An exhibited collection of Picasso ceramics including a Madoura Femme lamp and pitcher, a Tete de Femme pitcher, a Corrida Fond Noir platter, Sujet Poisson fish pitcher, and a Toros plate dating from 1952-1955. More information in the coming weeks.
Pablo Picasso (Spanish, 1881-1973) lithograph on Arches paper entitled “Football” and depicting several stylized figures who wear red and blue jerseys and surround a central, yellow ball. Dated 3/6/61 in the stone. Pencil signed lower right and numbered 156/200 lower left. Inscribed 6423 and 28 x 36 in pencil to verso. Ref.: Bloch 1019, Mourlot 356. Housed under glass in ebonized and giltwood frame with fabric mat. Sheet: 21 3/4″ H x 30 1/4″ W. Framed: 30″ H x 38″ W.
After Pablo Picasso (Spanish, 1881-1973) color lithograph entitled “Le Cavalier (Mousquetaire a la Pipe).” Lithographed by Henri Deschamps (French, 1898–1990) and printed by Mourlot, Paris. Published by Yamet Fine Arts, New York, 1968. On Arches paper with watermark center right. Pencil-signed “Picasso,” lower right, and numbered 190/300, lower left. Housed under plexiglass in a giltwood frame with black mat and gilt fillet. Sheet: 27″ H x 19 3/4″ W. Framed: 38″ H x 32″ W.
William Edmondson (American/Tennessee, 1874-1951), carved limestone sculpture depicting a standing woman with shoulder length hair, wearing a valanced dress or apron with a short train in back, visible shoes, and a necklace. She carries a pocketbook in her right hand. Unsigned. 13 3/8″H x 5″W x 7″D.
William Edmondson (American/Tennessee, 1874-1951) teacup sculpture. Illustrated on p. 47 of Miracles: The Sculptures of William Edmondson and exhibited at the West Tennessee Regional Art Center, Humboldt, TN.
Louise Dahl-Wolfe (American, 1895-1989) gelatin silver print photograph of African-American folk art sculptor William Edmondson (1874-1951). Signed in the lower right margin mat, “Louise Dahl Wolfe”.
Louise Dahl-Wolfe (American, 1895-1989) gelatin silver print photograph of African-American folk art sculptor William Edmondson (1874-1951). Signed in the lower right margin mat, “Louise Dahl Wolfe”.
Meyer R. Wolfe (Tennessee/New York, 1897-1985), “Vanderbilt Clinic,” 1939, American Regionalist lithograph depicting a group of Black patients with weary expressions in a segregated waiting room at the Vanderbilt Medical Clinic in Nashville, Tennessee. A narrow doorway shows a white nurse, seated at a desk and reading, in an adjacent room. Titled and numbered “Ed 25″ lower left. Signed and dated lower right. Housed under glass in a simple, ebonized wood frame with cream mat. Sight: 13″ H x 16 1/2″ W. Framed: 20 3/4″ H x 23 3/4” W.
Meyer R. Wolfe (Tennessee/New York, 1897-1985), “The Conversation,” WPA era oil on panel painting depicting two African American women standing deep in conversation at a clothesline, with the steeple of a church visible in the background against a darkening sky. Unsigned. Two exhibition labels en verso. Exhibited, The Art of Tennessee, Frist Art Museum, 2006. Panel – 20″H x 24″W. Frame – 25″H x 30″W.
Beauford Delaney (American/Tennessee, 1901-1979) watercolor gestural abstract painting in yellow, purple, and orange that blend and bleed into one another, with areas of exposed paper visible throughout. Signed “Beauford Delaney,” inscribed “Clamart,” and dated 1958 in black pen, lower right. Floated in a modern giltwood frame with cream mat. Sheet: 25″ H x 18 3/4″ W. Frame: 31″ H x 24 3/4″ W. Note: The inscription “Clamart” refers to the suburb of Paris where Delaney lived during the period from 1956 to late 1961 or early 1962.
Joseph Delaney (Tennessee/New York, 1904-1991) oil on panel painting of a nude African American woman seated before a decorative green and white textile background, 1952. She clasps her hands around her legs and gazes toward the viewer. A gold earring hangs from her left ear and sgraffito linework describes bracelets around each wrist. Signed “Jos. Delaney,” lower left, and inscribed “J.D. 52” en verso. Label taped to back on frame reads “Helen Nude / 1952 / Oil/Plywood.” Housed in simple wooden frame. Panel: 31 3/4″ H x 21 1/4″ W. Frame: 33″ H x 21 1/2 W.
