Winter 2025 Two-Day Highlights

William Edmondson (American/Tennessee, 1874-1951) carved limestone sculpture depicting a standing woman with well-defined, shoulder-length hair who wears a dress or apron with a bustle and short train in back, visible shoes, and a necklace or banded collar. She carries a small handbag in her right hand. 13 3/8″ H x 5″ W x 7″ D. Note: This sculpture was acquired through Myron King, owner of Lyzon Gallery in Nashville, which represented Edmondson prior to and for many years after his death. For at least the past forty years, it has been in the same Middle Tennessee family collection as The Preacher, an Edmondson sculpture auctioned by Case in 2020. Unlike the “Preacher,” which had been in at least two museum exhibitions, this “Lady” sculpture has never been publicly exhibited until now. Artist biography: William Edmondson, the first African American artist to have a solo exhibit at the Museum of Modern Art, was born in Davidson County, Tennessee. The son of freed slaves, he worked most of his life as a railroad employee and janitor. A spiritual experience at the age of 57 prompted him to begin sculpting limestone, and he credited divine inspiration for the works produced during his 17-year art career. In the 1930s, his work caught the attention of Professor Sidney Hirsch, who worked at Peabody College in Nashville, located just a few blocks from where Edmondson lived. Professor Hirsch is credited with introducing Edmondson to well-connected arts patrons Alfred and Elizabeth Starr and Harper’s Bazaar photographer Louise Dahl-Wolfe. Wolfe’s now-famous photographs of Edmondson and his yard full of limestone sculptures brought him to the attention of the New York art world and gained him the acquaintance of Alfred Barr, Jr., director of the Museum of Modern Art, resulting in the landmark 1937 exhibit. Although Edmondson’s earliest work was more utilitarian in nature, such as tombstones and birdbaths, as his style matured his subject matter grew to include Biblical figures, various animals, and female figures, frequently based on women he knew from his community.

PROVENANCE: Private Middle Tennessee Collection.

CONDITION: Very good condition. Slight wear/erosion to base, some natural patination to stone. [See more photos →]

Percival Leonard Rosseau (Louisiana/Kentucky/North Carolina, 1859-1937) large oil on canvas painting entitled Carolina Pines, 1937. Two sporting dogs stand in a clearing surrounded by pine trees in a North or South Carolina landscape. Signed and dated lower left. With name and title plate from previous frame affiixed to canvas along upper edge of stretcher bar. Housed in a painted and gilt wood frame. Sight: 23 3/4″ H x 39 3/4″ W. Canvas: 24 1/4″ H x 40″ W. Frame: 28″ H x 44″ W. Biographical note: “Percival Rosseau was an American visual artist who was born in 1859. Known as a master painter of field and hunting dogs, Louisiana-born and Kentucky-raised Percival Leonard Rosseau studied art in Paris at the prestigious Academie Julian. His adventurous personality, which led him to jobs as a cowboy and cattle driver, were perfectly suited for following his subjects into the field. His talent was recognized in 1900 when he won a prize from the Paris Salon but his commercial success began in 1904 when he began to focus almost exclusively on animal subjects, yet the French Barbizon influence can still be seen in the soft shapes and textures used to create movement in the animals and backgrounds.” (Source: The American Kennel Club Museum of the Dog)

CONDITION: Overall very good condition. Canvas has been stretched over masonite board (not glued down). Minor buckling to upper corners and minor, stable cracks to lower left and lower center, plus faint craquelure to impasto on central dog. [See more photos →]

East Tennessee, Greene or Washington County, pie safe with poplar throughout, and old polychrome paint decoration. Rectangular top over two dovetailed drawers with wood pulls and two cupboard doors, each having four punched tin panels decorated with stylized starbursts and tulips above urns, hearts and candlesticks; each side with three punched tins decorated with arches and tulips, sunbursts 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.

PROVENANCE: Descended through the Ball and Miller families of Butcher’s Valley (Hawkins County), TN.

CONDITION: Overall very good condition. Polychrome paint on case and tins do not fluoresce indicating an old if not original application. Back of two dovetailed drawers with later nails. Top with minor wear and abrasions. Scattered oxidation to tins, most visible to white ground. [See more photos →]

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. 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).

PROVENANCE: McCormick Gallery, Chicago, IL

CONDITION: Sheet has been laid to canvas. 2 3/4″ x 1 1/4″ liquid stain to upper left. With minor foxing to some areas, primarily upper right. [See more photos →]

William Edmondson large limestone garden sculpture in the form of a teacup of circular form, with a carved squared handle. 8 3/4″H x 18″ W x 15 1/4″ D. Exhibited, “Will Edmondson’s Mirkels,” the Tennessee Fine Arts Center at Cheekwood (April 12 through May 21, 1964), and listed as #21 in the catalog, published by Louise Dahl-Wolfe; also exhibited West Tennessee Regional Arts Center, 2007-2023. Biography: William Edmondson was born in Davidson County, Tennessee, the son of freed slaves, and worked most of his life as a railroad employee and janitor. A spiritual experience at the age of 57 prompted him to begin sculpting limestone, and he credited divine inspiration for the works he created during his 17-year art career, ranging from garden ornaments to animal and human figures. In 1937, Edmondson became the first African American artist to have a solo show at the Museum of Modern Art, and he is regarded as one of the most important artists of the 20th century.

CONDITION: Bottom has been professionally repaired, likely to address cracking from contraction and expansion of freezing water and soil inside the vessel. Weathering throughout from outdoor exposure. Some white residue in crevices of top of handle. [See more photos →]

Pablo Picasso (Spain/France, 1881-1973), Tete de Femme Couronnee de Fleurs, 1954 (A.R. 236), white earthenware ceramic pitcher or jug, partially engraved with the features of a woman, her hair forming the handle. Signed “Picasso” at base with impressed date 20.3.54; the underside numbered 39/50, inscribed “Edition Picasso”, and stamped “Madoura Plein Feu”. 9 1/4″ H x 6 1/2″ W x 7″D (23.5 cm x 16.5 cm x 17.5 cm ).

PROVENANCE: The collection of the late Norman and Betty Luboff, acquired in Vallauris in the 1950s. Norman Luboff (1917-1987) was an internationally known American composer, music arranger and conductor, best known for his work with the Norman Luboff Choir. He was also a passionate collector of Picasso ceramics. Norman and Betty divorced in the mid 1960s, and Norman eventually remarried Gunilla Luboff and moved to Chapel Hill, North Carolina. His Picasso ceramics collection was exhibited at the Wills N. Hackney Library at the Atlantic Christian University in Chapel Hill between 1985 and 1987, when Luboff passed away. Copies of an undated Chapel Hill Newsletter article about Luboff and the exhibit (and picturing the Fish, Femme Lamp, and Corrida Fond Noir platter also for sale in this auction) are available to the winning bidder of this lot. (Note: the article incorrectly states that Gunilla was Norman’s wife when the ceramics were purchased; he was actually married to Betty at the time). The collection has descended in the Luboff family to the present consignor.

CONDITION: A couple of fleabites (largest 1/16″) to rim, possibly in the making; otherwise excellent condition. [See more photos →]

Ladies’ 14K yellow and white gold engagement ring featuring one (1) round brilliant-cut diamond weighing 4.11 carats, Clarity VS2, and color N. Diamond measures 10.41 -10.49 x 6.22 mm. Good cut, very good polish, good symmetry, and faint fluorescence. The diamond is mounted with six prongs in a 14K white gold crown. The ring is marked “14K,” and XRF tests 14K gold. It is size 5 1/2 and weighs 3.66 grams gross. GIA report number 5231446987.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

CONDITION: See GIA report number 5231446987. [See more photos →]

Pablo Picasso (Spanish/French, 1881-1973), Lampe Femme (variant of A.R. 298), 1955, white earthenware ceramic vase with colored engobe and glaze and knife engraving, base signed “Edition Picasso” and stamped “Madoura Plein Feu”. 15″H x 7 5/8″ diameter (38 cm x 19.25 cm) . Note: this lamp appears in a circa 1960 period photograph of its original owner, music arranger/publisher/choir director Norman Luboff and his wife Betty. The lamp is visible at left, atop the fireplace mantel in their living room.

PROVENANCE: The collection of the late Norman and Betty Luboff, acquired in Vallauris in the 1950s. Norman Luboff (1917-1987) was an internationally known American composer, music arranger and conductor, best known for his work with the Norman Luboff Choir. He was also a passionate collector of Picasso ceramics. Norman and Betty divorced in the mid 1960s, and Norman eventually remarried Gunilla Luboff and moved to Chapel Hill, North Carolina. His Picasso ceramics collection was exhibited at the Wills N. Hackney Library at the Atlantic Christian University in Chapel Hill between 1985 and 1987, when Luboff passed away. Copies of an undated Chapel Hill Newsletter article about Luboff and the exhibit, picturing this Femme Lamp, a Fish and Corrida Fond Noir platter (also for sale in this auction) are available to the winning bidder of this lot. (Note: the article incorrectly states that Gunilla was Norman’s wife when the ceramics were purchased; he was actually married to Betty at the time). The collection has descended in the Luboff family to the present consignor.

CONDITION: Excellent condition. One arm with a surface mark resembling graphite. [See more photos →]

Jim Rennert (Nevada/Utah/NewYork, b. 1958) bronze sculpture titled Entrepreneur – Large, 2008. A man in a suit and tie leaps with furrowed brown and raised arms from atop a tapered ladder. Signed, dated, and numbered 7/9 to figure’s lower right leg. 104″ H x 20″ W x 20″ D. Biographical note: “Jim Rennert was born in 1958, and grew up in Las Vegas, Nevada, and Salt Lake City, Utah. After ten trying years of working in business, Rennert was inspired to explore his artistic vision and embarked upon his career as a sculptor in 1990. He began exhibiting in galleries in 1993, and has since gained significant recognition. Rennert’s seminal series of works is immediately identifiable, with simplified figures and forms depicting men in suits. Combining the traditional medium of bronze with modern forms of flat laser cut steel, he illustrates concepts of corporate success and the obstacles faced by the modern working man. Drawing on both his past professional experiences, and those of his contemporaries, Rennert composes thought-provoking works to which viewers undeniably react and relate…Rennert continually exhibits at the major US art fairs as well as galleries in New York, Connecticut, Massachusetts, Florida, Utah, New Mexico, Maine, Colorado, and British Columbia, with private and corporate collectors world-wide. From June 2014 through May 2015, Rennert was honored with a monumental public installation of his iconic sculpture, Think Big, which was on exhibition in New York City’s Union Square, in cooperation with the NYC Parks Department. Rennert currently resides and works out of NYC.” (Source: JimRennert.com)

PROVENANCE: The Englishman Fine Art, Naples, FL.

CONDITION: Excellent condition. [See more photos →]

Ladies GIA graded platinum engagement ring featuring one (1) round brilliant cut diamond 3.72 carats, Clarity-VS2, Color-I, accented by ten (10) baguettes and round brilliant cut diamonds approximately 1.24 carats together, Clarity-VS2, Color-I. The ring XRF tests 90% platinum and has a sizer ranging from size 5 to 6. GIA report number: 2235434041. The gross weight of the ring is 6.94 grams.

CONDITION: Overall good condition. GIA report number: 2235434041. [See more photos →]

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.

CONDITION: Overall good condition with light scattered wear to lacquer, primarily to the top and base edges with scattered minimal losses to inlay. Feet with minor wear and abrasions. Upper right set of doors is missing the escutcheon. [See more photos →]

Lifesize jd Hansen (California, b. 1969) bronze modernist sculpture titled Birdman. A stylized, featureless human form stands in contrapposto with a bird perched on their raised right hand. Signed, titled, and numbered 9/9 to lower left leg. With Art Bronze, Inc. foundry mark also to lower left leg. 72″ H x 24″ W x 22″ D. Note: A copy of the Calvin Charles Gallery certificate of authenticity is available to the winning bidder.

PROVENANCE: Calvin Charles Gallery, Scottsdale, AZ

CONDITION: Excellent condition. [See more photos →]

James Kimball Harley (Maryland, 1828-1889) oil on canvas portrait of Civil War General Robert E. Lee (1807-1870). Signed J.K. Hartley in red, lower left, with date 1872. In original ornately carved giltwood and composition frame with oval aperture. Sight – 32″h x 26″W. Frame – 43″H x 35″W. Affixed en verso is the engraved card of Mrs. Harry Woollcott, 116 South 4th St., Wilmington, North Carolina. Woolcotts are known to have exhibited a portrait collection at the Florence Museum ( April, June 1954). Mr. Harry Woollcott was secretary and purchasing agent of the Tidewater Power Co. of Wilmington, N.C. Other portraits by Harley are held by the Annapolis Complex Collection, Maryland State archives (Portrait of Thomas Holliday Hicks (1798-1865), Governor of MD. 1858-62). Baltimore Museum of Art has a self portrait of Harley dated 1850.

PROVENANCE: Provenance: Mrs. Harry Woollcott, Wilmington, N. C.; Louis Dianni Auctions, 2014, to present consignor (private Virginia collection).

CONDITION: Lined. Inpainting to eye/cheek and forehead area, and to center chest area. Repair to top center background. Scattered craquelure. [See more photos →]

Sam Gilliam, Jr. (Mississippi/Kentucky/Washington, D.C, 1933-2022) abstract painting, 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. Biographical note: “Sam Gilliam grew up in Tupelo, Mississippi, and studied art in Louisville, Kentucky. In 1962 he moved to Washington, D.C., and created abstract paintings inspired by the Washington Color School artists Morris Louis and Kenneth Noland. These artists, among others, broke the rules of abstract expressionism by pouring thinned paint directly onto unprimed canvas instead of applying thick, vigorous brushstrokes. Gilliam pushed this method even further by folding and draping the canvas before it dried, creating unusual ‘tie dye’ effects. He started working with very large canvases in the late 1960s, hanging vast pieces of painted cloth across walls and ceilings to emphasize the relationship between the work and its environment.” (Source: Smithsonian American Art Museum, Luce Artist Biography)

CONDITION: Excellent condition. [See more photos →]

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. Biographical note: “Zofia Stryjenska was a prominent Polish artist active during the interwar period. Known as the ‘Lady of Polish Art,’ she gained recognition for her distinctive Art Deco style infused with Slavic folklore…She took part in designing the Polish pavilion at the International Exhibition of Modern Decorative and Industrial Arts in Paris in 1925. At this prestigious event, she garnered four Grand Prix awards for architectural decoration, fabric design, book illustration, and poster design. The recognition she received at one of the most significant art events of the time ensured her inevitable ascent to fame…[Her] art was deeply influenced by Slavic folklore, traditions, and rituals. Her distinctive style and choice of subjects played a pivotal role in elevating Poland’s cultural reputation on the international stage…Stryjenska was a multitalented artist and one of the key representatives of the Art Deco style in Poland. Her art combined beauty and functionality. In her artworks, she often depicted figures in traditional folk costumes, enchanted with ornaments and expressive colors. Through her unique style and folk themes, Stryjenska emphasized the essence of Polish and Slavic culture and traditions.” (Source: Katarzyna Waszak, “Discover Slavic Art Deco – The Story of Zofia Stryjenska,” Daily Art Magazine, September 2024) 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)

PROVENANCE: By descent through the family of Thaddeus Michael Machrowicz, United States Congressional Representative from Michigan and Judge of the United States District Court for the eastern district of Michigan. Machrowicz also served during the First World War as a lieutenant in the Polish Army of American Volunteers in Canada, France, and Poland; served with the American Advisory Commission to the Polish Government in 1920 and 1921; and acted as war correspondent with Floyd Gibbons in Poland, 1919-1921.

CONDITION: Thicker passages of gouache with minor flaking and losses, especially to areas surrounding wreaths in central panel and orange leaves in side panels. Tide rings visible in figure’s green dress, tree, and sky in central panel, possibly inherent and resulting from aging or mixing of paints, or from exposure to moisture. Sheet with even toning. Paper fibers from previous mounting adhered to recto margins and en verso. [See more photos →]

Large half plate Civil War Ambrotype photograph of Dr. Bisland Shields of Natchez, Mississippi, CSA, seated and holding his sword and hat. Decorative oval metal mat. Housed under glass in an antique oval giltwood frame. Sight: 5″H x 3 1/2″W, Frame: 9 3/4″ H x 8 3/4″W. Inscription en verso identifies the subject as Dr. Bisland Shields of Stewart’s Cavalry. He also is believed to have served in the Jeff Davis Legion Cavalry. Shields was born in 1838 in Terrebonne Parrish, Louisiana, to Thomas Rodney Shields Sr. and Martha Jane Lenora Shields; his older brother was Thomas R. Shields, Jr. (whose photograph is also in this auction). Bisland Shields enlisted in the Confederate army shortly after graduating with a degree in medicine from Tulane University. He was captured and spent the rest of the war at Point Lookout Prison in Maryland. He married Laura Jane Payne in 1863 and they had two children, one of whom was named for his cousin Joseph Dunbar Shields, who did not survive the Civil War (and whose photograph is also for sale in this auction). After the war, Bisland Sheilds became a prominent doctor in Natchez. He died in 1911 and is buried in Jefferson County, Mississippi.

PROVENANCE: By descent in the family of the sitter.

CONDITION: Overall good condition with some dark oxidation around edges of photograph and spots of oxidation to mat. Several areas of wear, cracking and losses to oval gilt frame. Not examined out of frame. [See more photos →]

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.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

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

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. 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 advertisement 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.

PROVENANCE: Private Memphis Collection, ex-Malcolm Franklin Gallery, Chicago.

CONDITION: Overall very good condition, lined, with craquelure throughout. 2” repair visible en verso corresponding to sky area near center sail. UV light examination reveals scattered professional retouch to clouds and some minor retouch to distracting craquelure lines in waves. Some light grime to sky area. Faint stretcher lines. Some wear and minor losses to edges of canvas at frame lines. Frame with regilding, minor losses, and some repairs/restoration to older losses. [See more photos →]

Pair of Chinese Ming style Huanghuali stools, of square form, the tops with rounded corners and finely woven seats above squared straight legs joined by turned stretchers. Mortise and tenon construction. 20 3/4″ H x 16 1/2″ W x 16 1/2″ D. 20th century.

CONDITION: Both stools overall good condition with light general wear. [See more photos →]

PROVENANCE: The estate of Sally Flowers Moody, Kentucky.

CONDITION: Overall good condition with light fading and some grime/discoloration from former cardboard backing. 5 former nail holes, with adjacent dark staining, along hoist edge. 1/2″ hole to top red bar. 1/4″ hole to lower right corner. Small black stain upper center edge. Small old, possibly original repair to center at upper edge of red bar, about 1/2″L. A few spots of scattered light color loss. [See more photos →]

Pablo Picasso (Spain/France, 1881-1973), “Femme,” (A.R. 297), partially glazed and painted earthenware pitcher in the form of a partially nude woman with blue robe. From the 1955 edition of 100. Underside stamped and signed “Edition Picasso / Madoura Plein Feu” 13 1/4″H (33.5 cm) x 4″W (10 cm) x 6″D (15 cm).

Note: this pitcher appears in a circa 1960 period photograph of its original owner, music arranger/publisher/choir director Norman Luboff and his wife Betty. The pitcher is visible at the far left, atop the fireplace mantel in their living room, beside another Picasso piece being offered in this auction.

PROVENANCE: The collection of the late Norman and Betty Luboff, acquired in Vallauris in the 1950s. Norman Luboff (1917-1987) was an internationally known American composer, music arranger and conductor, best known for his work with the Norman Luboff Choir. He was also a passionate collector of Picasso ceramics. Norman and Betty divorced in the mid 1960s, and Norman eventually remarried Gunilla Luboff and moved to Chapel Hill, North Carolina. His Picasso ceramics collection was exhibited at the Wills N. Hackney Library at the Atlantic Christian University in Chapel Hill between 1985 and 1987, when Luboff passed away. Copies of an undated Chapel Hill Newsletter article about Luboff and the exhibit (and picturing the Fish, Femme Lamp, and Corrida Fond Noir platter also for sale in this auction) are available to the winning bidder of this lot. (Note: the article incorrectly states that Gunilla was Norman’s wife when the ceramics were purchased; he was actually married to Betty at the time). The collection has descended in the Luboff family to the present consignor.

