Here is an early preview of our January 28th and 29th auction, to be held at our headquarters in Knoxville, Tennessee.
Carroll Cloar (American/Tennessee/Arkansas, 1913-1993), acrylic on board painting titled The Explorer, depicting a man in a rowboat viewing the landscape with lush green trees and buildings around him with binoculars. Housed in a silver-gilt molded frame. Signed in script “Carroll Cloar” lower left. Board: 23″H x 34″W. Frame – 30″H x 40″W. Titled en verso and dated 8-82 (August, 1982) with the additional inscription of the artist’s name and showing measurements and medium.
Large Carroll Cloar (American/Tennessee, 1913-1993) drawing, “The Mower We Found,” pencil, colored pencil, and crayon on paper. The drawing, likely a study for a painting, features bust-length pencil depictions of a young white male child, likely Cloar himself, and a young black playmate, surrounded by elements of a tractor (seat, wheel), amid circles and other images, rendered in crayon and colored pencil. Signed and dated lower right in pencil, “Carroll Cloar ’77”. Sight: 22″ H x 31″ W. Framed: 25 1/2″ H x 34 1/2″ W.
Beauford Delaney (American/Tennessee, 1901–1979) pastel on wove paper bust-length portrait of a bearded man with vibrant blue eyes and piercing stare. Set against a mottled green background, the composition is enlivened by the artist’s quintessential use of swirling linework to create a network of electric blue forms that seem to radiate from the sitter’s eyes—accentuating his facial features and torso before spilling into the background. Along with the warm orange, pink, and yellow tones describing the sitter’s skin, this blue is echoed subtly in the clothing and background as Delaney applies layers of color throughout the image to create a unified and transfixing portrait. Housed in a modern, rusticated gray wood frame with exposed gilt and white mat. Sheet: 25 1/2″ H x 19 5/8″ W. Frame: 31 11/16″ H x 25 3/8″ W. Provenance – Estate of Beauford Delaney, Derek L. Spratley, Esquire, court-appointed administrator.
Exhibited William Edmondson (American/Tennessee, 1874-1951) carved limestone garden ornament in the form of a large dipper or cup of rectangular form, angled at the lower edges, with a trapezoidal handle, open in the center. The side opposite the handle features a shallow molded angular lip. 7″ H x 20″ W x 12″ D. The vessel is accompanied by a minimally hewn flat rectangular limestone base measuring 4″ H x 14 1/2″ W x 13″ D. Provenance: by descent in the family of Dr. Virgil and Louise LeQuire, Nashville, Tennessee. Exhibited – 1981, the Tennessee State Museum inaugural exhibit titled “William Edmondson: A Retrospective”, catalog entry #64.
Helen La France (Kentucky, 1919-2020) oil on canvas landscape painting depicting an African American congregation gathering for a Church Picnic upon the grounds before a church’s open door having automobiles scattered across the grass, a family arriving via the dirt road in a horse-drawn cart lower left, children playing a circle game lower right, and ladies preparing a long table beneath the trees mid-ground. Signed “Helen La France” lower right. Inscribed with title and “Shelton Gallery”, en verso of stretcher. Housed in a simple wood frame. Sight: 17 1/2″ H x 23 1/2″ W. Framed: 19 1/4″ H x 25 1/4″ W.
Helen La France (Kentucky, 1919-2020) oil on board painting depicting a crouching tiger emerging from a cropping of green palm leaves on a brown jungle floor. Signed “Helen La France” lower right. Housed in an ebonized frame. Sight: 23 1/2″ H x 47 3/4″ W. Framed: 24 3/4″ H x 49″ W.
Edwin D. White (American, 1817 – 1877) oil on canvas painting titled “Sam,” depicting an older African American man, seated on wooden steps, with a broom and tattered coat behind him and a pottery water pitcher standing to his side. He wears a top hat, brown overcoat and scarf, and sits with his folded hands resting on his bent knee. Behind him is a wall with peeling paint and the corner of a window. Signed left center “Edwin White” and dated 1860; old script note en verso states the title of the painting and artist with additional note “New York University.” Giltwood frame with husk, leaf and berry moldings. Sight – 11″H x 9 1/2″W. Frame – 16″H x 14″W.
Gilbert Gaul (New York/Tennessee/New Jersey, 1855-1919) oil on canvas painting depicting two female figures standing on a riverbank with rocky terrain, one holding a branch and the other holding a jug over her head and a mug in her hand, with verdant foliage in the background. Signed “Gilbert Gaul. Jamaica.” lower left. Housed in a carved giltwood frame. Sight: 19 1/2″ H x 12 3/4″ W. Framed: 25 1/4″ H x 18 1/2″ W.
Henry Hy Jr. Hintermeister (American/New York, 1897-1970) oil on canvas Illustration Art painting tiled “The Donkey Ride” depicting an older African American man helping a young boy ride a donkey, with a dog running in the grass below. The figures are surrounded by rural landscape under a cloudy blue sky. Signed “Hy Hintermeister” lower right. housed in a simple ebonized wood frame with a gilt filet. Sight: 25 3/4″ H x 23 1/2″ W. Framed: 29 1/2″ H x 27 1/2″ W.
Grafton Tyler Brown (American/Canadian, 1841-1918) oil on cardstock painting depicting a mountain range with evergreen trees in the foreground, unsigned. Inscribed en verso: “View of Trail between Penticton & Prices B.C. from camp at head of Keremeous Creek Oct 13, 1882. Unframed. Authenticated. 14″H x 22″W. More information in the coming weeks.
Jerry Malzahn (Texas/Arkansas, 1946-2019) oil on canvas landscape painting titled “Mount McKinley” depicting the snow-peaked mountain in the distance with a dense forest leading to still body of water in the midground and a clearing of red-flowered bushes surrounded by trees in the foreground. Signed in red “Malzahn” lower left. Housed in a giltwood frame with foliate and ribbon molding and placard with artist and title affixed to lower sight edge. Sight: 21 1/2″ H x 30 1/2″ W. Framed: 29 3/4″ H x 38 3/4″ W.
Very large George Ayers Cress (Alabama/Tennessee, 1921-2008) oil on canvas landscape painting titled “Shadowed Landscape” rendered in shades of blue, green, yellow, orange, grey, and red. Signed and dated “George Cress 1963″ lower right. Back with Hunter Museum of Art (Chattanooga, TN) exhibition label with artist information, painting, title, and date. Housed in a painted wood frame, likely the original. Sight: 43 1/4″ H x 55″ W. Framed: 45 1/2″ H x 57 1/2” W. Third quarter 20th century.
