Below is an early preview of the July 6th and 7th auction to take place at our Knoxville, Tennessee headquarters. In-person bidding plus phone, absentee, and internet bidding will be available. The full Catalog will be posted in early June.
Anna Catherine Wiley (Tennessee, 1879-1958) oil on canvas painting of a woman in a white dress, viewed from below, seated on a split rail fence with a green parasol held in her left hand, under a cloud-filled blue sky. The subject looks to the viewer’s left as her upswept hair blows in the wind and her parasol shades her face and the upper half of her body. The branches of a tree extend into the sky at the upper left while two additional trees flank a distant mountain range behind her. Signed and dated “Catherine Wiley 1911″ lower right. Housed in the original giltwood frame. Canvas: 33 5/8″ H x 25 5/8″ W. Frame: 40 1/2″ H x 32 3/4” W. Biography: Catherine Wiley is one of Tennessee’s most important nationally recognized artists. She was one of the early female students at the University of Tennessee, and was later credited with establishing formal art instruction at the school. Wiley studied at the Art Students League in New York under Frank DuMond, and spent summers learning from major American impressionists such as Robert Reid, Jonas Lie, and Martha Walter. She won numerous prizes including two Gold Medals at the Appalachian Exposition in 1910 and her paintings were exhibited at prominent American venues including the National Academy of Design in New York and the Pennsylvania Academy of Fine Arts. Her thriving career was ended by a mental collapse which left her institutionalized until her death.
Oil on canvas portrait of Dr. Hugh Kelso Walker (1802-1866) by Samuel Shaver (Tennessee, 1816-1878). The subject is depicted sitting in an armchair and attired in a black suit against a partially open window with a mountain and river landscape view visible to the right and a desk with books and documents visible to the left. Housed in a simple wood frame. Sight: 42″ H x 32 1/4″ W Framed: 43 1/4″ H x 33.1/4″ W. Biography of the sitter: Dr. Hugh Kelso Walker was born in 1802 in Rockbridge County, Virginia, and was the son of John Walker and Margaret Kelso. In 1830, he married Frances Grantham Rogers, daughter of Joseph and Mary Amis Rogers, early residents and founders of Rogersville, TN. More information in the coming weeks.
Oil on canvas portrait of Frances Grantham Rogers Walker (1795-1883/85 – Mrs. Hugh Kelso Walker) by Samuel Shaver. Depicted seated in a chair with a table to her left with a vase of flowers and a bowl of fruit and attired in a black dress with lace cap and neck covering and black brooch. Her left hand rests on an open book and a detailed mountainous river landscape is visible to her left. Housed in a simple wood frame. Sight: 42″ H x 32 1/4″ W Framed: 43 1/4″ H x 33.1/4″ W. Biography of the sitter: Frances Rogers Gaines Walker was born in Rogersville, TN in 1795. She was the daughter of Joseph and Mary Amis Rogers, early residents and founders of Rogersville. She was briefly married to James Taylor Gaines from 1816 – 1821 and married Hugh Kelso Walker in 1830 and they had four children together.
Oil on canvas laid on board portrait of Joseph Rogers (1764-1833) by William Harrison Scarborough (TN/SC, 1812-1871), circa 1831. Rogers is depicted seated at a table and gazing directly at the viewer and is attired in a brightly striped coat with his right hand resting on a document with a partial book and quill pen visible, and a bookshelf and a red drape in the background. Featured in the book ART & FURNITURE OF EAST TENNESSEE by Namuni Hale Young, on page 73. Housed in a deeply carved cove molded dark wood frame. Sight: 29 1/2″ H x 24 1/4″ W. Framed: 37 1/2″ H x 32 1/2″ W. History: Joseph Rogers was born in County Tyrone, Ireland in 1764. He immigrated to the United States in 1781 at the age if 17 and by 1784, lived in Hawkins County in the home of Thomas Amis. Rogers would subsequently marry Thomas Amis daughter, Mary, in 1786. Thomas Amis gave the married couple a tract of land in 1787, upon which a seat of justice was established for Hawkins County. In 1789, the town of Rogersville was chartered, and named after Joseph Rogers. Primarily a merchant and innkeeper, Rogers was a prominent member of the community. He died in 1833 and was buried in Rogersville (Source: ART & FURNITURE OF EAST TENNESSEE).
Oil on canvas laid on board portrait of Mary Amis Rogers (1768-1833) by William Harrison Scarborough (TN/SC, 1812-1871), circa 1831. Rogers is depicted seated at a table against a dark background and gazing slightly to the left at the viewer. She is attired in a dark dress and white head covering which is pinned beneath her chin and extends as a shawl over her dress and her left hand rests on a large book, likely a bible. Featured in the book ART & FURNITURE OF EAST TENNESSEE by Namuni Hale Young, on page 74. Housed in a deeply carved cove molded dark wood frame. Sight: 29 1/2″ H x 24 1/4″ W. Framed: 37 1/2″ H x 32 1/2″ W. History: Mary Amis Rogers was the daughter of Thomas Amis, a Revolutionary war Captain who was awarded 1000 acres of land in Hawkins County where he erected a stone home in 1780 or 1781. She was born in North Carolina in 1768 and married Joseph Rogers, who was an apprentice of her father, in 1786. Thomas Amis gave the married couple a tract of land in 1787, upon which a seat of justice was established for Hawkins County. In 1789, the town of Rogersville was chartered, and named after Joseph Rogers. Primarily a merchant and innkeeper, Rogers was a prominent member of the community. He died in 1833 and was buried in Rogersville (Source: ART & FURNITURE OF EAST TENNESSEE).
George Dury (American/Tennessee, 1817-1894) oil on canvas painting depicting Colonel Randal William McGavock, CSA, in uniform. Unsigned. The oval canvas is housed in the original period heavily carved giltwood and composition Louis XV frame with swept edges, rocaille carved corners and centers, and carved spandrels. Sight – 30″H x 25″W. Frame – 46 12″H x 41 1/2″W. Note: according to family history, this likeness was made circa 1860, and the visible damage occurred during the latter part of the Civil War when a Union soldier entered the McGavock family’s Nashville home and slashed the painting with a sword. Exhibited, Two Rivers Mansion, Nashville, c. 1990, and Carnton Plantation, Franklin, circa 2000. This painting was the cover image for the book, “Pen and Sword: The Life of Randal McGavock,” based on his diaries, published by the Tennessee Historical Commission in 1960.
Charles Krutch (Tennessee, 1849-1934) East Tennessee atmospheric oil on canvas laid on board painting depicting a Winter/Spring mountain landscape, likely the Great Smoky Mountain National Park, rendered in muted tones of gray, green, and brown. Housed in a textured wood frame with linen mat. Signed lower right in red “Krutch”. Sight: 11 3/4″ h x 17 1/2″ W. Framed: 16 3/4″ H x 22 3/4″ W.
William Aiken Walker (American/South Carolina, 1839-1921), “Cabin at Arden, North Carolina, 1885”, exhibited watercolor on paper painting depicting two Black figures in the yard of a small log cabin, with another figure visible just inside the doorway, and mountains in the background under a gray and white cloudy sky. Signed W.A. Walker lower left and dated 1885, with the artist’s name and title of work written on the beige mat. Framed under glass in a narrow oak frame. Label en verso states the work was exhibited at “The World of William Aiken Walker, ” the Louisiana State Museum, Dec. 1972-Jan. 1973. Inscribed with title, artist and past owner information, and retaining part of an old Gordon’s Art Shop, Charleston, framing label. Sight – 9 1/2″H x 6 1/2″W. Frame – 15″H x 11″W.
William Posey Silva (American, 1859-1948), “Runnymede Lake,” c. 1925, oil on board atmospheric landscape painting depicting a garden scene at Runnymede Plantation outside Charleston, South Carolina. The lake is surrounded by trees, including live oaks, and flowering bushes under a hazy sky, all reflected in the calm surface of the water. Signed “William P. Silva” lower right. Titled in pencil en verso, “Runnymede Lake,” with inscription, ” To my dear young friend Sally Pinckney Burton / A souvenir of happy days at Runnymede. From William Silva 1925.” Original period carved partial gilt wood frame with gray painted mat. Panel – 12″W x 10″H. Frame – 15 1/4″W x 13 1/4″H. Note: In 1925, William Posey Silva visited South Carolina, where he painted several scenes in and around Charleston. He spent a considerable amount of time painting and socializing at Runnymede Plantation. The recipient of this painting, Sally Pinckney Burton, was the wife of noted Charleston museum director, scholar and author, Milby Burton.