CONDITION: 1/4″ flake (6 mm) to base, some glaze imperfections in the making, generally very good condition. [See more photos →]

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).

PROVENANCE: A private Nashville, Tennessee collection of contemporary craft, acquired in the mid-1990s.

CONDITION: Excellent condition. [See more photos →]

Large Chinese Qing Dynasty hardwood Imperial rectangular panel. High relief carving depicts three Imperial meandering dragons chasing the flaming pearl amidst ruyi-shaped clouds. Inscribed in Chinese and Manchurian along the lower left edge en verso reading “By Imperial command during the 19th year in the reign of Ch’ien-lung (1794), Ch’en Yu-chang carved this”. 67 3/4″ H (including hooks) 66 3/4″ H (without hooks) x 32 1/4″ W x 1 1/2″ D. Exhibited February 21-March 28, 1997 for “Looking East: Highlights from the Vanderbilt University Fine Arts Gallery Collection of Asian Art”.

PROVENANCE: Deaccessioned by the Vanderbilt University Museum of Art to benefit the acquisitions fund.

CONDITION: Overall very good condition. Approximate 9″ vertical loss to lower right corner. Vertical wood shrinkage primarily to the center of the panel, and also to the lower right and upper right margins. [See more photos →]

Thomas Willis or Willes (New York, 1850 – 1925) nautical 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 steamship in the distance. Signed “Ths Willis NY” lower right and retaining Willis’ label en verso of stretcher. 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. Biography: Thomas Willis was born in Denmark and emigrated to New York circa 1870, where he worked for a time for a manufacturer of silk embroidery thread. He marketed himself as a marine artist and “Inventor and for over 30 years the only maker of silk marine pictures”. His paintings are included in numerous important marine art collections, including: Mystic Seaport Museum, Mystic, CT; Mariner’s Museum, Newport News, VA; and Peabody Essex Museum, Salem, MA. Source: Brewington, Dorothy. “Dictionary of Marine Artists”. Mystic, CT: Mystic Seaport Museum, 1982.

PROVENANCE: Private Nashville collection; Wayne Pratt Antiques, Marlboro/Nantucket, Massachusetts; the estate of Albert Goodhue, Jr., Marblehead, Massachusetts.

CONDITION: The painting and embroidery work are in excellent condition with slight, even toning to fabrics. Frame exhibits oxidation and several small losses to gilding, particularly at corners. [See more photos →]

343 pieces of antique Schofield sterling silver flatware in the Baltimore Rose 1905 (Decor) pattern, with decorated backs. Service for 15 and more. Includes 20 dinner forks (7 1/2″ L); 15 hollow handle dinner knives (9 5/8″ L); 35 luncheon forks (7 1/8″ L); 25 hollow handle luncheon knives (8 3/4″L); 35 salad forks (6 1/4″ L), 46 teaspoons (6″ L), 9 tablespoons (7″ L), 18 soup spoons (6″ L), 15 iced tea spoons, 14 ice cream forks, 14 demitasse spoons, 15 oyster forks, 6 tablespoons (8 1/2″ L), 21 flat handled pointed butter spreaders, 10 flat handled rounded butter spreaders (5 1/8″ L), 17 round bowl soup spoons (gumbo) (7″ L), 3 large oval bowl serving spoons, 2 sugar spoons, 1 youth knife, 1 large serving fork, 1 carving knife (11 1/4″ L), 1 scalloped gravy ladle, 1 berry spoon, 1 cake server, 1 large lettuce fork, 1 solid jelly server, 1 medium serving fork (7 1/2″ L), 1 bacon fork, 1 master butter spreader, 1 bonbon tongs, 1 cream ladle (4 1/4″ L), 1 small ladle, 1 tea caddy spoon, 1 nut shovel, 1 olive spoon, 1 caddy scoop, and 1 fruit spoon. 405.87 weighable troy ounces.

CONDITION: Overall very good condition with some signs of light use wear. 6 serving pieces with monograms. [See more photos →]

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.

PROVENANCE: A Middle Tennessee estate.

CONDITION: Overall very good condition, with vivid colors. Sheet is light struck with even toning to sight area. Hinge mounted to mat with tape affixed to verso. [See more photos →]

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])

CONDITION: Excellent condition. Not examined outside of frame. Frame with losses to silvering at corners. [See more photos →]

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.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

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

Tsibi Geva (Israel, b. 1951) acrylic and oil on canvas abstract painting in gray tones with muted gold, purple, blue, and red highlights resembling terrazzo flooring, 1990. With gestural, linear oil stick embellishments. Signed, dated, and titled en verso. Housed in a modern, silvered wood frame. Canvas: 70″ H x 70″ W. Framed: 74″ H x 74″ H. Biographical note: “Tsibi Geva is one of Israel’s most prominent and influential artists. Born on 1951 in Kibbutz Ein Shemer, Israel, Geva lives and works in Tel Aviv and New York. Since 1979 he has exhibited extensively worldwide…His works are included at major public and private collections, among them, The MoMA Collection, NY; The Jewish Museum, New York ; Rothfeld Collection, American University Museum, Washington DC; Museum on the Seam, Jerusalem; Tel Aviv Museum of Art; The Phoenix collection; Annina Nosei, NY; Arturo Schwartz, Italy; Donald Rothfeld, NY; Joshoua Gessel, Zurich; Michael Recanati, NY; Monique and Max Burger, Zurich. Geva is a professor at the School of Visual Arts, MFA program, NY; the University of Haifa, and Hamidrasha School of Art, Beit Berl College, Israel. He is the recipient of numerous awards and grants, including the Sandberg Prize from The Israel Museum, Jerusalem; the Mendel and Eva Pundik Foundation Prize from the Tel Aviv Museum of Art, and a Lifetime Achievement Award from the Israeli Ministry of Culture.” (Source: www.tsibigeva.com)

CONDITION: Excellent condition. [See more photos →]

Presidential Mexican War era scrolling broadside or “print on sticks” lithograph depicting the first eleven (11) American presidents, Washington – Polk, surrounding a shield with the seals of the 28 states, including the newly admitted state, Texas. Designed by Augustus Mitchell, and printed by Peter S. Duval in Philadelphia. Circa 1845-46. Housed under glass in an ebonized wood frame. Sight: 31 3/4″ H x 41″ W. Framed: 36 1/8″ H x 45 1/2″ W. Note: this patriotic scrolling broadside or print on sticks was intended for hanging on a wall in a public setting and is notable as one of the very earliest American color lithographs.

PROVENANCE: Living Estate of JoAnn Newland, Arcadia, Tennessee.

CONDITION: Fair condition with overall toning, tears, cracks, scattered dampstaining, cracks, and losses to paper. Appears to have fabric reinforcement behind the lower center vignette depicting a harbor scene. [See more photos →]

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. Note: This miniature must have been created between c. 1819 and the artist’s death in 1838. Although Jackson’s youthful red hair suggests an early date, the original Jarvis portrait already shows Jackson with gray hair. Earl may have intentionally adapted the portrait to show a younger Jackson. According to the MET, the Jarvis portrait commemorates Jackson’s “triumphal visit to New York in 1819, during which he was celebrated as the hero of the War of 1812 for his decisive victory over the British at New Orleans.” A c. 1825-30 miniature copy of the Jarvis portrait, attributed to Aaron Houghton Corwine and also with red instead of gray hair, is object number SSSA2966 in the National Portrait Gallery’s Catalog of American Portraits. Biographical note (adapted from James C. Kelly, Tennessee Encyclopedia of History and Culture): Ralph E. W. Earl was the son of Connecticut painter Ralph Earl (1751-1801). The younger Earl studied under his father in Northhampton, Massachusetts, before traveling to London in 1809 to study with Benjamin West and John Trumbull. In 1817, Earl arrived in Nashville to paint General Andrew Jackson, the hero of the battle of New Orleans. Later that year, in Natchez, he met and married Jane Caffrey, Rachel Jackson’s niece. She died the next year, but Earl moved into the Hermitage and would from then on remain in Jackson’s circle, accompanying the newly elected president to Washington. During the next eight years, Earl created numerous paintings of Jackson. Politicians, especially Democrats, knew it “did not hurt to order a portrait of General Jackson from Earl.” He painted many of Jackson’s friends and a few of his foes. Earl returned to the Hermitage with Jackson in 1837 and died there in September 1838.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

CONDITION: Overall very good condition. A few minor specks of foxing, primarily outside of the figure. [See more photos →]

French Bontems gilt bronze “Singing Bird” automaton mantle clock, the works signed H & F Paris. 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. The mechanical movement marked BONTEMS  / PARIS / Bte. / SGDG and numbered 1163. When operational, the 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.

CONDITION: Overall good condition. Some scattered very slight oxidation to the bronze case. Clock winds but does not operate, servicing is recommended. [See more photos →]

President Abraham Lincoln (1809 – 1865) signed U.S. government document appointing Nathan Sargent to the office of the Levy Court of the County of Washington, District of Columbia, for a term beginning on March 12, 1863, and lasting through December 31, 1863. Signed by President Lincoln lower right and countersigned by Secretary of State William Seward. Embossed presidential seal lower left. Framed together with a photograph of President Lincoln. 20 1/2″ H x 33 1/4″ W. Note: A copy of the 1988 purchase receipt is available to the winning bidder.

CONDITION: Document with fold lines visible and fading to Presidential seal. Lincoln signature is in very good condition. [See more photos →]

After John James Audubon (Haiti/New York, 1785-1851) double elephant folio chromolithograph depicting a life-sized, male American Wild Turkey who stands among a variety of plants and against a blue sky, 1858. From The Birds of America edition by Julius Bien (Germany/New York, 1826-1909). 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.

PROVENANCE: Private Middle Tennessee Collection.

CONDITION: Overall very good condition, with full margins. With repaired 1″ L marginal tear to lower left edge, outside of text. 1″ L crease to lower right edge, outside of image, plus minor dog-ear crease to upper left corner. 1/4″ L. Two specks of foxing to upper left, also outside of image. Minor, even toning to sheet. [See more photos →]

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: For a similar poster, see lot #434 in our January 2024 auction. The Armory Show is credited with ushering in a new era in art and introducing Americans to Impressionism, Neo- and Post-Impressionism, Symbolism, Fauvism, Cubism and modern sculpture. The exhibition included paintings from European modernist artists like Degas, Van Gogh, Picasso, Matisse, and Gauguin. The uprooted pine tree image on the poster, also used for the cover of the exhibition catalogue, was derived from the Massachusetts Revolutionary-era battle flag, “proclaiming liberation from the art of the past” (Ref. Shapiro, p. 135).

PROVENANCE: Private Midwestern Collection.

CONDITION: Overall very good condition, with minor toning especially along left edge. Poster is laid to canvas backing. 1 3/4″ L-shaped tear to upper right margin extending 3/4″ into red area of flag plus 9/16″ marginal tear to center left edge and 1/4″ marginal tear to center right edge. Minor staining to lower left corner, primarily marginal. Negligible creases to corners, largest to upper left, 3/4″. Very faint specks of dampstaining along lower right edge. Minor discoloration beneath lower edge of flag is possibly an inherent artifact of the printing process. [See more photos →]

Gents 14K yellow gold ring featuring one (1) round brilliant cut diamond approximately 1.72 carats, Clarity-SI2, Color-H. The ring is marked “14K” and XRF tests 14K gold. The ring is size 11 1/2 and has a gross weight of 12.29 grams.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

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

Thomas Hart Benton (Missouri, 1889-1975) lithograph entitled “New England Farm” and depicting a Martha’s Vineyard farmstead with two men loading hay into an ox-pulled cart, 1951. An old hay rake sits idly in the foreground and a farmhouse rises from the horizon line. Pencil signed lower right. From the intended edition of 300 published by The Friends of Art of Kansas State University, Manhattan, Kansas. Ref.: Fath 76. Housed under glass in a gilt and ebonized wood frame with gilt fillet and cream mat. Sheet: 12″ H x 16″ W. Framed: 25″ H x 29″ W. Note: Our research finds fewer than 20 impressions of this scarce print offered at auction since 1996, suggesting that the intended edition of 300 was never fully realized. Benton’s caption in Creekmore Fath’s “The Lithographs of Thomas Hart Benton” reads: “This is a haying scene on the Martha’s Vineyard farm of Denys Wortman, famous N.Y. newspaper cartoonist.”

CONDITION: Very good condition, will margins. Sheet is evenly toned within sight opening and hinged to mat with archival tape. [See more photos →]

Mary Jett Franklin (American/Georgia, 1842-1928), La Toilette, oil on canvas painting depicting a young girl with blonde hair washing her hands in a bowl at a table, c. 1895. Signed lower right, “Mary Franklin / Paris.” Unframed. 39 1/2″ H x 31″ W. Exhibition History: Salon de Champs-de-Mars, Paris, 1896 (illustrated in the catalog as no. 536, p. 67); American Woman’s Art Association Annual Exhibition, Paris, 1867. Artist Biography: This is a very rare example of work by Mary Jett Franklin, an Athens, Georgia-born genre and portrait artist who attended the Pennsylvania Academy of the Fine Arts in Philadelphia, Pennsylvania. She traveled to Paris in 1889 to continue her art education at the Academie Colarossi, one of the few art schools to accept female students at that time. Franklin’s paintings were exhibited in the PAFA annual exhibitions in Philadelphia, the National Academy exhibitions in New York City, and numerous exhibitions in Paris, including the Salon de Champs de Mars, the Salon of American Women Artists, the National Exposition de Montelimar, and the Societe des Artistes Independants. In 1924, Franklin returned to Athens, Georgia, where she spent the remainder of her life teaching at the University of Georgia and the Lucy Cobb Institute.

CONDITION: Approx. six small punctures up to 1″ in length: upper right background (2); subject’s upper arm; table edge (2). 1/2″ flake upper left quadrant, background; 2″ area of exfoliation upper left corner. Craquelure throughout. Several pale drip streaks across the length of the canvas affecting subject and table. Scattered small spots of grime, particularly at lower quarter, and losses to canvas at perimeter where it wraps around the stretcher. Wide creases to center indicating canvas was rolled or folded at one time, and stretcher marks to canvas. [See more photos →]

Men’s Vintage 18K yellow gold Patek Philippe Calatrava model wristwatch, Ref #2481, Serial #2604505, 37mm champagne dial with gilt baton markers, Caliber 275SC movement, 18 jewels. Movement twice stamped with the Geneva seal. Fitted with an 18K yellow gold bracelet marked .750. 7 1/2″ L. Gold case weighs 18.7 grams. The bracelet weighs 40.7 grams. Total weight: 59.4 grams.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

CONDITION: Replaced 9 o’clock baton, replaced crystal, some very slight bending to the 18K bracelet. Bracelet is not original to the watch. Watch runs at time of inspection, service is recommended. [See more photos →]

John Kelly Fitzpatrick (American/Alabama, 1888-1953) oil on canvas Spring Landscape painting depicting a large brick antebellum home as viewed from the rear side, with chimneys rising amid flowering trees and the green grass below partially covered in blue flowers. The painting has descended in the family of the artist’s first cousin, and is thought to depict a family home. Signed lower right “Kelly Fizpatrick” (note sic) and labeled “42A” en verso. Canvas is mounted to stretcher with colored thumbtacks. Hand-carved, possibly original wooden frame with bronzed finish. Sight: 30″W x 25″H. Frame 35″ x 30″. Biography: Dixie Art Colony co-founder John Kelly Fitzpatrick was known for his paintings of Alabama’s rural landscapes, painted during a turbulent period in the state’s history. His father, Dr. Phillips Fitzpatrick, was a well-to-do physician, and he resided most of his life at the family’s 1840s Greek Revival home in Elmore County. Fitzpatrick studied at the Art Institute of Chicago before enlisting in the Army in 1918. He was wounded and severely scarred during the war and later wrote that his experience caused him to lose interest in the material world and focus on the beautiful and spiritual aspects of life. After the war, he returned to painting and attended the prestigious Academie Julian in Paris, where he absorbed the influences of Paul Cezanne, Vincent Van Gogh and Henri Matisse – particularly their love of brilliant color.Once back in the South, he made numerous contributions to the arts in Alabama. He was the first director of the Montgomery Museum of Art School and spent much of his time teaching at the Dixie Art Colony at Lake Jordan. He also co-founded the Alabama Art League and the Montgomery Museum of Fine Art and was the first director and co-founder of the Montgomery Museum of Art School. (Source: the Dixie Art Colony Foundation; the Montgomery Museum of Fine Arts).

PROVENANCE: The collection of Donald Harper of Alabama, acquired over ten years ago from Charles “Hop” Chichester of Mountain Brook, Alabama.The painting descended in Mr. Chichester’s family from his maternal grandmother, Annie Elmore Fitzpatrick Weaver, who was a first cousin of the artist (her father, John Archer Fitzpatrick, was the brother of Dr. Phillips Fitzpatrick).

CONDITION: Minor retouching to two areas of scratching and flaking at lower center edge, largest 2″ L to scratch. 2″ area of scratching upper left, to chimney, and a couple of tiny flakes to roofline and treeline. Some grime in sky area. Frame exhibits some wear to edges. Frame is slightly larger than the painting, indicating it may have had a liner at one time now missing. [See more photos →]

Civil War sixth plate Ambrotype Photograph depicting Thomas R. Shields of Natchez, Mississippi, CSA, seated and holding his sword. Scalloped decorative gilt mat enclosed in half of a leather union case. Overall: 3 3/4″ x 3″. Thomas R. Shields, older brother of Bisland Shields (whose photographic portrait is also in this auction), was listed as a private in 1861 in the Natchez Light Infantry (source: the Natchez Democrat, Nov. 30,1861). He was born 1833 in Terrebonne Parrish, Louisiana, to Thomas Rodney Shields Sr. and Martha Jane Lenora Shields. He married Maria Payne in 1857 and the couple had two children. He survived the war and is listed in the 1870 census as a dry goods merchant, living in his father in law’s household. He died in 1873 of unknown causes and is buried in Jefferson County, Mississippi.

PROVENANCE: By descent in the family of sitter.

CONDITION: The image is in very good condition with discoloration halo at edges of image and very minor scattered spots of discoloration due to oxidation throughout. Some wear to case. Lacking other half of union case. [See more photos →]

Ladies 18K yellow gold bracelet featuring twenty five (25) mine cut diamonds approximately 5.46 carats together, Clarity-SI2, Color-I. The bracelet is marked “750 K18″ and XRF tests 18K gold. The bracelet is 6 1/2” L. and has a gross weight of 38.62 grams.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

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

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.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

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

335 piece set of Continental .800 silver flatware, service for 24 plus extra serving pieces, together with original custom fitted oak drawers/cases. The silver flatware features a Neoclassical design with fluted handles terminating in laurel leaf borders enclosing a 3-part, Art Deco style monogram, AMK. Stamped with German hallmarks for fineness .800 and maker or retailer, Bruckmann & Sohne. Circa 1930. The service includes twenty-four (24) dinner knives, twenty-four (24) dinner forks, twenty-four (24) tablespoons, twenty-four (24) dessert/oval soup spoons, twenty-four (24) teaspoons, twenty-four (24) salad or dessert forks, twenty-four (24) fish forks, twenty-four (24) fish or large butter knives, twenty-four (24) egg or ice cream spoons with gilt bowls, twenty-four (24) luncheon or dessert knives, twenty-four (24) tea knives, twenty-four (24) oyster or shrimp forks, twenty-four (24) demitasse spoons with gilt bowls, and twenty-three (23) serving pieces: one (1) salt spoon, four (4) double pronged pickle serving forks, 2-pc roast carving set (knife and fork), one (1) butter knife, one (1) small jelly knife, four (4) oval gilt bowl serving spoons, one (1) large oval gilt bowl serving spoon, two (2) gravy ladles, 2-pc salad serving set (fork and spoon), one (1) soup ladle, one (1) pastry server, one (1) fish serving knife, one (1) fish serving fork, and one (1) asparagus server. German, early 20th century. Combined weighable silver: 352.4 oz troy.

