Summer 2023 Auction Highlights

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." Artist biography: Raised in New York City, the young George Hughes attended courses in the National Academy of Design and the Art Student's League. He began working as a freelance illustrator for the fashion industry in Vanity Fair and House and Garden magazines. After a stint in Detroit working in the automotive industry, Hughes returned to the city to work for the Charles E. Cooper Studio until his discovery in 1942 by Ken Stuart, the Art Director of The Saturday Evening Post. He moved his family to Arlington, Vermont, and found great success, cultivating a rich portfolio of illustrations for the Post alongside a neighbor, friend, and humorous artistic tormentor, Norman Rockwell. Other than Rockwell, Hughes was the most prolific artist for the Post, and his illustrations were included in other publications such as Reader's Digest and Good Housekeeping. (adapted from "George Hughes", THE SATURDAY EVENING POST, October 29, 2014)

CONDITION: Painting has been lightly cleaned using natural solvents only; no further cleaning measures have been taken. Areas of retouching to upper right corner, green umbrella, hair and neck of figure eating the hotdog, and largest area to upper right quadrant measuring 1/8" x 5 1/2". [See more photos →]

Le Pho (Vietnam/France, 1907-2001) oil painting on silk mounted on masonite entitled “Jeunes Filles aux Bouquets,” c. 1950s. The painting depicts three young women among vases filled with flowers, 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. With Arthur Lenars & Cie., Paris, shipping label addressed to Wally Findlay Galleries, Chicago, en verso. (Findlay is the American gallery most closely associated with Le Pho). Housed in a carved, giltwood Louis XIV-style frame with fabric mat and brass title/nameplate. With title inscribed en verso along with Lenars shipping label addressed to “FIND 93 CHICAGO.” Numbered en verso “4722,” upper left, and “No. 3,” upper right. Board: 23″ H x 35 3/4″ W. Frame: 30 1/4″ H x 43″ W. Biographical note: Le Pho is celebrated for his unique style of painting, blending European influences including Impressionism and Post-Impressionism with Asian artistic traditions, especially Chinese painting. He was among the earliest graduates of the Indochina Fine Arts College, now Vietnam University of Fine Arts, which was set up in 1925 by French painter Victor Tardieu, a friend and colleague of Henri Matisse. Le Pho received a scholarship to study at the Paris National College of Fine Arts. In 1932 he returned to Vietnam to teach before setting off for Beijing, where he became immersed in Chinese artistic traditions. When he left China he had the artistic knowledge needed to develop his own particular artistic style with which he would make his name in France. By 1950, now living in Paris, Le Pho began working in oil on canvas, striking a delicate balance between Chinese painting and French Post-Impressionism. Yet the images he painted focus on traditional Vietnamese subject matter like bamboo branches, birds and especially women with flowers or wearing ao dai. (Adapted from Vietnam News Agency).

PROVENANCE: Arthur Lenars & Cie, Paris, France. Wally Findlay Galleries, Chicago, Illinois.

CONDITION: Scattered areas of fine craquelure, primarily in areas of thickly applied paint, which has resulted in flaking, including to leftmost yellow flower in the central bouquet. Ultraviolet light reveals spots of possible inpainting not visible with the naked eye, most prominent in upper left quadrant, behind the head of the figure at left. [See more photos →]

Carroll Cloar (Tennessee, 1913-1993), "Post Office Cafe", 1975, acrylic on board painting, depicting a man wearing overalls seated on a bench and holding a baby in his arms 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, with a flat dirt road and pasture 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).

PROVENANCE: Private Memphis, Tennessee estate, ex-Lisa Kurts Gallery, Memphis.

CONDITION: Excellent condition. [See more photos →]

Herter Brothers Aesthetic movement inlaid and carved easel, with primary woods of rosewood and mahogany, stamped underside of lower base (see photos). 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. 76 1/2" H x 25 1/2" x 22 1/4" D. Adjustable track to secure artwork measuring 42" L. American, Herter Brothers, circa 1880.

CONDITION: Overall very good condition. Some elements stabilized with glue. Very minor wear and abrasions to edges of easel top and base. [See more photos →]

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. 5 5/8″ H. Note: Andrew Clemens was born in Dubuque, Iowa, in 1857 and later moved to the town of McGregor. At the age of five, he contracted an illness (possibly encephalitis) which caused him to become deaf and mute. Clemens lived his entire life in Iowa, near Pikes Peak State Park. He and his brothers frequented an area of the park called Pictured Rocks, which was famous for its sandstone bluffs that were veined with iron and mineral deposits, resulting in over forty different shades of stone. He attended the Iowa School for the Deaf and as an adult he began working with this sand to form detailed pictures in glass bottles. His brothers helped to gather the sandstone and grind it into fine powder which Andrew used for his designs. Clemens created his designs using self-made tools, including “brushes” of tiny hickory twigs and bent fish hook tools; no glue was used. Clemens secured the sand with a scrap of velvet near the stopper, then sealed the lid in place with wax. The bottles were well received by the public – particularly riverboat travelers to McGregor, seeking souvenirs – and he was able to earn a livelihood selling sand art bottles until his death in 1894 at the age of 37. While many were sold, few have remained intact over the years. (Source: the Des Moines Register & The Smithsonian Institution).

PROVENANCE: Private Illinois collection.

CONDITION: Both the stopper edge and bottle rim with slight scattered chipping. [See more photos →]

Scarce Great Road Virginia earthenware pottery jug, deeply impressed T.I.M.4 within a rectangular border, attributed by Roddy Moore 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 initials T.I.M. impressed behind the top left handle.Â

CONDITION: Overall very good condition. A couple of very slight fleabites to spout rim and minor glaze wear, base with chip and some slight chipping/losses to beaded foot. [See more photos →]

35 star flag of the USS Kearsarge, used during battle with the CSS Alabama June,1864 and descended in the family of Kearsarge Captain John Ancrum Winslow, plus Commendation and photograph (3 items).

The epic naval engagement between the CSS Alabama, the most famous of the Confederate Navy cruisers, and the USS Kearsarge off the coast of Cherbourg, France on June 19, 1864, is one of the two most famous single ship versus single ship actions of the American Civil War, the other being the duel of the ironclads CSS Virginia versus the USS Monitor. Both had significant affects on the naval actions of the Civil War and beyond.

The CSS Alabama was built in Birkenhead, England (opposite Liverpool) by John Laird & Sons ship builders under the secret name of Hull 290. She was a three masted screw powered sloop of war completed in May 1862 taking to the seas in late July. Her future captain, Raphael Semmes, a veteran Confederate naval raider, sailed on a different ship and met up with her in the Terciera Islands where she received her crew, armament and tons of coal for her engines. After outfitting, she was commissioned into the Confederate Navy and took to the seas. Throughout her career, the CSS Alabama conducted seven raids around the world against American shipping taking or destroying 65 Union vessels while boarding over 400 others. She put into Cherbourg, France on June 11, 1864 for repairs, a decision which would ultimately decide her fate.

Hunting her was the USS Kearsarge, also a sloop of war that was steam powered, launched in September 1861 and by February 1862 had set sail for Spain. She was under the command of Captain John A. Winslow, also a veteran naval officer, and Semmes’ former roommate on the USS Raritan more than a decade earlier. Upon arrival at Gibraltar, the Kearsarge assisted in forcing the Confederates to abandon the raider CSS Sumter, commanded by Raphael Semmes. Once the CSS Alabama had taken to sea, the USS Kearsarge was tasked with searching for her and bringing her to heel, something that took Winslow and his crew across expanses of ocean off of Europe and Africa. Finally, on June 14, 1864, Winslow had found his prey in the French harbor setting the stage for the epic naval battle that would end with the demise of the Confederate raider.

Semmes and the Alabama took to sea to fight her way out of port. Winslow, spying his foe sailing towards him, ordered all his flags to fly. According to an 1868 letter, Winslow, cleared his ship for action and, “set the colors at the gaff and round up to the mastheads without breaking stops.” This placed his main ensign at the stern and the smaller boat and storm flags on top of his three masts which were hoisted unfurled so they would not need to be broken out. Winslow reported that this would give him spare colors for battle in case one or more were shot away. He continued, “the action commenced and continued until the last gun of the “Alabama” was fired, and but one flag (which was at the gaff) flying on board the Kearsarge.” The last shot from the Alabama broke the stop of a flag hoisted to one of his masts and unfurled it meaning that at least one flag was hoisted without “breaking stops.”

The flag being offered for auction was on board the USS Kearsarge that fateful day and it was undoubtedly one of those hoisted to one of her masts for the battle.

Professionally made, using period sewing techniques, of imported English wool bunting for her canton and striped field and bearing thirty-five white cotton stars, the banner measures 40 1/2 inches on the hoist by 79 1/2 inches on the fly. Based on the size, this flag is rated a Number 12 Boat Flag according to the 1863 U.S. Navy flag regulations. Boat flags were issued for each of the launches of larger warships, of which the Kearsarge had four. The cotton or linen canvas hoist edge is a hollow sleeve to allow the passing of the knotted rope used to attach the flag to a ship’s halyard for hoisting. The hoist edge bears two markings, one indiscernible and the other bearing the initials “K W” More details on this flag and more will be found in the accompanying letter written by noted Civil War flag historian Greg Biggs which will transfer to the flag’s new owner.

This flag is exceedingly rare and it is one of only four known surviving flags from the USS Kearsarge. Three of these are in museums today: the flag which flew at the gaff, which has been at the Smithsonian since the Winslow family placed it there in 1870s, and two of which are in the U.S. Navy system. It comes with solid provenance, descending from the Winslow family through his grandson, Eben Eveleth Winslow, an Army Brigadier General. The flag is framed, sewn to a backing and mounted under plexiglass in a 42 1/2″ x 81″ ebonized frame with brass commemorative plaque. This is the first time any flag from the Kearsarge has ever been offered at auction. We wish to thank Greg Biggs for his assistance in examining and cataloging this flag.

Note: The 35 Star Flag became the official United States Flag on July 4, 1863 with the addition of West Virginia; it is the only US flag representing a state admitted during the Civil War, and was only official for two years.

2nd item: Commendation from the Chamber of Commerce of the State of New York, to Admiral John Winslow. The hand-drawn and lettered vellum document offers Winslow and the officers and crew of the USS Kearsarge “the congratulations and thanks of the Chamber for the destruction of the steamer Alabama” and praises “the skill, coolness and intrepidity with which the Kearsarge was maneuvered in the combat with her formidable foe.” Signed by John Austin Stevens, Jr., secretary, and Abiel Abbott Low, president and dated Oct. 6, 1864. 19″ x 21″. Housed in the original gilt-lettered leather tube case. 3rd item: framed reproduction photograph of Admiral Winslow and officers on the deck of the USS Kearsarge after sinking the CSS Alabama, 24″ x 30″.

PROVENANCE: Private TN collection, acquired March, 2023 from direct descendant of USS Kearsarge commander Admiral John Ancrum Winslow (1811-1873) through his only surviving grandson Brig. Genl. Eben Eveleth Winslow, along with other items in this auction.

CONDITION: Flag: Conserved mid 20th century and stitch mounted to a plain white linen backing. Repairs, patches and losses up to 2″ x 3″; 2″ square repair on stripe adjacent to header, two 1″ losses to top stripe. Scattered areas of fraying. Grime, discoloration consistent with age. Note basting stitches left in one star. Commendation: Overall good condition with light toning, scattered minor foxing and creasing. Ends of tube case are missing, case has moderate wear. Reproduction photograph and frame: Excellent condition. [See more photos →]

Important Minton Pate-Sur-Pate porcelain tray with colored paste by Louis Marc Solon (1835-1913), made for the Paris Exposition Universelle of 1878. Rectangular “Hildesheim” form with Neoclassical handles accented in gold and platinum having 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 de lis Minton mark for the Paris Exhibition of 1878 en verso along with incised mark and shape number 1765. 1 1/4″ H x 13″ W x 7″ D. Metric width: 33 cm. Note: Solon rarely used colored pastes in his pate sur pate work; it usually appears only on pieces made for exhibitions.

PROVENANCE: The Estate of Edward Laudermilk, Nashville, Tennessee. Purchased Skinner Auctions, December 1995. The original invoice is available to the winning bidder.

CONDITION: Two rim chips, both under 1/4″ (about 5 mm), one to underside of handle at center left side (only visible from back), the other to tip of lowermost right edge of handle. Otherwise very good condition with minimal scattered wear. [See more photos →]

Bill Sawyer (American/Tennessee, 1936-2020) oil on board painting depicting a large old white house and outbuildings, 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 homemade, 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" H x 24" W. Frame – 25" H x 31" W. Biography: Bill Sawyer was a self-taught artist from Nashville. He is said to have taken up painting while stationed in France in the U.S. Army Corps of Engineers in the 1950s. His first exhibition was in Nashville in May of 1959 and he went on to have one-man shows at Daniel Orr's Gallery in San Diego, the Little Gallery in Memphis, TN, and the Parthenon in Nashville. Joseph Patterson, then the president of the American Association of Museums, arranged for a show of Sawyer's work at the Durlacher Brothers Gallery in New York in 1964. Sawyer was the first untrained artist to have a one-man show at the gallery, and his second show there, in 1966, sold out. Shortly after this time, Sawyer traveled overseas. After his trip, for unknown reasons, Sawyer seems to have never painted again. He sought privacy, living quietly in Nashville, where he passed away in 2020. After 1966, his work went on to be exhibited at the Fine Arts Center at Cheekwood, and in the Art of Tennessee exhibit at the Frist Museum (2006).

PROVENANCE: The collection of Marlin Phythyon Sanders, Nashville, Tennessee.

CONDITION: A few tiny inclusions to roof and one miniscule stain in sky area, otherwise excellent condition. [See more photos →]

Louisa McElwain (New Mexico/New Hampshire, 1953-2013) oil on canvas landscape painting titled "The Chama Valley, Abiquiu" rendered in heavy impasto and depicting the Rio Chama flowing through the gesturally executed valley 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. Artist biography: Louisa McElwain received a BFA from the University of Pennsylvania, Philadelphia as well as attended the Skowhegan School of Painting and Sculpture in Maine. She settled in New Mexico in 1985 where she worked as a rancher and farmer before being discovered in the mid-1990s by Kathrine Erickson, owner of Evoke Contemporary Gallery. Her plein air practice – often situated roadside – consisted of a pickup truck "easel", a step ladder, a masonry trowel taped to a stick, and a deeply spiritual connection to the land. (Adapted from "Louisa McElwain's Joy Lives On Through Breathtaking New Mexico Landscapes" by Chadd Scott for Forbes.com)

PROVENANCE: The collection of Christopher Chilton, inherited from his father George S. Chilton, II.