William Aiken Walker (American/South Carolina, 1838-1921) oil on academy board painting depicting the Charleston Battery. At center left, two figures walk along the promenade before a row of mansions overlooking Charleston Harbor, with a cloudy gray sky overhead. Partial signature lower right. Partial F.W. Devoe Artist Supply label en verso. Unframed. 13″W x 6 1/2″H. Biography: The son of a prominent cotton agent, Charleston-born William Aiken Walker exhibited his first painting at the South Carolina Institute Fair at the age of 12. He went to Europe to study art in 1860 but returned to America during the Civil War, in which he served as a Confederate private and, following an injury, as a cartographer. After the war, Walker became primarily known for his prolific Southern scenes, mostly depicting rural plantations and African Americans. His views of Charleston are far more rare.
Maria Howard Weeden (Alabama, 1847 – 1905) watercolor on paper portrait of an elderly African American man. Framed under glass in a molded woodgrain frame. Sight – 8″H x 6″W. Frame – 14 1/2″H x 12 1/2″W.
Beauford Delaney (American/Tennessee, 1901-1979) pastel on wove paper bust-length portrait of a goateed man with a pipe in his mouth. The man wears a brown suit with a bright blue tie and stares intensely at the viewer with furrowed brow. He sits or stands before a bookcase filled with colorful bindings that create a geometrically patterned background. Unsigned. Unframed. Sheet: 25″ H x 19 3/4″ W. Provenance: Estate of Beauford Delaney, Derek L. Spratley, Esquire, court-appointed administrator.
Beauford Delaney (American/Tennessee, 1901-1979) charcoal on wove paper bust-length portrait of black man – likely the artist’s brother, Joseph Delaney – depicted in three-quarters view, on Arches paper. The sitter wears horn-rimmed glasses and a jacket and gazes to the right of the viewer. Signed and dated “B. Delaney 63,” lower right. With full “J Perrigot Arches Special MBM (France)” watermark to left side of sheet. Unframed. Sheet: 25 13/16″ H x 10 5/8″ W. Provenance: Estate of Beauford Delaney, Derek L. Spratley, Esquire, court-appointed administrator.
Helen La France (American/Kentucky, 1919-2020), “Church Picnic,” oil on canvas painting depicting parishioners gathering outside a white frame church. Natural wood grain frame. Signed “Helen La France” lower left and dated 1998. Sight – 30″W x 22″H. Frame – 32″W x 24″H.
Helen LaFrance (Kentucky, 1919-2020), “Baking Pies,” oil on canvas painting depicting two women in a large kitchen preparing and baking peach pies. A large cast iron stove looms in the center of the room, and a table is set for six in the left foreground. Signed lower right and dated 1998. Narrow giltwood frame. Stretcher: 18″H x 24″W. Frame: 20″H x 26″W.
Clementine Reuben Hunter (American/Louisiana, 1886/87-1988) oil on canvasboard painting depicting an outdoor funeral. Signed with monogram lower right. Painted black frame. Sight – 18″H x 24″W. Frame – 19″H x 25″W. Note: We wish to thank Thomas Whitehead for confirming the authenticity of this painting.
Minnie Evans (North Carolina, 1892-1987) crayon and pencil on paper titled, “Three Hieratic Heads”. 7 1/2″ x 5″. Circa 1943. More information in the coming weeks….
William Aiken Walker (American/South Carolina, 1838-1921) watercolor on paper painting dated 1864, depicting four African American musicians (three men and one woman), seated on chairs and playing various instruments including tambourines, triangle, and guitar. The fourth holds drumsticks but lacks a drum, indicating the sketch may have been left unfinished. Dated and Signed “WAW fecit 1864” in pencil lower left corner, with inscription, possibly a title, lower margin, “Select Private Entertainment.” 6 1/2″W x 4 1/8″H. Note: this painting was found with a pencil note reading, “This is my first & only attempt in water colours – I should have had the pleasure of sending you a better piece but unfortunately my teacher Col. Ed White removed to NY and I am left to struggle on in a rudderless patience trying way /with a deep sigh I say Excelsior”. The painting and note were discovered in a re-used envelope originally addressed to E. Milby Burton of the Charleston Museum from John D. Lane of Clemson S.C. (with sender and addressee names scratched out), inscribed in pencil, “Colored Sketch – by W.A. Walker” with the name “Sally A. Burton” written above.
Jean Virginia M. Hogan (Connecticut, 1909-before 1975) exhibited oil on Masonite Regionalist painting of an African American man asleep on the grass. A hat and a partially eaten apple lie on the ground at left. The man’s shoe and pant leg have holes in them and his head rests on a jacket or blanket. Beneath the figure and at his feet are newsprint publications: one is William Armstrong Jockeys Scratches-a popular publication that listed the horses withdrawn from a day’s horse races, along with betting odds and statistics-and another is a program or advertisement for the Ringling Brothers and Barnum and Bailey Circus. Signed “Hogan,” upper right, and additionally signed “Jean [Hoga]n” faintly en verso. With brass plaque to back of frame that reads “Springfield Art League Exhibition – 1942 / Springfield, Massachusetts / First Prize – Oil Painting.” Housed in an Art Deco gilt wood frame. Board: 22″ H x 27″ W. Frame: 31 1/2″ H x 36 1/2″ W.
Emil Eugen Holzhauer (Georgia/Florida, 1887-1986) oil on masonite neighborhood street scene in Macon, Georgia, depicting a row of tidy houses on the left side of a tree-lined neighborhood street with figures congregated on a porch. Two figures converse by a sidewalk gate and children seated on the street corner watch other children at play. A large brick structure is visible in the background. Signed lower left “Holzhauer,” signature partially obscured. Additionally inscribed en verso in red MACON and HOLZHAUER and in black MACON, GA. Housed in a green-painted wood frame, likely the original. Sight: 19 1/2″ H x 31 1/4″ W. Framed: 26 1/2″ H x 38 1/2″ W. Biographical note: (Adapted from AskArt): Holzhauer is known for avant-garde genre, landscape, and interior scenes, as well as teaching. Holzhauer immigrated to New York from Germany in 1906, where he studied art with Robert Henri and fellow students Edward Hopper, George Bellows, and Rockwell Kent. Influenced by the 1913 Armory Show and Henri’s teaching, Holzhauer adopted modernist elements of Expressionism, Fauvism, and Social Realism. He taught art at the Chicago Art Institute from 1921 to 1942 and at Wesleyan College in Macon, Georgia from 1942 to 1953. In 1953, he retired to Niceville, Florida where he taught until 1972.
David Davidovich Burliuk (New York/Russian Federation/Ukraine/China,1882-1967), “My Mother,” oil on panel painting depicting a woman with dark, pulled-back hair, wearing a blue dress, before a vividly colored background, all rendered in a thick impasto. Signed “Burliuk” lower right and dated 1908. Panel, 12 1/2″ H x 11 1/2″W, has been mounted to a burlap covered board enclosed in a giltwood frame, 24″H x 22 1/2″W. Note: the previous owner of this painting, Myron King, owned Nashville’s Lyzon Gallery and, as a personal friend of Burliuk’s, represented many of his paintings. According to King, this was a 1940s era copy by Burliuk of a portrait he painted of his mother, Ludmyla Mikhnevich, in 1908, which he was forced to leave behind in Russia.
Henri Hecht Maik (France, 1922-1993) oil on canvas painting entitled “La Nuit” and depicting a tiger illuminated by moonlight amidst an outcropping of vegetation beside a stream. A fish swims in the water and a bird perches on a nearby branch while a full moon hangs in the night sky at upper left, all rendered in shades of blue apart from the yellow eyes of the animals. Signed “MAIK 73,” lower left, and additionally signed “Maik” and numbered “1654” en verso. Titled and inscribed “WFCH” (Wally Findlay Chicago) and “#51476″ to stretcher. Housed in a painted, rusticated wood frame with beige textile liner, double gilt fillets, and brass name plate. Canvas: 8 3/4″ H x 6 1/4″ W. Frame: 16 1/2″ H x 14 1/4” W.
