Our Summer auction is scheduled for July 9th-10th in Knoxville. 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 early June. If you would like to have items consigned for future auctions, click here.
Important miniature painting, watercolor on paper, depicting Chickasaw Native American dignitary Kinheche. This portrait was painted in Franklin, Tennessee in August of 1830 during the landmark treaty summit between President Andrew Jackson and the Chickasaw Nation, conducted at the city’s Masonic Hall. The artist was Caroline Dudley (Tennessee, 1812-1832), daughter of a prominent Middle Tennessee settler and leader, Guilford Dudley; both were among the spectators invited to witness the event. According to family history, Miss Dudley, an amateur artist, was so impressed by the appearance of Kinheche or Kin-hee-shee, in his bright garb, headdress, and bow and arrow, that she was inspired to paint his likeness. After her death just two years later at the age of 30, the painting was inherited by her sister and descended in the family to its last private owner, Mary Bright Wilson of Lincoln County, Tennessee. Sight – 2 3/4″ H x 2 1/4″ W. In wooden frame with gilt metal sight edge and oak leaf hanger – 6″ H x 5″ W. Provenance: Property of the Lincoln County Museum, Fayetteville, TN; Bequest of Mary Bright Wilson (1909-2004), formerly of Fayetteville, and descended in her family.
Large LeRoy Neiman (New York/Illinois/Minnesota, 1921-2012) abstract oil on board painting titled “Dinner Party” depicting several male and female figures gathered around a central table laden with bottles and glasses, a chandelier visible in the top center. Signed and dated “Leroy Neiman ’65” lower right. Newspaper clipping depicting Neiman affixed en verso of frame. Housed in a carved giltwood frame with an off white velvet liner. Sight: 35 1/2″ H x 47 1/2″ W. Framed: 44″ H x 56″ W. Provenance: The Estate of Margaret Harold Roberts, Lookout Mountain, Georgia.
Helen La France (Kentucky, 1919-2020) oil on canvas painting depicting the Wooldridge Monuments in Maplewood Cemetery in Mayfield, Kentucky. The National Historical Register site features marble and limestone monuments commissioned for Colonel Henry G. Wooldridge, to commemorate family members and other loved ones of his life, from 1892 until his own death in 1899. (Interestingly, Colonel Wooldridge – who is depicted in marble on his horse – is believed to be the only person actually buried at the site). Sight – 46″W x 21″H. Framed – 47 1/2″H x 22 1/2″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). Note: Helen LaFrance died November 22, 2020 in a Mayfield, Kentucky nursing home at the age of 101. The Wooldridge Monuments were not damaged in the devastating 2021 Mayfield tornado. Provenance: Private Kentucky collection; the consignor was a friend of the artist and acquired it directly from her.
Helen La France (Kentucky, 1919-2020) oil on canvas painting depicting a tiger in repose against a mottled yellow background. Signed “Helen La France” lower right. Housed in an ebonzied frame. Sight: 23 1/2″ H x 29 1/2″ W. Framed: 25 1/2″ H x 31 1/4″ W.
Exhibited Tennessee African American Josie Covington Quilt. More information in the coming weeks.
Bertha Herbert Potter (American/Tennessee, 1895-1949) pastel on paper painting depicting an African American woman seated in a chair, knitting, with a ball of blue yarn in her lap. Signed center below the hands, “Potter” (smeared chalk). Housed in a carved, grey-washed frame with pierced and swept edges and painted sight edge. Sight – 23 1/2″H x 17 1/2″W. Frame – 29″h x 23″W. Biography: A painter, graphic artist, lithographer and muralist, Bertha Potter was born in Nashville, Tennessee and died in Santa Fe, New Mexico. She studied at the School of Applied Arts and Design in New York City and then became active professionally in Nashville where she started an art school. She spent her last years in Santa Fe (source: Peter Falk, Who Was Who in American Art). Provenance: Private Nashville collection; purchased from Stanford Fine Art, Nashville, 2004. According to the invoice, the painting was acquired from the estate of the artist.
Alice Ravenel Huger Smith (South Carolina, 1876-1958) Tonalist watercolor Lowcountry landscape painting, titled “The Silent Watchers”, depicting two white cranes perched in the branches along the break in a purple and blue treeline before a sunlit, marshy body of water covered in lilypads. Signed “Alice R. H. Smith” lower right. Printed label with artist name, location, and title, en verso. Housed and matted under glass in a giltwood frame. Sight: 2 1 3/8″ H x 15″ W. Framed: 30 3/4″ H x 24″ W. Biography: Charleston, South Carolina served as the birthplace, lifelong residence, and continuous fount of inspiration for Alice Ravenel Huger Smith. Largely a self-taught artist, Smith was instrumental in the Charleston Renaissance along with friends Elizabeth O’Neill Verner, Alfred Hutty, and Anna Heyward Taylor. She served as a founding member of the Charleston Etchers Club and the Southern States Art League and was a part of the Historic Charleston Foundation, Carolina Art Association, and the Music and Poetry Society. Her life’s career produced a body of work influenced by the lyricism of her associate Birge Harrison and other Tonalist landscape painters as well as the Japanese ukiyo-e prints she studied and created. Smith’s work is included in the permanent collections of the Brooklyn Museum, the High Museum of Art, the Ogden Museum of Southern Art, and the de Young Fine Arts Museums of San Francisco, among many others. (Adapted from the Johnson Collection, Spartanburg, SC). Provenance: The Collection of William and Fletch Coke, Nashville, Tennessee.
Large George Ayers Cress (Alabama/Tennessee, 1921-2008) polymer on canvas mountain landscape painting titled “Beyond The Ridge” rendered in shades of blue, pink, lavender, and green. Signed and dated “George Cress 1968″ lower right. Titled and additionally signed en verso. Housed in a wooden frame with linen liner. Sight – 31 1/2″ H x 35 1/2″ W. Framed – 35 1/4″ H x 39 1/2” W. American, third quarter 20th century.
William McKendree Snyder (Indiana, 1848-1930) oil on canvas landscape painting depicting a pathway through a dense forest of beech trees adorned in autumn foliage that opens to reveal a village scene beyond. Signed “W. M. Snyder” lower right. Paper and label from Madison, IN. affixed en verso. Housed in a contemporary wood frame with a gilt filet. Sight: 7 3/4″ H x 13 3/4″ W. Framed: 14 1/8″ H x 20 1/8″ W. Descended to consignor from Great-Great-Aunt, Florence Simpson. Originally obtained from the artist in Madison, Indiana in 1870.
David A. Maass (Minnesota, b. 1929) oil on board landscape painting depicting ducks flying in formation over a marshy coast through a cloudy evening sky, with four redhead ducks rendered prominently in the foreground hovering over the choppy wake. Signed “Maass” lower right. Previous sales tag affixed en verso. Housed in a contemporary wood frame with a gilt-painted inner and outer border. Sight: 23 1/2″ x 35 1/4″. Framed: 30 1/8″ x 42″ W.
