Textiles, Rugs, Quilts, and Fashion

Important African American “TVA” Quilt, designed by Ruth Clement Bond and made by an unknown quilter working in the TVA dam sites at the juncture of Mississippi, Alabama, and Tennessee, circa 1937. The hand-stitched cotton quilt with cotton batting depicts a young black man with government-uniformed white arm on his right shoulder and a fiddle or guitar in his left hand, held by a woman whose face appears in partial profile upper right foreground and whose form is suggested by two partial curves in the foreground, right edge. The man’s head is turned toward his right with his knees bent, against a background of sinking sun and light green foliage. Pale brown border with quilted vine and bud stitching and solid light orange backing. Unsigned. 81″ H x 62″ W. Note: This is one of five known surviving quilts in this pattern, named one of the top 100 quilts of the 20th century by judges elected from the Alliance for American Quilts, the American Quilt Study Group, the International Quilt Association, and the National Quilt Association. This lot includes a 1978 photograph of the quilt taken at “Seay-Me-Home,” the vacation home of its then-owner, Maurice Seay, along with a copy of a typewritten document dated 1976 found with the quilt, describing Seay’s connection to the quilt. It states this quilt was given as an expression of gratitude by workers at the Pickwick Dam Village to Maurice Seay, director of the educational program at the Tennessee Valley Authority (TVA) dam sites during the Depression era. It was designed by Ruth Clement Bond (1904-2005), an African American educator, civic leader, and designer who “helped transform the American quilt from a utilitarian bedcovering into a work of avant-garde social commentary” (Source: The New York Times obituary of Mrs. Bond, Nov. 13, 2005 – https://www.nytimes.com/2005/11/13/obituaries/ruth-clement-bond-101-quilter-and-civic-leader-is-dead.html ). Bond accompanied her husband, Dr. J. Max Bond, to the TVA dam construction sites where he had been hired in 1934 as a personnel manager to work with the black construction workers. He was, at the time, the company’s highest ranking African American official. Mrs. Bond supplied wives of the workers living at the various sites with quilt designs, many rich with symbolism, including this one, which exhibits elements reminiscent of paintings by Harlem Renaissance artist Aaron Douglas (particularly his mural series, “Aspects of Negro Life,” 1934). This is one of five quilts in this particular pattern known to exist along with one smaller related textile. The smaller textile is in the collection of the Museum of Art and Design in New York, one quilt is in the Michigan State University African American quilt collection, and a second quilt is in the private collection at TVA Headquarters. The whereabouts of the other two, both documented prior to 1990 by author and quilt researcher Merikay Waldvogel, are unknown. A detailed discussion of these so-called “TVA Quilts” can be found in Waldvogel’s book, “Soft Covers for Hard Times: Quiltmaking and the Great Depression” (Rutledge Hill Press, 1990). It contains information from interviews with Bond and two of the quilters, Rose Marie Thomas and Grace Tyler. All offered slightly differing titles and meanings for the quilt. Bond herself stated “The man with his banjo is full of frivolity. He is between the hand of the government [TVA] and the hand of a woman. He must choose between the government job and the life he has known…we wanted to show that he chose the TVA job. It has a hopeful message…things were getting better and the black worker had a part in it.” (p. 80). Note: The Seay paperwork dated 1976 (which appears to have been compiled for an exhibit at Western Michigan University the same year) indicates this quilt was made in Northeastern Mississippi, however, the other surviving quilts all have strong ties to the Wheeler Dam construction site in North Alabama. CONDITION: Central image in very good structural condition with even fading and a 3″ area of tiny scattered stains lower left; a couple of tiny areas of separation in stitching at lowermost edge of guitar and on subject’s left lower leg at edge. Border with overall fading in addition to discoloration and significant color loss along lower section. Scattered smaller areas of border have barely noticeable discoloration (largest is 1″L, positioned along right edge). Documentation with this lot includes a note from this quilt’s original owner, Maurice Seay, dated 1988, stating that the bottom of the quilt “was stained and faded as it hung on the north wall in the cabin.” [See more photos →]

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Knoxville, Tennessee genealogical sampler, signed Isabella M. Baker, 1848; executed in silk needlework on linen, with floral vine border and stitched garden at lower edge; features three rows of upper case letters, one row of lower case letters and one row of numerals, plus seven geometric dividing bands, all sewn in eyelet, cross stitch and four-sided stitch. Center field contains marriage, birth and death information for Isabella’s parents, C.H. Baker and M.L. White, and family, 1831-1847. 23 3/4″ H x 24 1/2″ W unframed. Note: This sampler has been documented for the Tennessee Sampler Survey. The survey’s genealogical research found Isabella (Belle) McNutt Baker was born Oct. 30, 1836 in Knoxville, TN. Her parents were Caleb Hodnett Baker, Sr. and his second wife, Mary Lawson White. Through her mother, Isabella was the great-granddaughter of Gen. James White, the founder of Knoxville. Isabella was listed as a sophomore in the 1848-1849 catalog of the East Tennessee Female Institute, successor of the Knoxville Female Academy. As she was not listed in the catalog for 1847-48, it is not certain that she completed her sampler there. However, if she did, her embroidery teacher would have been Mrs. Mariah McAnally, wife of Rev. David R. McAnally, principal of the school. Isabella married Benjamin J. Stephenson, a druggist, in 1856 and gave birth to four children. She died in 1913 and is buried in the Old Gray Cemetery in Knoxville. (A copy of the Tennessee Sampler Survey genealogy report, including guide to initials on sampler, is available on request). Condition: Overall good condition with some fading and discoloration. 3/8″ x 1/2″ and 3/8″ x 3/8″ tears near upper right corner. CONDITION: Overall good condition with some fading and discoloration. 3/8″ x 1/2″ and 3/8″ x 3/8″ tears near upper right corner. [See more photos →]

