Below is an early preview of the July 8th & 9th auction to take place at our Knoxville, Tennessee headquarters. In-person bidding plus phone, absentee, and internet bidding will be available. Over 1,200+ lots of fine art, antiques, and jewelry from fine Southeastern estates and collections including the collection of Jo Ann Cline Yates of Lookout Mountain, TN; the estate of Edward Laudermilk of Nashville; the estates of Mayford and Dottie Ramsey of Sevierville; the collection of Marlin Phythyon Sanders of Nashville; the collection of John H. and Carol Evans of Farragut, TN; art deaccessioned by the Hunter Museum of American Art, and fine art, antiques and jewelry from many other Southeastern estates and collections.
Le Pho (Vietnam/France/United States, 1907-2001) oil painting on silk mounted on masonite entitled “Jeunes Filles aux Bouquets,” c. 1960. The painting depicts three young women among vases filled with flowers and before a golden-yellow background. The figures at left and center carefully arrange the bouquets while the figure at right turns her back to the viewer as she gazes into the distance. Signed “Le Pho” in cursive and Chinese, lower right. Arthur Lenars & Cie., Paris, shipping label addressed to Wally Findlay Galleries, Chicago, en verso. Housed in a carved, giltwood frame with fabric mat and brass title/nameplate. With title inscribed en verso along with Lenars shipping label addressed to “FIND 93 CHICAGO.” Board: 23″ H x 35 3/4″ W. Frame: 30 1.4″ H x 43″ W.
Carroll Cloar (Tennessee, 1913-1993), “Post Office Cafe,” 1975, acrylic on board painting, depicting a man seated on a bench on the porch of a rural building. The building’s sign, “Post Office Cafe,” appears nearly overtaken by climbing roses and foliage, rendered in Cloar’s signature pointillist brushstrokes, and a flat dirt road and pasture is visible in the background under a partly cloudy blue sky. Signed lower right. Additionally signed, titled and dated (May, 1975) with Lisa Kurts Gallery, Memphis, label en verso. Board – 16″ x 12″. Frame – 21″ x 17″. Note: this painting is listed as #474 in the Catalog Raisonne of Cloar’s paintings in the book Hostile Butterflies (Memphis State University Press, 1977).
Bill Sawyer (American/Tennessee, 1936-2020) oil on board painting depicting a large old white house and barns, set in a stark winter landscape with bare trees. The sole splashes of color come from the blue jeans and red pinafore of a man and child, standing on the porch, and from a home made, red-lettered sign advertising “Fishing Worms”, sticking out of the grass beside a dirt road. Signed “Bill Sawyer” lower left, near road. Housed in a stained wood frame with linen mat. Lyzon Gallery (Nashville) framing label en verso. Board – 18″ x 24″. Frame – 25″ x 31″.
George E. Hughes (Vermont/New York, 1907-1990) oil on board illustration painting for the cover of The Saturday Evening Post, August 2, 1952 edition, titled “Couples at the Beach,” featuring a bird’s eye view of beachgoers of various ages, enjoying a sunny day under colorful umbrellas. Signed “Hughes” lower left corner. Housed in a painted wooden frame. Sight: 29 5/8″ H x 23 3/4″ W. Framed: 34 1/4″ H x 28 1/2″ W. Note: The editorial for the Aug. 2, 1952 edition stated the following about this cover illustration: “In the winter, people buy sun lamps to get sun, and in the summer they buy beach umbrellas to keep the sun off. But these are carefree vacation days, let’s not worry about this, or indeed anything else – except maybe whether that creeping baby plans to bite the dog. (We just phoned Artist Hughes to inquire about that, but nobody answered, so probably he’s lying on this beach himself, too modest to move into the picture.) Well, have a wonderful time, folks; build your sand castles and your dream castles; let the cool winds and the hot dogs renew you; and don’t even let annoyment creep in if that boy’s radio prevents your hearing the sweet nothings he whispers to his girl. Now turn the page, before the kids start throwing sand.”
Andrew Clemens (American, 1857-1894) patriotic sand art bottle with the original label. Apothecary style glass bottle with round flat-top stopper and a cylindrical body filled with multicolored, layered sand in decorative stripe, swag, wave, and geometric patterns, one side with vignette of a 30-star American flag, the alternate side with a banner enclosing the name MRS. A. HARRIS. The base retains the original paper tag reading PICTURED ROCK SAND PUT UP BY A. CLEMENS DEAF MUTE McGREGOR, IOWA. Height 5 5/8″.
Abstract Log of the U.S. Steamer Kearsarge, Captain John A. Winslow Commanding, recording the ship’s destruction of the CSS Alabama. The hand-written entries begin April 27, 1864 and end Nov. 8, 1864, when the ship came to anchor at 12:05 AM at the Charleston Navy Yard. Marbled fore-edges and end sheets. Overall – 12 1/2″ x 8 1/2″. More information in the coming weeks.
John Ancrum Winslow’s 35 star flag flown on the USS Kearsarge at the naval engagement with the CSS Alabama on June 19th, 1864 off the coast of Cherbourg, France. 42 1/2″ H x 81″ W. This flag is part of a larger group of objects relating to the USS Kearsarge and belonging to Rear Admiral John Ancrum Winslow to be offered in the July auction.