Guy Carleton Wiggins (New York/Connecticut, 1883-1962) oil on academy board American impressionist marine painting depicting three large sailboats grounded on a beach at left with the masts of numerous other ships visible behind them. Four figures accompanied by a small boat walk along the shore at right. Behind them a body of water in the middle ground reflects the cloudy sky and separates the figures from a distant green hillside. Signed “Guy C Wiggins” in brown paint, lower right, and titled in brown paint to verso “Clearing after a Shower.” Inscribed “AJ Bogdanove” and “Leonard Clayton” in pencil to back of frame along with Hayes Storage, New York sticker. Housed in a gilt wood Art Deco frame with foliate corners. Board: 12″ H x 16″ W. Frame: 19 3/8″ H x 23 3/8″ W.
Andrew Newell Wyeth (American, 1917-2009) ink on paper illustrated letter depicting Brinton’s Mill, a grist mill in Chester County, Pennsylvania, and adjacent buildings surrounded by leafless trees. Andrew and Betsy Wyeth purchased this property in 1958. The letter extends from recto to verso and reads: “BRINTON’S MILL along the Brandywine River built of field stone. When you come to Chadds Ford again I will [anxious] for you to see it. We are now in the process of restoring it back to its original state which will probably take several years to do. I do hope all your [family] are well and that your art center is coming along well. Again our warmest thanks to you both and our deepest wishes in the coming year to you. Andy.” With APF Manufacturing Inc. Framemakers and American Association of Custom Frame Makers, Inc. New York stickers affixed to backing along with “11882 Steine” inscription. Housed under glass in an ebonized, carved wood frame with cream mat. Sheet: 7 1/4″ H x 10 5/16″ W. Frame: 11 1/8″ H x 14 3/8 W.
Gerrit Van Sinclair (American/Wisconsin, 1890-1955), “The Youth of the Town,” oil on board street scene painting depicting four teenagers in a convertible, joyriding down a street in a sedate neighborhood. Signed lower right and dated 1933. Titled en verso and numbered 257. Dark mahogany tone frame with gilt accents at the molded edges. Sight: 31″H x 30″W. Frame: 41″H x 49″W.
Ignac Konrad (France/Hungary, 1894 – 1969) oil on canvas portrait painting titled “Sun Briar,” depicting the thoroughbred racehorse in profile standing atop hay in a stall, against a mottled brown background with a green window upper right and watering bucket lower left. The name of the horse, “Sun Briar”, along with his lineage “by Sundridge” (father) and “Sweet Briar,” lower left. The artist’s signature is lower right. The placard on the lower frame reads, “Sun Briar, at 14 years. Painted by Konrad 1929.” Housed in a carved wood frame with corner embellishments with gilt and red painted surface. Sight: 18 1/4″ H x 23 1/4″ W. Framed: 23 1/2″ H x 28 1/4″ W. Note: Sun Briar was bred in France in 1915, son of Sundridge, the 1911 Champion Sire in Great Britain and Sweet Briar, the daughter of St. Frusquin, a leading sire in Great Britain and Ireland and a winner of multiple top-level races. Sun Briar was sold at the 1916 Saratoga Yearling Auction. He was named the 1917 American Champion Two-Year-Old Colt and the American Champion Older Male Horse of 1919. He retired from racing in 1919.
Charles Willson Peale (Maryland/Pennsylvania, 1741-1827) watercolor on ivory miniature oval portrait of David McMechan (Maryland, c. 1754-1810). The sitter is depicted with powdered grey hair, a light blue or gray coat, white embroidered waistcoat with pink flowers and green leaves, and a white cravat, set against a blue-grey background. Housed in the original rose gold metal case. Unsigned. Miniature measures: 1 15/16″ H x 1 1/4″ W. Note: This miniature is documented in Charles Sellers Coleman’s “Portraits and Miniatures by Charles Willson Peale.” The listing reads: “Son of an immigrant from north Ireland to Virginia, David McMechen settled in Baltimore at the outbreak of the Revolution, figured early in public affairs, becoming an assemblyman and state senator, and amassing a fortune by his law practice. He died July 15, 1810, at about the age of sixty-five. c. 1775. Min. Ivory, 1 11/16 x 1 1/8. Powdered gray hair. Ruddy complexion. Gray coat. White vest embroidered with pink flowers and green leaves. Background blue-gray.” A copy of the page listing and book cover is available to the winning bidder. Literature: Sellers, Charles Coleman. 1952. “Portraits and Miniatures by Charles Willson Peale.” Philadelphia: American Philosophical Society, p. 138, no. 530.
James Peale Sr. (Maryland/Pennsylvania, 1749-1831) watercolor on ivory portrait miniature of John Johnson Sr. (1770-1824), fourth Chancellor of Maryland. Johnson is depicted in a blue coat, white waistcoat, and white shirt with a white cravat, set against a light brown background. Incised signature and date lower right corner, “I P 1802.” Entwined locks of hair together with gilt thread and pearls en verso under an oval glass opening. Housed in an oval rose gold metal frame and retains the original red tooled leather storage case. Miniature sight measures: 2 5/8″ H x 2 1/8″ W.
American oval miniature bust portrait on ivory by Robert Field (active/lived in Britain, Nova Scotia, Pennsylvania / Canada, Jamaica, 1769 – 1819) of Henrietta Maria Hemsley Earle (1779 – 1821), wife of Thomas Chamberlain Earle and daughter of William Hemsley (a member of the Continental Congress and owner of Clover Fields Farm located in Queenstown, MD) and Sarah Williamson Hemsley. The sitter is depicted with curly powdered brown hair and blue eyes wearing a white dress and delicate, embroidered, white muslin fichu, against a blue sky and gray and cloud background. Signed lower left R. F. and dated 1799. Housed in likely the original rose gold metal case and retains the original red leather storage case. Miniature sight: 2 7/8″ H x 2 3/8″ W. Note: This miniature is documented and on pages 149 and150, Item LXVII in the book “Robert Field: Portrait Painter in Oils, Miniature and Water-Coulors and Engraver” by Harry Piers and published by Frederic Fairchild Sherman, New York, 1927.
Rembrandt van Rijn (Dutch, 1606-1669) etching and drypoint depicting the Virgin Mary and infant Christ in a domestic interior. Mary cradles Christ while she restrains a snake beneath her left foot. A cat on a riser plays with the hem of Mary’s dress while Joseph, shown through a central window, peers into the room. Signed and dated “Rembrandt f[ecit] 1654,” in plate, and inscribed “a” en verso. With foolscap with a seven-pointed collar watermark. New Hollstein’s first state (of four). Plate: 3 6/8″ H x 5 5/8″ W. Sheet: 3 7/8″ H x 5 13/16″ W. Bartsch, Hollstein (White and Boon) 63.
Rembrandt van Rijn (Dutch, 1606-1669) etching depicting a bust-length tronie of an old man with a long beard and bowed head, with eyes closed or downcast. An extremely scarce etching known in only one state. Signed in monogram and dated “RHL 1630” in plate, upper left. Inscribed “A” in brown ink to verso, likely an unidentified collector’s mark. Additionally inscribed “131” and “11-12,” in pencil to verso. Sheet: 4 1/8″ H x 3 9/16″ W. Plate: 3 11/16″ H x 3 1/16″ W. Ref: Bartsch 325, Hollstein (White and Boon) 325, Biorklund 30-I.
Edouard Leon Cortes (French, 1882-1969) oil on canvas Paris street scene entitled Place de la Madeleine and depicting a bustling street after a rain with pedestrians, horse-drawn carriages, a flower card, and shops or cafes at left. In the distance stands the Church of Sainte-Marie-Madeleine, or La Madeleine. Signed “EDOUARD CORTES,” lower right. With Findlay Galleries, Chicago sticker affixed to backing along with Wally Findlay Galleries, Chicago / Palm Beach tag. Additional small red and white sticker inscribed “6” plus “26653” inscription to backing. Back of frame inscribed “13056 – 8F Cortes.” Housed in a giltwood frame with textile liner and brass nameplate. Frame: 23″ H x 26″ W.