Louis Agassiz Fuertes (American, 1874-1927) watercolor and gouache on paper depicting two Yellow Bellied Sapsuckers perched on the side of a birch tree. The male is depicted in the foreground with the female partially visible in the background. Signed in black lower right “Louis Agassiz Fuertes”. Empire Molding Works, Rochester, New York label en verso top of frame. Housed in a carved wood frame with wood matte and giltwood liner. Sight: 10″ H x 6 1/2″ W. Framed: 16 3/4″ H x 13″ W. Provenance: Originally purchased in Rochester, NY.
Chet Reneson (Connecticut, born 1934) watercolor and gouache on paper painting depicting a man standing in a river with a fishing pole, a small waterfall visible in the foreground. Signed and dated “Reneson 99″ lower left. Russell A. Fink, Lorton, VA gallery label, en verso. Housed and double matted under glass in a giltwood frame. Sight: 17 3/4″ H x 28″ W. Framed: 27″ H x 37” W.
Royal Academy exhibited John Clayton Adams (English, 1840 – 1906) large panoramic oil on canvas river landscape titled “The Silver Dart”. Depicting the River Dart located in Devon, England to the center with a silver reflective beam of light illuminating the river from the sky, trees lining each bank of the river with a herd of cattle visible to the mid-right river bank by rocks and a small valley and mountains visible in the far distance. Signed faintly lower left “J. Clayton Adams”. Additionally titled and signed on the mid lower edge of the frame with exhibition history noted on the lower right edge of the frame. Exhibited at the Royal Academy in 1893. Housed in an intricate gilt carved and gesso Louis XIV style frame with gilt wood liner. Sight: 471/4″ H x 71 1/4″ W. Framed: 60 1/4″ H X 84 1/4″ W x 3″ D. Artist Biography (Adapted from AskArt): Adams studied at the Bloomsbury Art School and lived in Edmonton, North London and in 1873 he moved to Ewhurst Hill. He painted mostly landscape scenes featuring southern England and occasionally painted Scottish river landscapes featuring the River Tweed. Adams exhibited 75 pictures at the Royal Academy and 25 pictures at the Royal Society of British Artist from the period of 1863 to 1893. Provenance: The Estate of Margaret Harold Roberts, Lookout Mountain, Georgia.
Ladies 18K yellow gold & platinum ring featuring a round brilliant diamond of 2.85 carats, Clarity-VS2, Color-F, with GIA report number 8459038. The ring is marked “18K” and “90 plat 10 irid”. The ring is size 5 1/4 and has a gross weight of 4.17 grams. Provenance: The Collection of Michael and Peggy Mahoney, by descent from the historic homes of Clarkland Farm at Bryan’s Station and Cherrycote, Lexington, Kentucky.
Swiss double open-face automaton pocket watch, titled The (Dutch) Kitchen, attributed to Pierre-Simon Gounouilhou (France/Switzerland, 1779-1847). 18K gold surround and stem, enamels, brass, and steel with back automaton interior kitchen scene, with five (5) actions made of multi-color gold bas-relief engraved elements including a female maid moving a pestle inside a mortar, a dog turning a wheel and vertical spindle, upper left, connecting to a spit with a rotating chicken and a rotating foil within the fireplace simulating flames. Additional gold elements include a fireplace with pieces of meat hanging above and dog playing with a cat on the floor, next to a basket with vegetables, and a broom leaning against a chest. All on a polychrome enamel painted background depicting a beamed ceiling and a wall with shelves displaying various kitchen and fireplace accessories and a male figure emerging from a window to the left side of the scene. Front with a simple white enameled dial having hand-painted Arabic numbers, gold markers, outer minute ring, and separate apertures for the movement winding (between 4 & 5) and for the automaton (at 7). Reverse of the dial with blue enamel and numbered 6031. Brass and steel mechanism with cylinder escapement and rocking oscillator, keywind, and chain/fusee. Watch is double housed in a painted enameled case depicting a landscape scene with three men on a riverbank, one man using a mallet, foreground and a small sailboat in the river to the right with a fort like structure and house in the background. 60mm. Geneva, circa 1805 – 1820. Note: Pierre-Simon Gounouilhou (1779-1847) was born in France and moved to Geneva, Switzerland in 1799, becoming a maker of repeating and musical watches, automaton watches, and carriage clocks. He worked in partnership with François (q.v. Gounouilhou & François). Gounouilhou was one of the few watch and clock makers that produced automaton watches, along with Dubois & Fils (founded in Le Locle in 1785). The Patek Philippe Museum has a similar watch in their collection, inventory no. S-962. The Casa-Museu Medeiros E Almeida has a similar watch in their collection, https://www.casa-museumedeirosealmeida.pt/pecas/relogio-automato-the-dutch-kitchen-destaque-em-junho-2019/.
Men’s 18K Rolex Day-Date Presidential wrist watch, 18K yellow gold bracelet, champagne tapestry dial with bar hour markers, manual movement, date aperture at twelve, calendar date aperture at three, sapphire crystal, 35mm gold bezel. Ref. 18030, Serial # 9158994. Automatic movement, bracelet marked 8385, 18K with additional Rolex hallmarks. Approx. 8″ dia. Circa 1986. Provenance: The Collection of Michael and Peggy Mahoney, by descent from the historic homes of Clarkland Farm at Bryan’s Station and Cherrycote, Lexington, Kentucky.
Ladies 18K white gold art deco brooch or hair ornament featuring 217 diamonds of several cuts (round brilliant, single cut, marquise, and baguette) approximately 9.38 carats, Clarity-SI1, Color-G. The brooch tests 18K and is 3 x 1 1/4″ in size. Gross weight of the brooch is 33.06 grams.
Ladies 14K Georgian brooch and/or pendant featuring one (1) old Euro cut diamond approximately 1.51 carats, Clarity-SI1, Color-H, accented by 35 old mine cut and 12 rose cut diamonds approximately 1.71 carats, Clarity-SI1, Color-I. The brooch tests 14k and is 1 1/4 x 7/8″ in size. Gross weight is 11.11 grams. Provenance: The Collection of Michael and Peggy Mahoney, by descent from the historic homes of Clarkland Farm at Bryan’s Station and Cherrycote, Lexington, Kentucky.
Ladies platinum ring featuring a round brilliant diamond of approximately 1.54 carats, Clarity-VS1, Color-I, accented by 20 single cut diamonds, approximately 0.20 carats total, Clarity-VS2, Color-H. The ring is marked “plat” and is size 7 1/2. Gross weight of the ring is 5.75 grams. Provenance: Private Nashville, TN Collection.