CONDITION: Overall excellent condition. [See more photos →]

Large Tiffany & Co. Renaissance Revival Sterling Silver Tray designed by Paulding Farnham (1859-1927), possibly for the St. Louis exhibition of 1904. Oval, with figural angel masks at each end, repousse C-scroll border enclosing a rim with raised clusters of fruit and flowers and a rosette band, and strapwork extending to the center of the tray. Foliate scroll handles. No monograms. 34 1/2″ x 25 1/2″ (including handles). Stamped en verso “Tiffany & Co. Makers” divided by numbers 15819 and 7043, with C mark for Charles T. Cook, directorship, along with a Fleur di Lis mark. 267.42 troy ounces. For a photo and discussion of an identical (likely this same) tray, ref. Charles and Mary Grace Carpenter, “Tiffany Silver,” page 83-84, figure 90. Gilded age designer Paulding Farnham is credited with some of Tiffany’s most important pieces, including the Adams gold vase. He trained as a silversmith under Edward C. Moore and also had an independent career as a sculptor. This tray was designed in what Farnham called the “Renaissance” style, incorporating varied motifs from multiple periods. Farnham designed a monumental tea and coffee service in the Renaissance style for the 1904 Louisiana Purchase Exposition in St. Louis, basing the winged figures at the handles on similar figures by Hans Holbein the Younger (1497-1543). Christie’s, which on Jan. 17, 1992 (lot 13B) sold all of the pieces to a Farnham Renaissance silver tea/coffee service -except for the tray – reported that five of those pieces were marked with a fleur di lis symbol. The catalog went on to note that Tiffany & Co. marked all silver pieces sent to world’s fairs with a special symbol, and a fleur-de-lys was an appropriate symbol of the St. Louis Exhibition (which commemorated the purchase of Louisiana from the French in 1804). Farnham’s Renaissance service was so well received at the World’s Fair that Tiffany introduced additional hollowware forms and a flatware line in the renowned “Renaissance” pattern the following year.

PROVENANCE: The estate of a Tennessee doctor.

CONDITION: Center section has scattered areas of tiny spots of discoloration that do not polish away; some areas of wear and scratching, a few tiny dark spots of pitting or inclusions that we have been conservative in our efforts to clean. Otherwise, excellent condition. [See more photos →]

Early miniature landscape view of Pleasant Hill, KY, by Thomas Worthington Whittredge (New Jersey/New York/Ohio, 1820-1910). The oil on paper laid on board painting, titled "Shaker Ferry- View on Kentucky River," depicts a landscape with a small ferry boat containing a figure and donkey moored on the river bank. A dirt path runs along the right shoreline and two toll road operators man an erect, pole-like boom barrier or boom gate at center right. Behind them, smoke rises from the chimney of a small house. On the opposite side of the river a waterfall flows from a rocky cliff. The view portrayed is of the historical ferry at Shaker Landing, located near 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. Note: This painting is among the earliest extant, dated works by Whittredge. It was likely painted during the self-taught artist's formative years as a painter while living in Cincinnati, OH from 1837-1843, or during his period in Charleston, WV, c. 1843-1849, before traveling abroad. A nearly identical signature appears in Whittredge's 1849 sketchbook in the collection of the Smithsonian Archives of American Art. (See Worthington Whittredge; Worthington Whittredge sketchbook of a trip down the Rhine River, 1849; Worthington Whittredge Papers, circa 1840s-1965; Archives of American Art, Smithsonian Institution) Biography: Born on a farm near Springfield, Ohio, Thomas Worthington Whittredge would later establish himself as one of the foremost painters of the Hudson River School. Growing up with little formal art education, Whittredge moved to Cincinnati at the age of 17 to work for his brother-in-law as a house and sign painter. He taught himself portrait and landscape painting and opened a daguerreotype studio in Charleston, West Virginia. However, his business failed, and he began focusing on landscape painting after 1843. In 1849, he was sponsored to travel to Europe where he enrolled in the Royal Academy in Dusseldorf, Germany, and traveled to Switzerland, Paris, and Rome where he studied naturalism and the Barbizon school. In 1855 he began to sign his work W. Whittredge, as opposed to his earlier signature of W. T. Whitridge or W. T. Whitredge. He returned to New York City in 1859 and began painting American landscapes in the Hudson River School style of New York and New England. In the 1860's he took a few trips west sketching oil landscapes of Western subjects, and traveled to Mexico with Frederic Church in 1896. He passed away in Summit, New Jersey in 1910. Today his work is represented in the Metropolitan Museum or Art (which the artist helped to develop), the Worcester Museum of Art, the Cincinnati Art Museum, and the Brooklyn Museum, among others. (Adapted from "Worthington Whittredge" by Esther T. Thyssen in AMERICAN PARADISE: THE WORLD OF THE HUDSON RIVER SCHOOL, ed. John O'Neil, New York: Metropolitan Museum of Art, 1987). About Shaker Landing: "The Pleasant Hill Shakers began acquiring land for river access as early as 1813, when they purchased Fulkerson’s Ferry a few miles downriver. By 1843 the Shakers had amassed an additional 200 acres of land on both sides of the Kentucky River. At its peak, Shaker Landing spanned from Brooklyn to the mouth of the Dix River, about a mile upstream. Along this site the Shakers built 13 structures, including a dwelling, warehouses and a stable. Shaker Landing served as the launch point for Shaker trade deacons for almost 50 years. The river connected the Shakers to markets as far south as New Orleans, where they would sell their goods and return with precious cargo such as sugar and coffee. Shorter trade routes were more common, with Louisville and Cincinnati as the most visited destinations. For nearly 100 years, the Shakers operated a ferry that would shuttle travelers across the Kentucky River for a small toll. Due to the construction of High Bridge and the increase of railroad travel, operation of the Shaker Ferry ceased in the late 1890s.The Pleasant Hill Shakers sold their ferry, and Shaker Landing, in 1909. Non-Shakers continued to run the ferry as a tourist attraction under its original namesake until 1940." (Source: Billy Rankin, "Landing in the Right Place," Shaker Village at Pleasant Hill website).

CONDITION: No retouching visible under UV light. Craquelure and grime throughout. Top coating of grime has been lightly professionally removed. It is recommended that the buyer consult a specialist of oil on paper on board paintings for further cleaning. [See more photos →]

1st item: Ladies five-strand pearl choker necklace by Mikimoto featuring two hundred sixty (260) cultured pearls accented by five (5) 14K yellow gold spacers and sixty-five (65) round brilliant diamonds approximately 1.30 carat together, Clarity-SI1, Color-I. The clasp is marked "14K M" and XRF tests 14K gold. The necklace is 15" L. 2nd item: Ladies five-strand pearl bracelet featuring one hundred twenty (120) cultured pearls accented by three (3) 14K yellow gold spacers and thirty (30) round brilliant diamonds approximately 1.8 carats together, Clarity-VS2, Color-H. The bracelet spacers XRF test 14K gold. The bracelet is 7 1/2" L.

PROVENANCE: Property from the Collection of Jo Ann Cline Yates, Lookout Mountain Tennessee.

CONDITION: Overall good condition. [See more photos →]

Thomas Campbell (Born in England, active Tennessee, 1834-1914) 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. Biography: Painting was a second career for Thomas Campbell, who immigrated to the United States at age 19, and was ordained as a minister in 1866. He and his family moved to East Tennessee in hopes a climate change would improve the health of his wife, Susan, but she died in 1892. At that point, Campbell, retired from the ministry and turned to art, which had been his hobby, into his job. He founded the art department at Maryville College in 1902 and headed it until his death. His paintings were exhibited regionally and won several prizes and medals. He was also active in the Nicholson Art League, and was a talented wood carver who produced picture frames and small pieces of furniture. Campbell mostly painted pastoral landscapes.

CONDITION: A few small losses, including one on the right edge, the upper left sky, and the upper right sky. Small hole in upper right corner and near the center of the work. [See more photos →]

Phillip Perkins (Tennessee, 1907-1970) oil on canvas large abstract painting titled "Eridanus" depicting a green teardrop form surrounded by undulating segments of color in shades of blue, orange, yellow, green, and black, possibly representing the constellation, Eridanus, long associated with the rivers of ancient civilizations. Titled, signed, and dated en verso of canvas. Housed in a contemporary black frame with a white linen liner. Sight: 35" H x 52 1/2" W. Framed: 38" H x 55 3/4" W. Biography: Philip Perkins received critical acclaim for his geometric, cubist-influenced work of the 1940s and his abstract expressionism in the 1950s. He was born in Waverly, Tennessee and studied at Vanderbilt University and the Art Institute of Chicago. In 1932 he moved to Paris, France, where he studied under Jean Marchaud, Louis Marcoussis, and Fernand Leger. In 1934 he exhibited at the Salon D'Automne and the Salon de Tuileries. In 1940 he moved to New York City and in 1947 participated in the International Surrealist Exhibition. He spent seven years teaching art at the University of Tennessee in Nashville (1948-1955) but went back to Europe for several more years before returning to Nashville in 1961.

PROVENANCE: The collection of Earl S. and Suzanne D. Swensson, Nashville, TN, purchased from Stanford Fine Art, Nashville, 1999. A copy of the receipt is available to the winning bidder.

CONDITION: Overall very good condition. [See more photos →]

Charles Krutch (Tennessee, 1849-1934) East Tennessee watercolor on paper painting depicting a verdant mountain landscape with a sparsely leaved 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, Kansas 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. Biography (Courtesy Knoxville Museum of Art): Krutch is regarded as one of East Tennessee's first painters to specialize in scenes of the Smoky Mountains. Krutch earned the nickname "Corot of the South" for his soft, atmospheric watercolor and oil paintings of the mountain range that served as his sole focus.

CONDITION: Painting in overall very good condition. Slight toning to edges. [See more photos →]

Large Reed and Barton sterling silver Francis I pattern waiter tray or tea service tray. Reed & Barton, Sterling, pattern code 752 A, Francis I, and “Hand Chased” stamped to underside. 30 1/2″ W x 23″‘ H. 154.85 total troy ounces.

PROVENANCE: Property from the Collection of Jo Ann Cline Yates, Lookout Mountain Tennessee.

CONDITION: Overall very good condition with light surface wear. [See more photos →]

Henri Hecht Maik (France, 1922-1993) oil on canvas painting of a lion amidst flowers rendered in delicate impasto, signed "MAIK 71" lower right under frame. Label en verso for Findlay Galleries Inc. Chicago. Housed in giltwood frame with canvas liner and gilt filet having brass label identifying the artist. Sight: 6 1/4" H x 5" W. Framed: 13" H x 11 1/2" W. Note: Born in 1922 to illustrator Joseph Hecht, Henri Hecht Maik is known for his primitive, childlike paintings, which feature exotic creatures in flowered jungle settings. Exhibited first in Palm Beach in the mid 1960's by Wally Findlay, Maik's work has been exhibited in numerous museums including the Musée de l'Art Moderne in Paris.

PROVENANCE: Private Mississippi Collection, ex- Wally Findlay Galleries. A 1971 letter of authenticity from the gallery accompanies this work.

CONDITION: Minor surface grime, otherwise in overall very good condition. [See more photos →]

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 Rauschenberg, Frank Horton and Mary C. McClinton for MESDA in 1975, Photo #S-4397: https://mesda.org/item/object/sideboard/11775/. A copy of this report will be made available to the winning bidder.

CONDITION: Overall good condition with expected age related use and wear. Old refinish with minor restorations to veneer, some vertical wood shrinkage, old damage to left side of top. 1979 repair inscription. Center drawer with later added partitions and interior metal braces to each corner, drawer corners with vertical wood shrinkage to veneer. [See more photos →]

Hasui Kawase (Japan, 1883-1957), “Zojoji Temple in Snow,” vertical oban color woodblock print 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. Note: This is a rare 1931-33 impression of Hasui’s most celebrated and sought-after print, and one of the iconic images of all of shin-hanga (new prints) – an early 20th-century movement focused on revitalizing the traditional ukiyo-e genre. Hasui was among the leaders of this influential group of artists and Shozaburo Watanabe its most important publisher. The block was cut in 1925 and printed in multiple editions between 1925 and 1933. E. T. Shima had a shop in Nashville before moving to New York in 1905. His Shima Art Company specialized in selling Japanese prints to American collectors.

PROVENANCE: The collection of Jean Rippy, Franklin, Tennessee.

CONDITION: Overall very good condition. Slight fading and toning throughout, except for 1/4″ area by left margin and 1/8″ area by right and lower margins that have been hidden under mat. Pinhole marginal puncture to upper-left corner. Mounted to backing with pinpoints of glue to left and right corners of sheet’s upper edge. [See more photos →]

Emmanuel Fremiet (France, 1824-1910) gilt bronze figural sculpture titled "The Char de Minerve" depicting the goddess Minerva dressed for battle, 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. Early 20th century.

CONDITION: Older surface. Some bending to helmet comb/plume. The original sword or long spear held in the female's right hand absent. [See more photos →]

American School, Western North Carolina, mid 19th century oil on canvas landscape painting from the Asheville, NC region depicting a view of mountains in the background and a rocky cliffside to the left, with a winding road and wagon with cattle team lead by an African American figure in the foreground, a white figure on horseback in the mid-ground, and an African American sheep herder in the background, all under a cloudy blue sky. Signed in lower left "J.J.[illegible]. Sight: 20 1/4" H x 16 7/8" W. Framed: 26 1/8" H x 22 3/4" W. Note: Although the artist's identity remains unknown, due to the Mears family provenance this painting was likely created by a nineteenth-century artist working in the Hudson River School style and active in Western North Carolina. George Augustus Mears was born in 1838 to James Barnes Mears of Tennessee and Margaret Elvira Mears (born Penland) in North Carolina. He had 8 siblings, including Myra E. Wells (born Mears) and Lieut. Samuel Marion Mears. George married Nancy M. Mears (born Roberts) (1844-1916) and had 9 children, including Samuel Parley Mears and Ella Webster (born Mears). In 1885 he constructed the George A. Mears House located at 137 Biltmore Avenue, a two-and-a-half-story brick Queen Anne-style building listed on the National Register of Historic Places on April 26, 1979. After serving in the Confederate 16th Regiment, North Carolina Infantry during the Civil War, Mears was an Asheville merchant who was in business between 1870 and 1910 on South Main Street, principally with his Mears Daylight Store, which burned in the 1920s. (Adapted from the Preservation Society of Asheville and Buncombe Co. and Ancestry.com).

PROVENANCE: Descended in the Mears family of Asheville, North Carolina.

CONDITION: Fine craquelure throughout. Minute abrasions to edges, primarily lower corners and top edge. Scattered minute exfoliation. Patch repair en verso with corresponding retouching near wheels of wagon. Scratch to varnish lower quadrant measuring approximately 11 1/2" L. [See more photos →]

New York mahogany and mahogany veneer 3-pedestal banquet dining table, white pine, poplar and ash secondary woods. The top is constructed of figured mahogany leaves and includes two (2) D-shaped ends having a single pivoting leaf and one (1) center section with two leaves. The tops surmount conforming skirts with figured mahogany veneers and applied half-round brass molding to the edge. Each section rests on three vasiform-shaped and carved pedestals that are supported by four (4) carved legs that terminate into paw feet with brass casters. The leaf supports consist of square rods that are recessed underneath the table when not in use and then slide out when necessary. 181" (15'1") total L x 54 1/8" W x 29 1/4" H (24" floor to shirt). Each D-end section measures: 50" L. Center section measures: 81" L. Circa 1825. Note: This table was originally purchased from George C. Williams American Antiques in Charleston, SC and purportedly descended through a nine-generation Charleston, SC family. Maurie McInnis and Robert Leath note in their article "Beautiful Specimens, Elegant Patterns: New York Furniture for the Charleston Market, 1810-1840" (American Furniture, 1996, Chipstone Foundation) that it was common in the first half of the 19th century for wealthy Charleston families to import furniture from New York. It was less expensive and was deemed to be more fashionable.

