The October 8th, 2022 Fall Fine Art and Interiors auction will feature Tennessee estates including the collection of Pia Stratton and other fine art, antiques, and jewelry from Southern estates, collections, and institutions.
1st item: Ladies 22K yellow gold waterfall necklace featuring 546 round brilliant diamonds approximately 20.00 carats, Clarity-VS2, Color-H. The necklace is marked “22/20C” and tests 22K. The necklace is 16″ L. Gross weight of the necklace is 73.1 grams. 2nd item: Ladies 22K yellow gold earrings featuring 132 round brilliant diamonds approximately 3.96 carats together, Clarity-VS1, Color-I. The earrings test 22K and have a length of 2 3/4″. Gross weight of the earrings is 22.58 grams. Gross weight of the lot is 95.68 grams.
1st item: Ladies platinum ballerina ring featuring an oval diamond approximately 0.87 carats, Clarity-VS2, Color-F, accented by 20 tapered baguette diamonds approximately 2.75 carats together, Clarity-VS1, Color-F. The ring tests platinum and is size 8 1/2. Gross weight of the ring is 6.53 grams. 2nd item: 18K yellow gold ring jacket. The ring tests 18K and is size 8 1/2. gross weight of the ring is 7.20 grams. Gross weight of the lot is 13.73 grams.
Ladies 18K white gold Patek Philippe wrist watch featuring 40 round brilliant diamonds approximately 1.00 carats, Clarity-VS2, Color-G. The round bezel dial is fitted with an 18K white gold bracelet. The case, dial and movement are all marked. The watch is 6 1/2″ L. Gross weight of the watch is 47.55 grams.
18K yellow gold 7.1mm chain necklace. The necklace is marked “750” and is 35″ L. Weight of the necklace is 183.9 grams.
Chanel Classic square double flap quilted black lambskin leather shoulder bag, medium, having woven-in leather chain strap and 24K gold plated hardware. Exterior flap with frontal CC turn-lock closure opens to an interior flap with a snap closure over a black leather-lined slip pocket and a burgundy leather-lined interior with stitched double “C” logo and “CHANEL (registered)” stamped above two slip pockets, “MADE IN FRANCE” stamped to opposite side of interior, additional quilted slip pocket to back of exterior. Hologram sticker reads “1602152”, to lower left of interior. Includes Chanel authenticity card with matching serial number and a Chanel dustbag. Bag: 7″ H x 10″ W x 2 1/2″ D. Overall with strap: 22″ H. Serial number corresponds to years 1989-1991.
80 piece set of Reed and Barton Francis I flatware service for ten, including 10 modern hollow knives (8 7/8″ L), 10 luncheon forks (7 1/4″L), 10 salad forks (6 1/8″ L), 10 teaspoons (5 7/8″ L), 10 iced tea spoons, 10 demitasse spoons, 7 seafood forks, 7 hollow handle butter spreaders, 1 tablespoon, 1 gravy ladle, 1 sugar shell spoon, 1 bon bon spoon with pierced bowl, 1 hollow handle master butter knife, and 1 lemon fork. 75.93 weighable troy ounces.
Pair of Chinese Qing export amphora form silver vases with elaborate chased and repousse five-toed dragon decoration to each side of the hammered body and twin figural qiulong dragon handles. Two stamped Chinese character marks to the bases. Acid tests confirm that the silver content is at least sterling. 11 1/8″ H. 23.515 total troy ounces. Note: The stamps do not include Western letters, indicating production for the domestic market or the Peranakan overseas Chinese market.
Steinway and Sons, New York, Model M Grand piano, mahogany case over tapered legs terminating into block feet and mounted with castors. Serial #439088 indicating a manufacture date of 1974. 38″ H x 57 ¾ W x 5’7″ (67″) L.
Tommy Silvestre Macaione (American, 1907-1992) oil on board post-impressionist landscape painting rendered in an impasto technique depicting a field of wildflowers with a vase containing white flowers in the lower right foreground and rolling hills and treelines in the background beneath a multicolored sky. Signed and dated in red “(copyright) Tom. S. Macaione. 66.” lower center. Housed in a wooden frame with canvas liner and gilt sight edge. Sight: 19 1/2″ H x 33 1/2″ W. Framed: 25 1/4″ H x 39 1/4″ W.