PROVENANCE: This set was among the personal belongings sent out of Germany by a prominent Frankfurt family during the period of unrest before the start of World War II. It has descended in this family to the present consignor.

CONDITION: There is some light wear to gilding on some pieces with gilt bowls, otherwise excellent condition. Monogrammed. [See more photos →]

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. Biographical note: Lelia Pissarro is the great granddaughter of the influential French Impressionist Camille Pissarro.

CONDITION: Excellent condition. [See more photos →]

Middle 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. Exhibited, the Frist Art Museum, “Art of Tennessee,” 2006, and illustrated in the catalog, fig. 46, page 82. Also illustrated in “The Art and Mystery of Tennessee Furniture” (Derita Williams and Nathan Harsh), color plate X, p. 74. 35 1/2″H x 26″ W x 17 1/2″D. Probably Davidson County, TN, Circa 1815.

PROVENANCE: Private Middle Tennessee Collection, purchased by an antiques dealer in Davidson County in the 1960s.

CONDITION: Overall very good condition in an older refinished surface. Top molding possibly an old replacement. Old, possibly original hinges. Old copper repair to back along base. Rear stops added to drawer. Top has an old lock repair scar. Minor, age-appropriate wear and shrinkage throughout. [See more photos →]

Scarce hippo figurine by McCarty Pottery of Merigold, Mississippi, with two tone glaze. Inscribed “McCartys / Merigold / Miss” to underside. 14″ L x 7″ W x 5″ H. Circa 1960s. Note: “In 1952, William Faulkner gave Lee and Pup McCarty permission to dig all the clay they wanted from a gulley on his property. That was the beginning of a 64-year love affair with clay, Mississippi clay. In 1954, the McCartys lived and worked in a mule barn in Merigold, Mississippi, creating together a pottery design that would become nationally and internationally known. The trademarked ‘river,’ a small black wavy line would become synonymous with the signature glazes of nutmeg brown, cobalt blue, and jade. However, the love and life of that Mississippi clay was a labor-intensive jubilant existence. The McCartys were determined to do everything themselves. They dug clay from a ravine, then processed it for creating artwork, and converted a barn into a studio and living spaces. They nailed up painted cardboard to keep the wind and bugs out, built shelves from milled pine, and put down bricks for flooring…Lee and Pup McCarty worked side by side until Pup’s death in 2009. Lee continued the work until his passing in 2015. The godsons of Lee and Pup, Jamie and Stephen Smith, continue their tradition of McCarty, still working in the barn behind the bamboo in Merigold, Mississippi.” (Source: Mississippi Museum of Art)

CONDITION: Overall very good condition with firing crack to underside, in the making. [See more photos →]

1st item: A braided lock of hair belonging to General and later President Andrew Jackson, gifted by Jackson to Bernard Maguire of Philadelphia in 1844. Housed in a gold plated metal locket and gold filled chain with decorative shield engraved en verso, “General Andrew Jackson’s HAIR / March 15, 1844 / B.M. “. The gift of the hair is the subject of a letter from Bernard Maguire to Jackson on 1844, thanking him and stating that “this venerable lock of your hair will cheer me and be my companion late and early.” (Source: the Library of Congress, Andrew Jackson Papers, March 1, 1844. Note: the date on the locket postdates the letter, a possible mistake in remembrance on the part of Mr. Maguire). Hair: approximately 1 1/2″L. Locket: 2 1/2″h x 2″W. This locket has descended with the 2nd item in this lot, a miniature watercolor portrait of a young man with reddish hair and blue eyes, dressed in a white shirt and black coat and tie. Oral tradition states that the subject is a young Andrew Jackson, although there is no documentation to support this assertion, and early portraits of Jackson prior to his victory in the Battle of New Orleans are extremely difficult to locate. The oval painting is unframed and unsigned, and contained within a period oval leather case with silk lining. Portrait 2 1/4″h x 1 3/4″W. Case 3″ x 2 1/2″.

PROVENANCE: Private Natchez, MS collection.

CONDITION: Locket and hair in very good condition with a small nick to edge. Portrait exhibits some grime and warping to ground and is either painted on paper or has had a paper backing applied. Some small losses around edge. Case is very worn with fraying to silk interior. [See more photos →]

22K yellow gold amulet case depicting Krishna with eight (8) milkmaids. The case contains an unknown substance. The case XRF tests 22K gold and is 3 1/4 x 2 3/4″ in size. Gross weight of the amulet case is 110.7 grams.

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

Henri Hecht Maik (France, 1922-1993) oil on canvas painting of two wide-eyed lions set against a yellow field. A smaller or more distant lion stands at upper right behind the larger or closer central lion. Signed “MAIK,” lower left, and dated “67,” lower right. Numbered 777 to stretcher and 23920 to backing. With Wally Findlay Galleries label affixed to backing and gallery tag affixed to frame. Housed in a painted, rusticated wood frame with beige textile liner, double gilt fillets, and brass nameplate. Sight: 6 5/8″ H x 5″ 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.

CONDITION: Overall very good condition, with minor surface grime. [See more photos →]

Mid-Century Danish rosewood sideboard, designed by Niels Otto Moller for J.L. Mollers, Model 20. Molded tray-style top above two sliding doors, the fitted interior with pull-out drawers and adjustable shelves. Retains original labels to the upper left side interior. 31 1/2″ H x 82 3/4″ W x 19″ D. Circa 1950’s.

CONDITION: Retains the original finish with very light use wear to the top, overall very good condition. [See more photos →]

East Tennessee cherry pie safe, late Sheraton/Classical form, poplar secondary. Rectangular form with dovetailed vaulted peak-shaped gallery, top having a half round molding, two dovetailed and scratch beaded drawers with turned pulls flanked by embossed rectangular stiles with figured cherry, lower case with two doors, each having four tins punched with fylfot design with semi-circular borders, flanked by scroll-shaped pilasters. Sides with two matching punched tins. Base with a small half-round molding and a shaped skirt with returns. The case rests on turned feet with ball tips. 60 1/4″ H x 52″ W x 23 3/4″ D. Hawkins Co., 3rd quarter of the 19th century.

CONDITION: Older refinished surface. A “splinter” loss to the lower left door frame and repair to the lower right door corner. Losses to tin on the lower left side. Front tins with exfoliation to surface from applied old varnish. Old break to the right side gallery front inner edge. Horizontal wood shrinkage to top. [See more photos →]

Pablo Picasso (Spain/France, 1881-1973), CORRIDA SUR FOND NOIR, 1953 (A.R. 198), earthenware ceramic platter, partially engraved, with colored engobe and glaze, depicting a bullfighting scene. Date 25-9-53 engraved to border. From the edition of 500. Madoura Plein Feu and Edition Picasso stamps on the underside. 15 1/2″ W x 12 1/2″D x 1 1/2″H (39 cm x 32 cm x 4 cm ).

PROVENANCE: The collection of the late Norman and Betty Luboff, acquired in Vallauris in the 1950s. Norman Luboff (1917-1987) was an internationally known American composer, music arranger and conductor, best known for his work with the Norman Luboff Choir. He was also a passionate collector of Picasso ceramics. Norman and Betty divorced in the mid 1960s, and Norman eventually remarried Gunilla Luboff and moved to Chapel Hill, North Carolina. His Picasso ceramics collection was exhibited at the Wills N. Hackney Library at the Atlantic Christian University in Chapel Hill between 1985 and 1987, when Luboff passed away. Copies of an undated Chapel Hill Newsletter article about Luboff and the exhibit, picturing this item along with his Fish and Femme Lamp, are available to the winning bidder of this lot. (Note: the article incorrectly states that Gunilla was Norman’s wife when the ceramics were purchased; he was actually married to Betty at the time). The collection has descended in the Luboff family to the present consignor.

CONDITION: Three small, very narrow rim flakes to underside of rim, largest 1/4″L, neither visible from front side. [See more photos →]

Pierce Arrow Motor Car Company 14K yellow, white, and rose gold cigarette case with a geometric mosaic pattern, with company emblem 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. Weight of the case is 140.7 grams. Includes colored planning diagrams of the case; as well as a blue leatherette box and felt bag labeled for Black Starr & Frost-Gorham Inc. New York. Note: The emblem is that of The Pierce-Arrow Motor Car Company, and features a shield with helmeted crest engraved “DIXIT ET FECIT”, Latin for “said and did.” The company, named for George Pierce, was in business from 1901 and became known for its luxury automobiles; several Hollywood stars and tycoons owned Pierce-Arrow Town Cars, and in 1909, US President William Howard Taft ordered two Pierce-Arrows to be used for state occasions (the first official cars of the White House). However, the company did not survive the Depression; it closed its doors in 1938.

CONDITION: Some light scratches, overall good condition. [See more photos →]

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 ogee bracket feet with spur returns. All drawers are 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 book, signed by the author, is included with this lot.

PROVENANCE: Collection of Mr. and Mrs. Warren K. Samples, Chester County, PA.

CONDITION: Older refinish with replaced brasses. The top with the left end board being a later replacement. The lip corners of a couple of drawers with inconspicuous triangular patches (areas of loss can be viewed in the full page illustration in the Schiffer book), retains the original feet with a couple areas of putty infill. [See more photos →]

Pablo Picasso (Spain/France, 1881-1973), Sujet Poisson (A.R. 139), terracotta pitcher with black and white engobe in the form of a fish, designed 1952 and executed in an edition of 500. Underside stamped and signed “Edition Picasso / Madoura Plein Feu / Edition Picasso / Madoura”. 8″L (20.5 cm) x 5″H (12.5 cm) x 3 1/2″D (9 cm).

PROVENANCE: The collection of the late Norman and Betty Luboff, acquired in Vallauris in the 1950s. Norman Luboff (1917-1987) was an internationally known American composer, music arranger and conductor, best known for his work with the Norman Luboff Choir. He was also a passionate collector of Picasso ceramics. This Fish pitcher appears in the background of a period photo of Luboff at his piano (see last catalog photo, # 13). Norman and Betty divorced in the mid 1960s, and Norman eventually remarried Gunilla Luboff and moved to Chapel Hill, North Carolina. His Picasso ceramics collection was exhibited at the Wills N. Hackney Library at the Atlantic Christian University in Chapel Hill between 1985 and 1987, when Luboff passed away. Copies of an undated Chapel Hill Newsletter article about Luboff and the exhibit, picturing this Fish, the Femme Lamp, and Corrida Fond Noir platter are available to the winning bidder of this lot. (Note: the article incorrectly states that Gunilla was Norman’s wife when the ceramics were purchased; he was actually married to Betty at the time). The collection has descended in the Luboff family to the present consignor.

CONDITION: Excellent condition. [See more photos →]

An original signed lithograph of “Le Cavalier,” also known as “Le Mousquetaire a la Pipe (The Muskateer with a Pipe),” after the 1968 painting of the same name by Pablo Picasso (Spanish, 1881-1973). 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. Note: This print recreates Picasso’s 1968 painting “Mousquetaire a la Pipe.” Picasso hired the printmaker Henri Deschamps, one of the artist’s preferred “chromists,” to reproduce the painting under his close supervision. A common practice among European modernists, Deschamps also worked as a chromist for painters including Georges Braque and Rene Magritte.

PROVENANCE: Private Nashville, Tennessee collection.

CONDITION: Very good condition, with strong colors and full margins. Minor, even toning to sight window. [See more photos →]

Chanel Dark Brown quilted Caviar medium classic double flap hand bag or Purse with gold hardware, zipper compartment to underside of flap, stitched interior logo. Includes original box. 6″H x 10″W x 2 1/4″D. Shoulder strap drop: 16″.

PROVENANCE: A Nashville, Tennessee estate.

CONDITION: Purse in excellent unused condition. Some slight wear to box. [See more photos →]

Ladies 14K white gold cocktail ring featuring one (1) oval brilliant cut aquamarine approximately 12.5 carats, accented by twenty four (24) round brilliant cut diamonds approximately 1.68 carats together, Clarity-VS2, Color-G. The ring is marked “14K” and XRF tests 14K gold. The ring is size 6 1/4 and has a gross weight of 8.25 grams.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

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

1st item: Ladies 18K white gold pierced clip back floral earrings featuring fourteen (14) round brilliant and marquise cut diamonds approximately 2.42 carats together, Clarity-VS2, Color-J. The earrings are marked “18K” and XRF test 18K gold. The earrings are 1/2 x 3/8″ in size and have a gross weight of 5.43 grams. 2nd item: Ladies 18K white gold earring enhancers featuring eight (8) round and marquise cut diamonds approximately 3.66 carats together, Clarity-SI1, Color-J. The enhancers XRF test 18K gold and are 7/8 x 1/4″ in size. Gross weight of the enhancers is 3.00 grams. 3rd item: Ladies 18K white gold earring enhancers featuring two (2) pear shaped green tourmalines accented by two (2) round brilliant diamonds approximately 0.36 carats together, Clarity-SI2, Color-I. The enhancers XRF test 18K gold and are 3/4 x 1/4″ in size. Gross weight of the enhancers is 2.83 grams. Gross diamond weight of the lot is 6.44 carat and the gross weight of the lot is 11.26 grams.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

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

Sonia Delaunay (Ukraine / France, 1885-1979) SONIA DELAUNAY: SES PEINTURES, SES OBJETS, SES TISSUS SIMULTANES, SES MODES complete portfolio with 20 numbered and unbound, unframed, color pochoirs on wove paper, each with stamped signature, with complete letterpress text, c. 1925. Published by Libraire des Arts Decoratifs, Paris. All sheets 22″ x 15″ (559 x 381 mm). Rarely found complete and in good condition.

CONDITION: Overall very good condition. All plates with full margins and in overall good to very good condition. Handling wear to edges, light toning, a couple of plates with 1/4″ tears or small creases at lower edges from handling, #19 with small loss to bottom right corner, #10 with small tear and dampstaining at lower edge. Cover with wear to spine ends and corners, some abrasion to front in red square. [See more photos →]

Large Native American Cherokee double rivercane lidded storage basket, attributed to Rowena Bradley (1922-2003), consisting of dyed walnut and butternut weavers and woven in a diagonal arrow point pattern. 13″ H x 9 1/2″ square. 20th century.

Biography (courtesy of West Carolina University Hunter Library): “Rowena Bradley (1922-2003) was the third generation of known basket weavers in her family. Her grandmother, Mary Dobson, and her mother, Nancy Bradley were accomplished at making baskets. Bradley is often cited as one of only a handful of Cherokee basket weavers who carried on the complex double weave technique in the 1930s and 1940s. Her baskets won numerous awards at the annual Cherokee Indian Fairs and an exhibition of her work was held at Qualla Arts and Crafts Mutual in Cherokee, North Carolina, in 1974.” Note: This form is almost identical to an attributed Bradley basket we sold in 2022: (Source: https://caseantiques.com/item/lot-604-rowena-bradley-cherokee-double-weave-rivercane-basket/).

CONDITION: Very good condition with a nice warm patina to the weavers, and very slight wear to the base. [See more photos →]

Bill Sawyer (American/Tennessee, 1936-2020) oil on board painting depicting a little girl who holds a peppermint stick and stands before a brick wall painted with a trompe l’oeil door. A string leads from the doorknob (rendered in high relief) to the brown grass at her feet. To the child’s right stands a bare tree and to her left a wall with a faded, partially visible advertisement; in the foreground is a curb and sidewalk with a “Kilroy was here” chalk drawing. 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. 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 Middle Tennessee Collection.

CONDITION: Painting in excellent condition. Some minor wear to frame. [See more photos →]

Itzchak (Isaac) Tarkay (Serbia/Israel, 1935-2012) acrylic on canvas painting depicting two women lounging beside a table with vases of flowers and set against a vibrant background. Signed “Tarkay” lower left. Giltwood molded frame with white linen mat. Stretcher: 40″ W x 32″ H. Frame: 50″ W x 42″ H.

PROVENANCE: Private Nashville Collection.

CONDITION: Painting in excellent condition. Some small, minor losses to frame corners and edges, plus several tiny dark spots to mat. [See more photos →]

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. Verso painted tan. Biographical note: Joseph Delaney was born in Knoxville in 1904, the ninth of ten children born to a Methodist Minister. He and his older brother, Beauford, discovered their interest in art by drawing on Sunday School cards. In 1930, Joseph left Tennessee for New York where Beauford was also working as an artist, and enrolled in the Art Students League under the tutelage of Thomas Hart Benton and Alexander Brooke. The subject matter he found there, including the city’s landmarks and its people, are the images for which he is best known. In 1986, Delaney returned to Knoxville to live and was artist-in-residence for the University of Tennessee Art Department until his death in 1991. Delaney’s works are included in the collections of the Metropolitan Museum of Art, The Chicago Art Institute, The Knoxville Museum of Art, and The Smithsonian American Art Museum. (Courtesy of Frederick C. Moffatt)

PROVENANCE: The collection of Hollis and Keisha Langston, by descent from the estate of artist Sammie Nicely, who acquired it directly from Joseph Delaney.

CONDITION: Overall very good condition. Panel with minor warping. Faint, possibly inherent scratches to left thigh and to background, upper left. Minor chipping to edges of plywood, largest to center lower edge, 1/2″ x 1/4″, and to upper left corner, 5/16 x 1/4″. Minor abrasion with loss to background, upper left edge, 1/2″ L. With surface grime and fine craquelure throughout. [See more photos →]

1855-C $2.50 Liberty Head Quarter Eagle gold coin, PCGS AU-55. Note: This coin is the lowest mintage of any individual date of the Charlotte Quarter Eagles.

PROVENANCE: The Estates of Thomas Maxfield and Sara McIntyre Bahner.

CONDITION: PCGS graded AU-55. [See more photos →]

South Carolina Edgefield District stoneware pottery handled jar having an olive green alkaline glaze and applied kaolin slip floral decoration to the body. Ovoid form with a straight collar, pronounced ridge around the shoulder, and pulled handle. 7 1/4″ H. 19th century.

PROVENANCE: Private Middle Tennessee Collection.

CONDITION: Overall good condition. Some moderate glaze exfoliation to the rim. One firing defect to the base with some scattered fleabites. [See more photos →]

Italo-Byzantine tempera and gold on panel painting of the Madonna and infant Christ with John the Baptist, 16th century. Christ, who reclines and looks toward heaven, wears red coral beads and grasps a goldfinch that emerges symbolically from Mary’s torso while John stands behind them at left. Punched text to Mary’s halo reads “AVE GRATIA PLENA” (Hail Full of Grace) while partially visible text from the Marian antiphon Salve Regina wraps around the upper, right, and left edges and reads “SALVE REGINA (HAIL, HOLY QUEEN) / MATER MISERIC[ORDIAE] (MOTHER OF MERCY) / [VITA DULCEDO ET] SPES” (LIFE, SWEETNESS, AND HOPE). With metal plate affixed to back of frame that reads: W. DE F. THOMSON / 231 MARLBOROUGH STREET / BOSTON. Housed in a later giltwood frame. Panel: 17 1/2″ H x 15″ W. Framed: 21″ H x 18 1/2″ W. Note: The word “Mater” as seen in the present painting was added to the Salve Regina in the 16th century.

PROVENANCE: The collection of Alex and Cristina Ionescu, South Carolina, by descent from his father, the artist, conservator, and collector Vlaicu Ionescu of New York (1922-2001); ex-Collection of William de Forest Thomson, Boston.