Edouard Leon Cortes (French, 1882-1969) oil on canvas Paris street scene entitled L’Opera and depicting a bustling street with pedestrians and horse-drawn carriages plus a cafe or shop at left. A flagpole topped with the French “tricolore” flag bisects the composition. In the distance stands the Palais Garnier, or Opera Garnier. Signed “EDOUARD CORTES.,” lower right. With Findlay Galleries, Chicago sticker affixed to backing. Additional small red and white sticker inscribed “3” plus “26654” inscription to backing. With Melvin Picture Frame Co., New York sticker affixed to backing. Housed in a giltwood frame with textile liner and brass nameplate. Frame: 23″ H x 26″ W.
Pablo Picasso (France, 1881-1973) Oiseau No. 91 ceramic earthenware plate, with glazed engobe bird decoration on an unglazed black, blue and green ground; marked and numbered N. 91 MADOURA 21/150 EDITION PICASSO to underside. 9 3/4″ diameter.
Friedel Dzubas (American, 1915-1994), “High Pass,” magna (acrylic) on canvas abstract expressionist painting. Signed, titled, and dated 1976 on reverse, along with M. Knoedler Gallery label. Narrow wood frame with gold metallic sheathing. 72″ x 72″ (182.9 cm x 182.9 cm). Frame: 73″ x 73″.
Giuseppe “Bepi” Santomaso (Italy, 1907-1990) oil on canvas Arte Informale gestural non-objective composition entitled “September in Segovia” and rendered in black, white, and blue tones with yellow, brown, and dark red embellishment, 1959-60. Signed and dated “Santomaso 59,” lower left. Additionally signed “SANTOMASO” and titled and dated “‘SETTEMBRE A SEGOVIA’ / 1960” en verso. With original Galleria Pogliani, Rome label affixed to stretcher along with illegibly inscribed sticker with red border and small sticker inscribed “43.” Housed in a thin ebonized and gilt wood frame. Canvas: 28 3/4″ H x 39 1/4″ W. Frame: 30 1/2″ H x 41″ W. Note: A transcript of oral provenance history is available to the winning bidder. Biographical note: Giuseppe Santomaso studied at the Accademia di Belle Arti in Venice from 1932 to 1934. In 1939 he traveled to Paris on the occasion of his first solo exhibition at the Galerie Rive Gauche. Santomaso participated in the Rome Quadriennale in 1943 and executed illustrations for Paul Eluard’s Grand Air in 1945. In Venice in 1946 he was a founding member of the antifascist artists’ organization Nuova Secessione Artistica Italiana-Fronte Nuovo delle Arti. From 1948 Santomaso participated often in the Venice Biennale, where he was awarded the Prize of the Municipality of Venice in 1948 and First Prize for Italian Painting in 1954. Santomaso taught at the Accademia di Belle Arti in Venice from 1957 to 1975. In 1957 he traveled to New York, on the occasion of his first exhibition in the United States at the Grace Borgenicht Gallery. His stay was particularly important to the development of his non-objective style, as he met the leading Abstract Expressionists including Willem de Kooning, Hans Hofmann, Franz Kline, Robert Motherwell, Barnett Newman, and Mark Rothko (Adapted from The Solomon R. Guggenheim Foundation).
Alberto Burri (Italy/France, 1915-1995) paper, acrylic, fabric, and combustion on canvas mixed media abstract Art Informal painting and relief, 1960. Signed and dated “Burri / 60” en verso and titled “Combustione.T.2.” and additionally dated “60” to stretcher. Also inscribed “ZZ” within a circle en verso and “HAUT” with arrow drawing plus “1151” to stretcher. With Douane Paris Chappelle and Dogana Internationale Italiana Chiasso E.T. stamps en verso and to stretcher. Housed in a thin wood frame. Canvas: 22 3/8″ H x 17 9/16″ W. Frame: 23 1/8″ H x 18 5/16″ W. Note: A transcript of oral provenance history is available to the winning bidder. Biographical note: Alberto Burri was born in a small town in the Umbria region of Italy. In 1940 he received a degree in medicine from the Universita degli Studi di Perugia. He served in World War II first as a frontline soldier and then as a physician. Following his unit’s 1943 capture Burri was sent to a prisoner-of-war camp in Hereford, Texas. Disaffected by war and by his internment, he took up painting and never practiced medicine again. Burri developed a new material realism that stood apart from postwar gestural abstraction and its emotive and existentialist content. He blurred the boundaries between painting and relief sculpture. In the mid-1950s he turned to mass-produced industrial materials in prefabricated colors and developed a new technique of painting with combustion to make torched wood veneer works, welded reliefs of cold-rolled steel, and compositions of melted and charred plastic. Burri has been the subject of numerous retrospectives in Europe and the United States (Adapted from The Solomon R. Guggenheim Foundation).
Ben Nicholson (England, 1894-1982) oil wash and graphite on paper mounted to painted Masonite board abstract geometric composition in tan, white, and red, entitled Red Emphasis, 1963. Signed, dated, titled, and numbered “NICHOLSON / aug 63 / (red emphasis) ph 544” en verso. With Andre Emmerich Gallery, New York, label plus gallery stamp, additional label, and sticker inscribed “33” en verso. Board: 16 3/4″ H x 18 1/2″ W. Frame: 18 1/4″ H x 19″ W. Note: A transcript of oral provenance history is available to the winning bidder. Biographical note: “A modernist painter and sculptor who adopted the constructivist style in the 1930s, Nicholson is known primarily for his geometric abstract reliefs. He studied at the Slade School of Art 1910-1911, and spent most of the years 1911-1918 abroad. He married the painter Winifred Dacre (nee Roberts) in 1920, and began experimenting with abstract painting in 1924. Also in that year he became a member of the Seven and Five Society…and was elected president in 1926. In 1928, under the influence of Alfred Wallis, he began to paint in a primitive style. He travelled to France in 1932 and 1933 in the company of the sculptor Barbara Hepworth. There he became acquainted with Arp, Miro, Mondrian, and Calder. In 1933 both Nicholson and Hepworth were invited to join the Abstraction-Creation Group in Paris. He and Hepworth were married soon after, and during this period Nicholson began to make his signature carved reliefs. In 1937 he co-edited the magazine ‘Circle’ with Naum Gabo. In 1939 he and Hepworth relocated from London to Cornwall. The second world war interrupted their association with the international modernist movement, but Nicholson continued to develop his work, and introduced color to his reliefs and revisted landscape themes. Through the 1950s Nicholson continued to exhibit and garner awards. In 1957 he married Felicitas Vogler. They moved to Ticino in 1958. The Tate Gallery mounted his second retrospective in 1969. He left Vogler and returned to England in 1971, where he continued to work until his death in 1982.” (Source: Getty Research Foundation Museum).
Antonio Saura (Spain, 1930-1998) Surrealist-, Abstract Expressionist-, and Art Informel-inspired self-portrait in black, gray, white, and brown rendered in thick, gestural brushstrokes, 1962. Signed and dated “Saura 62,” upper left. Unframed. Canvas: 23 3/4″ H x 28 3/4″ W. Biographical note: Antonio Saura was born in Huesca, Spain. Initially, he experimented with diverse mediums including paint, lithography, engraving, prose, and poetry. In 1954, Saura moved to Paris, where he met Benjamin Perret and other Surrealists. His work of this period used biomorphic forms and recalled paintings by Joan Miro. Settling in Madrid in 1957, he began to paint in a more severe style with subject matter confined to repeatable motifs, such as the female body and portraiture. Stylistically, his work drew from the expressive painters of the New York school as well as from Art Informel artists such as Jean Fautrier. In 1957 he founded the El Paso group with other artists based in Madrid. The continuous political upheaval of the 1960s left Saura with a conflicted relationship to his art. In 1965 and again in 1967, he destroyed hundreds of his paintings. In 1968, he abandoned oil painting altogether for ten years and worked in other mediums. Later in his career, Saura designed stage sets for ballets and performances and ventured into filmmaking. Retrospectives have been held at many institutions, including the Stedelijk Van Abbemuseum, Eindhoven, Netherlands (1963); Institute of Contemporary Arts, London (1966); and Museo de arte contemporáneo, Madrid (1982). In 2003, the Guggenheim Museum Bilbao presented Antonio Saura: Memory and Recollection. Saura received numerous honors and awards, including the Guggenheim International Award (1960) and the Grand Prix des Arts de la Ville de Paris (1995). He was awarded the Carnegie Prize for his contribution to Documenta, Kassel, West Germany (1964). (Adapted from The Solomon R. Guggenheim Foundation).