Cornelius Hankins (Mississippi/Tennessee/Virginia, 1863–1946) oil on canvas still life painting depicting an assortment of fruits—including melons, peaches, plums, berries, and grapes—along with the handle of an overflowing basket, upon which perches a bird. This bird tends to a nest containing three eggs that has been constructed amidst the fruit. In the upper right a second bird joins its companion as it alights on the branch of a small tree that emerges from the shadowy background, contrasting strikingly with the vibrant colors of the luscious fruits. Signed and dated “Cornelius Hankins 1896,” lower right. Housed in a ribbed giltwood frame with foliate corners. Canvas: 30 1/4″ H x 25″ W, Frame: 40″ H x 35″ W.
Fortunino Matania (Italy/United Kingdom, 1881-1963) oil on canvas religious painting titled “Christ Entering Jerusalem” depicting Christ seated on a donkey and leading a procession surrounded by crowds as he enters the walled city of Jerusalem. Housed in a 20th-century American-style frame. Sight” 24″ H x 30″ W. Framed: 30 3/4″ H x 36 5/8″ W. Provenance: Property of a Tennessee Religious Institution.
Rembrandt van Rijn (Dutch, 1606–1669) etching depicting a bust-length portrait of an unidentified man with a bushy beard and distinctive hat. Signed “Rembrandt f[ecit] 1640″ in plate, upper right. On laid paper with an unidentified partial watermark and trimmed to plate mark. Housed in a green and gilt wood frame. White and Boon state two of three. Plate: 5 5/16″ W x 6″ H. Frame: 19″ H x 15 1/2” W. Ref: Bartsch, Hollstein 265; Hind 170; New Hollstein 182. Ferdinand Roten Gallery, Baltimore, MD, label verso.
Large late 17th or early 18th century Flemish Verdure Tapestry, Brussels or Oudenaarde, silk and wool, depicting Alexander the Great and his entourage receiving tribute from a group of kneeling peasants, with village and other figures in the background. Rendered in wool in shades of blue, green, beige and taupe. The ends and back are wrapped with a linen cloth cover. Top has later applied loops for fitting on a horizontal pole for display. Includes 4 heavy custom made iron brackets (no pole). Tapestry overall: 117″ x 96″.
Henry Mouzon (1741-1807), An Accurate Map of North and South Carolina With Their Indian Frontiers, Shewing in a distinct manner all the Mountains, Rivers, Swamps, Marshes, Bays, Creeks, Harbours, Sandbanks and Soundings on the Coasts; with The Roads and Indian Paths; as well as The Boundary or Provincial Lines, The Several Townships and other divisions of the Land in Both the Provinces; the whole From Actual Surveys by Henry Mouzon and Others, Published May 30th, 1775. More information in the coming weeks.
Benjamin Owen Tyler 1818 copy of the Declaration of Independence, engraved by Peter Maverick, Newark, NJ. Engraved on laid paper. Sheet – 31 3/4″ x 25 5/8″. Eagle watermark. Plate – 29 1/4 23 1/2.
One page double sided handwritten letter on laid paper signed by First Governor of Tennessee John Sevier (1745-1815), Knoxville, TN, addressed to Colonel David Henley, Agent to the War Department for the Southwest Territory, Knoxville, TN, dated April 2, 1797. The letter discusses Henley’s obligations to his duties, particularly in regard to his responsibilities as quartermaster and paymaster for locally stationed troops and militia, stating “Sir In a report from the Secretary of the Treasury of the United States [Oliver Wolcott, Jr.], I observe that he has stated sundry claims for militia services filed in the office of the accountant of the war department performed in the years 1794, 1795, and 1796, within the States of Georgia and Kentucky, but no mention is made by any claims for similar services rendered within the State of Tenne[s]see. One of the members of Congre[s]s has also informed me, that the Secretary at War [James McHenry] told him, that no paper relative to Ore’s(?) or Major Johnsons comands were forwarded to his office; I have no doubt but your conduct on the occasion has been circumspect and impratial, therefore I have taken the liberty to mention this circumstance to you, wishing to be informed why or what what[sic] may be the reason those papers have not been forwarded in due order of time, otherways if they have been transmitted, you may have it in your power to exculpate yourself from the imputation of neglect. I have the honor to be with great respect sir your Obt. Humble Servant John Sevier” with additional inscription reading Colonel David Henley Agent to the war department” lower left. 9 1/8″ H x 7 3/4″ W.
Engraved invitation addressed to Andrew Jackson Donelson (1799-1871) to a ball held to welcome General Gilbert du Motier, Marquis de La Fayette (1757-1834) back to the United States of America, held in Nashville, TN, dated April 7, 1825. Text, including the names of several “managers,” enclosed within a decorative arch, busts of Andrew Jackson and La Fayette to the left and right, surmounted by a larger bust of George Washington surrounded by clouds and patriotic motifs with the words “WELCOME LA FAYETTE”, top. Artist and engraver information, lower left and right below image. Inscription reading “Mr. Andrew J Donelson” with The Veerhof Galleries, Washington, D.C. label, en verso. Housed under double-sided glass in a giltwood frame. Sight: 7 3/8″ H x 4 7/8″ W. Framed: 8 1/2″ H x 6″ W. Provenance: the collection of the late Stanley Horn, Nashville, Tennessee.
President Andrew Jackson (1767-1845, 7th president of the United States from 1829 to 1837) one-page handwritten bifolium letter, addressed to Major Andrew Jackson Donelson (1799-1871), near Nashville, Tennessee, dated January 2, 1836. The letter, mostly filled with condolences for Donelson in regard to someone who had recently died, reads, “My dear Major, Your heart rendering letter of the 23rd Decber[sic] is just recd–still it is a consolation to me to know that after your unfortunate detention, that you reached home to pay the last tribute of respects to her [mones or monis]–You must summon up all your fortitude on this trying and melancholy occasion–Ki[s]s the dear little children for me & give my kind regards to Mrs. [Emily] Donelson with my heartfelt condolence on this sad bereavement your affectionatly[sic] Andrew Jackson” with a post script reading “Major A. J. Donelson–P.S. I will write you soon & ask what I shall do with Dear [Eanelys or Zanelys] & your things here–I have the pictures carefully boxed with nunl[sic] A.J.” Address panel wirtten by Jackson with red ink Nashville, TN postmark stamp dated Jan 2 and traces of a wax seal, en verso. Housed under double-sided glass in a giltwood frame. Letter: 10″ H x 16″ W. Framed: 10″ H x 8 1/2″ W.