Helen La France (Kentucky, 1919-2020) oil on canvas and laid on board country landscape painting. Depicting an active tornado scene, including a man driving a horse-drawn cart on a dirt road foreground trying to outrun the tornado, figures to the left foreground entering an underground earthen dugout for shelter and a large black tornado in the background with a glimpse of its path of destruction and debris in the sky. Signed lower right. Housed in black painted wood frame. Sight: 17 5/8″ H x 31 3/8″ W. Framed: 18 3/4″ H x 32 3/4″ W.
Jeanne Davies (Pennsylvania/New Jersey, b. 1936) oil on canvas painting titled “Home” depicting a woman with a black Scottish Terrier on a leash and two children standing before a wooden house surrounded by trees and flowers. Signed “Davies” lower right. Victory Frame Shop, Lafayette, NJ label en verso. Gilt metal placard with title and artist’s name, affixed lower center of frame. Housed in a carved giltwood drame. Sight: 19 1/2″ H x 23 1/2″ W. Framed: 24 1/2″ H x 28 1/2″ W.
Luc Didier (France, b. 1954) oil on canvas impressionistic landscape painting titled “St. Lyphard Vu de la Briere” depicting a skyline view of the church of Saint Lyphard from the Briere natural park, located in the Loire Valley, France. The scene features spring foliage floating on the surface of a body of water with village architecture in the background under an evening sky, rendered with delicate impasto. Signed “L. Didier” in red, lower right. Titled en verso of stretcher. Housed in a carved and painted frame with a linen mat and giltwood filet. Sight: 19 1/4″ x 25″ W. Framed: 28 1/4″ H x 34 1/2″ W.
Fortunino Matania (Italy/United Kingdom, 1881-1963) oil on canvas religious painting, possibly an illustration piece, titled “Sermon on the Mount,” depicting Jesus Christ preaching on the Mountain of Beatitudes to a crowd. Housed in a contemporary giltwood frame with painted sight edge. Signed “F. Mantania” lower right. Sight: 23 3/8″ H x 29 1/2″ W. Framed: 29 1/4″ H x 35 1/8″ W. Biography: Fortunio Matania was born in 1881 in Naples, Italy. He is primarily known for his depictions of scenes from Antiquity, many of which were illustrations for the British women’s magazine “Brittania and Eve,” and for his work as a war artist during the First World War. Provenance: Acquired from Solomon and Whitehead, Ltd., London, in 1979.
Lilly Martin Spencer (Ohio/New York, 1822-1902) oil on canvas painting depicting a still life with multicolored flowers in a clear glass vase against a dark brown background. Signed “Lilly M. Spencer” lower right. Stamp for “John B. Smith, London” en verso. Housed in a carved giltwood frame. Sight: 29 1/2″ H x 24 1/2″ W. Framed: 35 1/2″ H x 30 1/2″ W.
Attributed to Washington Bogart Cooper (Tennessee/Louisiana, 1802-1889), oil on canvas portrait, likely posthumous, depicting the bust of a young child with straight blonde hair, bright blue eyes, and rosy cheeks, with the lower half of the body obscured by clouds. Housed in a molded giltwood frame with oval sight opening, having fruit, foliate, and shell carved corners. Sight (oval): 23″ H x 18 7/8″ W. Framed: 32 1/2″ H x 28 5/8″ W. 19th century.
KPM hand-painted porcelain plaque after the painting titled “The Prayer of the Spinner” by Gerrit Dou (Netherlands/Holland, 1613-1675) originally executed in 1645, depicting an interior genre scene of a middle-aged woman in traditional Dutch garb seated beside an open window praying over the meal on the table before her with a spinning wheel and sleeping dog to the right all surrounded by household articles. Signed DOU to the spinning wheel lower right. Plaque inscribed with scepter above KPM mark above the letter B as well as measurements, en verso. Housed under glass in a molded giltwood Arts and Crafts style frame. Sight: 10 1/2″ H x 11″ W. Framed: 15 1/4″ H x 15 3/4″ W. Late 19th/Early 20th century.