Important African-American "make-do" quilt by Josie Covington (Triune, TN/1869-1909) comprised of hand-pieced and appliqued blocks made of dress fabrics. Circa 1885-1900. Pieced patterns include basket, bowtie, star, and diamond blocks. Applique designs include doll, hearts, hands, a foot, and scissors. The central applique block includes motifs that may have had a personal significance to the quiltmaker. 83" H x 76" W. Note: The style, coloring and prints of fabrics of this textile have been professionally examined and are consistent with other late 19th/early 20th century quilts in Tennessee, where Josie Covington was living at this time. This quilt was included in a traveling exhibition sponsored by the Cleveland Museum of Art, the Links Chapter of Cleveland, and the National Endowment for Humanities from February 1978 through March 1981. It is included in John Vlach's accompanying publication THE AFRO-AMERICAN TRADITION IN THE DECORATIVE ARTS (Cleveland Museum, 1978). The central applique block was printed on invitations, postcards, and posters for most, if not all, of the seven prominent American museums that hosted the traveling exhibits. (A framed example of one of these posters is included with this lot). Artist's Biography: Josie Covington was born 1876 and lived in Triune in Wiliamson County, Tennessee, where she worked as a domestic servant for a family believed to have the last name of Pettus. The 1900 census records her as "widowed" and living with her five children and her mother Bettie Covington (1854-1926). Josie Covington's death certificate states she died in 1909 at the age of 40 of tuberculosis.

PROVENANCE: The collection of Richard H. and Kathleen L. Hulan, acquired from the quilter's daughter, Mary Eunice Covington Jones (1892-1984).

CONDITION: Quilt is structurally strong with two small holes visible in central area of grey striped backing. Repaired corner to upper left. Staining along upper and lower edges, not easily visible with fabric variety. Brown fabrics on quilt top are weak, but not fraying. One small hole with cotton batting protruding on lower middle edge. General fading to green and beige, especially in center block. [See more photos →]

Large Turkish Rubia carpet, wool on cotton, Woven Legends label. Large central medallion with palmettes flanked by foliate designs on a large shaped ivory field with red, blue, and green spandrels, all within a wide foliate border. Woven in colors of salmon, red, green, blue, and ivory. 17' x 12'. 20th century. The estate of J. Fred Pilkerton, Jr., Nashville, Tennessee. Condition: Overall very good condition. [See more photos →]

Hawaiian applique quilt in two shades of pink cotton or cotton sateen, ink-Inscribed en verso to one corner, "1932/Peter Leilani Kaaekuahiwi/From Mother". All appliqued and quilted by hand. The reverse applique on top reveals a lighter coral-colored cloth of the foundation. The quilting thread is yellow and the backing is a light coral color. The pattern name is unknown. 70" x 80". Note: Peter Leilani's mother, the quiltmaker, was A'keao Akana Kaaekuahiwi (b. 1889) and is listed in a 1910 Hawaiian census as a native Asiatic Hawaiian. Peter Leilani (1911-1989), was the oldest of her 8 children.

PROVENANCE: Private Bristol, Tennessee collection.

CONDITION: Overall good condition. Even discoloration/fading to backing fabric. Tiny holes evenly spaced might be evidence that the quilt was once tied. Some holes show minute fabric loss. [See more photos →]

Qing Dynasty embroidered silk ceremonial or Court robe, elaborately embroidered with gold, silver and colored threads on a rose silk ground, housed in a custom shadowbox frame. Body and sleeves having embroidered five toed dragons chasing flaming pearls, along with bat, longevity, and magic fungus decoration along with other auspicious symbols; multi-colored wave decoration to lower edge. Pale blue silk lining with braided and brass knotted closures. Housed in a custom fiberglass frame with Asian style silver-gilt corners; interior features magnetic backing to display the robe in upright position. Robe approx. 50" H. Frame: 63" H x 48" W x 6" D. Late 19th/Early 20th century.

PROVENANCE: Private Chattanooga, TN collection.