Civil War era ALS. One-page bifolium handwritten autographed letter signed by Jefferson Finis Davis (1808-1889) as president of the Confederate States of America (CSA) from 1861 to 1865, Richmond, Virginia, writing to General Robert Edward Lee (1807-1870), Headquarters of the Army of Virginia, dated May 12, 1864. Composed shortly after the events of the Battle of the Wilderness (fought on May 5-7, 1864), Davis writes “Your conduct of the Wilderness fight has won you much praise in the City [of Richmond] and the Sec[retary] of War [James Seddon] is justly proud of your achievement and I am greatly pleased and extend the congratulations not only of myself but the members of the Cabinet. I am much disappointed to learn of [Lieutenant General James] Longstreet’s tardiness. Will you try to arrange matters so that I might see you in person within the next ten days. Respectfully yours, Jefferson Davis.” Does not include envelope, typed transcription is included. Letter: 8 1/8″ H x 10″ W. Provenance: the collection of the late Stanley Horn, Nashville, Tennessee.
1st item: Robert E. Lee (1807-1870) signed carte-de-visite (CDV) depicting a bust portrait of Lee in his Civil War-era Confederate uniform. Signed “R E Lee” to white archival tape affixed to bottom of CDV. No studio marks. 4 1/8″ H x 2 1/2″ W. 2nd item: CDV depicting Lee standing in profile beside his most famous war-time horse, Traveller (1857-1871), at Rockbridge Baths, Virginia, in the summer of 1866. Studio marks for A. H. Plecker, Traveling Gallery, en verso. 4″ H x 2 1/2″ W.
Colt Model 1849 Pocket Percussion Revolver, .31 caliber, serial number 90413, all visible serial numbers matching. Top of barrel marked “Address Col. Sam Colt New-York U.S. America”, cylinder and left side of frame under cylinder marked “Colt’s Patent”. Engraved scrollwork by Gustave Young, number 2 style, is present on most of the major components, dotted line motif appears on the trigger guard, and an eagle head on the left side of frame above the wedge and below the cylinder. Bone stocks, octagonal barrel, brass trigger guard and back strap, silver plated frame, engraved stage coach hold up scene on cylinder, checkered hammer, brass bead front sight, loading lever. Housed in a rosewood case with dark red velvet lined interior with three (3) accessories, including one (1) powder flask, one (1) tin of caps, and one (1) bullet mold, also includes a grouping of bullets and screws. Barrel length: 4″. Overall length: 9″. Case: 1 3/4″ H x 10″ W x 5 3/4″ D. Serial number corresponds to year 1854. Note: The serial number for this revolver appears on a work list covering a month’s Colt engraving from Gustave Young’s shop, ending in June 3, 1854; the work list is photographed on page 69 in the book “Colt Engraving” by R.L. Wilson, published by Beinfeld Publishing, Inc., Annapolis, 1982.
Colt Model 1851 London Navy Percussion Revolver, .36 caliber, serial number 17395, all visible serial numbers matching. Top of barrel marked “Address. Col. Colt. London”, left side of frame marked “Colt Patent”, English proof marks, including “V” with crown and “CP” with crown, left side of barrel lug and breech end of the cylinder over each chamber. Octagonal barrel, walnut stocks, iron furniture, engraved naval scene to cylinder, checkered hammer, standard front sight. Housed in a fitted oak case with brass inlay and green felt lined interior and six (6) accessories including one (1) powder flask, one (1) bullet mold, one (1) nipple wrnch, one (1) ramrod, one (1) tin of caps, and one (1) oiler. Barrel length: 7 1/2″. Overall length: 13″. Case: 2 1/2″ H x 14 1/2″ W x 6 3/4″ D. Serial number corrresponds to year 1852.
Colt Model 1877 Lightning Double Action Revolver, .38 caliber, serial number 127990, all visible serial numbers matching. Barrel marked “COLT’S PT. F. A. MFG. Co HARTFORD.CT. U.S.A,” left side of barrel marked “COLT. D. A. 38,” left side of frame under cylinder marked “PAT. SEPT 19 1871 ” ” .5 “74 ” JAN.19.”75.” with Colt rampant horse logo. Hard brown checkered rubber stocks, each with Colt rampant horse logos, round barrel, fluted cylinder, checkered hammer, half moon front sight, loading lever. Barrel length: 4 1/2″. Overall length: 9″.
Mariette Six Barrel Percussion Pepperbox Double-Action Pistol, .38 caliber, no serial number. Front of pistol grip marked “MARIETTE BREVETE,” barrels and breeches numbered “1” through “6”, chambers and bolsters with Belgian proof marks, Damascus steel engravings to barrels, scrolling foliate engravings throughout. Six round barrel cluster, ebony bag handle grips with round screw escutcheons, steel furniture with case-colored finish. Barrel lengths: 2 5/8″. Overall length: 7 1/4″. Manufactured circa 1840s-1860s.
Coin Silver mint julep cup stamped A. BLANCHARD in rectangle for Asa Blanchard, working Lexington, Kentucky, 1808-1838, with eagle psuedohallmark (mark used circa 1820-1838). Tapering cylindrical sides and reeded rim and foot ring, monogrammed JMS. 3 1/8″H, 5.23 oz troy.
Kentucky coin silver soup or punch ladle with round bowl and fiddle handle marked A. Blanchard in rectangle for Asa Blanchard, working Lexington, KY 1808-1838. Monogrammed WLS. 13 3/4″ L. 6.59 oz troy (Ref. Marquis Boultinghouse, Silversmiths of Kentucky, 1785-1900, pp. 69-77, mark illustrated p. 299, fig. 29D.)
Rare Kentucky interest coin silver footed cup or mug with Chinese style decoration including pagodas, palm trees, and Asian figures, the foot ring side with incuse mark for George Washington Stewart, (working Lexington, 1843-1852). Central cartouche with monogram for Charles Hewitt Clifton (b. Louisville, KY 1845, d. Louisville 1887). 4 3/4″H. 8.13 oz troy. Note: this is one of a handful of known elaborate, high style scenic repousse pieces thought to have been made or at least retailed by Stewart, who was one of Lexington’s most important silversmiths.
