Summer 2024 Two-Day Auction Highlights

Friedel Dzubas (American, 1915-1994), “High Pass,” magna (acrylic) on canvas abstract expressionist color field 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″. Exhibited, M. Knoedler & Co., NY, April 9-28, 1977 (no. 3; source: the Dzubas Estate Archives).

Biography: German-born artist Friedel Dzubas studied under Paul Klee in Dusseldorf and at the Prussian Academy of Fine Art before fleeing to England, and ultimately America, in 1939. Once in the U.S., he became the roommate of art critic Clement Greenberg, through whom he became associated with Abstract Expressionists Willem de Kooning, Jackson Pollock, Adolph Gottlieb and Barnett Newman; he also shared a studio with Helen Frankenthaler.

In the 1960s Dzubas began experimenting with color field painting. He abandoned oil paint for Magna acrylic in 1965 when, as art historian Megan Bahr writes, he found he could achieve “with a brevity of gesture the brilliance and luminosity of oil paint applied in thin veils of color. He could thus effect the richness and variation of traditional glazed tones using a more expressive, immediate process.” The Museum of Fine Art, Houston, mounted a retrospective of Dzubas”s work in 1974, as did the Museum of Fine Art, Boston the following year. In 1983, Dzubas was honored with an exhibition at the Hirshhorn Museum and Sculpture Garden, Washington, D.C. (Sources: Dr. Patricia Lewy, “Friedel Dzubas,” Skira, 2017; Megan Bahr, The Ackland Museum of Art).

PROVENANCE: The Estate of Richard J. Eskind, Nashville.

CONDITION: Overall very good condition. Scattered light inclusion specks and grime to the lower right quadrant, along with a faint drip stain and a few very tiny paint splatters; no restoration visible under UV light. [See more photos →]

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. Exhibition History: Knoxville Museum of Art; A Gilded Age: Knoxville Artists, 1875-1925; September 15, 1995-January 14, 1996.

PRE-APPROVAL BY 5 PM ET THURSDAY JULY 4 IS REQUIRED TO BID ON THIS LOT. PLEASE CONTACT CASE AUCTIONS, INC. FOR DETAILS. (865) 558-3033 or BID@CASEAUCTIONS.COM.

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.

PROVENANCE: Living Estate of Dr. Jerry Waters and Collection of Dr. Carole Wahler.

CONDITION: Overall very good condition with stabilized craquelure throughout. Professionally conserved in the Fall of 1991 by Cumberland Art Conservation (conservation label en verso; report available to the winning bidder). One vertical area of inpainting to the central fold of dress plus a few slight, scattered areas to the right arm”s sleeve and to the sky, center left. [See more photos →]

Alberto Burri (Italy/France, 1915-1995) paper, acrylic, fabric, and combustion on canvas mixed media abstract Art Informel collage, 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 Internazionale 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: Photocopies of relevant pages from a 1980 institutional publication with provenance history are included in the image sequence.

PRE-APPROVAL BY 5 PM ET THURSDAY JULY 4 IS REQUIRED TO BID ON THIS LOT. PLEASE CONTACT CASE AUCTIONS, INC. FOR DETAILS. (865) 558-3033 or <a href="mailto:BID@CASEAUCTIONS.COM" target="_blank">BID@CASEAUCTIONS.COM</a> .

Literature: Illustrated in Cesare Brandi, BURRI (Rome, 1963), cat. no. 59. Reproduced sideways, and erroneously dated 1959.

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).

PROVENANCE: Deaccessioned by a Southern Institution to benefit the acquisitions fund; Acquired from Galerie de France, Paris, 1961.

CONDITION: Overall very good condition. Could benefit from cleaning by a professional conservator. [See more photos →]

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 and Gianni de Marco framing stamp 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: Photocopies of relevant pages from a 1980 institutional publication with provenance history are included in the image sequence.

PRE-APPROVAL BY 5 PM ET THURSDAY JULY 4 IS REQUIRED TO BID ON THIS LOT. PLEASE CONTACT CASE AUCTIONS, INC. FOR DETAILS. (865) 558-3033 or <a href="mailto:BID@CASEAUCTIONS.COM" target="_blank">BID@CASEAUCTIONS.COM</a> .

Exhibition history (according to 1980 institutional publication): Palais des Beaux Arts, Brussels, 1960; Stedelijk Museum, Amsterdam, 1960, no. 23.

Biographical note: Giuseppe Santomaso studied at the Accademia di Belle Arti in Venice from 1932 to 1934. His early paintings were influenced by French Modernism, and in 1939 he had his first solo exhibition at the Galerie Rive Gauche in Paris. Santomaso participated in the Rome Quadriennale in 1943 and executed illustrations for Paul Eluard''s Grand Air in 1945. In Venice in 1946 he became a founding member of the antifascist artists'' organization Nuova Secessione Artistica Italiana-Fronte Nuovo delle Arti. Beginning in 1948 and for several years after, Santomaso participated 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.

In 1957 he traveled to New York for his first exhibition in the United States at the Grace Borgenicht Gallery. While in the U.S. he met the leading Abstract Expressionists including Willem de Kooning, Hans Hofmann, Franz Kline, Robert Motherwell, Barnett Newman, and Mark Rothko, who had a lasting influence on the development of his non-objective style. Solo exhibitions of his work were held in 1979 by the Fondacio Joan Miro in Barcelona and the Staatsgalerie Moderner Kunst in Munich. Santomaso also taught at the Accademia di Belle Arti in Venice from 1957 to 1975 (Source: The Solomon R. Guggenheim Foundation).

PROVENANCE: Deaccessioned by a Southern institution to benefit the acquisitions fund; Acquired from Galleria Pogliani, Rome, 1961.

CONDITION: Overall very good condition. Minor buckling to lower left quadrant. Frame with abrasions and gilt loss, especially to corners. Could benefit from a cleaning by a professional conservator. [See more photos →]

Portrait of Rogersville, Tennessee founding father Joseph Rogers (1764-1833) by William Harrison Scarborough (TN/SC, 1812-1871), oil on canvas, circa 1831. Rogers is depicted late in life, seated at a table and gazing directly at the viewer. He is attired in a brightly striped coat, with his right hand resting on a document, with a partial book and quill pen, and a bookshelf and a red drape in the background. This painting is featured in the book ART & FURNITURE OF EAST TENNESSEE by Namuni Hale Young, page 73. Housed in a later 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. Note: This portrait and its pendant date from 1833, which makes them the earliest known W.H. Scarborough paintings. A photocopy of an original artist-signed, handwritten receipt associated with this painting and/or its pendant is included at the end of the photograph sequence. The receipt reads: "Received of Joseph Rogers fifty dollars / in full of all debts / July 23rd 1833 / W.H. Scarborough." History: Joseph Rogers was born in County Tyrone, Ireland in 1764. He immigrated to the United States in 1781 at the age of 17 and by 1784, was living in Hawkins County in the home of Thomas Amis. Rogers married Thomas Amis''s daughter, Mary, in 1786, and Mr. Amis gave the 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. Rogers was a prominent member of the community, working as a merchant, innkeeper, and justice of the peace. He died in 1833 and was buried in Rogersville. (Source: ART & FURNITURE OF EAST TENNESSEE)

PROVENANCE: By direct descent through the Rogers and Walker families. See other related lots from this historic family, also in this auction.

PROVENANCE:

CONDITION: Professionally conserved. Removed from the original stretchers, relined, and laid down on board. A copy of the conservator''s examination and recommended treatment report is available to the winning bidder. 6 1/4" x 1/2" horizontal repair band with inpainting across bridge of nose and left cheek and left shoulder. Minor vertical area of retouching to forehead, 4" L. Frame abrasions with retouching to edges, especially upper, lower, and right. Scattered, pinpoint retouches throughout, especially upper right quadrant. Pinpoint black inclusion to left of button. Faint stretcher marks to left, right, and upper edges. Refer to UV photos for additional reference. [See more photos →]

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. A file of the late owner''s documentation regarding the painting is available to the winning bidder.

PRE-APPROVAL IS REQUIRED TO BID ON THIS LOT. PLEASE CONTACT CASE AUCTIONS, INC. FOR DETAILS. (865) 558-3033 or <a href="mailto:BID@CASEAUCTIONS.COM" target="_blank">BID@CASEAUCTIONS.COM</a> .

PROVENANCE: The Estate of Sarah Gaunt (former studio assistant to Willem de Kooning); Sovereign American Arts Corporation, New York; Collection of Stuart C. Davidson, Washington D.C.; Collection of George Weisz, London; Sotheby & Co., London, Impressionist & Modern Paintings, Drawings Sale, Lot 125, April 6, 1966; Collection of Nicholas Guppy, London (acquired directly from the artist).

CONDITION: Sheet has been laid to Masonite board. A tear to the bottom right corner, in signature, has been repaired and "R" has been partially repainted. Three repaired tears to lower center of sheet, largest 5/8" L. Very faint 5" L and 3" L accretions to center left, between edge of sheet and pyramids. Two pinpoint indentations directly below moon. Note: A copy of a 1992 conservator''s condition report/treatment proposal from Christine Smith, Conservation of Art on Paper, Alexandria VA, is available on request. [See more photos →]

Portrait of Rogersville, Tennessee founding mother Mary Amis Rogers (1768-1833) by William Harrison Scarborough (TN/SC, 1812-1871), oil on canvas, circa 1831. Rogers is depicted late in life, 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, while her left hand rests on a large book, likely a Bible. This painting is featured in the book ART & FURNITURE OF EAST TENNESSEE by Namuni Hale Young, on page 74. Housed in a later 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. Note: This portrait and its pendant date from 1833, which makes them the earliest known W.H. Scarborough paintings. A photocopy of an original artist-signed, handwritten receipt associated with this painting and/or its pendant is included at the end of the photograph sequence. The receipt reads: "Received of Joseph Rogers fifty dollars / in full of all debts / July 23rd 1833 / W.H. Scarborough." 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. Mary was born in North Carolina in 1768 and married Joseph Rogers, an apprentice of her father, in 1786. Thomas Amis gave the 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. Joseph and Mary Rogers were prominent members of the community, where Joseph worked as a merchant, and justice of the peace; Mary assisted him in running the couple''s tavern/inn, and gave birth to the couple''s 14 children. She died in 1833, a month after the death of her husband. (Source: ART & FURNITURE OF EAST TENNESSEE.)

PROVENANCE: By direct descent through the Rogers and Walker families. See other related lots from this historic family, also in this auction.

CONDITION: Overall good condition. Professionally conserved. Removed from the original stretchers, relined, and laid down on board. Very fine overall craquelure. Scattered, pinpoint retouches throughout, especially to figure and book. 2 3/4" x 1/2" area of retouching to black fabric above hand plus 3" x 1 1/2" area of inpainting to craquelure, lower right, in body. Frame abrasions with retouching especially to lower right, largest area 2 3/4" x 1/4". Faint stretcher marks to left, right, and upper edges. Refer to UV photographs. [See more photos →]

George Dury (American/Tennessee, 1817-1894) oil on canvas painting depicting Colonel Randal William McGavock, CSA, in uniform, half-length, against a dark, indistinct background. Unsigned. The oval canvas is housed in a heavily carved antique 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: Randal McGavock (1826-1863) was one of the most colorful figures in Nashville history. A descendant of one of Nashville''s prominent founding Scotch Irish families, he attended Harvard Law School and traveled extensively in Europe as a young man (sending back regular articles for the Nashville Union Newspaper, which were eventually re-published under the title "A Tennesseean Abroad"). He settled back home in Nashville, where he opened a law practice, became active in politics, and enjoyed life as one of the city''s most eligible bachelors. In 1853 McGavock surprised his friends and family by eloping with Seraphine Deery – a union that produced considerable personal drama, but no children. In 1856, "Randy Mac," as he became known, was elected Mayor of Nashville at the age of 30, and he served as a delegate to the 1860 Democratic Convention. The Civil War cut short his promising political career. McGavock formed his own regiment made up largely of the Irish-American citizens who had helped elect him as mayor, paying for their fine grey and scarlet uniforms with his own money. His regiment, D Company, Tennessee Home Guards (State Militia), also known as the Rebel Sons of Erin, was sent to Forts Henry and Donelson and eventually designated as the Tenth Tennessee Infantry, Irish, Company H; McGavock was elected Lt. Colonel, second in command under Adolphus Heiman. McGavock was extremely popular with his men, paying for moonshine and fine food from his own pocket.

The Confederate defeat at the Battle of Fort Donelson resulted in McGavock being taken prisoner and sent to Camp Chase and then to an officer''s prison at Camp Warren outside Boston (where McGavock used the opportunity to have some clothes made by his old tailor from his Harvard days). Following his release, the 10th was reorganized and McGavock and his men were sent to Snyder''s Bluff, Chickasaw Bluff, then on to Port Hudson, Mississippi, and, in May of 1863, to the small town of Raymond, MS, to stop Grant''s advance on Vicksburg. While engaged with General Gregg and his 2,730 soldiers against General MacPherson and his army of 5,500, Col. McGavock led a daring advance and was fatally struck by a Union mini ball directly in the heart. After the War, McGavock''s remains were moved to Nashville''s Mt. Olivet Cemetery, where he was buried in a large public ceremony on St. Patrick''s Day, 1866.

This portrait has long been attributed to George Dury, who painted many members of the McGavock family, including Randal McGavock''s younger brother Hugh, who died at the age of 12. According to family history, the visible damage to this portrait occurred during the latter part of the Civil War when a Union soldier entered the McGavock family''s Union-occupied Nashville home and slashed the painting with a sword. Exhibited, Two Rivers Mansion, Nashville, c. 1990, and Carnton Plantation, Franklin, c. 2000. This painting was the cover image for the book, "Pen and Sword: The Life of Randal McGavock," based on McGavock''s extensive lifetime writings and diaries and published by the Tennessee Historical Commission in 1960. It is one of only two known oil portraits of McGavock. The other, picturing him at about age 21, is in the collection of the Nashville Public Library. A cameo brooch portrait of McGavock, which he commissioned from the Saulini Workshop in Rome during his Grand Tour of Europe circa 1851, was sold by Case in 2008 for $8,731.

PROVENANCE: By descent in the family of Randal McGavock.

CONDITION: 2" L separation of canvas from lining in the upper right hand quadrant, background and several other, less prominent separations at lower right edge and upper left corner. Scattered areas of craquelure, notably to the center button area of coat and to the lower left quadrant, background. Painting has a long repaired tear extending from the upper right edge across subject''s face to the middle of the center-left background, intersecting another tear extending from the center-left background down subject''s mid-chest. Tear repair is failing and causing canvas to pucker. Infill repair along tear and at subject''s right shoulder. 1" repaired tear in background, upper left quadrant. UV light inspection reveals some additional touchup paint to forehead and to background areas. Note: The portrait received a lead lining treatment, some restoration, and cleaning 75-100 years ago, prior to being inherited by the consignor, and has not been treated since. [See more photos →]

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.

Biographical note: "March Avery''s paintings follow the colorist tradition set forth by her father, Milton Avery, relying on a sophisticated palette of evocative colors to render the simplified child-like forms that characterize her scenes of life. Avery knew at an early age that she would be a painter. She never considered anything else. Trained by her famous father and surrounded by other artists who were her father''s friends, such as Mark Rothko, Adolf Gottlieb, Barnett Newman, Byron Brown, and Marsden Hartley, she developed her talent. For years she painted side-by-side with her father. She is, however, her own unique person with her own style. Her work has a matter-of-fact directness that is all her own." (Source: Art in Embassies, U.S. Department of State.)

CONDITION: Painting in excellent condition. Negligible black specks to sky, upper right, possibly inherent. Frame with peeling and losses to silver. [See more photos →]

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.

PROVENANCE: The Estate of Richard J. Eskind, Nashville, ex-Peggy Steine, Nashville.

CONDITION: Very good condition. Hinged to backing with tape applied 3/16" into sheet, along extreme upper edge and outside of image. Lower left and right corners with pinhole punctures. With even toning to sheet plus two original, vertical fold lines at center-left and center-right. Frame with minor abrasions and losses. [See more photos →]

Hans Wegner for A.P. Stolen "Papa Bear" lounge chair and foot stool, Denmark, 1950s, with rust colored upholstery and button tufted back. Chair rail is ink stamped. Chair – 39 1/2"H x 36"W x 30 1/2"D. Foot Stool – 16"H x 16"D x 27 1/2"W.

PROVENANCE: The Estate of Richard J. Eskind, Nashville. Acquired in the 1950s.

CONDITION: Both items are in very good condition. Upholstery is old, but possibly not original, with some light wear and light fading. One small (1/2") light stain to one side of seat cushion. Some wear and light scratching to one handrest. [See more photos →]

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.
PROVENANCE: The collection of John and Allison Beasley, Nashville, Tennessee.

CONDITION: 1st item: Inscriptions and later hanging device added verso. Some minor shrinkage and a couple of tiny paint splatters. 2nd item: Several vertical cracks to stone and a chip to lower left base. [See more photos →]

Helen LaFrance (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.

Artist biography: African American artist Helen LaFrance is best known for her "memory paintings," based on her 101 years of life in Graves County, Kentucky. Her parents, James Franklin Orr and Lillie May Ligon Orr, were tobacco farmers, and Helen spent most of her life no more than ten miles from her birthplace in Mayfield. Her mother taught her to draw and paint, helping her mix colors from wildflowers, berries, and laundry detergent, but she did not begin painting full time until her 40s, when she started selling her work at local art shows and fairs. Her subjects mostly focused on scenes of ordinary rural life, such as church picnics and river baptisms, although she occasionally portrayed dramatic events in the life of her community, such as tornadoes and floods, and African scenes inspired by her family''s ancestral heritage. LaFrance''s work (which also comprised quilts, wood carvings, and dolls) began attracting nationwide interest in the 1990s, and with a burgeoning market of collectors that included famous names such as Oprah Winfrey, Gayle King and Bryant Gumbel, she continued painting well into advanced age. In 2011 she received Kentucky''s Folk Art Heritage Award. Her work recently became the subject of a retrospective at the Speed Museum in Louisville, and is also in the permanent collections of the St. Louis Art Museum and the Owensboro KY Museum of Fine Art.
PROVENANCE: Private Middle Tennessee collection, acquired directly from the artist.

CONDITION: Excellent condition, no damage noted. [See more photos →]

John Alexander (American/Texas, b. 1945), "Deep Red," large modernist oil on canvas depiction of water lilies on a variegated red background, 1996. Signed, numbered, and titled en verso of canvas. Marlborough Art Gallery (New York City) label en verso top left stretcher. Housed in a simple stained and ebonized wood frame. Sight: 34 1/8" H x 38 1/8" W. Framed: 35 1/2" H x 39 1/2" W.

Artist''s biography: Born in Beaumont, Texas, Alexander remained in southeast Texas until entering graduate school at Southern Methodist University in Dallas in 1969. Upon completing an MFA in 1970, he moved to Houston, established a studio, and became a member of the art faculty of the University of Houston. In the late 1970s Alexander left Texas and moved to New York. The artist currently divides his time between New York City and Amagansett. His work is in the permanent collections of leading museums including the Corcoran Gallery of Art, Washington, DC; the Dayton Institute in Ohio, the Dallas Museum of Art; The Meadows Museum, Dallas; The McNay Museum, San Antonio; The Metropolitan Museum of Art, New York; The Museum of Fine Arts, Houston; The Nevada Museum of Art; The Ogden Museum of Southern Art, New Orleans; The Guild Hall Museum, East Hampton; The Smithsonian American Art Museum, Washington, DC; and The Museum of Contemporary Art, Los Angeles, as well as many other distinguished public and private collections worldwide (Courtesy: www.johnalexanderstudios.com).

PROVENANCE: The Estate of Richard J. Eskind, Nashville.

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

1st Item: THE PASSENGER, Alfred A. Knopf, New York, 2022, 8 vo., First Edition stated with no additional printings. Presentation copy, warmly inscribed on the ffep (front free end paper) "For Brantley / & Janay / Love / Cormac." F/F, Fine book in unread condition, in blue cloth boards with gilt stamping to spine, in Fine unclipped jacket. 2nd Item: STELLA MARIS, Alfred A. Knopf, New York, 2022, 8 vo. First Edition stated with no additional printings. Presentation copy, inscribed on the ffep "For Brantley & Janay / Cormac McCarthy." F/F, Fine book in unread condition, in maroon boards with gilt stamping, in Fine unclipped jacket. Both books were published simultaneously (but STELLA MARIS being released a month after THE PASSENGER), both being offered together in this box set soon after. Note: Knopf also released a number of sets with McCarthy''s signature on a tipped-in sheet; these are not that set, but a personalized pair.

CONDITION: Slipcase with 3/4" separation to paper on top of spine. 1st item (The Passenger): Dust jacket has white accretion speck to front, above "McCarthy," plus 1/4" wrinkle to upper right of front cover, above speck, and negligible roughing to spine edges. 2nd item (Stella Maris): Jacket with negligible roughing to spine edges. [See more photos →]

Samuel Shaver (Tennessee, 1816-1878) oil on canvas portrait of Dr. Hugh Kelso Walker (1802-1866) of Rogersville, Tennessee. The subject is depicted sitting in an armchair and attired in a black suit before a partially open window which overlooks a mountain and river landscape, presumably Hawkins County, TN, with 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.

Literature: Prentiss Price, "Samuel Shaver: Portrait Painter." East Tennessee Historical Society''s Publications no. 24 (1952), 105.

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.

Artist Biography: Portraitist Samuel M. Shaver was born in Sullivan County, the son of David Shaver and Catherine (Barringer) Shaver. He may have been influenced by William Harrison Scarborough (1812-1871), a native-born Tennessee artist, four years Shaver''s senior, who did portraits of Shaver''s relatives. Shaver''s earliest known painting dates to 1845, but he was probably painting before that time. For the next quarter-century, he was East Tennessee''s standard portraitist. In 1851 Shaver was a professor of drawing and painting at the Odd Fellows Female Institute in Rogersville. In 1852 he advertised in Greeneville and Knoxville papers; for several years thereafter his whereabouts are unknown. The death of his first wife in January 1856 recalled him to Rogersville, where he remained until the Civil War. At the outset of the war, Shaver moved to Knoxville, where he became one of the founders of the East Tennessee Art Association. From 1863 to 1868 Shaver lived and worked near Russellville. About 1868 he joined his mother-in-law and family in Jerseyville, Illinois, near St. Louis, where he continued painting. He died June 21, 1878. (Source: James C. Kelly, Virginia Historical Society).

PROVENANCE: By direct descent through the Rogers and Walker families. See other related lots from this historic family, also in this auction.

