George Rodrigue (Louisiana, 1944-2013) acrylic on canvas titled “Louisiana Sunday Morning”. Signed “Rodrigue” lower left, additionally signed and dated 2012 en verso. Housed in a molded gilt wood frame. Canvas 30″ x 30″. Framed 35 3/4″ x 35 3/4″. Provenance: Private Southern Collection, acquired from Rodrigue Gallery, Louisiana, September 1, 2012.
Le Pho (Vietnam/United States/France, 1907-2001) oil on canvas laid to board painting entitled “Fleurs” depicting floral assemblage of Black Eyed Susans and other flowers in a decorated handled pitcher or vase. Signed lower left in Chinese and script “Le Pho.” Housed in a gold-tone hand-carved frame with linen liner and gold-tone fillet. Sight: 28 1/8″ H x 19″ W. Overall: 36″ H x 26 3/4″ W. Provenance: Wally Findlay Galleries, New York. Retains an original Wally Findlay Gallery label & Wally Findlay Gallery guarantee document dated November 2, 1970.
George Inness (New York/Massachusetts/Scotland, 1825-1894) oil on canvas laid to board painting depicting a rural Massachusetts landscape with a dirt road leading toward a large tree at right. Set beneath a pale blue sky with clouds gathering along the horizon. Signed “G. Inness,” lower left, and initialed lower right. Hammer Galleries, New York label en verso. Housed in a Louis XIV style gilt and molded frame. Canvas: 13 3/4″ H x 19 1/2″ W. Frame: 18 1/2″ H x 24″ W. Note: A letter of authenticity from Michael Quick accompanies this lot and the painting will be included in the upcoming supplement to his catalog raisonne of the work of George Inness.
John French Sloan (American, 1871 – 1951) “Land of Turquoise,” oil on canvas painting depicting a Southwestern landscape. Low clouds drift across a calm turquoise sky, casting shadows in subtly varying shades of blue across the hills along the horizon. Shrubby green vegetation grows on either side of a dirt road in the foreground. Signed “John Sloan” lower left. Housed in an acanthus and ribbon molded gilt frame with beveled linen mat. Canvas is covered by a protective board with old label for Kraushaar Galleries, New York. Canvas – 22″ W x 18″H. Frame – 29″ x 25″. Provenance: Estate of Ann Wells, Nashville.
Gustave Baumann (Germany/New Mexico/California, 1881-1971) color block print on cream laid paper titled “Ranchos de Taos” depicting a dirt road and rocky hillside leading toward historic Ranchos de Taos, New Mexico, with the San Francisco de Asis Mission Church (also featured in Baumann’s earlier woodcut, “Church Ranchos de Taos”) visible before the distant Sangre de Cristo Mountains. One of Baumann’s signature decorative borders encloses the scene. Pencil signed, titled, inscribed “II,” and numbered 98/125. With the artist’s hand-in-heart chop mark, lower right. With Owings-Dewey Fine Art, Santa Fe, and Montage, Plaza De Los Artesanos, Santa Fe gallery stickers affixed to backing. Housed in a modern red and gilt frame with ivory textile mat and gilt fillet. From the second edition printed in 1948. Ref: Chamberlain 133. Provenance: Estate of Ann Wells, Nashville.
Sven Birger Sandzen (Sweden/Kansas, 1871-1954) lithograph on Arches laid paper entitled Moonrise in the Foothills and depicting a nocturnal landscape with trees in the foreground and a rising moon above a distant mountain range, likely the foothills of the Colorado Rocky Mountains. Signed and titled in pencil, lower margin. From the projected edition of 100. Ref.: Greenough 76. With A. A. Bish (Alfred A. Bish), Oklahoma City framing label affixed to backing and tape inscribed “Freda Sahan” affixed to label. Housed under glass in a simple, ebonized wood frame with tan mat. Sheet: 9 1/8″ H x 12 1/4″ W. Frame: 10 11/16″ H x 13 3/4″ W.
Anna Catherine Wiley (TN, 1879-1958) oil on canvas landscape of a meadow with large tree and figure in the foreground with a partly cloudy sky. Signed lower right in red, “Wiley”. Gilt wood frame. Sight – 24 1/2″ H x 36″ W. Note – there are at least two other similar meadow landscapes by Wiley known. A composition titled, “Gathering in the Woods” is almost identical in size and is currently in the collection of the Tennessee State Museum.
Emily Marie Atkinson Hull (American/Mississippi, 1890 – 1980), “Moss Hung Oaks, Mississippi,” large oil on canvas painting depicting two figures in small boats rowing toward sailboats on a placid body of water, framed by arched, mossy branches of live oak trees. Shrubby fauna and flora grow in the sandy foreground and billowy pink-tinged clouds accumulate on the horizon. Signed “Marie A. Hull” lower right and also signed, with artist’s Jackson, Mississippi address, en verso. Hand carved parcel gilt frame with red undertones. Sight – 35″W x 29″H. Frame – 43″W x 37″H.