Alexander Calder (French/American, 1898-1976) black ink on Johannot wove paper Surrealist landscape painting depicting pyramids and circles illuminated by a crescent moon. Signed “Calder” and dated “53,” lower right. With Johannot et Cie Annonay watermark along left and right edges. Housed under glass in a distressed ebonized and gilt wood frame with cream fabric fillet. Sheet: 29 1/4″ H x 42 3/4″ W. Frame: 33″ H x 46″ W. Note: This work is registered in the archives of the Calder Foundation, New York, under application number A13222.
Elaine de Kooning (New York, 1919-1989) Abstract Expressionist watercolor painting on Fabriano paper depicting cliffs or a hillside covered in foliage rendered in shades of green and set beneath a blue sky. Likely created during the artist’s trip to Italy in 1981. Signed “E de K” and dated “10/6/81” in pen, lower right. With Fabriano blindstamp, upper right. Additionally signed “Elaine de Kooning” and inscribed “P.O. Box 1437 / East Hampton / N.Y. 11937″ in pen to back of frame. Floated under glass in a wood frame with cream mat. Sheet: 18 13/16″ H x 13 5/16″ W. Frame: 26 1/16″ H x 20 7/8” W. More details in the coming weeks…
Richard Peter Stankiewicz (active/lived Massachusetts, 1922 – 1983) “junk art” metal assemblage consisting of found patinated parts. Signed and dated along the right edge RPS, 1962-3. 15 1/2″ H x 15 3/8″ W x 9.8″ D. Provenance: Acquired from Hunter Gallery, Chattanooga, TN, 1965. Provenance: Deaccessioned from a Tennessee Institution. Artist Biography: Sculptor Richard Stankiewicz, was most closely associated with the Assemblage movement. He served in the U.S. Navy from 1941 until 1947. Beginning in 1948 he studied with Hans Hofmann at the Hoffman School in New York City, and with Fernand Leger and Ossip Zadkine in Paris from 1950–51. After he returned to the United States, he began to create assembled sculptures using scrap metal and discarded mechanical and household equipment. Stankiewicz was also an art educator and held positions at the State University, New York, Albany, 1967 and at Amherst College from 1970-71 (Adapted from AskArt).
Herman Miller Eames chair and otttoman. Chocolate brown leather. Chair – 31 1/2″H x 33″ W x 29″D. Ottoman – 18 1/2″H x 26″W x 21″D. More information in the coming weeks.
John Alexander (American/Texas, b. 1945), “Deep Red,” modernist oil on canvas titled “Deep Red”. Depicts water lilies among a red pool of water. 34″ x 38″.
Ladies 18K yellow gold choker necklace with 18K yellow gold and porcelain pendant featuring an oval plaque with painted classical female dancing figure, surrounded by thirty (30) rose cut diamonds approximately 0.60 carats, Clarity-I1, Color-J and set into an 18K yellow gold frame. The necklace and pendant XRF test 18K gold. The necklace is 13″ L. with a drop chain to the pendant which is 2 1/4 x 1 1/4″ in size. The gross weight of the necklace and pendant is 54.21 grams. 19th century.
Ladies 18K yellow gold engagement ring featuring a round brilliant diamond approximately 1.55 carats, Clarity-VS2, Color-I, accented by thirty-two (32) baguettes and eight (8) round brilliant diamonds approximately 0.88 carats together, Clarity-SI1, Color-J. The ring is marked “18K 750 5” and XRF tests 18K gold. The ring is size 6 and has a gross weight of 10.75 grams.
Ladies 18K yellow gold articulated bracelet featuring a mine cut diamond approximately 0.61 carats, Clarity-VS1, Color-I, accented by a Euro cut diamond in the mouth approximately 0.28 carats, Clarity-VS2, Color-H, and two (2) mine cut diamonds approximately 0.11 carats together, Clarity-SI2, Color-Light Fancy Yellow. The bracelet is marked “18K” with a makers hallmark and XRF tests 18K gold. The bracelet is 8″ L. and has a gross weight of 33.74 grams.
Pair of 14K ladies’ yellow gold stud earrings featuring two (2) round brilliant diamonds, approximately 3.04 carats together, Clarity-VS2, Color-H. The earrings are marked “14K” and XRF test 14K gold. The earrings have a gross weight of 2.13 grams.
Antique Ernesto Pierret Italian “Gloria Patri” 21K yellow gold brooch, Etruscan Revival style. Featuring nine (9) natural rectangular brilliant-cut sapphires in the shape of a cross. The brooch is signed “Pierret” on the reverse and “AEI KAI NYN KAI” on the obverse meaning “As it was in the beginning, is now, and ever shall be”. The brooch XRF tests 21K gold and measures 1 3/4″ in size. 18.52 total gross grams. Circa 1860.
Men’s Rolex Oyster Perpetual Datejust stainless steel watch, silver face with baton hour markers, self-winding movement, calendar date aperture at three, acrylic bubble crystal, 35mm stainless bezel, Model # 16030, Serial Number 7251360, bracelet interior length approx. 8″ L. Presentation inscription to the back of the case.
Men’s Rolex Datejust Oyster quartz two tone wrist watch, Model 17013, S/N 5442731, 36mm stainless steel and 18K yellow gold fluted bezel, quartz movement, champagne dial with index hour markers, stainless steel, and 14K yellow gold bracelet with folding oyster clasp. 7 1/2″ wrist size.
Piaget Altiplano Rose Gold Wristwatch w/ Diamonds, Ref: G0A39107. Circular white dial with gold baton hour indexes, sub-seconds dial at the 10 o’clock, signed Piaget, gilt baton hands. Cal: 450P, 18 jewel manual wind and set movement. Circular 18k rose gold polish case, straight lugs, diamond bezel inset with 72 brilliant-cut diamonds, signed to back Piaget / Mecanique / Swiss Made / P10651 / 1211789, triple hallmark. Taupe skin strap with Piaget gold ‘Ardillon’ buckle, signed and hallmarked. 34mm x 38mm x 6.5mm. 42.1 grams gross. With stock box, insurance certificate and service invoice from Piaget dated Nov. 25th & 29th 2022.
Twelve (12) A.G. Schultz & Co. sterling silver repousse goblets decorated in high relief with roses on a stippled ground. Each with unengraved cartouches. A.G. Schultz & Co. hallmarks impressed to base along with “MAIER & BERKELE” and “STERLING.” Each measures 6 11/16″ H. 80.25 total troy ounces. First half of twentieth century.
Six (6) piece Gorham Maintenon pattern sterling silver tea service with repousse and chased floral and panel design. Includes tray, coffee and tea pots, creamer, sugar, and hot water kettle on stand. All stamped with maker’s mark, Sterling, Maintenon, and date mark for 1926. Each monogrammed W to central cartouche; this set descended from the Westinghouse family. Service pieces range from 6 1/2″ H to 12″ H. Tray: 19″ H x 29″ W. 308.50 total weighable troy ounces.
84 pcs George Jensen Silver Flatware in the Acorn Pattern designed by Johan Rohde, service for 12. Includes 12 hollow handle knives, 12 dinner forks (7 7/8″), 12 salad forks, 12 place/dessert spoons, 12 teaspoons, 12 round bowl cream soup spoons (6 3/8″), and 12 hollow handle butter spreaders.
Scarce Charleston, South Carolina coin silver ladle or brandy warmer, c. 1800, with ebonized wood or horn handle, stamped REEVES in rectangle for Enos Reeves, working Charleston c. 1784-1807. Later inscription to one side: “Francesca from A.F.R. 1905.” Approx. 6 3/4″L, bowl 2 1/2″ diameter.