Ames M1850 staff and field officers presentation sword with inscription, “Presented to Col. S. K. N. Patton by Comp. D. 8th East Tenn. Cav.” More information in the coming weeks.
Sterling and Coin Silver Tea Service belonging to Civil War Navy Admiral John Winslow, commander of the USS Kearsarge, plus silverplated presentation tray. The ship’s sinking of the CSS raider Alabama in 1864 was one of the great Union Naval conquests of the Civil War. It is possible the coffee pot was used on board the Kearsarge, while the other items are documented as being presented to Winslow by the citizens of Roxbury, Massachusetts in honor of his victory at sea on Nov. 22, 1864 (ref. “Death of Admiral Winslow,” The Pittston Gazette, Oct. 16, 1873). The six pieces are accompanied by what is believed to be their original pine box. The service includes a coffee pot, 2 tea pots, a sugar bowl, creamer, and waste bowl, all of identical Neoclassical oval design with beaded upper rims, and features distinctive nautical wheel finials to the lids and ram head masks at the handles. All are monogrammed on one side with Winslow’s monogram, JWA. All except the coffee pot are stamped SHREVE STANWOOD & CO. BOSTON STERLING to the undersides; the coffee pot is stamped with Gorham’s lion-anchor-G mark and COIN with retailer mark CROSBY, HUNNEWELL & MORSE and 321. Coffee pot height: 10 1/2″. Sterling items: 106.52 oz troy. Coin silver coffee pot: 30.31 oz troy. Combined weight: 136.83 oz troy.
Gorham Sterling Silver Centerpiece, likely a presentation piece, owned by Civil War Navy Admiral John Ancrum Winslow (1811-1873), commander of the USS Kearsage. The body is engraved on one side with his JAW monogram and 1864, the year the Kearsage sank the CSS Alabama in one of the Union’s most significant Naval victories. The American Classical Revival centerpiece features an oval gilt-washed bowl centered on each side by masks, with dart banding at edges and stylized anthemion handles terminating in rosettes, and is supported on a trumpet-shaped pedestal flanked by two figural cherub caryatids holding floral swags, atop a plinth base. Marked on underside for Gorham (lion, anchor, G) and stamped 200. Circa 1864. 17″W x 10″H x 9″D. 53.03 oz troy.
Samuel Bell, Texas coin silver presentation julep cup or beaker, with distinctive broad rim over tapering sides and molded foot ring, stamped S BELL in rectangle. Engraved inscription, ” Gustav Persch from Chas. Rossy / July 13, 1865″. Note: Samuel Bell (1797-1881) was a silversmith in Knoxville, Tennessee from 1819-1852 before moving to Texas, where he resumed his silver work in San Antonio and expanded his operation to include members of his family. Cup – 3 5/8″H, 6.19 oz troy.
Tennessee coin silver water or wine goblet marked for David Large Hope of Knoxville, working 1828-1869, incuse mark HOPE with Masonic symbol inside stem (underside of bowl). Distinctive vertical raised rib design extends from the flaring rim down the pear shaped bowl, to the beaded circular foot ring; bowl features an engraved floral cartouche. 6 1/2″H.
South Carolina Coin silver julep cup, awarded by the Fruitsgrowing and Horticultural Association of Aiken County, SC, to W.G. Mood for Best Peaches, 1859. Engraved inscription to front of tapering body; molded upper rim and plain foot. Stamped W. CARRINGTON in rectangle to bottom for William Carrington, working Charleston from 1830-d. 1901. Height 3 1/4″. Weight – 3.81 oz troy.
Scarce Great Road Virginia earthenware pottery jug, deeply impressed T.I.M.4 within a rectangular border attributed to Thomas J. Myers (1807-1863) working in Smyth County, Virginia. Ovoid form with a clear lead glaze, beaded rim, multiple incised lines around the upper shoulder, extruded handle with clay added to each handle attachment and thumb impressions to the terminus, beaded foot, and unglazed smooth base. 9″ H. Mid 19th century. Note: Thomas J. Myers is listed in the 1850 census as a potter in Smyth County, Virginia. A jar shown in the 2011 Tennessee Turned – Earthenware and Stoneware Made in East Tennessee 1800-1900 exhibit (curated by Dr. Carole Wahler at the East Tennessee Historical Society) also had the intials T.I.M. impressed behind the top left handle.
Middle Tennessee Sheraton sugar chest of unusual height, cherry primary, poplar secondary. Consisting of a hinged top with breadboard ends and ogee molding, square dovetailed case with interior well being tri-divided. Upper case secured to the base with pegs and is detachable. Lower case with one dovetailed, scratch beaded drawer with wooden pulls over unusually tall Sheraton ring turned and ball feet. Early black paint inscription on back of upper case, “Union City, Tenn. R. A. Adams”. Note: Union City is in Obion County, West Tennessee. However, the early form of this sugar chest indicates it was likely made in Middle Tennessee. 41 3/4″H x 26 3/4″W x 18 1/4″. Retains the original key.