CONDITION: Minor repairs to one leaf; central section top with wood shrinkage; various missing foot laminations recarved, applied, and finished to match; the leaves of the two ends have been toned to match the central section, which was exposed to less sunlight. [See more photos →]

Octavio Medellin (Mexican/Texas, 1907-1999) watercolor and gouache painting on paper depicting a procession of dancers in colorful costumes against a mottled red-brown background. Signed lower right and titled "The Turkey Dance/ … of Yucatan." Housed under glass in a stained wood frame. Sight – 51" W x 19" H. Frame – 54" W x 22" H. Artist Biography: Originally from Mexico, Medellin moved to San Antonio, Texas where he attended the San Antonio School of Art and subsequently attended classes at the Chicago Art Institute. In 1929 he traveled back to Mexico to study native and primitive crafts. Medellin started the La Vallita Art Gallery in San Antonio where he taught sculpture from 1934-1937. In 1938 he became the sculptor in residence at North Texas State College in Denton, Texas for 5 years. After World War II, where his talents helped with the making of airplanes, Medellin returned to teaching this time at the Dallas Museum of Fine Arts for 21 years. By 1966 he had established a sculpture studio at Mendocino Art Center at Medoncino, California and the Medellin School of Sculpture where he continued to teach classes until he retired.

CONDITION: The painting is executed on two sheets of paper, one about 39 1/2"W and the other about 11"W. There is some minor chipping to the edge of the larger sheet where it abuts the narrower one, along with widespread creasing and buckling to both sheets of paper. Not examined out of frame. [See more photos →]

Pair (2) Chinese Famille Rose dishes or soup plates with turquoise glazed backs, scalloped and gilt rims, bird and floral borders on white ground, and central scenes of figures in landscape settings. Seal marks en verso. Likely made for the English market. 8" dia. First Quarter 19th century.

PROVENANCE: The Estate of Edward Laudermilk, Nashville, Tennessee.

CONDITION: Some scattered small spots of wear to gilding and glaze, overall very good condition. One plate with minor scattered flaking to glaze. [See more photos →]

Large Ron Williams (Tennessee, 1947-2016) oil on canvas panoramic landscape painting depicting a lake at the base of a rolling mountain range, likely the Smoky Mountains, that extends into the distance with dense forest in the foreground. Signed "Ron Williams" lower right. Quentin Galleries sticker label, en verso of frame. Housed in a giltwood frame with reeded and foliate molded design. Sight: 42 3/4" H x 63 1/4" W. Framed: 51 1/2" H x 72 1/4" W. Biography: A native of Knoxville, TN and Navy veteran, Ron Williams began painting in his early adulthood and painted for over 40 years. He is best known for his numerous Hudson River School stylized depictions of Southern Highland and Appalachian landscapes, primarily depicting East Tennessee and Western North Carolina.

CONDITION: Minute inclusions in the paint layer, otherwise overall excellent condition. [See more photos →]

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. Circa 1990's. Biography: Ed Moulthrop was a self-taught woodturner, known as the father of modern woodturning. His interest in wood began as a child and he bought his first lathe when he was a teenager. Moulthrop received his undergraduate degree from Case Western Reserve University in Ohio in 1939 and his graduate degree in architecture from Princeton University in New Jersey in 1941. After completing school, he taught architecture at the Georgia Institute of Technology in Atlanta and later practiced as an architect. Wood remained a hobby during his time as an architect. In the 1970s, he resigned from architecture to pursue woodturning professionally. Moulthrop was most famous for his large-scale turned bowls, made from domestic woods, usually spherical or elliptical with polished clear finishes and he designed and built most of his equipment to accommodate the large size of his pieces. His work is exhibited in many musuems including the Smithsonian, the Metropolitan Museum of Art, Museum of Modern Art, Renwick Gallery, White House Collection of American Crafts, and Museum of Arts and Design, among others. (Adapted from New Georgia Encyclopedia).

PROVENANCE: Property from the Collection of Jo Ann Cline Yates, Lookout Mountain Tennessee.

CONDITION: Overall excellent condition. 1" area of varnish residue to 3rd tier of base. [See more photos →]

Samuel Lewis Francis (American, 1923-1994) very small untitled abstract acrylic on canvas painting comprised of thickly applied primary colors which have trickled down the sides of the canvas. Signed "Sam Francis" and inscribed "For Jan", en verso. Unframed. 2" H x 3" W. Note: this work is #7958 in the Sam Francis Catalog Raisonne. Accompanying this lot is one (1) copy of the limited edition book, SAM FRANCIS by Yves Michaud, No. 6 of 7000, containing one (1) abstract lithograph, signed in plate "Sam Francis" lower right. (Paris: Daniel Papierski, 1974, published in French, 10" x 12").

PROVENANCE: The collection of Jan Anderson, formerly of California. Anderson was curator of Sam Francis's "The Litho Shop" in Santa Monica, CA from 1983-1992.

CONDITION: Burst paint bubbles and drying cracks to surface of painting, as made. Book with three foldout pages having minor creasing and one foldout with minute tear, otherwise in overall good condition. Lithograph in overall excellent condition. [See more photos →]

Clementine Reuben 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.

PROVENANCE: Private Mississippi Estate.

CONDITION: Tiny flake to background upper left quadrant, and a 1/4" narrow stain lower left quadrant, background, otherwise excellent condition. [See more photos →]

Gugger Petter (Denmark, b. 1949), "Two Men and One Woman," newspaper and mixed media, depicting the standing feet and knees of two men and one woman. Titled, signed and dated 2018 en verso. Unframed. 73" Height x 54" Width.

PROVENANCE: Private Nashville collection, purchased Tansey Contemporary, Denver, 2019.

CONDITION: Excellent condition. [See more photos →]

Large Art Nouveau period silver vase, tests higher than sterling (.950, XRF tested), having a hand hammered ("martele") and repousse surface, undulated everted rim with chased acanthus decoration over a bombe section with blown-out repousse flowers interspersed with oak leaves; supported on a tall tapered shaft having contrasting hammered and polished sections, engraved with crest of a deer in wreath over a script monogram, RMR or BMB. Square base with bombe leafy, lobed decoration and four everted, acanthus overlaid feet. Marked on underside of base with incomplete and probably spurious Gorham Martele mark along with some additional rubbed out marks, and stamped for retailer Shreve, Crump and Low Co. of Boston. 22 1/2" H. 145.83 oz troy (10.0 lbs). Late 19th/ early 20th century. Note: Several American silver companies produced outstanding hand-made pieces of "art silver" during the Art Nouveau period featuring a subtle hammered technique, among them Reed & Barton, (which, like Gorham, called its art silver line "Martele."). But Gorham's Martele line was the most renowned and it was certainly the best-documented; each piece carried a letter assignment code and can be traced to company records on when it was made and how long the production took. This piece does not appear in any of the Gorham Co. records nor does it appear to contain any numerical markings. It does appear to be a well made, high silver content piece of period Art Nouveau Silver.

PROVENANCE: The estate of a Tennessee doctor.

CONDITION: Very good condition. Some areas of persistent tarnish, primarily to crevices and to top area, which we have been conservative in our efforts to clean. [See more photos →]

Large Carl Sublett (Tennessee, 1919-2008) abstract oil on canvas painting titled " Winter Forms" depicting two vertical grey forms, resembling trees, against a background with two semicircular shapes facing upward, etched lines throughout, rendered in neutral shades of white, blue, and grey. Signed and numbered "Sublett 3/68" lower right corner. Titled en verso of stretcher. Exhibition plaque with title, provenance, and date "1972" affixed en verso. Housed in a contemporary metallic frame. Sight: 40" H x 40" W. Framed: 40 1/2" H x 40 1/2" W. Note: This work was exhibited in the Carl Sublett Exhibition at the Tennessee State Museum, Nashville, TN from February 15th- May 6, 1984. Biography: Carl Sublett studied Art History at the American Academy in Florence, Italy, after serving as a sergeant in World War II. He moved to Knoxville in 1954 where he studied with Kermit Ewing and eventually became a Professor of Fine Art at the University of Tennessee. Sublett was a founding member of the art group, "The Knoxville Seven," a progressive group working from 1955-1965, which produced some of the first abstract expressionist art in Tennessee. In 1982 he retired from teaching, and, in 1984, he opened the Sublett Gallery in Knoxville. In 1991, "The Unseen Carl Sublett" was the first exhibit at the new Knoxville Museum of Art (built on the site of the 1982 World's Fair). Sublett won numerous awards for his paintings and was a member of the National Academy of Design. His works are in the collections of the National Academy of Design, The Tennessee State Museum, and Cheekwood, Nashville. (Source: The Tennessee Arts Commission).

PROVENANCE: Collection of John H. and Carol R. Evans, Farragut, Tennessee.

CONDITION: Overall very good condition. [See more photos →]

Middle Tennessee Sheraton sugar chest of unusual height, cherry primary, poplar secondary. Hinged top with breadboard ends and ogee molding, over a square dovetailed case with interior well divided in three sections. Upper case is secured to the base with pegs and is detachable. Lower case with one dovetailed, scratch-beaded drawer having 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, suggesting Adams may have been a past owner. 41 3/4"H x 26 3/4"W x 18 1/4". Retains the original key.

CONDITION: Older cleaned surface, top 1" of back edge has been replaced on back, older small patch, approximately 1" x 1/2", to back left edge, lower edge of ogee molding with losses to front and back left side. Dovetailed drawer to lower case with bottom drawer side edges built up (less than 1/4"). [See more photos →]

1st item: Minton Pate-Sur-Pate Vase, decorated by Louis Solon, on dark teal ground with a narrow neck, relief decoration of Aphrodite and two cherubs on front, and decoration of a cherub carried aloft by a hot air balloon en verso. Signed L. Solon. Vase has been mounted to a wooden base. Vase: 11 1/2″ H. Overall with base: 12 1/2″ H. 2nd item: Minton Pate-Sur-Pate vase, brown ground with white slip relief decoration of calla lilies and an insect; silver and gilt Greek key decoration to neck, base, and four feet; and two ring-style handles. 10″ H.

PROVENANCE: The Estate of Edward Laudermilk, Nashville, Tennessee.

CONDITION: 1st item: Has been broken and professionally restored and mounted to the wood base. 2nd item: Restoration to one broken foot. [See more photos →]

Arthur Weeks (American/Alabama, 1930-1988), "Summer Seaside/Bird Bay," oil on canvas fauvist style painting depicting colorful figures and tents along a beach with sailboats floating in the ocean against a backdrop featuring a green cliffside lined with architecture under a cloudy blue and yellow sky, likely set in Birds Bay along the North Aegean coastline of the Island of Lesbos, Greece. Signed "Arthur Weeks" lower right. Titled en verso of stretcher, "Summer Seaside" and also inscribed "Bird Bay." House in a molded rococo style giltwood frame. Sight: 22 1/2" H x 29" W. Frame: 32 1/2" H x 39" W. Biography: Arthur Weeks was born and raised in Birmingham, Alabama. Known for colorful paintings in the fauvist style, he gained wide acclaim throughout the southeast following a solo exhibition of his work at the Birmingham Museum of Art in 1970.

CONDITION: Overall excellent condition. Frame with glue repair. [See more photos →]

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. Artist biography: Todd Murphy was born in Chicago, grew up in Georgia, attended the University of Georgia, and began his artistic career in Atlanta before moving to Brooklyn. He was known for painting, photography, and sculpture, often rendered in combination with each other, with a sense of drama and the metaphysical. Murphy created the cover art for the Indigo Girls album "Nomads, Indians, Saints" and a video for their song "Hammer and a Nail" was filmed inside Murphy's Atlanta studio, where the artist can be seen at work. His work has been featured at the McKissick Museum, the Tampa Museum of Art, and the High Museum of Art. He died in 2020 at the age of 57 after battling cancer. (Source: artist's website; Forbes online; the Atlanta Journal Constitution).

PROVENANCE: Property from the Collection of Jo Ann Cline Yates, Lookout Mountain Tennessee.

CONDITION: Minute loss to paint layer measuring 5/8" x 1/8" to upper right quadrant. Canvas with area of moisture damage to lower edge, visible en verso but does not affect image; canvas is affixed to plexiglass. [See more photos →]

Ames Presentation Grade Model 1850 Staff and Field Officers sword presented to Tennessee Colonel Samuel Kelsey Nelson Patton (1816-1886, TN) by Company D 8th East Tennessee Cavalry. 32" length partially engraved blade with floral military trophy designs, large script US and "Ames Mfg Co/Chicopee/Mass" to one side and scrolled foliate decoration together with a spread wing eagle on the reverse. Gilt wire wrapped shagreen grip and gilt brass half basket guard with open work and "US". Patinated copper scabbard with engraved foliate and American shield decoration and presentation inscription reading "Presented to Col. S. K. N. Patton by Comp D. 8th East Tenn Cav". One suspension band with raised Federal Eagle design and laurel cartouche engraved U. S. and the central suspension band with incised and laurel cartouche decoration. Chape with engraved foliate designs and raised Federal Eagle design. 41" total length. Note: Samuel Kelsey Nelson Patton was born in Jonesborough, TN, and was educated in the Martin Academy in Jonesborough. He studied law but became a well-known Presbyterian Minister in Sullivan County (Kingsport). He married Catherine Jane Wall, the daughter of the first governor of Kentucky Armistead Wall, and together they had 12 children. In addition to serving the United States in the Civil War and reaching the rank of Colonel, he was a member of the Tennessee State Senate during the 38th Tennessee General Assembly from 1873 – 1875.

PROVENANCE: Property from the Collection of Jo Ann Cline Yates, Lookout Mountain Tennessee.

CONDITION: Light patination and wear to blade wtih engraving evenly worn retaining nice detail, no rusting or pitting noted. Grip with minor wear to gilt and is moderately loose at the base. Scabbard is in good condition with light scattered wear and some minor losses, a few areas of shallow denting to upper scabbord and chape. [See more photos →]

Thomas James Scott (American/Pennsylvania/Kentucky, 1824-1888) oil on canvas portrait painting of a brown horse in profile standing in a landscape with trees and rolling hills in the background. Signed "T.J. Scott" lower left. Housed in a stained wood frame with gadroon-molded edge. Sight: 17 1/2" H x 23 1/2" W. Framed: 21" H x 27" W. Biography: Thomas J. Scott had the good fortune to attend Central High School in Philadelphia, where his Graphics Professor was the noted portraitist Rembrandt Peale. Scott graduated with a degree in Pharmacy in 1846 but moved to Kentucky by 1856, where he studied with Edward Troye, one of the first American painters to specialize in animal subjects. Scott painted horses for the most important early turfmen in Kentucky including Dr. Elisha Warfield, John M. Clay, James Grinstead, and Major B.G. Thomas, as well as for clients around the United States. The Civil War disrupted Scott's animal portrait commissions. During the war he served as a Union Hospital Steward with the 21st Kentucky Infantry Regiment. After the war ended, he moved to Pennsylvania and became a writer and correspondent for the sporting journal, "Turf, Field, and Farm". He eventually returned to Kentucky where he died in 1888. Scott is buried in Lexington, Kentucky at the Military Cemetery. (Sources: AskArt: The Artists' Bluebook and the Smithsonian Museum of American Art).