3 pieces Victorian gold and coral jewelry. 1st item: Attributed to Castellani, Rome, 18k yellow gold Etruscan design clip with central 15 mm orange coral cabochon surrounded by leaves and a rope border; the opposite end is marked ROMA in raised letters; Papal States quality mark for 18 karat gold. 32.2 grams. 2nd item: Yellow gold bangle bracelet, 7″ circumference, with rope trim framing three 3/4-round orange corals across the top. The bracelet has a hinge at one side opposite a concealed box clasp. Handmade, without quality marks; tests 18 karat gold. Possibly Castellani. 17.0 grams. 3rd item: 18 karat yellow gold Etruscan style brooch, 43 mm long, holding two 9 mm diameter round orange coral cabochons and one 5 mm diameter round orange coral cabochon in the center, the brooch is supported by a hinged pin and a hook bail on the reverse. Handmade; without quality marks; tests 18K gold. Possibly Castellani. 7.0 grams. 56.2 total grams.
New Orleans themed scenic coin silver tea and coffee service, each of the four pieces with hand chased decoration depicting Jackson Square to one side, with St. Louis Cathedral, the Cabildo, and the equestrian statue of General Andrew Jackson (by sculptor Clark Mills, erected in 1856); and on the other side, a Pelican feeding its young, reminiscent of the Louisiana State Seal. Coffee pot 14″H, teapot 12 3/4″H, cream pitcher 8 1/2″H, and open sugar bowl 7 3/4″H. 103.06 oz troy combined weight.
New York coin and sterling silver tea service, circa 1860, eight (8) assembled pieces including Kettle on Stand, Tea and Coffee Pots, Milk Jug and Creamer with hinged covers, sugar bowl and 2 waste bowls, all in a nearly identical grapeleaf pattern. Covered pieces feature grape cluster finials and naturalistic handles; all have elaborate grape, leaf and vine repousse decoration and circular, naturalistic branch decorated feet. Teapot, sugar bowl and smaller wastebowl are marked for retailer Ball, Black and Co. with additional hallmarks or maker’s marks for Charter, Cann & Dunn (New York, 1848-1863); large waste bowl is marked “Ball, Tompkins & Black Successors to Marquand & Co”; cream pitcher has only Charter Cann and Dunn marks; milk pitcher is stamped TIFFANY & CO. ENGLISH STERLING 925-1000 550 BROADWAY”; Kettle and coffee pot lack CC&D mark and instead have Ball, Black & Co marks with WF in rectangle. Note: Ball, Tompkins & Black, successors to Marquand & Co., later became Ball, Black & Co. and were regarded as one of the country’s most important silver and jewelry retailers, eventually being overtaken by rival Tiffany & Co. This service descended in the same New York family to present consignor and features a variety of family monograms: Coffeepot, Kettle, and large waste bowl are monogrammed SBS to A_B Dec. 6 1860; Smaller waste bowl is monogrammed SBH to SWR Oct. 7, 1851; milk jug is monogrammed ABM, other pieces are monogrammed FJB. Heights range from 5″ to 15″. Combined weight: 223.84 oz troy.
Six (6) piece Alexander C. Morin coin silver tea set plus Carrington silverplated serving tray, seven (7) items total. 1st – 6th items: Six (6) piece Alexander C. Morin coin silver repousse tea set having pear-shaped body, floral designs surrounding foliate cartouches to each side, naturalistic handle with floral accents, and scalloped foliate design to round foot. Set includes one (1) coffeepot with acanthus design to hinged lid, teardrop shaped finial, and shoulder and naturalistic gooseneck spout; two (2) teapots with acanthus design to hinged lid, teardrop-shaped finial, and shoulder and naturalistic gooseneck spout; one (1) double-handled sugar bowl with acanthus design to lid, teardrop-shaped finial, and shoulder; one (1) creamer with pinched spout; and one (1) waste bowl with flared rim. All pieces except one teapot monogrammed “Gorham”; one teapot inscribed “Abe Buford ES Stewart J. B. Gorham 1904.”. All items stamped with maker’s mark, “Philad*”, and “Pure Coin” to underside. Ranging in size from 7 1/8″ H x 6″ W x approx. 4 5/8″ D to 12 1/2″ H x 10 1/4″ W x approx. 6 1/4″ D. 153.105 total troy ounces. Note: This tea set was the first known and published (House & Garden) example of works marked for the jeweler and silversmith Alexander C. Morin. The original owner of the set is attributed to be Abe Buford, the Brigadier General of the Confederate Army. 7th item: Carrington & Co. silverplated serving tray with scalloped edges, two handles, and central emblem of the Order of the Garter, the highest order of British chivalry, with motto “Honi soit qui mal y pense” (“Shame on him who sees harm in it”). Stamped with maker’s mark, “30141, and “Carrington 130 Regent St. W” to underside. 18″ H x 29″ W. Provenance: The Collection of Michael and Peggy Mahoney, by descent from the historic homes of Clarkland Farm at Bryan’s Station and Cherrycote, Lexington, Kentucky.
Three (3) piece Stebbins & Company coin silver temple form tea set with octagonally segmented bodies having panels with floral chased sprays and cartouches surrounding monogram HPJ separated by corinthian column forms, naturalistic repousse branch handles and gooseneck spouts, four grape bunch shaped feet, and domed lids having chased foliate designs and turnip finials, including one (1) teapot with hinged lid, one (1) creamer with hinged lid, and one (1) sugar bowl with fitted lid. All items stamped with maker’s mark to underside. Ranging in size from 7 1/2″ H x 8″ W x 4 3/8″ D to 9 3/4″ H x 11 1/4″ W x 6 1/2″ D. American, circa 1850. 84.45 total troy ounces. Provenance: Estate of Judge John Nixon, Nashville, Tennessee.
Large Kentucky coin silver punch or soup ladle, marked A BLANCHARD in rectangle with single eagle mark for Asa Blanchard, working Lexington, 1808-1838 (mark illustrated Boultinghouse, Silversmiths of Kentucky, 1785-1900, p. 299, fig. 29D). Monogrammed with script “L”. 14″ L, 6.46 oz troy.
Large Kentucky coin silver soup or punch ladle with round bowl and fiddle handle, monogrammed SGJ, the reverse marked A. Blanchard in rectangular cartouche (Asa Blanchard, working Lexington, KY 1808-1838). 13 1/2″ L, 7.090 oz troy. Ref. Marquis Boultinghouse, Silversmiths of Kentucky, 1785-1900, pp. 69-77, mark illustrated p. 299, fig. 29D. Provenance: The Collection of Michael and Peggy Mahoney, by descent from the historic homes of Clarkland Farm at Bryan’s Station and Cherrycote, Lexington, Kentucky.
Large Kentucky coin silver punch or soup ladle with oval bowl, broad downturned fiddle handle with engraved monogram G. Stamped J.S. SHARRARD in rectanglar cartouche for James S. Sharrard, working Shelbyville and Louisville, c. 1836-1880. 14 1/2″ L. 8.100 troy ounces. Note: the Sharrard family of silversmiths worked in multiple locations between approximately 1836-1880, including Scott County, Paris, Shelbyville, Harrodsburg, Henderson, Louisville, and Princeton. Provenance: The Collection of Michael and Peggy Mahoney, by descent from the historic homes of Clarkland Farm at Bryan’s Station and Cherrycote, Lexington, Kentucky.