Kentucky Sheraton triple bow-fronted deep-end sideboard, cherry primary, flame-grained cherry veneer and poplar secondary. Consisting of a two-board cherry top edged with string inlay and sand-burnt figure above a wide center bowed drawer over two recessed bowed cabinet doors and flanked by narrow flat front drawers over flat vertical bottle drawers and reeded stiles. Deep ends with bowed drawer over a tall bowed cabinet. Each upper drawer faced with flamed grain cherry veneer with string inlay edge and center oval. Bottle drawers and each cabinet door faced with matching flamed grain veneer with sting inlay edge and center tombstone. Bone keyhole surrounds and dust panels between top row of drawers, cabinets and bottle drawers below. Base outlined with a band of 5-string inlay. The sideboard rests on turned reeded legs with rounded feet and retains the original 2″ pressed glass disc pulls with cut starburst pattern on the reverse and silvered, set in brass collars and mounted on brass stems, likely Pittsburgh glass. Rail and stile construction with square head cut nails. 78 1/4″ W x 44 1/4″ H x 20 1/2″ D (side), 23 3/4″ D (center). Circa 1810-1825. Note: A “sister” sideboard, located in the Old Governor’s Mansion in Frankfort, was documented by Brad Rauschenburg, Frank Horton and Mary C. McClinton for MESDA in 1975, Photo #S-4397: https://mesda.org/item/object/sideboard/11775/.
Kentucky Sheraton cherry sugar press, poplar secondary. Rectangular post and panel case, two-thirds hinged plain top above two paneled inner compartments with the original divider, over two paneled doors enclosing one shelf, paneled sides, brass escutcheons, and turned tapered feet. Upper well with interior panels to sides and strips to bottom edges. 37 3/4″ H x 39″ W x 18 3/4″ D. Circa 1835 – 1840. Provenance: Madden family of Richmond, Kentucky.
Louisa McElwain (New Mexico/New Hampshire, 1953-2013) oil on canvas landscape painting titled “The Chama Valley, Abiquiu” rendered in heavy impasto depicting the Rio Chama flowing through the gesturally executed valley beneath the bright, midday sun with the distant Rocky Mountains beneath voluminous clouds in the background. Signature “McElwain” inscribed to paint layer lower right. Titled, additionally signed “Louisa McElwain”, and dated “1990”, en verso to stretcher. Housed in wooden frame with canvas mat. Sight: 21 5/8″ H x 34″ W. Framed: 28 5/8″ H x 41″ W.
Robert Remsen Vickrey (American/Massachusettes/Florida/New York) egg tempura on board imaginative realist painting titled “Rainy Crossing” depicting a nun wading or traversing across a reflective green surface with a white horizontal line. Signed “Robert Vickrey” lower right. Titled en label from Harmon Meek Gallery, Naples, FL affixed en verso. Housed in a simple giltwood frame with a linen mat and gilt filet. Sight: 11″ H x 15″ W. Framed: 18″ H x 22″ W.
Arthur Weeks (American, 1930-1988) oil on canvas neoimpressionist style painting titled “Summer Seaside, Bud Bay” depicting colorful figures and tents along a beach with sailboats floating in the ocean against backdrop featuring a green cliffside lined with architecture under a cloudy blue and yellow sky. signed “Arthur Weeks” lower right. Titled en verso of stretcher. House in a molded rococo style giltwood frame. Sight: 22 1/2″ H x 29″W. Frame: 32 1/2″ H x 39″ W.
Thomas Campbell (1834-1914, born in England, active Tennessee) oil on canvas East Tennessee mountain landscape painting depicting a farmhouse and barn situated in the foreground with another house in the background along a mountain ridge. Signed T. Campbell lower right. Old label for E.H. Friedrich’s Artist Materials affixed en verso of stretcher. Housed in a giltwood frame with scrolling edge. Sight: 14″ H x 21 1/2″ W. Framed: 18″ H x 26″ W.
Charles Krutch (Tennessee, 1849-1934) East Tennessee watercolor on paper landscape painting depicting a verdant mountain landscape with an evergreen tree and rocky terrain visible in the foreground under a hazy sky. Scene likely depicts the Great Smoky Mountain National Park. Signed “Krutch” in red lower left. Inscribed en verso of paper “Mr. A. M. Ogden”. Label for University Book Store Art Department, Lawrence KS affixed en verso. Retains original giltwood frame with foliate decoration, housed under glass. Sight: 9 3/4″ H x 6″ W. Framed: 12 1/2″ H x 9″ W.
Early miniature Pleasant Hill, Kentucky landscape by Thomas Worthington Whittredge (New Jersey, New York, Ohio, 1820-1910) oil on board painting titled “Shaker Ferry- View on Kentucky River” depicting a landscape with a small ferry boat containing a figure and donkey moored on the bank of the Kentucky River. A dirt path runs along the right shoreline. Two additional figures at center right stand underneath a telegraph pole and a house is viewable in the distance with smoke rising from the chimney. A waterfall flowing from a rocky cliff visible from the opposite side of the river. The view portrayed is of the Historical Shaker Ferry, located in the Shaker Village of Pleasant Hill in Harrodsburg, KY, along the Kentucky River. Titled, signed, and dated “1846” en verso. Housed in an ornate gilt and gesso frame with cartouche corner decoration. Sight: 3 1/4″ H x 4 1/4″ W. Framed: 9 1/2″ H x 10 1/4″ W.
Joseph Delaney (Tennessee/New York, 1904-1991) c. 1940 watercolor on paper mounted to board figural study painting depicting a group of African American figures including a reclining, nude woman, perhaps deceased, surrounded by figures who pray or grieve. A woman clad in green carefully pulls a textile over the reclining nude while a grey-haired man’s outstretched arms suggest allusions to Christ’s crucifixion. Signed “Jos Delaney,” lower right. Unframed. 16″ H x 16″ W.