CONDITION: Eight wax-patched holes visible en verso with associated retouching in the upper right quadrant, center, and lower left corner, all visible under UV light inspection. Craquelure throughout with associated areas of flaking and flea bite losses. Indention on the right side along the stretcher. Flaking along the right edge. Possible areas where work has been heavily cleaned. [See more photos →]

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.

CONDITION: 3/4″ rim chip, visible primarily from underside, otherwise excellent condition. [See more photos →]

Sterling Strauser (Pennsylvania, 1907-1995) oil on board still life painting depicting a vase with multicolored flowers against a yellow-green background, rendered with a heavy impasto technique. Signed and dated "Strauser 77" lower right. Housed and double-matted in a molded giltwood frame. Sight: 23 1/2" H x 17 1/2" W. Framed: 30 1/2" H x 25" W/

CONDITION: Overall good condition. [See more photos →]

Clementine Reuben Hunter (American/Louisiana, 1886/87-1988) oil on board painting depicting six figures picking cotton, rendered in thick brush strokes to simulate cotton texture, interspersed with white birds. Signed with initials lower right and framed in a simple molded stained wood frame. Sight – 19 1/2"W x 15 "H. Frame – 23" H x 19"W. Note: We wish to thank Thomas Whitehead for confirming the authenticity of this painting.

PROVENANCE: A private Mississippi estate.

CONDITION: Painting and frame in overall very good condition, no damage noted. [See more photos →]

East Tennessee Federal inlaid chest of drawers, cherry primary and poplar secondary. Consisting of a slightly overhanging plain top with line inlaid sides, above four reverse graduated dovetailed and cockbeaded drawers with barber pole inlay borders to each drawer. Each drawer with case line inlaid surrounds, early eagle-stamped oval brasses and applied brass escutcheons, all above a shaped skirt with line inlay and tall shaped bracket feet. 44 3/4" H x 42" W x 18 1/4" D. Circa 1830.

CONDITION: Older refinish; overall very good condition. Oval eagle brasses appear to be original to the chest. Chest appears to retain original blocking. The back left rear facing has been abraided to one edge and re-attached. One backboard slightly loose, a couple of drawers with wear to the lower drawer sides, the second drawer interior with felt and moldings added to possibly house silver flatware. [See more photos →]

Attributed to Katsushika Hokusai (Japan, 1760-1849) brushed ink on paper sketch depicting the bearded figure of Jurojin, god of longevity, accompanied by a mino-game (a long-lived turtle with algae resembling hair growing from its shell). Jurojin smiles faintly as he opens his Scroll of Life, which states the lifespan of all living things. On laid paper affixed to Japan paper. Typed label affixed to backing reads "Sketch by Hokusai / 1750-1849 Japan./From Collection of the/Late Ernest Fenollosa," along with "148" and, in pencil, "1750-1849." Additional sticker on backing reads "For Patsy/Wedd. Gift from Kin[g]sbury Bull." Housed under glass in a bamboo frame with tan mat. Original Sheet: 9 1/8" H x 12 1/2" W. Full Sheet: 10 1/2" H x 14 1/4" W. Frame: 12 5/8" H x 16 7/16" W. Note: Ernest Fenollosa (1853-1903) was Curator of Oriental Art at the Boston Museum of Fine Arts (MFA) from 1890-1896. He attended the MFA's art school before traveling to Japan in 1878 to teach at the Imperial University at Tokyo. After eight years, he helped found the Tokyo Fine Arts Academy and the Imperial Museum, acting as its director in 1888. In 1886 he sold his art collection to Boston physician Charles Goddard Weld (1857-1911) on the condition that it go to the MFA. In 1890 he returned to Boston to be Curator of the Department of Oriental Art at the MFA. There Fenollosa organized the first exhibition of Chinese painting at the MFA and developed the Department into a training center for generations of scholars. Fenollosa published "Masters of Ukioye," a historical account of Japanese paintings and color prints that were exhibited at the New York Fine Arts Building, in 1896. He inspired Boston collectors to venture into the relatively new field of Far Eastern art, endowing the MFA with one of the earliest and best Asian art collections in the United States. Fenollosa, together with Weld and another collector, William Sturgis Bigelow, formed what were known as the "Boston Orientalists." (Adapted from the Dictionary of Art Historians) Fenollosa served as a visiting lecturer at Yale University during the 1903-1904 academic year. Frederick Kingsbury Bull was a Sophomore at Yale at this time. (Source: "Catalog of Yale University, 1903-1904," New Haven, 1903).

PROVENANCE: A Boston-area private collection.

CONDITION: With mat burn, foxing, and discoloration to sheet. Scattered fingerprints and discoloration to mat. [See more photos →]

Ladies 18K yellow gold flat-curb link graduated chain necklace by Treemme. The necklace is marked "750", "Brev.", and "472 AR". The necklace XRF tests 18K gold and is 16" L. Weight of the necklace is 68.60 grams.

PROVENANCE: The estate of Annette Petri, Nashville, Tennessee.

CONDITION: Overall good condition. [See more photos →]

Ladies 18K yellow gold Rolex wristwatch, Model# 69178, SN# N164125, Caliber 2135 movement. Gold dial with diamond markers. The watch is marked "Rolex 750 Geneve 18K" and is 7" in circumference. The gross weight of the watch is 76.4 grams.

PROVENANCE: Estates of Mayford and Dottie Ramsey, Sevierville, Tennessee.

CONDITION: Overall good condition, fitted with an aftermarket diamond bezel. Bracelet is worn. In running order but service is recommended. Waterproofing is not guaranteed. [See more photos →]

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 a rectangle to base for William Carrington, working Charleston from 1830-d. 1901. Height 3 1/4″. Weight – 3.81 oz troy. Interestingly, the cup made by Carrington was awarded to the brother of a fellow Charleston silversmith, Peter Mood Jr. (1796-1879). The recipient, William George Mood (1809-1885) was a Charleston merchant and Aiken planter, an antebellum agriculturalist in South Carolina whose varied interests leaned toward wine production by the time of the War. He became a director of that state’s Vine Growing Association in 1858, and is noted as continuing to sell his wines during the War (for a mere $1 per bottle!) Before removing to Aiken, Mood was a partner in Andrew Macdowell & Co. Dry Goods at #32 East Bay in Charleston. He moved back to Charleston in later years, but remained primarily focused upon agriculture, becoming a leader in South Carolina agricultural production and trade as referenced by his continued correspondence and professional opinions (1881) for the SC General Assembly on such matters. Peter Mood Jr. was appointed as guardian for William upon their father’s death in 1821.

PROVENANCE: Private Southern Collection.

CONDITION: A few scattered minor dents up to 1/4″; minimal scratching, some wear to mark, overall very good condition. [See more photos →]

Large-scale Chinese polychrome painted paper and canvas 6-panel floor screen. The front, paper on wood, features finely detailed scenes with court figures engaging in various activities; mountains and other buildings visible in the background, and a river, bridge and fence in the foreground, all within a Chinese foliate design border. The back features stylized, framed cloud decorations on a brown ground, paper mounted onto canvas. 102 1/4" H x 132 total W. Each panel measures 22" W. 19th century.

PROVENANCE: Private Nashville collection, acquired about 40 years ago.

CONDITION: Some seam separations, vertical tears and water stains noted to top back. Front with some scattered dampstaining, craquelure, scattered small losses throughout, and abrasions and wear to the perimeter. [See more photos →]

Philip Perkins (Tennessee, 1907-1970) oil on canvas abstract painting titled "Flight to the While of Unity" depicting geometric undulating forms rendered in segments of color in shades of blue and purple intertwining against a gradient purple-to-blue background. Signed "Perkins '51" lower right. Titled in pencil en verso of stretcher. Bennett Galleries, Nashville, TN label affixed en verso. House in a contemporary frame with chrome inner frame and black filet. Sight: 35 1/2" H x 25 1/2" W. Framed: 41 1/4" H x 42 1/4" W. Biography: Philip Perkins received critical acclaim for his geometric, cubist-influenced work of the 1940s and his abstract expressionism in the 1950s. He was born in Waverly, Tennessee and studied at Vanderbilt University and the Art Institute of Chicago. In 1932 he moved to Paris, France, where he studied under Jean Marchaud, Louis Marcoussis, and Fernand Leger. In 1934 he exhibited at the Salon D'Automne and the Salon de Tuileries. In 1940 he moved to New York City and in 1947 participated in the International Surrealist Exhibition. He spent seven years teaching art at the University of Tennessee in Nashville (1948-1955) but went back to Europe for several more years before returning to Nashville in 1961.

PROVENANCE: The collection of Earl S. and Suzanne D. Swensson, Nashville, TN, purchased from Bennett Galleries.

CONDITION: One small patched hole in upper left center with associated retouching. A few additional areas of retouching in lower right and right center, largest area measuring 3" L. [See more photos →]

Philip Perkins (Tennessee, 1907-1970), "Through Beyond," oil on canvas large abstract painting depicting three vertical geometric forms rendered with a reflective gradient effect in shades of blue, orange, green, and purple against a dark background with a green ceiling. Unsigned. Inscribed en verso of stretcher, "I have authenticated this as an original Philip Burton Perkins, Oct. 31, 1970" And signed illegibly, possibly "Rick S. Hardin". Sight: 34 1/2" H x 24 1/2" W. Framed: 38 3/4" H x 28 3/4" W. Biography: Philip Perkins received critical acclaim for his geometric, cubist-influenced work of the 1940s and his abstract expressionism in the 1950s. He was born in Waverly, Tennessee and studied at Vanderbilt University and the Art Institute of Chicago. In 1932 he moved to Paris, France, where he studied under Jean Marchaud, Louis Marcoussis, and Fernand Leger. In 1934 he exhibited at the Salon D'Automne and the Salon de Tuileries. In 1940 he moved to New York City and in 1947 participated in the International Surrealist Exhibition. He spent seven years teaching art at the University of Tennessee in Nashville (1948-1955) but went back to Europe for several more years before returning to Nashville in 1961.

PROVENANCE: The collection of Earl S. and Suzanne D. Swensson, Nashville, TN, purchased from Stanford Fine Art, Nashville, 1999. A copy of the receipt is available to the winning bidder.

CONDITION: Painting has been lined. Some retouching in upper green margin and lower right corner, largest area measuring 6" L. Some fleabite losses and light craquelure with flaking. [See more photos →]

Charles Roger "Red" Grooms (American/Tennessee, b.1937) early ink, watercolor, and gouache on paper bust portrait painting of a woman attired in a pink blouse and coordinating pink hat against a plain background, rendered with colorful watercolor and dark contrasting gouache with ink outlines. Signed and dated "Red Grooms 55" upper right corner. Float mounted in a carved Rococo-style frame. Sight: 12 1/4" H x 9" W. Framed: 19" H x 16" W. Note: This extremely early painting by Nashville native Red Grooms would likely have been executed when Grooms was 18 and enrolled at the Art Institute of Chicago. He would go on to study at the New School in New York, Peabody College in Nashville, and Hans Hoffman's school in Provincetown, Mass. before abandoning formal art education altogether and embarking on the colorful and often satirical cultural commentaries for which he is best known. Grooms was honored with the National Academy of Design's Lifetime Achievement Award in 2003 and he was the subject of a 1984 mid-career retrospective exhibition held at the Pennsylvania Academy of the Fine Arts. Grooms's work can be found in public collections across the United States, including the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Hirshhorn Museum and Sculpture Garden, as well as in many international museums. (Biographical information from the Johnson Collection).

PROVENANCE: The collection of the late Dianne and Harris Gilbert, Nashville, TN.

CONDITION: Slight horizontal crease along the center, very slight creasing at corners. Some overall toning and darker toning near edges. Tape residue en verso from old hinge mounting. [See more photos →]

Werner Wildner (Nashville, Tennessee, 1925-2004), "Screech Owl with Red Cap," watercolor and gouache on cream laid paper painting depicting an owl wearing a red stocking cap. Signed "Wildner" lower left. Matted and framed behind plexiglass in a molded wood grain frame. Newspaper clippings and past exhibition labels en verso. Sight: 11" H x 9 1/2" W. Framed: 21" H x 17" W. Note: This image was used by McClure's Department Store, Nashville, Tennessee, for their Christmas marketing in the 1990s.

PROVENANCE: By descent in the family of Dr. Spencer Thornton, Nashville, Tennessee. Dr. Thornton, a renowned eye surgeon, treated Wildner and the artist gave him several of his works, including this one, as gifts or, likely, in lieu of payment for his care.

CONDITION: Excellent condition with a faint errant red mark lower right edge; not examined out of frame. [See more photos →]

Jean Kevorkian (France, b. 1933) oil on canvas Impressionist style cityscape painting titled "Paris, La Seine Vu de Notre-Dame," a bird's eye view of the Parisian skyline along the bustling banks of the Seine River in late autumn, from the vantage point of Notre Dame. The Eiffel Tower is visible in the distance. Signed "Kevorkian" lower right. Titled and additionally signed "Jean Kevorkian" as well as numbered, stamped for Jean Kevorkian, and stamped with copyright, en verso of canvas. Little Gallery stamp, en verso of stretcher. Two documents with artist information, including distinctions and expositions within sleeves, affixed en verso. Lyzon Nashville framer's sticker, en verso of frame. Housed in a reeded and bead course decorated giltwood frame with canvas liner and gilt sight edge. Sight: 21" H x 25" W. Framed: 28" H x 32" W.

PROVENANCE: The estate of Annette Petri, Nashville, Tennessee.