CONDITION: Overall very good condition. Professionally conserved in 1980. Painting was removed from the original stretchers and relined. A copy of the conservator''s examination and recommended treatment report is available to the winning bidder. Repair with inpainting to right of sitter''s right hand, 1 1/4" x 1 1/4". With minor areas of retouching, especially to upper portion of white area of exposed shirt, plus scattered, pinpoint retouches throughout. Light surface grime. [See more photos →]

Samuel Shaver (Tennessee, 1816-1878) oil on canvas portrait of Frances Grantham Rogers Walker of Rogersville, Tennessee (1795-1883/85; wife of Hugh Kelso Walker). Mrs. Walker is depicted seated in a chair before a drape with a detailed, mountain and river landscape, likely Hawkins County, TN, visible beyond. To her right is a vase of flowers and a bowl of fruit, and her left hand rests on a book. She is attired in a black dress with lace cap, neck covering, and black brooch. Housed in a simple wood frame. Sight: 42" H x 32 1/4" W Framed: 43 1/4" H x 33 1/4" W.

Literature: Prentiss Price, "Samuel Shaver: Portrait Painter." East Tennessee Historical Society''s Publications no. 24 (1952), 105.

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. They had four children together.

Artist Biography: Portraitist Samuel M. Shaver was born in Sullivan County, the son of David Shaver and Catherine (Barringer) Shaver. He may have been influenced by William Harrison Scarborough (1812-1871), a native-born Tennessee artist, four years Shaver''s senior, who did portraits of Shaver''s relatives. Shaver''s earliest known painting dates to 1845, but he was probably painting before that time. For the next quarter-century, he was East Tennessee''s standard portraitist. In 1851 Shaver was a professor of drawing and painting at the Odd Fellows Female Institute in Rogersville. In 1852 he advertised in Greeneville and Knoxville papers; for several years thereafter his whereabouts are unknown. The death of his first wife in January 1856 recalled him to Rogersville, where he remained until the Civil War. At the outset of the war, Shaver moved to Knoxville, where he became one of the founders of the East Tennessee Art Association. From 1863 to 1868 Shaver lived and worked near Russellville. About 1868 he joined his mother-in-law and family in Jerseyville, Illinois, near St. Louis, where he continued painting. He died June 21, 1878. Source: James C. Kelly, Virginia Historical Society)

PROVENANCE: By direct descent through the Rogers and Walker families; see other related lots from this historic family in this auction.

CONDITION: Overall very good condition. Professionally conserved in 1980. Painting was removed from the original stretchers and relined. A copy of the conservator''s examination and recommended treatment report is available to the winning bidder. Repair with inpainting to tree''s branches at left, 1 1/2" x 1/2". With scattered, pinpoint retouches throughout. [See more photos →]

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.

PROVENANCE: By descent in the historic Pinckney family of Runnymede Plantation, South Carolina.

CONDITION: All volumes with slight leather powdering and scattered toning and foxing throughout, predominantly affecting text pages and tissue guards, generally not affecting plates. Volume I: Front cover detached with subsequent spine leather unhinged; All plates (1-70) present with tissue guards; Plate 13 (Washington Sea Eagle) mislabeled as "Pl. 10"; likewise Plate 17 (Mississippi Kite) mislabeled "Pl. 7"; Volume II: Tight bindings, slight scuffing to covers, All plates (71-140) present, most with tissue guards; plate 111 (Blue-Winged Yellow Swamp-Warbler) present, but bound out of sequence between plates 115 and 116; Volume III: Tight bindings, slight scuffing to covers; all plates (141-210) present with tissue guards; Plates 187 & 188 reversed sequentially. Volume IV: Tight bindings, slight scuffing to covers; all plates (211-280) present, most with tissue guards. Volume V: Front cover 90% separated, spine cover missing lower 1" and only attached to rear cover. Contains plates 281-350; through publisher error, plate 299 (Willow Ptarmigan) is absent, with plate 140 (Cat Bird, also in Vol. II) bound in its place. Journals: Very good condition with bumping to spine ends, slight foxing, predominantly not affecting plates. [See more photos →]

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."

Note: also included with these period documents is a 1946 signed typewritten letter from Judge Walter W. Faw to the Hon. Hu C. Anderson of Jackson, Tennessee, discussing the significance of the documents.

Virginia-born John Overton had moved to Nashville in 1789 and was admitted to the bar in 1790. He initially lodged with Andrew Jackson, who was to become a close friend and political ally, and later built his own fine home, known as Traveller''s Rest. Overton represented Sumner County as a delegate to the 1789 North Carolina convention to ratify the U.S. Constitution, and George Washington named him Supervisor of Revenue and later District Inspector of Revenue for the territory of Tennessee. Tennessee gained statehood, separating from North Carolina, in 1796. Between 1803 and 1806, Overton, as agent for Tennessee, was responsible for clarifying land rights in the new state between it and North Carolina. Under the terms of the compromise Overton would make, Tennessee ceded most of the western third of its territory to the United States, agreed to recognize land warrants that had been issued by North Carolina, and obtained clear title to the remaining land within its bounds.

In August 1804 Overton was elected to succeed Jackson as a member of the Superior Court of Tennessee, the forerunner of the Tennessee Supreme Court. He went on to become one of Tennessee''s wealthiest men, helped Jackson win the U.S. Presidency, and co-founded the city of Memphis. (Source: The Tennessee Encyclopedia).
PROVENANCE: Private Southern collection.

CONDITION: Both documents with light toning; the lower third of the Appointment document is moderately toned, affecting Overton''s signature. Overton''s signature on the 13 page letter is slightly faded. [See more photos →]

Helen LaFrance (American/Kentucky, 1919-2020) oil on canvas painting depicting a rural landscape with African American farmers tending a patch of monumental cabbages. A man climbs into a cart drawn by two horses while a woman viewed from behind sits on a fence before a barn. Another figure walks toward a distant house at right. Signed "Helen La France," lower right. Titled "Cabbage Patch Near Barnyard" and inscribed "Shelton Gallery" to stretcher. Housed in a simple black frame. Canvas: 21 7/8" H x 27 7/8" W. Frame: 23 1/4" H x 29 3/16" W.

Artist biography: African American artist Helen LaFrance is best known for her "memory paintings," based on her 101 years of life in Graves County, Kentucky. Her parents, James Franklin Orr and Lillie May Ligon Orr, were tobacco farmers, and Helen spent most of her life no more than ten miles from her birthplace in Mayfield. Her mother taught her to draw and paint, helping her mix colors from wildflowers, berries, and laundry detergent, but she did not begin painting full time until her 40s, when she started selling her work at local art shows and fairs. Her subjects mostly focused on scenes of ordinary rural life, such as church picnics and river baptisms, although she occasionally portrayed dramatic events in the life of her community, such as tornadoes and floods, and African scenes inspired by her family''s ancestral heritage. LaFrance''s work (which also comprised quilts, wood carvings, and dolls) began attracting nationwide interest in the 1990s, and with a burgeoning market of collectors that included famous names such as Oprah Winfrey, Gayle King and Bryant Gumbel, she continued painting well into advanced age. In 2011 she received Kentucky''s Folk Art Heritage Award. Her work recently became the subject of a retrospective at the Speed Museum in Louisville, and is also in the permanent collections of the St. Louis Art Museum and the Owensboro KY Museum of Fine Art.

PROVENANCE: Private Southeastern collection, ex-Shelton Gallery, Nashville TN.

CONDITION: Overall very good condition. Minor stretcher marks to lower left corner and center left edge. Paper accretions to lower half, largest 1/4" x 1/4" to cabbage patch soil, center left. [See more photos →]

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.

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

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.
PROVENANCE: By descent in the historic Pinckney family of Runnymede Plantation, South Carolina. Note: Jacob Motte Jr.''s wife was Rebecca Brewton, sister of Frances Brewton Pinckney (wife of Col. Charles Pinckney).

CONDITION: 1 with small internal scratch-like flaw; a couple of scattered tiny fleabites to feet, a few scattered tiny bubbles/flaws in the making; 1 with two tiny flakes (1/4" and 1/16" to underside). [See more photos →]

Henri Hecht Maik (France, 1922-1993) oil on canvas painting entitled "La Nuit," 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 Gallery, 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. Note: Born in 1922 to illustrator Joseph Hecht, Henri Hecht Maik is known for his primitive, childlike paintings that feature exotic creatures in flowered jungle settings. Exhibited first in Palm Beach in the mid 1960''s by Wally Findlay, Maik''s work has been exhibited in numerous museums including the Musee de l''Art Moderne in Paris.

PROVENANCE: Private Southern Collection.

CONDITION: Painting in excellent condition. Textile mat with staining. [See more photos →]

Maria Howard Weeden (Alabama, 1846-1905) watercolor on card portrait depicting the head and shoulders of an African American man with white hair and white beard, in a white collared shirt with blue coat. His head and gaze are slightly oriented to his left. Circa 1900. Signed "Howard Weeden," lower left. Framed under glass in a molded woodgrain frame. Sight – 8" H x 6" W. Sheet – 9" H x 7" W. Frame – 14 1/2" H x 12 1/2" W. Note: this painting descended in the family of Elizabeth Overton Lea (daughter of Judge John Overton) and was found inside her diary, although since she died in 1890, the painting was likely owned by one of her children, not her. Weeden is known to have painted at least one freed slave at the Overton''s home, Traveller''s Rest. His name was Claiborne Hines.

<p style="margin-left:0in; margin-right:0in">Biography: Maria Howard Weeden was born in 1847 in Huntsville, Alabama, the youngest of six siblings. She showed artistic talent at an early age and was encouraged by her mother, who took her to study with William Frye, a well-known Southern portrait painter living in Huntsville at the time. She also studied art at the Huntsville Female Seminary. However, Weeden''s family was financially ruined in the wake of the Civil War and she was unable to pursue more formal training or visit places like Europe to find subject matter. As Martha Severens writes in "150 Years of Watercolor," "Her sitters were generally members of her community who were former slaves serving as cooks, nannies, and gardeners. At a time when many artists were caricaturing African Americans, Weeden preferred to render more dignified and uplifting portraits. After visiting the World''s Columbian Exposition in Chicago, where she encountered many caustic images of the Uncle Remus variety, she resolved to pursue a different direction. She later recalled: ''Then and there I awoke to the realization that right around me was a subject of supremest artistic interest the old ex-slave, who henceforth became theme for my muse and model for my brush.''"

<p style="margin-left:0in; margin-right:0in">Weeden did not use her first name on her works, preferring to sign them "Howard Weeden." Her childhood home in Huntsville is now the Weeden House Museum and contains many of her works. Most of her subjects never commissioned these portraits, so she never found great commercial success. She published four books, including "Bandanna Ballads" (1899), which was used in the production of the classic American movie "Gone With the Wind" as reference for the costumes of the slaves. She painted frequently in the Nashville area as a result of her friendship with Elizabeth Fraser Price, daughter of Dr. George Price, who founded the Nashville College for Young Ladies. Price exhibited and sold Weeden''s work in her Nashville music studio, and Weeden also sold paintings at the Tennessee Centennial Exposition and at a reception held in her honor by the Nashville Art Club. One of her best known commissions was in Robertson County: in the 1890s the Washington family of Wessyngton Plantation hired Weeden to paint portraits of several former slaves.

CONDITION: Overall good condition. Faint acid burn 1" from edge on all sides from previous framing; tiny inclusion speck near subject''s right ear; tiny black stain upper left; faint acid line or errant mark top center; a few other faint lines and scuffs to background. Inscriptions en verso relating to previous framing. [See more photos →]

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."

CONDITION: Excellent overall condition, functions smoothly; small 1/4" indentation to bottom of main tube; rear primary mirror dirty with disuse obscuring clear viewing. [See more photos →]

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. A copy of the consignor''s original purchase receipt and auction catalog to be made available to the winning bidder. Barrel 26" L, Overall 44" L.

NOTE: Most firearms made after 1898 require passing an FFL background check prior to transfer. The date of production for this gun makes it subject to FFL rules. Please be prepared with proper identification and information. If you do not reside in Tennessee, an FFL dealer in your state is required to complete the transfer.

PROVENANCE: Purchased from the estate of Winchester collectors Peter and Patty Murray.

CONDITION: Extremely fine condition, with 99% of its custom finish attributes untouched. Very minor handling marks to stock. Mechanics function as they should, slightly stiff. Bore clean with strong rifling. [See more photos →]

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.

PROVENANCE: The estate of Dorothy G. Davison, Knoxville, TN.

CONDITION: Overall good condition. Light surface scratches, mainly to bases and tray surface. Lid of coffee pot does not sit flush with the body. [See more photos →]

A large set of Alvin sterling silver flatware, Orange Blossom Old pattern, service for 12 plus many extra pieces. Total Three hundred twenty-eight (328) pieces, including 1 Gorham Orange Blossom fork. Alvin pieces include: 15 dinner knives with Old French blades, 11 dinner knives with New French blades, 6 luncheon knives with Old French blades, 6 luncheon knives with New French blades, 12 dinner forks (7 5/8" L), 49 dinner forks (6 7/8" L), 67 teaspoons, 12 serving or table spoons (8 3/4" L), 32 round bowl bouillon spoons, 19 gumbo spoons, 24 five o''clock spoons (5 1/4" L), 2 iced teaspoons, 6 place spoons (7 1/8" L), 2 fruit spoons, 9 individual butter knives, 2 master butter knives, 1 sugar shell, 1 sugar spoon, 23 cocktail forks (5 3/4" L), 12 ice cream forks including three with differently shaped bowls, 2 pc. carving set, 1 tomato server, 3 serving forks (7 3/4" L), 3 large serving forks (9" L), 1 lemon fork, 1 mustard ladle, 2 cream ladles, 1 gravy ladle, 1 serving spoon with shaped bowl (8" L) and 1 larger serving spoon with shaped bowl (9 1/2" L). Lot also includes 1 individual Gorham Orange Blossom pattern fish fork. 342.14 total weighable troy ounces.

CONDITION: Gravy ladle broken on handle near bowl, otherwise all pieces in overall very good condition. Most items with various single letter script monograms. [See more photos →]

James Peale Sr. (Maryland/Pennsylvania, 1749-1831) watercolor portrait miniature of John Johnson Sr. (1770-1824), Attorney General and 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 to 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 the original 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.

Biography: "Born in Chestertown, Maryland, James Peale worked in the saddlery of his older brother, Charles Willson Peale, in Annapolis, Maryland, and subsequently was apprenticed as a carpenter. When Charles returned from England in 1769 as a trained artist, James served as his studio assistant. By the spring of 1771 Charles had given him instruction in painting from life. James served in the Continental Army during the American Revolution and then settled in Philadelphia. Always somewhat in the shadow of his dynamic older brother, James Peale nonetheless became an accomplished painter of miniature portraits. When his eyesight began to fail, he gave up painting miniatures about 1810 and turned to larger portraits and still lifes, as well as landscapes in later years." (Source: The Smithsonian American Art Museum).

PROVENANCE: Private Knoxville, TN collection, by family descent. The sitter is the consignor''s fourth great-grandfather.

CONDITION: Miniature is in very good condition, not examined out of the frame. Metal case with minor oxidation, leather case with rubbing and losses. [See more photos →]

William Aiken Walker (American/South Carolina, 1838-1921) Civil War-era 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, spoons, and guitar. 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, which is dated early in Walker''s artistic career, during his service in the Confederate Army, was found in the same envelope 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, SC (with sender and addressee names scratched out), inscribed in pencil, "Colored Sketch – by W.A. Walker" with the name "Sally _ Burton" written above. Note: Sally Pinckney Burton was the wife of E. Milby Burton (1898-1977), historian and director of the Charleston Museum.

Biography and Context: 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 at the outbreak of the Civil War, in which he served as a Confederate private and, following an injury, as a cartographer (in 1864, he was stationed in Charleston, NC and Richmond). While in Richmond, Walker was close with other artists stationed there at the same time, including Adalbert John Volck, William Ludlow Sheppard, and Lt. John R. Key (ref. Trovaioli and Toledano, p. 18). After the war, Walker spent time in Baltimore, MD; Arden, NC; Georgia, Louisiana, and Cuba. In 1870 the Baltimore Sun reported that he had taken a study trip to Europe, but he soon returned to the South. Walker became primarily known for his prolific Southern scenes, mostly depicting rural plantations and the daily life of African Americans. Contrary to the note found with it (which may or may not refer to it), this painting, dated 1864, was not Walker''s only or last painting in watercolor, although he became far better known for his oils. In fact, he is known to have painted a series of other small watercolors on cardstock including "crude primitive studies of soldiers and Negroes" (ref. Trovaioli and Toledano, p. 18) during his army service in 1864. The reference in this note to a teacher, "Col. Ed White," is intriguing and might point to a heretofore unknown connection with the renowned American historical genre painter Edwin White who, like Walker, studied abroad but returned to the U.S. on the eve of the Civil War. White then set up a studio at New York University in 1860. In 1869, White returned to Europe where he remained until 1875. He died in New York in 1877. White reached the height of his fame with his painting "Major Anderson Raising the Flag on the Morning of His Taking Possession of Fort Sumter (SC), Dec. 27, 1860," completed in 1862. Biographical Sources cited: Augustus P. Trovaioli and Roulhac B. Toedano, WILLIAM AIKEN WALKER: SOUTHERN GENRE PAINTER; The Johnson Collection; the Archives of Maryland Biographical Series.

PROVENANCE: By descent in the historic Pinckney family of South Carolina. For a discussion of Walker''s close relationship with the family, see WILLIAM AIKEN WALKER: SOUTHERN GENRE PAINTER, by Trovaioli and Toledano, Preface XV and p. 22.

CONDITION: Overall very good condition with light toning and smudges to pencil writing. Minor losses en verso to four corners from previous adhesive. [See more photos →]

<p style="margin-left:0in; margin-right:0in; text-align:start">Large 59" X 94" mid-19th century American flag, likely a U.S. Navy Boat Flag. The flag is hand-sewn, wool bunting, featuring thirteen (13) single-appliqued, white, five-point, cotton stars, in the traditional 4 over 5 over 4 star-pattern on the blue, two-piece canton, with 13 alternating red and white stripes forming the field. The roped hoist is integral to the original construction, further reinforcing the likely maritime use. The hoist bears a faded, illegible ink inscription. The flag is mounted onto a fine mesh backing for stabilization and conservation and is mounted to a 20th-century red painted wood staff tipped with a gilt spearhead. Flag measures: 94" W x 59" H. Staff: 75" H.

PROVENANCE: Private Knoxville, Tennessee collection.

CONDITION: The flag is used, worn, and thinned with multiple losses, the largest to the canton and left lower margin. The flag been stabilized with a mesh backing. The staff and the ropes are in good condition. [See more photos →]

Bill Sawyer (American/Tennessee, 1936-2020), "The Green Shanty," c.1959, oil on canvas painting depicting a home with dilapidated storefront added to part of its facade. The sky above the structures is filled with a web of intersecting phone and electric lines, playing into the corner perspective of the painting. Signed "Bill Sawyer," lower right. En verso is a second painting, an expressionist landscape depicting bare trees against a dark, tumultuous sky, unsigned. The back of the stretcher reads, "Bill Sawyer / The Green Shanty / My first successful painting of the other half, and the beginning of wonderful things." Canvas: 18" H x 14" W. Housed in a whitewashed molded frame, 22" H x 18" W.

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

PROVENANCE: By descent in the family of an early Nashville-area patron of Sawyer''s works.

CONDITION: Primary painting in overall good condition with a few small scratches and light grime. The secondary landscape painting en verso has some scattered flaking up to 1/2", and an area of craquelure near the center. Wear and losses to surface of frame. Painting is loose in the frame. [See more photos →]

Jesse C. Beasley (American/Tennessee, active late 20th century) bronze 2-piece sculpture depicting a child crouched and offering an acorn to a squirrel. Inscribed signature "Jesse C. Beasley", numbered 2/12. Child: 17"H x 15"W x 12"D. Squirrel – 6''H.

CONDITION: Overall excellent condition; small 1/4'' white paint splatter to top of child''s head. [See more photos →]

Andre (William Andre) Harvey (active/lived Delaware/Florida/France, 1941-2018) bronze sculpture of a sitting female pig "Helen" modeled after the life-sized sculpture by the artist. Signed on the rear left leg "Andre Harvey" together with the artist''s monogram and copyrighted 1977. Mounted onto an oval wood base. Sculpture: 7 1/4" H x 13" L x 4 1/2" W. 8 1/8" total H w/ base. Note: Andre Harvey is known for intricately detailed realistic bronze figures, animals, and sea creatures (Courtesy of AskArt). This lot comes with a catalog of Harvey''s work published by the studio, 1994, featuring a photo of the life-size version of this sculpture on page 10.

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

Helen LaFrance (American/Kentucky, 1919-2020) oil on canvas painting depicting a bustling street at night, likely in her hometown of Mayfield, Kentucky, with numerous figures, cars, and brick buildings with hand-painted signs including "Downtown Cleaners" and "Peat''s Place." The door to one of the buildings stands opens with a crowd of people milling around tables inside. Stars and streetlights illuminate the scene. Signed "Helen La France" and dated "2004" lower right. Housed in a simple black floater frame. Canvas: 20" H x 29 7/8" W. Frame: 22" H x 32 1/16" W.

Artist biography: African American artist Helen LaFrance is best known for her "memory paintings," based on her 101 years of life in Graves County, Kentucky. Her parents, James Franklin Orr and Lillie May Ligon Orr, were tobacco farmers, and Helen spent most of her life no more than ten miles from her birthplace in Mayfield. Her mother taught her to draw and paint, helping her mix colors from wildflowers, berries, and laundry detergent, but she did not begin painting full-time until her 40s, when she started selling her work at local art shows and fairs. Her subjects mostly focused on scenes of ordinary rural life, such as church picnics and river baptisms, although she occasionally portrayed dramatic events in the life of her community, such as tornadoes and floods, and African scenes inspired by her family''s ancestral heritage. LaFrance''s work (which also comprised quilts, wood carvings, and dolls) began attracting nationwide interest in the 1990s, and with a burgeoning market of collectors that included famous names such as Oprah Winfrey, Gayle King, and Bryant Gumbel, she continued painting well into advanced age. In 2011 she received Kentucky''s Folk Art Heritage Award. Her work recently became the subject of a retrospective at the Speed Museum in Louisville, and is also in the permanent collections of the St. Louis Art Museum and the Owensboro KY Museum of Fine Art.
PROVENANCE: Consignor acquired directly from the artist circa 2004.