CONDITION: Silk background has faded to a light rose/pink on the front of the robe with minor fading verso. 3/4" dark pen mark and 1/16" dark stain to right side, near center edge; a few loose threads around center dragon motif; scattered minor pulls and subtle fraying at a couple of ends. [See more photos →]

Middle Tennessee needlework sampler, silk on linen, signed “H.D. Bryant’s Work”, with house, tree, and basket or urn motifs. Attributed to Maury County (Culleoka), circa 1835. Wide lily or tulip and geometric outer border and an inner chain of diamond border, enclosing upper and lower case cross-stitched alphabets (lacking lower case d) and numerals, over the signature line which is executed in four-sided stitch. Dividing bands are stitched in geometric and floral motifs in cross, back, chain, and queen stitches. The lower half of the sampler is devoted to large figural motifs of a two-story house, tree with two birds, and a basket of fruit or flowers. This highly decorative sampler, worked in tones of blue, dark and light green, white and beige/gold, is similar to other Middle Tennessee samplers classified by the Tennessee Sampler Survey as the “Cartouche, Wreath and Vase Group” (see the Mary Elizabeth Collins sampler sold by this auction house in Dec. 2008). Provenance: according to the Tennessee Sampler Survey, which has documented this sampler, it was made by Harriet Daniel Bryant. Harriet was born in North Carolina to Edward Bryant and his second wife Elizabeth (Betsy) Amis. Sometime between 1818 and 1823 the family moved to the Culleoka area of Maury Co. where the sampler was made. Harriet married Archelous White in Maury County in 1841 and they had nine children. It descended in her family to the present consignor. Older but not original giltwood frame. Sight: 17″H x 17-1/2″W. Framed: 19″ H x 19-1/2″W. Condition: Overall very good condition with some light fading and discoloration but no thread or ground loss. Sampler is currently framed with an acidic background but is not glued down. The blue thread in the outer border does not continue through the lower right corner but there is no indication of thread loss. Later frame but possibly original glass. [See more photos →]

Scarce West Tennessee needlework sampler, silk on linen, by Mary Jane Russell of Brownsville TN, Haywood County, 1837, with unusually comprehensive biographical information. Multicolored border comprised of eyelet stitch on one side and cross stitched zig zag pattern on top, and cross-stitched green and white chainlink pattern on right side, enclosing 2 rows of upper case alphabets (cross and eyelet stitches), and 1 of lowercase alphabets plus 2 rows of numbers. Note: this sampler has been documented by the Tennessee Sampler Survey. It is one of only about ten documented samplers from West Tennessee, and the only known Tennessee sampler which contains the stitcher’s birthplace (Orange County, North Carolina, Feb. 3, 1825 – indicative of the migratory pattern of early Tennessee settlers as they advanced to the Western wilderness). Sampler also includes Russell’s birthdate, Feb. 3, 1825, along with her home location of Brownsville and sampler date, “Nov the 2. 1837.” According to genealogical information from the Tennessee Sampler Survey, Mary Jane Russell came from NC to Haywood County, Tennessee in 1826 with her parents, James W. Russell and Nancy Brewer. There was a Brownsville Academy in the community by 1831 (which may have been co-ed), and Mary Jane may have made her sampler there. Records obtained by the Tennessee Sampler Survey show her father fell behind on his payments there in 1833 and 1834 and was sued by the Board of Common School Commissions. Mary Jane may also have been instructed by her aunt, Mrs. W.C. Russell, who was a teacher in the county. Sometime after 1840, Mary Jane, her parents, and several siblings moved to Texas. She married Stephen Decatur Rainey there in 1847 and they had three children. She died in Harrison County, Texas in 1898 and is buried in Marshall Cemetery. A packet of genealogical information will be provided to the winning bidder on request. Old, possibly original lemon gilt molded frame. Sight: 10 3/4″ H x 17 1/2″ W. Framed: 4 3/4″ H x 21 1/2″ W. CONDITION: 3/4″ area of repair above first letter C, 1/2″ area of repair upper center edge above letter F, a few other scattered small areas of ground loss/holes, discoloration/toning and fading throughout. Sampler has not been examined out of frame. [See more photos →]

Early 19th century schoolgirl landscape theorem on velvet, depicting a large building with bell tower set atop a hill. It and several smaller buildings overlook a river, with three men in a boat loaded with barrels sailing past. Old note taped verso reads “For Minerva Evans Hoge. Painted by Minerva French Boyd while a student at the Moravian College in Winston Salem N.C. about the year 1820 – her great-great aunt.” Later giltwood and composition molded frame with brown mat. 12″ x 16″ sight, 21″ x 24″ framed. Also included is a framed copy of an 1865 presidential pardon, granted by Andrew Johnson to another ancestor of Minerva Hoge, Joseph H. Hoge of Giles County, Virginia, for his participation in “the late rebellion against the government of the United States.” 19″ x 30″, framed. Note: upon leaving school in Salem, Minerva French married Col. Thomas Jefferson Boyd of Albemarle County, Virginia, the law partner of her brother-in-law Judge David McComas. The couple lived in Evansham, Va., and Thomas Boyd helped lay out the town which would eventually come to be called Wytheville; in fact he became known as “The Father of Wytheville” due to his civic involvement (source: the Thomas Jefferson Boyd papers, Special Collections, Louisiana State University). Thomas and Minerva had several children, including David French Boyd, who moved to Louisiana and founded Louisiana State University. (Their son Thomas Duckett Boyd also served as President of that University). The scene depicted in the theorem has not been identified. It may show a building familiar to Minerva French which no longer exists, or may have been drawn from a print of the period depicting a faraway location. Condition: Velvet is adhered to acidic paperboard stock, which has caused some overall discoloration. Scattered tiny stains and areas of wear/loss. Losses to molding on frame. [See more photos →]