CONDITION: Pinprick inclusion to paint upper left quadrant in sky. Otherwise in overall very good condition. [See more photos →]

Dollond maritime telescope or spyglass of US Navy Rear Admiral John Winslow, likely used during the USS Kearsarge's epic battle with the CSS Alabama off Cherbourg, France, 1864, and descended in his family. The 3-draw telescope has a wooden barrel, brass fittings and three brass draw tubes, and is signed "Dollond, London" in flowing script on the first draw tube. It retains its original hand dovetailed wooden box with mounts and additional lenses. The telescope measures 10" closed and 20" extended. It features a 2" diameter main objective lens with green tint for reduced glare at sea and the original brass end cap. English, early to mid 19th century. Note: English-made Dollond telescopes were prized for their optical quality and depended upon by some of the world's most important historical figures. George Washington's Dolland telescope, essential to his tactical decisions during the American Revolution, is in the Smithsonian Museum of American History in Washington, DC, and a Dolland telescope owned by Thomas Jefferson is at Monticello. 19th century Naval heroes Lord Nelson and Captain Cook also took Dolland telescopes to sea. History: English born Royal Society Fellow John Dolland (1706-1761) joined his son Peter's business of making optical instruments about 1752, and patented the achromatic lens a few years later, earning him the Copley Medal from the Royal Society. Shortly before his death, Dolland was made Optician to the King. After John Dolland's death, Peter and his company continued to make optical advancements and produce high quality telescopes and equipment through the 19th century. In 1927, Dolland & Co. merged with Aitchison & Co. to form Dolland & Aitchison, the well known British high street chain of opticians.<br/><br/>The epic naval engagement between the CSS Alabama, the most famous of the Confederate Navy cruisers, and the USS Kearsarge off the coast of France on June 19, 1864, is one of the two most famous single ship versus single ship actions of the American Civil War, the other being the duel of the ironclads CSS Virginia versus the USS Monitor. Both had significant affects on the naval actions of the Civil War and beyond. Throughout her career, the CSS Alabama, under the command of Raphael Semmes, conducted seven raids around the world against American shipping taking or destroying 65 Union vessels while boarding over 400 others. She put into Cherbourg, France on June 11, 1864 for repairs. Hunting her was the USS Kearsarge, also a sloop of war that was steam powered, launched in September 1861 and by February 1862 had set sail for Spain. She was under the command of Captain Winslow, also a veteran naval officer, Mayflower descendant, and a past friend and roommate of Semmes. Finally, on June 14, 1864, Winslow found his prey in the French harbor and the battle occurred on June 19 (details are found in the Kearsarge's abstract log, also offered in this auction). Winslow's crew had draped heavy chains over the side of the wooden ship, creating in effect chain mail armor, then planked over the chains to make them invisible, providing greater protection from Alabama’s fire, which came with great intensity. Several rounds that hit the Kearsarge failed to explode however, and ultimately it was the Alabama that began taking on water and sank. About 40 Confederates were killed; one Kearsarge sailor later died of his injuries, and Raphael Semmes escaped. Captain John Winslow became a household name; the Kearsarge victory won him a promotion to Commodore and he was voted the thanks of Congress. He was advanced to Rear Admiral in 1870 and commanded the Pacific Squadron until 1872, a year before his death of natural causes. Note: for more information on Winslow and the victory of the USS Kearsarge, including other objects related to the ship, see lots #561-567 in this auction).

PROVENANCE: Private TN collection, acquired March, 2023 from direct descendant of USS Kearsarge commander Admiral John Ancrum Winslow (1811-1873) through his only surviving grandson Brig. Genl. Eben Eveleth Winslow, along with other items in this auction.

CONDITION: Telescope exterior in overall good condition with wear to wooden elements and expected oxidation to brass elements. Originality and functionality of lenses not guaranteed. The wooden original case is extremely worn, with losses, dampstaining, and shrinkage crack to top. [See more photos →]

Two (2) USS Kearsarge items originally owned by its commander, Rear Admiral John Ancrum Winslow. 1st item: CDV-sized picture frame made of 4 intersecting wooden sticks, along with a piece of wood inscribed, "This frame made of the stern post of the Kearsarge where shell from the Alabama lodged". Accompanied by a handwritten note with similar inscription. (The original photograph housed in this frame is not present). Frame overall: 7" x 5". Opening – 3 1/2" x 2 1/2". Note: In his report to U.S. Navy Secretary Gideon Welles the day after the USS Kearsarge sank the CSS raider Alabama, then-Captain Winslow reported that his ship was in relatively unscathed condition. "Although we received some twenty-five or thirty shots, twelve or thirteen taking effect in the hull, by the mercy of God we have been spared… the only shot which I fear will give us any trouble is one 100-pound rifle, which entered our stern post and remains at present unexploded." (Had that shell fired by the Alabama exploded, the consequences could have been catastrophic for the Kearsarge). Worldwide admiration for the famous ship in the wake of its victory spread all the way to the White House. On Jan. 28, 1865, Commandant S.H. Stringham notified Gideon Welles, Secretary of the U.S. Navy on behalf of Abraham Lincoln, "Sir: Understanding from Captain Winslow that the President desired the shell from the sternpost of the Kearsarge, I have had the sternpost sawed off and the piece containing the shell has been boxed up and sent by the Supply to Norfolk, with a request to the commandant of the station that he would forward the box to you at the earliest opportunity." While it is unknown what Lincoln ultimately did with the shell, this small surviving wood frame and its note suggest that Winslow, also, kept a souvenir from the ship itself as a reminder of its good luck during battle.<br/><br/>2nd item: Ink wash/watercolor detailed painting depicting the USS Kearsarge, with figures on board, in a harbor with a city (likely Boston) in the background. The unsigned maritime painting appears to be executed on paper which has then been adhered over a photograph or print of a photograph by important Boston photographer John A. Whipple, 1864 (the year the Kearsarge achieved international fame by sinking the CSS Alabama in battle). Framed under glass. Painting: 14 1/2" x 10". Print: 12" x 15". Frame – 20" x 24". Note: The victory of the USS Kearsarge over the Alabama captured the imagination of numerous artists, starting with French artists present among the crowds watching the action from the shores of France, and continuing through the ship's American homecoming. Impressionist painter Edouard Manet famously painted the Kearsarge (Ref. "Manet and the Civil War: the Battle of USS Kearsarge and CSS Alabama," Metropolitan Museum of Art, 2003), as did Xanthus Smith and Theodore Antoine Gudin ("There is a great rush to see the Kearsarge. M. Gudin, the famous marine painter, has gone to take designs for a picture of the combat." – The Louisville Courier Journal, July 14, 1864). This small painting is likely pasted over the photograph or print that inspired it, now in the collection of the Library of Congress (Ref. "USS Kearsarge vs. CSS Alabama: Personal Accounts and Official Reports, Anthology by Maxim Ferapontov, p. 59).<br/><br/>Note: "The Mohican-class steam sloop-of-war, USS Kearsarge, was commissioned on January 24, 1862, at Portsmouth Navy Yard. Deployed to European waters during the Civil War, she searched for Confederate raiders. On June 19, 1864, in the Battle of Cherbourg, Kearsarge, commanded by Captain John A. Winslow, sank CSS Alabama, commanded by Raphael Semmes, ending the career of the South's most famous commerce raider. The engagement lasted an hour and ten minutes. Seventeen of Kearsarge's crew received the Medal of Honor for their actions. Decommissioned after the war, Kearsarge was in and out of commissioned for nearly the next thirty years serving in the Pacific, the Atlantic, Central American waters, and in the Caribbean. On February 2, 1894, while en-route from Haiti to Nicaragua, she wrecked on Roncador Reef. Efforts to salvage her proved fruitless, and Kearsarge was stricken from the Navy List later that year. A model of Kearsarge is in the Civil War section of the National Museum of the U.S. Navy." (Source: National Museum of the U.S. Navy). For more information on Winslow and the victory of the USS Kearsarge, including other objects related to the ship including flags and the ship's abstract log, see lots #561-567 in this auction.

PROVENANCE: Private TN collection, acquired March, 2023 from direct descendant of USS Kearsarge commander Admiral John Ancrum Winslow (1811-1873) through his only surviving grandson Brig. Genl. Eben Eveleth Winslow, along with other items in this auction.

CONDITION: 1st item: Heavy toning and foxing. Not examined out of frame. Late 20th century frame. 2nd item: Frame is disassembled, with some of the original tiny pins that held it together now missing; full separation to the piece of wood describing the history of the frame. 3rd item: Overall very good with light toning, scattered minor foxing and creasing. Ends of tube case are missing, case has moderate wear. [See more photos →]

Civil War-era quarter-plate ambrotype, possibly Confederate William Franklin Hart (1846-1879), depicted standing with a long rifle in his right hand and attired in a long-sleeved shirt with red-tinted necktie, plaid pants, and belt with a gilt buckle that holds a revolver and knife. Pencil inscription on the interior of the partial leather case reads "Presented to Lizzie Hart by her brother Frank. Sent from Pensacola while at 'war'. /61". Note: Ancestry.com records a Civil War pension record for William Franklin Hart, who served with the 13th Tennessee Cavalry, Company K, filed on September 8, 1876. War records show that he enlisted on October 1, 1864 as a private and mustered in September 1, 1865. Hart was born in Greene County, Tennessee and died in Rogersville (Hawkins County), TN. It is possible that he was involved in the 1861 Battle of Pensacola, among the earliest conflicts in the Civil War. In response to the succession of southern states during the winter of 1860-1861 Federal troops were stationed at forts along the Gulf Coast. In January of 1861, fighting broke out between these troops and local militias in Florida, many members of which would eventually be mustered into the Confederate military. The lack of a uniform in this photograph (along with the use of scare quotes around the word "war" in the inscription) suggests that the sitter was perhaps a militia member involved in one of the initial conflicts of the war. However, uniforms were often scarce, especially during the early days of the war.

PROVENANCE: A Knoxville, Tennessee collection.

CONDITION: Some craquelure noted to back of image and extending through to the image, primarily to the background. Some minor spotting to image, also primarily to the background. One-half of the case is missing, remaining case with surface wear. Minor oxidation to upper-right edge of gilt frame. [See more photos →]

Large tempura on panel Religious icon depicting "Christ Pantocrator" with a central image of Christ holding the scripture in one hand and raising two fingers on the other in a gesture of blessing or benediction. With incised details to halo and central portion of panel recessed, emphasizing the image. 32" H x 21" W x 2" D. Russian, 18th century or earlier.

CONDITION: With craquelure, areas of loss, natural wood shrinkage, and splitting to panel cohesive with age. Scattered areas of retouching are visible under UV light inspection. Some red-painted details added later. Rust oxidation to metal joints. [See more photos →]

David Scott Rogers (Texas/Utah, b. 1960/61) bronze sculpture titled "We Fought Through Boggy Ground" depicting a group of armed frontiersmen hastily attempting to traverse swampy terrain 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. Weight: 121 lbs. Note: The original Mountain Trails Galleries receipt and additional documentation are available to the winning bidder. Artist biography: Scott Rogers was born and raised in McKinney, Texas where he became a Golden Gloves championship-winning boxer at a young age. After obtaining his degree from Brigham Young University in finance, he worked in insurance and the oil and gas industry before purchasing a bronze from his uncle, Grant Speed, and quickly developing an interest in the medium. Rogers studied sculpting under his uncle and others such as Fritz White before finding success in the early nineties. He moved to Murray, Utah in 1997 where he currently resides.

PROVENANCE: Estate of Robert Christie, Knoxville, Tennessee.

CONDITION: Overall excellent condition. [See more photos →]

Men's 14K Rolex Bubble Back Oyster Perpetual Chronometer wristwatch, reference # 3131, serial # 52151, 32mm, gold dial with Roman numeral markers. Fitted with a 14K ladder-style Bonklip bracelet. Back is engraved E. L. Bruce Jr. MEMPHIS TENN 1949. Bracelet clasp is additionally engraved ELBJr. The wristwatch is 7" L. Also includes a small, cased photograph of and business card belonging to E.L. Bruce, Jr, Vice President and General Manager of the E.L Bruce hardwood flooring and lumber company, Memphis. Provenance: Descended in the family from Edwin Lawson Bruce Jr. (1892-1977), former Vice President of E L Bruce Lumber Company based in Memphis, TN. Son of Edwin Lawson Bruce (1855-1944), the company founder. By oral history, this watch was given to Bruce Jr. as a retirement gift from the company, when Eddie Gilbert took leadership after becoming majority shareholder in the late 1950s.

CONDITION: Watch is functioning at time of inspection, service is recommended. The crystal is a replacement. Dial and bracelet with minor wear. [See more photos →]

Designer Marco Becigo Luniaria Collection necklace consisting of forty-eight (48) graduated 18K brushed yellow gold sautoir oval discs. Marked "Marco Becigo, Made in Italy, 750, star 2515" on the lobster clasp. The necklace is 40" L and has a weight of 50.70 grams.

PROVENANCE: Property from the Collection of Jo Ann Cline Yates, Lookout Mountain Tennessee.

CONDITION: Overall very good condition. [See more photos →]

Oreland C. Joe, Sr. (New Mexico, b. 1958) carved alabaster sculpture titled "Watching the Singers from the Red Valley" depicting a Native American woman with long hair blowing behind her wearing a beaded necklace and textured dress holding a tasseled satchel, mounted on an oval wooden base. Signed and dated "D.C. Joe (copyright) '91 ?" to rear within texture of skirt. 37 1/2" H x 14" W x 8" D. Weight: 124 lbs. Note: The original Wadle Galleries receipt is available to the winning bidder. Artist biography: Oreland Joe was born in Shiprock, New Mexico of Navajo and Ute descent. Realizing his artistic talent early, Joe was given alabaster to carve while still in high school. This led to a variety of studies and careers in art, including time studying at the Louvre and the Toyko Museum of Art as well as instructing at the Cowboy Artist of America Museum and San Juan College. He has been awarded numerous accolades from the Cowboy Artists of America since his election as the first Native American member in 1993.

PROVENANCE: Estate of Robert Christie, Knoxville, Tennessee.

CONDITION: Minute scattered surface scratches, primarily to the back, largest measuring 3/4" L. [See more photos →]

Continental school, possibly Spanish, oil on canvas life-sized portrait of a nobleman depicted standing full length in an interior setting against a draped background and red carpet. The subject has grey hair and facial hair and is attired in an ermine-trimmed embroidered short cloak or cape emblazoned with a red Crusaders or Templar cross, an ornate gold livery collar or chain of office around his upper shoulders with central griffin, black leather pants and boots, with his right hand on a short sword and his left hand resting on the handle of a sword visible at his hip. Housed in a modern carved gilt Hudson River style frame from Bennett Galleries, Knoxville. First quarter of 19th century or earlier. Sight: 81 1/2" H x 35 1/2" W. Framed: 92" H x 45 1/2" W. Note: The gold livery collar is similar to those conferred to the Chivalric Order the Jar/Griffin, founded by Ferdinand I of Aragon in 1403. The jar of lilies links symbolize the Virgin Mary while the griffin can be interpreted as a symbol of war against the infidel. This painting may depict Ferdinand I or one of his Castilian descendants as the original Crest of Castile and Leon featured a golden griffin. This crest fell out of use in the 15th century as the griffin was replaced by a lion.

CONDITION: Painting is in overall good condition with areas of retouch and later varnishing visible throughout under UV light inspection, primarily to the background. Canvas is lined, and stretcher appears to be contemporary. [See more photos →]

Rare automaton organ clock, featuring 18th-century organ works and painted figures in a later cherry case with painted vignettes to clock face and tableau. Organ mechanism uses bellows to create air that flows through the thirty-six (36) pipes or flutes and makes the music, in turn animating the figures, playing eight (8) tunes. Dial signed Peter Horner and Theobach Horner. The case features a scroll and flourish carved pediment, paneled door and base, and incised floral decoration at the mid molding between waist and base. Note: most of these clocks were originally made as "wag on the wall" clocks, without cases, but many have had cases made to house them at later dates, as with this example. Case: 101 1/2" H x 28" W x 18" D. Works, figures, and original painted face and tableau 18th century; case 19th century.