Beauford Delaney (American/Tennessee, 1901-1979) abstract graphite drawing on wove paper depicting a compact, frenetic arrangement of expressive lines, some made using a broad, soft point and others more finely rendered. Signed in blue pen “Beauford Delaney / Paris 1962,” lower right. On Latune de Balcons paper with partial watermark along lower edge reading “DESSIN SUPERIEUR GELATINE LATUNE BALCONS.”
Helen La France (Kentucky, 1919-2020) oil on canvas stretched on board panoramic painting depicting a flood scene with various items including fragments of a fence and house floating down a body of muddy water with a rapid current, surrounded by barren trees under a clear evening sky. signed “Helen La France” lower right. Unframed. 24″ H x 48″ W.
Clementine Hunter (American/Louisiana, 1886-1988), “Wash Day”, oil on board, depicting two women washing clothing with a kettle and washboard, while a smaller figure hangs laundry from a clothesline. Signed with monogram middle right margin. Simple stained wood frame. Sight- 23 1/2″ W x 17 1/2″ H. Frame – 27″ x 21″. Note: we wish to thank Thomas Whitehead for confirming the authenticity of this painting.
Gregory D. Ridley (American/Tennessee, 1925-2004) Federal Eagles, 1969, two repousse copper panels depicting near-mirror images based on the United States Eagle symbols. Ridley’s interpretation of the federal seal, emphasized by the letters U.S. near its tail feathers, portrays the eagles with fierce, dragon-like heads and sharp talons crushing a pair of weeping heads. Both panels are signed lower right and dated 1969, suggesting this work was a reaction to the assassination of Dr. Martin Luther King, Jr. in Memphis, Tennessee and the ensuing civil unrest, as well as America’s involvement in the Vietnam War. Both panels are mounted on a large rectangular black painted wood frame. Each panel – 18″ square. Frame overall – 29 3/4″ H x 52″ W. Biography: Greg Ridley was born in Smyrna, TN, and moved with his family to Nashville, TN in 1936. After his service in the US Navy during WWII, he earned a degree in art education from Tennessee State University, and went on to become the first African American to receive a master’s degree in fine arts from the University of Louisville. Ridley also attended Fisk University (where he later worked), and where he studied under Aaron Douglas, the Harlem renaissance painter and muralist, who remained a close friend and mentor until his death in 1979. Ridley taught at various Southern universities as well as the City University of New York. One of his last and best known works was the creation of 80 copper panels for the Grand Reading Room of the Nashville, TN Public Library.
Gilbert Gaul (Tennessee/New York/New Jersey, 1855-1919) oil on canvas painting depicting a rural landscape with an African American woman holding a child walking through a field of grass. A farmhouse and trees with verdant foliage are visible in the background under a blue sky. Signed “G. Gaul” lower left. Housed in a period gilt and gesso frame with a fluted frieze and foliate edges, Sight: 11″ H x 14 1/2″ W. Framed:19 1/4″ H x 23″ W.
Alan Shuptrine (Tennessee, b. 1963) watercolor pastoral painting titled “Five O’Clock Shadow” depicting a flock of sheep leisurely grazing upon a gentle hill in the evening sun with a large shade tree and an open barn in the background. Signed “A. Shuptrine” in red lower right. Shuptrine Fine Art Group printed label with title, medium, dimensions, and quote from the artist “Each evening at five o’clock, the flock is free to quietly graze in the golden setting sun. How clever they are to know that the shade I stand in is cooler, and the grass jucier.”, en verso of backing. Housed under glass in a custom artist-made giltwood frame with natural stained top edge, canvas liner, and gilt sight edge. Sight: 19 1/2″ H x 28 1/2″ W. Framed: 32 7/8″ H x 39 7/8″ W.
Very large George Ayers Cress (Alabama/Tennessee, 1921-2008) abstract expressionist oil on canvas painting titled “Ocoee” rendered in shades of blue, green, and yellow. Signed and dated “George Cress 1973” lower right. Exhibited, The Hunter Museum of Art, Chattanooga, “George Cress: 50 Years of Painting” March 25-April 22, 1990. Exhibition label en verso. . Housed in a contemporary thin giltwood frame. Sight: 52 1/4″ H x 59 1/2″ W. Framed: 53″ H x 60 1/2″ W.
Philip Perkins (Tennessee, 1907-1970) oil on canvas large abstract painting titled “Through Beyond” depicting three vertical geometric forms rendered with a reflective gradient effect in shades of blue, orange, green, and purple against a dark background and green ceiling. Sight: 34 1/2″ H x 24 1/2″ W. Framed: 38 3/4″ H x 28 3/4″ W.
David Davidovich Burliuk (New York/Ukraine, 1882-1967) miniature oil on board pastoral painting depicting a red horse by a trough in a winter landscape with a figure carrying pails emerging from an open farmhouse in the midground. Signed “Burliuk” lower left. Written label with artist name affixed, en verso. Unframed. 5 1/8″ H x 7 1/2″ W.
George Edgar Ohr (American, Biloxi, Mississippi 1857–1918) earthenware art pottery vase having an “in-body” twist at the shoulder and translucent periwinkle blue glaze. Impressed stamp on the base reading “G. E. OHR. Biloxi, Miss.” 4″ H. Circa 1900.