William Aiken Walker (American/South Carolina, 1838-1921) oil on canvas painting of an elderly, bearded African American sharecropper who leans on a cane. A large, woven cotton basket sits to his right and a field of cotton grows behind him. In the distance a house, adjacent building, and split rail fence stand before a line of trees. The ripe cotton and leafless trees suggest an autumnal setting. Signed lower left. With Schultheis Art Galleries, New York label affixed to back of frame. Housed in a likely original giltwood frame. Sight: 13 1/2″ H x 9 1/2″ W. Framed: 17 1/2″ H x 13 1/2″ W.Note: According to the Frick Art Research Library, Schultheis Galleries operated in New York City from 1886 until c. 1948.
William Aiken Walker (American/South Carolina, 1838-1921) oil on canvas painting of an elderly, bearded African American sharecropper who leans on a cane. A large, woven cotton basket sits to his right and a field of cotton grows behind him. In the distance a house, adjacent building, and split rail fence stand before a line of trees. The ripe cotton and leafless trees suggest an autumnal setting. Signed lower left. With Schultheis Art Galleries, New York label affixed to back of frame. Housed in a likely original giltwood frame. Sight: 13 1/2″ H x 9 1/2″ W. Framed: 17 1/2″ H x 13 1/2″ W. Note: According to the Frick Art Research Library, Schultheis Galleries operated in New York City from 1886 until c. 1948.
Bill Sawyer (American/Tennessee, 1936-2020) oil on board painting depicting a little girl holding a black cat and standing in the doorway of a brick tenement house; a discarded baby doll lays in the doorway of the house next door. The house, and the buildings behind it, are rendered in intricate architectural detail with incised lines demarcating each individual brick as well as the gutters, steps and columns. Signed “Bill Sawyer” lower left on the curb. Housed in a natural pine frame with plain edges with linen mat and gilt fillet. Board: 20″H x 24″W. Frame – 27″H x 31″W.
Bill Sawyer (American/Tennessee, 1936-2020) oil on board painting depicting a little girl holding a candy stick and standing before a brick wall painted with a trompe l’oeil door, with a string leading from the doorknob (rendered in high relief) to the brown grass at her feet. A bare tree stands to the child’s right and a wall with faded advertisement is on her left; in the foreground is a curb and sidewalk with chalk drawings. Signed “Bill Sawyer,” lower center, below the curb. The painting is mounted to a linen mat and framed in a plain, gold-painted frame. Panel: 18″H x 14″W. Frame: 22″H x 19″W.
Ralph Eleaser Whiteside Earl (Tennessee/Massachusetts, 1788-1838) miniature portrait depicting a youthful, red-haired Andrew Jackson in military uniform. After John Welsley Jarvis’s c. 1819 portrait in the collection of the Metropolitan Museum of Art. Signed “R.E.W.E.,” center right. The present portrait is encased in a 14k yellow gold mourning brooch with a lock of (presumably) Jackson’s red hair braided into a wire mesh housed under glass and affixed to the backing. Miniature: 1 1/4″ H x 1″ W. Brooch: 1 7/8″ H x 1 3/8″ W.
Circa 1832 Sumner County Tennessee schoolgirl Theorem by Catherine Hassel of Gallatin. The watercolor on paper image, possibly emblematic of Harvest or national Bounty, features a young woman seated on a wall in a lush garden, holding a basket overflowing with grapes in one hand and raising a goblet in the other hand towards a gilt eagle flying overhead; the leaves in the eagle’s mouth extend to a flowering vine border encircling the scene and centered at the bottom by a pair of gilt painted cornucopias. Signed “Catherine Hassel, Gallatin” lower center. 17″H x 22″W. Framed under glass in a later frame, 27″ x 23″. Inscription en verso of cardboard (copied to a label on back of framing materials) by Mary Jane Blue Kline states this painting was done by her grandmother Catherine Gray prior to 1832.
Catherine Hassel was born in 1816, the daughter of Jennet and Jane Hassel. She married Charles Gray in Gallatin in 1832 and this image, possibly borrowed from a period print, was executed about that time. By the 1850 census, she and Charles Gray were still living in Sumner County and had three children.
Charles Krutch (Tennessee, 1849-1934) East Tennessee atmospheric oil on artist’s board painting depicting a Summer/Fall mountain landscape in the Great Smoky Mountains, with tall purple mountains in the background and a stream with rocks in the foreground. Rendered in muted tones of gray, purple, red, brown, and green. Signed “Krutch” lower right in red. Housed in likely the original carved gilt wood frame. Sight: 17 1/4″ H x 24 1/4″ W. Framed: 24″ H x 31″ W.