CONDITION: Panel bisected by repaired horizontal split that runs above the head of the goldfinch with retouching along split. A crack without retouch bisects panel just below split. Scattered retouching throughout, especially to faces of figures and body of Christ. See U/V photography. With craquelure throughout plus extensive worm holes visible en verso, several visible en recto. Frame with minor abrasions and losses. [See more photos →]

Ladies 14K yellow gold engagement ring featuring a round brilliant diamond approximately 1.66 carats, Clarity-VS2, Color-I. The ring is marked “14K” and XRF tests 14K gold. The ring is size 6 3/4 and has a gross weight of 3.30 grams.

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

Helen La France (American/Kentucky, 1919-2020), “Fancy Farm Picnic” oil on canvas painting depicting figures gathering at a large, patriotic picnic in a wooded area, with a combination of both representational imagery and surrealistic elements. Signed and dated 2006 lower right and floated in a plain black frame. Canvas: 30″ H x 36″ W. Frame: 32″ H x 38″ W. Note: Since 1880, the small Kentucky town of Fancy Farm, near the artist’s hometown of Mayfield, has been the home of the annual Fancy Farm Picnic. Held on the grounds of what was originally the Saint Jerome Parish School on the first Saturday each August, it draws a very large crowd and has become a traditional venue for political campaigning. The 2006 date makes this one of LaFrance’s late career paintings, executed when she was 87 years old. Biography: “Self-taught African American artist Helen LaFrance was born on a Kentucky farm and began painting in her 40s. She is known for her “memory paintings” drawn from her recollections of life growing up in the rural South. Several museums and private collectors, including Oprah Winfrey, own examples of her work.” (Source: “Helen LaFrance Folk Art Memories” by Kathy Moses). Helen LaFrance died November 22, 2020 in a Mayfield, Kentucky nursing home at the age of 101.

PROVENANCE: Private Ohio collection; ex-Duff Lindsay Gallery, Columbus, OH; ex-Gus Van Sant, Sr. Collection.

CONDITION: Overall excellent condition. Small area of wear to upper right corner of canvas, and a few minor spots of wear to the frame. [See more photos →]

Middle Tennessee beaten biscuit table or biscuit board, oak primary, poplar secondary with a rouge marble insert. Molded hinged top with nailed construction opening to reveal an inset marble top above one large divided drawer and square slightly tapered legs. Nailed and pegged construction throughout. 38″ H x 24 3/4″ W x 24 1/2″ D. Last half 19th century. Note: This “biscuit block” is listed in the will of Robert Creighton/Crayton Bransford (b. Moulton, Alabama, 1827 – d. Nashville, Tennessee, 1886). A photocopy of the page is available to the winning bidder.

PROVENANCE: The estate of Kaye Bransford Ruty of Nashville, and by descent in her family.

CONDITION: Overall good condition with expected use wear, scattered abrasions. Top with two horizontal areas of wood shrinkage. Drawer divider appears to be a later replacement. Marble insert with vertical repair running top to bottom. One foot has been shimmed to keep the table even. [See more photos →]

Burton Callicott (American/Tennessee, 1907-2003), “Flight to Baltimore,” oil on canvas painting depicting the hazy image–possibly a shadow or reflection–of an airplane in flight, within a solar corona, as viewed from below. Signed lower right and dated 1971. Additionally dated and titled with artist’s name en verso, and inscribed “Memphis Academy of Arts / Memphis Tenn.” Housed in a simple black and gold painted frame. Painting: 60″ square. Frame: 61″ square. Biography: Burton Callicott spent much of his childhood and his seventy-year career as an artist and educator in Memphis. He graduated in 1931 from the Cleveland School of Art, where he began an exploration of the use of light and dark that would follow him throughout his life. He was a founding faculty member at the Memphis Academy of Art (later the Memphis College of Art) in 1937. His introduction to the work of Hans Hoffman in the 1940s encouraged him to pursue the flattened perspective of Abstract Expressionism in his later career and he began to focus on images of sunlight and rainbows as a portrayal of the true spirit of light and color. His work has been exhibited in many regional museums, and the Tennessee Arts Commission chose to honor the work of Callicott in 2000 with a specialty license plate for which he designed a rainbow with the caption “Art is a Rainbow.” (Adapted from Elizabeth H. Moore, Center for Historic Preservation, Middle Tennessee State University).

PROVENANCE: Deaccessioned from the Arkansas Museum of Art to benefit the acquisitions fund.

CONDITION: Several scattered areas of localized craquelure. Grime and some pale streak stains or concentrated discoloration to varnish; would benefit from cleaning. 1/4″ puncture center right, on plane near nose. Several spots of wear and abrasions to frame. [See more photos →]

Author Signed, THE ORCHARD KEEPER, Cormac McCarthy, Random House, New York, 1965. First Edition, stated “First Printing” on copyright page; only 4,000 printed in the first run. Presentation / association copy, inscribed on the half title page to fellow author John Egerton and his wife “For John & Ann / All best / Cormac McCarthy”. In publisher’s green and red boards with gilt stamping, with original dust jacket in protective archival cover. McCarthy’s first book. 8 1/2″ L x 5 3/4″ W.

PROVENANCE: From the collection of John and Ann Egerton, Nashville TN.

CONDITION: G/G: Book is Good with toning to top page block; corners bumped; previous owner’s name and sticker residue ffep. Jacket is Good condition: horizontal tone line to lower 3/4″, price clipped, but front panel date of 5/65 intact; 1/2″ tear top rear of spine; 1/8″ tear front top. [See more photos →]

Small Chinese Qing Dynasty silver and cloisonne enamel screen stand decorated with fret and dragon designs over a curved base, signed to underside; the tablet decorated with a landscape scene and micro calligraphy inscription. Overall: 4 1/2″H x 4″W x 1 1/2″D. Late 19th century.

PROVENANCE: Found in a Nashville, Tennessee estate.

CONDITION: Some wear to tablet sides and tarnish to base which we have not attempted to clean, otherwise excellent condition. [See more photos →]

Clementine Reuben Hunter (American/Louisiana, 1886/87-1988), “Picking Cotton,” oil on canvasboard painting depicting a farm landscape with six African American figures picking cotton. Signed with monogram, lower right. Housed in a wood frame, and accompanied by a Solander-style case. Sight: 15 3/8″ H x 19 3/8″ W. Framed: 17″ H x 21″ W. Case: 21 1/2″ H x 25 1/2″ W x 4″ D. Note: We are grateful to Thomas Whitehead for his assistance in confirming the authenticity of this painting. Biographical note: 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 Collection, Baton Rouge, LA.

CONDITION: One approx. 1/4″ abrasion to the upper margin, otherwise overall very good condition. [See more photos →]

Large Meyer R. Wolfe (Tennessee/New York, 1897-1985) bronze sculpture with gold patina of the artist’s wife Louise Dahl-Wolfe, depicted standing with her right leg in motion, attired in a flowing robe and hair covering. Unsigned. 34 1/2″ H x 15 1/4″ W x 14″ D. Circa 1960. Note: This bronze portrait of Louise was among the works displayed at the Wolfe’s country retreat in Frenchtown, New Jersey. Exhibition History: The Parthenon, in partnership with the Centennial Park Conservancy: “Meyer Wolfe: The Star of All Things”. February 5 – June 6, 2021. Biography: Meyer (“Mike”) Wolfe was born into a Jewish Lithuanian immigrant family, the second of ten children. He was raised in a low-income, racially diverse neighborhood of Nashville just north of the Tennessee State Capitol, where he observed the social and cultural lives of his African American friends. As a teen with an interest in drawing, he became a protege of Pulitzer Prize winning Nashville cartoonist Carey Orr. In 1917 he studied briefly at the Art Institute of Chicago and worked as an illustrator. In 1918 he moved to New York and met Ashcan School painter John Sloan, who became one of his most influential teachers. Wolfe traveled to Paris in 1926 to train at the Academie Julian in Paris. While overseas, he met (and later married) the fashion photographer Louise Dahl-Wolfe. Meyer exhibited at the San Francisco Art Association, the New York 1939 World’s Fair, and in Nashville, where he later returned to live. However, much of his later life was spent supporting and managing his wife’s career, and as a result, many of Wolfe’s paintings and prints were never publicly shown or sold and remained within his family. His work was the subject of a retrospective at the Parthenon in Nashville in 2021. Many of those works are included in this auction; others are in the permanent collections of the National Museum of American Art-Smithsonian Institution, the Tennessee State Museum, and the Frederick R. Weisman Art Museum, Minneapolis. Sources: “Meyer Wolfe: The Star of All Things” (digital exhibit catalog for the 2021 exhibit at the Nashville Parthenon); Dr. Lawrence Wolfe; Robert Ikard, Tennessee Historical Quarterly, Summer, 2007.

PROVENANCE: The estate of Dr. Lawrence Wolfe, by descent from his uncle, the artist Meyer Wolfe.

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

Tennessee or Southern Kentucky Sheraton Sugar Chest in an older surface. Walnut primary wood, poplar secondary. Rectangular hinged top with a half round ogee molding over a dovetailed case with one central divider, inset into a lower base having a single dovetailed drawer. Lower case with a canted mid-molding and square stiles transitioning to circular turned legs with compressed ball turnings over tapered feet terminating in compressed half-round ball turnings. 37″ H x 30″ W x 18 1/4″ D. Circa 1835.

PROVENANCE: The estate of Sally Flowers Moody, Kentucky.

CONDITION: Thick red wash/stain on back of upper well and outside drawer sides with some residue on inside of drawer. Possible later divider for sugar well refinished with worm tracks visible. Appears to retain the original hinges for top, interior locks missing. Drawer pulls possibly original. Rodent chew on backside of dovetailed drawer and chamfered edge square patch secured with square nails covering oval hole on drawer bottom. Upper cylindrical turning of back left leg with old split/splinter. [See more photos →]

Thomas Hart Benton (American, 1889-1975) regionalist lithograph entitled Island Hay, with three farmers in a field by a body of water on Martha’s Vineyard, with a barn in the distance at right, 1945. Two of the men cut hay while the third, in the foreground, kneels with scythe in hand and sips water from a dipper. Signed in the plate, lower left, and signed in pencil, lower right margin. From the edition of 250 published by Associated American Artists. Ref.: Fath 68. Unframed. 12″ H x 15 15/16″ W. Note: “[Island Hay] is one of the last of over 80 lithographs the artist drew between 1929 and 1945, working summers at the family house on Martha’s Vineyard.” (Source: Graphic Arts Collections, Special Collections, Firestone Library, Princeton University)

CONDITION: Overall very good condition, with margins. Dog-ear creases to upper left and lower left corners, 1 1/4″ L and 1/2″ L. With a minor group of indentations to center left margin, 1/2″ x 1/4″ area, and tape remnants to upper corners plus sticker affixed to verso. Negligible marginal foxing. [See more photos →]

William Aiken Walker (American/South Carolina, 1838-1921) oil on canvas painting of two African American sharecroppers seen through interlacing cotton plants. They pick cotton to fill the large sacks that they wear around their shoulders. In the background three other men and women pick cotton before a distant 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. In light of the attention paid to detail in this painting it is possible that Walker created it especially for the New York art market, as opposed to the souvenir or tourist trade. Biographical note: 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.

CONDITION: Overall very good condition, with minor surface grime and fine craqueleure throughout. [See more photos →]

East Tennessee Federal/Sheraton period transition Secretary Bookcase, walnut with poplar and yellow pine secondary, two-part construction. Top bookcase section with molded ogee cornice over a rope and tassel inlaid frieze, and vine and bud inlaid chamfered front corners flanking two double paneled doors. Interior is painted green and has three adjustable shelves. Lower desk section with cleated and hinged slant front, opening to reveal a fitted interior with a plain prospect door enclosing two short drawers and a pull-out valance drawer to the top, and on either side of the prospect door is a hidden vertical document drawer and four pigeonholes over two short drawers over one long drawer. Four graduated full-length drawers flanked by chamfered corners with inlaid vine and bud design matching that of the top section. Plain molded base and four turned feet. 92″H x 45 3/4″ W x 21″D overall. (Each section 46″H). Greene County, First Quarter of the 19th century.

Note: this lot also includes a copy of The Magazine Antiques – special Tennessee Edition from 1971 showing a similar secretary, plus a copy of The Art and Furniture of East Tennessee by Namuni Hale Young.

PROVENANCE: Private Nashville Collection.

CONDITION: Older refinished surface. Examination of feet and platform support indicate the feet and base molding are original. Loss to valance on one of the pigeonholes. Small patch to prospect door. Pulls are replacements. Some drawer sides built up. One backboard coming loose; tin patch to another backboard. Scattered stains to desk top, and scattered minor shrinkage and wear/abrasions throughout. Retains original key. [See more photos →]

Large Richard Jolley (American, born 1952) ink drawing on paper of figures, purportedly a drawing of Jolley and his wife Tommie Rush, seated in an interior setting holding drinks, with two figures in the upper left background. Signed lower right and dated 2004. Float mounted onto a white backing and housed in an ebonized wood frame. Drawing: 30″ H x 42 1/4″ W. Framed: 36 3/4″ H x 48 3/4″ W.

CONDITION: Drawing overall very good condition. Frame with some scattered abrasions. [See more photos →]

Author Signed, SUTTREE by Cormac McCarthy, Random House, New York, 1979. First Edition, First Printing; fewer than 6,500 printed in the first run. Presentation / association copy, inscribed on the half title page to fellow author John Egerton and his wife “For John & Ann / Best wishes / Cormac McCarthy”. Octavo, original boards, off-white & black cloth spine with gilt lettering. Stated First Edition on copyright page with correct Random House number line; jacket protected in archival cover. McCarthy’s fourth book. 8 5/8″ H x 6″ W x 1 5/8″ D.

PROVENANCE: From the collection of John and Ann Egerton, Nashville TN.

CONDITION: G/G, Good book in Good Dust Jacket. Jacket neatly price clipped, 1/8″ tear top of spine, slight wrinkling. Book with slight soiling to page block and endpapers. [See more photos →]

Lanier Meaders (White County, Georgia, 1917-1998) folk art pottery face jug having a dark olive alkaline glaze with glazed porcelain eyes, pronounced nose and lips, and porcelain teeth. Incised signature on the base, “Lanier Meaders”. 8 1/4″ H. Late 1960s/early 1970s.

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

Diary and Photo of William Henry Harrison Gaines (1836-1910), East Tennessee Union Sympathizer & Refugee. Gaines, of Sullivan County, Tennessee, fled East Tennessee in 1862 to avoid conscription into the Confederate army due to his Union and Abolitionist sympathies. Additional item – Cabinet card pictures Gaines and his second wife Amanda Maria (Seneker), likely on the occasion of their marriage in April of 1887. Gaines was born in Sullivan County in 1836 to James Strother, a farmer, and Letitia Dalton (Moore) Gaines, making him about 26 years old when he began this diary. The diary, purchased at Werden & Co. Booksellers & Stationers in Indianapolis, IN, contains Gaines’s entries starting March 17th, 1862, and continues through November 27th, 1865, with additional entries from 1867-79 pertaining to children (Walter J. Gaines, Isaac Allison Gaines, and Willie G. P. Gaines). The diary begins with an account of W. H. H. Gaines’ flight north from Tennessee as he “was called upon by force of circumstances…to expatriate myself from my native state – to become an exile from my home, and all the associations I so much cherish.” The diary records his treacherous passage over rivers and mountains and past Confederate troops and highwaymen until “our minds were relieved of a heavy weight when we found ourselves out of ‘Dixie’ and on ‘old Kentucky’s shore.'” Gaines records many details of the trip, including the reactions of Kentuckians who wanted news from Tennessee. On one occasion a woman asks, “are they calling out the ‘litia’ [militia] in ‘Tenn’?” On another, Gaines notes that “[a]ll along through the camps we excited the curiosity of the soldiers for wherever we halted they gathered around us to hear from E. Tenn.” Gaines and his party were issued a military pass by General (later President) James A. Garfield and he records the text of the pass in full in his diary. It reads in part: “They are good union men from East Tennessee and the soldiers and officers under my command will show them any favors they can. / J.A. Garfield / Brg. Gen. Command’g.” Gaines then describes his conversation with Garfield: “The Genl. gave us a hearty welcome. Said that E. Tennesseans were different from the people of Big Sandy [Kentucky] – that he could tell from our manners and conversation that there was refinement and intelligence. Says that not one in fifty can write their names here. Did us the kindness to give us ‘green-backs,’ which is as good as gold, in exchange for Tenn. currency.” Gaines records many details as he crosses Pikes Peak; hears news of Parson Brownlow; and arrives in Cincinnati where he celebrates the Fourth of July (“sending up balloons, sky rockets, roman candles, bonfires, blue and red lights, and something like a magic lantern on a large skale [sic]”) and visits a museum and an “ice cream saloon.” In August of 1862 he hears a speech by a “Senitor Dunn” (possibly U.S. Representative William McKee Dunn, mistakenly referred to as Senator) and a Judge Hughes. Dunn “voted for the abolition of slavery in the D.C. and for the confiscation Bill and for subsisting our armies on the Southern Country without discrimination and for recognizing Hati [sic]” and who “expressed a sympathy for the poor slaves who would be beaten with many stripes by their cruel masters.” Judge Hughes “said that we must exterminate every negro and white man in the south and desolate the country – make it a wilderness or waste but what we put down this rebellion.” Gaines learns that he was enrolled in the draft but learns that “Judge Hughes says that it is very clear in his mind that I am not subject to draft. He thinks also that refugees have suffered enough without being drafted. Allows me to use his name in a dispatch to Indianapolis to see if I am not exempt.” Gaines then records the dispatch in full. Reflecting on the war, Gaines notes on September 1, 1862 that “such a summer of war and bloodshed had never before marked the annals of American history.” Gaines was then exempted from Indiana’s Union draft, after a ruling from the local draft board and Indianapolis. Gaines writes of acquiring copies of the Chattanooga Daily Rebel and the Rebel Banner – “the first rebel-related papers I had seen since we left Dixie.” he also receives news from home, including reports of the death of individuals in battle. He attended a meeting at a schoolhouse in Stinesville, Indiana and was coldly received, remarking that “the people there are all democrats – hate abolitionists” even though he himself disagreed with slavery. On January 13th, 1863 he began work as a schoolteacher, having been elected to a professorship at the Stinesville Classical Seminary. He then records activities and observances from his teaching, noting on his first day that “it boared [sic] me pretty smartly.” The next day he notes: “Had five grown men & three grown ladies at school today. Pretty good order mantained. Boared again!” On March 26th he notes that a Mr. Peirce, “a Yankie” living in Bloomington “has negross [sic] living on his place. They came in the house and set till bed time as free and as much at home as if they were white folk.” The journal contains many more entries through 1867, though increasingly intermittent. The last dated entry is Feb. 22nd, 1879, recording the height and weight of his son Willie G.P. Gaines.

PROVENANCE: Living Estate of JoAnn Newland, Arcadia, Tennessee.

CONDITION: Photo with foxing and toning, modern sticker to reverse. Journal with loose pages, some separated; writing varies from pen to pencil, with pencil entries somewhat faded. Child-like drawings in rear of journal, presumably later. [See more photos →]

Ladies 22k yellow gold semi flexible collar style necklace. The necklace is marked “22 Parilti” and XRF tests 22K gold. The necklace is 16″ L. and has a weight of 53.29 grams.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

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

Helen Frankenthalter (American, 1928-2011) Abstract Expressionist color lithograph on cream wove paper entitled Reflections IV, 1995. A printer’s proof impression outside of the edition of 30. Pencil signed and dated lower right and editioned “PP II,” lower left. Printed and published by Tyler Graphics, Mount Kisco, with blind stamp lower right. Floated under glass in a gilt and painted wood frame with white mat. Sheet: 26 3/4″ H x 20″ W. Framed: 37″ H x 29″ W. Note: Impressions of this print consist of the edition of thirty plus ten artist’s proofs, six trial proofs, ten color trial proofs, two work proofs, one right to print, two printer’s proofs (including the present impression), 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])

PROVENANCE: Jim Kemper Fine Art, New York, NY.