CONDITION: Clock is functional, has been recently serviced, and retains original figures. One figure missing an arm and has detached but included trombone. Areas of replaced wood including two corners of front door. Painted clock face with Horner signatures and tableau section are 19th or early 20th century replacements, but the originals on which they are based are present and exhibit significant wear and full separation cracks. Case has some wear and scattered patch repairs, mainly around door. [See more photos →]

Five (5) antique golf balls with three (3) stands. 1st Item: Chole ball of wood, ovaloid shape with a flattened base for positioning. 2nd Item: A well preserved 1840's feather golf ball, very fine hand stitching, outstanding patina, color and shape, unknown maker. 3rd Item: A recovered "RCR H" rubber-core bramble ball, by The Improved Golf Ball Co., ca. 1900. 4th Item: 1920s Spalding Kro-Flite square mesh patterned rubber core ball. 5th Item: A mesh gutta-percha ball (gutty), "The Fife 27 1/2" by the St. Mungo Golf ball Company of Glasgow, ca. 1890. Stands: 3 modified silver items converted to be used as golf ball displays, including two silverplate salts and one British sterling weighted candleholder. Note: All items purchased from Sean Arnold Sporting Antiques, London; a copy of their hand-written product descriptions is available to the winning bidder.

CONDITION: All items in very good condition, balls have some soiling and loss of color. [See more photos →]

Large and heavily carved 19th century ebony or ebonized hardwood table, possibly Chinese for the Ango-Indian market. Tall round form with inset rouge marble top, reeded edge, and a carved and pierced foliate frieze depicting foxes eating grapes. The top rests upon a birdcage support over a reeded and acanthus carved pedestal, supported on three acanthus carved cabriole legs with figural dog head knees and paw feet. 34 1/2" H x 49" dia.

CONDITION: Overall very good condition with expected age related wear. Some wood shrinkage noted to frieze with scattered rubbing and wear. [See more photos →]

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". 3 5/8"H, 6.19 oz troy. 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. Gustav Persch and Charles Rossy were both immigrants (Persch from Germany and Rossy from Austria) who came to the new world as young men and found success in Texas. Both appear in San Antonio tax records as property owners in 1860 and served as elected city officials during the Civil War. Gustav Persch, recipient of the cup, is listed in the 1860 census as a saloon owner, while Rossy, the giver of the cup, owned a confectionary business prior to the Civil War and later found success in the tobacco business. He is credited with the manufacture and first use of illuminating gas in San Antonio. According to his obituary, "He was a man of much learning, read a great deal and through many sterling traits of character endeared himself to a great number of people". (Source: the San Antonio Daily Light, Friday, June 8, 1900)." Rossy also seems to have been a friend of Emperor Maxmillian of Mexico, where he traveled extensively during the War, carrying a gift of a walking stick from the Emperor as a symbol of his "protected" status. (Ref. Daughters of the Republic of Texas Vol. I., as well as "Elected Officials of San Antonio" www.sanantonio.gov and Tax Assessments Bexar County, TX, Texas County Tax Rolls 1837-1910).

PROVENANCE: Private Southern Collection.

CONDITION: Overall very good condition with a few minor short scratches and tiny dents and a few scattered tiny spots of pitting. [See more photos →]

Werner Wildner (Nashville, Tennessee, 1925-2004) oil on panel trompe l'oeil painting depicting a monarch butterfly specimen affixed to a discolored sheet of paper tacked within a wooden shadow box having a feather, snail, needles, and a broken blue eggshell upon lower ledge and a blue ribbon swag pinned to the upper right edge. Signed "Wildner" lower right. Numbering and transfer stamp, en verso of panel. Lyzon framer's label, en verso of backing. Housed and double-matted under glass in a gilt frame. Sight: 7 1/4" H x 8 3/4" W. Framed: 16 1/2" H x 18" W.

PROVENANCE: The estate of McAlister W. Anderson, Nashville, Tennessee.

CONDITION: Overall very good condition. Frame with minute scattered scratches to gilt. [See more photos →]

Ethel Ashton (American/Pennsylvania, 1896-1975), "Holiday," oil on canvas park scene depicting African American figures relaxing on and around a bench; a woman with a baby on her lap is the focal point of the scene. Signed lower right and en verso of canvas with inscription "PHILA SKETCH CLUB," and paper exhibition label listing the title of the painting and the artist's name and address. Additional small label en verso of stretcher for N. Snellenberg & Co. (Philadelphia retailer). Later bronze-tone wood frame. Sight: 17" H x 20 1/2" W. Framed: 20" H x 24" W. Biography: Ethel Ashton studied at Philadelphia's Moore College of Art and the Pennsylvania Academy of Fine Arts, and worked with the WPA during the 1940s. Her work is included in the permanent collection of the National Museum of Women in the arts, Washington, D.C. and the Pennsylvania Academy of Fine Arts.

PROVENANCE: Private Middle Tennessee collection.

CONDITION: 1/4" hole lower left with adjacent 1" area of scratching and paint loss, a couple of other tiny flake to upper center background area, 1/2" hole to canvas upper right corner. [See more photos →]

Men's Rolex Oyster Perpetual Date 1550 wristwatch, 34mm, SN# 3578040. 14K gold shell, champagne dial, aftermarket diamond bezel, and the original 14K gold-filled Rolex bracelet marked "1/10 14GF". Circa 1970.

CONDITION: Watch is in working order at time of inspection. Crystal with light wear, has been polished. [See more photos →]

Hermes Quadrille 100% cashmere throw blanket, bisected with smoke grey and black having fringe and logo to the center. Retains the original box. 83" x 56 1/2".

PROVENANCE: East Tennessee Estate.

CONDITION: Excellent condition with little if any use wear. Retains the original box. [See more photos →]

Loran Speck (California, 1943-2011) oil on board trompe-l'oeil still life painting titled "Confit Jar with Grapes and Pears" depicting a two-tone glazed pottery jug atop a marble table or ledge with pears, grapes, and a white tablecloth set against a neutral, textured stone background. Signed "L. Speck" lower left. Housed in a contemporary frame with a chrome border. Sight: 21 1/2" H x 17 1/2" W. Framed: 29" H x 25" W. Note: This work was commissioned by the consignor and purchased through the Loran Speck Art Gallery in Carmel, CA in 1997. The original receipt and documentation including title are available with the purchase of this lot. Biography: California-born artist Loran Speck is said to have drawn inspiration for his highly detailed still-life paintings from naturalistic artists of the Baroque such as Caravaggio, Rembrandt and Rubens. Speck attended Oregon State University on a football scholarship. A pre-dentistry major, he had never considered art until he enrolled in a scientific illustration class and became aware of his talent. Speck was honored with feature articles and covers such as USArt (October 1989), American Artist (February 1994), Art of the West (January/February 1996), Southwest Art (January 1987 & March 1998) and Art of the West (January/February) 2005. He worked from a studio in Carmel-by-the-Sea California for many years prior to his death in 2011.

PROVENANCE: The Collection of Dr. Ken and Linda Moore.

CONDITION: Overall excellent condition. [See more photos →]

Sterling Strauser (Pennsylvania, 1907-1995) oil on board expressionist still life painting depicting a vase with red, white, pink, and purple flowers including poppies and white lilies against a pale green and brown background. Signed and dated "Strauser 73" lower right. Housed in a contemporary giltwood frame with gilt filet. Sight: 27 3/4" H x 21 1/2" W. Framed: 37 1/2" H x 31 1/2" W.

PROVENANCE: The personal collection of the late artist Marion Bryant Cook of TN, acquired directly from the artist.

CONDITION: Overall very good condition. [See more photos →]

David Scott Rogers (Texas/Utah, b. 1960/61) bronze sculpture titled "The Chief Celebrates His New Hat" depicting a middle-aged Native American man with disk and tubular beads throughout his hair wearing a European-style top hat with added feathers and open coat seated with crisscrossed legs wrapped in furs smoking a long pipe. Numbered, signed, dated, and titled to lower rear "8/30 (copyright) D.S. Rogers '00 The Chief Celebrates His New Hat". Mounted on a circular, felt-lined swivel base. Includes a signed certificate of authenticity from the studio of David Scott Rogers. 26" H x 15 1/2" W x 18 1/2" D. Weight: 85 lbs. Note: The original Mountain Trails Galleries receipt and additional documentation are available to the winning bidder. Artist biography: Scott Rogers was born and raised in McKinney, Texas where he became a Golden Gloves championship-winning boxer at a young age. After obtaining his degree from Brigham Young University in finance, he worked in insurance and the oil and gas industry before purchasing a bronze from his uncle, Grant Speed, and quickly developing a hyper-focused interest in the craft. Rogers studied sculpting under his uncle and others such as Fritz White before finding success in the early nineties. He moved to Murray, Utah in 1997 where he currently resides.

PROVENANCE: Estate of Robert Christie, Knoxville, Tennessee.

CONDITION: Overall excellent condition with verdigris appearance in crevices to face and hair. [See more photos →]

George Ayers Cress (Alabama/Tennessee, 1921-2008) oil on board Cubist-style cityscape painting likely depicting Chattanooga, TN, with figures in lower left approaching a bridge (possibly the Walnut Street Pedestrian Bridge), numerous buildings including a church steeple, a road sign, and a billboard before distant mountains. All rendered in muted shades of green, red, and purple. Signed "George Cress 1953," lower right. Unframed: 22 1/4" H x 42" W. Biography: "George Cress was born in Anniston, Alabama and studied at Emory University, American University, and the University of Georgia, where he studied under fellow Southern contemporary artist Lamar Dodd. He was a central figure in Chattanooga's arts community and served as President of the Tennessee Arts Council. He sat on the board of the Hunter Museum of Art. From 1951-1984 he was painter in residence at the University of Tennessee in Chattanooga. The Cress Gallery of Art at UTC is named in his honor." (Source: The Tennessee Historical Quarterly Vol. XLIV No. 2: "Landscape and Genre Painting in Tennessee 1810-1985").

PROVENANCE: Property of the Hunter Museum of American Art.

CONDITION: Very good condition overall, with several scratches the largest being a negligible 16" L scratch to lower center, mainly visible in raking light, as well as minor 1" L scratches to billboard and to right of figures. Some negligible damage to corners, especially upper right. [See more photos →]

Phillip Perkins (Tennessee, 1907-1970) oil on canvas horizontal abstract painting titled "Weight of the Horizon" depicting intersecting organic forms in gradient segments of color, including black, blue, orange, yellow, green, and red. Signed "Perkins 44" lower right corner. Titled in pencil en verso of stretcher. House in a contemporary chrome frame with a black filet. Sight: 29 1/2" H x 44" W. Framed: 32" H x 52" W. Biography: Philip Perkins received critical acclaim for his geometric, cubist-influenced work of the 1940s and his abstract expressionism in the 1950s. He was born in Waverly, Tennessee and studied at Vanderbilt University and the Art Institute of Chicago. In 1932 he moved to Paris, France, where he studied under Jean Marchaud, Louis Marcoussis, and Fernand Leger. In 1934 he exhibited at the Salon D'Automne and the Salon de Tuileries. In 1940 he moved to New York City and in 1947 participated in the International Surrealist Exhibition. He spent seven years teaching art at the University of Tennessee in Nashville (1948-1955) but went back to Europe for several more years before returning to Nashville in 1961.

PROVENANCE: The collection of Earl S. and Suzanne D. Swensson, Nashville, TN, purchased from Stanford Fine Art, Nashville, 1999. A copy of the receipt is available to the winning bidder.

CONDITION: Some minor patched holes with associated retouching visible under UV light inspection. One scratch to upper margin. [See more photos →]

East Tennessee pie safe, Hawkins or Greene County, walnut primary and yellow pine secondary. Rectangular form with plain top having canted corners, two dovetailed drawers with turned pulls above two doors having one large punched tin with central compass design within concentric circles, all on tapered feet. 45 1/4" H x 42 1/2" W x 17 1/4" D. Third quarter of the 19th century.

PROVENANCE: Private Hawkins County, Tennessee collection.

CONDITION: Overall very good condition with expected wear and losses including staining to top, losses to knobs of doors. Interior of drawers and base have been painted. [See more photos →]

A near pair of two (2) Russian Silver-Gilt Kovschs or Charkas (drinking cups) featuring cloisonne enameled floral-scroll decoration to the exterior and flat handle with pointed opposite ends accented by a large oval stone, including one (1) with a large and six smaller lapis cabochons; and one (1) with a moonstone and six small garnet cabochons. The cup with the moonstone is stamped to underside of handle for the firm of Khlebnikov of Moscow (1870-1918), kokoshnik mark indicating .875 fineness (1909-1918); and the cup with lapis stones is marked to underside of handle 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.

PROVENANCE: The Estate of Edward Laudermilk, Nashville, Tennessee.

CONDITION: Khlebnikov cup has two small areas of wear to gilding to one side, both near each other on the left of the handle. Both with some oxidation to gilding, a few scattered minuscule losses to enameling and some minor crazing to enamel. [See more photos →]

Large Sterling Strauser (Pennsylvania, 1907-1995) oil on board expressionist still life painting depicting a vase with red, purple, blue, and pink flowers against a light green and beige background, rendered in a thick impasto technique with incised details. Signed and dated "Strauser 1972" lower right. Float mounted in a metallic painted contemporary wood frame and cohesive filet. Sight: 32" H x 39 1/2" W. Framed: 42 1/2" H x 49 1/2" W.

PROVENANCE: The personal collection of the late artist Marion Bryant Cook of TN, acquired directly from the artist.

CONDITION: Painting in overall very good condition with light grime to surface. Frame with very slight surface wear to corners. [See more photos →]

1st Item: Gibson MB-1 Banjo Mandolin from ca. 1920-25, unadorned headstock without logo. Gibson's factory order #11581-5. Housed in original green felt-lined Gibson case. Size without case: 23 1/2" L x 11" W x 2 3/4" H. 2nd Item: Gibson Model A Mandolin Serial 72840 ca. 1922, snakehead-shaped head without logo; adjustable bridge, holds tuning well. Retains possibly original, period 'Patent March 30, 1909' pickguard and "The Gibson" tailpiece cover. Housed in the original green felt-lined case. Size without case: 26" L x 10 1/2" W. 3rd Item: Gibson Model A1 "pumpkin" finish top mandolin body, serial 21867, "The Gibson" stamped on tailpiece cover. Later 1940's neck with peghead-shaped head with "Gibson" stenciled logo. Quite playable. Size without case: 25 1/2" L, 10" W.

PROVENANCE: The Collection of Richard H. and Kathleen L. Hulan.