Rare American coin silver candlestick, circa 1847, stamped for South Carolina retailer Gregg, Hayden & Co (H. Sidney and Nathaniel Hayden and William Gregg, working Charleston, SC circa 1846-1852), with pseudohallmark for maker Gale and Hughes of New York, date mark 1847. Circular, hollow form with engraved trefoil design at upper rim, knopped stem over a domed foot with engraved foliate scroll decoration. 4 3/8″ diameter, 4 5/8″ H, 5.47 troy ounces.
Victor David Brenner (Lithuanian/American, 1871-1924) bronze sculpture depicting a nude woman or nymph, seated on a rocky bank and looking down at a turtle, while holding the stem of a pond lily in her left hand. Signed “VD Brenner” and dated 1911, with inscription “Cast by Tiffany Studios NY” to side of base. Overall height – 16″. Diameter – 11″.
East Tennessee, Sullivan County, two-piece pie safe press. 85 1/2″ H x 16 3/8″ D x 45 3/8″ W. Second quarter of the 19th century. Descended through the Wofford Family from Sullivan County, TN. More information in the coming weeks.
Tennessee or Southern Kentucky Sheraton Sugar Chest in the original surface. Rectangular hinged top over a dovetailed case with divided compartments, inset into a base with single drawer and ring turned and spiral reeded legs ending in tapering spike feet. 39″H x 25″W x 18 1/2″D. Circa 1825.
Southwest Virginia, attributed to Hiram K. Starnes of Scott County, walnut corner cupboard, poplar secondary wood. One piece construction with the upper section having a flat molded cornice over two glazed doors with twelve panes, double medial molding, one central cockbeaded drawer with square nail construction and kite inlaid escutcheon flanked by tablets with diagonal fluted stiles; the lower section with two doors, each fitted with two tins having concentric diamond decoration with a cross to the center and circles to each corner, the whole resting on shaped bracket feet. 86″ H x 42 3/4″ W x 21″ D. Third quarter of the 19th century. Note: Oral history states that this piece was made by Hiram K. Starnes who lived in Scott County, Virginia. For very similar examples, refer to figure 48, page 53 of “Backcountry Makers: An Artisan History of Southwest Virginia and Northeast Tennessee” by Betsy K. White, and figure 49, page 59 of “Great Road Style: The Decorative Arts Legacy of Southwest Virginia and Northeast Tennesee” by Betsy White.
East Tennessee, Washington County, walnut pie safe, poplar secondary. Rectangular top with shaped backsplash over square nailed drawers, two with brass keyhole escutcheons, locks, turned wood knobs, paneled sides and back, and a canted base molding transitioning to four turned tapering feet. The cupboard doors have two punched tins decorated with concentric circles flanked by hearts and diamonds within a punched border with a horizontal wooden divider. Tins with older blue paint. 54 1/8″ H x 50 1/8″ W x 17 5/8″ D. Second half of the 19th century.
East Tennessee Sheraton style one-drawer table or stand. Square top over a dovetailed drawer with cherry figured veneered drawer front, flanked by applied rectangular stiles over a thin half-round molding transitioning to a shaped apron. Sides of table with shaped apron design. Ring turned legs transition into a painted circular turning that evolves into a square tapered leg and ends with a circular telescoping foot with a painted black turnip tip. Retains the original lock. 28 1/2″ H x 23 1/4″ W x 20 3/4″D. Second quarter of the 19th century.
Rare East Tennessee, Washington County, transitional earthenware to stoneware straight-walled pottery vessel by Yeager Pottery (working circa 1870- 1885), with dark red glaze (possible lead glaze) and slip floral and foliate designs (possibly cobalt), deep groove below the rim. Inscribed “Mrs. Mec Yeager” to the body within the floral designs. 4 7/8″ H x 3 3/4″ dia. Note: Yeager Pottey was believed to have operated in Limestone, TN sometime after 1872 on a farm owned by Josiah Joel Yeager (1814 – 1885) who had two sons, Bruce (1843 – 1933) and Issachar (1845 – 1916). A related piece with a similar inscription is discussed on page 282 and featured on page 283 in Volume I of the book “Tennessee Potteries, Pots, and Potters – 1790s to 1950” by Samuel D. Smith and Steven T. Rogers. The straight-walled jar in the book has an identical form and similar floral decoration and is inscribed “Mec”. It is believed that this stands for America Yeager, the wife of Josiah’s son Bruce whom the family called “Aunt Mec”.
Two (2) Piedmont, North Carolina, salt-glazed stoneware pottery jugs stamped J. JORDAN for Jesse J. Jordan (Moore County, 1827-1896). 1st item: Ovoid form jug with pulled handle and stamped J. JORDAN left of the base of the handle. 11” H. 2nd item: Slightly bell-shaped jug with a pulled handle stamped J. JORDAN on the upper shoulder to the left of the handle. 11 3/4” H. Circa 1880s.
Companion pair of Italian Romanesque carved pink marble recumbent lions, each depicted with an uplifted turned head and open mouth showing teeth, with prominent forelegs and paws and small animal to the center, the whole resting on an integral plinth base. 17 1/2″ H x 39″ L x 10″ W. 16th century or earlier.
Extremely scarce O. B. Buell cabinet card photograph of Crowfoot, Chief of Blackfoot Tribe, 1885, on a mount printed “Compliments of Prof. Buell.” Overall – 8″ x 5″. One of only two examples of this image are known to have been offered for sale at auction in the last 15 years; the other, a cabinet card from the John Painter collection, sold at Cowan’s in 2015.
Crowfoot (c. 1830-1890) was a noted warrior who had taken part in 19 battles before the age of 20 but seldom went to war once he reached manhood. He became involved with raising horses, and his leadership in tribal matters resulted in him being made chief of his tribe in 1870. He eventually made peace with his Cree neighbors and welcomed the Northwest Mounted Police to Blackfoot Territory.
Professor Oliver or Otto B. Buell was born in Henry County, Illinois in 1844. He was known for his photographs of the Riel Rebellion and trial, and views of the Canadian landscape taken during the construction of the Canadian Pacific Railway in the early 1880s. He appears to have used both first names or at some point changed his first name from Otto to Oliver.
Prof. O.B. Buell, important archive of 23 cabinet cards documenting construction of the Canadian Pacific Railroad 1881-1885 and depicting the landscape and Native American people encountered along his journey. Many of the photographs are captioned en verso with subjects including The Three Sisters Mountains in Canmore, an Indian Mission at Calgary, a government Industrial School at Ft. Qu’Appelle, Hot Springs at Banff; Castle Mountain, Mount Stephen, Tunnel Mountain, and Mount Goodsit. There are several images of scenes in the Selkirk Mountain Range and the Rockies including Kananaskis Falls, Kicking Horse Valley, and the Bath Cascades. 14 of the images are mounted on burgundy covered cardstock with gilt lettering “Compliments of Prof. Buell”, the remaining images do not have Buell’s name on the mounts but do have the locations printed within the images.
Two (2) carved Native American totems. 1st item: Haida carved wood totem. Inscription written en verso in marker: “Josiah Carr Eggleston of Franklin, Tennessee, father of my mother, Elsie Eggleston Beasley, brought this back from one of his three trips to Alaska in the late 1890s – very early 1900s.” Also inscribed “Haida Indians / Wrangel (sic) Alaska.” 33″ H. 2nd item: Carved stone totem, probably argillite. 9 1/4″H.
A large bronze sculpture titled “Quite Thunder” by Ken Rowe (b. 1954/American, Arizona) depicting a large bison resting upon a grassy ground with a partially broken wagon wheel to one end. Signed on the lower back base edge “Copyright Rowe” and numbered 18/35. Mounted onto a shaped wood base with a brass placard with title and artist information. Bronze retains the original 2009 receipt from Mountain Trails Galleries in Sedona, Arizona. Bronze measures 11 1/4″ H (13″ w/ base) x 23 1/2″ W x 11″ D.