Large Persian Heriz rug or carpet, wool on cotton. Central medallion on dark blue ground with palmettes within a red diamond, dark blue ground foliate border. Woven in colors of red or rust, blue, ivory, and gold. 12' 4" x 8' 11". First quarter 20th century. Provenance: The Guardsmark Collection, Lipman Holdings International, Memphis, Tennessee. Condition: Overall good condition, rebound ends, one end with fringe loss. [See more photos →]

Dine (Navajo) Germantown Eyedazzler blanket or rug with pictorial elements including a fork and knife together with a bow and arrow to one end and three knives to the other end, with arrow borders at each end and arrows to the center. Expertly and tightly woven in colors of red, green, yellow, black, orange and blue with visible spirit lines to each end. 50″ L (w/ fringe) x 33 1/2″ W. Late 19th/Early 20th century.

CONDITION: Overall very good condition. A few scattered areas of minor staining, minor losses to fringe and minor wear to binding. [See more photos →]

Tennessee needlework Family Register sampler, worked 1830 by Elizabeth M. Henley at the Knoxville Female Academy. Elizabeth Henley, granddaughter of Revolutionary War hero Col. David Henley, married Barclay McGhee, grandson of Knoxville settler and politician Col. Charles McClung. Silk on linen sampler with wide floral border, partially unfinished, with zig zag design satin stitch edging in contrasting light and dark threads, enclosing three rows of cross-stitched alphabet, the date 1830 and a row of numbers, over a bud and heart-with-cross motif band, over two verses: “Teach me to feel another’s woe/To hide the fault I see/that Mercy to others show /that mercy show to me” and “When age shall steal on me and youth is no more/and the moralist Time shakes his glass at my door/What charm in lost beauty or wealth shall find/my treasure my wealth is a sweet peace of mind”. Below the side by side verses is Elizabeth M. Henley’s signature and a family register with names and birth dates of her father, Arthur H. Henley, born Nov. 15, 1782; mother Ann E. Henley born Sept. 29, 1798, and siblings and/or possibly cousins: Sally H. Henley, born Feb. 20, 1816; David Henley, born Oct. 5, 1816; Mary K. Henley born Nov. 16, 1820; Alexander S. Henley born Nov. 15, 1822; and Mildred W. Henley (no birth date stated). Housed under glass in an early 20th century stained molded wood frame. 17 1/2″ H x 21 3/4″ W sight; 19 1/2″ H x 23 3/4″ W framed. Note: This sampler has been documented by the Tennessee Sampler Survey ( a copy of this report will accompany the sampler). Elizabeth Henley was born 1819 in Monroe County, Tennesssee to Arthur and Ann Henley. Her grandfather on her father’s side, David Henley, was a Continental Army officer during the American Revolutionary War, who served as George Washington’s intelligence chief and prisoner of war commandant. He later served as the Agent for the United States War Department for the Southwest Territory (later Tennessee) in the 1790s. Elizabeth’s name appears in the Knoxville Female Academy catalog for 1831 along with that of her sister Mary, and may have been worked while she was attending this school in Knox County, or at the Bolivar Academy in Madisonville, Monroe Co. as it bears a resemblence to other samplers made there at that time, according to the Tennessee Sampler Survey. Sadly, Elizabeth did not live long enough to reach the old age to which she alluded in her verse. She married Barclay McGhee in 1843 and died the following year at the age of 25, twelve days after the birth of their daughter. Barclay McGhee was the son of John Charles McGhee and Elizabeth Betsy Jones McClung McGhee (daughter of Knoxville settler and surveyor Colonel Charles McClung (1761-1835); he also was known as the master of land his family owned on the prehistoric Native American site in Monroe County called Toqua. Three years after Elizabeth’s death, Barclay married her sister Mary (whose name appears on the sampler). In 1856, at the age of 32, Barclay was found dead in a Chattanooga hotel room with a slit throat! Period accounts leave it unclear as to whether his wounds were self inflicted or the result of a deadly feud with a neighbor. Provenance: The Living Estate of Elizabeth Johnston Davidson Frierson, Knoxville, TN. CONDITION: Sampler has not been fully removed from frame but appears glued to cardboard backing. Overall discoloration to ground and fading to thread. Two significant areas of staining, 2″ diameter center right and 4″ diameter center left, other scattered minor spots of darker discoloration throughout. No apparent holes or significant losses, although the names Alexander and Mildred appear to have possibly been reinforced with darker thread or added later. [See more photos →]

Large Flemish wool tapestry depicting a landscape with bird perched atop a rock overlooking a lake, large lush trees and vegetation including flowers and cattails. Tapestry woven in colors of green, blue, gold, brown, tan, and cream. A grey 1 1/2" border has been applied to the perimeter and a beige backing has been added along with a velcro strip added to the top for hanging. 90" H x 59 5/8" W. 18th century or earlier.