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

Lucien Poignant (French, 1905-1941) oil on board winter Alpine landscape painting depicting the snow-capped peaks of a mountain range amid low clouds, overlooking cabins below, all rendered in thick strokes with a palette-knife. Housed in a molded stained wood frame. Sight: 28″ H x 38 1/2″ W. Frame: 28″ H x 41 3/4″ W.

PROVENANCE: Private West Tennessee collection, purchased in Paris in 1963.

CONDITION: Some warping to board and dampstaining visible en verso; scattered cracking to paint. Some areas of exposed wood appear to be part of the artist’s technique rather than losses. Grime throughout and some spotting, would benefit from cleaning. [See more photos →]

14K yellow gold pendant containing a Philip II 2 Reale silver coin from the Atocha shipwreck with certificate of authenticity. The pendant XRF tests 14K gold. The pendant is 1 5/8 x 1 1/8″ in size and has a gross weight of 9.72 grams.

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

Antique Louis Vuitton cabin trunk with LV insignia patterned canvas, embossed leather and studded wood bindings, and brass fittings on the exterior; with 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 numbered 159495. 13″ H x 35 1/2″ W x 21 1/4″ D. Early 20th century.

CONDITION: There is moderate wear and loss to the exterior finish. The interior is in overall good condition. One tray is missing a handle, and the remaining tray handles are present but detached on one side. [See more photos →]

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. Panel: 20″ H x 24″ W. Frame: 25″ H x 30″ W. Exhibition History: The Art of Tennessee, Frist Art Museum, 2006, and illustrated in the exhibition catalog as no. 166. Artist Biography: Meyer (“Mike”) Wolfe was born into a Jewish Lithuanian immigrant family, the second of ten children. He was raised in a low-income, racially diverse neighborhood of Nashville just north of the Tennessee State Capitol, where he observed the social and cultural lives of his African American friends. As a teen with an interest in drawing, he became a protege of Pulitzer Prize winning Nashville cartoonist Carey Orr. In 1917 he studied briefly at the Art Institute of Chicago and worked as an illustrator. In 1918 he moved to New York and met Ashcan School painter John Sloan, who became one of his most influential teachers. Wolfe traveled to Paris in 1926 to train at the Academie Julian in Paris. While overseas, he met (and later married) the fashion photographer Louise Dahl-Wolfe. Meyer exhibited at the San Francisco Art Association, the New York 1939 World’s Fair, and in Nashville, where he later returned to live. However, much of his later life was spent supporting and managing his wife’s career, and as a result, many of Wolfe’s paintings and prints were never publicly shown or sold and remained within his family. His work was the subject of a retrospective at the Parthenon in Nashville in 2021. Many of those works are included in this auction; others are in the permanent collections of the National Museum of American Art-Smithsonian Institution, the Tennessee State Museum, and the Frederick R. Weisman Art Museum, Minneapolis. Sources: “Meyer Wolfe: The Star of All Things” (digital catalog for the 2021 exhibition at the Nashville Parthenon); Dr. Lawrence Wolfe; Robert Ikard, Tennessee Historical Quarterly, Summer, 2007.

PROVENANCE: The estate of Dr. Lawrence Wolfe, by descent from his uncle, the artist Meyer Wolfe.

CONDITION: Painting in overall very good condition. UV light inspection reveals possible small (1/4″) area of retouch to the raised hand of the woman in yellow dress. Small minor area of scratching lower left edge. Some wear to frame with small area of loss to upper left sight edge molding. [See more photos →]

Louise Dahl-Wolfe (American, 1895-1989) signed silver gelatin photograph depicting Nashville African American sculptor William Edmondson (Tennessee, 1874-1951) shown bust-length and looking up and to his right, circa 1930s. He wears his signature hat and overalls and a carved limestone sculpture of a woman stands to his right. Float mounted on cream cardstock and housed in a contemporary black metal frame. Signed in pencil to mat, lower right. Photograph: 8 5/8″ H x 7 5/8″ W. Framed: 18 1/2″ H x 17 1/4″ W. Note: “Louise Dahl-Wolfe was one of the most significant photographers to work in Tennessee. Although she is best remembered for her accomplishments in fashion, Dahl-Wolfe’s portraits of limestone sculptor William Edmondson are among her most impactful works. In the late 1930s, Edmondson welcomed Dahl-Wolfe to his Nashville workyard, where she photographed him with his remarkable limestone carvings. She then shared her images with Alfred H. Barr Jr., founding director of the Museum of Modern Art (MoMA) in New York, and used the images to advocate for the artist’s significance. Edmondson, little known outside of Nashville then, became the first Black artist to have a solo exhibition at MoMA in 1937. Dahl-Wolfe’s photographs caused Edmondson’s name, likeness, and art to travel further than the man himself ever did. As the person who crafted these portraits, Dahl-Wolfe played an active role in shaping how the world saw Edmondson and how his art was perceived.” (Source: Tennessee State Museum) This image is also the cover for the book “William Edmonson: A Retrospective” published in 1981 by the Tennessee State Museum.

PROVENANCE: Private Middle Tennessee Collection.

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

Andrew Saftel (American/Tennessee, b. 1959) mixed media collage or assemblage on board composed of multiple elements including watercolor, drawing, text, and found objects, entitled “Day In Day Out,” 2008. Found objects include eyeglasses, pencils. wooden blocks, textile fragments, a clothes pin, and printed engravings. Signed, dated, and titled en verso. Mounted to backing by artist. 32″ H x 17 3/4″ W x 4″ D. Biographical note: Tennessee artist Andrew Saftel earned a BFA in printmaking from the San Francisco Art Institute in 1981. He was awarded the Tennessee Art Commissions Artist Fellowship in 1999. His work was included in the 2003 “Art of Tennessee” exhibition at the Frist Art Museum and the 2002-2003 traveling exhibition, “A Century of Progress: Twentieth Century Painting in Tennessee” mounted by the Cheekwood Museum of Art. Sculpture commissions include the Knoxville Convention Center and the Atlanta Hartsfield International Airport.

PROVENANCE: The Estate of John Z. C. Thomas, Knoxville, TN.

CONDITION: Missing collage element with losses to print of child affixed to lower center edge. Otherwise very good condition, with surface grime. [See more photos →]

Group of Eight (8) framed Mckenney and Hall lithographs of Native American leaders from the octavo edition of the History of the Indian Tribes of North America, c. 1842-1858. Published by D. Rice and A. N. Hart Philadelphia, printed and hand colored by J. T. Bowen. Subjects include McIntosh (a Creek Chief); Tustennuggee Emathla (a Creek Chief); Major Ridge (a Cherokee Chief); John Ross (a Cherokee Chief); David Vann (a Cherokee Chief); Le-Da-Gie (A Creek Chief); John Ridge (a Cherokee); and Paddy-Carr (Cheek Interpreter). Each framed under glass with ivory mat in matching narrow mahogany frames with line inlay. Sight measurements: 9 7/8″H x 6 1/4″W. Frames: 14 3/4″ x 11 1/8″.

PROVENANCE: A Middle Tennessee estate, purchased from the Old Print Gallery in Washington, DC, in 1986.

CONDITION: Prints in overall very good condition with light toning and mat burn; a couple of scattered minor spots of foxing. A few have some minor frame abrasions/scratching; Tustennuggee Emathla has a 1″ area of loss to frame. [See more photos →]

Emile Jean Horace Vernet (French, 1789-1863) oil on panel portrait of man in military regalia, possibly Tzar Nicholas I (r. 1825-1855). He stands in three-quarter pose with left arm akimbo and before a windswept sky, with a rampant horse and rider in the distance to his right, and wears a cuirass and sword. Unsigned. With several stickers affixed to verso including Fine Art Packers Ltd., 8/9 Halkin Arcade, London. Housed in a giltwood frame with name plate. Panel: 10 3/4″ H x 8 1/4″ W. Frame: 14 1/4″ H x 12″ W. Note: Vernet painted for Czar Nicholas I during extended visits to Russia in 1836 and 1842-1843, including a number of portraits, with the current painting likely among them. Biographical note: Horace Vernet was born into an artistic family in Paris in 1789. His grandfather on his father’s side, Joseph Vernet (1714-1789), was France’s foremost painter of land- and seascapes. He was trained by his father, Carle Vernet. A prodigy in his childhood, a professional in his teens, he was spurred by financial needs arising from his early marriage in 1811 to exploit his phenomenal native facility. A torrent of saleable work soon poured from his studio: fashion designs, caricatures, portraits, horses in the manner of Carle, and landscapes in the manner of Joseph. In the early years of the Restoration, his studio became the meeting place of artists and veterans openly hostile to the Bourbon government. He flaunted his cult of Napoleon and found a patron in Louis-Philippe, duc d’Orleans. A resolute modernist but little affected by romanticism, he befriended Gericault and was one of the pioneers of lithography. In a series of battle scenes painted for the duc d’Orleans in 1821-1826, he gave a foretaste of what was to become his speciality. In short order, he was made an officer of the Legion of Honor, a member of the Institute, and after successes at the Salons of 1826 and 1827 was appointed director of the French Academy in Rome. During his seven years there, he displayed an agile versatility with paintings of Italian popular life, oriental subjects, and historical anecdotes. The Revolution in July 1830, which raised Louis-Philippe, Vernet’s patron, to the throne, opened vast opportunities of official employment to him. The year 1850 found him at the French siege of Rome; in 1854 he visited the battlefields of the Crimea. He had in the meantime enjoyed the lucrative patronage of Czar Nicholas I during two long visits to Russia in 1836 and 1842-1843. The Universal Exposition of 1855, at which he was represented by twenty-four paintings, crowned his popular and official success. At the time of his death in 1863, Vernet, a member of thirty academies, was France’s most famous artist, admired and imitated throughout Europe and deeply embedded in popular culture. (Adapted from National Gallery, London)

PROVENANCE: The collection of Jon E. Jones, Cookeville, TN, by descent from Robert “Bob” Jones, Jr., former President and Chancellor of Bob Jones University.

CONDITION: Overall very good condition. Negligible frame abrasion. Frame with abrasions and gilt loss. [See more photos →]

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. In light of the attention paid to detail in this painting it is possible that Walker created it especially for the New York art market, as opposed to the souvenir or tourist trade. Biographical note: 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.

CONDITION: Overall very good condition, with 1 1/2″ x 1 1/2″ area of retouching to sky, upper right edge, plus minor surface grime and fine craqueleure throughout. See UV photography. [See more photos →]

1895 20 Dollar gold coin mounted in 14K (tested) yellow gold openwork frame and a 23″ L 14K (marked) yellow gold rope chain. Pendant: 1-7/8″ diameter. 65.8 grams total.

CONDITION: Coin not graded. Minor scratches to frame. [See more photos →]

Charles Krutch (Tennessee, 1849-1934) East Tennessee atmospheric oil on canvas 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. Professionally cleaned and conserved in 1991. Conservation label en verso. Sight: 17 1/4″ H x 24 1/4″ W. Framed: 24″ H x 31″ 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.

PROVENANCE: The Estate of John Z. C. Thomas, Knoxville, TN.

CONDITION: Overall very good condition, with scattered pinpoints of retouching especially to sky at center and left. See UV photography. Professionally conserved in 1991. Copy of conservation report available on request. [See more photos →]

Maria Howard Weeden (Alabama, 1846-1905) watercolor on card portrait depicting the head and shoulders of an African American man, with watercolor caption below reading, “I jes’ step for’ard an’ say: Ole Billy.” Unsigned. 8 3/4″H x 6 7/8″W. Note: this portrait, like the other Weeden portraits in this auction, is believed to be Weeden’s own depiction of a character from the book “Meh Lady” by Thomas Nelson Page, published 1893, and illustrated in black and white by C.S. Reinhart. The book, a romance written in African American dialect from the point of view of a slave called “Uncle Billy” tells the story of a young Union soldier who is captured by Confederate forces and taken to “Meh Lady’s” plantation as a prisoner of war. The young man and woman fall in love despite their political differences. The caption suggests this portrait depicts Billy, the narrator of the book, although like the depiction of “Hannah” in the next lot, the subject who posed for the painting was a person Maria Howard Weeden is known to have painted more than once and was likely a freed slave from her own community. Biographical note: 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 such as 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 the theme for my muse and model for my brush.” Some models, such as the one pictured here, were painted multiple times, sometimes in identical clothing and poses, for Weeden to sell at various venues. Most of her subjects never commissioned these portraits, and Weeden never found great commercial success. She published and illustrated several 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. Weeden’s childhood home in Huntsville is now the Weeden House Museum and contains many of her works.

PROVENANCE: The estate of Kaye Bransford Ruty, Nashville; by descent in her family.

CONDITION: Discoloration from sun exposure and acidic framing materials. There is a 1/16″ black paint splatter lower right and several tiny spots of foxing. The work was professionally removed from its glued-on matting but both sides retain remnants of previous adhesive around edges. The painting has not been deacidified. [See more photos →]

Maria Howard Weeden (Alabama, 1846-1905) watercolor on card portrait depicting the profile, upper back, and shoulders of an African American woman; she wears a blue and white head covering and gold earring, and beneath her image is a watercolor caption, “Hannah she a powerful han’ to ‘ravel anything.” Unsigned. Sheet – 8 3/4″H x 6 3/4″W. Note: this portrait, like the other Weeden paintings in this auction, is believed to be Weeden’s own depiction of a character from the book “Meh Lady” by Thomas Nelson Page, published 1893, and illustrated in black and white by C.S. Reinhart. The book, a romance written in African American dialect from the point of view of a slave called “Uncle Billy,” tells the story of a young Union soldier who is captured by Confederate forces and taken to “Meh Lady’s” plantation as a prisoner of war. The young man and woman fall in love despite their differences. “Hannah” is referred to throughout the book as the partner or wife of Billy, whose portrait by Weeden is also being sold in this auction. Biographical note: 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 such as 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 the theme for my muse and model for my brush.” Some models, such as the woman pictured here, were painted multiple times, sometimes in identical clothing and poses, for Weeden to sell at various venues. Most of her subjects never commissioned these portraits, and Weeden never found great commercial success. She published and illustrated 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. Weeden also sold paintings at the Tennessee Centennial Exposition, and a reception was 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. Weeden’s childhood home in Huntsville is now the Weeden House Museum and contains many of her works.

PROVENANCE: The estate of Kaye Bransford Ruty, Nashville, by descent in her family.

CONDITION: Discoloration from sun exposure and acidic framing materials. There are a couple of small, scattered white spots, either discoloration or tiny watercolor splatters. The work was professionally removed from its glued-on matting but both sides retain remnants of previous adhesive around edges. The painting has not been deacidified. [See more photos →]

Ladies 14K yellow gold free form Brutalist style ring by Charles Hopkins featuring three (3) raw natural emerald crystals accented by five (5) round brilliant diamonds approximately 0.65 carats together, Clarity-SI2, Color-I. The ring XRF tests 14K gold and is size 3 with a permanent sizer. Gross weight of the ring is 15.30 grams.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

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

A large Continental, possibly German or Swiss, oil on canvas painting, illegibly signed, depicting an Alpine landscape with river or lake in the foreground, cows watering in the mid-ground, a small structure on a hill to the left, and a partially snow-covered mountain range in the background. Housed in an antique fluted cove molded and carved gilt wood frame. Sight (frame opening): 34 1/2″ H x 49″ W. Framed: 52″ H x 66″ W. Late 19th/early 20th century.

PROVENANCE: Private Middle Tennessee Estate.

CONDITION: Painting in overall very good condition with light grime noted to the sky area. Frame with minor wear to the outer corners. [See more photos →]

Maurice Blum (French, 1832-1909) oil on board painting of four well-dressed figures – two jewelers and a seated couple – in an ornate interior setting. One jeweler examines a piece of jewelry while the other rests his hands on a table on which sit a number of boxes. The woman shows her companion another piece of jewelry. Signed lower right. Housed in an ornate giltwood frame with nameplate. Sight: 21 1/2″ H x 17 1/2″ W. Framed: 29″ H x 25 1/4″ W.

PROVENANCE: Private Middle Tennessee Estate.

CONDITION: Overall very good condition. Scattered, minor abrasions without loss to upper center and upper left. Not examined outside of frame. Frame with scattered gilt loss, primarily to corners. [See more photos →]

Louise Dahl-Wolfe (American, 1895-1989) signed silver gelatin photograph depicting the African American sculptor William Edmondson (Tennessee, 1874-1951). Edmondson is seated, attired in his signature hat and overalls, and finishing a sculpture of a woman while in his Nashville workshop, with other sculptures visible through the door. Circa 1930s. Signed in pencil to mat, lower right. Float mounted on cream cardstock and housed in a contemporary black metal frame. Photograph: 8 3/8″ H x 7 3/8″ W. Framed: 18 1/2″ H x 17 1/4″ W. Note: “Louise Dahl-Wolfe was one of the most significant photographers to work in Tennessee. Although she is best remembered for her accomplishments in fashion, Dahl-Wolfe’s portraits of limestone sculptor William Edmondson are among her most impactful works. In the late 1930s, Edmondson welcomed Dahl-Wolfe to his Nashville workyard, where she photographed him with his remarkable limestone carvings. She then shared her images with Alfred H. Barr Jr., founding director of the Museum of Modern Art (MoMA) in New York, and used the images to advocate for the artist’s significance. Edmondson, little known outside of Nashville then, became the first Black artist to have a solo exhibition at MoMA in 1937. Dahl-Wolfe’s photographs caused Edmondson’s name, likeness, and art to travel further than the man himself ever did. As the person who crafted these portraits, Dahl-Wolfe played an active role in shaping how the world saw Edmondson and how his art was perceived.” (Source: The Tennessee State Museum).

PROVENANCE: Private Middle Tennessee Collection.

CONDITION: Overall very good condition, with very slight wear to upper and lower right corners. [See more photos →]

Ladies 5-strand pearl necklace featuring three hundred eighty five (385) Akoya baroque pearls. The clasp is 14K yellow gold featuring one (1) mine cut diamond approximately 0.56 carats, Clarity-SI2, Color-K and seventy (70) natural round brilliant cut sapphires approximately 12.30 carats total. The clasp XRF tests 14K gold and weighs approximately 30 grams. The necklace strands are between 16″ and 24″ L.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

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

Richard Jolley (Tennessee, b.1952) frosted amber, blue, and green art glass totem sculpture titled “Dog’s Life”, depicting a dog’s head with opened mouth and outstretched tongue set atop a twisted columnar base, 1996. Old gallery label affixed to the bottom. Incised signature and date “Richard Jolley 96″ to base. 12 13/4″ H x 4 3/4″ W.

CONDITION: Overall very good condition. 3/8” scratch to base edge. [See more photos →]

Erte (Romain De Tirtoff, Russian/French, 1892-1990) colored ink and gouache costume design painting of a female in an elaborate costume including a balloon-shaped skirt and hat, and long mustard scarf. Signed lower right and housed in a gilt wood frame. Sight: 10 3/4″ H X 10 1/2″ W. Framed: 18 1/4″ H x 18″ W.

PROVENANCE: A Nashville, Tennessee estate.

CONDITION: Minor spotting to the upper right of paper with scattered waviness to paper. Image in very good condition. [See more photos →]

Antique Persian Serapi carpet, wool on cotton foundation, geometric central blue ground medallion centered with a red and salmon shaped ground, flanked by ivory ground spandrels, all-over geometric and floral designs. Woven in blue, red, salmon, and cream colors. 9′ 5″ x 12′ 6″. Early 20th century.