Andrew LaMar Hopkins (American, b. 1977), “Marie Laveau Gris-Gris,” acrylic on canvasboard painting depicting the 19th century voo-doo priestess Marie Laveau leaving the fashionable home of a white woman, who is depicted standing in the window and holding a gris-gris (talisman or voo doo amulet, intended to protect the wearer from harm). Signed lower right and dated 2014, additionally signed en verso and titled on paper label. 16″W x 12″H.
Isabel Bishop (American, 1902-1988), “Undressing,” tempera and oil on canvas painting depicting a woman in the act of undressing. The artist’s technique of unevenly layering paint over a striated gray ground gives the effect of the subject being viewed through a sheer, semi-reflective curtain. Unsigned. Label en verso for Midtown Galleries, New York, with stamp for the Tennessee Fine Arts Gallery at Cheekwood. Housed in a gold leaf frame with painted canvas mat and gold leaf reveal. Sight – 16″H x 14″W. Frame – 23 1/2″ H x 21 1/2″W. Provenance: Estate of Ann Wells, Nashville.
William Edmondson (American/Tennessee, 1874-1951) carved limestone figure of a mother carrying a young child in one arm and holding a book or pocketbook in the other. The figure has areas of painted surface in a tan/grey color. Height: 11 3/4″ H x 4 3/4″ W x 6 7/8″ D.
Provenance: Private Nashville collection, by direct descent from Julia Otey Lee (1947-2012), who is believed to have acquired the sculpture from her parents, Ford Essex Otey and Elnora James Otey of Nashville. The Oteys were members of a noted African American family with a long history in Davidson and Williamson Counties. Elnora (1921-2008) was a poet and ceramicist; Ford (1920-2012) worked in the family’s North Nashville grocery business, as a barber and a licensed mortician, and also operated what was said to be the largest black owned salvage store in the city, on Heiman Street. Julie Otey Lee was a dedicated genealogy researcher and board member of the Middle Tennessee Genealogist Society. Research conducted by her and her brother helped trace the family’s lineage back at least to the early 1800’s.
Beauford Delaney (American/Tennessee, 1901-1979) watercolor and gouache abstract painting entitled “Ibiza.” Two thick, vertical black bars rendered in watercolor enclose at left and right a gestural web of black gouache linework, with fainter watercolor forms beneath. Signed and inscribed “Ibiza” and “Beauford Delaney” in blue pen, lower right. On Schoellers Parole paper with blind stamp, upper right. Floated in a modern ebonized wood frame with ivory mat. Sheet: 18″ H x 11 7/8″ W. Frame: 28 3/4″ H x 22 7/8″ W. Exhibition History: Beauford Delaney: From New York to Paris, Patricia Sue Canterbury (The Minneapolis Institute of Arts, 2004), November 20, 2004 – February 20, 2005. Note: Likely executed in Ibiza, Spain, while on a trip with writer James Baldwin and painter Larry Calcagno in 1956. Two related works also inscribed “Ibiza” were included in the 2013 exhibition “Beauford Delaney: Internal Light” at Levis Fine Art in New York.
Beauford Delaney (American/Tennessee, 1901-1979) gouache on paper abstract painting in various shades of yellow. Rhythmic linear patterns of scrolling and interlacing forms merge with one another and fill the composition, with areas of exposed paper visible throughout. Signed and dated “Beauford Delaney 61″ in black pen, lower right. With Beauford Delaney estate stamp en verso and Levis Fine Art, New York, label affixed to backing. Floated in a modern wood frame with ivory mat. Sheet: 10 1/2″ H x 8″ W. Frame: 17 13/16″ x” 15 1/4″ W. Provenance: The Estate of Beauford Delaney (Derek Spratley-Court Appointed Administrator); Private Collection, Maine.
Ida Rittenberg Kohlmeyer (Louisiana/Georgia, 1912 – 1997) abstract oil on panel painting titled “Portent”. Rendered in earthtones with expressionist vertical brushstrokes to the center in darker tones. Signed lower right KOHLMEYER. Handwritten label en verso reads’ “From Juried Arts Collection, transfer from Tyler Museum of Art from TFAA, Portent by Ida Kohlmeyer.” Additional gallery label en verso from Peyton Wright Gallery in Sante Fe, New Mexico. Housed in a silvered wood frame. Sight: 41 3/4″ H x 35 3/4″ W. Framed: 42 1/2″ H x 36 1/2″ W. Note: The handwritten note en verso suggests that this painting was originally part of the collection of the Tyler Museum of Art in Tyler, Texas via the Texas Fine Arts Association.