Tennessee Agricultural Premium Coin Silver Julep Cup, stamped C. GUITEAU in rectangle for Calvin Guiteau, working Nashville, 1836-circa 1845. Tapered form with reeded edges and presentation inscription: PREMIUM AWARDED BY DAVIDSON COUNTY AGRICULTURAL ASSOCIATION 1851 TO W. WILLIAMS. 3 1/4″ H. 4.94 oz troy. Note: In 1836, Calvin Guiteau was elected secretary-treasurer at the first meeting of the Nashville association of watchmakers, silversmiths and jewelers. He is believed to have come to Tennessee from New York. Guiteau worked briefly in Nashville in a shop on Deaderick Street and then in a brief partnership with John Peabody on the Public Square before going back into business on his own by 1841.
Wythe County, Virginia polychrome painted blanket chest, poplar throughout. The chest consists of a rectangular molded and hinged lid above a dovetailed case with the diamond iron escutcheon, above an ogee base molding and dovetailed bracket feet with spurs. Interior with till to the left side, rectangular iron lock, lid with iron butt hinges and iron hasp. The front case with two painted lunetted or notched rectangular panels depicting a large central flower in the center surrounded by four smaller flowers, all emanating from a black urn or pitcher within a scribed and lunetted rectangular frame. The top with two painted lunetted or notched rectangular panels depicting red and black six-pointed stars, within a scribed lunetted rectangular frame. The base color on the remaining chest appears to be a red wash with grain-painted elements to the lid and case front with red wash side panels and a black painted base and feet. Decoration attributed to John Huddle (1772-1839) and family. 28 1/2″ H x 50″ W x 21 5/8″ D. 1st quarter 19th century. Provenance: Rich Valley, Smith County, Virginia. Descended from Susie Rebecca Barns (1888-1957) to Preston Taylor Buchanan (1939-2020) to present heir.
Mississippi huntboard or sugar sideboard, yellow pine with faded red wash. Rectangular case having a partially hinged molded top that lifts to reveal one shallow central compartment flanked by two deeper compartments, above one central paneled door on the front of the case. Brass escutcheons to lid and door. Medial molding over three side-by-side dovetailed drawers with simple wooden pulls, all on tall square tapered legs. Paneled sides. 43 1/8″ H x 52 1/4″ W x 21″ D. Mid 19th century.
East Tennessee, Knox or Roane County, Hepplewhite inlaid walnut and cherry bureau or chest of drawers, yellow pine and poplar secondary. Plain conforming top over four graduated dovetailed and cockbeaded drawers with diamond inlaid escutcheons, line inlay and oval brasses, and quarter fan inlay to corners; the base with barber pole inlay transitioning to a shaped skirt with inlaid semicircular fan to the center, resting on splayed French feet. 39 1/2″ H X 40″ W X 19 1/2″ D. Circa 1810-1820. Provenance: Discovered in a Roane County, TN estate in the 1990’s.
East Tennessee, Blount or Knox County, tall tapering cylindrical stoneware pottery jar, with impressed decoration just below the rim above an impressed half-crescent mark “W. Grinstaff” for William Grindstaff, flanked by unusual circular handle. 12 3/4″ H. Late 19th century.
East Tennessee stoneware pottery pitcher attributed to Charles Frederick Decker of Washington County (1832-1914) ovoid body with footed base having cobalt decoration, multiple incised lines around the neck and upper shoulder, and cobalt decoration including a band of dots around the upper shoulder, vertical lines to each side of the spout and three flowers to the lower body. 9″ H x 7 1/4″ dia. Late 19th century.
Two-color slip South Carolina Edgefield District stoneware pottery jar having an olive green alkaline glaze to the body and brushed iron and kaolin slip swag and loop decoration below the flaring rim. Retains one pulled handle with the other lost in firing. 11 1/2″ H. Mid-19th century.
East Tennessee, possibly Knox County, needlework sampler made by Mary Elizabeth “Polly” Amos, circa 1837. The silk on linen sampler, rendered entirely in cross stitch, features rows of alphabets and numbers over a central urn pictorial emblazoned with the stitcher’s signature, and surrounded by trees, plants, baskets of fruit and flowers, a bird and a little black dog. Enclosed within a broad flower and vine border. Painted wood frame with molded edge (possibly old/original). Sight 15 1/2″ x 15 1/4″. Framed – 19″ x 18 1/2″. Note: this sampler has been documented by the Tennessee Sampler Survey. A copy of the genealogy report for the stitcher is available to the winning bidder. According to the TSS research, Mary Elizabeth Amos (1826-1902), nicknamed “Polly”, was born to William Amos and Mary Elizabeth Dickey in Spartanburg, SC. The family moved to Roane County, Tennessee between 1826-1830. Miss Amos’s sampler was likely made at a female academy in neighboring Knox County, as Roane County had no known schools for girls at that time. Polly Amos married her first cousin, Rev. Presley Lacky Amos in 1842 in Roane County. He was a Baptist Preacher and Farmer. The couple had seven children together. He died in 1896 and Polly died 6 years later. Both are buried in the Pleasant Hill Baptist Church Cemetery in Lenoir City, Loudon County.
Dine (Navajo) Germantown Eyedazzler blanket or rug with pictorial elements including a fork and knife together with a bow and arrow to one end and three knives to the other end with arrow borders at each end and arrows to the center. Expertly and tightly woven in colors of red, green, yellow, black, orange and blue with visible spirit lines to each end. 50″ L (w/fringe) x 33 1/2″ W. Late 19th/Early 20th century.
Tiffany Studios blown out glass and bronze oil lamp with original Favrile iridescent shade, c.1899. Bottom of base impressed TIFFANY STUDIOS NEW YORK D436 / 7, with Tiffany Glass & Decorating Co, monogram. Exterior top of base also impressed D436. Base has cold patina finish and is fitted with a bronze collar having pierced decoration to top and a ring to hold the shade. Base 13 3/8″H. Gold iridescent shade with wave design, etched S4319, 9 3/4″ diameter. Height overall – 18 1/2″, excluding chimney.
Three (3) Tiffany Favrile gold iridescent art glass items, including one (1) pitcher, bulbous form with etched grapevine to body, one (1) compote with wide rim, and one (1) cordial or miniature compote. Pitcher and compote inscribed “L.C. Tiffany – Favrille” to undersides. Cordial inscribed “L.C.T. Favrille” and “208” to underside. Ranging in size from 3 1/2″ H x 2 7/8″ dia. to 7 1/2″ H x 5 3/4″ W x approx. 4 1/2″ D. Early 20th century.