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

CONDITION: Overall wear with moderate losses to pile. Scattered staining and fading to colors along with wear/losses to margins, and fringed ends. [See more photos →]

Oil on canvas portrait of Civil War Union General John Howard Kitching (1838-1865) astride a black horse in the midst of a battlefield. Inscribed faintly en verso “Black ___ New York 1878”. Possibly William Thurston Black (American, 1816-1893), a portrait painter working in New York. Housed in a later giltwood and composition frame. Sight – 47″H x 35″W. Frame – 58″H x 47″W. NOTE: One of youngest Union generals, Kitching was admired by his troops and superior officers alike for his courage and humility. Despite health problems in his youth that continued into his young adulthood, he led the 6th New York Heavy Artillery in some of the fiercest battles of the Civil War. As a young captain, he distinguished himself with McClellan’s Army of the Potomac in the Peninsula campaign, offering himself into combat. According to the Account of the Sixth New York Artillery from the Highland Democrat of Peekskill, NY, “In April 1862 while acting as Captain… he volunteered to act as Second Lieutenant of a Regular battery before the enemy, rather than remain idle in the fort. This indicates a character determined to accomplish something for the good of his country, as well as for his own advancement. To this courageous temper Col. Kitching adds a disposition to thoroughly acquire a knowledge of what is the duty of a soldier.” Kitching fought “with great coolness” at the Battle of Gaines Mills, but became seriously ill and had to resign his position with the Army of the Potomac. He returned to New York to recover. Despite the suggestion that he remain at home, he accepted a commission as Lieutenant Colonel in the 135th New York Infantry. In September 1862, the 135th, then stationed at Fort McHenry, in Baltimore, was re-designated as the 6th New York Heavy Artillery. The 6th left to garrison Harper’s Ferry and in April 1863, Kitching assumed command as colonel. By the spring of 1864, Colonel Kitching reached brigade command. His troops guarded the ammunition and supplies of the Artillery Reserve. They first saw combat at the Battle of the Wilderness and went on to fight in some of the war’s bloodiest battles including Spotsylvania Court House, Bethesda Church, and Petersburg. Period accounts record that Kitching often “has no better accommodations than the humblest private in his command. Men will follow such a leader.” At the Battle of Cedar Creek, Kitching was assigned to hold a ridge along with Colonel Rutherford B. Hayes (the future President). Kitching was hit in the foot but refused to leave the battlefield until he nearly lost consciousness from loss of blood. His foot was amputated and he never recovered, dying few months later at the age of 26. Kitching was promoted posthumously to brevet brigadier general. On January 16, 1865, the officers of the 6th NY Heavy Artillery resolved: “That the character of General Kitching as an officer and a gentleman, was such as commanded our highest respect and esteem. His qualities as a soldier and a leader, whether displayed in the quiet of camp or in the storm of battle always secured the earnest confidence of all. We feel that no one can supply his place with us. He died for his country, but his memory will ever live in our hearts as that of a good man. a true soldier and a gallant officer.” (Source: the National Park Service).

PROVENANCE: Private Virginia Collection.

CONDITION: Overall good condition. Three 1-inch patches to sky area, sash tassel area, and lower right corner. Scattered minor retouch and craquelure. Stretcher lines. [See more photos →]

Monumental Sevres style Floor Urn or Salon Vase and Cover with gilt bronze mounts, early 20th century, decorated with hand-painted maiden, cherubs, flowers and fruit, along with symbols of gardening and hunting, on a white ground with gilt trim, with ormolu laurel wreath handles, and an ormolu base. Illegibly signed, possibly “Eng Poireviu” on one side of urn, and bearing spurious crowned “Chateau des Tuileries” and “Sevres 1844″ marks to interior of lid. 51″H x 21″W x 15″D.

PROVENANCE: By descent in the McGavock Family of Nashville, TN, to present consignor.

CONDITION: Old 1/2″ chip with 2″ hairline at neck on side with maiden; two hairlines 2 1/2″ and 1” to other side. Minor wear to gilding and some brown staining from possible regilding along base which we have not attempted to remove. “COMER” inscribed in red to inside of lid. [See more photos →]

1st Item: OUTER DARK, Cormac McCarthy, Random House, New York, 1968. First Edition, stated “First Printing” on copyright page; only 5,000 printed in the first run. Ex library. Association copy, inscribed on the half title page to fellow author John Egerton and his wife “For John & Ann / All the best / Cormac McCarthy”. Original light blue 1/4 cloth and gray paper boards; First state jacket with price of $4.95 and date of 9/68 intact, protected by an archival cover. McCarthy’s second book, Egerton’s personal copy. 8 1/2″ H x 5 3/4″ W. 2nd Item: THE ACHIEVEMENT OF CORMAC MCCARTHY by Vereen M. Bell, Louisiana State University Press, Baton Rouge, 1988. Hardcover; Vanderbilt University professor Vereen Bell’s in-depth look into McCarthy’s first five published novels, from The Orchard Keeper through Blood Meridian.

PROVENANCE: From the collection of John and Ann Egerton, Nashville TN.

CONDITION: 1st Item (Outer Dark): Ex Library with typical associated markings, including library stamp on title page, “Discard” stamp front flyleaf, removed library card envelope rear endpaper, tape residue to boards. Jacket unclipped with chipping to top of spine, 2 1/2″ tear top front, no library markings. 2nd Item (Achievement): Good/Good with tears to DJ. [See more photos →]

Southern Hepplewhite cherry sugar chest, poplar secondary, likely Middle Tennessee or Kentucky. Rectangular form, molded top with breadboard ends having applied moldings to edges, above a case with very fine exposed dovetails, three interior compartments, medial molding over one dovetailed drawer with wooden pulls, and square tapering legs terminating into spike feet. 35 1/2″ H x 26 5/8″ W x 19″ D. Circa 1810.

PROVENANCE: The estate of Kaye Bransford Ruty, Nashville and by descent in her family. Possible previous owners include Joseph MIller (b. 1785, Richmond, KY- d. 1858, Gallatin TN, m. Susan Estill Kennedy) or Robert Creighton/Crayton Bransford (b. Moulton, Alabama, 1827- d. Nashville, 1886, m. Sallie Harper and Cherrie Ireland). A “safe” is mentioned in Robert Bransford’s will along with a biscuit table also in this auction. Other family members lived in Marshall County, TN and Christian County, KY.

CONDITION: Older refinished surface. Lower dovetailed drawer appears to have older replaced drawer sides and bottom. A more contemporary stained bottom board for the upper sugar well covers the original bottom which can be viewed from the underside. Hinged top with some staining and wood shrinkage. The upper well compartment is fitted with three contemporary stacking wood storage bins. [See more photos →]

Edward Curtis (American, 1868-1952), The Vanishing Race, 1904 platinum print, signed in ink signed lower right, with blindstamp, COPYRIGHT 1904 BY E.S. CURTIS lower left. Tipped in to original matting, with original plain stained wooden frame. Poem by Ella Higginson pasted en verso of original backing paper. Photograph 6″ H x 7 3/4″ W. Frame: 12″ H x 14″ W.

CONDITION: Overall good condition, lacking original glass. Small area of abrasion upper center and faint scratching upper right. 3/16″ indentation, lower left corner, possibly associated with blindstamp. Verso: Losses to original backing paper and poem. Backing is fragile and contains old tape. [See more photos →]

Meyer R. Wolfe (Tennessee/New York, 1897-1985), “Red Eye’s Hall,” 1934, American Regionalist lithograph depicting a group of dancing African American couples at a dance hall in Nashville, Tennessee. A man, presumably Red Eye himself, observes the scene at left. Titled and numbered 13/25, lower left. Signed and dated lower right. Housed under glass in a simple, ebonized wood frame with cream mat. Sight: 16 1/2″ H x 13 1/4″ W. Framed: 24 3/4″ H x 20 3/4″ W. Note: This is among the best recognized and earliest of a series of approximately 15 lithographs created by Wolfe depicting lives of African Americans in Nashville during the Jim Crow era. According to Wolfe, Red Eye’s night club was a popular nightclub located on Cedar Street (Charlotte Avenue) near Nashville’s Capitol Hill. There were 25 prints in the single edition; the stone plates used to create this and other prints in the series are no longer extant. This particular image, along with Wolfe’s “Vanderbilt Clinic” and “Tuesday – Ophelia” (also included in this auction) from the same series, are among the prints and drawings in the Ben and Beatrice Goldstein Foundation Collection at the Library of Congress; “Red Eye’s Hall” is also in the collection of the AD&A Museum, University of California, Santa Barbara. Biography: Meyer (“Mike”) Wolfe was born into a Jewish Lithuanian immigrant family, the second of ten children. He was raised in a low-income, multiracial neighborhood of Nashville just north of the Tennessee State Capitol, where he observed the social and cultural lives of his African American friends. As a teen with an interest in drawing, he became a protege of Pulitzer Prize-winning Nashville cartoonist Carey Orr. In 1917 he studied briefly at the Art Institute of Chicago and worked as an illustrator. In 1918 he moved to New York and met Ashcan School painter John Sloan, who became one of his most influential teachers. Wolfe traveled to Paris in 1926 to train at the Academie Julian in Paris. While overseas, he met (and later married) the fashion photographer Louise Dahl-Wolfe. Meyer exhibited at the San Francisco Art Association, the New York 1939 World’s Fair, and in Nashville, where he later returned to live. However, much of his later life was spent supporting and managing his wife’s career, and as a result, many of Wolfe’s paintings and prints were never publicly shown or sold. His narrative lithographs of African American life in Nashville during the 1930s are considered among his most important works and very rarely come on the market. His work is also held by the National Museum of American Art-Smithsonian Institution, the Tennessee State Museum, and the Frederick R. Weisman Art Museum, Minneapolis. Sources: “Meyer Wolfe: The Star of All Things” (digital catalog for the 2021 exhibition at the Nashville Parthenon); Dr. Lawrence Wolfe; Robert Ikard, Tennessee Historical Quarterly, Summer, 2007.

PROVENANCE: The estate of Dr. Lawrence Wolfe, by descent from his uncle, the artist Meyer Wolfe.

CONDITION: Overall very good condition. With faint marginal toning plus minor foxing to margins and to upper left of image. Not examined outside of frame. Negligible abrasions and paint loss to frame. [See more photos →]

Jean Ferdinand Monchablon (French, 1855-1904), “La Petite Mare” (The Little Pond), 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. Biography: Jean Ferdinand Monchablon was known for his detailed landscapes of the Vosges region of France where he was born and lived. He was especially noted for his ability to depict the tonal effects of soft, clear sunlight. Monchablon exhibited regularly at the French Salon and received silver medals at the Expositions Universelle in 1889 and 1900. He was named Chevalier of the Legion of Honor in 1905. He also exhibited internationally, including at the annual Carnegie International Exhibitions in Pittsburgh, PA.

PROVENANCE: Private Nashville collection.

CONDITION: Overall very good condition. UV light inspection indicates 1/2″ area of retouch in treeline, center right edge. A few minor spots of loss/restoration to frame. [See more photos →]

Charles Brindley (American/Tennessee, 20th-21st century), “Beech Tree at Beechlawn,” graphite on paper drawing depicting the bare branches of a large tree in a landscape setting. Titled, Signed and dated “Charles Brindley 2009,” in pencil, lower right. Mounted under plexiglass with a white mat in an acanthus molded silvered frame. Sight: 25″H x 21″W. Frame: 34 1/2″H x 30″W.

PROVENANCE: Private Middle Tennessee Collection.

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

Johann Jacob Vollweider (German, 1834-1891) alpine landscape painting with a man and a woman navigating a path through rocky, mountainous terrain dotted with naturalistic vegetation. They both carry baskets. A large chateau and train with billowing smoke are visible at right before distant, snowy peaks. Signed “J. Vollweider” to boulder, lower left. Housed in an ornate gilt and molded wood frame. Sight: 36 1/2″ H x 29 1/2″ W. Framed: 46 1/2″ H x 39 1/2″ W.

CONDITION: Overall very good condition. Canvas has beenlined. Frame with minor losses and abrasions. [See more photos →]

Two (2) Meiji Satsuma Japanese porcelain vases. 1st item: Tall Iris vase of tapering, lobed form with narrow mouth, finely decorated with various vignettes including roosters, a processional, pagodas in landscapes, precious objects and bands of iris. Stamped and signed in paint to underside. 12 1/4″H. 2nd item: Small globular jar or vase decorated with a processional scene and fret band to upper and lower rims. Signed with gilt character mark to underside. 2 3/4″ H x 3 1/2″ Diameter. Late 19th to early 20th century.

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

CONDITION: Both in excellent condition; small jar has some tape residue near mouth that we have not attempted to remove. [See more photos →]

Two (2) Chinese carved white jade items, snuff bottle and figural. 1st item: Chinese white jadeite snuff bottle, flattened vase form, with raised dragon handles and brown “skin” to one side. Fitted with a light green nephrite stopper. 3 1/8″ H. 2nd item: Chinese celadon jadeite figural in the form of a man with a peach. 2 1/4″ L. Both items Late 19th/Early 20th century.

PROVENANCE: Private Franklin, TN collection, by descent from Norman and Martha Stein Dickson, who owned an antiques store at 732-736 Royal Street in New Orleans from the 1950s until their deaths in the 1970s.

CONDITION: 1st item: The stopper has been glued to body, otherwise overall very good condition. 2nd item: Overall very good condition. [See more photos →]

Ladies 14K yellow gold charm bracelet with five (5) fobs featuring one (1) citrine and three (3) agates. The bracelet is marked “14K” and XRF tests 14K gold. The fobs XRF test four (4) 10K gold and one (1) gold filled. The bracelet is 6 1/2″ L. and the bracelet with fobs has a gross weight of 80.70 grams.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

CONDITION: One of the fobs are broken and not attached to the bracelet. [See more photos →]

KALEIDOSCOPE: ORNEMENTS ABSTRAITS, designed by Maurice-Pillard Verneuil. Published by Albert Levy, Paris, 1920. Portfolio with 17 unbound, unframed pochoir prints on wove paper, each with stamped signature, representing a total of 87 Art Deco designs for textiles, each measuring 18″ x 14″.

CONDITION: Missing plates #2, 3, and 14. Plates overall very good condition with minor signs of handling, small tear to cover page, small edge loss to plate 7. Cover in fair to good condition with some separations at spine, wear, and abrasions/scuffs to cover image and to back. [See more photos →]

Arthur Franklyn Musgrave (Massachusetts, 1878-1969) oil on panel impressionistic painting of a sun-dappled garden filled with colorful flowers, before a large house partially obscured by branches and leaves, with a stone walkway at left. Signed lower right. With unfinished composition en verso. Unframed. 35 3/4″ H x 38 1/4″ W. Note: This painting depicts the artist’s summer cottage and gardens on Longnook Road, Truro, Massachusetts, in the Outer Cape region of Cape Cod. The artist depicted these gardens on a number of occasions. This painting was removed from the artist’s studio when the property was incorporated into the Cape Cod National Seashore. Biographical note: Arthur Franklyn Musgrave was a landscape and wildlife painter. He studied at the Newlyn School of Art in Cornwall under Stanhope Forbes and exhibited at the Society of Washington Artists, 1932; the Royal Academy London; and the Corcoran Gallery Biennial,1928, among other places.

CONDITION: Excellent condition. [See more photos →]

Louise Dahl Wolfe (American, 1895-1989) gelatin silver print, “Lauren Bacall in Helena Rubenstein’s Bathroom,” 1943. Matted and framed under glass in a plain black molded frame. Sight: 11 1/2″H x 9 1/4″W. Frame – 18 1/4″H x 15 1/4″W.

PROVENANCE: The estate of Dr. Lawrence Wolfe, Nashville, by descent from Louise Dahl Wolfe ( the wife of his uncle, the artist Meyer Wolfe).

CONDITION: Excellent condition. [See more photos →]

Nashville, Tennessee “Belle Meade” miniature whiskey advertising jug having white/tan slip crackle glaze and cobalt stenciled lettering reading “Belle Meade” Nashville, Tenn. and “Belle Meade Mercantile Co’s” within a cobalt horseshoe. 3 1/2″ H. Circa 1912.

PROVENANCE: Private Nashville, Tennessee collection.

CONDITION: Tiny glaze craquelure near rim edge (possibly in the making) and roughness to base edge, otherwise very good condition. [See more photos →]

Robert Bruce Crane (Connecticut/New York, 1857-1937) American impressionist tonalist landscape painting depicting a homestead and dirt road situated beside a river. Several figures stand near two small boats while across the river a village dotted with trees populates the horizon line. Water lilies bloom at lower left. Signed “Bruce Crane,” lower right. Housed in a giltwood frame. Sight: 19 1/2″ H x 29 3/8″ W. Framed: 28 5/8″ H x 38 2/4″ W.

PROVENANCE: Private Knoxville, TN collection.

CONDITION: Scattered retouches throughout, especially to sky, plus flaking to some areas, primarily to trees at left. Repair with inpainting to impact to single tree, upper left, 1″ x 3/4″. [See more photos →]

Clara Parrish (American/Alabama,1861-1925) watercolor on paper painting depicting a young Black woman in pink dress and yellow hat who stands and holds a basket. Signed C.W.P. center right. Housed under glass in a woodgrain frame with green textured mat. Sight: 7 1/4″ H x 5″ W. Frame: 12″ H x 10″ W. Biography: Clara Weaver Parrish was born and raised on her family’s plantation outside of Selma, Alabama. In the early 1880s, she went to New York City to study at the Art Students League with William Merritt Chase and to Paris, where she attended the Academy Colarossi as a student of Gustav Courtois, and studied privately with Alphonse Mucha. In 1887, she was living in New York City where she married William Parrish. Tragically, the couple lost their only daughter within two years of her birth, and in 1901 William died. In the 1890s Parrish began working for Louis Comfort Tiffany as a stained glass window designer. Among her designs were the windows for St. Michael’s Episcopal Church in New York City and at least one mosaic mural for an Alabama church. She exhibited at the 1893 World’s Columbian Exposition in Chicago, the 1915 Panama-Pacific Exposition in San Francisco, the Royal Academy in London, and the Paris Salon. She was a member of the New York Watercolor Club and the National Association of Women Painters and Sculptors. Source: North American Women Artists of the Twentieth Century by Jules and Nancy Heller.

PROVENANCE: A Nashville, TN estate.

CONDITION: Light toning. Light line of staining at center of sheet. Taped to mat along the upper edge en verso. Old laid paper with pencil inscriptions glued to verso has been partially removed. [See more photos →]

Maria Howard Weeden (Alabama, 1846-1905) pair of watercolor on card portraits depicting a white woman and man in uniform, together with the book MEH LADY by Thomas Nelson Page (Chas. Scribner, NY, 1893). The portrait of the woman is captioned below, in watercolor: “You’d think de way Meh Lady read to him she done forgot he prisoner and Virginia’s enemy”, while the portrait of the man is captioned, “Hannah say de chile ain gwin mortify herself ’bout no Yankee soldier, don’t keer how pretty he is”. Each portrait is unsigned and measures 9″H x 6 3/4″W. Book: 8 1/2″H x 6 1/2″W. Note: These portraits, like the other Weeden paintings offered in this auction, are believed to be Weeden’s own depictions of two main characters from Page’s book, itself illustrated in black and white by C.S. Reinhart. The book, a romance written in African American dialect from the point of view of a slave called “Uncle Billy,” tells the story of a young Union soldier who is captured by Confederate forces and taken to “Meh Lady’s” plantation as a prisoner of war; the two fall in love despite their differences. 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.'” Most of her subjects never commissioned these portraits, so she never found great commercial success. She published and illustrated several books of her own, 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. She also painted landscapes and flowers. Her childhood home in Huntsville is now the Weeden House Museum and contains many of her works.

PROVENANCE: The estate of Kaye Bransford Ruty, Nashville.