Louis Edward Jones (American, 1878-1958) oil on board landscape painting depicting the Smoky Mountains with several blue mountains in the background with various colored trees and rocks in the foreground. Signed and dated lower left L.E. JONES 1946. Inscribed en verso “This is my gift to Robert & Mildred Fetterhoff, 1015 Warren St. Huntington, Ind.”. Housed in a gilt wood frame. Sight: 15 1/2″ x 19 1/2″ W. Framed: 18″ H x 22″ W.
William J. McCoy Jr. (Knoxville, 1906-1995) oil on board mountain landscape painting depicting Mount LeConte & Balsam Point from Sugarland Mountain, all locations in the Great Smoky Mountain National Park. Signed “McCoy” in red, lower right. Additionally signed, titled, and dated 1974 en verso. Housed in a silvered and painted wood frame. Sight: 12 3/8″ H x 17 3/8″ W. Framed: 15 3/8 H x 20 3/8″.
Ella Sophonisba Hergesheimer (American/Nashville, 1873-1943) oil on canvas still life painting titled “The Dead Magnolia,” depicting browning magnolia leaves and a pottery jug, vase and bowl on a circular tabletop, with blue drape in the background. Signed lower left. Partial exhibition label en verso for the Connecticut Academy of Fine Art 28th annual exhibition, March 5-28, 1935. Housed in a molded painted frame. Sight: 23″H x 32″W. Frame: 28″H x 36″W.
Maritime battle scene painting attributed to William John Huggins (British, 1781-1845), “Aftermath of the Battle of Trafalgar,” oil on canvas, circa 1810. The large scale painting depicts a British prize crew attempting to patch the Spanish Three Decker, “Rayo 100”, with Admiral Nelson’s “Victory” behind, and “Donegal 80″ to the left. Unsigned. Circa 1810. Giltwood carved frame, possibly original, with old Towner’s Depository label en verso. Sight – 39” H x 59″W. Frame – 49 1/2″H x 68 1/2″W. Note: this painting is featured in a Malcolm Franklin Gallery ad that appeared in the January, 1979 issues of The Magazine Antiques and Antiques World Magazine (referencing the Winter Antiques Show). Copies of both magazines accompany this lot.
Thomas Willis (New York, Denmark, 1850 – 1925) maritime ship portrait of “The Mary J. Freeman”, in full sail. The ship, its sails and flags are rendered in silk, satin, velvet and embroidery, against an oil on canvas background of waves, sky, shore and ship in the distance. Signed “Ths Willis NY” lower right. Mounted in the likely original period giltwood frame with plaque containing information on the ship, which operated out of Springfield, Nova Scotia from 1881-1918 and was commanded by Alfred W. Nelson. Sight: 39″W x 20″H. Frame: 47″W x 27″H. Circa 1918.
Ralph Albert Blakelock (New York/California, 1847-1919) oil on canvas laid to panel Hudson River landscape painting entitled “Up The Hudson,” c. 1879. Unsigned. Housed in the original giltwood and composition frame. Panel: 21 1/4″ H x 35 1/4″ W. Framed: 29″ H x 43″ W. Note: This painting is registered as NBI-1939-1 in the University of Nebraska Blakelock Inventory.
Tennessee Hepplewhite Federal Sugar Chest, cherry with poplar secondary wood. Hinged single board top with cleated ends, over a locking dovetailed case with original divided interior supported on a base with scratch-beaded dovetailed drawer and four square tapering legs. Original oval Federal brasses. 35 1/2″H x 26″W x 17 1/2″D. Possibly Davidson or Wilson County, TN, Circa 1815.
East Tennessee, Greene or Washington County, pie safe, poplar primary and secondary and all over old polychrome paint. Rectangular top over two dovetailed drawers with wood pulls, two cupboard doors each having four punched tins decorated with stylized starburst and tulip above urns, hearts and candlesticks, sides, with three punched tins decorated with arch and tulips, sunburst and tulips, and urns with hearts, over a plain base with turned Sheraton feet. 46 1/2″ H x 50 1/4″ W x 16 1/2″ D. 3rd qtr. 19th century.
Sullivan County, Tennessee earthenware jug, attributed to the Cain pottery. Lead-glazed jug with extruded handle and double thumbprint to the handle terminus, sine wave and incised lines bordering the upper bulbous midsection, flaring rim with tapered edge, beaded foot. Underside of base unglazed and unmarked. 10 3/4″ H. Note: This jug is illustrated in “Earthenware Potters Along the Great Road in Virginia and Tennessee,” J. Roderick Moore, Antiques Magazine, September 1983, p. 531, figure 7. Additional note: Recognition of the prolific Cain pottery in East Tennessee was noted in published resources as early as 1909, wherein the publication “Historic Sullivan,” Oliver Taylor states “Another factory which received national attention was the Cain pottery, located at Emanuel Church, and owned by two brothers, William M. and Abe Cain . . . It was operated about 1840 and, among other wares, souvenir jugs were made, many of which still exist.”