PROVENANCE: A Nashville, Tennessee Estate.

CONDITION: Some fading, patches, wear, and repairs throughout. Grey border is loose along the lower right edge. [See more photos →]

Franklin / Williamson County, TN silk-on-linen needlework sampler by Roxana McGee. Worked in cream, light and dark green, yellow, black, brown and red silk threads in a variety of stitches including cross, chain, eyelet and satin. Floral garland border on three sides surrounding seven text registers, including 5 alphabetic bands above the identifying register, “Roxana M’Gee’s sampler/Franklin, Tenn august, 1839,” and a verse: “May I govern my passions with absolute sway/ And grow wiser and better as life wears away”. Below is a central vase of fruit flanked on either side by wreaths, dated “1793” and “1799”. Later stained wood frame. Sight – 16″ H x 16 1/4″ W. Framed – 20 5/8″ H x 21″ W. Note: This sampler has been documented by the Tennessee Sampler Survey, which attributes it to the “Vase and Cartouche” group of Middle Tennessee samplers. Roxana’s grandfather was Rev. John McGee who owned a large land grant near Henpeck Lane, south of Carnton Plantation (Williamson County, TN). His home, Mendenhall, still stands. Roxana’s father was a physician who died young leaving her mother with six children in 1832. Roxana (B. circa 1825) married William Cole (B. circa 1813 in NC) in Williamson County in 1842. Shortly after marrying, they moved to Tippah County, Missouri and later to Pueblo, Colorado. Illustrated “19th Century Williamson County Samplers: Emerging Research” by Jennifer Core, Williamson County Historical Journal, No. 43, 2012 (pp. 26-27). Provenance: Private Tennessee collection; Christie’s New York auction of Important American Furniture, Folk Art and Decorative Arts (Mr. J. Hays, sale #7980), Oct. 21, 1994, Lot #4; the collection of Katherine Prentiss Murphy. Condition: Overall very good condition with some light overall background discoloration and thread fading, archival framing under UV-resistant glass. [See more photos →]

Kentucky Needlework Sampler stitched by Eliza Pearson and dated 1832, silk on coarse weave linen in colors of red, navy blue, green, brown/tan and ivory. “Eliza Pearson Aged 9 1832” stitched into 5 rows of alphabets and numbers, each row separated by a band of cross stitch in colorful and decorative motifs, over a verse: “O God permit thy gracious name to stand as the first ephod (sic for “effort”) of a female hand/And while her hand doth on the canvass move engage her youthful heart to seek thy love”. Large red multiple story house at lower center, flanked by urns of flowers; plain cross stitched border. Housed in a period wide ogee molded stained wood frame with gilt rabbet edge having a framing label verso for The Art Shop, Louisville, KY. 15″ x 11 3/4″ sight, 23″ x 20″ framed. Accompanied by a packet of genealogical information for Eliza A. Pearson, b. 1823 in Nelson County, KY (in an area which later became part of Hardin County). She married William Franklin in 1852 and had at least three children. She died in 1912 in Nelson County. CONDITION: Most colors remain bright, with some fading to tans and greens, 1/4″ area of ground loss at center possibly affecting the W in “While”, some small losses to various navy blue lettering on verse, overall ground discoloration. Frame has original surface with 1/2″ spots of veneer loss at each lower corner. Not examined out of frame. [See more photos →]

Southern African-American quilt, attributed to Margaret or Lema Carr of Rogersville, Tennessee, recently exhibited at Colonial Williamsburg. This quilt displays an ingenious and unique design by incorporating the traditional Schoolhouse pattern with a semi-abstract Tree of Life motif, using hand-stitched pieced and appliqued cotton and synthetic fabrics. Eight rectangular panels enclose multicolored schoolhouses with beads representing door knobs and embroidered flowers, facing each other; the “roofs” and panel borders are joined by a central green vertical “tree trunk” to become its limbs, with all enclosed within a mauve border. Off white cotton backing. 78 1/2″ x 63 1/2″. Early to mid 20th century. Provenance: According to family tradition, Margaret Carr (born ca. 1909), an African-American schoolteacher from Rogersville, Tennessee, made the quilt or inherited it from her mother. Margaret appears in the 1940 United States census from Hawkins County, Tennessee when she was 31 years old and living on North Church Street with her parents George and Lema Carr. Although she had completed four years of college, Margaret was working as a cook in a private home at the time of that census. Margaret also taught at Swift University in Rogersville, Tennessee. She remained single until at least 1971, when the local Rogersville Review newspaper reported that Miss Margaret Carr hosted a meeting of the Woman’s Home and Foreign Missionary Society of Russell Chapel Church at her home on Church Street. Russell Chapel was an African Methodist Episcopal Church. (source: The Colonial Williamsburg Foundation). Provenance: the collection of Mary Jo Case, Kingsport, Tennessee. Exhibited, “A Century of African-American Quilts,” McCarl Gallery of the Art Museums at Colonial Williamsburg, February, 2017, to June of 2018. CONDITION: Overall good condition. Scattered areas of staining/discoloration. 3/8″ area of shattering, top right. Two schoolhouses, second from top on right and bottom on left, are missing doorknob beads. Velcro band for display across top of quilt backing. [See more photos →]