Two (2) Ernest Rancoulet (France, 1870-1915) patinated bronze busts of aristocratic figures. 1st item: Portrait bust of an Elizabethan noblewoman depicted wearing a feathered hat, thick bodice over a quilted collar, pearl or beaded necklace, and high-collared jacket mounted on a hexagonal, plinth base. Signed “Rancoulet” to lower right. Overall: 29 1/2″ H x 15 1/8″ W x 8 3/4″ D. 2nd item: Portrait bust of a Renaissance French nobleman depicted with a mustache wearing a feathered hat, thick vest over quilted undershirt, large necklace with jeweled pendant, and high-collared jacket thrown off one shoulder mounted on a hexagonal, plinth base. Signed “Rancoulet” to lower left. Overall: 29″ H x 16″ W x 8 3/4″ D.
Pair of Neoclassical gilt bronze figural form candelabras comprised of cherubs holding french horns. Each is topped with a shaped bobeche and four arms molded with grape and vine decoration and is mounted to a marble base with four gilt toupie feet. French, Mid/Late 19th Century.
Italian inlaid gilt bronze ceremonial chalice, ciborium, or part of a vigil lamp, with inlaid coral decoration throughout; pierced gallery surrounding a well with ruby glass liner, central knop above a circular base with figural griffin feet. Latin inscription to the perimeter of the base. 8 3/4″ H. 18th century or earlier. Acquired at Burwell & Louise Shepard Antiques, New Hope, Bucks Co., PA.
French Sevres style porcelain and ormolu jardiniere, comprising a yellow ground wide bowl with hand-painted polychrome vignettes to each side, one depicting figures in an outdoor setting signed lower left “Lebrun” and the vignette verso depicting various flowers, gilt highlights throughout. The bowl is surmounted by a pierced gilt bronze foliate rim with stylized and scrolling acanthus leaf handles and is mounted onto a scrolling acanthus and foliate rococo gilt bronze base. With blue Sevres style “double L” mark reading “SV” to underside. 15″ H x 23 1/2″ W x 11 1/2″ W. Late 19th/Early 20th century.
Twelve (12) Ernst Bohne Sons, Germany Capodimonte-style Neo-Classical Armorial hard-paste porcelain dessert plates, having parcel-gilt and polychrome painted Bacchanal scenes in bas-relief to scalloped rims, with central vignettes of different Heraldic crests and floral sprays. All with pseudo blue Capodimonte-style marks to underside of bases. 8 3/8″ dia. Early 20th century.
Fifty-six (56) Herend Queen Victoria Green Border patterned hand-painted porcelain items with gilt highlights throughout, including twelve (12) salad plates; eight (8) small bread and butter plates; three (3) bread and butter plates; three (3) demitasse cups with two (2) saucers; one (1) mocha cup with one (1) saucer; one (1) scalloped teacup with one (1) saucer; one (1) flat teacup with one (1) saucer; one (1) handled chop plate; one (1) round scalloped tray; one (1) pierced plate; one (1) dessert plate; one (1) flat bouillon cup with one (1) saucer; one (1) sugar bowl with lid; one (1) cream soup with one (1) underplate; one (1) covered butter dish; one (1) small oval tray; one (1) small scalloped tray; one (1) scalloped dish; one (1) saucer; four (4) round ashtrays of varying sizes; and four (4) oval ashtrays of varying sizes. All items with blue Herend stamp mark and numbered on the bases. Some items with additional paper label affixed to undersides. Heights ranging in size from 5/8″ H to 3 3/4″ H. Diameters ranging from 3″ dia. to 13″ dia.
Brass Dutch two tier chandelier, 12 scrolling arms emanating from a central urn form standard with a large spherical finial to the bottom, rings at the top and bottom of finial. 26″ H x 28″ dia. Mid 18th century.
Louis XVI style tulipwood writing table or Bureau Plat. Comprised of a rectangular black triple-section tooled leather top surmounted by a beveled bronze border over a paneled frieze containing a narrow center drawer flanked by deeper side drawers with false drawers on the opposite side. The locking drawers are mounted with bronze garlands and lion mask escutcheons, holding in their mouths, a draped handle. Bronze molding frames the drawers, back, sides, and bottom. Each leg is decorated on all four sides with pierced bronze ribbon and foliate mounts as well as fluted bronze panels. The base of the tapered legs are mounted with bronze Napoleonic emblems on toupe feet. 30″ H x 49″ W x 27″ D. French, Late 19th/Early 20th century.
English Adams style painted satinwood cabinet or diminutive sideoboard, the center section having a serpentine form with single top drawer over a two-door cabinet flanked on each side by a concave panel and brass escutcheons. This cabinet is paint decorated with classical medallions, grotesques, and draped garlands and is supported on tapered legs with spade feet. 38″ H x 48″ W x 28″ D. Second half of the 19th century.