Bien double elephant folio chromolithograph depicting a life-sized male American Wild Turkey standing among a variety of plants and against a blue sky, 1858. Marginal text reads “Plate,” upper right, plus “Drawn From Nature by J.J. Audubon, F.R.S. F.R.S.” and “Chromolithy by J. Bien, New York, 1858,” lower margin. Housed under glass in a wooden frame. Sight: 39″ H x 26″ W. Framed: 45″ H x 32″ W. Note: The wild turkey was among the three prints produced by Bien in 1858. The absence of numbering in the upper margin suggests that this impression may be especially early. Other known impressions of this print read “1-1,” upper left, and “Plate 287,” upper right.
Mary Lee Abbott (New York, 1921-2019) oil and oil stick on paper mounted to canvas Abstract Expressionist composition in blue, yellow, white, and black with areas of heavy impasto that contrast with more thinly painted passages, c. 1952. Signed lower right. With McCormick Gallery, Chicago, label affixed to back of stretcher. Floated in a modern wood frame. Sheet: 29″ H x 23″ W. Framed: 33 1/2″ H x 27 1/2″ W. Biographical note: Born in New York City in 1921, pioneering Abstract Expressionist Mary Lee Abbott studied at the Art Students League under George Grosz and later with Eugene Weiss at the Corcoran Museum School in Washington, DC. In 1946, Abbott moved to Greenwich Village where she met and joined the circle of fellow Abstract Expressionists Barnett Newman, Mark Rothko, and Willem de Kooning, among others. Abbott was among the artists included in “Women of Abstract Expressionism,” the first museum exhibition dedicated exclusively to the pioneering women of the AbEx movement. Presented at the Denver Museum of Art in 2016, the show also included the work of Helen Frankenthaler, Elaine de Kooning, Lee Krasner, Joan Mitchell, Deborah Remington, and Ethel Schwabacher. In addition to painting, Abbott also had a career as a model and was featured on the covers of Vogue and Harper’s Bazaar (Adapted from “Mary Abbott (1921-2019).” Artforum, September 11, 2019).
Helen Frankenthalter (American, 1928-2011) Abstract Expressionist color lithograph on wove paper entitled Madame de Pompadour, 1985-90. An artist’s proof impression outside of the edition of sixty. Pencil signed and dated lower right and editioned “AP 11/14″ lower left. Printed and published by Tyler Graphics, Mount Kisco, with blind stamp lower right. Floated under glass in a silvered wood frame with white mat. Sheet: 42 1/2″ H x 29 1/2″ W. Framed: 46 3/4″ H x 32 5/8” W. Note: Impressions of this print consist of the edition of sixty plus fourteen artist’s proofs (including the present impression), one right to print, two printer’s proofs, two work proofs, one Tyler Graphics Ltd. impression, and one archive copy. (Source: Pegram Harrison, FRANKENTHALER: A CATALOGUE RAISONNE, PRINTS 1961-1994 [New York: Harry N. Abrams, 1996])
Zofia Stryjenska (Polish, 1894-1976) watercolor, gouache, pencil, and ink on paper painting, “La Fete des Guirlandes – Wianki” (The Festival of Garlands – Wreaths), c. 1930. Numerous figural and architectural vignettes surround a central image of a woman who holds a candlelit wreath while a second wreath with extinguished candles lies beside her. Signed lower left of central panel. Sheet: 19 1/4″ H x 19 1/4″ W. Note: This painting was reproduced in rotogravure for the artist’s 1934 portfolio “Gusla Slowian” (Slavic Magic / Rituals). The portfolio consists of eight images surrounded by illustrated borders and was published in Polish and French editions by Jakob Mortkowicz, Warsaw, 1934. The portfolio depicts Slavic rituals, traditions, and folkloric or religious figures of pagan origin that continued to play an important role in Polish culture during the 20th century. “Wianki (or, in English, Wreaths) is a Polish holiday event that takes its roots in the pre-Christian tradition of celebrating summer solstice as a day of fire, water, fertility, love, and joy. Wianki is celebrated each year in June and is a Midsummer festival marking the summer solstice. While it has analogs throughout Europe, in ancient Slavic culture, the holiday was one of the most important and thus it stands out particularly in Ukraine, Russia, and Poland. Wianki is one of the few festivals that happen inside a major