London sterling silver two-handled cup with cover, hallmarks for Joseph Angell & John Angell and date letter for 1834 to the underside of the cover and to one side of the cup. Lid having domed swirling wave decoration to the center with a figural Poseidon or Neptune atop a dolphin fish finial, resting on a Campagna form cup with rope twist handles and circular base with swirled leaf and flower decoration. 13 3/4″ H. 35.425 troy ounces.
Large English sterling silver tray or platter, Rococo style border with shell and scroll design and shell and scroll handles; engraved shell and scroll decoration to center. Hallmarked on top for John Rodgers, Sheffield, Sterling, 1901-1902. 19″ x 28 1/2″ (including handles); 25 1/2″ (excluding handles). Weight – 127.6 oz troy.
George II sterling silver cake basket, London, circa 1723 or 1732. Oval form with pierced scrolling foliate decoration to rim and swing handle, with pierced scrolling and diaper patterns to lip, body, and oval base. Partially illegible hallmarks to underside of lip. Monogrammed with script “L.W.G.” to interior. 4 1/2″ H x 14″ W x 11″ D. Overall with handle: 11″ H. 38.395 total troy ounces. Provenance: The Collection of Michael and Peggy Mahoney, by descent from the historic homes of Clarkland Farm at Bryan’s Station and Cherrycote, Lexington, Kentucky.
Gorham Martele sterling silver square tray with hand raised repousse formed edges with grapes, foliage, and central cartouches. Monogrammed JBG and LWG within opposite cartouches. Stamped with maker’s mark, “925-1000 Fine”, 2253, 12 IN, date mark for 1899, and “1910” to underside. 12 1/8″ H X 12 1/8″ W. Circa 1899 with later inscription. 39.285 troy ounces. Provenance: The Collection of Michael and Peggy Mahoney, by descent from the historic homes of Clarkland Farm at Bryan’s Station and Cherrycote, Lexington, Kentucky.
Miniature watercolor portrait depicting Revolutionary War General Thomas Eaton of North Carolina (c. 1739-1809). The subject is depicted in late middle age, balding, with blue eyes and wearing a dark blue coat with gold buttons and a white shirt. Housed under glass in a copper frame with flat loop hanger and ball finial; retains its original oval red leather case with remnants of silk lining. Interior is inscribed “Gen. Eaton Continental Army NC.” . 2 1/2″ x 2″ (framed). Note: Thomas Eaton served in the North Carolina Militia during the War of the Regulation in 1771 and in the Revolutionary War from 1775 to 1784, leading troops in the battles of Brier Creek and Guilford Courthouse. He was also a member of the NC Provincial Congress and the NC House of Commons, and the NC Council of State under Gov. Richard Caswell (ref. William s. Powell, The Dictionary of North Carolina Biography, p. 131). Gen. Eaton had considerable wealth and was listed in the 1790 census as one of the largest slaveholders in the state; a note found with the portrait states that he equipped a regiment at his own expense. Eaton’s first wife, Anna Bland, bore him a daughter also named Anna, who married Guilford Dudley, originally of Halifax County, VA. Guilford and Anna Dudley resided in Williamson County, Tennessee and the portrait descended in their family to Mary Bright Wilson. Provenance: Property of the Lincoln County Museum, Fayetteville, TN; Bequest of Mary Bright Wilson (1909-2004), formerly of Fayetteville, and descended in her family.
Miniature watercolor portrait of a young girl, believed to be Harriet Bolling Eaton of North Carolina (1791-1814), daughter of NC Revolutionary War General Thomas Eaton. The subject is depicted seated in a Chippendale style chair, wearing a brown hat and white dress with blue sash and hat ribbon. Housed under glass in a copper brooch style frame with loop bail. Overall size 2 1/4″H x 2″W. Circa 1800. Note: A 20th century note accompanying this portrait identifies the subject as Harriet Bolling Eaton. She was born in Warren, NC, to Anna Dade Stith, the third wife of Gen. Thomas Eaton, who was in his fifties at the time of Harriet’s birth. At the age of 19, Harriet was married to 51 year old Charles Grandison Field, and apparently died during or just after the birth of their only child, Eaton Grandison Field. Eaton Field died without issue, and this portrait descended in the family of Harriet’s half sister, Anna Eaton Dudley, to Mary Bright Wilson of Tennessee/Florida. Provenance: Property of the Lincoln County Museum, Fayetteville, TN; Bequest of Mary Bright Wilson (1909-2004), formerly of Fayetteville, and descended in her family.
Diminutive Kentucky Sheraton blockfront huntboard or sideboard, primary woods include mahogany veneer and cherry, poplar secondary. Consisting of a shaped top over a convex blockfront dovetailed drawer with brass pulls flanked by curved sides, resting on legs with ball and spiral turnings, ending in cone tapered or “turnip” feet. 40 1/8″ H x 40″ W x 22″ D. Circa 1830. Provenance: The Collection of Michael and Peggy Mahoney, by descent from the historic homes of Clarkland Farm at Bryan’s Station and Cherrycote, Lexington, Kentucky.
Lexington, Kentucky windsor settee or bench, attributed to William Challen, Lexington. Plain crest over a tripartite back, each section fitted with four spindles having oval ornaments and one central Federal urn ornament spindle, downward-sweeping scrolled arms supported by one turned spindle, above a curved woven rush seat raised on eight turned legs, joined by shaped and turned stretchers, the front stretchers with a central diamond-shaped design. Mixed woods. 35 1/2″ H x 70 1/2″ W x 17 1/4″ D. Circa 1810 – 1830. Note: A side chair attributed to Challen in the MESDA object database (Acc. 5691.2) has the identical turned feet and stretchers with a central diamond flanked by double-ring turnings. https://mesda.org/item/collections/side-chair/20893/. Challen was a British immigrant, who worked in London, then New York City by 1796, and was in Lexington, Kentucky by 1809. Provenance: The Collection of Michael and Peggy Mahoney, by descent from the historic homes of Clarkland Farm at Bryan’s Station and Cherrycote, Lexington, Kentucky.
Kentucky pair of birdcage windsor side chairs, Lexington area. Both rod back style with bamboo turned parts including four (4) top spindles and nine (9) lower spindles, curved top rails with parallel lower rails, rounded saddle shape seats with incised perimeter and bamboo turned splayed legs joined by stretchers. Traces of green and red paint to seat underside. Mixed woods throughout. 33 1/4″ H x 16″ W x 15″ D. Circa 1800. Provenance: The Collection of Michael and Peggy Mahoney, by descent from the historic homes of Clarkland Farm at Bryan’s Station and Cherrycote, Lexington, Kentucky.