CONDITION: Each painting exhibits discoloration from sun exposure and acidic framing materials. The man’s portrait has a 1/8″ black paint spot on subject’s cheek and each has a spot or two of foxing. The works were professionally separated from their glued-on matting but retain signs of previous adhesive around edges on both sides. These works have not been deacidified. Book: fragile and worn condition with some pages separated or folded. [See more photos →]

1st item: Ladies 14K white gold brooch featuring twenty eight (28) cultured pearls accented by twenty three (23) round brilliant and single cut diamonds approximately 0.52 carats together, Clarity-VS1, Color-H. The brooch XRF tests 14K gold and is 1 5/8 x 1 1/2″ in size. Gross weight of the brooch is 16.81 grams. 2nd item: Ladies 18K yellow gold brooch enhancer. The enhancer is marked “18K” and XRF tests 18K gold. The enhancer is 2 1/4 x 2″ in size and has a weight of 20.81 grams. Gross weight of the lot is 37.62 grams.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

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

Archive of materials belonging to Allen and Janet Rundell, including from their ordeals in the Japanese Internment camps in Shanghai and their eventual exchange, as well as from their lives before and after. 1st Item: Large scrapbook with leather spine and a silk brocade cover adorned with a Chinese Junk fashioned from metal, wire, and cut stone. This volume contains a large assortment of ephemera from their lives in the Philippines and Shanghai, with photographs and clippings chronologically showing at first a glamorous, normal life, then as tensions rise, such items as: a confidential notice from the Consulate for Americans to leave Shanghai; a Clipping with Japanese Proclamation and warning not to transfer property; A magazine cover from Dec. 8, 1941 with a (false) decree that Japan will honor the rights of citizens of the Settlement; Photo Identification cards of the Rundells along with identifying armband and travel permits; “Receipt” for the confiscation of their Oldsmobile; Two fabric Identification badges worn in the internment camp; Red Cross telegrams with family, and shot records for the exchange ship. The scrapbook begins in 1936 and ends, largely when they left Shanghai after the War, in 1948. 2nd Item: Three (3) large 11″ x 14″ scrapbooks, half red leather covers with leather spines and gilt lettering of Vols. A, B, and C; black paper with glassine or onion skin dividers, containing hundreds of photos of the Rundells life before the War. 3rd Item: Six (6) small leather and cloth 5 1/2″ x 8″ photo albums with glassine dividers contain hundreds of black and white photos of travel in Southeast Asia, on boats, cities, people, landscapes, etc. One album with color photos of Hawaii. 4th Item: Rundell Family Bible, 1928, leather bound. Contains various documents pertaining to genealogy, including Civil War enlistment survey of Allen’s grandfather, Fletcher Rundell of Morgan Co., Indiana. 5th Item: Four F.S. Co. silver plated candlesticks (8″ H), originally belonging to Janet’s mother and gifted to Janet; and one (1) small antique cloisonné teapot. Before their internment the Rundells buried these and other treasures in their garden and were able to retrieve them after the War. 6th Item: Cookbooks authored by Allen Rundell while living in Hawaii. 7th Item: Assortment of modern reading material pertaining to the Japanese invasion of China. Historical Note: At the outbreak of World War 2, the Rundells (originally from Ohio and Indiana) were Americans living in Shanghai, China, in a section of the city named the Shanghai International Settlement, made up of largely Western expatriates. Allen was an executive with the De La Rama Steamship Company, and the couple lived a rather glamorous life, enjoying a level of comfort and security that came with executive rank. Their early scrapbooks show parties, trips, night clubs and a life of relative tropical luxury. On December 8th, 1941, the Japanese military took over Shanghai. The Rundells, along with all expatriates, were forced to register as foreigners, surrendering belongings (including their car), and made to wear identifying armbands. They hid or buried what they could with hopes of reclaiming their belongings after the end of the ordeal. Eventually they were interned in multiple camps, along with thousands of other expatriates. The Rundells were taken to Chapei Civilian Assembly Center or Chapei Camp, one of several camps located in converted schools or public buildings. They existed there for 7 months before being able to leave as part of a well-documented exchange for Japanese P.O.W.s and higher level American and international prisoners. Allen and Janet left on the last exchange ship out of China, The Teia Maru, with 1525 prisoners- meeting the Swedish M.S. Gripsholm in Mormugau (Goa, India), where they were exchanged in a process that took several days. Accommodations on the Japanese ship were rather spartan, but on the cruise ship Gripsholm the Americans enjoyed a rather pleasant cruise during the second half of their exchange, stopping in Rio de Janeiro. The Rundells and others went to the Copacabana, their tickets included in the scrapbook, as well as copies of the telegrams sent to family once they were safely repatriated. After the war they returned briefly to Shanghai. There they reclaimed many possessions hidden before their internment in the camps. Note: A jade brooch and another teapot, also owned by the Rundells, were consigned by a descendent and sold in our July 14, 2018 auction.

PROVENANCE: By descent through the family of Janet Rundell’s niece.

CONDITION: All items in good condition. Main scrapbook with missing clasp; some previously affixed photos and documents now loose in pages. Bible in poor condition. Some wear to silver. [See more photos →]

Ladies 10K white gold bracelet featuring one hundred seventeen (117) free cut, single cut, and round brilliant cut diamonds approximately 2.78 carats together, Clarity-I1, Color-J. The bracelet XRF tests 10K gold and is 6 1/2″ L. Gross weight of the bracelet is 30.00 grams.

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

Maria Howard Weeden (Alabama, 1846-1905), two watercolor on card paintings, one of a mule, the other of three stemmed roses. Both images are captioned below, in watercolor: “De roses of Meh Lady done shatter all on de groun’.” and “It sut’n’y did hurt me to part wid dat mule, he sich a ambitious mule.” Each is unsigned and measures 9″H x 6 3/4″W. Like the other Maria Howard Weeden paintings offered in this auction, both appear to illustrate elements found in the 1893 book, “Meh Lady,” by Thomas Nelson Page (a book which Maria Howard Weeden did not illustrate, although she did illustrate several other books). The book, a romance written in Black dialect from the point of view of a slave called “Uncle Billy,” tells the story of a young Union soldier who is captured by Confederate forces and taken to “Meh Lady’s” plantation as a prisoner of war. The young soldier and woman fall in love despite their different backgrounds.

PROVENANCE: The estate of Kaye Bransford Ruty, Nashville.

CONDITION: Each painting exhibits discoloration from sun exposure and acidic framing materials. Mule has a couple of scattered spots of foxing and a 1/8″ hole. The hole has been backed with old tape which we have not attempted to remove. The works were professionally separated from their glued-on matting but retain remnants of previous adhesive around edges on both sides. These works have not been deacidified. [See more photos →]

Pablo Picasso (Spain/France, 1881-1973), Toros plate (A.R. 161), white earthenware with engobes, enamel, and oxidized paraffin bull decoration. From the 1952 edition of 500. Signed and impressed to underside: “Edition Picasso / Madoura Plein Feu”. 7 3/4″ diameter x 1 1/4″H (20 cm x 3 cm).

PROVENANCE: The collection of the late Norman and Betty Luboff, acquired in Vallauris in the 1950s. Norman Luboff (1917-1987) was an internationally known American composer, music arranger and conductor, best known for his work with the Norman Luboff Choir. He was also a passionate collector of Picasso ceramics. Norman and Betty divorced in the mid 1960s, and Norman eventually remarried Gunilla Luboff and moved to Chapel Hill, North Carolina. His Picasso ceramics collection was exhibited at the Wills N. Hackney Library at the Atlantic Christian University in Chapel Hill between 1985 and 1987, when Luboff passed away. Copies of an undated Chapel Hill Newsletter article about Luboff, his collection and the exhibit (and picturing his Fish, Femme Lamp, and Corrida Fond Noir platter, also for sale in this auction) are available to the winning bidder of this lot. (Note: the article incorrectly states that Gunilla was Norman’s wife when the ceramics were purchased; he was actually married to Betty at the time). The collection has descended in the Luboff family to the present consignor.

CONDITION: Overall excellent condition; some glaze irregularities to bull, in the making, and some glaze imperfections to reverse, in the making. [See more photos →]

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.

PROVENANCE: A Middle Tennessee estate.

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

London Armoury Company Kerr’s Patent Revolver. Confederate blockade-run 5-shot percussion revolver, serial number 9401, stamped front of grips with “JS” over anchor, the Confederate inspection mark of John Southgate. 54 bore (about .442 cal). All visible serial numbers matching. Left side of barrel marked “LAC”, left side of frame marked “London Armory”, right side of frame marked “Kerr’s Patent 9401”, lock plate marked “London Armoury”, cylinder with serial number 9401 and standard British proof marks. Original checkered English walnut stocks, octagonal barrel, checkered hammer, loading lever, butt plate with lanyard ring. Barrel length 5 3/4″. Overall length 11″.

CONDITION: Very good “as found” condition. Dark finish with some pitting. Cylinder pin seized inside cylinder. Action holds at half and full cock, hammer releases with trigger pull, hammer advances cylinder, loading lever functions smoothly. Some finish remaining on barrel and mountings. Rifling to bore. Checkering on grips well defined. [See more photos →]

Giuseppe Vasari (Italian, 1934-2005) “Scacchiera Bizantina” chess set, consisting of a silvered and gilt bronze stand with figural horse corner supports, applied masks, and shields, inset with a two-tone onyx board and Byzantine figural army silvered and gilt bronze playing pieces. All pieces are signed “Vasari”. Retains the original Vasari chessboard sales catalog and COA. The board measures 20 3/4″ Square. Pieces range in size from 4″ to 4 3/4″ H. Circa 1970’s.

PROVENANCE: A Nashville, Tennessee estate.

CONDITION: Board and pieces are in overall excellent condition. [See more photos →]

Clara Parrish (American/Alabama,1861-1925) watercolor on paper painting depicting a young Black woman in blue dress who holds a large bundle of white laundry atop her head with one hand and a hat in the other. Signed C.W.P. lower right. Housed under glass in a painted and silvered molded frame. Sight: 10″ H x 5 1/2″ W. Frame: 20″ H x 17″ W. Biography: Clara Weaver Parrish was born and raised on her family’s plantation outside of Selma, Alabama. In the early 1880s, she went to New York City to study at the Art Students League with William Merritt Chase and to Paris, where she attended the Academy Colarossi as a student of Gustav Courtois and studied privately with Alphonse Mucha. In 1887, she was living in New York City where she married William Parrish. Tragically, the couple lost their only daughter within two years of her birth, and in 1901 William died. In the 1890s Clara Weaver Parrish began working for Louis Comfort Tiffany as a stained glass window designer. Among her designs were the windows for St. Michael’s Episcopal Church in New York City and at least one mosaic mural for an Alabama church. She exhibited at the 1893 World’s Columbian Exposition in Chicago, the 1915 Panama-Pacific Exposition in San Francisco, the Royal Academy in London, and the Paris Salon. She was a member of the New York Watercolor Club and the National Association of Women Painters and Sculptors. Source: North American Women Artists of the Twentieth Century by Jules and Nancy Heller.

PROVENANCE: A Nashville, TN estate.

CONDITION: Some scattered foxing and toning to paper. Small, light possible dampstain lower left in background. Taped to mat along the upper edge en verso. Minor wear to frame. [See more photos →]

Ladies 6-strand choker pearl necklace featuring two hundred ninety eight (298) cultured pearls approximately 6mm each. The necklace has three (3) 18K gold bars featuring eighty (80) round brilliant diamonds approximately 1.60 carats together, Clarity-SI1, Color-H. The necklace is marked “750” and XRF tests 18K gold. The necklace is 12″ L.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

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

Henri Victor Lesur (French, 1863-1900) oil on panel genre painting entitled L’Ecurie Militaire (The Military Stable), Two uniformed French soliders converse in a stable while one adjusts a saddle. Three other figures accompanied by a dog stand beside a horse in the middleground. In the distance a sixth figure enters through a doorway. Signed “V. Lesur,” lower left. With Hammer Galleries, NYC label affixed to verso and a second label affixed to back fo frame. Panel with 6 stencil to verso. Housed in a giltwood frame. Sight: 16″ H x 12″ W. Framed: 18 3/4″ H x 22 1/2″ W.

PROVENANCE: Private Knoxville, TN collection; Hammer Galleries, New York City.

CONDITION: Overall very good condition. With areas of retouching to architectural elements at upper left, largest to wall above horse, 2 1/4″ x 1/2″. Minor frame abrasions. [See more photos →]

Assembled set of six teak Mid Century Modern Dining Chairs. 1st item: Hans Wegner (1914-2007) for Johannes Hansen armchair, circa 1960s. Johannes Hansen brand mark to interior seat rail. 30″H x 25″W x 20″D. 2nd item: Five (5) “Cowhorn” dining side chairs, manner of Hans Wegner, unsigned. 29 1/2″H x 21 3/4″W x 18″D.

PROVENANCE: Private Nashville collection.

CONDITION: Armchair has a subtle professional repair at juncture of top rail and rear post/leg, probably later upholstery, very minor scattered wear. Side chairs: Later faux leather upholstery with some scattered minor age-related wear to both wood and upholstery. Two side chairs have repairs at seat/leg junctures including a glue repair. One chair has some tiny paint splatters to ear. [See more photos →]

Ladies platinum wrist watch by Hamilton featuring seventy six round brilliant and baguette diamonds approximately 2.56 carats together, Clarity-VS1, Color-G. The watch is marked “10%irid plat” and XRF tests 90% platinum. The watch is 6″ L. and has a gross weight of 29.33 grams.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

CONDITION: The watch is functioning at time of inspection. Overall good condition. [See more photos →]

After Jean Penicaud I (French, ca. 1490-after 1543) Limoges painted enamel over copper triptych depicting the Betrayal of Christ /The Kiss of Judas, Christ Crowned with Thorns, and The Flagellation. Housed in a bronze foliate frame. Overall: 11 5/8″ H x 20 1/2″ W. Central plaque: 10 1/4″ W. Note: Jean Penicaud I was the founder of what would become a family dynasty of enamellers in Limoges, France. This particular triptych, which we believe to be 19th century or earlier, emulates one by Jean Penicaud I in the Frick Collection in New York. “Like many enamelers before and after him, Penicaud drew elements of his compositions from prints that were circulating throughout Europe and provided exposure to international artistic currents. For the central scene, he closely followed an engraving by Martin Schongauer, enlarging the figures to allow their dynamic poses, demonstrative gestures, and brightly colored garments to fill the space. He also included Italian elements that would have been perceived as modern motifs in early sixteenth-century France: the geometric tile floor, the marble insets in the back wall, and the classical columns.” (Source: The Frick Collection)

PROVENANCE: The collection of Alex and Cristina Ionescu, South Carolina, by descent from his father, the artist, conservator, and collector Vlaicu Ionescu of New York (1922-2001).

CONDITION: Overall very good condition. Lefthand plaque with losses to the extreme lower left corner. Central plaque with denting to the margin around the upper left corner, upper right corner with crack and minor loss, 1/4″ L, plus lower left corner with bending and negligible losses. Righthand plaque with minor bending to the lower right margin. [See more photos →]

1st item: North Carolina, Catawba Valley, stoneware pottery jar, ovoid form with olive green alkaline glaze and incised lines below the rolled rim, incised initials “D S” for Daniel Seagle (1805-1867) on the upper shoulder and incised “1” denoting capacity.

2nd item: North Carolina, Catawba Valley, stoneware pottery pitcher, ovoid form with olive green alkaline glaze and incised lines below the rolled rim and upper shoulder and incised initials “D S” for Daniel Seagle (1805-1867) to the middle body. 9 5/8″ H.

Biography: (Courtesy: http://danielseagle.com/the_seagle_school). Daniel Seagle was the first master potter in the Catawba River Valley. He was a Lutheran of German descent who lived in the Vale, N.C., area from 1805-67 and established his pottery business near a creek not far from Trinity Lutheran Church by circa 1824. In the early part of his career, Daniel Seagle made lead glazed earthenware. However, according to the book Turners and Burners, Seagle switched in the 1830s to making stoneware, fired at higher temperatures to hold liquids.

PROVENANCE: Private Middle Tennessee Collection.

CONDITION: 1st item: Overall very good condition. 2nd item: Spider hairlines to the body, spout with old repairs. [See more photos →]

Terrell James (Texas, b. 1955) abstract oil on canvas painting in turquoise, yellow, and earth tones and titled Rain, 2007. With areas of thin scumbling juxtaposed with passages of impasto. Signed, dated, and titled en verso. With two James McCoy, Inc. inventory labels affixed to stretcher. Unframed. 49″ H x 97″ W. Exhibition history: Terrell James: Place for Two Stones, Jason McCoy Gallery, New York, NY, 9/6-10/13/2007. Illustrated in the exhibition catalog, p. 17. Lot includes a copy of the exhibition catalog. Biographical note: Terell James was born in Houston, Texas, in 1955 and graduated from the University of the South, Sewanee, Tennessee, in 1977. Her work is held in the collections of the Dallas Museum of Art; Menil Collection; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Portland Art Museum, Tacoma Art Museum, and Whitney Museum of American Art, among others.

PROVENANCE: Jason McCoy Gallery, New York

CONDITION: Excellent condition [See more photos →]

1878-S $20 Liberty double eagle gold coin. The coin is in very fine+ (VF+) and XRF tests 89.70% gold. Weight of coin is 33.40 grams.

PROVENANCE: The Estates of Thomas Maxfield and Sara McIntyre Bahner.

CONDITION: Circulated condition, VF+ [See more photos →]

Ladies platinum openwork bracelet featuring seventy nine (79) diamonds approximately 2.07 carats together, Clarity-VS1, Color-I. The bracelet XRF tests 90% platinum. The bracelet is 6 1/2″ L. and has a gross weight of 30.27 grams.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

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

Carl Sublett (Tennessee, 1919-2008) abstract expressionist oil on canvas painting entitled “Quarry Forms” and rendered in white, grey, and muted shades of green and pink, with sgraffito texturing throughout. Signed and dated “1/67 (or ’11 67′) Sublett” lower right and titled en verso. Housed in a distressed, silvered wood framed. Sight: 33 3/4″ H x 39 3/4″ W. Framed: 37 1/2″ H x 41 1/2″ W. 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).

CONDITION: Overall very good condition. With negligible craquelure to thicker passages of paint, primarily upper right quadrant. [See more photos →]

Pascal Pierme (French/California, b. 1962), wood sculpture titled “Le Village 10″, consisting of five (5) carved abstract mahogany sculptures. Each measures approximately 12″ H x 10″ W x 4” D. Retains original gallery label from GF Contemporary, Santa Fe. Note: A copy of the original receipt is available for the winning bidder. Biography: French born artist Pascal Pierme’s work explores themes of balance, movement, inquiry, architecture, and nature. Pierme has collaborated with architect Anti Lovag and has exhibited internationally. His work is in various private, public, museum, and corporate collections, including Palais Bulles, Pierre Cardin’s residence in Cannes, France; Carol Burnett, Santa Fe, New Mexico; City Hall, Collogny, Switzerland; Marriott Hotels; Active Health, New York; Equifax World Headquarters; among many other locations. [See more photos →]

Alson Skinner Clark (American, 1876-1949), “Our Kitchen, Paris, 1903,” oil on board painting depicting the interior of a kitchen with pots and pans atop a large cast iron stove. With French stencil en verso. Unsigned. Carved giltwood frame. Panel: 9 1/4″ H x 7 1/4″ W. Frame: 13 1/2″ H x 11 1/2″ W. Biography: Alson Skinner Clark was born in Chicago and educated at the Art Institute of Chicago and the Art Students League along with William Merritt Chase and Frank Duveneck. From 1898-1901 he was in Paris for further study at Academie Carmen under James Whistler. A successful exhibition in 1903 allowed him to return to Europe, when this scene was likely painted. After serving as an aerial photographer in WWI, Clark settled in southern California, and he would eventually become best known as a California painter. He maintained a studio in Palm Springs and in 1922 he and Guy Rose formed the teaching faculty of Pasadena’s Stickney Memorial Art School. His works are in numerous museum collections including those of LACMA, the San Diego Museum, and the Victoria and Albert Museum.