city. Krakow City Hall officially started supporting the celebrations in 1992. Today, folk festivities as well as rock concerts and pop-up markets all mark the day there. The festival was originally known as “Noc Kupaly” or “Bathing Night.” After the adoption of Christianity by Poland, pagan traditions continued, but the context changed and the celebration became known as ‘Sobotka,’ or ‘Noc Swietojanska’ (St. John’s Night), after John the Baptizer. In Russia and Ukraine, where a similar process occurred, the celebration is still known as Ivan Kupala. The holiday is heavily associated with flower wreathes and crowns, telling fortunes, water, burning herbs, and jumping over bonfires.” (Source: Folkways). Biographical note: Avant-garde Polish painter and designer Zofia Stryjenska – the most renowned woman Art Deco artist in early 20th c. Poland…Zofia Stryjenska’s art focused on Polish Slavism and history. She specialized in tempera painting, prints, book illustrations, object, toy and architectural decorating. When visiting Poland’s capitol, You can marvel at her polychromes walking through Old Town Warsaw. Her paintings illuminated the Polish Pavilion at 1925 Decorative Arts Expo in Paris. Zofia spent the war years in Krakow. When Russian troops entered the city in 1945, she emigrated to Switzerland. Here she published children’s books on savoir vivre and her Memoirs. She died in 1976. (Polish American Museum)
Sam Gilliam, Jr. (Mississippi/Kentucky/Washington, D.C, 1933-2022) acrylic on birch plywood painting across two askew panels with poured green, red, blue, and yellow paint against a white field, 2005. A third, smaller and hinged panel attached at left is draped with brown, grey, and white paint, with blue and yellow en verso. Signed, titled, and dated en verso. 48 1/2″ H x 40″ W.
Tsibi Geva (Israel, b. 1951) acrylic on canvas abstract painting in muted tones with gold, pink, purple, blue, and red highlights resembling terrazzo flooring, entitled Terrazzo 24, 1990. Signed, dated, titled, and numbered en verso. Housed in a modern, silvered wood frame. Canvas: 70″ H x 70″ W. Framed: 74″ H x 74″.
Original color screenprint and letterpress poster for the 1913 International Exhibition of Modern Art, also known as The Armory Show, The official poster announced the first venue of the three-city Armory Show tour in New York from February 15 to March 15, 1913. Unframed. 20 1/2″ H x 14″ W. Note: Another example of this poster sold in the January 2024 Case Auction, lot 434.
Norman Rockwell (American, 1894-1978) color collotype print entitled “The Connoisseur,” 1977. After the artist’s painting for the cover of the January 13, 1962 Saturday Evening Post. Pencil signed and editioned “a/p,” lower margin. Printed by Atelier Ettinger and published by Eleanor Ettinger, Inc., with blind stamp lower left. Housed under glass in a silvered wood frame with white mat and green reveal. Sight: 25 1/2″ H x 21″ W. Framed: 34 3/8″ H x 29 5/8″ W.
Toshiko Takaezu (American, 1922-2011) Polychrome Glazed Porcelain Closed Form Moon Pot, incised “TT” signature to underside. 6 5/8″H x 7″ diameter. Note: this piece is accompanied by a 1995 catalog from the Toshiko Takaezu Retrospective at the National Museum of Modern Art in Kyoto (exhibit held June 6-July 9, 1995).
Marie A. Seaman (b. 1868) for Grueby Pottery, matte green glazed ceramic vase with curdling to glaze and curling leaf tips tinged with yellow. Impressed factory marks and incised artist’s initials to underside. Boston, Massachusetts, circa 1903. 10″H x 6 1/4″ Diameter.
French gilt bronze “Singing Bird” automaton mantle clock, signed on the works H & F Paris. Consisting of a rectangular glazed case containing an automata bird in a naturalistic setting of rocks and foliage against a painted oil landscape backdrop, raised on a deep plinth base engraved with a flower basket, surmounted by a drum case and beaded bezel containing a blue and white enamel chapter ring with Roman numerals, bronze center, and Gothic style hands and resting on toupee feet. The bell striking movement signed H & F PARIS / 3773 / 72 / 79. Movement strikes and activates the automata on the hour and strikes the half hour on a bell and can also be activated by a switch on the base. 19 1/4″ H x 8 1/2″ W x 6 1/4″ D.
