Rear Admiral Cadwalader Ringgold (1802-1867), with belt and documents.  Biography: “Cadwalader Ringgold was an officer in the United States Navy who served in the United States Exploring Expedition, later headed an expedition to the Northwest and, after initially retiring, returned to service during the Civil War with the rank of captain. While in command of the frigate Sabine on November 1, 1861, he participated in the rescue of a battalion of 400 Marines from Maryland whose transport steamer, Governor, was sinking during a severe storm near Port Royal, South Carolina. In February 1862, he was a part of the search and rescue of the ship of the line Vermont which had lost her rudder in a storm. For these rescues, Ringgold received commendations from the Maryland Legislature and the U.S. Congress, along with a gold medal from the Life Saving Benevolent Association. (source: Alan Fraser Houston, “Cadwalader Ringgold, U. S. Navy” article in California History magazine, Volume 79, Issue 4, Winter 2000, page 208).

Second Model French LeMat Single Action Percussion Revolver for the Confederacy. Serial no. 1519 (barrel, frame, and cylinder), .42 and .63 caliber. Barrel numbered to frame, “star/LM” proof on right barrel flat, “COL. LEMAT Btl. SCDC PARIS” on top barrel flat. Checkered hardwood grips, fixed lanyard ring.  More information in the coming weeks.

Civil War archive including letters, documents, and photographs belonging to Sgt. Zebedee Culver, 19th Michigan Infantry, clerk at General Hospital No. 1 in Union-occupied Nashville, Tennessee, including rarely seen graphic CDV and albumen images of injured soldiers from the Battle of Atlanta, with treatment notes, and a printed record of Gunshot Wounds and other Surgical Cases. Includes approximately 20 letters from Culver’s service in Kentucky and Tennessee, 12 photographic images, 12 envelope covers, 4 reunion ribbons, 3 song/poem clippings, and Culver’s 1865 School Teacher’s certificate and 1881 pension document.  Also included is a partially printed ledger recording the number and type of gunshot wounds treated at Hospital No. 1, compiled by A.A. Surgeon M.L. Herr, USA, under Surgeon USV in Charge, Dr. Bowman Bigelow (B.B.) Breed. 

KENTUCKIANS TO ARMS! broadside, issued by Captain W. W. Cleaver, 6th Regiment, Kentucky Cavalry, Company F, from the headquarters for the Confederate Army in Lebanon, KY, dated September 12, 1862, reading “I am authorized by the Confederate Government to raise a Company of Cavalry for the Southern Army, to serve three years or during the war, and I call upon Kentuckians to…drive out Lincoln’s abolition minions of the North…and to-day the Abolition Army is skulking behind the walls of Washington, in full view of the victorious Southern Army. Horse, arms and full equipments furnished to all who chose to volunteer. W. W. Cleaver.” Housed under glass in a wooden frame. Broadside: 11″ H x 11 1/8″ W. Framed: 16 1/2″ H x 18 1/2″ W.

Cabinet card photographic print of the Apache leader Geronimo (1829 – 1909), depicted wearing a Western hat and black suit coat draped with a Native American blanket. Titled in the lower image margin “Geronimo” and  “Copyright H.W. Wyman  1904  Colorado Springs, Colo.” Additionally imprinted in the lower left legend “Murillo” and the lower right, “1314 Olive St.  St. Louis”. Signed by Geronimo in pencil en verso along the lower edge. 6 1/2″ H x 4 1/4″ W. More information in the coming weeks.

Large Native American Cherokee double weave rivercane storage basket with lid by Rowena Bradley (1922–2003), square form with walnut and bloodroot dyed weavers. Retains the original Qualla Arts and Crafts Mutual tag. 13 1/2″ H x 10″ W. 20th century.

Native American Cherokee double weave lidded rivercane basket by Rowena Bradley (1922–2003), rectangular lidded form woven in the “Eye of the Sacred Bird” pattern with dyed walnut weavers. 6 3/4″ H x 8 1/2″ W x 6 3/8″ D. 20th century. Note: This basket was purchased in 1991 from Bradley at the Frank McClung Museum located in Knoxville, TN.

Native American Chitimacha double weave rivercane lidded trinket basket, meandering or alligator entrails design to the body with a background design of diagonal dyed red and dark brown weavers. 6″ H x 4 1/2″ square. 20th century.

Chinese School oil on canvas maritime painting of a clipper ship in port flying the Australian flag. Detailed rendering of sailors on the deck of the ship as well as harbor buildings in the background surrounded by mountains. Unsigned. Housed in a carved and painted frame with a gilt inner border. Sight: 24″ W x 18 1/4″ H. Framed: 28″ W x 23″ H.

Chinese Qing carved and painted black lacquer incense stand or altar table. Comprised of a square top with polychrome and gilt-painted scenic landscape decoration having a fret-carved frieze, raised on fret-carved bracketed legs terminating into a lower shelf raised on curved feet. Legs with gilt-painted fret and foliate decoration. The lower shelf with polychrome and gilt floral decoration. 35 3/4″ H x 18″ square. 19th century.

Carved Chinese jade figural guardian temple lion or foo dog, depicted crouching with an open mouth supporting a covered urn atop its back. Lion with carved decoration throughout, and the urn with carved foliate handles and lid with free moving rings. Fitted with a carved and silver inlaid hardwood stand. Guardian temple lion (without stand): 7″ H x 6 1/2″ W x 2 1/4″ D. Late 19th/Early 20th century.

Qing Dynasty embroidered silk court robe in a custom shadowbox frame. Elaborately embroidered with gold, silver and colored threads on a pink silk ground. Body and sleeves having embroidered five-toed dragons chasing flaming pearls, bat, longevity, and magic fungus decoration along with other auspicious symbols; multi-colored wave decoration to lower edge. Pale blue silk lining with braided and brass knotted closures. Robe approx. 50″ H, frame: 63″ H x 48″ W x 6″ D. Late 19th/Early 20th century.

Chinese silk four-sided table covering or lobed panel embroidery depicting a central image of a dragon holding a pearl, surrounded by four additional dragons with pearls, with images of bats, clouds, flowers, and precious objects rendered in blue, off white, olive green, coral, and metallic threads on a blue ground, enclosed within an embroidered border, all sewn onto a off white linen backing. 42″ H x 42 3/4″ W. Late Qing Dynasty, late 19th/early 20th century.

Coca Cola advertising neon clock reading across the top DRINK COCA COLA /SIGN OF GOOD TASTE above a clock face with green numbers, a red center reading DRINK COCA COLA/ IN BOTTLES and bright yellow hands. Bears the original tag reading ELECTRIC NEON CLOCK CO/CLEVELAND, OHIO 93530. 30″ H x 36″ W. Mid 20th century.

Keith Shackleton (England, 1923-2015) oil on canvas painting depicting a seagull flying over turbulent waves. Signed “Keith Shackleton ’79” lower right. Housed in a custom painted wood frame with a linen matte. Sight: 32 7/8″ H x 35 1/4″ W. Framed: 29 1/2″ H x 41 1/2″ W. Artist Biography: Keith Shackleton was born in England in 1923 and began traveling at a young age when his family moved to Australia. He later served in the Royal Air Force and painted scenes of war and the coastal naval forces. He continued to travel for work after the war, painting all throughout his life. Later, he gained recognition in Great Britain for his wildlife and nature scenes, but remained principally a marine painter. He served as president of the Royal Society of Marine Arts and the Society of Wildlife Artists, and was Chairman of the Artists’ League of Britain.