D. Scott Rogers (Texas/Utah, b. 1960) bronze sculpture titled “Pendleton Girls” and depicting a group of five professional cowgirls standing in front of a central saddle resting on a naturalistic base. Signed on the lower back base edge “Copyright D. S. Rogers” and numbered 21/30. Mounted onto a shaped walnut base displaying a brass placard with title and artist information. Bronze retains the original 1998 receipt from Mountain Trails Galleries in Sedona, Arizona. Bronze measures 18 1/2″ H (22″ w/ base) x 21 1/2″ W x 8″ D.
Lorenzo E. Ghiglieri (American, 1931-2020), “Wings of Freedom,” patinated bronze sculpture, c. 1990, depicting an American bald eagle landing on a branch. Inscribed year and signature to base, “Lorenzo Ghiglieri,” and editioned 25/75. Mounted atop an oak base, 2″ H. Overall: 34″ H x 29″ W x 15″ D.
Ronnie Hedge (American, 1954-2010), oil on canvas Southwest landscape painting of The Grand Canyon titled “Three Kings.” Signed lower right “R W Hedge,” with copyright symbol. Titled and dated to stretcher “Three Kings, Grand Canyon, 18-24-04-4.” Housed in a gilt wood frame with molded corners and gilt liner. Sight: 18″ H x 24″ W. Framed: 27 5/8″ H x 33 5/8″ W. Note: The original purchase receipt from Mountain Trails Galleries, Sedona, AZ is available to the winning bidder.
Winchester Model 1894 lever action rifle, engraved and inlaid with 18k gold by Angelo Bee. Chambered in .30 WCF caliber, with a 26 inch octagonal barrel, blue finish; Sheard gold bead front sight, semi-buckhorn rear sight. Serial no. 517924, which corresponds to the year 1910. Once the property of renowned Winchester collectors Peter and Patty Murray, this rifle has undergone substantial upgrading by engraver Angelo Bee, and finely detailed foliate scroll engraving can be found on most metal surfaces. Stock is of Circassian walnut finely checkered and carved with oak leaf and acorn carved patterns (reportedly by Angelo’s wife Maria). The right side of the receiver has an engraved vignette featuring a raised gold moose in a forest scene. The left side of the receiver is engraved with a vignette of a raised gold grizzly bear and two dogs, against a background of mountains and forest; it is signed “A. BEE” with Angelo’s bee logo alongside. Matching engraving can be found on the muzzle, top of the bolt, hammer, top tang, magazine band, lever, floorplate, forend cap and butt-plate, as well as multiple screw heads. Also in gold are the “Winchester” name on the tang, the Winchester proof marks, and the serial number. Gold lines outline the hammer, action, upper tang, both scenes, and both ends of the barrel.
Cased Civil War era Colt Model 1849 London Pocket Percussion Revolver, .31 caliber, serial number 5833, all visible serial numbers matching on frame, trigger guard, back strap, cylinder arbor, cylinder, barrel assembly, loading lever, and wedge. British crown over “V” and “P” proofs present on barrel assembly. Top of barrel marked “Address Col. Colt / London”, left side of frame with “COLT’S/PATENT”, cylinder marked “Colt’s Patent No. 5833″ with engraved stage coach hold-up scene on cylinder. Checkered hammer, walnut grip, iron trigger guard and back-strap, 5” octagonal barrel. Housed in a wooden case with blue velvet lined interior and original paper instruction label inside lid; included is tin of caps marked “Eley London”. Barrel length: 5″. Overall length: 9 1/2″. Serial number corresponds to year 1855.
Scarce 1805 silk broadside printing of President Thomas Jefferson’s second Inaugural Speech, published by True and Parks, Boston. In the address, delivered March 4, 1805 in Washington, Jefferson reviews the successes of his first term in office, defends taxes that have been levied and the recent Louisiana Purchase, complains about “the artillery of the press,” and waxes about the American “experiment”. Framed under old glass in an early walnut frame with gilt sight edge. Sight: 18 1/2″H x 11 1/2″W. Frame: 21 1/4″ H x 14 1/8″W. Note: True and Parks first printed Thomas Jefferson’s inaugural speech in their Boston newpaper, The Democrat, on March 16, 1805. They then offered a special souvenir broadside version on white satin silk to subscribers. It is not known how many were originally printed, but only a handful are known to survive today. Examples may be found in the collections of the Massachusetts Historical Society, the Newberry Library, and the University of Virginia. (Ref. E. Cunningham, The Inaugural Addresses of Thomas Jefferson, 1801 and 1805, p. 90).
John Overton of Tennessee (1766-1833), two 1803 letters, signed, documenting the beginning of his negotiations with North Carolina over land issues including settlements and land grants or titles in the newly formed state of Tennessee (once part of North Carolina). The letters are bound together and each measures 9 1/2″ x 7 14″. The first document (1 sheet, front and back, signed by Overton and dated Nov. 26, 1803) concerns Overton’s appointment as Agent for the state of Tennessee. The second is a 7-sheet (13 pages, front and back) letter signed by Overton and dated Dec. 3, 1803, asking the North Carolina legislature to “mak(e) good on claims on land in Tennessee which originated under the laws of North Carolina” and arguing eloquently that NC should allow Tennessee “to issue grants upon imperfect claims within the limits of her state” rather than forcing the settlers of Tennessee to deal with North Carolina. He writes: “The Agent cannot dismiss this important subject to the interest of his country, without again observing that the expense, lots of time, and trouble, attendant on traveling from Tennessee over the mountains the distance of from four to six hundred miles are grievances felt by all descriptions of people in that state; and from which they, earnestly entreat their mother country to assist them in being relieved.”
“It is the first duty of a state to study the disposition and habits of its people,” Overton writes on page 7. “Tennessee therefore being an infant state, fondly attached to her agricultural interests, by having a large quantity of waste and uncultivated lands, for the improvement of which she wishes to acquire citizens, it were natural to conclude, that she desires to take every step consistent with justice, for the security of the landed interests of the country. Upon this point, emigration, the settlement of her wilderness lands, and respectability of the state, essentially depends.”
An 1861 Broadside issued and read by Brigadier General Ulysses S. Grant to the citizens of Paducah, Kentucky. Reading in part “I have come among you, not as an enemy, but as your friend and fellow-citizen, not to injure or annoy you, but to respect the rights, and to defend and enforce the rights of all loyal citizens”. Housed between two plexiglass sheets. 11 3/4″ H x 8 7/8″ W. Note: The state of Kentucky declared itself neutral at the outbreak of the Civil War. When Confederate forces under General Polk occupied Columbus, Kentucky, General Grant made a counter-movement to occupy Paducah, Kentucky. He was stationed in Cairo, Illinois on the Ohio River about 45 miles away. Paducah, located on the Ohio River at the mouth of the Tennessee River, became a vital waterway for moving supplies for the Union for the remainder of the war. Grant and the Union troops occupied Paducah without firing a shot.
1861 $100, First Issue, Confederate States of America currency note, Montgomery. Serial #740; Plate #A; Printer: NBNC; signed by hand by Alex B. Clitherall, Register, and E.C. Elmore, Treasurer. Handwritten on the back, Issued on July 1st, 1861. PCGS Graded 30 – Very Fine.
AMERICAN ORNITHOLOGY; OR, THE NATURAL HISTORY OF THE BIRDS OF THE UNITED STATES. Plates Engraved and Colored from Original Drawings Taken from Nature. Philadelphia: Porter & Coates, 1871. Atlas folio 14 1/2″ x 17 1/2″. Three quarter leather and marbled paper boards, gilt page edges; bookplate of Charles Cotesworth Pinckney on front endpaper Bonaparte volume. Commonly known as the “Philadelphia Edition”, these Atlases were printed in 1871, to accompany three octavo volumes of text with Wilson’s detailed anatomical descriptions of each bird (not included). Originally published in 9 volumes between 1808-1815, Wilson’s American Ornithology saw several editions published throughout the 19th Century, but not until this two volume 1871 set were the engravings published in folio size. Volume 1 contains 76 large hand-colored folio engravings made from original copper plates, engraved by Alexander Lawson, Murray, Warnicke, and Tanner after Wilson’s drawings, and colored by Alexander Rider. The Bonaparte volume contains 27 plates also engraved by Lawson after drawings by Titian R. Peale, Rider, as well as John James Audubon, who drew the Great Crow Blackbird on Plate 4.