Andre Harvey (American, 1941-2018) and Donald Pywell (American, 1944-2016) designed 18K yellow gold and cabochon natural tourmaline shell and sea turtle figural necklace and earrings set. Necklace composed of figural sea turtles and shells and 6 oval cabochon tourmalines. Signed and numbered on large center shell en verso “Harvey * Pywell 18K 33/100” and XRF tests 18K gold. Set also includes a pair of figural shell and cabochon natural tourmaline earrings stamped en verso and numbered “HP 18K 33/250″ and XRF tests 18K gold. Original box and necklace tag included with the lot. Necklace – 18″ L. Earrings – 1 1/4” L. Gross weight of the lot is 121.9 total grams.
Ladies platinum engagement ring featuring one (1) European cut diamond approximately 3.59 carats, Clarity-VS2, Color-H, accented by ten (10) baguettes and round brilliant cut diamonds approximately 1.24 carats together, Clarity-VS2, Color-G. The ring XRF tests 90% platinum and is size 5. The gross weight of the ring is 6.94 grams. GIA pending and will be added in the coming weeks.
Ladies platinum art deco line bracelet featuring nineteen (19) mine cut diamonds approximately 4.23 carats together, Clarity-VS1, Color-H, accented by eighteen (18) natural French cut blue sapphires. The bracelet XRF tests 95% platinum. The bracelet is 7″ L. and has a gross weight of 23.08 grams.
Ladies 18K white gold dangle earrings featuring two (2) pear shaped aquamarines approximately 47.68 carats together, accented by fifty (50) diamonds approximately 2.94 carats together, Clarity-SI1, Color-H. The earrings XRF test 18K gold. The earrings are 2 x 3/4″ in size and have a gross weight of 26.31 grams.
Ladies 18K yellow and white gold two strand rope chain style necklace. The necklace is marked “18Kt Italy” and XRF tests 18K gold. The necklace is 24″ L. and has a weight of 133.56 grams.
Ladies 14K yellow gold engagement ring featuring one (1) round brilliant cut diamond approximately 4.05 carats, Clarity-SI1, Color-K. The ring is marked “14K” and XRF tests 14K gold. The ring is size 5 1/2 and has a gross weight of 3.66 grams.
Ladies 18K yellow gold engagement ring featuring one (1) round brilliant cut diamond approximately 5.98 carats, Clarity-I2, Color- Fancy Light Yellowish Brown, accented by twelve (12) round brilliant diamonds approximately 2.76 carats together, Clarity-SI1, Color-I. The ring is marked “18K 750” and XRF tests 18K gold. The ring is size 6 with a mounted sizer and the ring has a gross weight of 10.56 grams.
1st item: Ladies 18K white gold necklace featuring eight (8) natural oval brilliant cut emeralds approximately 24.72 carats together, accented by five hundred thirty six (536) rose cut diamonds approximately 2.68 carats together, Clarity-SI1, Color-G. The necklace XRF tests 18K gold. The necklace is 17″ L. and has a gross weight of 54.68 grams. 2nd item: Ladies 18K white gold earrings featuring four (4) natural oval brilliant cut emeralds, accented by one hundred ninety five (195) rose cut diamonds approximately 0.98 carats together, Clarity-SI1, Color-H. The earrings XRF test 18K gold and are 1 3/8″ L. Gross weight of the earrings is 19.43 grams. Gross weight of the lot is 74.11 grams.
Pierce Arrow Motor Car Company 14K yellow, white, and rose gold cigarette case with a geometric mosaic pattern, with a crest on the front, and monogrammed “J E P” on the back. Opens with functioning spring release. Interior cigarette clasp marked with maker’s mark and “14k” and XRF tests 14K gold. 4 1/4″ W x 3 1/8″ H. Includes colored planning diagrams of the case; as well as a blue leatherette box and felt bag with the label: “Black Starr & Frost-Gorham Inc. New York”. Note: The emblem is of The Pierce-Arrow Motor Car Company, and features a shield with helmeted crest with a dove holding a branch in its beak at the top, three doves in the center, and a ribbon at the bottom of the emblem reading “DIXIT ET FECIT,” Latin for “said and did.” The Pierce-Arrow Motor Car Company, named for George Pierce, mostly known for their luxury automobiles, were in business from 1901 to 1938. Weight of the case is 140.7 grams.
A substantial sterling silver entree dish by John Roberts & Co., Sheffield, England, assayed in 1812. The dish features a footed base with four lion’s paw feet, two ornate reeded handles with shell motifs, and gadrooned borders. The lid is surmounted by a decorative handle with a shell motif and both the lid and the base feature a central cartouche engraved with a family crest depicting a standing crowned lion over a banner inscribed with the Latin motto “SPES DURANT AVORUM” (The hope of our ancestors endures). Dimensions and Weight: Approximately 9 3/4″ H x 15″ W x 9 1/2″ D. 94.9 troy ounces.