Early and rare Tennessee sugar desk, probably Davidson County (Nashville area). Cherry primary, poplar secondary. Half-depth hinged lid with breadboard ends opening to an interior with a bank of two dovetailed drawers and central dividers over a divided well. Dovetailed case on the front corners and back with nailed construction consisting of wrought iron and square nails. The lower case with ogee molding and a dovetailed drawer having scratch beading, resting on tapered, Hepplewhite style legs. Provenance: Estate of Ann Wells, Nashville.
Middle Tennessee sideboard with flame grain figured cherry veneers and scalloped case front. Cherry primary and poplar secondary, curved splash-board / gallery top with two short drawers to each side over a two-board rectangular top with reeded edges. Central bow front drawer over a bow front double-door cabinet, flanked by two square drawers and two tall & slender rectangular cellarette drawers, each side flanked with opposing concave block-front upper drawer over a conforming tall hinged cabinet door, cabinet resting on 8 turned tapered and reeded legs. Rail and stile construction with paneled sides and back. Each drawer with dovetail joints, cock-beaded edges to cabinet doors and drawers. 2″ and 2 1/4″ pressed glass disc pulls with cut starburst pattern set in silvered brass collars and mounted on brass stems, likely Pittsburgh glass. 51 1/2″ H x 83 W x 24 3/4″. Tennessee, first quarter 19th century. Note: MESDA originally documented this sideboard in 1982 and attributed the form to Kentucky (MESDA, 1982, documented by Brad L. Rauschenberg, Luke Beckerdite, and Derita Williams Photo: S-11610, File Number: KY-11-13. https://mesda.org/item/object/sideboard/15367/).
Rolex Oyster Perpetual Date Just Two-Tone Wristwatch. Circular sunburst champagne dial with applied gilt Roman numerals, signed “Rolex / Oyster Perpetual / Date Just / Superlative Chronometer / Officially Certified”, date aperture. Stainless steel and 18k yellow gold case, 18k yellow gold fluted bezel, 18k yellow gold screw-down crown.
Ladies platinum engagement ring featuring a round brilliant diamond weighing 2.03 carats, Clarity-SI1, Color-H, accented by two (2) tapered baguette diamonds approximately 0.18 carats together, Clarity-VS1, Color-H. The ring is marked “10%irid plat” and XRF tests 90% platinum. The ring is size 6 1/4 and has a gross weight of 4.58 grams. GIA Report# 2235090351. Provenance: Estate of Ann Wells, Nashville.
Ladies 14K yellow gold ring featuring a marquise diamond weighing 2.59 carats, Clarity-SI2, Color-G, Fluorescence-None, accented by two (2) trillion cut and eight (8) baguette diamonds approximately 0.88 carats together, Clarity-SI1, Color-H. The ring is marked “14K” and XRF tests 14K gold. GIA report number: 1236090317. The ring is size 6 and has a gross weight of 9.42 grams.
Ladies platinum engagement ring featuring a 1.83 carat round brilliant diamond Clarity-SI2, Color-D, Cut-Excellent, Fluoresce-Strong Blue. GIA report number: 1398581672. The ring is accented by forty-four (44) round brilliant diamonds approximately 0.66 carats together, Clarity-SI2, Color-F. The ring is marked “plat” and XRF tests 95% platinum. The ring is size 7 1/2 and has a gross weight of 9.00 grams.
Monumental sterling silver horse trophy by Barker Brothers, Birmingham. Lid with a horse figure finial; Urn form body with raised scrolling foliate decoration throughout, flanked by two acanthus leaf c-scroll handles. Presentation inscription to one side reading HAVERSTOCK AMATEUR TROTTING CLUB / OPEN HANDICAP 1 1/2 MILES / WON BY STAMBELLA THE PROPERTY OF MRS DACOSTA…DRIVEN BY D. LAMBETH / WINNING JOCKEY OF THE CLUB WEMBLEY PARK / FEB 23RD 1899. Raised harness-racing scene within wreath cartouche to other side. Knopped stem terminating in stepped pedestal foot, decorated with raised foliate design and two mounted hippocamp figures. Hallmarks for Birmingham, Barker Brothers, 1898, above inscription on body. 23 1/2″ H with lid x 18″ W at handles x 12″ D. 160.78 troy ounces. English, late 19th century.
Chinese Export Silver Tea Service, 8 pieces including tray. Includes kettle on bamboo style stand, coffee pot, teapot, cream pitcher, and open sugar bowl, all featuring raised designs of birds among prunus branches, plus a waste bowl and tea caddy with raised prunus branch design (lacking birds), together with a hardwood tray with silver mounts at the four corners, all decorated with prunus branches, and silver bamboo form handles. Each piece hallmarked with WH plus Chinese character mark and “90” for .900 fineness except for the kettle stand and burner which are unmarked, and the tea caddy (which is marked WH and 90 but has no character mark, and has an Aesthetic movement style monogram. No other pieces are monogrammed). Creamer and sugar have gilt washed interiors. Tray – 28 1/2″ x 20 1/2″. Coffee pot height: 8 1/2″. Note: The firm of Wang Hing was established in Canton China in 1854 by the prominent Lo merchant family. It sold upscale wares until the 1940s, when the Japanese invasion forced it to close.