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

Portrait miniature by Robert Field (1769 – 1819) depicting Henrietta Maria Hemsley Earle (1779 – 1821) of Maryland, signed lower left R. F. and dated 1799. Henrietta Earle was the wife of Thomas Chamberlain Earle and daughter of Sarah Williamson Helmsley and William Hemsley (a member of the Continental Congress and owner of Clover Fields Farm in Queenstown, MD). The bust length watercolor portrait depicts Mrs. Earle with curly powdered brown hair and blue eyes wearing a white dress and delicate embroidered white muslin fichu, against a blue sky and cloud background. Housed in likely the original rose gold metal case and retains the original red leather storage case. Sight: 2 7/8" H x 2 3/8" W. Note: This miniature is documented and on pages 149 and 150, Item LXVII in the book "Robert Field: Portrait Painter in Oils, Miniature and Water-Colours and Engraver" by Harry Piers and published by Frederic Fairchild Sherman, New York, 1927. See the scanned pages at the end of the photograph sequence.

Biography: Robert Field was born in London and trained at the Royal Academy schools. In 1794 he settled briefly in Baltimore, then joined a grup of artists led by Charles Willson Peale in Washington, DC, in establishing the Columbianum, or American Academy of Fine Arts (although he later left it to help found a short-lived, rival organization). Field spent 14 years in the U.S. as a leading painter of portrait miniatures in Baltimore, Philadelphia, Washington DC and Boston. Working in a conventional, neo-classical portrait style that has drawn comparisons with that of Henry Raeburn and Gilbert Stuart, Field produced images of George and Martha Washington, Thomas Jefferson, and a number of other prominent citizens. In May, 1808 he left the U.S. to work in the bourgeoning market of Halifax, Canada, and in 1816 he moved to Jamaica. He died 3 years later, apparently of yellow fever.

PROVENANCE: Private Knoxville, TN collection, by descent through the family of the sitter.

CONDITION: Miniature overall very good condition, not examined out of the frame. Frame with minor oxidation. Leather case with scattered light wear and losses. [See more photos →]

Clementine Reuben Hunter (American/Louisiana, 1886/87-1988), "Wash Day," large oil on canvasboard painting depicting three figures doing laundry outdoors under a clothesline. Signed with monogram lower right. Inscribed en verso: "H-22 Ryan" and "LSU Dec. 1971" with possible date or number 1965. Molded wood frame. Sight: 24" H x 30" W. Frame: 27 1/2" H x 33 1/2" W.

Biography: A self-taught artist, Clementine Hunter created bright, whimsical folk paintings depicting life in and around the Melrose cotton plantation where she lived and worked, near Natchitoches, Louisiana. She did not start painting until her 50s. She used whatever surfaces she could find, and, working from memory, recorded everyday life, from work in the cotton fields to baptisms and funerals. She rendered her figures, usually black, in expressionless profile and disregarded formal perspective and scale. Though she first exhibited in 1949, Hunter did not garner public attention until the 1970s when both the Museum of American Folk Art in New York and the Los Angeles County Museum of Art exhibited her paintings. Even with such success, Hunter chose to stay in Louisiana, working at Melrose Plantation until 1970 when she moved to a small trailer a few miles away on an unmarked road. Source: The National Museum of Women in the Arts.
PROVENANCE: Private Southern collection. We wish to thank Thomas Whitehead for confirming the authenticity of this painting.

CONDITION: Scattered tiny spots of mold/mildew across sky and upper right quadrant. Several tiny flakes to tree. [See more photos →]

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.

PROVENANCE: By descent in the historic Pinckney family of Runnymede Plantation, South Carolina.

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

Richard Peter Stankiewicz (American, 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. Note: Photocopies of relevant pages from a 1980 institutional publication with provenance history are included in the image sequence. Exhibition history (according to 1980 institutional publication): Tampa Art Institute; University of Florida Gallery, Gainesville, FL.; Hunter Gallery (now Hunter Museum of American Art), Chattanooga, TN, 1965.

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Biographical note: Sculptor Richard Stankiewicz was most closely associated with the Assemblage movement. He served in the U.S. Navy 1941-1947, then studied with Hans Hofmann at the Hoffman School in New York City, and with Fernand Leger and Ossip Zadkine in Paris. 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 (Sources: Matthew Baigell, Dictionary of American Artists, and Peter Hastings Falk, ed., Who Was Who in American Art ).

PROVENANCE: Deaccessioned by a Southern Institution to benefit the acquisitions fund; Acquired from George Thomas Hunter Gallery of Art (now Hunter Museum of American Art), Chattanooga, TN, 1965.

CONDITION: Original as found condition with rust and oxidation to all pieces. [See more photos →]

East Tennessee, Sullivan County, pie safe press. Cherry upper case having an applied canted cornice over two glazed doors, each with six glass panes and a blue and green painted interior. Ogee base molding and poplar secondary wood. The base safe form consists of tiger maple primary and poplar secondary with two dovetailed drawers over two doors with three punched tins, each with heart, star, fan, and feather decoration, matching tins to the sides. Case interior with older green and blue paint. Case resting on flattened and turned bun feet. 85 1/2" H x 16 3/8" D x 45 3/8" W. Second quarter of the 19th century. Note: Descended through the Wofford Family from Sullivan County, TN.

PROVENANCE: The living estate of Dr. Jerry Waters, Maryville, TN.

CONDITION: Older refinish. The upper case is a later addition to the safe form. Some staining and wear to the top of the press, losses base molding, patched knot hole to right side, some panes of glass are absent but retained, and glazing for all panes has been reinforced. Tins to right side of the base with losses between the top and middle tin joint, small perforation to left side lower tin. [See more photos →]

Ladies antique 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.
PROVENANCE: By descent in the historic Pinckney family of Runnymede Plantation, South Carolina. [See more photos →]

Rembrandt van Rijn (Dutch, 1606-1669) etching depicting a bust-length portrait or 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 en 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, Hollstein (White and Boon) 325; Biorklund 30-I. Hind 27; New Hollstein 64. Note: Nowell-Usticke in his 1967 catalog "Rembrandt''s Etchings: States and Values" assigned to this print an RRR scarcity rating (30-50 impressions known in that year), "a very rare plate."

PROVENANCE: By descent in the Acklen family of Belmont Mansion, Nashville, likely acquired 4th quarter 19th century.

CONDITION: A richly inked, early impression with crisp plate edges, monogram, and foul biting still printing at the lower right plate mark. Negligible foxing throughout, especially to upper margin at edge of sheet. One miniscule speck of liquid staining to upper right, in plate. [See more photos →]

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".

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Biography: Victor Brenner was best known as a medallion and coin sculptor. His most famous work was the 1909 Lincoln head penny. Born in LIthuania, he trained at the Academie Julian in Paris and came to New York in 1890. He was a member of the National Sculpture Society, the National Arts Club, and the Architectural League. His work is in the collections of the Architectural League in New York, the Metropolitan Museum, the Paris Mint, and the Vienna Numismatic Society. Sources: Donald Martin Reynolds, "Masters of American Sculpture, and Peter Falk, "Who Was Who in American Art".

PROVENANCE: The estate of Delores Farr, Signal Mountain, TN.

CONDITION: Some wear and oxidation to lower edge of the sculpture, otherwise overall very good condition. [See more photos →]

Ebonized Aesthetic Movement parlor or side table, square form with inset black marble top surrounded by satinwood geometric foliate inlay and gilt stenciled designs above a tapering squared pedestal flanked by gilt stenciled carved supports, and terminating into a quatrefoil base with carved and gilt stenciled designs. 30" 1/2" H x 29 3/4" W x 30 1/2" D. American, Late 19th century.
PROVENANCE: Private Des Moines, Iowa collection.

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

Clementine Reuben Hunter (American/Louisiana, 1886/87-1988), "Cotton with Donkey," oil on canvasboard cotton picking scene. Signed with monogram lower right. Inscribed "Tommy / Cotton with Donkey" en verso. Sight: 15" H x 30" W. Frame: 31 1/2" H x 16 1/2" W.
PROVENANCE: Private Southern collection. We wish to thank Thomas Whitehead for confirming the authenticity of this painting.

CONDITION: 2" line of flaking to center tree. Two 1/8" flakes to lower left hay bales. Other scattered, tiny spots of flaking/exfoliation. Scattered light grime and inclusions. [See more photos →]

Sterling Strauser (American, 1907-1995) oil on board still life painting titled "Peonies," depicting a vase of pink, white and blue iris and peony flowers, set against a blue and white background. Signed lower right and dated 1993. Also signed, dated and titled en verso. Unframed. 24" H x 18" W.
PROVENANCE: The collection of Myron King, Nashville, Tennessee.

CONDITION: A few minor scattered inclusions and grime spots, overall very good condition. [See more photos →]

Larry Dodd Wheeler (American, b. 1942) oil on board impressionist style painting titled "A Good Washing," 2000, depicting three grooms washing horses outside a stable. Signed lower left. Beresford Gallery label en verso. Molded giltwood frame with rope molding at sight edge and fabric fillet. Panel: 16" square. Frame: 20 1/2" square.

PROVENANCE: The estate of Gary R. Haynes.

CONDITION: Painting in excellent condition. Some light spots of wear and small corner losses to frame. [See more photos →]

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 39" W. Frame – 41" H x 49" W. Biographical note: "Gerrit Sinclair was one of Wisconsin''s premier chroniclers of middle-class America during the first half of the 20th century. Sinclair''s paintings express mood and narrative. Often idyllic, his stylized paintings capture a slower and more relaxed time and place that perhaps existed more as a state of mind than a condition of reality. Sinclair arrived in Wisconsin in 1920 when he joined the art faculty of the Layton School of Art (Milwaukee). He continued to actively create and exhibit his work until around the end of World War II. His work includes images of daily life as it unfolded in the environment of close-knit city neighborhoods, small town and rural Wisconsin." (Source: Gerrit V. Sinclair 1880-1955: A Retrospect. Museum of Wisconsin Art [formerly the West Bend Art Museum], 2002.)

PROVENANCE: Private Middle Tennessee collection, ex-Williams Galleries, Nashville.

CONDITION: Overall very good condition. Small area of possible retouch to head of the boy in blue and to the telephone pole. Some minor abrasions to frame. [See more photos →]

Ebonized Aesthetic Movement hall or entryway cabinet, consisting of a molded top with a center display platform or plinth above two floral and foliate inlaid paneled doors enclosing two shelves, and stepped square feet, gilt geometric and foliate stenciled designs throughout. Additionally fitted with a secret drawer above the doors. 50 1/2" H x 41 1/2" W x 17 1/2" D. American, Late 19th century.

PROVENANCE: Private Des Moines, Iowa collection.

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

Southern one-piece stepback wall cupboard, cherry primary, poplar secondary, pegged construction. Consisting of a deep ogee cornice above a highly figured applied scalloped frieze, two six-pane glazed doors enclosing three shelves, over two blind paneled doors enclosing two shelves, base with ogee molding extending around the edges of both sides of the form, all resting on dovetailed bracket feet with a shaped skirt. 85 1/2" H x 18 3/4" D x 44 1/2" W. Mid-19th century.

PROVENANCE: The living estate of Dr. Jerry Waters, Maryville, TN.

CONDITION: Overall very good condition. Older refinish, original locks absent, pulls are replacements. Lower right door has wear exposing tendon on upper left corner. [See more photos →]

Ladies 14K white gold link bracelet featuring one hundred twelve (112) and two hundred eight (208) baguette diamonds approximately 4.32 carats together, Clarity-SI1, Color-G. The bracelet is marked "14K" and XRF tests 14K gold. The bracelet is 7 1/2" L. and has a gross weight of 77.64 grams.

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

Clementine Reuben Hunter (American/Louisiana, 1886/87-1988) oil on canvasboard painting depicting an outdoor funeral. Signed with monogram lower right. Housed in a painted black frame. Sight: 18" H x 24" W. Frame: 19" H x 25" W.

Biography: A self-taught artist, Clementine Hunter created bright, whimsical folk paintings depicting life in and around the Melrose cotton plantation where she lived and worked, near Natchitoches, Louisiana. She did not start painting until her 50s. She used whatever surfaces she could find, and, working from memory, recorded everyday life, from work in the cotton fields to baptisms and funerals. She rendered her figures, usually black, in expressionless profile and disregarded formal perspective and scale. Though she first exhibited in 1949, Hunter did not garner public attention until the 1970s when both the Museum of American Folk Art in New York and the Los Angeles County Museum of Art exhibited her paintings. Even with such success, Hunter chose to stay in Louisiana, working at Melrose Plantation until 1970 when she moved to a small trailer a few miles away on an unmarked road. Source: The National Museum of Women in the Arts.

PROVENANCE: Private Southern collection. We wish to thank Thomas Whitehead for confirming the authenticity of this painting.

CONDITION: Overall good condition. Several spots of scattered flaking to sky area, largest 1/8". [See more photos →]

Helen Lafrance (Kentucky, 1919-2020) oil on board farm landscape painting, depicting two children sitting on a fence, watching three boys climb a large haystack, while a farmer and two horses plow a field in the distance. Signed lower right. Board – 18"H x 30"W. Frame – 20"H x 33"W

Artist biography: African American artist Helen LaFrance is best known for her "memory paintings," based on her 101 years of life in Graves County, Kentucky. Her parents, James Franklin Orr and Lillie May Ligon Orr, were tobacco farmers, and Helen spent most of her life no more than ten miles from her birthplace in Mayfield. Her mother taught her to draw and paint, helping her mix colors from wildflowers, berries, and laundry detergent, but she did not begin painting full time until her 40s, when she started selling her work at local art shows and fairs. Her subjects mostly focused on scenes of ordinary rural life, such as church picnics and river baptisms, although she occasionally portrayed dramatic events in the life of her community, such as tornadoes and floods, and African scenes inspired by her family''s ancestral heritage. LaFrance''s work (which also comprised quilts, wood carvings, and dolls) began attracting nationwide interest in the 1990s, and with a burgeoning market of collectors that included famous names such as Oprah Winfrey, Gayle King and Bryant Gumbel, she continued painting well into advanced age. In 2011 she received Kentucky''s Folk Art Heritage Award. Her work recently became the subject of a retrospective at the Speed Museum in Louisville, and is also in the permanent collections of the St. Louis Art Museum and the Owensboro KY Museum of Fine Art.
PROVENANCE: Private Nashville collection, acquired directly from the artist.

CONDITION: Excellent condition. [See more photos →]

A pair of large yellow ground Famille Rose porcelain ginger jars with polychrome decoration depicting an outdoor festival. The scenes feature figures seated at and around a table under a pagoda, figures with musical instruments, and other figures in a procession holding kites and a large figural dragon kite or banner. The domed lids with figural landscape and insect decoration. 17 1/4" H. Chinese, 20th century.
PROVENANCE: The estate of Thelma Schlicher, by descent from the estate of U.S. Ambassador Ronald Schlicher, Brentwood, TN. Note: Tennessee native Ron Schlicher entered the foreign service in 1982, working primarily in the Middle East. He returned to TN after retiring in 2011. Among his many diplomatic roles, he served as Ambassador to Cyprus, U.S. Principal Deputy Assistant Coordinator of Counterterrorism, and was director of the Iraq Task Force during the 2003 war with Iraq.

PROVENANCE:

CONDITION: Both overall good condition with no chips or cracks. The lids with minor scattered rubbing and losses to the edges and firing flaws. [See more photos →]

166 piece set of sterling silver flatware in the Art Deco style by Plata Lappas Inc., Argentina. Near-complete service for 12 plus extras, including eleven (11) dinner knives (9 1/2"); twelve (12) luncheon knives (8 1/4" L); twelve (12) dinner forks (8 1/2" L); twelve (12) luncheon forks; twelve (12) salad forks; twelve (12) teaspoons; twelve (12) dessert or ice cream spoons; twelve (12) large place spoons or tablespoons; twelve (12) place spoons; twelve (12) demitasse spoons; twelve (12) butter spreaders; twelve (12) fish forks; twelve (12) fish knives; one (1) pair sugar tongs; one (1) sauce spoon; one (1) pierced serving spoon; one (1) serving spoon; one (1) casserole spoon; one (1) pie server; one (1) meat or fish fork; one (1) soup ladle; one (1) lasagna server; one (1) carving fork; one (1) carving knife (12 1/4" L). Most with stamped with maker''s mark PL and 925, some stamped Industria Argentina. None monogrammed. Housed in a fitted wood case, with key, 7" H x 22" W x 16 3/4" D. 208.69 total weighable troy ounces.

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

Minnie Evans (American/North Carolina, 1892-1987), "Three Hieratic Heads," circa 1943, crayon and pencil on paper, monogram signature lower right. Additionally signed "Minnie Evans" in black pen to back of paper backing (a photocopy of this signature is affixed to frame backing). Float mounted, matted and framed under plexiglass in a molded black painted frame. Davis & Langdale Co. Gallery label en verso. Sheet: 7" H x 5" W. Frame: 13 1/2" H x 11 1/2" W. Biographical note: "Born in 1892, Minnie Evans spent most of her life in or near Wilmington, North Carolina. In 1916, Evans began working for a wealthy industrialist, Pembroke Jones, as a domestic in the family home. Her husband was also employed by Jones, and the Evans family lived on the Jones family hunting estate. After Pembroke Jones died in 1919, his widow, Sadie, married Henry Walters and moved to Arlie Estate. Evans continued her employment with the new family. After Walters died, Sadie decided to turn Arlie Estate into gardens. The Arlie Gardens would become one of the most celebrated gardens in the South. After Sadie Jones died, the new owners of the Arlie Gardens hired Evans as gatekeeper for the property. She held the position for the rest of her life, collecting admissions from visitors. In 1935, on Good Friday, Minnie Evans made her first two drawings. After completing the ink-on-paper abstractions, Evans heard a voice that said, "Why don''t you draw or die?" She did not resume her drawings until 1940. Her next works were pencil and crayon. Later works also included oil paint, mixed media and collage. Her work depicted religious or nature scenes. Many of her works were inspired by the plants at the Arlie Gardens. Her compositions were mostly abstractions blending nature with the face of God. Her work is known for highly charged color and meticulous symmetry, and is often compared to Buddhist mandala paintings. ''We talk of heaven, we think everything is going to be white. But I believe we''re going to have the beautiful rainbow colors.''" (Source: Ogden Museum of Southern Art)

PROVENANCE: The estate of Richard J. Eskind, Nashville TN.

CONDITION: Mounted to paper backing, with toning and creasing. Corner losses and 3 small tears along lower edge. [See more photos →]

John Woodrow Kelley (Tennessee/New York, b. 1952) oil on canvas painting entitled War and depicting the profile of an ancient Greek soldier with a Corinthian helmet tilted back on his head to reveal his face. Visible at right and lower left are the shaft of a spear, or dory, and the top of a shield or hoplon. Signed "John Woodrow Kelley" and dated 2003 en verso and inscribed "War" to back of stretcher. Housed in a rusticated gilt and ebonized wood frame. Canvas: 16" H x 16" W. Frame: 19 7/16" H x 19 7/16" W. Note: This work was exhibited in the 2004 John Woodrow Kelley retrospective exhibition Greek Mythology Now at The Parthenon Museum, Nashville, TN, and is reproduced in the exhibition catalog, p. 21.

CONDITION: Excellent condition. [See more photos →]

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. Note: this painting is illustrated in the book HELEN LA FRANCE: FOLK ART MEMORIES by Kathy Moses and Bruce Shelton, p. 72 fig 5.38.
PROVENANCE: Private Nashville collection, acquired directly from the artist circa 1999.

CONDITION: Excellent condition. [See more photos →]

Josef Albers (German/American, 1888-1976) abstract color screenprint in yellows, titled "I-S h," 1971. Titled, editioned 89/100, monogrammed, and dated in pencil, lower margin. Printed by Sirocco Screenprints, New Haven, CT. Published by Ives-Sillman, Inc., New Haven, with the blind stamp, lower right. Ref.: Danilowitz 208. Housed under glass in a modern metal frame. Sheet: 20" H x 20" W. Frame: 20 1/4" H x 20 1/4" W.

PROVENANCE: The Estate of Sarah Gaunt, Signal Mountain, TN. Note: Ms. Gaunt was formerly a studio assistant to Willem De Kooning in New York.

CONDITION: A strong impression with full margins. Pinpoint accretion to lower right margin near edge of image, negligible specks to upper right around corner of image, plus minute grey specks to center of square. Marginal soiling to upper right of sheet, 7/8" x 1/4". With old inventory numbers inscribed en verso in pencil, plus grime. [See more photos →]

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.

PROVENANCE: Vanderbilt Hillel, from the Benjamin D. and Ruby G. Schulman Foundation.

PROVENANCE:

CONDITION: Overall very good condition, colors slightly attenuated. With old tape to left, right, and center of upper edge en verso. Frame with minor abrasions and gilt loss including 1/4" area, upper center. Plexiglass with 8 1/4" vertical scratch to right side, above mat. [See more photos →]

Chinese Chippendale Style giltwood mirror, having a gesso frame with ornate crest featuring a Chinese figure seated atop a fretwork fence under a carved pagoda; the pagoda has a Prince of Wales feather finial and bell form drop finials along the roofline. The openwork, foliate-carved sides feature bell finials and carved figural birds flanking two columns, resting on a rocaille carved openwork base molding. 63" H x 36" W x 7" D. Early 20th century.
PROVENANCE: The Estate of Richard J. Eskind, Nashville.

CONDITION: Some staining and loss of silvering to mirror glass. Frame is in overall good condition with a few scattered minor breaks and repairs, areas of loss to gesso and some minimal regilding. Back lattice of pagoda possibly added or replaced. [See more photos →]

Rembrandt van Rijn (Dutch, 1606-1669) etching depicting a bust-length portrait or tronie of an old man with a long beard and fur cap with eyes closed. Signed and with additional backwards "R" in plate, upper left, with partial Arms of Amsterdam watermark. Inscribed "A" in brown ink en verso, likely an unidentified collector''s mark. Additionally inscribed "130" and "12-15," in pencil to verso. New Hollstein''s second state of four; Usticke''s second state of five. Sheet: 5" H x 4 1/2" W. Plate: 4 7/16" H x 4 1/16" W. Ref: Bartsch, Hollstein (White and Boon), 290; Hind 130; Biorklund 35-3; New Hollstein 148.
PROVENANCE: By descent in the Acklen family of Belmont Mansion, Nashville, likely acquired 4th quarter 19th century.