Signed Abraham Lincoln Civil War era document appointing Nathan Sargent (1794-1875) as a member of the Levy Court of the County of Washington in the District of Columbia, March 12, 1863. Signed by President Abraham Lincoln and countersigned by Secretary of State William Seward. Embossed presidential seal lower left.
Two (2) Autograph letters signed by Winston S. Churchill and Bernard Baruch, framed with a photograph of the two men together. 1st item: Sir Winston Leonard Spencer Churchill (1874-1965) A.L.S., dated Jan. 16, 1939, to Dr. R. K. Kommer, briefly declining to speak on his behalf to Duff Cooper (1st Viscount Norwich, a political and military historian). Sight: 7 1/2″ x 4 1/2″. 2nd item: Bernard Baruch (American, 1870-1965) A.L.S., dated March 6, 1918, as WWI era Commissioner on Raw Materials, on War Industries Board letterhead, to Mr. Herbert Bayard Swope, editor of the New York World newspaper, thanking him for an article and expressing friendship and admiration. Sight: 9 1/2″ x 7 1/4″. 3rd item: photographic print of Bernard Baruch and Winston Churchill, seated together on a sofa, sight – 8 1/2″ x 6 1/4″. Matted and framed under glass in a silvered wood frame, 15″ x 28 1/2″. Note: Churchill and Baruch, a wealthy South Carolina-born financier, first met in 1918 and soon became friends. Baruch advised Churchill on investments, and they grew even closer during WWII after Baruch was appointed by Franklin Roosevelt as a special advisor to the director of the Office of War Mobilization. Baruch championed the creation of a super-agency similar to the WWI era War Industries Board, bringing on board civilian businessmen and industry to enhance America’s military production. His ideas are credited with helping the Allies win WWII by shaving two years off the time it took to produce tanks, bombers, and other military equipment. Churchill was Prime Minister of the United Kingdom from 1940 to 1945, and again from 1951 to 1955
Attrib. William Downey (English, 1829-1915) watercolor portrait miniature of King George V of England, depicted bust length, in military regalia, circa 1910. Matted and housed under glass in an oval gilt silver frame hallmarked for London, 1907-1908, maker’s mark worn. Sight: 2 3/8″H x 2″W (62 x 51 mm). Frame: 2 3/4″H x 2 3/8″W (70 x 60 mm). Note: King George V (1865-1936) succeeded his father, Edward VII, to the British throne in 1910, possibly the same year this portrait was painted. He was born during the reign of his grandmother, Queen Victoria. George V was succeeded upon his death in 1936 by his son Edward VIII, who abdicated.
Italian School tempera and gold on panel painting of Saint Ambrose and Saint Augustine shown in half-length and set in a verdant landscape. Both wear ornate canonical vestments and mitres and Saint Ambrose, shown in three-quarters view with halo, holds an open book and crozier. Saint Augustine, shown in profile, looks to Saint Ambrose while the latter gazes upward toward God. With incised patterning to Saint Ambrose’s halo. Housed in a gilt and green painted tabernacle frame. Sight: 22 1/4″ H x 17″ W. Framed: 30 1/2″ H x 24 1/2″ W. 15th century. Note: The c. 397-400 CONFESSIONS OF SAINT AUGUSTINE describes the impact of Ambrose’s spiritual guidance on Augustine’s conversion to Christianity, as depicted here.
A Japanese Meiji period two-part Shibayama style lacquered display or Shodana cabinet. Consisting of a plain top with projecting ebonized metal corners above 5 shelves, one set of sliding doors, 6 doors, and 6 drawers, all with intricate high-relief carved shell, hardstone, and bone inlays depicting various birds amongst flowering trees; the top, shelves, drawer tops, interior drawer facings, and sides with detailed painted landscape scenes; all on a gilt lacquered ground and resting on flared hoofed feet with ebonized metal caps Each corner and the front stiles with decorative ebonized metal elements. 56 1/2″ H x 37 1/2″ H x 16″ D.
Chinese white jadeite snuff bottle, round flattened form, with later Japanese embellishments consisting of a figural landscape scene depicting a mother and child crossing a bridge and a young boy feeding a bird, together with flowering trees. Fitted with a blue lapis stopper. 2 3/8″ H. Late 19th/Early 20th-century bottle with 20th-century embellishments.
Antoine Blanchard (French, 1910-1988) oil on canvas of Paris Street Scene. Sight: 12 1/2″ H x 17 7/8″ W, Framed 14 3/8″ H x 19 5/8″ W.