Philip (1908-1988) and Kelvin LaVerne (active 1960/1970) cast, patinated, and sculpted bronze coffee table. Consisting of an organic curvilinear top with a raised border simulating tree bark and heavily grooved sides simulating a tree trunk. Etched signature and date on top edge “Philip Kelvin LaVerne ’71”. 21 1/4″ H x 57 1/2″ L x 26 1/2″ W.
Joan Miro (Spanish, 1893-1983) abstract lithograph on BFK Rives paper, 1975. Plate 15 from the series Maravillas Con Variaciones Acrosticas en el Jardín de Miro (Wonders with Aristocratic Variations in Miro’s Garden). From the very rare edition of 15 hand-signed prints on BFK Rives paper, aside from the edition of 75 on Arches. Printed and published by Ediciones Poligrafia, Barcelona. Pencil signed and edtioned XIII/XV, lower margin. Housed under glass in a metallic frame with linen mat and black fillet. Sheet: 20 11/16″ H x 29 7/16″ W. Frame: 32″ H x 40 1/2″ W.
Joan Miro (Spanish, 1893-1983) abstract etching and aquatint in colors entitled Libre del Sis Sentis, 1981. The full, untrimmed sheet with deckled edge on Guarro wove paper watermarked Sala Gaspar, lower left, from the edition of fifty published by Sala Gaspar, Barcelona, with publisher’s blind stamp, lower left. Signed “Miro” and editioned in pencil “11/50,” lower margin. Ref.: Dupin 1168; Cramer books 252. Housed under plexiglass in a modern giltwood frame with cream textile mat and gilt reveal. Sheet: 36″ H x 27 1/2″ W. Plate: 28 1/2″ H x 21 3/8″ W. Frame: 41 1/2″ H x 32 7/8″ W.
Marc Chagall (French/Russian, 1887-1985) lithograph from the series Le Cirque, 1967. Signed in pencil, lower right, and editioned “Epreuve HC” (a hors-commerce impression, aside from the edition of 24), lower left. Additionally signed en verso by the printer Charles Sorlier and inscribed “Le Cirque No. 515.” Printed on Arches paper with partial watermark, lower left. Ref: Mourlot 515; Cramer Books 68. Housed in a modern gilt frame with foliate corners, white textile mat, and gilt reveal. Sheet: 20 7/16″ H x 15″ W. Frame size: 30″ H x 23 3/4″ W.
Large abstract acrylic on canvas painting by John Seery (b. 1941, American, New York/ Ohio/ Massachusetts) titled “Havana Sun”. Signed and dated 1975 verso of canvas along with a gallery label for Richard Gray Galleries in Chicago, IL. Housed in a simple wood frame with gilt metal edge. Sight: 55 1/2″ H x 50 1/2″ W. Framed: 56 1/2″ H x 52″ W. Deaccessioned from the Brooks Museum, Memphis for the acquisition fund.
Maurice Freedman (American, 1904-1985) oil on canvasboard landscape painting of a forest of pine trees, portrayed with gestural, colorful brushstrokes. The focal point is the mid-section of a singular tree in the left foreground, rendered with a thick and textured impasto to convey the appearance of bark. Signed and dated “Maurice Freeman ’55” lower right. Painted wood mat and natural oak frame. Canvasboard – 20″ W x 16’H. Frame – 23″W x 19″H.
William Clusmann (American, 1859-1927) large oil on canvas painting depicting Michigan Avenue as viewed from the steps of the Art Institute of Chicago. One of the bronze “Guardian Lions” stands in the foreground as pedestrians and automobiles fill the street below, and American flags fly from the window of skyscrapers lining the street. Signed “W. Clusmann” lower right corner. Housed under glass in a period hand carved gold leaf frame. Canvas – 30″ H x 26″W. Frame – 39″H x 36″W.
Theodore Koeth (NY/District of Columbia, 1843-1919) oil depicting the “Middle Bridge at Antietam”, 1862. Depicting a panoramic landscape with armed soldiers following covered hospital wagons across an arched bridge of stone. The road winds past log structures and trees lining the sides. Signed lower right, “Theo. Koeth, 1862″. Sight – 35 1/2″ x 59 1/2”. Note: This painting is illustrated in the American Folk Paintings sale for the late Horace W. Davis, Park- Bernet Galleries, February 28, 1946, plate number 29, page 10. The catalog notes the painting was acquired in Richmond, Virginia. An additional catalog note: The red trefoil insignia designates the Second Division of the Second Corps of the Army of the Potomac under General Hooker.