Kentucky Sheraton cherry sugar chest, poplar secondary. Consisting of a plain partially hinged top above a case with a highly figured front panel and sides dovetailed to the lower base. Shaped skirt and boldly turned feet, underside of base with the original blocking. 31 3/4″H x 32″W x 18 1/4″D. Circa 1825. Provenance: The Collection of Michael and Peggy Mahoney, by descent from the historic homes of Clarkland Farm at Bryan’s Station and Cherrycote, Lexington, Kentucky.
Georgia huntboard, yellow pine throughout with red wash. Comprised of a plain top over two drawers, moldings applied to underside of top and lower case edge. Resting on tall, tapering turned legs. Nailed and pegged construction throughout. 42 1/2″ H x 59 1/2″ W x 30 3/4″ D. Mid-19th century. Washington County, Georgia. Provenance: The Collection of Dr. Joe Newsom Rawlings, Davisboro, Georgia.
Southern sugar press, cherry primary, poplar secondary. Constructed in two pieces, the upper rectangular dovetailed case having a hinged lid with applied molding and a divided interior; the base with a single long drawer with divided interior and wood pulls, above two paneled and hinged doors, paneled sides, and ring turned tapered feet. 46 1/4″ H x 37″ W x 18 3/4″ D. Circa 1820-1840.
Greene County, Tennessee earthenware jar, possibly Christopher Alexander Haun pottery, having lead and possibly iron oxide underglaze with copper oxide dipped designs around the circumference and concentric incised lines around upper shoulder. 6 1/8″ H. Mid 19th century.
Exhibited West Tennessee (Henderson County) ten (10) gallon stoneware pottery jar attributed to Tinsley W. Craven. Oval-shaped with ear handles and a crimped or raised band encircling the middle with wave design, joining both halves of the jar. Incised “10” below the rim denoting capacity. This jar was exhibited in the MADE IN TENNESSEE exhibition at the Tennessee Fine Art Center at Cheekwood, Nashville, 1971. It is featured on page 44 of the exhibition catalog as Figure 123. 21″ H.
Large J. A. Roberts Middle Tennessee stoneware pottery ten (10) gallon jar with rare cobalt decoration, having two lug handles, with unusual cobalt decoration including a “X”, denoting capacity, flanked by floral sprigs below the rim. Stamped “J. A. ROBERTS POTTERY” along the lower front edge. 19″ H x 12 1/2″ W. Late 19th century.
Rare West Tennessee Needlework Sampler, stitched by Lucy Macon Green and dated 1842, silk on linen. Strawberry border enclosing five rows of alphabets and a geometric border over a signature line, LUCY M. GREEN AGE 11 YEARS 1842; two stitched conjoined hearts beside a verse, “Celestial happiness when’er she stoops / To visit earth one shrine – the goddess finds / And one alone to make her sweet amends / For absent heav’n the bosom of a friend.” Below is a row of stitched numbers and geometric floral motifs, and the names of her parents, Simon W. Green and Mary M. Green, brother Joseph T. Green, and twin sister Marianna (Mary) H. Green. 1934 note en verso from the stitcher’s daughter, bequeathing it to a friend, along with a photograph of a period painting of a woman said to be Lucy Macon Green Wright. Later ebonized molded frame. Sight – 16″ x 17″. Frame – 18″h x 18 3/4″W. Note: This sampler, one of fewer than 20 known to have been made in West Tennessee, has been documented by the Tennessee Sampler Survey. Lucy Macon Green was born near Greenville, NC on March 3, 1831. She was the daughter of Simon W. Green (1805-1840) and Mary H. Macon (1809-1840). Around 1835 the family moved to Hardeman County, Tennessee, but Lucy’s parents both died in 1840. Her father’s will shows he owned 41 slaves and a vast amount of livestock at the time of his death. Lucy and her twin sister became the wards of their great uncle, Dr. John T. Macon, who had served under George Washington in the Revolutionary War. Macon was Captain of the 7th North Carolina Regiment, present at the battles of Brandywine, Germantown, and Valley Forge, and in 1787 was promoted to Major. He was awarded property in Tennessee through a land grant. After her parents’ death, Lucy Green was educated at the Jackson (TN) School for Girls. She married Dr. Weldon Edwards Wright in 1854 and they moved to Little Rock, Arkansas, where they raised four children including Sally Lea Wright Brame (1863-1944) who is believed to have inherited this sampler and gifted it to a friend (see note en verso of sampler). A packet of genealogical information is available to the winning bidder.
Hawaiian applique quilt in two shades of pink cotton or cotton sateen, ink-inscribed en verso to one corner, “1932/Peter Leilani Kaaekuahiwi/From Mother”. All appliqued and quilted by hand. The reverse applique on top reveals a lighter coral-colored cloth of the foundation. The quilting thread is yellow and the backing is a light coral color. The pattern name is unknown. 70″ x 80″. History: Peter Leilani’s mother, the quiltmaker, was A’keao Akana Kaaekuahiwi (b. 1889) and is listed in a 1910 Hawaiian census as a native Asiatic Hawaiian. Peter Leilani (1911-1989), was the oldest of her 8 children.
Lloyd Branson (American, Tennessee, 1861-1925) large oil on canvas classical painting, after the original painting by Friedrich Paul Thumann (Germany, 1834 – 1908) titled “Ancient Greek Man Painting a Vase”. Depicting a seated male painting a Greek vase in an interior setting as female stands in the open door way gazing at his work with the sea visible in the background. Signed and dated on the lower left in the seat “Lloyd Branson Paul Thumann “93”. Housed in a foliate carved gilt wood frame. Sight: 39 3/8″ H x 29 3/8″ W. Framed: 45″ H x 35 1/4″ W. Biography (courtesy James A. Hoobler, Tennessee State Museum): Enoch Lloyd Branson was best known for his Southern portraits and depictions of East Tennessee history. He moved to New York in 1873 to study at the National Academy of Design, where he won a first prize in 1875. In a partnership with Frank McCrary from 1885 to 1903, Branson became a leader in the East Tennessee arts community. He was a mentor to Catherine Wiley and is credited with discovering Beauford Delaney.
Robert Loftin Newman (Tennessee/NY/ France, 1827-1912) oil on canvas nocturnal landscape painting, titled “The Flight Into Egypt”, depicting Mary, attired in crimson and seated, holding the Christ child as they are both seated upon an animal that is being led by two figures in white, with two other figures and animal visible in the distance. Signed lower left corner in red “R L Newman”. Label en verso reads, “No. 2506 Babcock Galleries 19 East 49th Street New York”. Additional, partially legible incising to stretcher with artist information lower right. Housed in an American gilt carved and textured frame. Sight: 19 1/4″ H x 29 1/4″ W. Framed: 27″ H x 37″ W. Note: This painting is featured in the book “Robert Loftin Newman” by Marchal E. Landgren, published for The National Collection of Fine Arts by the Smithsonian Institution Press, City of Washington, 1974. It is shown on page 128, Figure 18.