French Empire gilt and patinated bronze three-piece garniture set, retailed by Tiffany & Company. Comprised of a clock having a white porcelain dial, Roman numeral markers, and a seconds chapter ring marked Tiffany & Co. Works marked “765 France 295, Medaille D’Or, Paris 1900″, housed in a round patinated and gilt bronze urn form case having figural dolphin fish handles, a foliate stem, round acanthus leaf bronze base, all mounted onto a shaped white marble base with bronze toupee feet. Together with a pair of gilt bronze and patinated lidded Amphora style urns having berry finials, mask handled with swags and tall curved legs ending in hooves, and mounted onto identical bases like the clock. The lids of the urns are convertible into single candlesticks. Clock measures 15 1/2″ H x 5 1/2″ W x 5 1/2″ D. Urns measure 11” H. Early 20th century.
Ladies 14K yellow gold Viennese bracelet featuring a central bar style brooch or pendant, consisting of 5 natural sapphires approximately 3.15 carats together, accented by 12 old mine cut and 44 rose cut diamonds approximately 2.20 carats together, Clarity-SI1, Color-H. Brooch with Austrian hallmarks “A doghead 4″ tests 14K. Brooch has a detachable rectangular link bracelet. The bracelet is 6 1/2” L. and a gross weight of 16.20 grams. Late 19th/Early 20th century.
Ladies 14K white gold brooch featuring a mine-cut diamond approximately 1.27 carats, Clarity-VS1, Color-K, accented by 36 round brilliant, 26 single cut, 2 baguettes, and 2 triangular (66 total) diamonds approximately 1.82 carats together, Clarity-VS2, Color-H. Additionally, there are 26 natural emeralds also accenting. The brooch is faintly marked “14K” and tests 14K. The brooch is 2″ x 7/8″ in size. The gross weight of the brooch is 9.51 grams.
18K (tested) yellow gold Victorian Etruscan design pendant attributed to Castellani of Rome. Features a 38 mm diameter round frame holding a 25 mm round cabochon cut dark blue lapis lazuli, bezel set in the center. Frame is attached to a tubular pass-through bail; Papal States quality mark indicating 18K gold. Weight: 30.53 grams. Frame 1 1/2″ diameter. 2nd item: 18K (tested) yellow gold Victorian Etruscan design bracelet holding five oval cabochon cut dark blue lapis lazuli stones in five bezels joined by floral hinges; the bracelet has a wheat link section terminated by a box clasp and a gold safety chain.
Late 19th century Swiss Alfred Gerard pocket watch made by Charles Jacot in an 18K yellow gold hunting case with the original box and papers. Dust cover marked WARRANTED CARRAT FINE and JACOT & GERARD. Works cover marked 22138 and ” Donat Fer Chaux de Fonds”. Serial number 22138, size 12S, and marked 18K (and tests18K).Together with an 18K yellow gold chain with a key, a bloodstone fob, and a 14K telescoping pencil. The chain is marked and tests 18K and is 22″ L. The key and fob both test 18K and the pencil tests 14K. The total gross weight of the watch, chain, key fob, and pencil is 91.46 grams.
Korean iron censer or incense burner with silver wire inlaid Chinese “Shou” character marks to the rounded hexagonal sides and fret designs throughout; a pierced cover having crane finial; two hinged handles. Raised on a recessed square plinth supported by six bracket feet. 7 5/8″ H x 5 5/8″ dia. Likely from the western province of Pyongan, early 19th century. Note: Purchased in 1956 from Samuel W. Lee & Co. Seoul, Korea. The original receipt and letter are available to the winning bidder. Provenance: Property of a Tennessee Religious Institution.
Chinese Ming Dynasty (1368-1644) Bronze Warrior Figural Lamp Holder or Candlestick, depicting a man, likely a “foreigner” in armor, kneeling with the drip pan balanced on his head. Fine detailing to the subject’s protective arm and leg coverings. Mounted on a stepped bracket base. Overall height 10 5/8″. Base 3 1/4″ x 3 1/8″.
Large Chinese polychrome porcelain box in the Famille Rose palette, bulbous rectangular form with vignettes throughout of figures carrying precious objects such as flaming pearls and conch shells towards a knotted lantern or bat and lotus lantern with vases and low tables containing additional objects surrounded by foliate forms, fret rims, and a plinth base. Marked with Wan Li or Ta Ming Wan Li nien chih character mark to underside. 9 1/4″ H x 15 1/8″ W x 8 1/8″ D. Late 19th/early 20th century.
Attributed to Nam Cheong (Chinese, active 1840-1870), pair of oval Chinese Export harbor scenes with ships and figures, including one depicting the nine story pagoda at Whampoa Reach. Unsigned. Unframed. Canvas: 20 1/2″ H x 15 1/2″ W. Note: Namcheong, also spelled Nam Cheong, was a painter who likely had a studio in Whampoa. He was frequently commissioned to create ship and port scenes by Western clients. Many of his canvases share the same oval format and compositional interplay of light on water; the 9-tiered pagoda at Whampoa Reach was frequently illustrated in his paintings. (Ref. Carl L. Crossman, “The China Trade,” Princeton: The Pyne Press, 1972, p. 67-71).
Yoshio Sekine (Japan, 1922-1988) oil on canvas monochrome abstract painting titled “No. 222” comprised of grisaille geometric forms within partitioned sections depicting abacuses. Signed with script and character signature, titled, and dated “Jun, ’70”, en verso of canvas. Multiple written and printed labels with artist, title, date, medium, and dimensions, including Tokyo Gallery and Staempfli Gallery labels affixed, en verso of stretcher. Housed in a contemporary wooden frame. Sight: 35 3/4″ H x 45 1/2″ W. Framed: 39 3/8″ H x 49 3/8″ W.
Fujinuma Noboru (Japanese, born 1945, designated Living National Treasure 2012) open weave bamboo sculpture in flower basket or Ikebana form titled “Spring Tide”. Signed with Japanese character to underside. Retains original box and receipt from Tai Gallery, Santa Fe, New Mexico, 2008. Basket – 13″ diameter by 10″H. Box – 12″h x 14 5/8″W.