Julian Oliver Davidson (New York, 1853-1894) oil on canvas laid to Masonite painting depicting the burning of the USS Congress at Hampton Roads on March 8, 1862, following shelling by the USS Virginia, visible in the distance at center right. Sailors abandon the burning ship and swim or try to remain afloat in the foreground. Signed and dated “J.O. Davidson 92″ lower left. Housed in an ornate giltwood frame with brass nameplate. Sight: 58 1/2″ H x 34 7/8″ W. Frame: 69″ H x 45” W. Literature: This painting along with a watercolor and photogravure of the same theme, is listed as number 5 in the general inventory of the estate of the artist as recorded by the Rockland County, NY Surrogate’s Office and included in the supplementary material in Lynn S. Beman’s exhibition catalogue Julian O. Davidson 1853-1894: American Marine Artist (New York: Historical Society of Rockland County, 1986), p. 61. Note: The USS Congress, along with a fleet of Union ships, was attacked by the Confederate ironclad CSS Virginia (formerly the USS Merrimac and persistently mid-identified as such). This conflict, known as the Battle of Hampton Roads, resulted in the destruction of the USS Congress. Later, the Union ironclad USS Monitor would arrive and the ensuing battle–the first between this class of armored warships–would significantly impact the course of naval warfare.
Original silkscreen poster for the 1913 International Exhibition of Modern Art, also known as The Armory Show, The official poster announced the first venue of the three-city Armory Show tour in New York from February 15 to March 15, 1913. Housed under plexiglass in a narrow gilt frame. Sight – 20 3/8″ x 14 1/8″ Frame – 21 1/2″ x 15.
Antoine Blanchard (French, 1910-1988) oil on canvas Impressionist Parisian street scene painting titled “Place Du Tertre a Montmatre”. The bustling scene includes pedestrians walking on either side of the street, an artist with an easel, and a carriage in the square near the summit of the city’s elevated Montmarte quarter. Colorful signage and glowing lights add warmth to the scene. Signed lower left “Antoine.Blanchard.” The painting is titled and additionally signed in black marker verso. Housed in a modern gilt carved frame with a cream velour mat and gilt wood liner. Sight: 12 1/2″ H x 17 1/2″ W. Framed: 21 3/4″ H x 26 1/2″ W. Note: The painting retains the original COA dated 1973. The COA is signed by the artist and bears the artist’s stamp. It is registered under the number 94587. The painting also retains a notarized letter guaranteeing authenticity from the W. T. Burger Company.
Ricardo Corchon y Diaque (Spanish, 1855-1925), “Saint Cloud, Paris,” oil on panel painting depicting two fashionably dressed women standing before the Grande Cascade Fountain at the Palace de Saint-Cloud, overlooking Paris, while three other women stand in the distance. The painting is signed faintly, “R. Corchon” in the lower left corner, titled “St. Cloud,” and dated 1869, significant because the palace itself (one of Napoleon’s homes) was destroyed the following year after the outbreak of the Franco-Prussian war (1870-1871). The fountain survived, and the gardens later became a public park. However, it is likely Diaque painted the scene well after 1870, as he did not begin art school until 1870. Housed in an elaborate giltwood frame with molded acanthus and foliate scroll motifs. Panel – 10 1/2″H x 13 3/4″W. Frame – 20″H x 23 1/2″W. Biography: Ricardo Diaque studied at San Fernando Fine Arts School in Madrid in 1870 and enjoyed success in his home country, but intrigued by French high society, he moved to Paris in 1876. He specialized in genre scenes depicting the upper class, and was known for his skill in portraying the clothing of his subjects. He showed work at the Universal Exposition of 1878 and exhibited regularly at the Salon of French Artists (until 1900). Sources: Benezit, 1976; Cien anos de pintura, volume VI, 1991; Schurr and Cabanne, Les Petits Maîtres de la peinture, 1820-1920, Editions de l’Amateur, 1996.
Sir William Beechey RA (English, 1753-1839) oil on canvas half-length portrait of Miss Elizabeth Thicknesse Woodington Dickensen of London, England, standing in an ambiguous interior setting. Her ornate red robe is partially removed and she wears a red coral necklace as she gazes toward the viewer. Likely a portrait commissioned on the occasion of her engagement as she wears no ring on her prominently displayed left hand. With 1991 conservator’s label affixed to backing. Housed in an ornate gilt wood frame with nameplate. Canvas: 36 1/4″ H x 28 3/8″ W. Frame: 45″ H x 36 3/4″ W.