George Edgar Ohr (American, Biloxi, Mississippi 1857–1918) earthenware art pottery bottle form vase with an extended cylindrical neck, pronounced shaped shoulder and beaded base edge. Copper oxide and manganese glaze. Impressed stamp on the base reading “G. E. OHR. Biloxi, Miss.” 6″ H. Circa 1900.
Pablo Picasso (1881-1973), Visage Barbu (A.R. 413), partially glazed ceramic terra cotta plate, stamped underside MADOURA / PLEIN FEU / EMPREINTE ORIGINAL DE PICASSO, and numbered 60/100. 9 7/8″ diameter (25 cm). Conceived on June 29, 1959 and executed in a numbered edition of 100. Literature: A. Ramié, Picasso, Catalogue of the Edited Ceramic Works, 1947-1971, Madoura, 1988.
Antoine Blanchard (French, 1910-1988) oil on canvas Impressionist Parisian street scene painting set outside the Galeries LaFayette department store on Boulevard Haussmann. Figures including women with shopping baskets walk up and down the busy sidewalk while horses and a large carriage navigate the roadway with colorful signage and glowing lights. Housed in a contemporary giltwood frame with tan canvas mat and gilt reveal. With inscription en verso, likely in the artist’s hand, reading “A. Blanchard / Paris Les Galerie LaFayette,” and a second inscription by another hand reading “2600.00 unframed,” along with an old inventory number. Canvas: 13″ H x 18″ W. Frame: 27 3/4″ H x 23″ W.
Important Minton Pate-Sur-Pate porcelain tray with colored paste by Louis Marc Solon (1835-1913), made for the Paris Exhibition of 1878. Rectangular “Hildesheim” form with Neoclassical handles accented in gold and platinum. The center features a dark brown-black ground with white relief decoration of four female figures in a dressing room or toilette setting; two use a ewer at a sink, while one admires herself in a hand mirror, and another selects a necklace from a box. A blue colored paste shadow figure of Cupid stands at the center behind a draped cloth. Signed and dated “L. Solon ’78” in the paste lower right, with gilded fleur di lis mark for the Minton Paris Exhibition of 1878 en verso along with incised mark and shape number 1765. Note: Solon rarely used colored pastes in his pate sur pate work; it usually appears only on pieces made for exhibitions. 1 1/4″H x 13″W x 7″D. Metric width: 33 cm.
William Charles Anthony Frerichs (New York, New Jersey, North Carolina, Netherlands, Belgium, 1829-1905) oil on canvas painting depicting a winter scene with figures ice skating and sledding on a frozen lake and fishing boats banked on the shore, all surrounded by a snow covered ground with barren trees and evergreen foliage under a cloudy sky. Signed “W. Frerichs” lower right. housed in a period gilt and gesso frame with bead-course and foliate decoration. Sight: 30″ H x 46″ W. Framed: 43″ H x 58″ W.
James McDougal Hart (American/New York, 1828-1901) oil on canvass painting depicting cattle grazing along a shoreline with a figure resting nearby, and a background composed of verdant trees and coastal architecture casting reflections on the surface of water, all under a hazy evening sky. Signed “J.M. Hart” lower edge. Housed in a period giltwood frame with repousse and bead course decoration under glass. Sight: 8 1/2″ H x 15 1/2″ W. Framed: 14 1/2″ H x 21 1/2″ W.
Monumental Tiffany sterling silver serving platter. More information in the coming week.
A near pair of two (2) Russian Silver-Gilt Kovschs or Charkas (drinking cups). Each cup is of relatively large size and features cloisonne enameled floral-scroll decoration to the exteriors and to the flat handles, with pointed opposite ends accented by a large oval stone just below the tip (one is a dark blue stone, likely lapis, the other is a translucent white stone, probably opal). The cup with the blue stone has six smaller blue cabochons encircling the exterior, while the cup with the oval stone features six small red garnet or glass cabachons. Each stamped to underside of handle. The cup with the opal stone is stamped for the Moscow firm of Khlebnikov of Moscow (1870-1918), kokoshnik mark indicating .875 fineness (1909-1918), and the cup with blue stones is marked with zolotniki mark for .875 fineness (pre-1896), Moscow, possibly the firm of Posnikov (1868-1917). Each approximately 3″H x 6″W x 3 1/2″ D. Metric width: 33 cm.
Four (4) pieces Russian Imperial Porcelain from the Kremlin Dessert Service made for Tsar Nicholas I and designed by Fyodor Grigorievich Solntsev (1801-1892), including 2 tazzas or compotes and 2 plates. Solntsey’s design incorporated traditional Russian stylized blossoms on a gilt ground, with foliate sprays encircling the Imperial double-headed eagle and the cyrillic title of Nicholas I. Unmarked. Compotes 3 1/2″H x 8 5/8″ diameter. Plates 9″ diameter. Second quarter 19th century. Note: several pieces of this service were sold in the 20th century through the “Antikvariat” – a Russian department of the Ministry of Trade set up by Lenin in 1921. The Antikvariat sold and exported art and antiques acquired from Russian elites and museums in order to raise cash to fund the new revolutionary government.