CONDITION: A richly-inked, early impression with strong contrasts. With distinct vertical wiping scratches in upper left. Scattered, negligible points of foxing. Faint, 1" L partial dog-ear crease to upper right corner. [See more photos →]

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. Note: At far right, one can see the William Ravenel House at 13 Battery Street, constructed 1845. Its original facade featured Corinthian columns which were destroyed in the earthquake of 1885 and are not present in this image. Next to it is 9 East Battery, the William Roper House, built 1838. It has been a National Historic Landmark since 1973 and was restored by the Richard Jenrette Foundation. The Italianate stucco house at 5 East Battery was built by John Ravenel in 1848; it also suffered damage in the 1885 earthquake but was rebuilt to its original appearance and later painted. It is now popularly known as "The Pink House". (There is no house at 3 East Battery.) 1 East Battery, at far left, is shown here in its original bi-color facade. The home was constructed for Louis DeSaussure in 1858-60; the iron balconies seen here were added by its second owner, Bernard O''Neill, who bought the house in 1888, making it likely that this painting was completed by Walker sometime around 1890-1920. (By the 1920s, the metal roof balustrade seen in this painting had been removed.) (Source: Historic Charleston Foundation).

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 the daily life of African Americans. His city/architectural views of Charleston are far more rare.

PROVENANCE: By descent in the historic Pinckney family of South Carolina. For a discussion of Walker''s close relationship with the family, ref. WILLIAM AIKEN WALKER: SOUTHERN GENRE PAINTER, Trovaioli and Toledano, Preface XV and p. 22.

CONDITION: Loss to lower edge of board, including part of the artist''s signature. Additional losses to paint along right side of board, affecting a 5" x 1/4" section of the image. The top edge of the board has scratches and flaking affecting a 3/4" H section of the image, plus 3 pin holes with small areas of loss. Other scattered scratches and inclusions. Overall grime. 1/4" square flake to paint on tree in center of image. [See more photos →]

Jules Heinrich Bissier (German/Swiss, 1893-1965) egg tempera and oil on primed cotton canvas laid to linen board abstract composition in blue, purple, brown, and black resembling a tabletop still life with a bottle. Inscribed "A 12. Nov. 62. p" and signed "Jules Bissier," upper right. Canvas: 8 1/4" H x 11 5/8" W. Board: 18 7/8" H x 20 7/16" W. Note: Photocopies of relevant pages from a 1980 institutional publication with provenance history are included in the image sequence. Biographical note: Julius Bissier''s early paintings were strongly influenced by so-called "primitive" German painters, but in 1923 he began working in a realist style aligned with the Neue Sachlichkeit. From 1929 to 1934 he taught at the University of Freiburg, during which time his work became increasingly abstract. This was perhaps a result of a visit to Constantin Brancusi''s studio in Paris, as well as his friendship with Willi Baumeister, who introduced him to works by Georges Braque, Paul Klee, Fernand Leger, and Pablo Picasso, among others. In 1955 he began a series of miniatures in tempera and watercolor. In 1959 the Gemeentemuseum in the Hague presented a retrospective exhibition of Bissier''s work. That same year, and in 1964, he took part in Documenta Kassel, and in 1960 he participated in the Venice Biennale. The following year, Bissier was awarded the Tenth Anniversary Award at the Sao Paolo Bienal. Numerous international exhibitions and awards followed, including the Bundesverdienstkreuz in 1964. (Adapted from The Solomon R. Guggenheim Foundation) .

PROVENANCE: Deaccessioned by a Southern institution to benefit the acquisitions fund; Acquired from Lefebre Gallery, New York City, 1969.

CONDITION: Overall very good condition. Canvas is affixed to linen board. Left and right edges are not affixed. Backing board with liquid staining to lower left and lower center edge. [See more photos →]

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. Artist statement: "Beginning around 1895, through the mid-1930s, women competed in rodeos across the nation. They participated in calf-roping, bronco and steer riding, bull dogging, and trick riding. Some were experts in firearms and gave demonstrations (e. g. Annie Oakley). During the 1920s there was an outfit called THE PENDLETON DRUG COMPANY. They sponsored a number of these professional cowgirls. They had photographers take pictures (of the girls competing or stills) and placed these images on postcards, calendars, and other promotional material. The gals sponsored by the Pendleton Drug Company were often referred to as "THE PENDLETON GIRLS." In sculpting this piece, I desired to depict a young woman about to compete at the Pendleton Roundup in 1921." (Source: artist''s website).

PROVENANCE: Mountain Trails Galleries, Sedona, AZ

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

Rembrandt van Rijn (Dutch, 1606-1669) etching and drypoint depicting a bust-length portrait of an unidentified man with a bushy beard and distinctive hat. With the slipt stroke from cap to left cheek. Signed and dated "Rembrandt f[ecit] 1640" in plate, upper left, with partial Arms of Amsterdam watermark. Inscribed "A" in brown ink to verso, likely an unidentified collector''s mark. New Hollstein''s first state of two; Usticke''s second state of three. Plate: 5 15/16" H x 5 7/16" W. Sheet: 6" H x 5 5/8" W. Ref: Bartsch, Hollstein (White and Boon) 265; Hind 170; New Hollstein 182.
PROVENANCE: By descent in the Acklen family of Belmont Mansion, Nashville, likely acquired 4th quarter 19th century.

CONDITION: A richly inked, crisp, early impression with burr to thumb of right hand, lower right edge of robe, and lines along lower edge of plate. Faint, even toning to sheet and acidic discoloration to corners outside of plate, except for upper left corner where discoloration extends into extreme edge of plate mark. Some negligible foxing throughout, primarily to lower right quadrant. [See more photos →]

Charles Krutch (Tennessee, 1849-1934) East Tennessee atmospheric oil on canvas laid on board painting depicting a Winter/Spring mountain landscape in the Great Smoky Mountains, rendered in muted tones of gray, green, and brown. Housed in a textured wood frame with linen mat. Signed "Krutch" lower right in red. Sight: 11 3/4" H x 17 1/2" W. Framed: 16 3/4" H x 22 3/4" W. Biography (Courtesy Knoxville Museum of Art): Charles Christian Krutch is regarded as one of East Tennessee''s first painters to specialize in scenes of the Smoky Mountains. He earned the nickname "Corot of the South" for his soft, atmospheric watercolor and oil landscape paintings of the mountain range. Totally untrained as an artist, he often applied thick layers of oil paint with brushes as well as his fingers. Krutch''s goal was to capture the changing "moods" of the mountains and regarded his subjects as "just like people." He won a regional award for best watercolor at the 1913 National Conservation Exposition in Knoxville. However, it was not until 1933, a year before his death, that the 84 year-old artist received recognition outside Knoxville for his idyllic mountain landscape murals commissioned by the federal government as part of the Public Works Art Project.

CONDITION: Overall very good condition. 1" x 1/4" retouch to scratch, lower right. Faint 6" L scuff from mountaintops into sky, upper left. [See more photos →]

Ladies 14K yellow gold omega necklace with a 14K yellow gold pendant featuring a pear shaped blue topaz approximately 9.5 x 7.2mm accented by sixteen (16) round brilliant cut diamonds approximately 0.48 carats together, Clarity-SI1, Color-H. The necklace is marked "14K'' and both the necklace and pendant XRF test 14K gold. The necklace is 16" L. and the pendant is 7/8 x 1/2" in size. Gross weight of the necklace and pendant is 20.84 grams.
PROVENANCE: The Estate of Eldridge "Dit" Shively, White Pine, TN.

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

Rembrandt van Rijn (Dutch, 1606-1669) etching depicting the circumcision of Christ in a stable, with the Holy Family illuminated by a ray of light. A group of figures gather in the shadows at right while the mohel performs the circumcision. Signed and dated "Rembrandt f[ecit] 1654" in the plate, upper left, and additionally in shadows at center left. Inscribed "a" in brown ink en verso, likely an unidentified collector''s mark. White and Boon''s first state of two; New Hollstein''s second state of five. Plate: 3 11/16" H x 5 5/8" W. Sheet: 3 7/8" H x 5 13/16" W. Ref.: Bartsch, Hollstein (White and Boon) 47; Hind 274; Biorklund 54-B; New Hollstein 280.

PROVENANCE: By descent in the Acklen family of Belmont Mansion, Nashville, likely acquired 4th quarter 19th century.

CONDITION: A richly-inked impression with strong contrasts and no signs of wear and inky plate edges. With the empty spaces along the upper and upper-left edges. Faint marginal discoloration to extreme upper left, lower left, and right corners, outside of plate. With thin, Japan paper hinges affixed to upper left and right en verso. [See more photos →]

Alfred Steiglitz (American, 1864-1946), "Guro Mask, Ivory Coast," platinum print, circa 1914. 10" x 8". Note: Alfred Stieglitz became interested in African sculpture after being introduced to it in 1909 by the artist Max Weber. In 1914, Stieglitz organized an exhibition titled "Statuary in Wood by African Savages – The Root of Modern Art" at the 291 Galleries in New York. It was the first exhibition in the U.S. focused entirely on African artifacts as fine art. Stieglitz scholar and curator Sarah Greenough attributes this photograph to Stieglitz, in connection with this exhibit.
PROVENANCE: Private Nashville collection; acquired from the direct descendant of Ida O''Keefe''s business manager. (Note: Ida Ten Eyck O''Keefe was the sister of Georgia O''Keefe and sister in law to Alfred Stieglitz).

CONDITION: Loss to upper left corner and smaller losses to upper right and lower left corners, with additional small stain to lower left corner. Overall toning. Pencil inscriptions en verso. [See more photos →]

Set of Schofield, Baltimore Rose-Decor pattern, sterling silver flatware, 109 total pieces, including: 12 dinner knives with New French Hollow blades, 12 forks (6 dinner and 6 luncheon), 12 salad forks, 11 teaspoons, 6 cream soup spoons, 3 grapefruit spoons, 12 iced teaspoons, 12 demitasse spoons, 6 individual butter spreaders, 2 place spoons, 1 large serving spoon, 1 2-pc. carving set, 1 pair poultry shears, 1 pie server, 1 aspic server, 1 pair sugar tongs, 1 gravy ladle, 1 sauce ladle, 1 master butter knife, 1 pickle fork, 1 lemon fork, 1 lettuce fork, and 1 sugar spoon. Set also includes seven (7) S. Kirk & Son Repousse flatware pieces including a cake breaker, child''s spoon, 3 nut spoons, 1 steak carving set (knife + fork, 2 pcs) and 1 bread and butter plate with repousse rim. Total 135.98 total weighable troy ounces.
PROVENANCE: The collection of Allison and John Beasley, Nashville, TN.

CONDITION: All pieces in overall very good condition with monograms to the back of the handle. Pie server blade replaced. [See more photos →]

Persian square, silk on silk Qume rug, deep red field with an allover scrolling floral pattern and central radiating circular medallion with quarter medallions to each corner, all within three primary borders. Signed by Master Razaei in the border. Woven in deep red, blue, pink, gold, green, and cream colors. 120 in. x 114 1/2 in. 20th century.

CONDITION: Overall very good condition. Almost even wear to pile, light overall grime, some light wear to pile noted to one end. [See more photos →]

Anton Weiss (Tennessee/Arkansas, 1936-2019) large abstract acrylic on canvas painting titled "Red Conformance" rendered in multi-tonal swaths of red, burnt orange, blue, yellow, peach, white, and black. Signed and dated "Anton Weiss 02" lower left. Titled en verso on top stretcher and additionally signed and dated en verso. Housed in a custom red painted wood frame. Sight: 39 7/8" sq. Framed: 45 1/4" H x 45 1/2" W.
PROVENANCE: Private Middle Tennessee Collection.

CONDITION: Painting and frame in excellent condition. [See more photos →]

Eighty-four (84) pieces 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. 99.06 total weighable troy ounces.

PROVENANCE: Private Middle Tennessee collection.

CONDITION: Excellent condition. No monograms. Includes original cloth bags. [See more photos →]

Eames No. 670 & 671 lounge chair and ottoman in chocolate brown leather upholstery, made by Herman Miller circa 1970s and designed in 1956 by Charles Eames (American, 1907-1978) and Ray Eames (American, 1912-1988). Chair – 31 1/2"H x 33" W x 29"D. Ottoman – 18 1/2"H x 26"W x 21"D.

PROVENANCE: Private Nashville area collection, acquired c. 1977.

CONDITION: Overall very good condition. A handful of very minor small scuffs to leather. A couple of small spots (largest 1/2" L) of a flaky white substance, possibly paint, on seat, back and wood on one side. [See more photos →]

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.
PROVENANCE: The Estate of Eldridge "Dit" Shively, White Pine, TN.

CONDITION: Two (2) of the joints contain small cracks. [See more photos →]

Ten (10) Reed & Barton sterling silver julep cups with beaded rims and bases. Each stamped to base with maker''s marks, Sterling, X253, and presidential initials for the period in which each cup was made. Includes seven (7) RMN for the Richard Milhous Nixon Presidency (1969-1974); one (1) GRF for the Gerald Rudolph Ford, Jr. Presidency (1974-1977), and one (1) JEC for the Jimmy Carter Presidency (1977-1981). Not monogrammed. Each 3 3/4" H. 46.81 total troy ounces.

CONDITION: Light surface scratches. One with initials RMN nearly removed. Two RMN cups with minute dents, largest 1/8" L. [See more photos →]

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.
PROVENANCE: Private Nashville TN collection.

CONDITION: Overall very good condition; some very slight natural inclusions inherent in the marble. [See more photos →]

Grouping of eight (8) Chinese Peking Glass snuff bottles, most clear glass, one white and one turquoise glass, all with carved cameo decoration including dragon, horse, bat, crane, goldfish, and foliate. Ranging in size from 2 3/8" H to 3" H. Late 19th/Early 20th century.
PROVENANCE: The estate of Dorothy G. Davison, Knoxville, TN.

CONDITION: Bottle with bat decoration with 3 horizontal hairlines. Bottle with horse decoration with fractures to the neck. Chipping to the rim of the bottle with fish. 3 bottles without spoons to stoppers. The remaining bottles overall very good condition. [See more photos →]

Sixty-three (63) piece set of Tiffany & Company sterling silver flatware, Hampton pattern, service for eight. Including 8 dinner knives with blunt stainless blades (9 1/4" L), 8 individual butter knives with stainless blades, 8 dinner forks (7" L), 8 salad forks (6 7/8" L), 8 place spoons, 16 teaspoons, 2 serving spoons, 1 cream ladle, 1 master butter, and 3 additional knives with New French blades (10" L). All pieces with Tiffany maker''s marks and date letter for 1907-1947. All pieces, except the longer knives and cream ladle, with M monogram. Housed in a fitted case, 15 3/4"L x 11 1/2"W x 3"H. 81.81 total weighable troy ounces.

CONDITION: All pieces, except the longer knives and cream ladle, with M monogram. All pieces in very good condition. [See more photos →]

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.
PROVENANCE: By descent in the historic Pinckney family of Runnymede Plantation, South Carolina.

CONDITION: Shallow 1/3" dent below spout, a few other shallow smaller dents, some spots of persistent tarnish, overall good condition. [See more photos →]

Guy Carleton Wiggins (New York/Connecticut, 1883-1962) oil on academy board American impressionist maritime painting depicting three large sailboats grounded on a beach, 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. Note: Abraham Jacob Bogdanove (1888-1946) was a Russian American artist primarily active in Maine and New York and recognized for his coastal Maine seascape images. Leonard Clayton (1899-1977) was an art dealer and gallerist active in New York. Biographical note: "Brooklyn-born Guy Wiggins was the son of a prominent landscape painter with whom he initially studied. He had further studies at the Brooklyn Polytechnic Institute and at the National Academy of Design in New York. At age twenty he was the youngest American artist to have a work accepted for the permanent collection of the Metropolitan Museum of Art. In the 1920s he began summering at Old Lyme, Connecticut, as one of the junior members of that well-established group of American impressionists. In that environment, his work was influenced by Childe Hassam and other members of the Ten. In 1937 he moved his studio to Essex, Connecticut, where he founded an art school and continued to teach. He traveled and painted widely throughout the country and had his works installed in many public collections." Source: Smithsonian American Art Museum

CONDITION: Painting in overall very good condition. minor retouching to frame abrasions along edges, especially right edge. Frame with abrasions and losses. [See more photos →]

Southern two-piece walnut Jackson press, Carolinas or Virginia, yellow pine and poplar secondary. The upper section with a stepped ogee cornice over two eight-pane glass doors enclosing four shelves and three drawers with nailed construction and wood pulls. The lower section has applied molding below the top, two dovetailed drawers and two paneled doors enclosing two shelves, all resting on a shaped skirt and slightly tapered feet. Both sections with round wood pulls and kite-shaped bone escutcheons. 93 1/2" H x 47 5/8" W x 20" D. Circa 1840.

CONDITION: The top section appears to be an early association with the base, some sun fading; the hinges are replacements with patch repairs. The lower section left drawer has part of the drawer bottom with older replacements and a replaced back, the other drawer has a replaced drawer bottom (plywood) and replaced back. Replaced drawer supports. Both cases with older refinished surfaces, some wear and scratching. [See more photos →]

Pair of two (2) Chinese Qing cloisonne enamel pricket candleholders decorated with scrolling foliate and fret motifs and taotie masks, all on a turquoise ground; circular drip pans; and bell-shaped bases. Both candleholders are fitted with hardwood stands. 14 5/8" H x 7" dia. Late 19th/early 20th century.
PROVENANCE: The Estate of Richard J. Eskind, Nashville.

CONDITION: Overall good condition with some oxidation to metal and candle wax and wear to the enameled surface, primarily to the drip pans. One candleholder with a loose shaft, top does not rest flush to the base. Both hardwood bases with minor losses to top edge. [See more photos →]

Henri Matisse''s (French, 1869-1954) The Last Works of Matisse 1950-1954, book of color lithograph plates consisting of lithographs from Verve no. 35/36 (Summer 1958), some double, triple, and quadruple-paged, along with heliogravures of related drawings plus text by Pierre Reverdy and Georges Duthuit. Published by Harcourt, Brace and Company, New York, 1958, with lithographs printed by Mourlot Freres and heliogravure in black and white by Draeger Freres. With 37 of the original 40 color lithographs, missing three Nus Bleus prints. 14 1/4" H x 10 1/2" W x 1" D.

CONDITION: Color plates in overall good condition, with minor toning to most edges. Book is missing spine and dust jacket and gatherings are detached. Boards with abrasions, staining, and losses. With marginal pencil inscriptions to Vegetaux and Fluers de Neige, along with fingerprints, and to Nuit de Noel. Minor, primarily marginal foxing to several prints, especially one Nus Bleus lithograph. Minor dampstaining to gutter or margins of some heliogravure pages, primarily outside of images. Other pages with negligible to minor soiling and handling wear. [See more photos →]

Tennessee cherry Jackson press, possibly Rose Cabinetmaking shop, Knoxville area. Poplar secondary, two-part construction. The top section with a slanted ogee molded cornice and plain frieze over two latticework glazed doors opening to four shelves; the lower section with two dovetailed drawers over two paneled doors, flanked by fully-turned pilasters, paneled case sides, the whole resting on turned legs terminating into ring and ball feet. 87 1/2" H x 43" W x 21 1/4" D. Circa 1830.
PROVENANCE: Previously from the collection of former antique dealers Jane and John Luna from Columbia, TN, descended in the family.

CONDITION: Older refinished surface with scattered abrasions or wear to the cornice and upper stiles. Drawer sides built up. Horizontal strip of wood applied to the upper part of the back of the base. Some evidence of old insect damage to the back. [See more photos →]

Iranian Isfahan area rug, wool pile with silk highlights on silk, allover floral pattern with central medallion on an ivory ground center flanked by foliate spandrels, all within four primary borders. Signed in the border for the Serafian family. Woven in red, blue, ivory, pink, green, gold and lilac colors. 94 1/2" L x 62 1/2" W. 20th century.

CONDITION: Overall good condition with even pile wear, water stains noted to one end. [See more photos →]

Eames No. 670 & 671 lounge chair and ottoman, made by Herman Miller and designed in 1956 by Charles Eames (American, 1907-1978) and Ray Eames (American, 1912-1988). Rosewood veneer shells with black leather cushions and cast aluminum bases. Herman Miller white and silver medal labels (used 1956-1964) to undersides of chair below faded paper labels, ottoman not labeled. Chair: approx. 32" H x 33" W x 33" D. Ottoman: 16" H x 26" W x 21" D. Note: a matching black leather lounge chair and ottoman from the same private collection is being offered on Day 2 of this auction.

PROVENANCE: Private Nashville collection, acquired mid 20th century.

CONDITION: Chair and ottoman overall good condition. Leather to chair and ottoman with scattered wear; some cracking on armrests. Ottoman with 1" dia. loss to veneer along top edge. Scattered abrasions and wear to shells. [See more photos →]

Henry Barnes (Georgia, 1940-2014) oil on canvas Tuscan village scene painting depicting a quiet street lined with buildings and beneath a starry night sky. Signed "H BARNES," lower right. Housed in a speckled wood frame with cream fabric fillet. Canvas: 24" H X 18" W. Frame: 32" H x 26" W.

CONDITION: Excellent condition. [See more photos →]

Guisseppe Bessi (Italy, 1857 – 1922) Italian marble sculpture depicting the bust of a youth wearing a laurel wreath. Signed en verso upper right G. BESSI. Mounted onto a trapezoidal-shaped base. 25 1/2" H x 14 1/2" W x 6 1/2" D. Late 19th/Early 20th century.
PROVENANCE: The estate of Thelma Schlicher, by descent from the estate of U.S. Ambassador Ronald Schlicher, Brentwood, TN. Note: Tennessee native Ron Schlicher entered the foreign service in 1982, working primarily in the Middle East. He returned to TN after retiring in 2011. Among his many diplomatic roles, he served as Ambassador to Cyprus, U.S. Principal Deputy Assistant Coordinator of Counterterrorism, and was director of the Iraq Task Force during the 2003 war with Iraq.

PROVENANCE:

CONDITION: Several fissures to marble, inherent to the stone. Some areas of slight discoloration and some minor old fleabites and losses to edges. [See more photos →]

Eames No. 670 & 671 lounge chair and ottoman, made by Herman Miller and designed in 1956 by Charles Eames (American, 1907-1978) and Ray Eames (American, 1912-1988). Rosewood veneer shells with black leather cushions and cast aluminum bases. Herman Miller white and silver medal labels (used 1956-1964) to undersides of chair below faded paper labels, ottoman not labeled. Chair: approx. 32" H x 33" W x 33" D. Ottoman: 16" H x 26" W x 21" D. Note: a matching black leather lounge chair and ottoman from the same private collection is being offered on Day 1 of this auction.
PROVENANCE: Private Nashville Collection, acquired mid 20th century.