Bill Sawyer (American/Tennessee, 1936-2020) oil on board painting depicting a distant, white-haired figure standing in a large, empty plaza or square with back turned toward the viewer. He feeds a group of pigeons gathered at his feet while gazing toward the cloudy, pale blue sky that fills the upper two-thirds of the composition. The orthogonal lines of the plaza lead toward a vanishing point at center right. Signed “Bill Sawyer” lower left. Housed in a speckled, gray wooden frame. Sight: 13 1/2″ H x 17 1/2″ W. Frame: 17 7/8″ H x 21 7/8″ W. Provenance: Estate of Ann Wells, Nashville.
William McKendree Snyder (Indiana, 1848-1930) oil on canvas forest landscape painting titled “Beechwoods” depicting a winding rocky creek flanked by beech trees adorned in autumn foliage and a forest floor covered with autumn foliage with pink mist and a sliver of grey sky visible in the background. Signed lower right in burnt orange “W. McK Snyder”. Brass placard to lower edge of frame with title and artist’s name. Housed in a gilt and whitewashed carved rococo style frame. Sight: 17 1/2″ H x 27 1/2″ W. Framed: 29 3/4″ H x 39 3/4″ W.
Elizabeth O’Neill Verner (South Carolina, 1883-1979) pastel on silk portrait depicting a Charleston flower vendor seated with a bouquet of flowers in her lap. She smokes a pipe and wears a distinctive knit hat. Signed “Elizabeth O’Neill Verner,” lower right. Housed in a modern wood frame. Sight: 8 1/4″ H x 8″ W. Framed: 11 7/8″ H x 11 11/16″ W.
Clementine Reuben Hunter (American/Louisiana, 1886/87-1988) oil on board painting depicting a wash day scene, with two women washing clothing with a kettle and washboard. Signed with monogram middle right margin. “Handle” written in ink en verso. Housed in a light-toned wood frame. Sight: 9 5/8″ H x 11 5/8″ W. Framed: 11″ H x 13″ W. Private collection; acquired directly from the artist in 1968. We wish to thank Thomas Whitehead for confirming the authenticity of this painting.
East Tennessee, Sullivan County pie safe, attributed to John Wolfe (Piney Flats, 1810-1891), cherry primary and poplar secondary, rectangular top over three dovetailed drawers each with brass keyhole escutcheons, locks and turned wood knobs. Cupboard doors each having two punched tins decorated with urns and floral sprays and punched border with a horizontal wooden divider, paneled sides and back, canted base molding transitioning to four turned feet. Tins with a contemporary polychrome paint over an older blue painted surface. 49 3/8″ h x 54 3/4″ W x 19 1/4″ D. Sullivan County, TN. Mid-19th century.
Southern Huntboard, pegged construction, with yellow pine throughout. Plain rectangular top over a center double-paneled hinged cupboard door with turn-knob closure, flanked by two recessed hand-chamfered panels. One interior shelf. The four legs are continuations of stiles, transitioning to turned and tapering forms with concentric ring turnings at the tops, centers and feet. Recessed side panels. 43 1/2″H x 47 1/2″ W x 17 1/2″D. Possibly Alabama, Mid 19th century.
A Federal bullseye mirror, circular carved and gilt-wood gesso moulded frame with an inset circular convex mirror, surmounted eagle with spanning wings holding a chain with a small orb attached, resting on a stack of block stone, flanked by a stylized acanthus leafs to each side of frame and bottom. 41″ H x 24″ W x 5 1/2″ D. Possibly American, 19th century.
Federal giltwood looking glass with figural eagle raised on an acanthus leaf, flanked by urns, surmounting a cornice tablet with swag and rosette, and a band of acanthus leaves, over a rectangular plate of glass. Two fluted side columns with acanthus leaf wraps, each having rosette blocks at top and base. 49″H x 27″W x 4″D. American or English, early 19th century.
Near pair of Georgian style server or console tables, each primarily mahogany with pine secondary, rectangular variegated marble overhang top over a moulded apron sitting on four carved cabriole legs with claw and ball feet, and two legs decorated with leaf scrolls at the knees. Old retailer label to underside for B. Altman & Co., New York (1865-1989). First: 30″ H x 34″ W x 23″ D. Second: 29 7/8″ H x 33″ W x 23″ D. English, Mid to late 19th century.
Early Tennessee land transfer document between future U.S. president Andrew Jackson and his business partners John Hutchings and James Rawlings for “lot number 4 in the Southwest Square” of Lebanon, Wilson County, for $200. Dated May 11, 1809. 12 1/2″ x 7 1/2″. Note: this is a particularly early example of Jackson’s signature. It dates from a period when Jackson was focusing on business, rebuilding his assets in the wake of a financial panic that had nearly bankrupted him. In just over three years, the War of 1812 would begin, catapulting Jackson into the national spotlight for his military victory at the Battle of New Orleans and paving his way to the presidency. However, this document also had a personal connection. John Hutchings (c.1776-1817), one of Jackson’s closest business partners, was related to Jackson’s wife Rachel. And Hutchings was the brother-in-law of James Smith Rawlings (1784-1820), who in 1806 had married Rachel Hutchings (1784-1846).