European, likely German, marquetry inlaid commode, satinwood with other mixed hardwoods, bombe form with a conforming top above three drawers with slim cabriole feet. Top, drawer fronts, and sides with elaborate bone and wood inlay depicting hunt scenes. 33″ H x 34 1/2″ W x 15 1/4″ D. Late 19th/Early 20th century.
English William IV mahogany Metamorphic dumbwaiter or rise and fall table, having one to three tiers supported by carved trestle ends that are joined by a turned and unusually carved stretcher. 45 1/4″ H x 47 5/8″ W x 24″ D (fully extended). Second half of the 19th century.
Chinoiserie decorated Dutch Linen Press with red lacquer and gilt enamel decoration depicting Chinese figures engaging in various activities in landscape settings. Two-part construction. Top section with Rocaille-carved serpentine pediment and three (3) plinths for displaying vases, over two wide inset ogee paneled doors which open to reveal a fitted interior with linen shelves and drawers. Bombe-shaped lower section contains two short drawers over two long drawers, curved blocked feet and a valanced skirt. Back of case with old label partially reading ARTHUR PIERRE – J. & A. PIERRE ANVERS ANTWERPEN. 98″ H x 72″ W x 26″ D. 19th century.
Exhibited Middle Tennessee, Robertson County, slant front desk, cherry primary and poplar secondary. Consisting of a slant front top that opens to a fitted interior with two dovetailed drawers overhanging one dovetailed drawer flanked by lopers and tall turned Sheraton legs and feet. One interior drawer signed “Miss Mary McNeely/Handleyton,Tenn/Moses Byrum”. 38 1/4″ H x 35 1/4″ W x 19 3/4″ D. Circa 1840/1850. Note: This desk was exhibited at the 1971 MADE IN TENNESSEE arts exhibition held at the Tennessee Fine Arts Center at Cheekwood, located in Nashville, TN. It is also featured in the exhibition catalog of the same name on page 16, figure 9. Genealogy: Moses Byram (1798-1880) was listed in the Roberson County census of 1850 as a farmer, aged 52 years, with an estate valued at $4000. An inventory taken at the time of his death in 1880 included a turning lathe, workbench and screws, and various wagon wheel parts.
George Northup (b. 1940, American) bronze sculptural “Aspen” lamp, comprised of a patinated or cold painted Aspen birch tree resting on a naturalistic patinated base with leaves and fitted with a round bronze shade and dragonfly finial. Signed on the base edge “Northup” and numbered 2237 to the underside. 67 1/2″ total H with finial. Shade measures 16 1/2: H x 10″ dia.
Ken Kidder (Washington, 20th-21st century) Northwest Native American-style polychrome painted, carved Kwakiutl tribal mask depicting a face with thick eyebrows, painted temples and cheeks, and pursed lips. Inscribed KOMOKWA MASK / TRIBE KWAKIUTL / BY KEN KIDDER / MAY 9/74 to interior. Handwritten tag with artist’s name, “Kwakiutl”, and date “1979” affixed to leather strap. 12 5/8″ H x 7 1/8″ W x approx. 6 1/8″ D. Also includes one first edition copy of AMERICAN INDIAN ART by Norman Feder, published by Harry N. Abrams, Inc., New York, 1971.
Sterling Strauser (Pennsylvania, 1907-1995) oil on board Expressionist-style seascape painting rendered in an impasto technique depicting a shoreline with low, murky waves and seafoam beneath a gray sky. Signed and dated “Strauser 86″ lower left. Float mounted with a canvas mat in a chrome-painted wooden frame with a gilt fillet. Sight: 8″ H x 20″ W. Frame: 14 5/8″ H x 28 1/2” W.
Norman Perceval Rockwell (New York/Massachusetts, 1894-1978) lithograph titled, “The Boy Who Put the World on Wheels (The Inventor)”, after the original oil painting created in 1952 for Ford Motor Company’s 50th Anniversary calendar project, depicting a young Henry Ford at his bedside work table presenting a conceptual model for an automobile to a skeptical blacksmith. Pencil signed lower right and numbered 14/200 lower left. Housed and double matted under glass in a wooden frame with marbled finish. Sight: 20 1/4″ H x 20″ W. Framed: 30 5/8″ H x 28 3/4″ W.