Philip (1908-1988) and Kelvin LaVerne (active 1960/1970) Chan coffee table, patinated bronze and pewter circular top with etched Chinoiserie designs, atop faux bamboo legs. Raised signature to lower mid edge, below figures. 17″ H x 47 5/8″ dia. 20th century.
Philip (1908-1988) and Kelvin (active 1960/1970) Laverne Studios “Chan” cocktail table, oval or surfboard form in pewter, bronze and enamel, with acid-etched and carved Chinoiserie decoration depicting Asian warriors and other figures to the top. Supported on four legs. Signed lower edge of top. 17 1/4″ H x 66″ W x 18″ D. Circa 1960s.
Joonsung Bae (South Korean, b. 1967), “The Costume of Painter Christian Lacroix, 20031023,” mixed media (oil on vinyl, vinyl on photograph). Oil painted gown on a transparent sheet, layered over a series of 3 photographs depicting a nude Asian model in a gallery at the Metropolitan Museum of Art, with works by John Singer Sargent in the near background. The work comprises 4 sections, each measuring approximately 79″ x 46″ (200 cm x 116 cm). The unframed work is accompanied by its original storage tube with concept illustration of the work on exterior, noting that the assembled version measures 263″ x 355″ cm (103″ x 139″). Artist Biography: Bae Joonsung is known for his fashion related works which combine oil painting with photography. He was born in Kwangju and graduated from M.F.A. Graduate School of Seoul National University in 2000. He participated in The 2nd Gwangju Biennale in his student year. Bae’s The Costume of Painter series has been exhibited in Korea and France from 2002 to 2006 and he has conducted numerous art fairs and group exhibitions worldwide. Note: This piece is featured in a catalog of the artist’s works compiled by the Gallery Hyundai, on page 17.
Seung Hoon Park (South Korea, 20th-21st Century) Textus 137-1 Digital C Print titled “Prague Cathedral” depicting the abstract image of a cathedral interior rendered by threading film photography images together to mimic the appearance of a woven textile. Unsigned. Housed in a contemporary black frame under glass. Sight: 60″ H x 48″ H. Framed: 62″ H x 50″ W. Note: A scanned copy of the original purchase receipt is included with this item.
Antoine Rose (Belgian, b. 1974), “Shades of Blue,” Archival pigment print face-mounted on acrylic. Artist’s signature with number 4/10 on typed label with additional information, en verso. 39 1/4″ H x 39 1/4″ W. Note: Rose captured this view of umbrellas along the beach in the Hamptons from a helicopter, 300 feet directly overhead. He is a self-taught artist whose aerial landscapes are intended to give viewers a new perspective on ordinary scenes from locations across the globe. He worked as the official photographer of the Kitesurfing World Cup for several consecutive years starting in 2002.
Jack Boyd (California, 1934–1982) patinated bronze expressionist sculpture of a stylized cactus or tree, with movable prongs on one branch. This branch is incised and dated “Boyd 66.” Mounted on a walnut base. 22 1/2″ H x 10 1/2″ W. Note: Originally from San Diego, the self-taught artist Jack D. Boyd was raised in Alpine, California. Boyd is best known for his mid-century sculptural work in bronze on walnut bases, such as this example, as well as metal jewelry.
Roycroft Arts and Crafts hammered copper buttress vase designed by Karl Kipp (1881-1954) comprised of a cylindrical body encased with four angular handles or “butresses”. Marked with orb and cross makers mark to underside. 8″ H x 4 1/4″ dia. Circa 1906-1910.
Olive P. Black (American, 1868-1948) oil on canvas landscape painting depicting a stream meandering through a line of trees, with gentle hills beyond. The late autumn gold and bronze foliage of the trees is reflected in the water below. Signed “Olive P. Black” lower left. Newer giltwood Newcomb Macklin style frame with incised stylized foliate decoration to corners. Plaque with artist name and life dates lower center of frame. Sight – 23″H x 29″W. Frame – 34″H x 40″W.
Large William Henry Watson (United Kingdom, 1831-1921) oil on canvas painting depicting a group of sheep resting and grazing on a grassy hill covered with purple blooming heather, with misty mountains and a lake visible in the background under a cloudy blue sky. Signed and dated “W. Watson 1916″ lower right corner. Housed in an early 20th century ornate giltwood frame with leaf, scrolling, and shell decoration. Sight: 24″ H x 35 3/4″ W. Framed: 36″ H x 47” W.
Early Regency large octagonal toleware hand-painted serving tray. Tray depicts two horses in a barn, one white the other brown together with a worker who is grooming the brown horse while he eats hay with paneled sides depicting dogs chasing hares through a landscape setting. 21 1/2″ H x 29″ W. English, early 19th century.
Joseph Wopfner (Austrian, 1843-1927) oil on board panoramic lake scene of rowboats and figures with a village along a shore in the background. Signed lower right corner. Reference – Rosenheim 1989, page 234, catalogue raisonne, figure 540.
Joseph Wopfner (Austria, 1843-1927) oil on board mythological night scene painting depicting a winged angel having long red hair rowing a boat through a mist-covered body of water. The boat is filled with three religious women attired in traditional clothing, two standing in a reverent pose and one sitting behind, with a winged putto seated on the stern and an additional group of putti circling in the sky above. Signed lower left. Estate stamp in two areas en verso of panel reading “Nachlass Prof. Jos. Wopfner”. Housed in an ebonized wood frame with gilt filet. Sight: 14″ H x 20 1/2″ W. Framed: 21 1/2″ H x 28″ W.
Pierre Duval le Camus (French, 1790-1854) oil on panel cabinet painting depicting a young woman in an ornate white dress with train, festooned with pink flowers, standing and reaching to pluck a grape from a vine climbing up a column. A distant landscape is visible in the background. Signed P. Duval lower right. Housed in an ornate giltwood frame, possibly original, with fruit and berry molded inner edge, set off from an egg and dart molded outer frame by a raised velvet mat with shield shaped corner moldings. Artist’s nameplate lower center. Panel – 12″H x 5″W. Frame – 20″H x 13″W.
Nicola Simbari (Italian, 1927 – 2012) large oil on canvas painting titled “Terere” depicting two figures, a woman standing and a young girl sitting on a ledge, looking out towards a harbor with ships arriving and departing, rendered with brightly colored pigments in a heavy impasto technique. Signed “Simbari” lower right corner. Label for Wally Findlay Galleries affixed en verso. Housed in a contemporary giltwood frame with a linen liner, and nameplate affixed lower center. Sight: 31″ H x 35″ W. Framed: 37 1/4″ H x 41 1/4″ W..