Extremely scarce Civil War era lithograph depicting the Female Seminary at Nashville, Tennessee, as it appeared in March of 1862 after being converted to the Barracks of the 51st Regt. O.V. under the command of Union Provost Marshall Col Stanley Matthews. The print was published during the Union Army’s occupation of the city, by Middleton, Strobridge, & Co., after a sketch by A.E. Matthews of the 31st Regt. O.V., USA. It includes a quote in the lower margin attributed to the school’s principal C.D. Elliot, apparently excerpted from the school’s own printed materials, referring to the school’s highly political stance: ” As Teachers we employ, in the School Books we use, in the principals we teach, in the prayers we utter, in the tears we shed in the hour of defeat, in the songs we sing in the times of victory, – in the use of these means and all others at our command we hope to inspire all our pupils not only with proper sympathy for their own country but also with a strong antipathy to the North. We hope thus to render them fit to become the companions of the brave boys who now stand in battle array against Fanaticism and Infidelity all along our our Northern border.” Mounted under glass with a cream silk mat and silver and blue reveal, in a stained wood frame with gilt molded rabbet edge. Sight – 12″H x 15″W. Frame – 22″H x 24 1/2″W.
Nison Tregor (District of Columbia / Russian Federation, 1904-1972), Bronze bust of Dwight Eisenhower on black marble plinth, Titled with bronze plaque on base: “Dwight Eisenhower”, signed and dated indistinctly impressed to back of bronze: “Nison Tregor / 1957”, Loose gum lable to back of plinth reads: “The Property Belonging to Honorable Ralph E. Becker”. Bronze: 19″ x 16 1/2″ W x 11″ D. Overall: 24 3/4″ H x 16 1/2″ W x 11″ D.
Loran Speck (California, 1943-2011) oil on board trompe-l’oeil still life painting, “Earthenware, Pewter, and Apples,” depicting a pottery jug and apples in a pewter bowl atop a stone table or ledge, draped with a cloth, set against a terra-cotta colored textured background. Note: this was the cover image for Southwest Art, Jan. 1987, which featured an article on Speck. A copy of the magazine accompanies this lot. Signed “L. Speck” lower right. Housed in a contemporary molded giltwood frame with distressed finish. Painting – 24″ x 18″. Frame – 34″H x 28″W.
Duffner & Kimberly leaded glass dome shaped hanging lamp, irises, colored mottled slag glass panels depicting pink iris & leaf design to lower rim and geometric design to upper shade, applied Duffner & Kimberly badge to interior shade, bronze fitter ring with polished caps and chain, 4 light pull chain light-cluster by Hubbell. Shade: 7″ H x 24 1/4″ Dia. Chain & fitter caps: 60″ L.
George Rodrigue (American/Louisiana, 1944-2013), limited edition cameo glass “Blue Dog Bowl”, designed in collaboration with Kelsey Murphy (20th Century, American/West Virginia) and the Pilgrim Glass Company, #15/35. Consisting of a layered and sandblasted design to the sides depicting a repeating motif of three seated blue dogs punctuated by live oak trees. Raised signature below one tree reading “Rodrigue”. Additionally etched on the base “903056”, 15/35 (limited edition number), “P” for the Pigrim Glass Company and 1994 (the production date). 5″ H x 9″ dia. Provenance: This bowl was originally offered for sale by New Orleans Auction Gallery, Lot #1273 in Jul 29, 2012.
Charles Lotton (American, 1935-2021) studio art glass table lamp, consisting of an urn form base with matching scalloped rim shade and pulled glass finial, both having a green opalescent ground with pink floral decoration, possibly morning glories. Etched signature and date under the brass collar reading MADE BY CHARLES LOTTON 1991. 25 1/4″ H x approx. 18″ dia.
An early advertising display cabinet for Dr. Lesure’s Veterinary Medicines. The cabinet consists of an oak case featuring a metal paneled front door depicting the head of a brown horse peering out from a stone wall opening with the words “Dr. Lesures’s Famous Remedies” in red above and below the horse’s head. The frame surrounding the metal panel is additionally stenciled in black “Dr. Lesure’s Warranted Veterinary Medicines”. The interior is fitted with three shelves and the flat base is molded on three sides. 26 3/4″ H x 20 3/4″ W x 7″ D. Circa 1900.
Arnold Armitage (British-American,1899-1991) oil on fiberboard illustration art painting, likely for an advertising calendar, featuring an attractive Calendar Girl on skis with Irish Setter, foreground, in a snowy landscape setting. Signed “Armitage” lower right. Unframed. 30″W x 24″H. Circa 1940s. Note: British born Arnold Armitage moved to the United States in 1925 and settled in Hollywood, where he secured a job designing billboards for the Foster and Kleiser company. He would go on to produce billboards for a number of American companies. In about 1940, Armitage began a series of “pretty girl” paintings for the calendar market. While not strictly pin-ups, these works were similar to the work of Gil Elvgren. Armitage’s “pretty girls” were well received in both the United States and England. Source: Charles G. Martignette and Louis K. Meisel, “The Great American Pin-Up.”