CONDITION: All items with normal age-related wear. 1st item (Banjolin) missing resonator, case has broken handle; 2nd Item (Model A) chrome tailpiece replaced (under Gibson cover), missing tail pin, slight separation of rear banding. 3rd Item (pumpkin) neck replaced with 1940's, slight crack center seam on reverse, small split to fingerboard near soundhole. [See more photos →]

Colt 1911-A1 Super Match .38 automatic, SN#23159, manufactured in 1936. The slide is gold plated, the left side holding Colt's patent mark COLT'S PT. F.A. MFG. CO. HARTFORD, CT. U.S.A. PAT'D APR.20,1897. SEPT.9,1902 DEC.19,1905. FEB.14,1911. AUG.19.1913 together with an engraved landscape scene with multiple animals, including deer, birds, moose, bear, tiger, retriever, and two airplanes. The right side of the slide is marked SUPER MATCH COLT SUPER .38 AUTOMATIC together with the engraved Rampant Colt logo, masted ship, and engraved duck. The left front of the trigger guard is marked P together with VP within a triangle. The right front of the trigger guard is marked 38. The right side of the frame above the trigger is marked with the serial number 23159. 5" barrel, fitted with stag grips. The base of the clip is marked COLT SUPER .38 AUTO. Retains a Bucheimer leather holster numbered B142. NOTE: Most firearms made after 1898 require passing an FFL background check prior to transfer. The date of production for this gun makes it subject to FFL rules. Please be prepared with proper identification and information. If you do not reside in Tennessee, an FFL dealer in your state is required to complete the transfer.

PROVENANCE: The Estate of Dr. Martin Perez, Chattanooga, Tennessee.

CONDITION: Custom post production finish including gold plating and engraving. Gun has been refinished, polished, re-blued, and possibly remarked on one side of the slide . Bore is clean. Magazine appears to be a replacement and the main spring housing appears to be a replacement. [See more photos →]

1937 Selmer balanced action alto saxophone, serial 24947, with engraving of florals surrounding a scene of a cabin by a lake. Lacquer is 50%, missing predominantly on the bell area; all keys function; newer Bonade ligature on Selmer mouthpiece, fits snugly on cork at neck, which shows no evidence of pulldown. This playable saxophone is relatively early in the production of the Balanced Action, desirable for players worldwide. Housed in period blue felt lined case, likely original to the instrument. 26" L; Case is 26" x 12" x 7". Note: When it was introduced, the Balanced Action saxophone was a departure from traditional saxophone design as was the first saxophone to change the positions of harder to reach keys and incorporate them into a more ergonomic design, one that heavily influenced saxophone design moving forward.

CONDITION: Good working order, lacquer shows spots of wear; likely needs new pads and a professional setup. Low Eb keycage bracket needs resoldering. [See more photos →]

Jacques de Villon (French, 1875-1963) aquatint etching after a painting by Pablo Picasso (Spain/France, 1881-1973) titled "Mother and Child," originally painted in 1901, Chalcographie de Louvre edition. Depicts a seated woman in a blue robe, kissing the forehead of a child in a white nightshirt. Signed "Picasso" center-left in the plate. Chalcographie de Louvre blindstamp, lower center below plate. Housed in a contemporary wormy wood frame under glass. Plate: 25 3/4" H x 16 3/4" W. Sight: 33 1/2" H x 23 1/2" W. Framed: 35 3/4" H x 25 1/2" W. Note: In 1920, the artist Jacques de Villon was commissioned by the Galerie Bernheim-Jeune to create aquatint engravings based on the canvases of several important painters including Matisse, Modigliani, Picasso, and even Villon himself. Villon employed a painstaking and time-consuming 18th-century color engraving method using three and sometimes four plates to complete the final proof, in an effort to create a final print as true as possible to the original painting. After the original run of about 200 prints (plus several artist proofs) for the Galerie Bernheim-Jeune, these plates were acquired by the Chalcographie du Louvre, which reissued an unknown number of the Villon prints in the mid-20th century, prior to Villon's death. For an excellent explanation of Villon's process as well as a detailed catalog of his prints, refer to Miguel Orozco, "The Prints of Jacques Villon Vol. 1" https://www.academia.edu/42703372/The_prints_of_Jacques_Villon_Vol_1_Interpretation_works

PROVENANCE: The collection of the late Fount and Ida Smothers, Thompson's Station, Tennessee.

CONDITION: With slight toning, minor areas of creasing above and below plate, very slight waviness to paper. [See more photos →]

Fendi Vitello Seta Peekaboo X-Lite medium beige calfskin leather handbag with top handle and silver hardware. Turnlock enclosure opens to reveal a blue "cloud" interior with a large black snap pocket stamped "Fendi/ Made in Italy". Includes a rain protection kit, identification card, original box, original retail tag, purchase receipt, additional documentation, and dust bag. 16" H x 13 1/2" W x 6 1/2" D

PROVENANCE: East Tennessee Estate.

CONDITION: Overall new with tags condition with no visible use wear. Glue residue to right side. Retains original retail tag, dust bag, and box. [See more photos →]

English school oil on canvas half-length portrait painting of a young British Royal Navy officer depicted with dark hair, long sideburns, and blue eyes, attired in a double-breasted uniform coat decorated with a red medal, having gilt epaulets and buttons over a white shirt with a black cravat. He holds a sword in one arm and stands against a neutral background. Unsigned. Housed in a carved wood frame with a gilt filet and border. Sight: 29 1/2" H x 24 1/2" W. Framed: 36" H x 31" W. English, mid-19th century.

PROVENANCE: Collection of John H. and Carol R. Evans, Farragut, Tennessee.

CONDITION: Painting has been lined. Moderate areas of retouching to hair, clothing, and background visible under UV light inspection. Some light craquelure and abrasion with associated loss around edges of painting from frame. Crease to lower right corner. Frame with some wear and separation in upper right corner. [See more photos →]

A Mintons Pate-Sur-Pate dark olive green colored urn form vase, slip-decorated by Albion Birks. The classical scene features a draped, seated woman, likely Aphrodite, attending to a smoking brazier on her lap, which is issuing smoke interspersed with pairs of wrestling putti. The reverse shows a slip-decorated burning torch, with more putti above the flames. Gold draped laurel handles flank the sides. Signed "ABirks" on lower right side of stepped base for Albion Birks. Base with gilt globe Mintons stamp along with incised marks "Mintons" and shape number 2449. 12" H. Circa 1900.

PROVENANCE: The Estate of Edward Laudermilk, Nashville, Tennessee. Purchased Brunk Auctions, Mar. 23, 2019, lot 1800.

CONDITION: Cover is absent; slight wear to gilt decoration, minor scratch to surface to left of the female figure, not affecting color. [See more photos →]

James McDougal Hart (American/New York, 1828-1901) oil on canvas painting depicting cattle grazing along a shoreline with a figure resting nearby, and a background composed of lush green trees and coastal architecture casting reflections on the surface of the 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. Biography: Born in Kilmarnock, Scotland, James Hart was a leading figure of the second-generation Hudson River School painters and was known for idyllic landscapes, especially with cows. His family emigrated to Albany, New York in 1830. At age 15, Hart apprenticed to a sign and banner painter in Albany. Later he switched to portrait painting. At age 22, Hart went to Germany and enrolled in the Dusseldorf Art Academy for three years and returned to Albany where he opened a studio, taught, and painted until 1857 when he established a studio in New York City. There, members of the newly rich, post-Civil War society were delighted with his serene, rural landscapes. In the 1840s and 1850s, he also painted panoramic, luminous landscapes in meticulous detail with figures including farmers and children. James McDougal Hart served as the Vice President for three years of the National Academy of Design. He was voted a full member in 1859.

CONDITION: The painting has an old lining. Some abrasion to the lower edge. No visible retouching. Frame with scattered losses. [See more photos →]

President Andrew Jackson "Old Hickory" War of 1812 commemorative oval pasteboard or cardboard hat box, covered with colorful woodblock printed wallpaper. The lid depicts a landscape scene with figure on horseback crossing a bridge leading to a log cabin, possibly the "First Hermitage" where General Jackson resided until his still-extant mansion, also known as The Hermitage, was completed. The sides depict General Andrew Jackson attired in uniform, standing by his horse and holding a sword, with a town (likely New Orleans) and tents in the background, and banners reading "Old Hickory" to three sides. The underside of lid retains 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". 11" H x 16 1/2" W x 12 1/2" D. Circa 1820-1845. Note: General Andrew Jackson earned his nickname "Old Hickory," as well as nationwide fame, and laid the groundwork for a future successful presidential bid, with his War of 1812 Victory at the Battle of New Orleans. His likeness soon became widespread through prints and other commemorative objects, but most of the objects were ephemeral and few have survived. 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. The other example is at the The Historic New Orleans Collection (item# 2012.0405.2) whose catalog attributes theirs to circa 1820-1845, and notes: "Inexpensive pasteboard boxes for the storage of household articles were common features of mid-nineteenth-century American closets. They were often covered with colorful printed paper, and some designs commemorated popular political figures such as presidents Andrew Jackson and William Henry Harrison."

CONDITION: Overall good condition. Wear, grime, water spotting, and losses to the perimeter of the lid with minor use wear and scattered losses to paper on the sides and lower edge, slight bowing. The base with a separation to the side seam on one long side. Errant pencil inscriptions to the top and base. [See more photos →]

1934 series $1000 dollar Federal Reserve Note, depicting the portrait of President Grover Cleveland. Serial number B00125675A/ Fr#2211. Julian/Morgenthau signatures.

CONDITION: The note is approximately a Fine (12) in grade. It is not limp, but has three vertical folds as well as seven pin holes. [See more photos →]

Sterling Strauser (Pennsylvania, 1907-1995) oil on board still life painting depicting a white vase with multicolored flowers against yellow background, rendered with a heavy impasto technique. Signed and dated "Strauser 94" lower right. Unframed: 16" H x 8" W.

PROVENANCE: The collection of Kathryn Zervos, granddaughter of the artist.

CONDITION: Overall very good condition with some abrasion to the edges and evidence another painting was laid on top of this before the paint was fully dried. [See more photos →]

Minton Pate-Sur-Pate oval plaque by the artist Louis Solon, having a blue ground and white slip decoration of a cherub holding a hammer and breaking his leg chains on an anvil. Signed lower left L SOLON. Housed in an oval gilt wood frame. Sight: 5 3/8" H x 4 5/8" W. Framed: 7 1/2" H x 6 5/8" W. Late 19th century.

PROVENANCE: The Estate of Edward Laudermilk, Nashville, Tennessee.

CONDITION: Overall very good condition. [See more photos →]

Margaret Wehrley (Wisconsin, fl. early 20th c.) oil on canvas Regionalist painting depicting a row of suburban homes with various figures illuminated by sunlight in the middle ground and a large concrete bridge in the background. In the foreground is a large canal or drainage waterway, and storm clouds loom overhead. Signed "WEHRLEY," lower left. Housed in a rusticated, ornately carved giltwood frame. Canvas: 18" H x 24" W. Frame: 25" H x 31" W.

PROVENANCE: The Estate of Carl Klein, Brentwood, Tennessee.

CONDITION: Excellent condition. Some replaced stretcher keys. [See more photos →]

George Edgar Ohr (American, Biloxi, Mississippi 1857 – 1918) earthenware art pottery mug having an applied looped handle with snake head terminus, dark and light brown glaze and inscription to the body reading "Here's your good health and your family's and may they all live long and prosper J. Jefferson". Impressed stamp on the base reading "G. E. OHR. Biloxi, Miss." with additional inscribed letters and numbers "U G81-81". 3 3/4" H x 4" W. Circa 1900. Note: An undated typed letter from the Smithsonian Institution accompanies this lot. It states that this piece was part of the collection of a private dealer that was available for sale at the Renwick Gallery Museum Shop. Biography: (Adapted from the Smithsonian Institution & The Everson Museum of Art & The Ohr-OKeefe Museum) The second of five children with little formal education, Ohr learned to make pottery as an apprentice to his friend Joseph Meyer who worked at the Newcomb College Art Pottery, and who also worked in Biloxi, Mississippi. After mastering the art of clay under the tutelage of Meyer, Ohr spent two years traveling the United States visiting various potteries. He returned to Biloxi in 1883 and established his own pottery studio. He prepared his own clay and glazes and was known for his exceptional ability to produce pieces with thin walls. Ohr was also adept at creating new shapes by "twisting, folding, crushing or denting the clay while the pot was still in a flexible state". He also was known for creating a great variety of glazes that were rich in color and also used in unusual combinations. Ohr would receive honors for his work at the New Orleans Cotton Exposition of 1884-1885 and at the St. Louis Exposition of 1904, among others. According to the Ohr-O'Keefe Museum "Ohr closed his pottery in 1910, packed away his collection, and asked that his heirs keep the collection untouched until 50 years after his death". His heirs honored this request and subsequently around 1972, Ojo Ohr sold approximately 7,000 pieces, to James and Miriam Carpenter, and antique dealers from New Jersey who began to market Ohr's work to collectors in the Northeast.

PROVENANCE: Collection of John H. and Carol R. Evans, Farragut, Tennessee.

CONDITION: Overall excellent condition with no visible cracks or chips. [See more photos →]

Robert W. Stark III (Massachusetts, b. 1964) Hyperrealist trompe l'oeil oil on board painting depicting a mildly worn baseball set against a deep green background. Signed lower left. Mounted in a wide ebonized wood frame with raised sight edge. Sight: 7 5/8" square. Framed: 14 1/4" square. Biography: Robert W. Stark III was born and raised on Nantucket. He attended the Taft School and Georgetown University, majoring in Chinese/Asian studies along with Fine Arts. He is known for his realist still lives focusing on lighting effects and techniques influenced by the Dutch masters. Stark now lives on Nantucket, devoting himself to painting, and his works are included in the permanent collection of the Artists Association of Nantucket. (source: Artists Association of Nantucket).

PROVENANCE: Private Tennessee Collection.

CONDITION: Overall very good condition; spot of small wear to lower edge of the painting. [See more photos →]

Andrew Moore (American/ b. 1957) "Simon's Schoolhouse Museum, Remington County, South Dakota," 2014, Ed. 2/5, photographic archival pigment print. Titled and dated on label en verso from Jackson Fine Art, Atlanta, GA. Housed under glass in an ebonized wood frame. Sight: 35 1/2" H x 47 1/2" W. Framed: 37 1/4" H x 49" W. Note: This photograph was part of a decade long project for his book, "Dirt Meridian," in which photographer Andrew Moore traveled to homestead sites along the 100th meridian line of longitude running through Nebraska, North and South Dakota, Kansas, Oklahoma, and Texas, to witness how pioneers attracted by the Homestead Act fared generations later. The subject of this particular photograph was the invitation-only "Schoolhouse Museum" started in 1972 by Edgar Simon, a fifth generation South Dakota farmer, rancher, poet and historian who tries to "collect and display every possible variation of the objects that capture his fascination." Artist Biography: A native of Connecticut, Andrew Moore has taught at Princeton University and currently teaches at the School of Visual Arts in New York City. His large-format color photographs capture architectural elements and urban landscapes and his "perpetual fascination with certain kinds of decayed spaces that have been reappropriated or reused or where the evidence of people struggling to keep their dignity lingers, places that have been abandoned but retain the ghosts of what they were." Moore's work is included in the collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, and the National Gallery of Art. He received the John Simon Guggenheim Memorial Foundation fellowship as well as grants from the National Endowment for the Humanities, New York State Council on the Arts, and several private foundations. (Source: the Greenville County Museum of Art, Greenville, SC and The New Republic, "Andrew Moore: the Last Homesteads", Nov. 17, 2015.).