CONDITION: Chair and ottoman overall good condition and structurally sound. Ottoman with 2" x 1/4" veneer loss along top edge with paint touch-up. Chair missing two armrest screws, one on each side, and has one broken cushion hook to seat. Seat cushion and one armrest with few scattered faint white streaks or scuffs; underside of seat cushion with approx. 3" L tear in corner, near seam. Scattered abrasions and wear to shells. Leather to both items with scattered wear, some cracking to armrests. [See more photos →]

Peter Max (New York/Germany, b. 1937) acrylic painting and screenprint entitled "Liberty Head II" and depicting the head of the Statue of Liberty surrounded by colorful embellishments, 1997. Signed "Max" in acrylic, lower right. Floated in a marbleized giltwood frame with black textile mat, gold fillet, and black textile backing. Sheet: 13 3/4" H x 12" W. Frame: 26" H x 23 3/4" W.

CONDITION: Excellent condition. Not examined out of frame. [See more photos →]

Peter Gabrielse (Dutch, b. 1937) mixed media and electric light bulb composition, untitled, 1989, comprising miniature furniture and other objects and architectural fragments to portray a dilapidated structure with crumbling bricks. 14 1/2" H x 14 1/2" W x 4 1/2" D.

Note: Gabrielse is known for creating interiors in miniature. His parents dealt in antiques and the artist lived in an old house that inspired him from childhood. After studying art as an adult, he became a set designer for theater and television. He eventually began creating "box sculptures" that portray interiors with "an atmosphere of the past, theatrical crumbling elegance with a strong ''dust and spider'' trend." (Source: Artist''s website).
PROVENANCE: The Estate of Richard J. Eskind, Nashville.

CONDITION: Excellent condition. Light functioning at time of inspection. [See more photos →]

Ladies 18K yellow gold Italian designer Modernist bangle bracelet. The bracelet is marked "star 212 750 18K Italy" and XRF tests 18K gold. The bracelet is 7" L. and has a weight of 44.20 grams.
PROVENANCE: The Estate of Eldridge "Dit" Shively, White Pine, TN.

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

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.

CONDITION: Overall toning and some spotting, horizontal fold lines with some losses to the lower two fold lines and some losses to the upper left corner and lower left corners and lower right margin. [See more photos →]

Ladies platinum bracelet featuring twelve (12) round brilliant cut natural blue sapphires approximately 4.42mm each. Accented by nine (9) single cut diamonds approximately 0.09 carats, Clarity-SI1, Color-H. The bracelet XRF test 90% platinum and is 7" around. Gross weight of the bracelet is 10.81 grams.

CONDITION: The safety chain is missing. [See more photos →]

A Victorian rectangular pietra dura plaque depicting a floral bouquet with roses and lilies against a black ground, mounted in a gilt bronze tray frame with carved dragon cartouche decoration, shaped corners, flowering branch handles, and a footed base. Unmarked. 1 1/2" H x 20 3/4" W x 13" H. 19th century.

PROVENANCE: A Nashville, Tennesse estates.

CONDITION: Plaque overall very good condition with some light minor smudging and scratching. Bronze tray with minor patination. [See more photos →]

Bill Sawyer (American/Tennessee, 1936-2020) oil on canvasboard modernist painting depicting a young man seated alone at a table, his face half-shadowed. A bud vase holding a flower with a broken stem sits before him, with two dropped petals on the table, and the painting is rendered in melancholy shades of blue. Signed "Bill Sawyer" lower right. Whitewashed molded frame. Sight: 19 1/2" H x 15 1/2" W. Frame: 23 1/2" H x 19 1/2" W.

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

CONDITION: Overall very good condition. A couple of tiny flakes at lower left edge, and a couple of trapped brush hairs at center. Some wear and shrinkage to frame. [See more photos →]

Three (3) Elvis Presley items, including 2 signed photographs and 1 signed International Hotel folder. Pictured in the photographs are Jim and Gladys Tipler, who owned Crown Electric in Memphis, celebrating Mrs. Tipler''s birthday with friends at two separate Elvis performances at the Las Vegas Intercontinental Hotel, in the early 1970s. (note: On April 20, 1954, Elvis began working at Crown Electric for $1 per hour. He delivered supplies to job sites and hoped to become an electrician. He stayed at Crown until mid-October 1954, after having recorded his first record at Sun Studio. – Source: Graceland). Included with this lot is a handwritten letter of provenance from Ruth Ann Lewis, who worked for Marsh E. Tipler, executor of Jim and Gladys Tipler''s estates; 1 unsigned International Hotel folder, and a copy of a 1956 Elvis magazine biography. Folders: 11" x 9 1/4". Photos: 10" x 8" (one black and white, the other in color, both with "Happy Birthday" inscriptions; the color photograph inscription specifically names Mrs. Tipler).
PROVENANCE: Private Memphis collection.

CONDITION: Color photo: light fading and toning, ink not fully expressed in parts of the signature. B/W photo: light toning, couple spots of handling grime. Folders: light handling wear, signature bold. Magazine: handling wear. [See more photos →]

Seventy-five (75) piece set of Gorham Florentine-Florenz pattern sterling silver flatware, service for 12, including twelve (12) Old French hollow knives (8 3/4" L); twelve (12) forks (7 1/8" L); twelve (12) teaspoons; twelve (12) pastry forks; twelve (12) flat handle butter spreaders; seven (7) iced tea spoons; five (5) gumbo soup spoons; three (3) dessert or oval soup spoons. All stamped with maker''s mark and Sterling. All monogrammed W; this set descended from the Westinghouse family. 102.28 weighable troy ounces.
PROVENANCE: The estate of Dorothy G. Davison, Knoxville, TN.

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

Harold Larry Cohen (England/California, 1928-2016) abstract oil on canvas painting depicting organic purple, red, orange, and green forms with linework in black. Signed, titled, and dated "Harold Cohen / ''IMPERIAL'' / JULY 1964 London" en verso. Stretcher with Robert Fraser Gallery, London, label and inscribed "E6499 X R FRAZER." Housed in a thin wood frame. Canvas: 36" H x 45" W. Frame: 36 3/8" H x 45 1/2" W. Note: Photocopies of relevant pages from a 1980 institutional publication with provenance history are included in the image sequence. Exhibition history (according to 1980 institutional publication): Whitechapel Gallery, London; May-June 1965; cat. no. 53.

Biographical note: Harold Cohen studied painting at the Slade School of Fine Arts in London. By the mid-1960s he had established himself as an abstract painter with an international reputation, representing Britain at the Venice and Paris Biennales. He subsequently moved to the United States and from 1973-1975 he worked at the Laboratory for Artificial Intelligence at Stanford University, where he developed the AARON computer program. Besides instructions on form and color the program also takes into account what AARON has previously drawn, thus making it highly complex. AARON is said to be the first robot in human history to create art, the world''s first pure A.I. artist. (Adapted from the Victoria and Albert Museum).

PROVENANCE: Deaccessioned by a Southern institution to benefit the acquisitions fund; Acquired from Robert Fraser Gallery, London, 1965.

CONDITION: Faint stretcher marks to edges plus scattered abrasions, largest to lower center, 6" L, along with minor scattered accretions, largest to lower left, 4" x 1 1/4". 1 1/4" L retouch to lower right of green form. [See more photos →]

Pair of Italian Vetri Murano teardrop form blue swirl glass table lamps. Each with Vertri Murano sticker near base. Both 18" H x 6 1/4" dia. Late 20th century.

CONDITION: Overall very good condition. Both functional at time of inspection. One with adhesive residue to base. [See more photos →]

Scarce portfolio, "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 Andre Kertesz''s "New York City," 1977; Eve Arnold''s "London," 1962; Jill Freedman''s "Circus Days," 1971; Ernst Haas''s "USA," 1960; 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.
PROVENANCE: The Estate of Richard J. Eskind, Nashville.

CONDITION: Overall very good condition. With minor, scattered scuffs or accretions to gelatin layer of Jill Freedman''s "Circus Days" visible primarily in raking light. [See more photos →]

Exceedingly rare Eastern North Carolina Needlework sampler by Pussey Grady of Duplin County, circa 1820. The silk on linen sampler features 6 alphabets rendered in a variety of stitches including cross, eyelet, box and Queen''s stitch, separated by simple borders and signed on the last line. Mounted on a black mat and housed under non-glare glass in a later, wormy-chestnut style frame. Sampler: 16 3/4" H x 11 1/2" W. Frame: 18 3/4" H x 13 1/2" W.

Puss (Pussey) Grady was born 1808 in Duplin County, NC. She was the daughter of Henry Grady and Elizabeth Outlaw, daughter of Revolutionary War hero Captain James Outlaw. Pussey married John Jackson (1802-1877) in 1825 at the age of 16 and gave birth to nine children. She appears to have spent her entire life in Eastern North Carolina and died in neighboring Lenoir County, NC in 1868. A sheet of genealogy information is available to the winning bidder.

PROVENANCE: Private Southern collection.

CONDITION: Not examined out of frame. Sampler is in very good condition with light toning and fading to thread and ground, no apparent holes or repairs. [See more photos →]

Extremely scarce O. B. Buell (1844 – 1910) 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.

PROVENANCE: Private Southern collection.

CONDITION: Overall very good condition. Some very faint spotting affecting background and subject''s jaw line, visible in raking light. Some wear to mount at upper left corner and lower right edge. Later collection label adhered to reverse. [See more photos →]

Two (2) carved and painted duck decoys, redhead hen and drake, likely by Mason Decoy Factory (1896-1924) Detroit, MI. Premier grade with hollow bodies, glass eyes, swirled feathers, relief bill carving. Hen with "C.O" to underside. Both approximately 6 1/2" H x 14" W x 6" D. Likely first quarter 20th century.
PROVENANCE: Private Knoxville, Tennessee collection.

CONDITION: Both in good condition with use and age wear including scattered paint loss, wood shrinkage, and general wear. [See more photos →]

FOR WHOM THE BELL TOLLS, First Edition, Second Printing, by Ernest Hemingway, published by Charles Scribner''s Sons, New York, 1940. Inscribed to Hemingway''s friends on ffep "For Martha Belle and Hall with love from Ernest /" (Martha Belle (Aikins) Smith and author Walton Hall Smith). Hardcover octavo, 471pp, hardbound in publisher''s tan cloth with red labels to spine and black lettering to front cover and spine; 1st state pictorial dust jacket with $2.75 price intact; lack of photo credit under rear portrait; wrapped in protective cover. 8 3/4" H x 6 1/4" W x 1 3/4" D.

CONDITION: Book in Good condition with toning to spine and top edge of boards, dampstaining to top edge, extending down 1/2" onto pages. DJ in Good condition, not clipped, 1/4" chips to spine ends, two 1/2" tears to top and bottom front cover. [See more photos →]

Full stock .40 caliber percussion Kentucky long rifle, signed "H West" on barrel flat. Octagonal barrel with front and rear sights; brass trigger guard, ramrod loops and crescent butt plate, dark stained wood stock, double-set triggers, and wooden ramrod. Overall: 62 1/2" L; Barrel 46" L. Note: H. West (likely Hiram) was born at Georgetown in Scott County, Kentucky, in 1832, and was the son of Kentucky gunsmith Capt. Lewis West. H. West was working as a gunsmith in the same location in 1850. (Federal Census of 1850, Kentucky Division).
PROVENANCE: Private Knoxville, Tennessee collection.

CONDITION: Missing a piece of wood along left side of barrel, approx. 8 1/2" by 3/8". Repair made to nipple; pitting w some rust. Hammer is immobile in rear position. [See more photos →]

Yoshida Chizuko (Japan, 1924-2017)) abstract woodcut entitled Akai Uzumaki (Red Whirlpool), 1964. Titled in Japanese, pencil signed "Yoshida Chizuko," and editioned 32/50, lower margin. Housed under plexiglass in a modern wood frame with mauve mat. Sight: 23 1/2" H x 18 1/2" W. Frame: 30 15/16" H x 25 7/16" W.
PROVENANCE: A Nashville Tennessee estate.

CONDITION: Overall very good condition. Light toning to top half of paper. Not examined outside of frame. [See more photos →]

Paul Jacoulet (France/Japan, 1902-1960) shin hanga Japanese woodblock print depicting two women sheltering from a storm at Metalanim (Nan Madol) on the island of Pohnpei in the East Caroline Islands, 1935. Pencil signed "Paul Jacoulet" above mandarin duck chop mark, lower left. Titled A Metalanim Ponape…Est Carolines (Downpour at Metalanim Ponape…East Carolines) to lower right margin. With JP watermark, lower left. From the first edition of 150. Editioned 109/150 in Japanese en verso. Housed in a Japan paper folder with hinged window mat and tissue interleaving, possibly original to the print. Sheet: 18 1/2" H x 13 13/16" W. Portfolio: 20 3/16" H x 14 13/16" W.

CONDITION: Excellent condition. [See more photos →]

George III style Satinwood chest of drawers, oak secondary wood. Rectangular, serpentine top with crossbanded edges and canted front corners; conforming case with four graduated full-length dovetailed drawers, each having crossbanded edges and round brass pulls and oval escutcheons, over four flared French feet joined by a curved skirt. Plain sides. 35 1/2" H x 37" W x 22" D. English, 19th century.
PROVENANCE: The Estate of Richard J. Eskind, Nashville.

CONDITION: Overall excellent condition with some minor veneer replacements and shrinkage. Repair to one rear foot facing. Original hardware. [See more photos →]

Tiffany & Company Art Deco travel clock, 8-day Swiss movement, square clock face framed in silver, inset into a red, blue, and green hexagonal enameled frame and raised on a silver rectangular base. Gilt clock face marked 8 DAYS, TIFFANY & CO., SWISS. 43/4" H x 4 1/4" W. Circa 1920''s, 1930''s.

PROVENANCE: By descent in the historic Pinckney family of Runnymede Plantation, South Carolina.

CONDITION: Some tarnish to silver surfaces, clock face with some wear, not tested for functionality. [See more photos →]

Swiss Samuel Troll Fils orchestral cylinder 8-tune music box, rosewood case with central scroll inlay to the top and ebonized trim and interior. Features one drum, six bells, and one castanet. Underside of lid with the original tune card reading "Fabrique de Geneve" with a list of the eight music selections and marked with the serial number #1822; serial number also stamped on crank. Interior fitted with glass cover. Governor marked "S. Troll Fils Geneve" for Samuel Troll & Fils. 10" H x 22 3/4" W x 11 1/4" D. Late 19th century.

CONDITION: Overall good condition. Teeth of steel comb intact. Functional at time of inspection. General wear and scratching to case. [See more photos →]

Antique Persian Tabriz rug or carpet, wool on wool. Large central medallion on a red ground flanked by ivory ground spandrels, with three primary borders, all over scrolling foliate design. Woven in red, blue, cream, green, and pink colors. 6 ft 10 in x 4 ft 11 in. Late 19th/Early 20th century.
PROVENANCE: Private Des Moines, Iowa collection.

CONDITION: Overall very good condition with light even pile wear, and minor losses to the fringe on each end. Homemade denim loops en top verso for hanging. [See more photos →]

Large pair of Chinese blue and white porcelain ginger or temple jars, both having opposing dragon decoration, applied figural foo dog masks to the shoulders, and domed lids with figural foo dog finials. 18 3/4" H. 20th century.
PROVENANCE: The estate of Thelma Schlicher, by descent from the estate of U.S. Ambassador Ronald Schlicher, Brentwood, TN. Note: Tennessee native Ron Schlicher entered the foreign service in 1982, working primarily in the Middle East. He returned to TN after retiring in 2011. Among his many diplomatic roles, he served as Ambassador to Cyprus, U.S. Principal Deputy Assistant Coordinator of Counterterrorism, and was director of the Iraq Task Force during the 2003 war with Iraq.

PROVENANCE:

CONDITION: Both jars are in overall very good condition with scattered firing and glaze imperfections, in the making. [See more photos →]

Paul Lancaster (Tennessee/Colorado, 1930-2019) oil on canvas painting depicting a dark haired young woman wearing a colorful patterned robe and skirt, at the center of a lush garden landscape setting. Signed "Lancaster" lower right. Note: this painting was exhibited and won the best of show award at the 33rd Annual Tennessee All-State Art Exhibition. Sight – 37"H x 47"W. Frame – 47"H x 57"W.

CONDITION: Painting – excellent condition. Frame has some small scuffs to rabbet edge, top center, and a small loss to the upper left corner. [See more photos →]

East Tennessee, Blount County, salt-glazed stoneware pottery jug. Ovoid form with a double beaded collar, tooling between the collar beads and beveled foot. Impressed MARYVILLE POTTERY lower body and additionally impressed "1" near handle attachment for gallon capacity. 11" H. Note: This piece is featured on pages 27 and 189 of the book TENNESSEE TURNED: EARTHENWARE AND STONEWARE MADE IN EAST TENNESSEE 1800-1900, PART ONE, by Carole Carpenter Wahler. It notes that Maryville Pottery operated from 1885-1890.
PROVENANCE: The living estate of Dr. Jerry Waters, Maryville, TN.

CONDITION: The jug handle is absent. Base with scattered fleabites and one chip. [See more photos →]

US Army Colt Model 1911, .45 ACP, SN 610177, manufactured in 1919. Marked on right of frame "UNITED STATES PROPERTY / No 610177", and on the left side a Springfield Armory S12 Eagle Head ordnance mark; interlaced "HP" mark on top of barrel partially obscured. 5" barrel, wood grips, 7 round magazine. Marked on the left side of slide "Patented Apr. 20, 1897. Sept. 9, 1902 / Dec. 19,1905. Feb. 14, 1911. Aug. 19, 1913" along with "COLT''S PT.F.A. MFG. CO. / HARTFORD, CT. U.S.A.". Marked on the right side of slide "MODEL OF 1911. U.S. ARMY". Retains a BOYT 44 US Army Military WWII leather holster. History: The US Army Colt Model 1911 was designed by firearms inventor John Browning after years of development of various semi-automatic pistols. The 1911 pistol allowed the U.S. forces to quickly reload and was a significant battlefield advantage. NOTE: Most firearms made after 1898 require passing an FFL background check prior to transfer. The date of production for this gun makes it subject to FFL rules. Please be prepared with proper identification and information. If you do not reside in Tennessee, an FFL dealer in your state is required to complete the transfer.
PROVENANCE: The Estate of Eldridge "Dit" Shively, White Pine, TN.

CONDITION: Wear to the finish on the frame, with even brown/gray patina to frame and slide, dark finish remains under grips. Slide operates smoothly, untested but appears fully functional. Bore is clean. Holster with verdigris to rivets. [See more photos →]

Family register sampler of the Walker family of Rogersville, Tennessee, circa 1845, silk on linen, worked by Ella L. Walker, daughter of Frances Grantham Rogers Walker (1795-1883) and her second husband, Dr. Hugh Kelso Walker (1802-1866). Featuring rows of both uppercase and lowercase alphabets over a listing of family members and a verse and signature reading "Defend the poor and fatherless/do justice to the afflicted and needy. Worked by E. L. Walker." Laid on blue fabric and housed in a later gilt wood frame. Sampler measures 22 1/4" H x 13" W. Frame: 22 1/2" H x 13 1/4" W. Note: Ella, also known as Elvira, Walker was born 1835. This sampler records her older siblings Joseph and Margaret, and younger brother Thomas (born 1837), who were born to Frances and Hugh Walker, along with her older half siblings Mary Elizabeth Gaines McKinney, Charles McKinney, and Frances Gaines Lynn, from her mother''s first marriage to James Taylor Gaines, and Frances Gaines'' spouse Charles Lynn. Note: Ella Walker was the granddaughter of Joseph Rogers, the founder of Rogersville, TN, and his wife Mary "Polly" Amis Rogers, whose portraits are being sold in this auction along with portraits of Ella''s parents, Dr. Hugh Kelso Walker and Frances Rogers Walker. Ella never married and died in 1918 in Rogersville.

PROVENANCE: By direct descent through the Rogers and Walker families. See other related lots from this historic family, also in this auction.

CONDITION: Sampler has been professionally conserved, conservator information en verso. Some discoloration and fading to stitching with some scattered stains (particularly to upper left corner) and scattered, minor losses to linen ground. [See more photos →]

Set of Kirk & Son sterling silver flatware, Old Maryland-Plain pattern, 47 total pieces including eight (8) dinner knives, seven (7) teaspoons, five (5) tablespoons, ten (10) dinner forks (7 3/8" L), twelve (12) salad forks (6 1/2" L) and five (5) individual butter spreaders. The set also includes six (6) Towle teaspoons in a similar pattern. 59.67 total weighable troy ounces.

CONDITION: All pieces are monogrammed and exhibit use wear. One of the Towle teaspoons with damaged bowl. [See more photos →]

Joseph Sherly Sheppard (Maryland, b. 1930) oil on board painting of a nude male who reclines on a bed as he looks out an open window with head in hand. A mirror reflects a woman''s face and bare shoulders as she stands behind a dressing screen at right. Signed and dated "Sheppard 88," lower right. Housed in a black and gilt-decorated frame. Sight: 19 1/2" H x 23 1/2" W. Framed: 31 1/2" H x 37 1/2" W.

CONDITION: Overall very good condition. Will minor frame abrasion, especially to right edge. Not examined outside of frame. [See more photos →]

Eighty-Four (84) piece assembled set of Kirk sterling silver flatware, including eight (8) New French hollow knives; four (4) Modern hollow knives; four (4) hollow handle butter knives; twelve (12) dinner forks (7 7/8" L); twelve (12) salad forks (6 3/8" L); sixteen (16) teaspoons; six (6) round bowl cream soup spoons; three (3) dessert or oval soup spoons; one (1) sugar spoon; two (2) baby spoons; one (1) serving spoon with ovoid bowl; two (2) large salad serving spoons with shaped bowls; one (1) cold meat serving fork; one (1) salad serving fork; one (1) relish fork; one (1) short handle olive or pickle fork; one (1) gravy ladle; one (1) cream ladle; one (1) master butter knife; one (1) front-and-back design butter knife; one (1) jelly server; one (1) candle snuffer; two- piece (2) wooden salad serving set; one (1) ring made in from flatware handle, size 6. Some items monogrammed. Lot comes with a vintage Kirk sterling pamphlet and Kimball''s Knoxville/ Oak Ridge price sheet from October 1968. Housed in a painted wood case, 4 1/2" H x 17" W x 11 1/2" D. 91.83 weighable troy ounces.

CONDITION: Overall good condition, light surface wear and scratches. Some items monogrammed. [See more photos →]

East Tennessee, Hancock County, Hepplewhite walnut harvest or tavern table consisting of a large overhanging two-board top with rounded corners, scratch-beaded apron edge, and tapered Hepplewhite legs with scratch-beaded edges. Pegged construction throughout. 30" H x 36 3/8" D x 71 7/8" L. 3rd Qtr. 19th century.
PROVENANCE: The living estate of Dr. Jerry Waters, Maryville, TN.