A Wurlitzer “Bubbler” jukebox, Model 1015. An arched case with walnut veneer, stylized lighted “bubble” light panels, chrome central grill and accents, central button panel with 24 buttons, coin operated, clear glass panel reveling a 24 record stack and turntable mechanism. Applied Wurlitzer name specification plaque to rear, serial: 1013521. Restored by ‘Frank Hamwey / Wurlitzer Mechs / Orange Park, FL’. 60 1/4″ H x 33 1/2″ W x 24″. Circa 1946.
Shadowbox containing dinner jacket owned and worn by John Lennon in 1975 and an Al Hirschfield lithograph depicting the Beatles star. The bespoke black double breasted jacket, manufactured by Kaborn tailors, features Lennon’s initials stitched into the inside armpit. It was donated by Lennon to the Philadelphia radio station WFIL’s 1975 Helping Hand Charity Marathon and then acquired by Bryan Murphy (curator for the Hard Rock Cafe). Included in the shadowbox are 3 photographic prints of Lennon wearing the jacket, a flyer for the Helping Hand Marathon, and a 1975 newspaper article reporting on Lennon’s US deportation lawsuit, as well as informational text about the case and facsimile of Lennon’s Green Card. The Al Hirschfield (1903-2003) lithograph, “Peace and Liberty, 2001), partially inspired by Lennon’s deportation battle, depicts Lennon standing before the Statue of Liberty and is signed and numbered 192/300. Print – Sight: 21″H x 15″W. Overall frame – 40 1/2″H x 62 1/2″W.
Chinese Manchu Ministry of Rites brass seal, the square body surmounted with an oval tapering columnar handle, Chinese/Manchu inscriptions in script throughout, the seal face with cast script, side inscribed with date: “February of the fifteenth year of Qianlong”, (1750), No. “3526”. 4 1/2″ H x 2 1/4″ W x 2 1/4″ D, Imperial China, Mid-18th century (1750). Provenance: From the Phillip Taber Collection (Pittsburgh, PA) exhibited at Carnegie Melon, descent from consignor.
Katsushika Hokusai (Japan, 1760-1849) original vertical nagaoba woodblock print depicting the Chinese poet Li Bai AKA Li Po, Rihaku, etc. admiring a waterfall, with two figures supporting him. From the series Shika shashin kyo (True Mirror of Chinese and Japanese Poetry). This print illustrates Li Bai’s famous poem Gazing at the Waterfall at Mount Lu. Signed in the image, center left, and with Moriya Jihei (Kinshindo) publisher’s mark, lower left. Unframed. 20 7/16″ H x 8 15/16″ W.
Kawase Hasui (Japan, 1883-1957),“Starlit Night at Miyajima” (Hoshizukiyo, Miyajima), vertical oban color woodcut depicting the famous “floating” torii gate of the Itsukushima (commonly known as Miyajima) Shrine in Hiroshima Prefecture. From Hasui’s Souvenirs of Travel III series. Published by Shozaburo Watanabe with the publisher’s “C” seal, used 1929-1942, lower-right margin. With Hasui’s signature and seal in image, lower left. Dated “Showa sannen saku” (made in 1928), lower left margin. Unframed. Sheet: 15 1/4″ H x 10 1/4″ W.
Native American, Mississippian Culture clay effigy figure depicting a kneeling or seated female having a small head with flat broad face, long protruding nose, small puckered mouth and eyes, slanted eyebrows and pierced ear lobes. She is wearing a crescent headdress and has a sgraffito line from knee to knee indicating a skirt. M. G. Mock Muncie, Indiana retailer label to the base. Professionally appraised in 1973 by ASA Appraiser Lowell Collins. Appraisal is included with the lot. 6 1/2″ H. Middle Mississippi Valley (Indiana area), Circa 1200.
A Large Meissen potpourri porcelain lidded vase/urn. Shouldered baluster-form vase in white porcelain paste with gloss glazed ground, gilt highlights and scattered rocaille shapes, each cartouche panel decorated with courting couple and floral bouquet. Applied handles shaped as naturalistic floral vines with flowers, abundantly decorated with protruding floral garlands with scattered hidden fruit and putti figures. Reticulated white porcelain lid rocaille decorations, and gilt highlights, decorated with abundant protruding flowers as a finial top. Marked underglaze to base with blue Meissen cross-sword mark. Impressed in script to base: “2745”, and “35”. 25″ H x 14 1/2″ W x 11″ D.