THE BIRDS OF AMERICA, FROM DRAWINGS MADE IN THE UNITED STATES AND THEIR TERRITORIES. New York & Philadelphia: J. J. Audubon & J. B. Chevalier (Printed by E. G. Dorsey), 1840 – 1844. Royal Octavo Edition. Vols. 1-5. Bookplates of John Julius Pringle attached inside front covers; contemporary dark brown diced calf leather covers with gilt borders, raised bands to spine with gilt panels and labels; all edges gilt; marbled endpapers, silk ribbons. The first Octavo edition, and the only one in which the prints were done under the direct supervision of Audubon himself. Volumes measure 10 1/2″ x 7 1/4″; Plates 10 1/4″ x 6 1/2″. Items 6 and 7: AUDUBON AND HIS JOURNALS. WITH ZOOLOGICAL AND OTHER NOTES BY ELLIOTT COUES. by Maria R. Audubon, London: John C. Nimmo, 1898. Two octavo volumes, 532, 554pp, 1st UK edition, after Charles Scribner’s 1897 US edition. Note: John Julius Pringle, Sr. (1753 – 1843), a notable figure in South Carolina’s history, was a Charleston lawyer; from 1792 to 1808, Pringle served as attorney-general of South Carolina.
John Emms (England, 1843-1912) large oil on canvas fox hunting scene with four excited foxhounds running through the foreground and several others, along with a horse and rider, visible in the distance. Signed “Jno Emms,” lower right. Late 19th or early 20th century. Housed in a foliated gilt wood frame. Canvas: 37 1/2″ H x 54 1/4″ W. Frame: 48″ W x 64 1/2″ H.
Marc Chagall (French/Russian, 1887-1985) lithograph in colors entitled Pastoral, 1977. Signed in pencil, lower right, and editioned 30/50, lower left. Inscribed “No 906 – Pastorale. 1977″ in pencil to verso. Printed on Arches paper with watermark, lower left. Ref: Mourlot 906. Housed under plexiglass in a modern giltwood frame with foliate corners, white textile mat, and gilt reveal. Sheet: 20 1/4″ H x 28 1/4″ W. Frame: 29 1/2″ H x 36 1/2” W.
March Avery Cavanaugh (New York, b. 1932) oil on canvas modernist New York cityscape painting depicting a bird’s-eye view of snowy Central Park in winter with the Manhattan skyline rendered in shades of blue and purple in the distance, 1996. Signed and dated “MARCH AVERY ’96” lower right. Inscribed “‘View from the Museum of Natural History – Winter’ / (‘Central Park – Winter’) / by March Avery 34 x 46 1996″ to back of stretcher. Housed in a black and silvered modernist frame. Canvas: 34″ H x 46″ W. Frame: 41 3/4″ H x 53 1/2” W.
Ernest Fiene (New York/Germany, 1894 – 1965) oil on canvas summer landscape painting titled “The Picnic”. Depicting figures seated at a picnic table beneath large mature trees with another figure standing to the left. A white frame house, road, and trees are visible left background. Signed in red lower right “E. Fiene”. Additionally signed and titled upper strecher en verso. Housed in a molded gilt wood frame with black accents and linen liner. Sight:17 3/8″ H x 21 5/8″ W. Framed: 24 3/4″ H x 28 3/4″ W.
Gregory D. Ridley (American/Tennessee, 1925-2004) exhibited white marble sculpture titled “Mother & Son”, depicting a mother tightly embracing her son. Partial exhibition label on the base with the artist’s signature together and sculpture title (likely from the Centennial Arts Center in Nashville, circa 1970s/80s). 20″ H x 9″ W x 6″ D. 20th century.
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.
Antique Tabriz Persian medallion carpet, wool on cotton construction. Central blue medallion on a larger ivory field of stylized floral and palmette sprays within three primary borders. Woven in red, blue, salmon, cream, green, and gold colors. 6′ 7″ x 4′ 4″; Late 19th century.
Antique Chi-Chi Caucasian rug with Kufic border, wool on wool construction. Central blue field with stylized flowers and medallions with seven primary borders including a Trefoil outer border. Woven in blue, red, salmon, gold, purple, and cream colors. 75″ x 48″. Late 19th century.
Four (4) blown, cut and engraved glass tumblers, 18th century. Each decorated with swags and stars and an oval cartouche with the initials JM for Jacob Motte (1700-1770), Charleston, South Carolina city treasurer and wealthy land owner, or his son Jacob Motte II (1730-1781). 2 1/2″ H, 2 3/8″ diam. at top. Possibly Irish, exported for use in America, c. 1760.
Portfolio entitled Ten Photographers from the edition of 75 published by and to benefit the Women’s Campaign Fund, 1978. The complete portfolio with 10 silver gelatin prints signed and numbered “6/75” in ink, lower margins. Includes Eve Arnold’s “London,” 1962; Jill Freedman’s “Circus Days,” 1971; Ernst Haas’s “USA,” 1960; Andre Kertesz’s “New York City,” 1977; Duane Michals’s “McKeesport PA.,” 1977; Inge Morath’s “Ireland,” 1954; Barbara Morgan’s “Martha Graham,” 1935; Eva Rubinstein’s “Miss Anne Amis, Tenn.,” 1972; Neal Slavin’s “Portugal,” 1968; and James VanDerZee’s “New York City,” 1930. All printed in 1978. With colophon editioned “6” in ink. Housed in a tan fabric clamshell portfolio box with title to front cover. Also includes original wooden shipping box addressed to Jane Eskind, Nashville, TN, with edition number noted. Sheets: 11″ x 14″. Images: Between 5″ x 6 3/4″ and 7 1/2″ x 11″. Portfolio box: 21 1/2″ H x 17 3/16″ W x 1 13/16″ D. Wooden box: 23 6/8″ H x 19″ W x 2 6/8″ D.
French Louis XVI style marble top table, rectangular form with rounded corners, the skirt featuring repeating carved rosette medallions and acanthus motifs, over tapering reeded legs. Surmounted by a rouge marble top with shaped and cut corners. 40 1/8″ H x 49 3/4″ W x 22 1/4″ D. Late 19th/Early 20th century.
Pair of tall covered Chinese Rose Medallion porcelain urns or vases. Each with polychrome enamel vignettes of court and landscape scenes, with birds, butterflies, and flowers, gilt highlights throughout, foo dog mask handles, and figural foo dog or temple dog finials to the domed lids. 15 1/2″ H. 19th century.
Large Meiji Satsuma Vase or Urn with domed cover and round finial, squared side handles, and bulbous body decorated with hand painted vignettes of the 7 immortals to one panel and scholars to the other, on a gilt-accented gosu blue ground. Signed Hodada to underside with Shimazu mon. 16″ H x 13″ diameter. Japanese, late 19th century.
Francis Watkins (1723 -1791) brass reflecting telescope with a 23 1/2” primary tube, 4 1/2″ eyepiece extension tube, and 9″ sighting tube with crosshairs; sliding screw rod focusing apparatus attaches to a polished speculum secondary mirror; adjusts with brass vertical adjustment gear wheel and thumbscrews; raised on an octagonal baluster column supported by three folding legs. Inscribed “Fra. Watkins Charing Cross London.” Overall 28″ length, 21 1/2″ height (measured while horizontal). Historical Note: Francis Watkins’ telescopes are associated with 18th c. British explorer James Cook, who in 1769 took an 18″ Watkins telescope on his voyage to the Pacific to make astronomical observations including the Transit of Venus from Tahiti. Watkins apprenticed as an optician, eventually opening his own business in 1747 in London at 5 Charing Cross. Under the sign “Isaac Newton’s Head” he produced various instruments with ground glass lenses. According to a 1763 advertisement, these included “Reading Glasses, [a] Great Variety of single, double and Solar Microscopes, Reflecting and Refracting Telescopes, of all Lengths and Sizes; Opera Glasses, Concave and Convex Mirrors of all Sizes, Book and Box Cameras of all Dimensions, all Sorts of Barometers and Thermometers, also Hydrometers, Hydrostatic Balances, air Pumps, and all other Optical and Philosophical Instruments.”