Emmanuel Fremiet (France, 1824-1910) gilt bronze figural sculpture titled “The Char de Minerve”. Depicting the goddess Minerva dressed for battle and holding a shield in her left hand and an olive branch in her right hand, standing and driving a chariot led by three horses with a coiled snake by her side, all on an oval naturalistic base. Signed on the base E. FREMIET and also stamped F. BARBEDIENNE FONDEUR PARIS. Presentation inscription along the outer base edge reading A J.H. RICARD, INGENIEUR AGRONOME ANCIEN MINISTRE DE L’AGRICULTURE SES AMIS, A L’OCCASION DE SA PROMOTION AU GRADE D’OFFICIER DE LA LEGION D’HONNEUR OCTOBRE 1923. 21″ H x approx. 20 1/2″ W x 11″ D.
Ladies 18K yellow gold Rolex wristwatch, Model# 69178, SN# N164125, Caliber 2135 movement. The watch is marked “Rolex 750 Geneve 18K” and is 7″ in circumference. The gross weight of the watch and the additional bezel is 79.00 grams.
18K Gold & Diamond Demi-Parure Pigne Choker & Earrings. 1st item: Ladies 18K yellow gold pigne chocker necklace in the style of Bvlgari featuring 520 round brilliant diamonds approximately 12.98 carats together, Clarity-VS2, Color-H. The necklace is marked “18K 750″ and XRF tests 18K gold. The necklace is 14” L. and has a gross weight of 304.70 grams. 2nd item: Ladies 18K yellow gold pigne earrings in the style of Bvlgari featuring 107 round brilliant diamonds approximately 2.68 carats together, Clarity-VS1, Color-H. The earrings are marked “18K 750″ and XRF test 18K gold. The earrings are 1 3/8 x 3/4” in size and have a gross weight of 25.45 grams. Gross weight of the lot is 330.15 grams and gross diamond weight of the lot is 15.66 carats.
Ladies Platinum and 14K yellow gold backed brooch featuring five (5) old mine cut diamonds approximately 3.12 carats together, Clarity-VS1, Color-H. The brooch is marked KOHN and XRF tests 90% platinum on the front and 14K gold on the back. The brooch is 2 1/2 x 1/4″ in size and has a gross weight of 9.61 grams.
Maramenos & Pateras Gold “Icicle” Necklace and Earrings. 1st item: Ladies 18K yellow gold “Icicle” necklace by Maramenos & Pateras featuring 105 round brilliant diamonds approximately 2.10 carats together, Clarity-SI1, Color-I. The necklace is marked “Maramenos & Pateras 750″ and XRF tests 18K gold. The necklace is 13” L. and has a gross weight of 126.7 grams. 2nd item: Ladies 18K yellow & white gold “Icicle” dangle earrings featuring 42 round brilliant diamonds approximately 0.84 carats together, Clarity-VS2, Color-H. The earrings are marked “Maramenos & Pateras 750″ and XRF test 18K gold. The earrings are 3” L. and have a gross weight of 21.93 grams. Gross weight of the lot is 148.63 grams.
Ladies convertible pearl necklace featuring two hundred twelve (212) natural out of round Tahitian pearls accented by thirty-eight (38) 18K yellow gold hollow nugget beads and a 14K yellow gold bar. The necklace is 114″ L and uses the bar to convert into a 3-strand necklace. The lot also includes 4 extra pearls and one (1) extra 18K yellow gold spacer.
18K yellow gold men’s flat curb link bracelet marked “18K” together with a figural animal hallmark on the clasp and is additionally hallmarked on the back of each link with “1”, “8”, or figural animal hallmark. XRF tests 18K gold. The bracelet is 7 1/2″ L. and has a gross weight of 146.01 grams.
Hermes Kelly II Retourne 35 Togo calfskin Noir leather handbag, with gold-plated hardware and single strap. 2019 blind stamp to the interior D PY 819 GU. With rolled top handle, foldover top, and turn-lock closure to the front. Opens to reveal one main compartment with single interior zip and two slip pocket. Interior zipper stamped “Hermes”. Gilt stamp “Paris Made In France” to exterior lip. Includes an additional shoulder strap marked “Hermes/ Paris/ Made in France” and stamped “Hermes” to hardware, clochette, lock stamped “Hermes”, and two keys, all housed in the original herringbone dust bags. Also includes a rain protection kit and care booklet, original box, paper lining, and herringbone drawstring dust bag. 15″ H x 13 1/2″ W x 5 1/4″ D.
Chanel Quilted “Chanel 19” large shoulder bag in shiny black lambskin with antique gold-tone, silver-tone, and Ruthenium-finish chain strap and antique gold-toned hardware, including double “C” logo to flap with turn clasp. Front flap opens to red satin-lined single compartment interior with back zip pocket; rear outer pocket with magnetic snap closure opening to red satin-lined interior. Labeled “Chanel” to gold-tone plaque on back zip pocket. Retail tag attached. Includes card of authenticity with serial number, care guide, metal polishing rag, dust bag, original shipping document, and original box. 7 7/8″ H x 11 3/4″ W x 4″ D. Overall with strap: 23 1/2″ H.
Robert Duncan (Utah, 1952) oil on canvas winter landscape painting titled “Winter Stillness” depicting a Native American man draped in hide, carrying a rifle, and riding a horse through a twilight-lit forest covered in thick snow. Signed and dated “R. Duncan CA (copyright) 83″ lower left. Additionally signed, titled, and dated to paper label affixed en verso of backing. Housed in a chrome-painted wooden frame with gilt placard having title and artist affixed to lower sight edge. Sight: 19 1/2″ H x 27 1/2″ W. Framed: 26 5/8″ H x 34 3/4” W.