Gustave Baumann (Germany/New Mexico/California, 1881–1971) color block print on cream laid paper entitled SPRING NEW MEXICO. Depicts a Southwestern scene in which a Pueblo-style adobe building stands behind white and pink flowered trees before a blue sky. The scene is enclosed in one of Baumann’s signature decorative borders. Pencil titled lower left; numbered “No 7 of 100,” lower center; and pencil signed with hand-in-heart artist’s chop, lower right. Unframed. A very early impression from the first edition, carved and printed in 1924.
Arthur Weeks (American, 1930-1988) colorful oil on canvas impressionist painting depicting an outdoor cafe, likely in Paris, with multiple figures clustered around tables and street lamps, with trees, a monument and buildings in the background. Signed lower right. Additionally signed en verso with date 1985 and title, “Tuileries Cafe”. Housed in a molded giltwood frame with foliate scroll carved corners and linen mat. Sight – 29″ W x 23″ H. Framed – 39″ W x 33″ D.
Gustavo Novoa (New York/Chile/France, b. 1941) oil on board painting titled “Friendly Persuasion” depicting a jungle scene with a male and female lion reclining in the branches of a tree surrounded by butterflies and colorful, tropical foliage against a gradient blue background. Signed and dated “G. Novoa 1973″ lower right. Housed in a custom naturalistic wood frame having a painted frieze, linen liner, and nameplate affixed lower center. Sight: 25″ H x 35 1/2″ W. Framed: 34″ H x 44 1/4” W.
Mary Robinson Blair (American, 1911-1978) Concept Art / Color Key Painting for Walt Disney’s movie Song of the South (1946), gouache and watercolor on paper/cardstock. The cotton field scene depicts two African American men seated on a mule-drawn wagon, while two women and a younger man walk behind along a red clay road. Molded giltwood frame with beaded sight edge. Signed “Mary Blair” lower right. Sight – 8″H x 11″W. Frame – 11″H x 14″W.
THE SURF RIDERS OF HAWAII, Gray Version, photographs and contents copyrighted by Alfred Richard Gurrey, Jr., Ltd., Honolulu, T. H., circa 1910-14. Softcover, 6 leaves of gray and taupe decorative cover stock paper with 8 mounted gelatin-silver photographs of Waikiki surfers, including Duke Paoa Kahinu Mokoe Hulikohola Kahanamoku (1890-1968), with English text, stab-sewn into gray decorative cover stock paper wrappers with printed black title lettering to front cover. 7 1/2″ H x 7 1/2″ W x 1/8″ D. Rare. Acknowledged as the first book dedicated entirely to surfing, and credited as “the genesis of surf photography.” Fewer than ten original copies are known. This copy was discovered in the estate of an Ohio antiques dealer, who acquired it in a collection of books from a former Hawaiian missionary family outside of Cleveland in the 1980s (along with the book IDYLS OF HAWAII, see below). This copy has never before been offered at auction.
IDYLS OF HAWAII, photographs and contents copyrighted by Alfred Richard Gurrey, Jr., Honolulu, T. H., circa 1910-15. Softcover, 12 leaves of taupe card stock paper with 11 mounted gelatin-silver photographs of scenic images of Hawaii with English text poems, stab-sewn into taupe card stock paper wrappers with printed light grey title lettering to front cover. 10″ H x 7 3/4″ W x 1/4″ D. This exceptionally rare book was self published by Gurrey around the same time as his better known, but only slightly less scarce book SURF RIDERS OF HAWAII (see above). This is the first time, to our knowledge, that any copy of IDYLS OF HAWAII has ever been offered at auction.
Rand McNally & Co. 18″ terrestrial globe, housed in a fully calibrated brass meridian, supported on a pinion and set into horizon band with applied paper calendar and zodiac, raised upon a tripodal Rococo style mahogany stand with foliate forms and scroll feet. Twelve-color lithograph globe gores having RAND MCNALLY & COMPANY TERRESTRIAL GLOBE 18 INCH in cartouche, with copyright information below and above legend identifying submarine telegraph cables and isothermal lines for January and July, as well as analemma to Pacific Ocean. Circa 1920-1924.
Chippendale mahogany and parcel gilt “Constitution” wall mirror. Consisting of the original mirror glass framed in a carved and gilded border with notched top corners, the outer frame with a scrolled, voluted and cyma-shaped base and the sides are flanked by carved and gilded leaves. Surmounted by a scroll top ending in carved rosettes with a carved molding below and sculpted eagle on a scrolled base plinth. 55″ H x 26″ W. American or English, circa 1760-1770. Provenance: Originally purchased from Israel Sack, Inc. in 1998. Copies of the original receipts are available to the winning bidder.
Chippendale bonnet-top mahogany chest on chest, attributed to Eastern Massachusetts, pine secondary. Upper section consisting of a bonnet top with carved rosettes and urn and flame finials above a central drawer with shell carving flanked by two small drawers above four rows of dovetailed and cockbeaded graduated drawers, brass escutcheons and oval brasses with bail handle pulls and flanked by carved fluted columns. Base consisting of a molded top edge above four graduated cockbeaded and dovetailed drawers, ogee base molding with a center carved drop, shaped bracket feet with returns. Top drawer with label Sotheby’s label, Sale 5755, Lot 410. Top measures: 49 3/4″ H x 43 1/4″ W x 21 5/8″ D. Base measures: 37″ H x 42″ W x 22″ D. 86 3/4″ H.
Queen Anne mahogany highboy, possibly Newport, Rhode Island or Massachusetts, white pine secondary, two parts with dovetailed construction throughout. Bonnet top with flame-carved finials above a top tier of drawers with one large center drawer flanked by two smaller drawers above four full graduated drawers. Base with top molding over one long drawer above one central small drawer flanked by two large drawers, above a deeply valanced skirt, cabriole legs and pad feet. All drawers are dovetailed with original willow and bail handle brass pulls. Base top drawer with 20th century paper label from John Walton Inc., Jewett City, Connecticut; back with paper label reading “J.C. Hagadorn”, possibly a former owner, and drawer bottom with chalk inscription for previous owners John and Tina McWhorter. Top measures: 53 1/2″ H x 40″ W x 21″ D. Base measures: 38 1/4″ H x 40 1/2″ W x 21 1/4″ D. 91 3/4″ total H. Third quarter of the 18th century. History: Purchased by John and Tina McWhorter in 1989 from Peter H. Eaton Antiques of Newburyport, MA, with attribution to the Goddard-Townsend School piece; published in Eaton’s ad in The Magazine Antiques, October 1989. Peter Eaton acquired the piece from Connecticut collectors who purchased it from John Walton in the early 1970s. Photocopies of the ad and Eaton receipt are available to the winning bidder.