Gee’s Bend Alabama pieced quilt by Bettie Bendolph Seltzer (1939 – 2017), house-top pattern variation stitched in bright colors including yellow, red, purple, aqua and green. Signed en verso to one corner “Bettie B. Seltzer” and additionally stamped “Gee’s Bend Quilters Collective”. 86 1/4″ x 84 1/2″. Alabama, 20th century. CONDITION: Excellent condition. [See more photos →]

Chinese Qing ladies embroidered silk court robe having a dark blue ground, the body with embroidered flower, bat, and butterfly decoration, the lower edge with wave and flower designs. Sleeves with gold floral and butterfly cuffs. Pale blue silk lining with black knotted closure. 43 1/2" H x 51" W. Late 19th/Early 20th century.

PROVENANCE: Estate of Judge John Nixon, Nashville, Tennessee.

CONDITION: Overall very good condition. Some fading, fraying, and minor staining to interior lining, particularly at neck. [See more photos →]

Antique Persian Sarouk rug or carpet, wool on cotton. Salmon and red central medallion on a navy blue field with foliate decoration, flanked by ivory, salmon, and red spandrels, red foliate border. 13' 9" x 10' 11". First quarter 20th century. Provenance: The Guardsmark Collection, Lipman Holdings International, Memphis, Tennessee. Condition: Losses to fringe, frayed binding at ends, overall good condition. [See more photos →]

English Regency period needlework and watercolor on silk landscape depicting the allegory of friendship. A young female holding a floral garland stands beside a stone architectural plinth supporting two love birds, next to a seated young girl adorning a lamb with a floral garland; a willow tree and cottage are shown in the mid-ground with a body of water and boats in the background. Both figures with hand-painted faces and hands, background hand-painted. Housed in an oval eglomise glass matte and carved gilt wood frame. Sight: 16 5/8" H x 19 1/2" W. Framed: 21 3/4" H x 24 1/2" W. Early 19th century.

PROVENANCE: Private Knoxville, TN collection.

CONDITION: Overall very good condition. Some minor spotting, very slight craquelure noted to watercolor background upper mid margin. [See more photos →]

Bourbon County, Kentucky House Sampler attributed to Martha "Patsy" Hook, c. 1815. Silk on linen sampler featuring a strawberry border enclosing three alphabets, a basket of flowers, and a verse surrounded by bird and flowering vine motif, reading, "Teach me to feel another's woe/ To hide the fault I see/ That mercy I to others show/That mercy show to me." (Verse by Alexander Pope, from "The Universal Prayer."). Below the verse is a brick Federal style house and gate, with the names of her parents Thomas and Sarah Hook, and brother Samuel, stitched to the sides. The sampler incorporates a variety of stitches, especially in the alphabet and under the basket of flowers. Housed under glass in a wide flame grain mahogany veneered frame. Sight: 16" H x 17 1/2" W. Frame: 21 1/2" H x 23" W. A packet of genealogical information is available to the winning bidder. Note: Patsy Hook's sampler appears to be unfinished. Her name is absent, as are the names of her seven other brothers and sisters. Thomas and Sarah "Sally" Long Hook were both born in Maryland, but had moved to Bourbon County by 1793, and Sarah gave birth to Martha "Patsy" Hook in 1800. Patsy married Elijah Breeding on Sept. 6, 1824 in Nicholas County, KY, and they had 3 children. By 1829 the couple had moved to Missouri along with her parents, becoming early pioneers of that state. Elijah Breeding died there in 1830, leaving Patsy a young widow. She married James Sims in 1833, but died less than a year later in 1834. The sampler has descended in her family with the oral attribution to her as the stitcher. A packet of genealogical information on the Hook family accompanies this lot.

CONDITION: Thread color has faded, and there is a 3/4" line of ground repair adjacent to the 4th verse line. The upper portion of the f's in the verse appear to be missing, but this may be the way they were stitched. Not examined out of frame. Frame may not be original. [See more photos →]

Large Tabriz Persian medallion carpet, wool on wool construction. Center with ivory, blue, and red medallions, foliate designs, and floral borders. 18' 10" L x 13' W.