Itzchak “Isaac” Tarkay (Israel/Serbia, 1935-2012) oil on canvas painting depicting three women seated at tables in an interior scene rendered with brightly colored simplified forms and clean lines. Signed “Tarkay” lower right. Sales tag from Davishire Interiors, Nashville attached en verso. Housed in a contemporary giltwood frame with a linen liner. Sight: 30″ H x 23 1/2″ W. Framed: 35″ H x 29 1/4″ W. Biography: Itzchak Tarkay was born in 1935 near the border of Yugoslavia and Hungary. At the young age of 9, Nazis forced his family to live in the Mathausen concentration camp until the end of the war. Upon his return home, he developed an interest in art. He later went to study at the Bezalel Art Academy after his family immigrated to Jerusalem. However, due to his family’s difficult financial state, he had to leave school after only one year. He was allowed to continue his scholarship until his mobilization to the Israeli Army. Tarkay enrolled at the Anvi Institute of Art in Tel Aviv, graduating in 1956. His art has been exhibited in both Israel and Abroad. Provenance: Private Nashville estate. Purchased from Davishire Interiors, c. 1990.
Sonia Terk Delaunay (France/American/Russian Federation/Ukraine, 1885-1979) signed abstract color lithograph on paper titled “Rhythm in Color” depicting blocks of color arranged in a semi-circle and grid form. Signed “Sonia Delaunay” in pencil, lower right. Edition number “35/75″ in pencil, lower left. Title and supplemental information about the artist and work en verso. Housed in a contemporary metallic frame with a linen mat under UV protectant glass. Sheet: 20″ H x 14 3/4″ W. Framed: 30 3/4″ H x 25 1/4” W.
After Pablo Picasso, “Le Peintre,” color collotype and stencil, circa 1963, depicting an artist with paint brush, rendered in shades of blue. Published by Guy Spitzer, Paris, with blind stamp lower left of image and printed signature. Hand signed by Picasso lower right margin, in blue crayon and numbered 315/350 in pencil, lower left margin. Burnished wood frame with linen matte and gilt fillet. Image: 29 1/2″H x 23 1/2″ W (750×595 mm). Sight – 33 1/2″H x 25 1/2″W. Frame – 38″H x 30″W.
Pablo Picasso (Spanish, 1881-1973) Madoura charger titled “Visage aux Feuilles” (Face with Leaves), white earthenware ceramic having engobe glaze and partially textured or latticed surface to the center, blue glazed raised face to center with blue glazed raised leaves and raised yellow glazed stars to the rim. Marked and numbered en verso “Madoura Plein Feu / Empreinte Originale de Picasso / C 108 / 32/100”. 16 1/2″ Diameter. Originally created in 1956.
Peter (Finkelstein) Max (New York/Germany, b. 1937) large oil on canvas abstract still life painting depicting a blue vase with pink and yellow flowers. Signed and dated “Max ’73” upper right. Housed in a contemporary wooden frame with a linen liner. Sight: 29 1/2″ H x 39 1/2″ W. Framed: 33″ H x 43″ W.
Large Sterling Strauser (Pennsylvania, 1907-1995) oil on board abstract still life painting, horizontal orientation, depicting two vases of multicolored flowers on a pale green background. Signed and dated “Strauser ’79” lower right.. Housed in a patinated giltwood frame with a linen mat and giltwood liner. Sight: 23 1/2″ H x 48″ W. Framed: 34 7/8″ H x 57 1/2″ W.
Alois Lecoque (California/Illinois/Czech Republic/Italy/France, 1891-1981) post impressionistic oil on canvas painting depicting a city, likely Paris, in winter with a few figures walking the street. Signed “Lecoque” lower right. Scramm Galleries, St. Lauderdale, FL label en verso of frame. Housed in a wooden frame with gilt and grey trim and an off white linen liner. Sight: 23 1/2″ H x 29 1/2″ W. Framed: 29 1/4″ H x 35 1/4″ W. Provenance: The Estate of Margaret Harold Roberts, Lookout Mountain, Georgia.
Charles Griffin Farr (California/Tennessee, 1908-1997) oil on canvas painting depicting a female nude with blonde hair pulled back in a ponytail, seated in a wooden chair with a turquoise blanket draped over the back, in an interior setting. Signed “Farr” lower right. Variations by Victoria, Knoxville, TN gallery ink stamp, en verso. Housed in an ebonized wooden frame with carved giltwood trim. Sight: 19 3/4″ H x 15 5/8″ W. Framed: 24 1/2″ H x 20 1/2″ W.
Stephen Rolfe Powell (Alabama/Kentucky, 1951-2019) double-lobed and multi-colored murrini art glass sculpture or vase, comprised of multiple bands of fused colored canes. Signed and dated on one side near the base “Stephen Powell 1995″ and initialed BZ. 31.5″ H x 20″ W x 10” D.
Fourteen (14) French Saint-Louis Excellence patterned cut crystal burgundy wine glasses with diamond cut ball, faceted body, notched stem, star cut foot, and gilt scalloped highlights and rims. All items with Saint-Louis maker’s mark etched to underside of foot. 8 3/4″ H x 3 1/2″ dia. 20th century. Provenance: The Estate of Margaret Harold Roberts, Lookout Mountain, Georgia.
Rutherford B. Hayes, official White House pattern china hand-painted soup plate or bowl, designed and signed by the artist, Theodore R. Davis, manufactured by Haviland & Company, France. The interior depicting an okra plant with butterfly and hen and the exterior decorated with an American eagle below the scalloped gilt rim and with additional gilt swag trim. The base with raised blue/green radial molding and marked with the Haviland & Co. maker’s marks, artist signature “Theo: R. Davis” and patent date “August 10th 1880, No. 11933”. 9″ dia. Note: In 1879, a state dinner service for President and Mrs. Rutherford B. Hayes was commissioned from Haviland & Co., Limoges, France. After a meeting with Mrs. Hayes in the White House conservatory, Theodore R. Davis, an artist for Harper’s Weekly, who advocated a service designed with American flora and fauna, was asked to assume direction of the designs. The original set was comprised of 562 total pieces for 9 courses including: appetizer/oyster, soup, fish, entree, roast, ices, game, salad, dessert, and fruit & cheese with coffee. The service was decorated with 130 different American plant, animal and scenic views. Some of the Hayes designs and forms were made for public sale as well, but on these the original pennant mark dated 1879, unique to the White House service, was replaced by a blue 1880 patent mark, as this offered example. (History adapted from: Office of the Curator, The White House)
Eleven (11) piece Tiffany Studios gilt bronze desk set in the Ninth Century pattern, accented with Favrile blue and green glass cabochons, comprising ten (10) articles: two frames (1697 and 1632), a letter rack (1625), pair of two blotter ends (1623), pen tray (1626), rocker blotter (1628), inkwell (1621), stamp box (1624), magnifiying glass (1619) and a pen wipe (1629), each impressed “Tiffany Studios, New York” with corresponding model numbers. Also included with this lot is the Tiffany Studios period sales brochure, “Activities of Tiffany Studios.” A desk set similar (but not identical) to this one is pictured (and circled in ink) on page 17. Frames measure 7 1/2″H x 8″w (opening 3 1/4 x 4 3/4″) and 6 1/2″ x 8″ (opening 5 1/2″ x 4″). Sizes of other desk articles range from 2 3/4″ square x 1 1/2″ height (pen wipe) to 5 3/4 x 10 x 2 1/2 inches (letter rack), and 12 1/4 in. long (blotter ends). American, circa 1910.