Steven Lang (California, b. 1960) oil on canvas full-length portrait painting titled “Strength of a Nation” depicting a Native American woman wearing traditional hide clothing, standing in a grassy field bathed in warm light, holding a bull skull by the horns, and gazing into the distance. Signed “OPA [Oil Painters of America] (copyright) Lang” lower right. Housed in a natural-painted wooden frame with gilt fillet. Sight: 36″ H x 24″ W. Framed: 44 1/2″ H x 33 1/4″ W.
David Scott Rogers (Texas/Utah, b. 1960/61) bronze sculpture titled “We Fought Through Boggy Ground” depicting a group of armed frontiersmen hastily attempted to traverse swampy ground on foot or horseback and struggling as they succumb to the bog. Label in bronze with title and artist name to front edge of plinth-style base. Signed, dated, and numbered “D.S. Rogers (copyright) ’99 30/30″ to rear corner. Mounted on a rectangular wooden swivel base. 18 1/2″ H x 42″ W x 13 1/2” D.
Tlingit carved wooden Grease or Effigy Bowl, attributed to Augustus Bean and/or Rudolph Watson (Tlingit, 1864-1951 / 1850-1926), seal form with inset abalone and bone. 14″L x 5″H. More in the coming weeks.
Intricately detailed watercolor and gouache military scene on laid paper and set in Geneva, Switzerland, with French troops, diverse bystanders, and detailed architectural elements including the Old Town with Le Pont de l’Ile and the Tour de l’Ile clocktower. Likely created in the very late 18th or early 19th century, after the 1798 French invasion of Switzerland. Housed under glass in an ornately carved wooden frame. Image: 10 7/16″ H x 16 9/16″ W. Sheet: 10 11/16″ H x 16 15/16″ W. Frame: 15 5/8″ H x 22″ H.
A miniature terrestrial globe in original cylindrical case, with hand-coloring to the 12 lithographic gores and to scene of woman and two children on lid. With metallic axis pins. Lid has printed title “Die Erde/The Earth.” Published by Johann Georg Klinger (German, 1764-1806) in Nuremberg in the mid-19th century, with lithographs by C. Dunzinger. Numbered 1031 on label of C. Abel-Klinger, Nuremberg, affixed to base of case. Circumference: 7 1/4″. Case height: 2 7/8″. Case diameter: 2 13/16″. Note: The globe includes Wilkes Land, Antarctica, dating its publication to after 1840-42. The J.G. Klinger name was in use until 1852, at which point the firm began operating as C. Abel-Klinger. (Source: Elly Dekker, GLOBES AT GREENWICH).
North or South Carolina hand-pieced and hand-appliqued quilt in a 9-block design album layout, mariner’s compass primary pattern with a chintz border around each block, and a rare central chintz panel with floral, stylized spider web or scalloped cartouche, and butterfly decoration including a trapunto butterfly to the center and floral bouquet sprays, all within a chintz border. Comprised of printed cotton chintz, printed cotton, and solid cotton fabrics including red, green, yellow and double pink on a white ground. Hand-quilted throughout with a cotton thread in various designs including by the piece, overlapping circles, and parallel lines in the borders. Initialed en verso in red chain stitch embroidery to one corner C.L.C. Additionally initialed and dated 1845 in black embroidery on the center panel, embroidery goes through the quilt and is visible en verso. With white backing, lightweight batting, and separately applied chintz binding. 79″ x 80″.
Oval pasteboard or cardboard band box titled “Old Hickory”, covered with colorful woodblock printed wallpaper, likely commemorating the War of 1812. The lid depicts a landscape scene with a log cabin to the right and a figure on horseback crossing a bridge, possibly the “First Hermitage” where Jackson resided until the his mansion The Hermitage was completed. The sides depict a scenic landscape with Major General Andrew Jackson attired in uniform standing by his horse holding a sword foreground with a town in the background, likely New Orleans, titled with banners reading “Old Hickory” to three sides. The underside of lid with a merchant label reading “John van Steenburgh/ No. 35 Roosevelt Street/ Corner of Bancker Street/ New York/ Makes and Sells all kinds of Paper Boxes, Wholesale and Retail, N. B. Boxes Made in Nests for Exportation”. Additional label to lid reads “Montaine Antiques Collection”. 11″ H x 16 1/2″ W x 12 1/2″ D. Circa 1830’s to 1840s. Note: Two other examples of this box are documented including one example in the book “Hat Boxes and Bandboxes at Shelburne Museum” by Lilian Baker Carlisle, pgs. 190-191 and another example in the collection of the The Historic New Orleans Collection, item# 2012.0405.2.
Herter Brothers marked Aesthetic movement inlaid and carved easel with primary woods of rosewood and mahogany. Shell carved top with gilt highlights over a scrolled frieze with ebony inset panel and light wood inlaid opposing winged griffins and foliate designs over a long rectangular ebony inset panel with floral and foliate designs, easel with gilt incised designs and lower gilt inset bellflowers at base of easel support, center brass track with latches to secure art work. Easel frame base with an elaborate “sawtooth” inlay design around the perimeter. Easel frame rests on a brass and metal swivel connecting to the lower base. Lower base with incised gilt aesthetic movement designs and acorn drops to each corner and centers of apron with shell carving and gilt highlights. Trestle base with center turned column support and feet with shaped brackets having center brace with ebony panel inset with leaf and flower inlay. Four turret turned feet topped with incised gilt turnip finials. Underside of lower base marked, “Herter Bros”. 76 1/2″ H x 25 1/2″ x 22 1/4″ D. American, Herter Brothers, circa 1880.