Lelia Pissarro (France/England, b. 1963) oil on canvas Israeli winter landscape rendered in heavy, gestural impasto and depicting two figures who navigate a snowy road that recedes into a village. Signed lower right. Additionally signed and titled “Lyora et Joshua Sous la Neige en Israel” (Lyora and Joshua in the Snow in Israel) en verso. Housed in a giltwood frame with tan fabric liner and gilt fillet. Sight: 20 1/2″ H x 24 3/4″ W. Framed: 29 1/2″ x 34″ W.
Jean Ferdinand Monchablon (French, 1855-1904), “La Petite Mare,” oil on panel painting of a pastoral landscape with a figure walking amid grazing cattle. The pink-tinged clouds in the sky above are reflected in a pond at the center of the scene, and the spire of a village church is faintly visible in the background. Signed “Jan Monchablon” lower right, with artist name engraved on plaque mounted to the giltwood Rococo style frame. Titled en verso, along with labels for Julius Oehme Paintings, NY and Guarisco Gallery, Washington, DC. Possible museum accession numbers upper right. Panel: 13 1/2″W x 9 1/2″H. Frame: 24″ W x 20″H.
Chester County, Pennsylvania Chippendale walnut high chest of drawers, poplar secondary. Flat cove molded, overhanging top above a row of three drawers, the center with opposing bird and herringbone inlay, two half drawers, and four graduated full-length drawers, flanked by reeded corners and resting on a molded base above tall curved Chippendale bracket feet with spurs. All drawers dovetailed with incised lip moldings. 67″ H x 39″ W x 21 1/2″ D. 3rd Qtr. 18th century. Note: This piece is illustrated in Schiffer, Margaret Berwind, FURNITURE AND ITS MAKERS OF CHESTER COUNTY, PENNSYLVANIA (Philadelphia: University of Pennsylvania Press, 1966), figs.138-9, and discussed on page 263. A copy of this publication signed by the author is included with this lot.
1974 Steinway & Sons Grand Piano, Model L. Walnut case over tapered legs terminating into block feet and mounted with castors. Serial number 436493. The piano is accompanied by a matching walnut bench with tapered legs and block feet and is fitted with a musical-themed embroidered cushion. Piano measures: 39″ H x 5′ 10 3/4″ L x 58″ W. Bench: 18 3/4″ H x 35″ W x 15″ D.
Two Albert Paley (American, b. 1944) large scale landscape sculptures, composed of intertwined layers of fabricated steel with a bronze patina, supported on square bases, and measuring approximately 116″H and 110″H x 40 “W and 26″D. The taller of the two is signed “Albert Paley” and dated 1999.
Native American Cherokee double rivercane lidded storage basket, attributed to Rowena Bradley (1922-2003), consisting of dyed butternut and bloodroot weavers and woven in a diagonal arrow point pattern. 13″ H x 9 1/2″ square. 20th century.
Wooden handmade circus display set, with 23 individual wagons/vehicles and over 400 pieces to build a circus “big top” scene with bleacher assemblies, stools, boxes, poles, canvas coverings, etc. Constructed by model circus builder Isaac Marcks in the late 1920’s for his sons, the set is approximately on a scale of 1/2-inch to 1 foot. All wagons are fully painted, inside and out, save for one which opens to reveal its salvaged cheese crate construction. Details include handpainted Side Show signs, with1920’s-30’s circus personalities Milo Vagge, Wilbur Harris, and the P.G. Lowery Minstrels among others.
Louis Vuitton cabin trunk with the LV insignia pattern canvas, embossed leather and studded wood bindings, and brass fittings on the exterior and an interior fitted with two fabric trays, interior straps bearing “Louis Vuitton” and hardware marked “Louis Vuitton Brevette”. Retains the original interior label reading ” I. Rue Scribe/Paris/Louis Vuitton/New Bond St./London” and is numbered 159495. 13″ H x 35 1/2″ W x 21 1/4″ D. Early 20th century.
Black Forest carved oak tall case clock. Case attributed to Horner Brothers and fitted with German Peerless works. Elaborately carved case and hood, the arched hood with carved foliate pediment, flanked by two finials, with gadroon and egg-and-dart molding and carved lion masks on the lower corners, the hood door flanked by two figural carved columns in the form of musicians, one playing the bagpipe, and the other playing horn, the case with a pierced scrolling foliate door with carved masque flanked by carved pilasters topped with putti heads, the base with carved pilasters topped with lion masks and a carved central panel depicting a tavern scene, all resting on bun feet. Engraved brass face, painted moon phase dial, raised Arabic numeral chapter ring, pierced hands, and secondary seconds dial. Works marked PEERLESS/MADE IN GERMANY/60363/A1/2. 102″ H x 24″ W x 17 3/4″ D. Late 19th/Early 20th century.