CONDITION: Overall very good condition with older refinish and normal wear due to age and use including some light scratching, stains, and wood shrinkage to top. [See more photos →]

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".

PROVENANCE: The living estate of Dr. Jerry Waters, Maryville, TN.

CONDITION: Some minor scattered fleabites to the rim and base. Base has a shallow "cresent" chip to the edge, less than 1" L. [See more photos →]

Ninety-two (92) pieces Gorham Nocturne pattern sterling silver flatware, including twelve (12) New French hollow knives (8 7/8" L); twelve (12) forks (7 3/8" L); twelve (12) salad forks; twenty-four (24) teaspoons; twelve (12) butter spreaders; eight (8) oval bowl soup spoons; four (4) round bowl soup spoons; two (2) tablespoons; one (1) cold meat serving fork; one (1) sugar shell spoon; one (1) gravy ladle; one (1) two-tine butter pick; one (1) flat handle master butter knife; one (1) jelly server. All stamped with maker''s mark and Sterling. All pieces monogrammed. 93.99 total weighable troy ounces.
PROVENANCE: Private Southern California estate.

CONDITION: Overall good condition. Monogrammed. Light surface scratches. [See more photos →]

Continental Fruitwood Biedermeier cabinet or small sideboard, pine secondary wood. Plain rectangular top with inlaid diamonds at corners, over a long frieze dovetailed drawer and two doors flanked by plain turned columns atop plinth bases. Ebonized shield shaped escutcheons, foot pads, column bases and capitals. Ink inscription and remnant of old Frankfurt label en verso. 35" H x 35" W x 19 1/4" D. Likely German, second quarter 19th century.
PROVENANCE: The Estate of Richard J. Eskind, Nashville.

CONDITION: Some scattered shrinkage cracking, including to top. Repaired shrinkage cracks (vertical) to doors and scattered minor veneer repairs. Feet possibly replaced; ebonized base pads under feet are likely replaced. Lacking interior shelf. [See more photos →]

Kentucky half stock .36 caliber percussion rifle, octagonal barrel marked "J. Griffith, Louisville, KY". Brass hardware and patch box, double-set triggers, wooden ramrod. Stock with black finish, engraved hammer, and lock plate. Overall 60" L; Barrel 44" L.

CONDITION: Most of original finish to metal is gone. Engraving worn on lock plate. Crack in wood stock in front of lock plate on right side and crack in stock on left side behind screw. Front sight worn. Hammer locks back and releases with trigger. Bore shows pitting. [See more photos →]

US Model 1816 Full Stock Smoothbore Musket, manufactured in Pittsfield, Massachusetts, circa 1820-28, with early percussion conversion. Caliber measures .69. Lockplate marked "Pomeroy" under eagle for Lemuel Pomeroy, and "1820" date above "US". Retains bayonet. Carved initials "CS" on both sides of stock. Approx. Overall 58" L; Barrel 42" L.

CONDITION: Wear to the metal components and scratches in wood consistent with age and use. Carved initials are likely later. Action is good, hammer holds at half and full cock, releases with trigger pull. Bore is fair with minimal pitting. [See more photos →]

Anthony Quinn (Mexico/United States, 1915-2001) blue marble figural sculpture depicting a stylized male torso. Etched signature lower left front corner "AP A. Quinn". Mounted onto a black onyx base. Sculpture measures 13 1/2" H x 13 1/2" W. 18 1/2" total H. Biography: Anthony Quinn, best known to many as an Oscar winning actor, was also a professional artist. He was born in Chihuahua, Mexico and his family moved to Los Angeles when he was a child. At age nine he began sculpting and at age 12, entered a California statewide competition, which he won with a plaster bust of Abraham Lincoln. Another art competition prize in his late teens earned Quinn the opportunity to study with Frank Lloyd Wright. Although his career as an actor propelled him to national recognition, Quinn continued to draw, paint and sculpt, often between takes while working on various films. He occasionally exhibited his sculpture in galleries, including a one-man sell-out exhibit at a gallery in Honolulu, and sold works to celebrity friends.

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

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. Biography: Emil Holzhauer emigrated to the U.S. from Germany in 1906. He studied with Robert Henri, whose social realist approach to painting was highly influential for Holzhauer. He held his first solo exhibition in 1915 and exhibited regularly in New York City, while also working in upstate New York. In 1938 Holzhauer moved to Asheville, NC, and then to Macon, GA, where he became an art professor at Wesleyan College. Throughout the 1930s, Holzhauer became identified with the American Scene movement in art, and was best known for painting the homes and neighborhoods of the working class. (Source: The Johnson Collection).

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

Black, Starr & Frost sterling silver water pitcher. Gadrooned rim, scalloped and foliate engraved sides tapering to a narrow end supported by a circular, engraved and gadrooned foot. Double C scroll handle. Stamped BLACK STARR & FROST STERLING 393, with engraved inscription to underside of foot reading FANNY P. RAVENEL FROM HER AUNT FANNY R. FROST. Monogram FPR to one side; illegible 3-part monogram to the other. 12 1/2"H. 38.26 oz t. Circa 1880.
PROVENANCE: By descent in the historic Pinckney family of Runnymede Plantation, South Carolina.

CONDITION: Overall good condition with some scratching and minor abrasions. [See more photos →]

Diminutive Middle Tennessee or Kentucky cherry Jackson press, poplar secondary. two-part construction. The top section with an ogee cornice and plain frieze over rectangular paneled doors enclosing three shelves, canted carved base molding. The lower section has two dovetailed drawers fitted with wooden pulls above paneled doors and sides enclosing two shelves, all resting on turned feet. Second quarter of 19th century. 82 1/2" H x 43 1/4" W x 20 1/4" D.

CONDITION: Older refinished surface with expected overall use wear, some abrasions to upper door cabinet sides. Upper cabinet hinges are replacements with patches to old hinge placements. Lower cabinet right door with old repair to lower left corner. Wear and minor abrasions to feet. [See more photos →]

Signed French Louis XVI style Chinoiserie-decorated commode, atelier Marcel Mathelin, Paris, with blue/black lacquer ground and polychrome figural landscape decoration attributed to artist Edouard Degaine (1887 – 1967). The commode features gilt bronze mounts to the case and leg edges, two dovetailed drawers having round ring pulls and keyhole escutcheons with bows, on tapered straight legs and surmounted by a shaped deep rouge marble top. Dated 1915 and monogrammed ED in red to the commode''s left side, also stamped to the top corners below the marble MARCEL MATHELIN PARIS 1915 and "E. Degaine" 40 1/8" H x 49 3/4" W x 22 1/4" D.
PROVENANCE: The Estate of Richard J. Eskind, Nashville.

CONDITION: Overall very good condition with minor scattered pinpoint size abrasions, mostly to the lower right edge. Some minor losses to veneer around drawer edges. [See more photos →]

Men''s 14K yellow gold flat link chain necklace with a 10K yellow gold splash pendant featuring a round brilliant diamond approximately 0.33 carats, Clarity-VS1, Color-J. The necklace is marked "14K" and XRF tests 14K gold. The pendant XRF tests 10K gold. The necklace is 19" L. while the pendant is 1 1/2 x 7/8" in size. Gross weight of the necklace and pendant is 47.05 grams.
PROVENANCE: The Estate of Eldridge "Dit" Shively, White Pine, TN.

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

Ladies 14K yellow gold necklace featuring fifty seven (57) synthetic spinels of varying colors. The necklace is marked "14K ABR" and XRF tests 14K gold. The necklace 17" L. and has a gross weight of 36.32 grams.
PROVENANCE: The Estate of Eldridge "Dit" Shively, White Pine, TN.

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

General Store oak revolving octagonal nuts and bolts cabinet, octagonal vertical form with 8 rows of 10 triangular drawers, mounted onto a square base. 37 1/2" H x 21 1/2" W x 21 1/2" D. Early 20th century.

CONDITION: Overall moderate wear and staining to surface, structurally sound. [See more photos →]

Group of three (3) Ferdinand Pautrot (France, 1832 – 1874) bronze bird sculptures including one depicting a sparrow resting on a branch, another depicting a bird and an insect, and a larger sculpture depicting a long-billed bird and a worm. All signed "F. Pautrot" on the base. Ranging in size from 4 3/4" H x 3 3/4" W to 6" H x 5" W. All Late 19th century.
PROVENANCE: By descent in the historic Pinckney family of Runnymede Plantation, South Carolina.

CONDITION: All in good condition with some minor scattered wear and oxidation. [See more photos →]

Large swan decoy, carved and painted wood. Unsigned. Approximately 20" H x 32" W x 10" D. Likely early 20th century.
PROVENANCE: Private Knoxville, Tennessee collection.

CONDITION: Good condition with use wear including scattered paint loss and shrinkage to wood. [See more photos →]

Wigeon drake carved and painted decoy, likely by Mason Decoy Factory (1896-1924) Detroit, MI. Standard grade with solid body, tack eyes. 6 1/4" H x 14" W x 5 1/4" D. First quarter 20th century.
PROVENANCE: Private Knoxville, Tennessee collection.

CONDITION: Overall good condition with age and use wear including losses to paint, shrinkage, and scattered wear to body. Inscribed "244" to underside. [See more photos →]

Serge Poliakoff (active/lived in Belarus, France, Russian Federation, 1900/1906 -1969) abstract color lithograph composed of conjoined white, yellow, blue, and red geometric shapes. Pencil signed "Serge Poliakoff" lower right and editioned 44/200 lower left. Also pencil inscribed en verso "POLIAKOFF, Composition, Lithographique." Unframed. Sight: 23 3/4" H x 18" W. Sheet: 28 3/4" H x 19 1/2" W. Note: This composition was featured on a poster for two exhibitions of work by Serge Poliakoff at the Knoedler Gallery and the Berggruen Gallery in Paris in 1959.
PROVENANCE: Deaccessioned by a Southern institution to benefit the acquisitions fund.

CONDITION: Faintly sun struck, otherwise overall very good condition. With horizontal fold through lower margin and old tape along upper edge en verso. [See more photos →]

Seventy-three (73) pieces of Gorham Buttercup pattern sterling silver flatware, service for 12 plus extras, including twelve (12) modern hollow knives (9 1/8" L); twelve (12) forks (7 1/2" L); twelve (12) teaspoons; twelve (12) salad forks; twelve (12) iced tea spoons; six (6) oval bowl soup spoons; two (2) tablespoons; one (1) pierced bowl tablespoon; one (1) cold meat serving fork; one (1) gravy ladle; one (1) sugar spoon; one (1) hollow handle master butter knife. All stamped with various Gorham marks and "Sterling." Not monogrammed. 80.43 weighable troy ounces.

CONDITION: Overall good condition. Light surface scratches. One teaspoon with damage to bowl. [See more photos →]

Ladies 21K yellow gold bracelet with an unusual repousse and chain link design. The bracelet XRF tests 21K gold and is 7" L. The weight of the bracelet is 23.16 grams.
PROVENANCE: The Estate of Eldridge "Dit" Shively, White Pine, TN.

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

1st item: Ladies 10K yellow gold twist chain necklace with a 10K yellow gold pendant featuring twenty three (23) garnets and twelve (12) seed pearls. The necklace is marked "10K" and both the necklace and pendant XRF test 10K gold. The necklace is 18" L. while the pendant is 1 1/2 x 7/8" in size. Gross weight of the necklace and pendant is 8.44 grams. 2nd item: Ladies 10K yellow gold ring featuring nineteen (19) garnets and twelve (12) seed pearls. The ring is marked "10K" and XRF tests 10K gold. The ring is size 6 1/4 and has a gross weight of 6.11 grams. Gross weight of the lot is 14.55 grams.
PROVENANCE: The Estate of Eldridge "Dit" Shively, White Pine, TN.

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

Ladies 14K yellow gold Victorian necklace with three (3) embellishments on a flat s-chain with tassels hanging from the centerpiece. The open box clasp and each embellishment is marked "14K" and the necklace XRF tests 14K gold. The necklace is 16" L. and has a weight of 36.79 grams.

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

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.
PROVENANCE: By descent in the historic Pinckney family of Runnymede Plantation, South Carolina.

CONDITION: A few tiny dents and areas of persistent polish in crevices, overall very good condition. No monograms. [See more photos →]

Steven Lang (California, b. 1960) oil on canvas painting titled "The Suitor" depicting a Native American man offering gifts or dowry to the family of a young woman, surrounded by women and children with teepees in the background. Signed "(copyright) Lang" lower right. Placard with title and artist name affixed to center bottom frame. Label with printed artist note on subject en verso. Housed in a natural wood frame with linen liner and gilt fillet. Sight: 23 1/2" H x 29 3/4" W. Framed: 35" H x 41" W. Note: A copy of the original purchase receipt from Mountain Trails Gallery, Sedona, AZ is available with the purchase of this work. Artist biography: Descended from Pawnee and Cherokee ancestors, Steven Lang has always been interested in Native American subject matter. Through his love of period reenactments and all things Western as well as his paintings, Lang seeks to depict the legacy of America''s western heritage. Lang was recognized as an Oil Painters of American Master signature member in 2002 and has been commissioned by the National Park Service to depict the 1868 Battle of the Washita among other national organizations. (adapted from the artist''s website langart.com)
PROVENANCE: Estate of Robert Christie: Knoxville, TN.

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

Eight (8) William Spratling (American/Mexico, 1900-1967) Taxco sterling silver Kiddush or liqueur cups. Footed forms decorated with vertical rows of applied circles. Undersides stamped with maker''s mark, 925, and Eagle #30. Each: 1 3/4" H x 1 3/4" dia. 12.99 total troy ounces. Third quarter 20th century.
PROVENANCE: The Estate of Richard J. Eskind, Nashville.

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

Jean Virginia M. Hogan (Connecticut, 1909-before 1975) 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. Biographical note: Jean Hogan was born in Hartford Connecticut. She studied at Pembroke College and became a member of the Connecticut Academy of Fine Arts, the New Haven Paint and Clay Club, the Springfield Art League, and the Hartford Society of Woman Painters. Her work has been exhibited in the National Academy of Design, the Ogunquit Art Center, Brown University, the Morton Gallery, New York in 1945, and the New York World''s Fair in 1939, among others. In 1938 and 1942 she won awards from the Springfield Art League, the latter for the present painting, and in 1943 won an award from the Connecticut Academy of Fine Arts. She was a part of the American Regionalist movement of the 1930s and ''40s and later created abstract art.

CONDITION: Overall very good condition. Minor retouching to background, upper left, beneath figure''s chin, and to sgraffito linework above figure''s left foot, largest 7/16" L. Five negligible points of retouching to figure''s right pant leg below the knee. See UV photographs. [See more photos →]

Michael Richard Madzo (American, 1950-2023) mixed media oil collage sewn to Rives paper with deckle edges, titled "Clear Sky of Blessings," depicting a landscape under a turbulent sky. Signed "Madzo" in pencil lower left and dated 1994. Image: 11" H x 8" W. Sheet: 13" H x 9 1/2" W. Accompanied by artist''s card with title, and a certificate of authenticity from the studio and estate of the artist, signed by his wife, Wendy Madzo.

Note: artist Michael Madzo passed away in March 2023 at his home in the Nashville area. He studied art at the Minneapolis College of Art and Design, Northern Arizona University, and Arizona State University, and had an extensive exhibition history including the North Dakota Museum of Art and galleries in New York and California. He described his unique process as "Simply complicated. Cut and layered painted papers are assembled into images before being sewn together with colored thread by sewing machine. Images are at once striking, oft familiar, story-like figures inviting archetypal translations of a shared yet arcane narrative."
PROVENANCE: The estate of Michael Madzo.

CONDITION: Small area showing sign of removed tape en verso. Otherwise excellent condition. [See more photos →]

John Woodrow Kelley (Tennessee/New York, b. 1952) oil on canvas painting entitled Peace and depicting the profile of a dark-haired man set against a blue and black mottled background. An olive sprig, Greek symbol of peace, extends upward at left. Inscribed "Peace" to back of stretcher. Housed in a rusticated gilt and ebonized wood frame. Canvas: 16" H x 16" W. Frame: 19 7/16" H x 19 7/16" W.

CONDITION: Excellent condition. [See more photos →]

18K yellow gold anchor style chain necklace. The necklace is marked "750 star 13 VI Balestra" and XRF tests 18K gold. The necklace is 24" L. and has a weight of 23.10 grams.

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

Rufino Tamayo (Mexico, 1889-1991) color lithograph titled "Cabeza en Verde" and depicting a surrealist green-blue head against a pink background. Signed lower right "R. Tamayo" and numbered lower left 53/75, both in white pencil. Carmel-By-The-Sea gallery label en verso. Floated in a chrome metal frame. Sheet: 29 1/2" H x 21 13/6" W. Framed: 35 3/4" H x 27 1/2" W.

PROVENANCE: The collection of Thomas Turk, Nashville, Tennessee.

CONDITION: Overall very good condition, with strong colors. Sheet is hinged mounted to backing with archival tape. Old tape plus minor staining to verso. [See more photos →]

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).

PROVENANCE: Private Nashville collection.

CONDITION: Two large intersecting separations to silk at center and at other areas along fold lines. Creasing and light discolorations; staining along lower edge. Not examined out of frame. [See more photos →]

Andy Warhol (American, 1928-1987) offset lithograph after the artist''s Le Grande Passion, 1984 (Ref.: Feldman & Schellmann IIIb.28), depicting in vivid colors a green bottle of French liqueur casting a magenta shadow over a gestural drawing of a flowering passion fruit. With printed signature, lower right. Unframed. Rolled in cardboard shipping tube, possibly as issued. Sheet: 39" H x 37" W. Tube: 37 3/4" L x 4 1/4" dia. Note: Warhol created this image as part of his 1980s Advertisement series. This particular image was used by Carillon Importers Ltd. for La Grande Passion, a passion fruit-flavored brandy. The offset lithographs were primarily made available to liquor stores and distributors as marketing materials, and relatively few have survived.
PROVENANCE: Collection of the late Terry Marshall. Marshall was in the alcohol-beverage industry in Tennessee and received the poster for promotional purposes in the 1980s. This is the second of two identical posters from his collection; the first was sold in our January, 2024 auction, lot #456.

CONDITION: Scattered foxing, primarily to upper third and en verso, plus minor creasing to edges. Print is rolled. [See more photos →]

Ladies 14K yellow gold feather brooch featuring three (3) old mine cut diamonds approximately 0.38 carats, Clarity SI2, Color-I and an 18K yellow gold pocket watch featuring fifty (50) diamonds approximately 2.37 carats, Clarity-SI1, Color-H. The pocket watch is marked "18K" and XRF tests 18K gold. The feather brooch XRF tests 14K gold. The brooch is 2 1/2" wide with the watch hanging 2". Gross weight of the brooch with the watch is 28.27 grams.

CONDITION: The watch is not working. [See more photos →]

English late 19th century oil on canvas maritime painting depicting ships on a choppy sea, with figures in a row boat, foreground, a rocky shoreline visible in the distance, and threatening clouds looming overhead. Unsigned. Housed in a modern carved giltwood frame. Sight – 19 1/4" H x 34 1/4" W. Framed – 26" H x 41" W.

CONDITION: Painting canvas possibly reduced and lined. Minor abrasions to the perimeter where the canvas has rubbed against the frame. Overall light grime. [See more photos →]

Marion Bryant Cook (Tennessee, 1933-2018) oil on canvas Tennessee landscape painting depicting an old barn in a snowy woodland. A small creek runs through the foreground while a cardinal perches atop a fence. Signed and dated "Marion Cook 1 – 1980," lower left. Housed in a distressed silvered wood frame with cream fabric fillet. Canvas: 20" H x 24" W. Frame: 26 1/4" H x 30" W.

CONDITION: Excellent condition. [See more photos →]

Twelve (12) International sterling silver julep cups, plus Sheridan Silver Co. silverplate tray with gadrooned and pierced border, scroll and foliate engraving to center. All with maker''s marks to undersides. Julep cups stamped Sterling, some stamped P699 and others 101 / 25. Cups: 3 7/8" H. Tray: 14 1/4" dia. All cups with script 3-part monogram, EQN (ENQ). 46.21 weighable troy ounces.

CONDITION: All items overall good condition, monogrammed. Scattered minor dents to julep cups, some to foot rings, largest approximately 3/4" L. Light surface scratches. [See more photos →]

International Prelude pattern 5-piece sterling silver tea set including coffee pot, teapot, covered sugar, creamer, and waste bowl. Each piece stamped with pattern name, maker''s marks, "Sterling", and "C366". Not monogrammed. Ranging in size from 10 1/2" H x 5" dia to 3 1/2" H x 4 1/4" dia. 74.89 total troy ounces.

CONDITION: Overall very good condition with light surface scratching and wear, some areas of stubborn tarnish. [See more photos →]

Large Ron Williams (Tennessee, 1947-2016) oil on canvas panoramic landscape painting depicting a large row of evergreen trees foreground set against a rolling mountain range, likely the Smoky Mountains, that extends into the distance beneath a pastel-hued sky. Signed "Ron Williams" in red lower right. Housed in a giltwood frame having a foliate molded design. Sight: 30 3/8" H x 59 1/2" W. Framed: 47 5/8" H x 67 1/2" W.

CONDITION: Waviness to canvas along to top margin of the painting, otherwise in overall excellent condition. [See more photos →]

S. Kirk and Son Inc. sterling silver Repousse pattern water pitcher, round form with overall foliate decoration. Base stamped with maker''s mark, Sterling, Hand Decorated, and #12. 7 3/4" H. 23.71 troy ounces. American/Baltimore, first half 20th century.
PROVENANCE: Estate of Elizabeth L. Wall, Knoxville, Tennessee, granddaughter of James Allen Smith, who founded White Lily Flour in Knoxville c. 1883.

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

Ladies 14K white gold chain necklace with a 14K white gold pendant featuring a natural oval sapphire approximately 22.1 x 17.7mm accented by twenty (20) round brilliant cut and sixteen (16) baguette cut diamonds approximately 1.28 carats together, Clarity-I1, Color-H. The necklace is marked "14K" and both the necklace and pendant XRF test 14K gold. The necklace is 22" L. while the pendant is 1 1/4" x 1 1/8" in size. Gross weight of the necklace and pendant is 16.91 grams.
PROVENANCE: The Estate of Eldridge "Dit" Shively, White Pine, TN.

CONDITION: The sapphire is loose in the setting. [See more photos →]

Ruthven Holmes Byrum (Indiana/Michigan, 1896-1958) oil on canvas Spring/Summer mountain landscape depicting a winding tree-lined road and creek foreground leading to large mountains in the background. Signed lower left "Bynum". Housed in a blue-washed wood frame. Sight: 23 1/4" H x 29 1/8" W. Framed: 27 3/4" H x 33 3/4" W.
PROVENANCE: The living estate of Dr. Jerry Waters, Maryville, TN.