Monumental Edward Moulthrop (American/Georgia/Ohio. 1916-2003) turned and figured Red Elm wood sculpture in the form of a chalice having a four-ring tiered foot, highly figured bowl, and tapered rim. Etched signature to underside “ED MOULTHROP/ RED ELM/ ULMUS RUBRA/ 605971″ with branded artist’s mark. 21 1/4″ H x 11 1/2” Dia.
Samuel Lewis Francis (American, 1923-1994), Untitled abstract, acrylic on paper, signed en verso with inscription, “For Jan,” and date “Oct Nov 1988″. Don Francis, Venice CA framing label en verso. Float mounted and matted under plexiglass in a natural wood frame. Painting -14 5/8″ x 6 1/8″ . Frame – 23 1/2″ x 14 1/2”.
Samuel Lewis Francis (American, 1923 – 1994) very small oil on canvas abstract painting, untitled (SFP86-103), signed en verso and inscribed “For Jan.” The paint was thickly applied to and has trickled down the sides of an unframed tiny canvas, wrapped around a 2″ x 3″ block of wood. Accompanying this lot is a copy of the book, SAM FRANCIS by Yves Michaud (Paris: Daniel Papierski, 1974, published in French, 10″ x 12″).
Richard Long (New York/UK, born 1945) NILE. Papers of River Muds. Santa Monica: Lapis Press, 1991, number 87 from the edition of 172, and number 87 of 88 signed by the artist. Folio containing pages of handmade paper created from pulp mixed with mud from rivers around the world, including the Nile, Umpqua, Hudson, Murrumbidgee, Mississippi, Indragoodby, Jordan, Condamine, Avon, Chitravathri, Amazon, Rhine, Guatiquia and Huang He. The first sheet of each example is titled in red with the respective river’s name. Publisher’s single sheet on handmade paper using pulp mixed with mud from the Murrumbidgee River laid in, numbered 87/172 en verso. Signed and numbered 87/88 in pencil by the artist on next to last page in book. Publisher’s parchment-backed handmade paper covered boards with red titling to front cover and to spine; original parchment edged paper covered slipcase. Book – 14″ x 11 3/4″.
Todd Murphy (American/Georgia,1962-2020) mixed media on plexiglass over canvas painting titled “Lucy” depicting a seated nude woman whose back is starkly illuminated in a pale light while she plays the cello. Titled in red to lower center. Plexiglass is affixed to canvas via 18 screws along the edges. Lowe gallery label with artist, title, medium, and size affixed, en verso of canvas. Housed in a ebonized wooden frame with chrome-painted sight edge. Sight: 33 3/4″ H x 22 7/8″ W. Framed: 42″ H x 31″ W.
Pair of finely painted Chinese Famille Verte palette palace-sized porcelain floor vases, rouleau form with galleried rims. The wide rims with interior foliate decoration and an exterior foliate sawtooth border, the elongated necks, shoulders and bodies with alternating reserves depicting birds amongst foliage and landscapes with figures engaged in various activities, all separated by a diapered grisaille foliate design and resting on a slightly flared feet with dart and foliate decoration, shoulder reserves with gilt trim. 35 1/2″ H x approx. 15″ W. Chinese, 19th century or earlier.
Hasui Kawase (Japan, 1883-1957) vertical oban color woodblock print entitled Zojoji Temple in Snow and depicting Tokyo’s famous Zojo-ji Temple in a snowstorm at night. A woman or bijin whose face is hidden behind an umbrella walks through the foreground. With embossing to umbrella. From Hasui’s Twenty Views of Tokyo series. Published by Shozaburo Watanabe with the publisher’s “D” seal, used 1931-1941, lower-right margin. With Hasui’s seal in image, lower left. Inscribed in pencil on window mat “Original Print,” “Zojoji Temple in Snow,” and “Hasui.” Stamped “Made in Japan” en verso. Window mat is from the original dealer, the Shima Art Company, New York. Housed under glass in an ebonized wood frame with gilt inset and black mat with tan reveal. Sheet: 15 7/16″ H x 10 1/4″ W. Plate: 14 1/4″ H x 9 7/16″ W.
Steinway Model A Grand piano, Serial #42591 for the year 1880. Satin ebonized finish with ice cream cone legs. Cast iron plate marked STEINWAY & SONS, REGISTERED OCTOBER 31 1876, JULY 9, 1878, ORNAMENTAL DESIGN PAT NOV 9 1875 TUBULAR METALLIC ACTION FRAME, PAT AUG 18 1868 & AUG 10 1869, STEINWAY FOUNDRY COMPOSITE METAL CASTING. Piano measures: 38 3/4″ H x 55″ W x 72″ L. Piano professionally restored by Gist Piano Center (Louisville, KY) in 2004 and includes a detailed report of restorations performed. Note: This piano has 85 keys versus the more modern arrangement of 88 keys.