PROVENANCE: Deaccessioned by the Arkansas Museum of Fine Arts Foundation to benefit the acquisitions fund.

CONDITION: Overall poor condition with heavy wear, piling loss, and staining. [See more photos →]

Chinese silk four-sided or lobed panel embroidery depicting a central image of a dragon holding a pearl, surrounded by four additional dragons with pearls, with images of bats, clouds, flowers, and precious objects rendered in blue, off white, olive green, coral, and metallic threads on a blue ground, enclosed within an embroidered border, all sewn onto a off white linen backing. 42" H x 42 3/4" W. Late Qing Dynasty, late 19th/early 20th century.

PROVENANCE: Private Chattanooga, TN collection.

CONDITION: Overall good condition with light wear, staining, tears, largest 1/2". [See more photos →]

Large Navajo Ganado rug having a double terraced diamond central design on a red field with zigzags and other geometric shapes on the inner border. 116 1/2″ L X 72″ W. Mid 20th century. Condition: Some brown staining, primarily to one corner and some in the center. A few slight areas of color run to brown color. [See more photos →]

Large Navajo wool rug or blanket, Two Grey Hills pattern with crosses. Woven in colors of brown, cream and tan. 81 1/2" H x 62" W. 1st half 20th century. Private East Tennessee collection. Condition: Overall good condition for age. Some scattered stains, wear and losses to edges. [See more photos →]

Antique Persian Farahan Sarouk rug, wool on cotton, center shaped medallion on a dark blue field surrounded by floral or foliate designs. Secondary colors of ivory, red, green, gold, pink, and dark blue. Circa 1920's. 81" L x 52" W. Provenance: The estate of J. Fred Pilkerton, Jr., Nashville, Tennessee, purchased 1968. Condition: Overall good condition with light, commensurate wear for age. [See more photos →]

Navajo rug, Crystal Storm pattern rug, 115″ x 66″, woven in colors of red, gold, ivory, beige and brown, center geometric design with whirling logs at corners and border of water beetles. 9’5″ x 5’5″. Second quarter of the 20th century. Provenance: Private Oak Ridge, TN estate. CONDITION: Recently professionally cleaned. Minor fraying on one side, 2″ L. [See more photos →]

Antique Caucasian Shirvan rug, coarse weave vegetable dyed wool on wool, with three central medallions on red ground and floral border, in colors of red, green, gold, blue and green. 7' L x 5' 4" W. Late 19th/Early 20th century. The Collection of Ann Hale-Smith, Rogersville, Tennessee. Condition: Some caustic oxidation noted and wear from where the foundation had been bound up or creased. [See more photos →]

1st item: Chinese embroidered red silk Kesi or ladies shawl, comprised of three light gold silk shaped cartouche panels with bird and flowering branch decoration on a red silk ground with gilt embroidered floral, bird, and insect decoration throughout. Bordered along the lower edge with mirror trim above a blue border with floral vignette and gilt embroidered decoration and silk knotted fringe. 82" W X 22 1/5" H. Late 19th century. 2nd item: Chinese blue silk men's robe, with embroidered designs including dragons chasing the flaming pearl, bats, and auspicious symbols above a wave, water, and striped lower border. 55" H x 71 1/2" W. Late 19th century.

PROVENANCE: Estate of Judge John Nixon, Nashville, Tennessee.

CONDITION: 1st item: Scattered fraying and shattering to silk including along the upper edge with significant losses to upper left edge, approx 4" L x 2" W. Some fraying and losses to gilt threads and a few losses to mirror trim, mostly to upper left edge. Overall grime with some light scattered staining. 2nd item: Scattered fraying and shattering to silk, primarily to both seams of sleeves and around the collar and neck area. Robe toggles or closures missing. Some fading to the blue robe ground. Overall light grime and some light staining. [See more photos →]

Persian Heriz rug, wool on cotton. Ivory, red and dark blue central medallion on a diamond red field with foliate decoration, flanked by ivory and red spandrels, red foliate border. 8' 1" x 11' 4". Late 1930's or early 1940's. Provenance: The Guardsmark Collection, Lipman Holdings International, Memphis, Tennessee. Condition: Overall good condition, some fringe loss to both ends, some replaced edge bindings. [See more photos →]

Large Aubusson tapestry, the center depicting a lush landscape with bridge and castle visible beyond a grove of tall, arching, trees, within a wide floral border. Woven in primary colors of pink, green, blue, green, and cream. Fitted with a sleeve and iron rod for hanging. 80 1/2" H x 61 1/4" W. French, late 19th/Early 20th century.

PROVENANCE: The Estate of Pia Stratton, Nashville, Tennessee.