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

Ladies platinum and 14K white gold art deco bracelet featuring five (5) round brilliant diamonds approximately 0.30 carats together, Clarity-VS1, Color-G, accented by ten (10) triangular cut natural sapphires. The bracelet is marked "Platinum on 14K 8734" and XRF tests 14K gold on the base and 90% platinum on the top. The bracelet is 7" L. and has a gross weight of 10.93 grams.
PROVENANCE: The Estate of Eldridge "Dit" Shively, White Pine, TN.

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

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 a very similar example, refer to figure 48, page 53 of "Backcountry Makers: An Artisan History of Southwest Virginia and Northeast Tennessee" by Betsy K. White.

CONDITION: Older refinished surface with scattered wear and abrasions. Top interior, drawer interior, and base interior with later added paint. One pane of glass on the left door has a break, the right door has breaks in two panes. Interior of the lower left door with breaks to wood surround. Shelves don''t line up precisely with panes. [See more photos →]

Marion Bryant Cook (Tennessee, 1933-2018) oil on canvas Tennessee landscape painting depicting two old barns at the top of a hillside filled with colorful grasses and wildflowers. Signed and dated "Marion Cook 8 – 1977," lower right. With artist''s stamp to back of frame. Housed in a distressed painted wood frame with cream fabric liner and wood fillet. Canvas: 20" H x 24" W. Framed: 28" H x 32" W.

CONDITION: Excellent condition. [See more photos →]

German Luger 9mm Parabellum pistol with serial #4682 on frame and barrel, all visible numbers matching. Fitted with wood grips, has one unmarked magazine with circular wood base. "Gesichert" (meaning secured) is visible when the safety is engaged. This example was manufactured between 1920-1922; the "DWM" mark on toggle was used until 1922, and the "Crown over N" mark indicates that it is a commercially marketed Luger produced after 1920. History: The Pistole Parabellum or Parabellum-Pistole (Pistol Parabellum), commonly known as just the Luger or Luger P08, is a toggle-locked recoil-operated semi-automatic pistol chambered in 9mm Parabellum. The Luger was produced in several models and by several nations from 1898 to 1949; (this example from the German arms manufacturer Deutsche Waffen- und<a href="https://en.m.wikipedia.org/wiki/Deutsche_Waffen-_und_Munitionsfabriken" title="Deutsche Waffen- und Munitionsfabriken"> </a>Munitionsfabriken (DWM). The design was first patented by Georg Luger. NOTE: Most firearms made after 1898 require passing an FFL background check prior to transfer. The date of production for this gun makes it subject to FFL rules. Please be prepared with proper identification and information. If you do not reside in Tennessee, an FFL dealer in your state is required to complete the transfer.
PROVENANCE: The Estate of Eldridge "Dit" Shively, White Pine, TN.

CONDITION: Wear to the finish on the frame and wear to the wood grip panels consistent with age and use. Action is smooth and operational; clean bore with shallow rifling. [See more photos →]

THE XIT RANCH OF TEXAS And the Early Days of the Llano Estacado, by J. Evetts Haley, Chicago: The Lakeside Press, 1929. Scarce "suppressed" First Edition of Haley''s first book, concerning cattlemen in 19th century Texas, and the enormous XIT Ranch founded in 1885 by the Farwell brothers. Hardcover, 261pp. plus illustrations and maps, one folding; green boards with gilt-stamped spine and Longhorn steer on cover, gilt top edge. With a typewritten, signed letter from Haley to John Thomas Lee (Chicago/Wisconsin historian and author) regarding the suppression of the book resulting from libel lawsuits directed at Haley. The Feb. 5, 1937 letter references the legal troubles with the "Spikes Gang, a notorious bunch of Texas and New Mexico cattle rustlers and renegades in general". Haley goes on to write "The Farwells agreed to withdraw the book from circulation; hence its extreme rarity. Less than 2000 were printed, and a great many of these never reached the trade". In addition, a signed, handwritten note to Lee accompanies the book, indicating the book was sent to Lee from William A. Kittredge, Director of Design and Typography for Lakeside Press from 1922 to 1945. In his 1959 bibliography of cattle books "The Rampaging Herd", Ramon Adams writes that Haley''s book is "one of the best books about a Texas ranch. Because of a lawsuit most of the edition was recalled and suppressed, making it one of the rarest and most sought after books on cattle. This is the author''s first book, and the many books he has written since have enhanced his reputation as a writer" (Adams 969). Note: The XIT Ranch was founded in 1885 by the Farwell brothers from Chicago. The state of Texas traded the Farwell brothers 3 million acres in the panhandle in return for building a new Capitol Building in Austin, replacing the building that burned in 1881. In its heyday, the XIT Ranch boasted 6,000 miles of fence and ran 150,000 head of cattle. (source: https://xitranch.com/)

CONDITION: Very good condition, slight scuffing to covers with corner bumps. [See more photos →]

Simon Glucklich (Germany, 1863-1943) oil on Masonite tabletop still life painting with arrangements of roses and a teacup with saucer and spoon along with other vessels on a white tablecloth. Signed "S. Glucklich," lower left. Housed in an ornate gilt wood frame. Sight: 20 1/8" H x 28 1/8" W. Frame: 29 1/2" H x 37 1/2" W.

CONDITION: Overall very good condition. With frame abrasions and retouching to upper right corner and along right edge, 13 1/2" L. Inherent raised area beneath paint layer in upper left, 2" x 1/4". [See more photos →]

Fifty-two (52) pieces Alvin Vivaldi pattern sterling silver flatware, service for eight, including eight (8) modern hollow knives (9 1/8" L); eight (8) forks (7 1/2" L); sixteen (16) teaspoons; eight (8) salad forks; eight (8) dessert or oval bowl soup spoons; one (1) sugar shell; two (2) tablespoons; one (1) hollow master butter knife. All marked Alvin and Sterling. Housed in a fitted case, 3 1/2" H x 19" W x 11" D. 65.78 weighable troy ounces.

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

1st item: 14K yellow gold bezel containing a 1901 US $5 Liberty half eagle gold coin. The bezel is marked "14K" and XRF tests 14K gold. The bezel is 3/4" in size. The bezel and coin have a gross weight of 9.62 grams. 2nd item: 14K yellow gold bezel containing a 1925 US $2 1/2 Indian eagle gold coin. The bezel XRF tests 14K yellow gold and is 5/8" in size. Gross weight of the bezel and coin is 5.04 grams. 3rd item: 14K yellow gold rope style bezel containing a 1945 Mexican Two (2) Peso gold coin. The bezel is marked "14K" and XRF tests 14K gold. The bezel is 5/8" in size. The bezel and coin have a gross weight of 3.00 grams. Gross weight of the lot is 17.66 grams.
PROVENANCE: The Estate of Eldridge "Dit" Shively, White Pine, TN.

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

Fifty-Three (53) pieces of sterling silver flatware, including forty-five (45) Lunt Eloquence pattern and eight (8) other assorted pieces. Lunt pattern pieces include eight (8) modern hollow knives (9" L); eight (8) forks (7 1/4" L); eight (8) teaspoons; eight (8) salad forks; eight (8) iced tea spoons; four (4) tablespoons; one (1) hollow handle master butter knife. This lot also includes one (1) Kirk & Son spoon, one (1) ladle marked J. S. Co., and six (6) teaspoons by unknown maker. All items stamped with makers'' marks and Sterling. Kirk spoon is monogrammed, remaining items not monogrammed. Housed in a fitted wood case, 5 1/2" H x 15" W x 11 1/4" D. 65.54 weighable troy ounces.

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

Schoolgirl Needlework Sampler by Mary Grimmett of Lewis County, TN, signed and dated 1844. Silk on linen, rendered entirely in cross stitch. Strawberry border surrounding two Biblical verses from Psalms: "The Lord is My Shepherd" and "Give unto the Lord the Glory Due unto his name / Worship the Lord in the beauty of holiness" (in cartouche) over a pictorial decoration of two baskets of fruit, flanking a small red bird. Housed under glass in a gilt wood frame. Sight: 9 3/4" H x 10 1/4" W. Frame: 12" H x 12 1/2" W. Note: this sampler has been documented by the Tennessee Sampler Survey. Mary Grimmett was born 1833 in Lewis County, Tennessee to Elizabeth McAnally Grimmett and William Grimmett. She married John Simmons and they had eight children together. She died Feb. 19, 1900 in Loves Branch, Maury County, Tennessee. A packet of genealogical information is available to the winning bidder.

PROVENANCE: Private Tennessee collection.

CONDITION: Very good condition overall; not examined out of frame. Thread of first verse ("The Lord is my Shepherd") and cartouche outline was light colored to begin with and is now very faded, otherwise, the colors remain vivid with no apparent losses. Some discoloration to ground, particularly to the left side of the sampler. Later frame with some wear and surface losses. [See more photos →]

Sixty-three (63) pieces Wallace Rose Point pattern sterling silver flatware, service for eight plus extras including eight (8) modern hollow knives (9 1/8" L); eight (8) forks (7" L); sixteen (16) teaspoons; eight (8) iced teaspoons; eight (8) salad forks; eight (8) flat-handle butter spreaders; one (1) dessert or oval bowl soup spoon; one (1) tablespoon; one (1) cold meat serving fork; two (2) piece carving set, fork and knife; one (1) sugar spoon; one (1) lemon fork. All stamped with maker''s marks, Sterling. Not monogrammed. Housed in a footed wood case with drawer, 7 1/2" H x 18 1/2" W x 12 1/4" D. 55.31 total weighable troy ounces.

CONDITION: Overall good condition, light surface scratches. [See more photos →]

Two (2) carved and painted duck decoys, canvasback hen and goldeneye drake, likely by Mason Decoy Factory (1896-1924) Detroit, MI. Premier grade with hollow bodies, glass eyes, swirled feathers, and relief bill carving. Initials AT painted to underside of drake. Both approximately 6 1/2" H x 14" W x 6" D. Likely first quarter 20th century.
PROVENANCE: Private Knoxville, Tennessee collection.

CONDITION: Both in good condition with use and age wear including scattered paint loss, wood shrinkage, and general wear. Drake with wood loss to tip of bill and replaced eye. [See more photos →]

Ron Williams (Tennessee, 1947-2016), oil on canvas painting of a landscape depicting a cloudy atmospheric sky, rolling mountains with trees and foliage converging into a walking trail in meadow, likely the Great Smoky Mountains. Signed: Ron Williams lower right. Housed in a fancy acanthus scroll leaf and gilt molded frame. Canvas size: 13" H x 11 1/4" W. Frame: 19 3/4" H x 18" W. Biography: A native of Knoxville, TN and Navy veteran, Ron Williams began painting in his early adulthood and painted for over 40 years. He is best known for his numerous Hudson River School stylized depictions of Southern Highland and Appalachian landscapes, primarily depicting East Tennessee and Western North Carolina.

PROVENANCE: Private Collection Knoxville, TN.

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

Joseph Sherly Sheppard (Maryland, b. 1930) oil on board large floral still life painting depicting purple, red, and white irises in a vase decorated with a Greek key design, all against a dark green background. Signed and dated "Sheppard ''94" lower right. Housed in a black and gilt-decorated frame. Sight: 36 3/4" square. Framed: 45 1/2" square.

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

Steven Lang (California, b. 1960) oil on canvas painting titled "The Shepherd", depicting a Native American man overseeing a herd of horses in a snow-covered field with teepees and mountains visible in the background. Signed "(copyright) Lang OPA [Oil Painters of America]" lower left. Placard with title, artist name, and OPA affixed to center bottom frame. Label with printed artist note en verso. Housed in a moulded gilt wood frame with gilt liner. Sight: 23 1/2" H x 17 1/2" W. Framed: 33 1/2" H x 27 1/2" W. Note: A copy of the original purchase receipt from Mountain Trails Gallery, Sedona, AZ is available with the purchase of this work. Artist biography: Descended from Pawnee and Cherokee ancestors, Steven Lang has always been interested in Native American subject matter. Through his love of period reenactments and all things Western as well as his paintings, Lang seeks to depict the legacy of America''s western heritage. Lang was recognized as an Oil Painters of American Master signature member in 2002 and has been commissioned by the National Park Service to depict the 1868 Battle of the Washita among other national organizations. (adapted from the artist''s website langart.com)
PROVENANCE: Estate of Robert Christie: Knoxville, TN.

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

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.

CONDITION: Very good condition with an even, dark grey patina. Wedge spring absent, cylinder engraving with some wear; well defined sharp rifled bore. Action functions with some over-rotation of cylinder. Rear of frame shows wear and slight crack behind cylinder where hammer strikes. [See more photos →]

Ladies antique 14K yellow gold bangle bracelet with whippet or greyhound enamel decoration. The bracelet XRF tests 14K gold and is 7" around. Gross weight of the bracelet is 18.77 grams. Early 20th century.

CONDITION: Interior band with areas of gold solder and patch repairs. Several dents in the bracelet. [See more photos →]

Sterling Boyd Strauser (Pennsylvania, 1907-1995) oil on board painting depicting a corporate league baseball game between the Pennsylvania Pump and Compressor Company, or Penna. Pump, and the International Boiler Works Company, or IBW Co, 1957. A batter awaits a pitch while a catcher and referee kneel or stand before a crowd of spectators. The sky consists of colorful, gestural steaks of pink, orange, and white. Beneath the scene Strauser inscribes the score of 8-2 along with the title "Wait ''Till Next Year." Signed "Strauser" and dated "8/30/57" upper right. Housed in a distressed gilt wood frame. Sight: 17 3/4" H x 23 5/8" W. Frame: 23" H x 29" W.

CONDITION: Excellent condition. Not examined outside of frame. [See more photos →]

Antique Turkoman Tekke main carpet, wool on wool, red field design of five (5) rows of thirteen (13) guls. Woven in red, blue, and cream colors. 10 ft 1 in x 8 ft. Late 19th century.

PROVENANCE: Private Des Moines, Iowa collection.

CONDITION: Overall good condition with slight warpage, and losses to fringe to each end. [See more photos →]

Assembled set of sixty-three (63) pieces of sterling silver flatware in the "Pointed Antique" pattern by Dominic & Haff and Reed and Barton. Pieces include: four (4) blunt knives with bolsters (9" L), eight (8) blunt knives with bolsters (8 1/2" L), nine (9) dinner forks (7" L), eight (8) four-tine salad forks (6" L), ten (10) teaspoons (6" L), six (6) serving/tablespoons (7" L), eight (8) seafood forks (5 1/4" L), three (3) iced tea spoons, three (3) butter spreaders, and one (1) of each: round bowl soup spoon, jelly spoon, serving fork (7 3/4"), pierced serving spoon (8" L). 60.2 weighable troy ounces. Note: Dominic & Haff was sold to Reed and Barton in 1928, and Reed and Barton continued making the pattern under their own name. This grouping contains flatware from both companies in the same pattern. Includes lined zipper top flatware case.

CONDITION: Overall very good condition, with some use marks. Several items are monogrammed. [See more photos →]

Colt Banker''s Special double action revolver, chambered in .38 special. Serial #344687 corresponds to the year 1931. Marked "38 BANKERS SPECIAL" on left side of barrel, with Colt''s 2 line patent information on the right, engraved on left side of frame with Colt rampant horse logo. Original dark brown walnut grips, each with Colt rampant horse logos, 2" round barrel, fluted cylinder, checkered hammer and trigger, and standard blade front sight. The Banker''s Special was made from 1928 to 1943; in 1934 the squared butt frame was changed to a rounded. NOTE: Most firearms made after 1898 require passing an FFL background check prior to transfer. The date of production for this gun makes it subject to FFL rules. Please be prepared with proper identification and information. If you do not reside in Tennessee, an FFL dealer in your state is required to complete the transfer.

CONDITION: Excellent condition, very lightly used. Retains 90% of its original factory blue with minimal wear to cylinder and back strap, action functions smoothly, with shiny bore and sharp rifling. [See more photos →]

1st item: Ladies 14K white gold bracelet featuring sixty six (66) round brilliant diamonds approximately 5.94 carats together, Clarity-SI2, Color-G. The bracelet is marked "14K" and XRF tests 14K gold. The bracelet is 7" L. and has a gross weight of 13.33 grams. 2nd item: Ladies 10K yellow gold tennis bracelet featuring forty nine (49) round brilliant diamonds approximately 1.98 carats together, Clarity-I2, Color-J. The bracelet is marked "10K 1.98 Z" and XRF tests 10K gold. The bracelet is 7" L. and has a gross weight of 9.15 grams. Gross weight of the lot is 22.48 grams.
PROVENANCE: The Estate of Eldridge "Dit" Shively, White Pine, TN.

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

Fifty-seven (57) piece Kirk Old Maryland Engraved sterling silver flatware set. Includes eight (8) modern hollow knives (9" L); eight (8) forks (7 3/8" L); twenty-two (22) teaspoons; nine (9) salad forks (6 1/4" L); two (2) lemon forks; two (2) sugar shell spoons; one (1) gravy ladle; one (1) cold meat serving fork; one (1) tablespoon; one (1) pierced tablespoon; two (2) hollow handle master butter knives, one with a differently shaped blade. All stamped with maker''s mark and Sterling. Not monogrammed. Housed in a fitted wood case, 5 1/4" H x 15" W x 11 1/4" D. 62.42 weighable troy ounces.

CONDITION: All pieces overall very good condition. Light surface scratches and wear. [See more photos →]

Persian Kashan vase rug, wool on cotton. Large central navy field with a central flowering vase flanked by two smaller flowering vases that join to form an arbor, with a bird and butterfly overhead. Three primary borders including foliate, bird, and butterfly border. Woven in blue, red, salmon, green, and cream colors. 82 in x 51 in. Circa 1930''s.
PROVENANCE: Private Des Moines, Iowa collection.

CONDITION: Overall very good condition with minor losses to the fringe on each end. Wood rod and denim hangers attached to top en verso for display. [See more photos →]

Twenty-five (25) Georg Jensen sterling silver serving pieces including Acorn Pattern pieces and two (2) dishes. Includes 15 pieces in the Acorn Pattern: 1 Tablespoon (8"); 1 serving spoon (8") with solid silver bowl; 1 serving fork (8 7/8"); 2 serving spoons with solid silver bowl (9"); 1 serving spoon with solid silver bowl (9 1/2"); 1 hollow handle fruit or master butter knife (7 1/4"); large 2-piece roast carving set including fork and knife with stainless blade; 1 two pronged fork with hollow handle (9"); 1 pickle fork; 1 set sugar tongs (5"); 1 ladle (8"); and a 2 pc salt and pepper set. The tablespoon and one 9" serving spoon have post 1945 hallmarks; the others are marked for 1933-1944 production. Also included are 8 salt spoons in the #73 pattern, 1 sugar spoon and 1 pickle fork in the #41 pattern and two small dishes, 5 1/4" diameter, pattern number 209B, all with 1933-1944 marks. Weighable silver: 36.2 troy ounces.

PROVENANCE: Private Middle Tennessee collection, purchased from Georg Jensen, Copenhagen.

CONDITION: Excellent condition. No monograms. Includes original cloth bags. [See more photos →]

Federal Coin silver cream pitcher, oblong form with gadrooned rim, band of chased flowers over a lobed body supported on four eagle talon and ball feet. Stamped W. THOMPSON in rectangle for William Thompson, working New York City, circa 1810. 6"H x 7"W x 3 1/2"D. 13.45 oz troy.

PROVENANCE: By descent in the historic Pinckney family of Runnymede Plantation, South Carolina.

CONDITION: Very good condition, no monograms. [See more photos →]

Alfred Heber Hutty (Charleston, South Carolina, 1877-1954), "Southern Transport," pencil on paper landscape drawing, signed lower right "A Hutty 1937" and inscribed "composition for etching," lower left, likely in reference to Hutty''s etching "On the Way Home" (Ox Cart). The drawing depicts an African American woman and man traveling in an ox-pulled wagon down a rural lane with a cabin and trees in the background. Additional pencil drawing en verso depicts a bust-length portrait of a man wearing a tie. Beige mat and later ebonized molded frame. 6 1/2" x 8 1/2" sight, 15" x 16 1/2" framed. Biography: Alfred Hutty was born in the Midwest, attended the St. Louis School of Fine Arts and worked for Tiffany Studios in New York, but is best known for views of life in his adopted city of Charleston, SC. He became a leading figure of the Charleston Renaissance group of artists, and directed the school of the Carolina Art Association at the Gibbes Art Gallery. Provenance: private Middle Tennessee collection. (courtesy Askart: The Artists'' Bluebook)

CONDITION: Full creases across left and lower quarters of the paper. Light toning. Sheet is hinge-mounted with archival tape along upper edge. [See more photos →]

Virginia or West Tennessee needlework sampler, silk on linen, stitched by Elizabeth M.A.R. Booker in 1824. Exceptionally wide floral border with prominent roses among other flowers, enclosing a red brick three story house surrounded by trees and fence, beneath a verse: "The Rose through beauteous/ It''s glorious vernal pride ador(n) / Let her who choose beware" . Note: the verse is excerpted from a poem in The Lady''s Preceptor, a Compilation of Observations, Essays and Poetical Effusions, designed to direct the Female Mind," a popular textbook at Female Academies in the early 19th century; the blank space on the sampler below the 3rd verse suggests it may have been intended for the final line of the heavily edited poem, "… the biting sharpness of its thorn". Signature below house, with date of April the 20th, 1824. Housed under glass in a later molded bronze painted frame. Sight: 16 1/5"H x 15"W. Frame – 17 3/4" H x 16"W.

Elizabeth Mary Ann R. Booker was born 1811 in Prince George County, Virginia, to Edmund Booker (1787-1852) and Elizabeth Robert Foster (1788-1870). In the 1820 census, the family was still in Prince George County, Virginia, but by the 1830 census, they had moved to Tipton County, Tennessee, and that is where Elizabeth married Granville Deadrick Searcy in 1832. Granville Searcy was born in Nashville in 1809 and at the age of 16, attended West Point Military Academy. He achieved the rank of Colonel before returning to Tennessee, settling ultimately in West Tennessee. There he became a prominent lawyer, landowner and slave holder. By 1850 the couple resided in the 6th ward of Memphis and had three children. Elizabeth Booker Searcy died in 1861 in Memphis and is buried at Elmwood Cemetery.
PROVENANCE: Private Southern Collection.

CONDITION: The sampler is in overall very good condition with some fading and toning but no significant losses to thread or ground. The framing materials are mid to late 20th century. Not examined out of frame. [See more photos →]

Set of twelve (12) Manchester Silver Co. sterling silver goblets with flared rims. Bases stamped with maker''s mark, 808, and Sterling. 6 3/4" H. Not monogrammed. 59.62 total troy ounces.
PROVENANCE: A Nashville, Tennessee estate.