American, possibly school of William Savery, Philadelphia, Queen Anne carved trifid foot arm chair, c. 1755; walnut, with yellow pine seat frame. Serpentine incised crestrail with scrolled ears, over a shaped and beveled splat; shaped arms with scrolled grips over molded, incurvate arm supports; trapezoidal slip seat and cyma-curved front apron with center point; through-tenon construction at rear seat; octagonal rear legs, and front cabriole legs ending in trifid feet. 42 1/4″ H x 24 5/8″W (at knees) x 20 1/2″ D (at feet); seat height 17 1/4″. Acquired from Leigh Keno Antiques in 1997 with label.
American, Massachusetts, Federal inlaid two-piece bookcase with cupboard base, mahogany, with white pine secondary. Signed to the underside of one top shelf “Wm. B. Dodge” for Captain William Dodge (1731-1810), who worked as a joiner and cabinetmaker in Beverly, Essex County, Massachusetts. Top bookcase section has pediment with central inlaid plinth topped with ball shaped pediment surmounted by a brass eagle, flanked by shorter plinths with ball finials at each side, above a finely veneered and inlaid frieze, over two glazed doors with diamond shaped mullions and oval brass escutcheons, enclosing three adjustable shelves on each side. Base cabinet section having two doors with applied molding enclosing one interior adjustable shelf, molded base, and front ogee bracket feet. Top measures 58 1/2″ H x 43 3/8″ W x 12 1/4″ D. Base measures: 32 1/2″ H x 47 1/2″ w x 11 3/4″ D. 91″ total H. Circa 1800. Note: This piece was sold to John McWhorter in the 1990s by descendants of the Massachusetts sea captain, merchant and banker Eleazer Johnson (1773-1847). In 1809/1810, Johnson purchased a home and several pieces of furniture at 203 High Street, Newburyport, from heirs of the Tracy family. The house, built by Judge John Lowell in 1774, is known as the Lowell-Tracey-Johnson house and still stands. Mr. McWhorter detailed his acquisition of this bookcase and his ensuing research in a 1994 article in The Maine Antiques Digest. A copy of the article is available on request.
William Tylee Ranney (1813-1857) oil on canvas portrait of his mother, Clarissa Gaylord Ranney (1789-1863), or sister Clarissa Ranney Baldwin (1809-1886). The bust length portrait depicts the sitter with brunette curls, wearing a white lace bonnet and collar and a black dress. Unsigned. Stained wood frame with gilt sight edge. Canvas – 25 1/4″H x 20″W. Frame – 32″H x 27″ W. Provenance: descended in the family of Clarissa Ranney Baldwin. A packet of genealogical information is available to the winning bidder.
Attributed Zedekiah Belknap (MA/NH/VT/NY, 1781-1858), One of two American oil on canvas pendant portraits, subjects identified as Willard and Cleora Woods Kneeland.
Large pair (2) Dresden porcelain urns produced by the factory of Richard Klemm (1869-1949) encrusted with bird finial to lid and birds upon dense flowering branches having peach diapered rims mounted upon a footed foliate base. Maker’s mark to underside. 22 1/2″ H x approx. 10 1/2″ dia. Early 20th century.
Matching pair of two (2) Adam style diminutive inlaid satinwood and mahogany display cabinets. Each cabinet features a recessed vitrine hung with double-glazed locking doors fitted with interior wood shelves faced with string inlay. The top vitrine surmounts a cabinet with two full-length locking drawers, which is supported on delicate tapering legs ending in circular brass feet. Both cabinets are inlaid with fans, bellflowers, acanthus scrolls, and stringing. The sides showcase the ribbon effect of the satinwood book-matched veneers. 71″ H x 28″ W x 22 1/4″ D. English, second half of the 19th century.
Walt Disney signed animation cel, used in the original 1950 movie Cinderella. The hand painted celluloid illustration depicts Cinderella’s mice and bird friends hurrying down the attic steps as they gather needles and thread to sew a ball gown for her. Signed with personal inscription on the lower right mat, “To Denis Sarrat with Best Wishes, Walt Disney.” Note: This item was a gift to the consignor as a young girl from her aunt and uncle, who were personal friends of Walt Disney. It has been additionally matted with pale blue mat and framed under glass in a matte silver metal frame. Original Disney label en verso stating this painting on celluloid was actually used in the production of the 1950 movie. Sight – 8 1/8″H x 10″W. Frame – 16″H x 18″W.
Walnut Polyphon Upright Coin-Operated Music Box by Schutzmarke, Leipzig, Germany. Comprised of a two-part case, the upper case fitted to play 19 1/2″ discs, with dual combs and crank handle, and the lower case is fitted with a marquetry fall front door and compartments for disc storage. Serial number 24684, marked on the disc arm. Marked “Polyphon” on the plate and DRGM on the bar. Carved pediment and elements throughout the case. 83″ total H x 29″ W x 16″ D. Circa 1900.
Gibson 1951 ES-300 guitar, SN #A-6709, in original vintage Lifton hard shell case. Right-handed non-cutaway hollow body with laminate maple top, back, and sides in a sunburst finish, mahogany neck, 20-fret rosewood fingerboard with inlaid mother of pearl slanted parallelograms, correct pickguard and stop bar tailpiece, mother of pearl tuning keys, head logo and crown. Fitted with adjustable rosewood bridge, two P90 pickups with separate volume controls, plus a master tone knob. A Gibson paper label on the interior indicates model, serial number and place of manufacture. 42″ L x 17 1/4″ W, 1 11/16″ Nut Width.
Lanier Meaders (White County, Georgia, 1917-1998) folk art pottery double face jug, green matte glaze with kaolin eyes and quartz teeth having two handles. Signed “Lanier Meaders” with numbering to the underside. 9 1/4″ H x approx. 8 ” dia.
Very large 19th-century American ash burl wood bowl, turned with carved rim. 18 1/4″ dia. x 7 1/2″ height. Mid-Atlantic or Ohio Valley. 19th century.