CONDITION: Overall very good condition. Not examined out of frame. [See more photos →]

Gregory D. Ridley (American/Tennessee, 1925-2004) Federal Eagles, 1969, two repousse copper panels depicting near-mirror images based on the United States Eagle symbol. 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 likely 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), 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.

CONDITION: Both overall good condition. Panel #1 – a 1 1/2" dent plus some smaller dents and scratches to upper area of one wing, a few other scattered minor small dents and scratches throughout. Panel #2 – a few minor scattered dents and scratches. The darker oxidation of the panels near the image appears to be as the artist intended. Frame exhibits some minor wear and small areas of loss to black paint at edges. [See more photos →]

Gilbert Gaul (Tennessee/New York/New Jersey, 1855-1919) oil on canvas painting, likely a Southern scene, depicting an African American woman carrying a child across a field; a farmhouse and trees with verdant foliage are visible in the background, under a cloudy sky. Signed "G. Gaul" lower left. Housed in a period gilt and gesso frame with fluted cove molding and foliate carvings at corners, remnants of old seal and paper label en verso. Sight: 11" H x 14 1/2" W. Framed: 19 1/4" H x 23" W. Biography: New Jersey-born artist Gilbert Gaul studied art with Lemuel E. Wilmarth at the school of the National Academy of Design from 1872 to 1876, and privately with the noted genre painter, J. G. Brown. He continued his training at the Art Students League during 1875 and 1876. Gaul first exhibited his work at the National Academy in 1877. In 1881, he inherited a farm in Van Buren County, Tennessee, from his mother's family, and lived there four years to fulfill terms of the bequest. In 1885, he returned to New York though he also continued to spend time at the farm in Tennessee. Gaul gained acclaim for his illustration art and portrayals of Civil War scenes. He became a regular exhibitor at the National Academy annuals between 1877 and 1902; in 1882, he was accorded the status of full academician-the youngest artist to attain the honor. He exhibited at the 1889 Paris Exposition; the 1893 World Columbian Exposition in Chicago; and the 1902 Pan-American Exposition in Buffalo, where he was awarded medals. In 1876 Gaul made his first trip to the American West, an area for which he developed a particular affinity. He made numerous western trips in subsequent years, photographing and rendering scenes of Native Americans and the frontier, which he would later work up into paintings in his studios in New York or Tennessee. In 1890, he worked for the United States census on reservations in North Dakota. He also visited Mexico, the West Indies, Panama, and Nicaragua. An account of his travels was published in Century Magazine in 1892. In 1904, he returned to Tennessee and settled in Nashville. The decreasing interest in Civil War subjects resulted in financial hardship for Gaul. He gave private art lessons and taught at the Watkins Institute, Nashville, and at Cumberland Female College in McMinnville. He also spent time in Charleston, South Carolina. By 1910, he had moved to Ridgefield, New Jersey, where he continued to paint and live out his remaining years. (Source: The Johnson Collection)

PROVENANCE: Private Tennessee collection, purchased at Lusk Gallery, Memphis, over a decade ago.

CONDITION: Painting has been lined. A few very minor areas of retouching in the sky are visible under UV light inspection, including one area along left edge measuring 3/4" L. Otherwise very good condition. [See more photos →]

A collection of approximately 300 "Back of Book stamps", housed in Mystic's American Heirloom Collection album. US Airmail stamps complete up to 2008, including all three 1930 Graf Zeppelins; Special Delivery stamps complete; Postage Due stamps mostly complete; a few Official Mail stamps. A highlight of the collection is the 1861-64 Confederate States of America set, 13 of 14 CSA stamps are present, including Scott CSA #9 T-E-N Cents with expertizing certificate accompanying. Stamps are contained in album on hingeless sleeves. Size of album: 11" H x 11" W x 3" D.

PROVENANCE: By descent from the estate of Stanley Horn, Nashville, Tennessee.

CONDITION: Varying conditions; 1930 Zeppelins Mint Never Hinged, $.65 and $1.30 not well centered, $2.60 exceptionally centered; Scott CSA #1 (green Davis) slight cut on right; Scott CSA #2 (blue Jefferson) postmarked, thin, irregular sides; Scott CSA #3 (green Jackson) unused, thinning, close at left margin; Scott CSA #4 (blue Davis) crease at top, cut into at bottom; Scott CSA #9 (T-E-N) used, cancel removed, crease bottom left, thinned, smudge right front. [See more photos →]

Men's vintage 14K Rolex Oyster Perpetual 34 wristwatch, Ref# 1007, Serial# 1125392. Automatic movement, 34mm, white dial with gilt hour markers and hands, plastic crystal. Fitted with a new black leather band. 1966.

CONDITION: Crystal with some minor scratching, back of dial is engraved with script initials. Back of watch is 18K and is not original to the piece. Band is new. Watch is functioning at time of inspection. [See more photos →]

Ladies 10K yellow gold necklace with 10K yellow gold solitaire pendant featuring a round brilliant diamond approximately 1.65 carats, Clarity-I2, Color-H. The necklace is marked "10K AD" and both the necklace and pendant XRF test 10K gold. The necklace is 21" L. and gross weight of the necklace & pendant is 4.72 grams.

PROVENANCE: Estates of Mayford and Dottie Ramsey, Sevierville, Tennessee.

CONDITION: Overall good condition. [See more photos →]

Southern sugar chest, Kentucky or Tennessee, cherry primary and poplar secondary. Rectangular form with hinged top having half round molding, well with interior divider, tall turned legs with turnip tapered feet. 32 3/4" W x 27 3/4" H x 18 1/2" D. Probably Kentucky, Circa 1825.

CONDITION: Older refinished surface, retains the original lock. Back left leg with repair to stile and reinforced bracing strip running the width of the chest. Old rear left turned leg may be a replacement since ring turnings slightly vary from the other turned legs. Older replaced strip to backside of the top (1/4" W) and back of the case (1 1/4"W) where hinges previously broke out. [See more photos →]

William J. McCoy Jr. (Knoxville, 1906-1995), miniature oil on board East Tennessee mountain landscape titled en verso "Sugarland Valley, Feb. 1972". Bird's eye view painting depicts the Little River winding through green, leafy forests with the Great Smoky Mountains rising in the distance, under a partly cloudy sky. Signed "McCoy" in red lower right. Silvered wooden molded frame with old Rothery's, Knoxville framing label en verso. Sight: 4" H x 6" W. Framed: 6" H x 8" W. Note: William J. McCoy Jr. painted the area in and around the Great Smoky Mountains National Park in the style of the East TN painter Charles Krutch, who also signed his paintings in red. Mr. McCoy's father was an early Knoxville photographer who likely worked with Krutch.

PROVENANCE: Private Nashville, Tennessee collection.

CONDITION: A half dozen tiny spots of residue scattered across surface of painting. [See more photos →]

Gentleman's Audemars Piquet 18K watch, #26568, 32 mm round face and champagne dial, 17 jewel manual wind movement, and signed 18K gold buckle. 8 3/4" L.

CONDITION: Overall good condition with light general wear. Works functioning at time of inspection. Dial appears to have been refinished, black leather strap with wear. [See more photos →]

Ladies 18K yellow gold flat curb link chain necklace. The necklace is marked "18K Italy" and XRF tests 18K gold. The necklace is 16" L. and weighs 44.08 grams.

PROVENANCE: The estate of Annette Petri, Nashville, Tennessee.

CONDITION: Overall good condition. [See more photos →]

Ladies vintage Roberto Coin 18K yellow gold textured chain link necklace with white gold clasps. The necklace is marked "18K Italy" and "1226VI" together with a star symbol, and XRF tests 18K gold. The necklace is 16" L. and has a weight of 45.62 grams.

PROVENANCE: The estate of Annette Petri, Nashville, Tennessee.

CONDITION: Overall very good condition. [See more photos →]

Ladies 14K yellow gold bracelet featuring one hundred twenty-two (122) round brilliant diamonds approximately 4.88 carats total, Clarity-SI2, Color-I. The bracelet is marked "14K" and XRF tests 14K gold. The bracelet is 7" L and has a gross weight of 35.04 grams.

CONDITION: Overall good condition. [See more photos →]

Exhibited Victor Huggins (American/Virginia/North Carolina) abstract painting, mixed media acrylic and acrylic stain on unprimed constructed canvas, featuring horizontal stripes rendered in shades of pink, red, orange, and purple with cut and applied areas of canvas, some having batting, that convey movement and three-dimensionality. Signed and dated "V. Huggins 1969" lower right. Float mounted in a custom wood frame with gold-tone chrome liner. Sight: 24 1/2" H x 70" L. Frame:25 1/4" H x 71" W. Note: This work was exhibited in the artist's first-ever solo exhibition at the Bertha Schaefer Gallery of Contemporary Art, New York, NY, held September 15th through October 3, 1970. A copy of the announcement for this show is available to the winning bidder.

CONDITION: In overall good condition with light grime. [See more photos →]

Sue Krzyston (Arizona, b. 1948) oil on canvas still life canvas titled "Cultural Images" depicting traditionally decorated Native American pottery and textiles, including a vase containing a bouquet, a bowl containing chili peppers and onions, a pair of beaded moccasins, and a woven blanket or rug utilized as a backdrop. Signed and dated "S. Krzyston (copyright) 93" lower right. Titled, copyrighted, signed, and dated in pen, en verso of stretcher. Printed label with title, artist, medium, and size affixed, en verso of frame. Housed in a painted wooden frame with canvas liner and gilt sight edge. Sight: 29 1/2" H x 39 3/4" W. Framed: 39" H x 49 1/4" W. Note: The original Mountain Trails Gallery receipt is available to the winning bidder. Artist biography: Self-taught artist Sue Krzyston developed her techniques with the influence of Dutch masters, drawing from their use of chiaroscuro and layering of many thin glazes of paint to achieve light-filled scenes. She is known for creating traditional still-life compositions with the Native American Indian artifacts that she collects from her native Arizona. Krzyston "believes that these objects represent the 'soul' of the people who create them." She has held numerous exhibitions, was commissioned for the Washington DC offices of the Arizona Senators and Congressmen, and has been voted one of the "Top 50 Female Western Artists" at the Desert Caballeros Western Art Museum.

PROVENANCE: Estate of Robert Christie, Knoxville, Tennessee.

CONDITION: Minute wear to left edge of canvas. Otherwise overall very good condition. [See more photos →]

1st item: Pre-statehood legal document relating to Nashville and Davidson County, concerning a 1793 court case, Robert Nelson vs. Josiah Love, involving the sale of an enslaved man named Bob, dated 1794. 6 1/2" x 7 3/4" W. 2nd item: Bill of sale concerning an enslaved man named Jerry, sold by the Memphis-based slave trading firm Bolton, Dickens & Company to Colonel John Timothee Trezevant of Memphis, Tennessee, dated 1853. Document is signed by Wade H. Bolton, co-owner of the firm. 9 1/8" H x 7 1/4" W. 3rd item: Letter signed by Wade H. Bolton and L. A. High in acknowledgment of debt owed to the state of Tennessee, Shelby County, as a penalty "for running [a] horse race on [a] public road," dated 1841. 12 11/16" H x 7 13/16" W. 4th item: Four-page Smith County document pertaining to the sale of the estate of Jones and Sarah Bishop of Smith County, TN. Includes references to hire of "negro woman" and "negro man," along with sales of tools, cattle, horses, kitchen utensils, furniture, guns, and more, dated 1825. 12 13/16" H x 8 1/16" W. Note: Bolton, Dickens, & Company "was a professional slave trading firm that eventually became one of the largest in the country. It was made up of Washington Bolton, Isaac Bolton, Thomas Dickens, and Wade H. Bolton, and ran 'through transactions amounting in the aggregate to several millions of dollars.' They used innovative, seasonally-specific marketing practices to buy slaves in the Upper South and sell them in the Deep South, using Memphis as a convenient way station between the two regions. In 1854, the firm advertised in Memphis for the sale of slaves gathered in Virginia, Kentucky, and Missouri. By fall of that year, Thomas Dickens advertised for the firm in St. Louis, Missouri, but also purchased property in Richmond. Issac received slaves forwarded from Dickens and Washington Bolton and sold them at Vicksburg. Wade Bolton remained based in Memphis.The firm was later plunged into a bloody feud lasting from 1857 to 1870. It began about a week before the firm dissolved, when Issac murdered James McMillan in Memphis. He and Wade were arrested and imprisoned, and both were eventually acquitted. According to some members of the firm, Wade then refused to settle up with all the partners until and unless they shared in the expenses resulting from Isaac's trial, some of which it was alleged had resulted from bribes paid to witnesses and jurors. Wade's argument was that the trial had arisen out of McMillan's sale of a free man to the firm, though Wade also denied that he had refused to settle up and claimed he and Isaac had shouldered most of the expense from the trial themselves. Wade H. Bolton was later murdered by Thomas Dickens, who was nonetheless acquitted. Subsequently, Dickens himself was murdered" (Source: Prof. W. Caleb McDaniel, Rice University). Colonel John Timothee Trezevant enlisted as a private in Company A, Fourth Tennessee Infantry and later in Cheatham's Division, Polk's Corps. He was wounded by two bullets at the Battle of Shiloh and discharged in 1863 but a year later entered the service again as a Lieutenant of Engineers and served until he surrendered at Greensboro, North Carolina in April 1865. He attained prominence for his many activities in Dallas. Directed the building of the Dallas Hunting and Fishing Club, President of the Security Mortgage and Trust Company, the Dallas Consolidated Street Railway Company and the Dallas Golf and Country Club (Source: Obituary, The Dallas Morning News, May 11, 1931).

CONDITION: Generally good condition with some small losses, toning, damp staining, and creases. [See more photos →]

Prada Saffiano medium monochrome top handle tote bag in black calfskin accented with black metal logo, calfskin pouch with interior mirror affixed to one handle, and gold-toned hardware. Open top reveals single compartment interior with front slip pocket having magnetic closure and back zip pocket. Labeled "Prada" to front, pouch, back zip pocket, and zipper. Includes detachable shoulder strap with dustbag, authenticity certificate card, care guide, dust bag, and original box. 10" H x 13" W x 6 1/8" W. Overall with handle: 14 3/4" H.

PROVENANCE: East Tennessee Estate.

CONDITION: Excellent condition with no visible wear. In original box and dustbag with card of authenticity and care guide. [See more photos →]

Walter Hollis Stevens (Tennessee, 1927-1980) abstract oil on canvas painting titled "Off-Shore II" comprised of a central dynamic multicolored spidering form against a gradient light green to dark background. Signed and dated in green "Stevens '61" lower left. Additionally signed "W.H. Stevens", titled, and dated with medium inscribed, en verso of stretcher. Housed in a thin wooden frame. Sight: 40" H x 40" W. Framed: 40 3/4" H x 40 3/4" W.

CONDITION: Overall excellent condition. [See more photos →]

Carved granite garden sculpture in the form of a recumbent rabbit. 9 3/4" H x 12" L x 5 1/2" W. 20th century.

PROVENANCE: Property from the Collection of Jo Ann Cline Yates, Lookout Mountain Tennessee.

CONDITION: Outdoor weathered condition with minor wear and verdigris staining. [See more photos →]