CONDITION: Overall good condition, some possible light fading to the center. [See more photos →]

Three (3) Chinese items, including red silk embroidered panels and a reverse glass figural landscape painting. 1st & 2nd items: Two (2) embroidered red silk rectangular panels, each depicting several figures, likely courtiers, in a landscape setting with temple structures, engaged in various activities surrounded by bats and butterflies, all sewn onto a gold silk backing. Unmarked. Sewn band to top of each panel, likely for hanging, visible en verso. 89" H x 33 1/2" W. 3rd item: Reverse glass figural landscape painting depicting a tiger with a female figure in its mouth being chased by a male figure with an axe in his hand while four more figures look on in the foreground with mountains rising in the background. Chinese characters lower right corner. Handwritten inscription LEWIN and affixed Edward Butler gallery paper label, en verso. Housed in an ebonized wood frame. Sight: 19 3/8" H x 13 1/8" W. Frame: 22 3/8" H x 16 1/8" W. All items late 19th/early 20th century.

PROVENANCE: Private Chattanooga, TN collection.

CONDITION: 1st & 2nd items: Varying degrees of staining, fading, fraying, largest 8 1/2". 3rd item: Scattered exfoliation of reverse painting on figures and landscape. Frame with scattered surface scratches. [See more photos →]

1st item: Cotton red and green floral applique quilt attributed to Rachel Roess of Pennsylvania. The center panel contains an intricately engineered four-leafed plant surrounded by four fylfots expressing good luck, constructed with double green, cheddar yellow, and turkey red fabrics on an embroidered ivory ground with tiny applique touches to the geese, birds, and floral displays. The deep swag border is an original design as well as the quilt's edge, cut to echo the border. Approximately 90" x 88". Circa 1860's. 2nd-3rd items: Cabinet card photograph of Rachel Roess, taken by South Oil City, PA photographer J.W. Sires, and a 1946 photograph of Rachel Roess's direct descendants Lillian Roess Brecht, Elizabeth Brecht McKee, and Katherine (Kitty) McKee, who have all owned this quilt. Note: The quilt was washed in 2001 and was believed by the family to be about 100 years old at that time, however, the style and fabrics are more frequently associated with the 1860s or 70s. Provenance: by descent to Katherine McKee of Nashville (age 85 in 2021), from her mother Elizabeth Brecht McKee (born 1900), from her mother Lillian Elizabeth Roess Brecht (1876-1959), from her mother Rachel Aggers Roess, maker of this quilt. Rachel Roess was born in Chartiers Township, PA in 1844 and died in Oil City, PA 1925, where her husband worked in the oil business.

CONDITION: Expected fabric wear and fading for a quilt of this age. Thinning of the Double Green and Turkey Red fabrics with cotton batting coming through in places. Staining and spotting evident in white cloth. Turkey Red binding is weak and pulling away in spots. [See more photos →]

Karabagh carpet, wool on wool, with medallions containing floral designs and palmettes with a narrow foliate border. Woven in colors in blue, green, salmon, rust, pink, and ivory. 5' 5 3/4" H x 10' 13 1/2" W. First quarter of the 20th century.

PROVENANCE: The Estate of Raymond White, Nashville, Tennessee.

CONDITION: Overall good condition with general use wear, losses to pile in the center and to ends. [See more photos →]

Chinese Peking blue and white Art Deco carpet, wool on cotton, with a predominately all over ivory field, multiple borders, foliate and geometric designs, and accent colors of coral, green, and beige. 11' 7 1/2" x 8'11". Early 20th century.

PROVENANCE: The Estate of Margaret Harold Roberts, Lookout Mountain, Georgia.

CONDITION: Overall good condition with scattered use wear and losses to pile. One area of repair to the center, fringes absent. [See more photos →]

Framed Southern watercolor theorem on velvet, depicting a display of fruit and floral sprig in urn, housed in the original mahogany veneer frame. Sight: 17 1/2" H x 21 1/4" W. Framed: 21 1/4" H x 25 1/4" W. 19th century. Provenance: descended in an old Williamson County, Tennessee family. Condition: Overall toning. Some scattered shattering/fraying noted to velvet. [See more photos →]

Native American Sioux fully beaded hide vest. White beaded ground with red, blue, green and yellow beaded geometric designs to the front and back, retains some of the original fringe. Housed in a homemade shadow box frame. Vest – 21 1/2" H x 20" W. Framed – 27" H x 25" W. Late 19th century. CONDITION: Some minor bead loss at seams and to left front side, overall light grime. [See more photos →]

Fragment of a pre-Columbian Incan tapestry featuring a band of woven figural designs on a dark red field, set in a double sided frame under double-sided glass. 1975 letter en verso from Maria Teresa O'Leary of Nuevo Mundo, Alexandria, Virginia, certifying the item is from the Peruvian Coast in the Incan period, 1000-1200 AD. Textile – 17 1/2"W x 6"H. Frame – 23"W x 12"H.

PROVENANCE: Private Tennessee collection, purchased 1975 from Nuevo Mundo, Alexandria, Virginia.

CONDITION: Overall very good condition with still vivid colors. Repair to one 2" section. Small hole lower right of front. Light grime. Frame with abrasions to edges. Not examined out of frame. [See more photos →]