94 pieces of Tiffany and Company sterling silver flatware in the Audubon Pattern in a set for 12 including twelve (12) New French hollow table knives with bolsters (10 1/4″ L), twelve (12) individual steak knives with bevel blades (9″L), twelve (12) dinner forks (8 1/8″ L), twelve (12) individual salad forks (6 3/4″ L), twelve (12) oval soup spoons, twelve (12) iced tea spoons, twelve (12) flat handle butter spreaders, one (1) large two-piece roast carving set with stainless steel blade and original box, one (1) vegetable serving spoon, one (1) serving/tablespoon, one (1) solid serving fork, one (1) large cold meat serving fork, one (1) solid gravy ladle, one (1) solid piece cream ladle, one (1) jelly spoon, and one (1) cheese knife with stainless steel blade. 136.91 weighable troy ounces.
Rachel Marshall Hawks (American/Maryland, b. 1879) bronze garden sculpture fountain with verdigris patina, depicting a nude young girl with butterfly. Signed R. Hawks and stamped ROMAN BRONZE WORKS INC. to base. 36″H x 20″W x 17″D. Biography: Rachel Marshall Hawks studied at the Maryland Institute College of Art’s Rinehart School of Sculpture with Ephraim Keyser. Much of her work consisted of public installations, including the City Hall and Memorial Hospital Fountain in Baltimore and the U.S. Naval Academy. (Source: Artprice).
Lorenzo Ghiglieri (American, 1931-2020) bronze sculpture, titled “Photo Finish”, depicting three jockeys racing their horses over the finish line at nearly the same moment upon a fitted hardwood base. Signed with copyright on base and dated 2004, numbered 39/200. Overall: 17″ H x 40″ W x 14″ D.
George Northup (b. 1940, American) bronze sculptural lamp titled “Green Drake Day”, depicting three Yellowstone Cutthroat Trout fixed upon a naturalistic central branch standard, the whole mounted upon a naturalistic rectangular footed base. Signed, dated, and numbered along the base edge, ” Northup, 2002, #13/35″. Fitted with a long conforming oval copper shade with bronze insect finial. 31 3/8″ H (includes finial) x 27″ L x 11″ W.
Lanier Meaders (White County, Georgia, 1917-1998) folk art pottery face jug having a dark olive alkaline glaze with porcelain eyes, pronounced nose and lips and no teeth. Incised signature on the base. 9 1/2″ H. 20th century. Provenance: The Collection of Dr. Joe Newsom Rawlings, Davisboro, Georgia.
Civil War Confederate Thomas, Griswold and Company, New Orleans, Louisiana Foot Officer’s sword with brass scabbard. Steel blade engraved with scrolling foliate decoration throughout, obverse with flags and crossed cannons below ricasso, reverse with script lettering reading “C.S.” to cartouche, brass hilt with pierced scrolling foliate guard, leaf decoration to quillion and pommel, leather grip wrapped in brass wire. Unmarked. Includes a brass scabbard with two suspension mounts molded with scrolling foliate bands and a gold tassel. Blade length: 29 1/4″. Overall length with scabbard: 37 3/4″. Note: Descended in the family of 14th Vice President of the United States and Confederate Brigadier General John Cabell Breckinridge, through John Breckinridge Gorham of Cherrycote, Lexington, KY. Provenance: The Collection of Michael and Peggy Mahoney, by descent from the historic homes of Clarkland Farm at Bryan’s Station and Cherrycote, Lexington, Kentucky.
Pair of A. Pedro Esteva, Barcelona Miquelet Flintlock Pistols, .68 caliber. Top of barrel stamped “A.P/EST/VA” surmounted by a crown with additional hallmark, one pistol with proof mark surmounted by a crown to left side of lock plate. Scrolling foliate and cannon engravings throughout including to hardwood stocks, gilt-brass mounts, and iron furniture, transitional octagonal to round barrels, trigger guard tangs with engraved pineapple finials, butt caps with engraved mascarons, wooden ramrods with brass caps, iron bootstraps to right side of lockplates, blank German silver inlaid shield-shaped escutcheons to buttstocks. Barrel length: 9 3/4″. Overall length: 16″. First half 18th century.
Pair of John Manton and Son, London Percussion Dueling or Target Pistols, .63 caliber, serial number 6383, visible to trigger guard. Lockplate stamped “John Manton & Son”, top of barrel near breech stamped “Manton & Son London” with the image of a crown. Octagonal barrel, European walnut stocks with checkered grips, iron mounted with scrolled foliate engravings to lockplate, right side of hammer, trigger guard, and tang, pineapple final engraving to trigger guard tang, fish engraving to hammer, octagonal German silver escutcheon with the engraved stag coat of arms inlaid to top of grip, brass bead front sight, wooden ramrods. Housed in a wooden John Manton and Son case with a paper label, wooden mallet with a brass tip and a key, hinged lid with matching coat of arms to round brass escutcheon. Barrel length: 4 1/2″. Overall length: 10″. Case: 3″ H x 14 1/2″ W x 8 1/4″ D. England, 1st quarter of the 19th century.
Follower of Quentin Matsys oil on panel Triptych depicting three religious scenes of Christ’s early life. 1st panel: “The Nativity” scene depicting the Holy Family gathered outside a barn with the Holy Spirit in the form of a dove hovering above. 2nd panel: Large central scene depicting the “Adoration of the Magi” in a continuing narrative that conveys the Magis’ journey to Bethlehem in the background, with the ornately dressed Kings presenting gifts to the Holy Family in the foreground, while God the Father and angels watch from above. 3rd panel: Interior scene depicting Christ’s “Presentation in the Temple” with the Holy Family accompanied by St. Simeon and two other Saints. All housed in Cassetta-style wood frames with red velvet lined friezes. Central panel with arched giltwood interior frame. Sights ranging from 25 1/4″ H x 91/8″ W to 36 3/4″ H x 20 1/2″ W. Frames ranging from 34 1/2″ H x 19″ W x 42 7/8″ H x 26 7/8″ W.18th Century in Northern Renaissance Style.
Italian school oil on canvas ecclesiastical painting of the Madonna staring down at the Christ Child holding her hands folded across her chest, while cherubs hover in the clouds above them. The Christ Child holds a pear in his right hand, a symbol of virtue and the virgin’s womb. Old label with Italian inscription en verso. Housed in a giltwood frame with stipple engraved details. Sight: 26 1/2″ x 20 1/4″. Framed: 34 3/4″ H x 28″ W. Provenance: The Collection of Griff and Dallas Adams, Johnson City, Tennessee. By descent, from the collection of Supreme Court Justice Thaddeus Cox, originally housed in the historic “castle” Oakes House in Johnson City, TN.