CONDITION: Overall good condition. Most with light scattered dents, largest 3/4" L. Light surface scratches. [See more photos →]

156 piece set of Christofle silver plated flatware, service for 12. Housed in a Louis XV style lift-top table with decorative parquetry veneers, brass handles and cabriole legs and interior fitted for silver storage. Includes twelve (12) dinner knives (9 1/2" L); twelve (12) luncheon knives (8" L); twelve (12) dinner forks (8 1/8" L); twelve (12) luncheon forks (6 3/4" L); twelve (12) dessert or pastry forks; twelve (12) teaspoons with oval bowls; twelve (12) teaspoons with round bowls; twelve (12) place spoons; twelve (12) demitasse spoons; twelve (12) tablespoons; twelve (12) fish forks; twelve (12) fish knives; one (1) pair sugar tongs; one (1) large serving spoon; one (1) large serving or pastry fork; one (1) fish serving fork; one (1) fish serving knife; one (1) large fish serving knife; one (1) salad serving fork; one (1) salad serving spoon; one (1) ice cream server; one (1) pie server; one (1) soup ladle; one (1) gravy ladle. All stamped with maker''s mark and Industria Argentina. Table: 29 1/4" H x 25 1/2" W x 18 1/4" D.

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

Antique Tekke Turkoman main carpet, wool on wool, central field design of 5 x 12 guls. Woven in brick red, blue, and cream colors. 9 ft. 4 in. x 7 ft. 4 in. Circa 1870''s.
PROVENANCE: Private Des Moines, Iowa collection.

CONDITION: Overall good condition with even wear&mdash;losses to fringe and minor wear to margins. [See more photos →]

Chinese white jadeite snuff bottle, flattened round form with lavender quartz and silver stopper. 2 5/8" H. Late 19th/Early 20th century.
PROVENANCE: The estate of Dorothy G. Davison, Knoxville, TN.

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

Ernst Wenck (1865-1929) bronze sculpture titled "Pax, Goddess of Peace" depicting a partially nude female figure standing atop a globe and leaning down with an olive branch in her hand. Signed "Ernst Wenck / Berlin" to side of globe. Mounted on a beveled marble base. Sculpture 29" H. Including base: 30 1/2" H.
PROVENANCE: Private Middle Tennessee collection.

CONDITION: Excellent condition. [See more photos →]

Ebonized Aesthetic Movement library or center table having a satinwood geometric foliate inlaid shaped top, a stenciled carved apron, pierced carved and turned sides with unusual turned side supports, and a trestle form base with a shaped and turned stretcher and carved feet resting on casters. 29 1/4" H x 43 1/2" W x 28 3/4" D. American, Late 19th century.
PROVENANCE: Private Des Moines, Iowa collection.

CONDITION: Overall good condition. Top with some light wear, fading, and lifting to inlays, areas of slight loss, and areas of light cracklure to finish. [See more photos →]

An Aesthetic Movement style three-panel floor screen consisting of a carved ebonized wood frame inset with painted canvas panels depicting water birds including pink flamingos, herons, and other large shore birds. 47 3/4" H x 59 1/4" W (19 3/4" per panel). Late 19th century.

PROVENANCE: The estate of Sarah Gaunt, Signal Mountain, Tennessee.

CONDITION: Overall good condition. Painted canvas bird panels with light grime and very light craquelure. One frame''s carved cornice has a break repair and one frame screw is not original. Frame with light wear. Paper dust cover of one panel has some tears. [See more photos →]

Erte (Romain De Tirtoff, Russian/French, 1892-1990), limited edition gilded and cold painted cast bronze sculpture titled "Justice". Inscribed "Erte" front facing right top corner of book (mark is worn). Stamped en verso 276/500 FINE ARTS ACQUISITIONS JM-FAA 1985 to the lower base edge. 20 1/8" H x 10" W x 8 1/4" D.

CONDITION: Overall good condition. Exfoliation to finish on the base, primarily to the right back corner and left back edge and along the side and rear base edges. Erte mark worn. Finial of staff slightly bent. [See more photos →]

Three (3) Native American Inuit baleen items. 1st item: Oval lidded woven baleen basket box, the lid with horned animal figural finial on inset bone base. 2 1/4" H x 4 1/2" W. 2nd item: Circular lidded baleen basket box with seal head figural finial on a central inset bone base. 2 1/2" H x 2 1/2" dia. 3rd item: Oval form bone box with bear figural finial to the baleen woven lid, wood base. 2" H x 1 1/2" W. First half of the 20th century.
PROVENANCE: The Estate of Richard J. Eskind, Nashville.

CONDITION: 1st item: Very good condition with minor wear. 2nd item – some fading to weavers, and a broken weaver near base. 3rd item: Vertical hairline or shrinkage to one side. [See more photos →]

Three (3) West Tennessee Documents. 1st item: Mid-19th century copy of the Will of Job Rogers, Weakley County, TN. Rogers'' will, penned in 1837, provides a detailed look at life on a prosperous West Tennessee plantation in the second quarter of the 19th century when this part of the state was still relatively undeveloped. In it, Rogers leaves his wife, Agnes, and his children a total of 25 named slaves (Eliza and her daughter Catherine, Lewis, Emeline, Henry, Grace, Freeman, Mary, Martha, Daniel, Mima, Gilla, Henderson, McKlin, Pleasant, Sarah and her child Lawson, Alfred, "Winny and her children", Caroline, Charles, "Nelley and her children", Uoy, Simon, and Candis), along with various livestock, horses, carriage, and an extensive itemized listing of household furnishings. 4 pp front and back, plus 1 page regarding exhibition of the will in court, dated 1853. Both items circa 1853. 2nd item: Letter from Abner Stith, dated Jan. 11, 1827 from Henry County, West District of TN, to an unknown recipient, regarding "your Ringstaff tract of land" the recipient had agreed to sell him based on "our agreement in Carolina" for $3 dollars per acre. Having already "built a small log cabin and settled upon it", Stith writes, "I wish to make improvements on the land, and cannot with propriety take any step towards it until I hear from you." 1 p. front and back. 3rd item: 1827 pension claim by Matthew Myrick, of Henry County, Tennessee. Myrick had enlisted for a 12 month term in 1779 in the state of North Carolina in the company commanded by Captain Campbell.

PROVENANCE: Private Southern collection.

CONDITION: All items with light toning and light handling wear. 1st item: Discoloration at fold lines. 3rd item: half of second page is missing. [See more photos →]

THE REVOLUTION BETRAYED: WHAT IS THE SOVIET UNION AND WHERE IS IT GOING? Leon Trotsky, NY: Doubleday, Doran & Company, 1937. 8vo, 308 pp. First American Edition; translated by Max Eastman. Signed in the year of publication on a bound-in blank leaf "Leon Trotsky Coyoacan, 2 Apr. 1937". Black cloth with spine lettered in black and gilt on red background, deckle fore edge, red top edge; no dust jacket. 8 1/4" x 5 3/4".

CONDITION: Dust jacket absent. Book is in very good condition; scattered foxing, toning to some page edges, vertical line along spine. [See more photos →]

Two (2) Helen St. Clair (American, b. 1931) figural street scenes. 1st item: Oil on board titled "Street Scene" depicting two figures conversing on a street corner. Signed lower right and additionally signed, titled, and dated 2001 en verso. Float mounted in a gilt and ebonized frame. Sight: 12 1/8" sq. Framed: 13 5/8" sq. 2nd item: Oil on canvas titled "Fog Prevails" depicting a group of five young males standing on a street with buildings faintly visible in the background. Signed lower left, additionally signed and titled en verso. Housed in a molded wood frame with gilt leaf over paint. Sight: 7 1/2" H x 15 1/2" W. Framed: 13 5/8" H x 21 5/8" W.

CONDITION: 1st item: The painting is in overall good condition with some minor rubbing along the lower edge and to the corners. 2nd item: Overall very good condition. [See more photos →]

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/early 20th century.

PROVENANCE: Private Des Moines, Iowa collection.

CONDITION: Overall very good condition with overall even wear. Some wear and minor losses to the sides, and losses to the fringe on each end. Homemade fabric hangers to top verso. [See more photos →]

Forty-eight (48) U.S. Morgan 90% Silver Dollars, dates ranging from 1880-1921. 40.71 total troy ounces.
PROVENANCE: The Estate of Eldridge "Dit" Shively, White Pine, TN.

CONDITION: All in circulated condition, ranging from About Good to Extremely Fine. [See more photos →]

Group of fifty (50) United States Peace Dollars, the majority dated 1922 and 1923, with a few dated 1924, 1925, 1926, and 1928. Circulated condition ranging from F – XF. 43.08 total troy ounces.
PROVENANCE: The Estate of Eldridge "Dit" Shively, White Pine, TN.

CONDITION: Circulated condition ranging from F – XF. [See more photos →]

1st item: 0.999 gold 1982 World''s Fair commemorative medal by Allen Metals Mint. The medal is marked ".999 Gold 0271" and XRF tests 24K gold. The medal has a weight of 15.86 grams. 2nd and 3rd item: Two (2) 14K yellow gold 1982 World''s Fair commemorative medals by Allen Metals Mint. The medals each XRF test 14K gold. Gross weight of the two (2) medals is 1.00 grams. Gross weight of the lot is 16.86 grams.
PROVENANCE: The Estate of Eldridge "Dit" Shively, White Pine, TN.

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

Shirley Ximena Hopper Russell (California/Hawaii, 1886-1985) AKA Shirley Marie Russell oil on board Hawaii coastal landscape painting depicting the sunny beach and purple mountains of Punalu''u, O''ahu, with cloudy skies above, likely 1930s-40s. Signed "Shirley Russell," lower right, and inscribed "Punaluu, Oahu / Return to: / Nickerson Galleries / 177 South Green St / Honolulu / $25.00" in pencil to verso. Housed in a simple gilt wood frame. Board: 11" H x 14" W. Frame: 13 3/4" H x 16 3/4" W. Biographical Note: Born in Del Rey, California in 1886, Shirley Russell studied at Stanford University, California School of Fine Art, California College of Arts and Crafts, University of Hawaii, and in Paris. In 1909 she married engineer Lawrence Russell and in the early 1920s settled in Honolulu. She was active there as an art teacher and painter until her death in 1985. Russell''s work includes many floral still lifes and seascapes. She was a member of the Honolulu Art Association and exhibited at the Paris Salon, 1927; Honolulu Academy of Art, 1932, 1935, 1938, 1943, and 1945; Painters & Sculptors of LA, 1937; Oakland Art Gallery, 1943-45; and California Palance of the Legion of Honor, 1946. (Adapted from Edan Hughes, Artists in California, 1786-1940)

PROVENANCE: Nickerson Galleries, Honolulu.

CONDITION: Overall very good condition. Localized areas of craqueleure and pinpoint flaking losses, especially to white impasto in clouds and surf. [See more photos →]

Mid-Atlantic, likely Pennsylvania, walnut candle box. Consisting of a slide top with molded sides, a dovetailed rectangular box with one lower dovetailed drawer fitted with compartments, a molded base, and round-turned feet. Both the lid and drawer are fitted with iron latches. 7 3/4" H x 9 1/2" W x 14 1/8" D. First half of the 19th century.

CONDITION: Very good condition with older refinished surface. [See more photos →]

Douglas Cameron (Scotland, 19th/early 20th c.) oil on canvas Scottish Highlands landscape painting depicting a group of three HIghland cows standing in a glen before a distant mountain. Signed "Douglas Cameron," lower left. Housed in a gilt wood frame with brass nameplate. Sight: 19 1/4" H x 29 1/4" W. Frame: 30 1/4" H x 40 1/4" W.

CONDITION: Overall very good condition. With several negligible frame abrasions, largest 5/16" L, plus light surface grime. [See more photos →]

Roseta Santiago (New Mexico/Georgia, b. 1946) oil on canvas still life depicting a sun-dappled blue urn holding a colorful assortment of red, yellow, and purple flowers. Signed "Santiago" lower left. Housed in a wide gold frame accented with corner rosettes. Sight: 13 1/2" H x 10 1/4" W. Framed: 22" H x 19" W.

CONDITION: Excellent Condition. [See more photos →]

Sterling Strauser (Pennsylvania, 1907-1995) large oil on board painting depicting figures astride horses on a carousel. The image is conveyed with Strauser''s typical sgraffito incised outlines, accented with spots of colorful, thick impasto. Signed "Strauser" lower left and dated 1961. Lyzon (Nashville) framing label en verso. Panel is mounted to a linen covered board and enclosed in a gilt-burnished frame. Panel: 24" H x 36" W. Frame: 32 1/2" H x 44 1/2" W.
PROVENANCE: Private Nashville Collection.

CONDITION: Painting in very good condition. Some wear/distressing to frame edges. [See more photos →]

Winchester model 1873 lever action rifle, chambered in 44-40. Round 24 1/4" barrel marked "WINCHESTER REPEATING ARMS NEW HAVEN CT", and "King''s Improvement Patented March 29, 1866 Oct. 16, 1860". Serial #97754 (A) dates to 1881-82. Brass carrier, long tang crescent butt plate with sliding door, containing 4 part cleaning rod. Barrel 24 1/4" L; Overall, 43 1/2" L.

CONDITION: Cycles smoothly, typical age-related wear to stock, no cracks, original screws; missing front and rear sights; dust cover present, but immobile in rear position; green paint on top of frame (can be removed), mild oxidation present, 50% finish remaining. [See more photos →]

POEMS by Robert Browning, London: George Bell and Sons, 1897. Inscribed by William Butler Yeats to his sister Lily (Susan Mary) Yeats, "Lily Yeats from WB Yeats. Xmas. 1897." Hardcover 8vo, original green boards with blind and gilt-stamped designs; gilt top edge, deckle edge fore and bottom. With a CDV of Browning pasted on FFEP, along with a bookplate of Lily Yeats'' (designed by brother Jack B. Yeats) inside the front cover. 8 1/4" H x 5 1/2" W.

CONDITION: Very good condition, spine covering becoming unattached, corners bumped. [See more photos →]

Large Carl Sublett (Tennessee, 1919-2008) abstract expressionist watercolor on paper depicting a sailing vessel, rendered in colors of red, blue, and gold on a white ground. Signed lower right. Float mounted on white board and housed in a gilt and ebonized wood frame. Watercolor: 30" H x 40" W. Framed: 38 1/4" H x 47 3/4" W. Note: This painting was part of the 1991 "The Unseen Carl Sublett" exhibition at the Knoxville Museum of Art. Biography: Carl Sublett studied Art History at the American Academy in Florence, Italy, after serving as a sergeant in World War II. He moved to Knoxville in 1954 where he studied with Kermit Ewing and eventually became a Professor of Fine Art at the University of Tennessee. Sublett was a founding member of the art group, "The Knoxville Seven," a progressive group working from 1955-1965, which produced some of the first abstract expressionist art in Tennessee. In 1982 he retired from teaching, and, in 1984, he opened the Sublett Gallery in Knoxville. In 1991, "The Unseen Carl Sublett" was the first exhibit at the new Knoxville Museum of Art (built on the site of the 1982 World''s Fair). Sublett won numerous awards for his paintings and was a member of the National Academy of Design. His works are in the collections of the National Academy of Design, The Tennessee State Museum, and Cheekwood, Nashville. (Source: The Tennessee Arts Commission).
PROVENANCE: The living estate of Dr. Jerry Waters, Maryville, TN.

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

Rare pair of T.J. Wheatley American Art Pottery Wall Pockets, featuring a flared rim with six tulip buds and undulating leaves in heavy relief, over carved vertical panels, all in a textured matte green glaze. Unsigned. 18" L x 7" W x 5 1/2" D. Note: these exceptionally rare wall pockets are believed to be the same ones pictured on the cover of the catalog for the Smith and Jones Important Sale of American Art Pottery and Metals, Sept. 26-Oct. 10, 1996 lot 277A); they appear to have undergone professional restoration since being sold in that auction. A copy of the catalog is available to the winning bidder.
PROVENANCE: Private Middle Tennessee estate.

CONDITION: Very good condition with no damage, chips or cracks visible to naked eye. UV light inspection reveals some professional restoration to chips to leaves on both pieces and to one tip. [See more photos →]

Pati Bannister (Mississippi, 1929-2013) oil on board painting of a young blonde girl standing between plants, with an open door leading to a sunroom or conservatory in the background. Housed in a silvered frame with fabric liner and silvered fillet. Artist plaque to lower margin with title "Ivy" and artist name. Signed and dated lower right "Bannister (copyright) ''81." Sight: 19 5/8" H x 29 5/8" W. Framed: 31 3/4" H x 41 3/4" W.

CONDITION: Overall very good condition. Light scuffs to frame. [See more photos →]

Sterling Strauser (American, 1907-1995) large oil on board expressionist painting titled "Garage Band," depicting figures playing various instruments against a rhythmic, abstract background, rendered in shades of gold/brown, black and white with thick impasto accents. Signed lower left and dated 1960. 36" H x 48" W. Unframed. Note: According to the son of Lyzon Gallery owner Myron King, this painting was inspired by a Beatles-era garage band called "The Needles" that met in Sterling Strauser''s neighborhood in East Stroudsberg, PA. The band was eventually taken to court for disturbing the peace with its loud practicing. Strauser was called as a witness but surprised many of his neighbors when he proclaimed on the stand that he actually enjoyed the music!
PROVENANCE: The collection of Myron King, Nashville, Tennessee.

CONDITION: Overall very good condition, some wear at edges. [See more photos →]

Group of four (4) carved and painted duck decoys including: two (2) decoys by August Heinfield (MD, 1883-1952) including a canvasback drake and a red-head drake, both signed on the base; one (1) drake canvasback decoy attributed to Henry Lockard (MD, 1868-1944), branded RNC on the base possibly for Robert N Coleman with paper label reading Henry Lockard; and one (1) drake canvasback decoy with wide bill branded RNC on the base possibly for Robert N Coleman. Ranging in size from 7 1/2" H x 14 1/2" W to 7" H x 15" L. All decoys 20th century.
PROVENANCE: Private Knoxville, Tennessee collection.

CONDITION: Both of the August Heinfield decoys with use wear including losses to the painted surface, the red-headed duck with shrinkage to the base. The Lockard attributed duck with light overall wear. The remaining duck in good condition with very slight shrinkage to the base, light grime, and wear. [See more photos →]

1887 US $10 Liberty Head Eagle Gold Coin. The coin XRF tests 90% gold and has a weight of 16.69 grams.

CONDITION: The coin is in circulated condition. [See more photos →]

Ladies 14K yellow gold link bracelet. The bracelet is marked "56" and XRF tests 14K gold. The bracelet is 6.5" L. and has a weight of 22.73 grams.
PROVENANCE: The Estate of Eldridge "Dit" Shively, White Pine, TN.

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

Ladies 18K yellow gold bracelet featuring nine (9) flat polished lapis lazuli featuring gold overlay designs. The bracelet is marked "18" in Arabic and XRF tests 18K gold. The bracelet is 6" L. and has a gross weight of 26.10 grams.

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

Fifty-seven (57) pieces Towle Louis XIV pattern sterling silver flatware, including eight (8) New French hollow knives (8 3/4" L); eight (8) forks (7 1/4" L); eight (8) teaspoons; ten (10) salad forks; eight (8) iced tea spoons; one (1) round bowl soup spoon; one (1) sugar spoon; seven (7) oyster forks; two (2) tablespoons; one (1) cold meat serving fork; one (1) old style tomato server; one (1) gravy ladle; one (1) hollow handle master butter knife. Not monogrammed. All stamped with varying Towle marks and "Sterling." Housed in fitted case, 3" H x 17 1/4" W x 12" D. 52.45 weighable troy ounces.

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

Forty-three (43) pieces Gorham Melrose pattern sterling silver flatware, including eight (8) modern hollow knives (9 1/8" L); seven (7) forks (7 1/2" L); twelve (12) teaspoons; twelve (12) salad forks; one (1) hollow handle master butter knife; one (1) tablespoon; one (1) pickle or olive fork; one (1) gravy ladle. All stamped with varying Gorham marks and "Sterling." Some pieces monogrammed. Housed in fitted wood case, 3 1/2" H x 16" W x 11 1/4" D. 51.18 total weighable troy ounces.

CONDITION: Overall good condition. Some pieces monogrammed. Light wear, surface scratches. [See more photos →]

1st item: Ladies 14K yellow gold bracelet featuring thirteen (13) round cut amethysts. The bracelet is marked "K14" and XRF tests 14K gold. The bracelet is 6" L. and has a gross weight of 29.47 grams. 2nd item: Ladies 14K yellow gold earrings featuring two (2) oval cut amethysts. The earrings are marked "14K" and XRF test 14K gold. Gross weight of the earrings is 1.97 grams. 3rd item: 14K yellow gold brooch featuring ten (10) square step cut amethysts accented by twenty seven (27) seed pearls. The brooch is marked "14K" and XRF tests 14K gold. The brooch is 2 1/4 L. and has a gross weight of 5.00 grams. 4th item: Ladies 10K yellow gold pendant featuring an oval cut amethyst. The pendant is marked "10K" and XRF tests 10K gold. The pendant is 1 x 1/2" in size and has a gross weight of 4.52 grams. Gross weight of the lot is 40.96 grams.
PROVENANCE: The Estate of Eldridge "Dit" Shively, White Pine, TN.

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

Ron Williams (Tennessee, 1947-2016), oil on canvas painting of a landscape depicting a cloudy and blue atmospheric sky, rolling mountains with dense trees and foliage converging into a river, likely the Great Smoky Mountains. Signed: Ron Williams lower right. Housed in a fancy gold tone molded frame. Gun label verso reads: Magazine Painting by Ron Williams 4000 C1919. Canvas size: 13 1/2" H X 12" W. Frame: 21" H X 19 1/2" W. Biography: A native of Knoxville, TN and Navy veteran, Ron Williams began painting in his early adulthood and painted for over 40 years. He is best known for his numerous Hudson River School stylized depictions of Southern Highland and Appalachian landscapes, primarily depicting East Tennessee and Western North Carolina.

PROVENANCE: Private Collection Knoxville, TN.

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

Maria Poveka Montoya Martinez (1887-1980) and Popovi Da (1923 -1971) San Ildefonso black-on-black pottery dish with repeating stylized feather motif. Incised signature on the base "Maria Popovi" and 780 to the underside. 6 1/2" dia. 20th century. Note: Maria Martinez and her son Popovi Da (also known as Tony Martinez) worked together from 1956 to 1970. Their collaboration ended when Da unexpectedly died in 1971.

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