Rembrandt Van Rin (Netherlands, 1606-1669) etching , drypoint, and burin, “Jan Lutma, Goldsmith”. Signed and dated “Rembrandt F, 1656″ in plate, upper center. Inscription en verso dated to 1808, similar to Lugt 3006 (J.T. Badel Nijenhuis who lived from 1797 to 1872, and was a collector of 17th-century art). Mounted and housed in a giltwood frame under glass. Size 196 x 148mm. Plate: 7 1/8″ H x 5 3/4″ W. Framed: 18 1/2″ H x 16 1/2” W. State II/III. Literature reference: Biorkland n. 56-C; Guillaud n. 254. Galleria M. Arte Padova, Italy, Certificate of Guarantee provided.
Rembrandt Van Rin (Netherlands, 1606-1669) etching and drypoint, “The Return of the Prodigal Son”. Signed “Rembrandt F 1636″ in plate, lower center. Float mounted and housed in a giltwood frame under glass. Size 158 x 138mm. Plate: 6 1/8″ H x 5 1/4″ W. Framed: 12 1/8″ H x 11 3/8” W. State 1/1. Literature reference: White and Boon, 91; Biorkland n. 36-D; Guillaud n. 442. Galleria M. Arte Padova, Italy, Certificate of Guarantee provided.
After Fra Angelico (Italian, 1395-1455) tempura and gilt paint on panel icon titled “The Annunciation and Adoration of the Magi” depicting two religious scenes with incised decoration. Above, the Angel Gabriel visits Mary in an interior scene to announce she will give birth to Christ, with the Holy Spirit in the form of a dove, and God the Father watching over from above. Below depicts a scene from Christ’s Nativity, in which the Magi bring gifts to the Holy Family. The frieze of the frame portrays ten female saints identified with pencil inscriptions below their portraits. Signed “Olega Giardi Albina, Firenze” lower right. Embossed with two Florentine red wax seals en verso. Housed in an elaborate cathedral-style giltwood frame with a gothic pointed arch, twisted columns, quatrefoil, and foliate grape and vine decoration on a classical base with Latin inscriptions. Sight: 16″ H x 9 3/4″ W. Framed: 33 1/2″ H x 23″ W x 5 1/2″ D. Italian, Circa 1900. Provenance: The collection of a Tennessee institution.
Gerard Jozef Portielje (Belgium/England, 1856-1929) oil on board genre painting depicting a domestic scene of two women in voluminous dresses and bonnets tied with pink ribbon seated for tea at opposite sides of a dining table illuminated by a window to the left within a olive-painted interior having portraits hung beside a large wooden press. Signed “Gerard Portielje” lower right. Unframed. 14 3/4″ H x 18 1/4″ W.
Pair of Chinese Famille Rose porcelain hexagonal jardinieres, each having hand-painted images of birds, crickets, a praying mantis, and other insects perched on flowering branches, all on white ground, with molded ruyi-heads to rim and footed base. 7 1/4″ H x 10 1/2″ W. 19th century.
Pair (2) Chinese yellow ground Dayazhai style vases, bottle form, with grisaille peony foliate forms to body; grisaille foliate vines and bat motif to neck; turquoise glazed interior and accent bands to rim, shoulder, and base; and blue frieze design to foot. Marked in iron red with oval panel flanked by two qiulong encompassing seal mark “Tiandi yiji chun” (Spingtime in Heaven and Earth, One Family) and hall mark reading “Daya Zhai” (The Studio of the Greater Odes) to shoulder. Stamped in iron red with four character mark “Yongqing Changchun” (Eternal Prosperity and Enduring Spring) to teal-glazed underside. 13″ H x approx. 9 1/2″ dia.
Steinway and Sons, New York, Model B Grand piano, ebonized case over tapered legs terminating into block feet and mounted with castors. Serial #496359 indicating a manufacture date circa 1985. 38 1/2″ H x 58″ W x 83″ (6′ 11″) L. Fitted with a leather upholstered adjustable bench of similar design. Provenance: The Estate of Margaret Harold Roberts, Lookout Mountain, Georgia.
Carl (Karl) Worner folk art carved and assembled minature wood and paper saloon bottle diorama titled “Find the 6 Man”. Depicting a saloon belonging to Joseph Albermann (Cincinnati, Ohio), with a bartender serving two patrons at the bar flanked by potted trees with two patrons seated at a table drinking beer and playing cards. “Find the 6 Man” written in graphite on the front floor edge with an additional graphite inscription along the bottle base in German reading Drink Noch Eins (Drink One More). The “hidden” sixth man is sketched in graphite on the reverse side in a privy or cubbyhole between the floral cardstock drawing. Painted elements throughout including a hunt scene over the bar with painted and labeled bottles and other items behind the bar and on the floor next to the table. Many items are labeled with a mixture of English and German. Housed in a tall round liqueur bottle with a carved long wood plug. 24 1/4″ H x 6″ dia. 1st Qtr. 20th century. Note: Joseph Albermann is listed in a 1907 & 1909 Cincinnati, Ohio city directory as a saloon owner. He is additionally listed as a bartender/saloon owner in the 1910 US Census. Artist Biography: Carl (Karl) Worner or Warner was a German immigrant to the United States who was a prolific folk art bottle builders. He presumably made hundreds of these bottles as over 100 bottles have survived. He made four main categories of bottles, religious (crucifixion), clocks, bar or saloon scenes, and non-saloon dioramas. Some of his most well-known bottles depict saloons and often feature a “missing man” element along with elaborate bar details with many words often written in his native German language (Adapted from: https://folkartinbottles.com/)
Two (2) Lonnie Holley (Alabama, b. 1950) cubist sandstone sculptures. 1st item: Large sandstone sculpture of multiple figures and faces in profile or faced front on, with one of the figures painted or stained darker in color. Signed L H ’91 on underside of base. 4″ L x 18 1/2″ H x 6″ D. 2nd item: Two piece assembled sandstone sculpture of a man and woman’s face and possibly a child on the left-hand side, rendered with tonal variation that increases from the right to left side, and topped with a small carved lid or covering with a fish motif on one side and a front on face or mask en verso. This piece is not attached but rests in a concave cavity on the top of the sculpture covering a carved hole inside. Signed “lH” on underside of base. 5″ L x 8 1/2″ H x 8″ D. Note: sandstone is very porous and easily chipped.
Large Mary Tillman Smith (American/Mississippi, 1904-1995), “Family,” house paint and green marker on plywood painting depicting three figures in black, all with green eyelashes, one having a green mouth, on a bright yellow background. Signed “Mary T Smith” in green marker, en verso. Unframed. 24″ H x 48″ W. Acquired directly from the artist.