PROVENANCE: The estate of Judge John Nixon, Nashville; ex-Christie’s, Sept. 5-6, 2007, lot 171.

CONDITION: Overall good condition with a few scattered faint scratches to paint. Minor losses to gilding on frame. [See more photos →]

One hundred-six (106) pieces of Wallace Rose Point pattern sterling silver flatware, including eleven (11) modern hollow knives (9 1/8″ L); eleven (11) forks (7″ L); nineteen (19) teaspoons; nine (9) iced tea spoons; eleven (11) salad forks; nine (9) soup spoons; five (5) flat-handle butter spreaders; eight (8) seafood forks; four (4) serving spoons (8 3/8″ L); two (2) lemon forks; two (2) jelly spoons; two (2) cheese servers; one (1) pie server; one (1) salad serving spoon (8 7/8″ L); one (1) sugar spoon; one (1) master butter spreader; one (1) gravy ladle; one (1) pickle fork, one (1) bon bon spoon, one (1) child’s fork; one (1) child’s spoon; one (1) baby spoon; and one (1) baby fork. All stamped with maker’s marks, Sterling. Not monogrammed. Also included are two (2) Royal Dansk sterling napkin rings, with monograms. Housed in a wood case with drawer, 6 1/2″ H x 18″ W x 12″ D. Total weighable silver 95.55 troy ounces.

CONDITION: Overall good condition. Light surface scratches. Some spoons and serving pieces with traces of gilt wash. [See more photos →]

Oil on canvas painting after Sir Anthony van Dyck’s “The Holy Family in a Landscape” (traditionally known as Rest on the Flight to Egypt, c. 1630), in the collection of the Alte Pinakothek, Munich. Christ sleeps on Mary’s breast while the two embrace. Joseph stands to the left in partial shadow cast by the thick foliage that surrounds them while a sunset sky appears through a clearing at right. Inscribed lower left “Kop. n. A. van Dyck / v. Paul Sprenger “(Copy after A. van Dyck / by Paul Sprenger). This information is repeated en verso and includes additional completion date of 1937 along with details in German about Van Dyck and his original painting upon which this 20th century copy is based. Housed in a giltwood frame. Sight: 39 1/2″ H x 33″ W. Framed: 45 1/2″ H x 39 1/2” W. Note on the original painting: “In Italy, van Dyck had studied Titian’s Madonna paintings. The color scheme with the broken red tones, but also the loosely sketched landscape in the background are influenced by Titian, as is the lovely type of Mary. Even in old sources, the subject is described as ‘Rest on the Flight’, which outlines the peaceful character of the scene. Deviating from pictorial tradition, van Dyck did not depict any secondary scenes of the event recorded in the biblical apocrypha, but concentrated on the Holy Family.” (Source: Alte Pinakothek, Munich)

PROVENANCE: The collection of Alex and Cristina Ionescu, South Carolina, by descent from his father, the artist, conservator, and collector Vlaicu Ionescu of New York (1922-2001).

CONDITION: Overall very good condition. Pinpoint specks of flaking to foliage at upper right and above Joseph’s head, plus to blue textile. With slight waviness to canvas. [See more photos →]

1904-S $20 Liberty double eagle gold coin. The coin XRF tests 89.54% gold and has a weight of 33.5 grams.

PROVENANCE: The Estates of Thomas Maxfield and Sara McIntyre Bahner.

CONDITION: Circulated condition, EF+ [See more photos →]

Chinese white jadeite snuff bottle, round flattened form, with later Japanese or Tsuda 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.

PROVENANCE: Private Franklin, TN collection, by descent from Norman and Martha Stein Dickson, who owned an antiques store at 732-736 Royal Street in New Orleans from the 1950s until their deaths in the 1970s.

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

Louis Icart (French, 1888-1950) original charcoal and pastel drawing on paper, depicting a young woman in a negligee trying on antique clothing from a trunk. Signed lower right with possible additional signature en verso. Matted under glass in a mottled bronze finish frame with rope molding. COA from Nathan Daniel Isen (Curator of the Icart Museum in Philadelphia) en verso, dating the work to circa 1926. Sight – 36 “H x 25 12″ W. Frame – 47″ H x 36″ W.

PROVENANCE: Private Nashville collection.

CONDITION: Margins cut and part of the signature is missing. A couple of minor scattered spots of staining and discoloration under 1/3” diameter. Some scuffs to frame. [See more photos →]

Michael Bergt (American/New Mexico, b. 1956) bronze sculpture, titled “In the Loop,” 1999, depicting a man maneuvering through a metal loop. Mounted on a conical steel base. Signed “M Bergt” and numbered 22 of 25. Measures 31 1/2″ H x 10″ W x 10 1/2″ D (including base).

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

John Bernard Alberts, Jr. (Kentucky, 1886-1931) oil on canvas portrait of a woman who wears a striped dress and sits with waist and head turned as if in conversation. One arm rests on a chair, and a dark floral wallpaper forms the background. Unsigned. Housed in a giltwood frame with carved rocaille corners and dark finish. Sight: 37″ H x 25″ W . Frame: 47″ H x 35″ W. Biography: Louisville-born John Alberts attended the Cincinnati Art Academy where he was mentored by Frank Duvenek, then the Boston Academy of Fine Arts where he studied with Edmund Tarbell and Frank Benson. He also spent a year in Europe and was heavily influenced by 16th century Dutch artists. Back in Kentucky, Alberts shared a studio with Paul Plaschke and became a sought after painter of portraits and designer of stained glass windows. However, he became ill during his army service in World War I and was left bedridden until his death at age 45. His extant works are rare; some can be found in the collections of the Filson Historical Society and the Greenville County SC Museum of Art. (Sources: The Courier Journal Aug. 25, 1931 (Alberts’ obituary); The Johnson Collection).

PROVENANCE: By descent in the family of the artist.

CONDITION: 3″ area of tearing with paint loss, lower left, at subject’s wrist. 1″ scratch with paint loss and a 3/4″ dent upper left. 5″ scratch, lower right quadrant. Stretcher marks. Other scattered, small losses, flakes, and abrasions. Wear to frame; screw protruding at top center. [See more photos →]

Ladies platinum filigree brooch featuring six (6) cultured pearls, accented by twenty (20) old mine and rose cut diamonds approximately 1.86 carats together, Clarity-VS2, Color-I. The brooch XRF tests 90% platinum and is 1 3/4 x 1 1/8″ in size. Gross weight of the brooch is 17.56 grams.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

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

18K yellow gold rectangular and rivet link bracelet. The bracelet is marked “750 Italy” and XRF tests 18K gold. The bracelet is 7 1/2″ L. and has a weight of 31.23 grams.

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

Four (4) Victorian Coral Cameos in fragments of an 18K gold necklace and 14K bracelet plus 1 antique hair comb. 1st item: Ladies 18K yellow gold necklace featuring three (3)18K yellow gold bezels containing three (3) carved red coral cameos. The necklace features alternating 18K gold and carved coral links. The gold XRF tests 18K. The necklace is 12″ L. has a gross weight of 42.91 grams. 2nd item: Ladies 14K yellow gold bracelet featuring one (1) carved red coral cameo. The bracelet is a double chain made with alternating 14K gold and carved coral links. The gold XRF tests 14K. The bracelet is 6 1/2″ L. and has a gross weight of 25.92 grams. 3rd item: Costume hair pin containing five (5) amber-colored faceted beads, 5″. Gross weight of the gold items is 68.83 grams. Each cameo measures 3/4″ to 1 1/4″.

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

CONDITION: Both necklace and bracelet are broken with missing parts and in need of repair. One cameo is without a gold frame and it does not fit the existing gold frame, it also has some tiny edge chips. One bead is unattached to comb. [See more photos →]

Randall Morgan (American/Indiana, 1920-1994) panoramic oil on panel abstract expressionist painting, horizontal orientation, rendered in shades of blue and peach/rose. Signed lower right, “Morgan.” Housed in a plain bronze-finished wood frame. Sight: 39 1/2″ W x 9 1/2″ H. Frame: 44″ W x 14″ H.

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 Tennessee 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.

CONDITION: Excellent condition. Some intentional distressing to frame. [See more photos →]

Dixie Friend Gay (Texas, b. 1953) large acrylic on wood panel  landscape painting titled “Red Rocks” depicting a cluster of rocks foreground with desert-type foliage in the background. Signed, titled, and dated 2003 en verso. Unframed. 48″ x 48″. LITERATURE: This painting is illustrated in the catalog booklet DIXIE FRIEND GAY, 2004. A copy of the publication is included with this lot.

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

Mirian Ines da Silva (Brazil, 1939-1996) oil on wood panel painting depicting a line of dancing, costumed Carnival-goers inside a dark brown painted border. Signed lower right and dated 1972. Unframed. Panel: 11 1/2″ H x 16 1/4″ W.

PROVENANCE: A Nashville, Tennessee estate.

CONDITION: Overall excellent condition with some light wear to edges. With retouch to negative space between clown’s and woman’s torsos, 2″ x 1/2″. [See more photos →]

Ten (10) 1869 Series US stamp proofs, bound in the original embossed leather album. All proofs are present as originally mounted and include: 1 cent Franklin, 2 cent Post Rider and Horse, 3 cent Locomotive, 6 cent Washington, 10 cent Shield & Eagle, 12 cent S.S. Adriatic, 15 cent Landing of Columbus, 24 cent Signing Declaration of Independence, 30 cent Shield, Eagle and Flag, and a 90 cent Lincoln. The album is titled “PROOFS. United States Postage Stamps, Series of 1869, Engraved by the National Bank Note Company, New York”. The album front endpaper inscribed in pencil “For T.M. Reed / Mayor of St. John / with compliments of / W.H.H. Terrell / Asst. P.M. Gen / U.S. / Aug 5, 1871”. 9 1/8″ H x 7 5/8″ W. Note: W.H.H. Terrell was the third Assistant US Postmaster General; Thomas M. Reed was the 26th Mayor of St. John, New Brunswick, Canada, serving from 1870-1874. History (Source: Alexander T Haimann, National Postal Museum ): The 1869 National Bank Note Pictorial Issue was the first series of U.S. stamps printed in two colors. It included ten denominations, ranging from 1 cent to 90 cents, with the 15-cent through 90-cent values being bi-color. These nearly square stamps were released around March 1869 and were in circulation for under a year. The public reacted negatively to the stamps due to factors like their design, shape, and the poor adhesive quality of the gum used to attach them to envelopes. As the first and only U.S. issue to feature multiple colors until 1918, the 1869 Pictorial Issue is considered a defining feature of the Classic Period in American philately.

CONDITION: The stamp images are bright and the colors are vivid. The 90-cent Lincoln stamp in this set has an unusual anomaly- two vertical lines on the right side, visible under magnification. Album binding and leather in very good condition with minor rubbing on the spine and book edges. Uneven toning on some pages. [See more photos →]

Ladies 14K white gold ring featuring one (1) round brilliant cut diamond approximately 1.02 carats, Clarity-SI2, Color-G, accented by twenty one (21) baguette, single, and round brilliant cut diamonds approximately 0.42 carats together, Clarity-VS2, Color-G. The ring is marked “EREV 14K” and XRF tests 14K gold. The ring is size 7 1/4 and has a gross weight of 4.90 grams.

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

A substantial English George III sterling silver entree dish, rectangular form, featuring a footed warming base with four lion’s paw feet, two ornate reeded handles with shell motifs, and gadrooned borders. Lid has a decorative handle with a shell motif. Both lid and the base are engraved with a central armorial crest depicting a standing crowned lion over a banner inscribed with the Latin motto “SPES DURANT AVORUM” (The hope of our ancestors endures). Hallmarked for John Roberts & Co., Sheffield, England, 1812. Measures 9 3/4″ H x 15″ W x 9 1/2″ D. Weight: 94.9 troy ounces.

CONDITION: The dish insert is missing and there is some scratching, otherwise very good condition. [See more photos →]

Sterling Boyd Strauser (American, 1907-1995) oil on board painting depicting two pink flowers, rendered with a palette knife and outlined in sgraffito on an abstracted blue background. Signed and dated “Strauser ’94” lower right. Housed in a flat gilt frame with linen mat and gilt fillet. Sight: 11″ H x 14 3/4″ W. Frame: 17 1/2″ H x 21 1/2″ W.

CONDITION: Excellent condition. [See more photos →]

Scarce Tennessee Nonconnah art pottery cameo vase with slip-painted morning glory flowers, vine and leaves on a matte green ground. Signed “Nonconna” (sic) and “Mrs. A. Stephen” to underside with incised “C”. 8 1/4″ H. Circa 1905. Note: Nonconnah is a Native American name given to a stream that runs through Memphis, Tennessee; it translates literally as ‘Long Stream’. The Nonconnah Pottery was started in 1901 in Memphis and operated by Nellie Randall Stephen (Mrs. A. Stephen) and her son, Walter. Nellie was an artist whose designs frequently represented Tennessee’s natural flora. The mother-son team produced molded or wheel thrown pieces there until Mrs. Stephen’s death in 1910. Walter Stephen then relocated to Skyline, North Carolina, and the company produced pottery in N.C. from 1913 to 1916, when Walter left to go into the construction business. He continued to experiment with pottery, however, and founded the Pisgah Forest Pottery in 1926. Provenance: Private West Tennessee Collection. Source: “Pisgah Forest and Nonconnah: The Potteries of Walter B. Stephen” by Rodney Henderson Leftwich.

CONDITION: Overall excellent condition with a few minor darkened smudge spots, possibly in the making, to one side. [See more photos →]

Joe Parrott (American/Tennessee, b. 1944) oil on canvas streetscape depicting a view of South Gay Street in downtown Knoxville, TN. Signed lower right PARROTT. Housed in an ebonized and parcel gilt frame. Sight: 8 1/2″ H x 11 1/2″ W. Framed: 11″ H x 14″ W.

Artist’s Biography: (Courtesy of the artist) Joe Parrott was born and lives in Knoxville, Tennessee. He earned a BS degree in Business Administration from the University of Tennessee in 1967 and is a self-taught artist. He worked in the graphic arts industry for 43 years while continuing to pursue his artistic aspirations. He currently paints full-time and is dedicated to a lifelong pursuit of creative evolution and exploration. Influences include Edward Hopper, Van Gogh and printmaker Martin Lewis.

PROVENANCE: The Estate of John Z. C. Thomas, Knoxville, TN.

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

1st item: Ladies 18K yellow gold ring featuring one (1) oval cabochon lapis lazuli, accented by eight (8) oval cabochon turquoise. The ring is marked “18K” and XRF tests 18K gold. The ring is size 6 1/2 and has a gross weight of 9.76 grams. 2nd item: Ladies 18K yellow gold pierced clipback earrings featuring two (2) oval cabochon lapis lazuli, accented by sixteen (16) oval cabochon turquoise. The earrings are marked “18K” and XRF test 18K gold. The earrings are 1 x 3/4″ in size and have a gross weight of 15.70 grams. Gross weight of the lot is 25.46 grams.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

CONDITION: The lapis in the ring is loose in the mounting. The ring has one very shallow fleabite adjacent to one prong measuring approximately 2 mm. [See more photos →]

Michael Bergt bronze sculpture titled, “Direction” depicting a man balancing on a trapezoidal pedestal. Signed “M Bergt” and numbered 4/25. 28 1/4″total H (bronze & base) x 21 1/2″ W x 7 3/4″ D. Note: A copy of the original receipt is available for the winning bidder.

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

Large Sterling Boyd Strauser (American/Pennsylvania, 1907-1995) modernist oil on board painting titled “Spring” and depicting an abstract cluster of geometric shapes, possibly stylized flowers, set against a dark background. Signed and dated “Strauser 1944″ lower left and additionally signed and titled en verso. Unframed. 36″ H x 48” W.

PROVENANCE: The collection of Myron King, Nashville, Tennessee.

CONDITION: Overall very good condition with minor wear so outer edges. [See more photos →]

Grouping of eight (8) Chinese or Chinese export porcelain items. 1st item: Paris Edme Samson Chinese Export armorial porcelain plate, in the Chinese taste, bearing the arms and motto (Abstulit Qui Dedit) of William Stafford Howard, 2nd Earl of Stafford. 9 1/2″ dia. 19th century.

2nd item: Chinese Famille Verte bottle form vase, now fitted as a lamp, with fish, bat, and flowering branch decoration. Fitted with a gilt bronze cap and vase. 14 1/2″ total H.

3rd – 5th items: Three (3) Chinese Famille Rose porcelain plates, all with figural landscape decoration. Two have Panama-Pacific International Exposition Exhibit US Customs labels, all with illegible retailer tags, and one has an inscription and red seal on the upper right. Ranging in size from 8 1/2″ dia. to 9″ dia.

6th item: Chinese porcelain covered dish with flower finial to the lid, iron red 5-toe dragon decoration, and red hallmarks on the base. 2 3/4″ H.

7th item: Chinese blue and white porcelain snuff bottle, round form with 5-toe dragon decoration, a coral stopper, and four blue hallmarks on the base. 2 3/4″ H.

8th item: Chinese Famille Rose porcelain snuff bottle, flattened vase form with figural landscape decoration and red seal mark to the base. 2 1/2″ H. Items ranging in age from mid 19th to early 20th century.

PROVENANCE: Private Nashville, TN collection.

CONDITION: 1st item: Overall very good condition. 2nd item: The base has been drilled otherwise overall very good condition. Lamp functions at time of inspection. 3rd – 5th items: Plate depicting figures on bride with losses to gilt decoration on rim, otherwise overall very good condition. Remaining plates with losses to gilt decoration and minor fleabites to the rims. 6th item: Overall very good condition. 7th item: Fleabites to the base and rim, otherwise overall good condition. 8th item: Missing stopper, otherwise overall good condition. [See more photos →]

Gorham sterling silver tea service in Chantilly Duchess pattern, 5 pieces including coffee pot (731, 2 7/8 pint), tea pot (732, 2 1/2 pint), covered sugar bowl (733), cream jug (734, 3/4 pint) and waste bowl (735). All items marked with Lion-anchor-G hallmarks, and marks denoting the year of manufacture, 1943. Combined weight: 90.76 troy ounces.

PROVENANCE: Private Nashville Collection.

CONDITION: All pieces in overall good condition, not monogrammed. [See more photos →]

Large Sterling Boyd Strauser (American/Pennsylvania, 1907-1995) modernist oil on board painting titled “Teeter-Totter” and depicting stylized figures on a seesaw or similar playground equipment. Signed lower left “Strauser” and titled in pen en verso. Unframed. 48″ H x 36″ W.

PROVENANCE: The collection of Myron King, Nashville, Tennessee.

CONDITION: Painting in overall very good condition with some very minor wear to edges. Slight bending to the board. [See more photos →]

Large 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″ W. Note: William J. McCoy Jr. painted the area in and around the Great Smoky Mountains National Park in the style of the East Tennessee painter Charles Krutch, who also signed his paintings in red. Mr. McCoy’s father was an early Knoxville photographer who likely worked with Krutch.

CONDITION: Painting overall very good condition. Frame with very minor scattered wear, primarily at corners. [See more photos →]

1st item: Lloyd Branson (Tennessee, 1861-1925) panoramic watercolor and gouache on paper landscape depicting white flowering trees lining a dirt path, with a split rail fence visible in the far left background. Initialed and dated lower right LB *93. House in a gilt wood frame. Sight: 8 1/2″ H x 18 1/4″ W. Framed: 16 3/4″ H x 26 1/4″ W. Biography: Branson is known as the first East Tennessee artist to receive formal art training in Europe (at the National Academy of Design in Paris) and studied at the National Academy of Design in New York. He returned to Tennessee and entered into a business partnership with Frank McCrary from 1885 to 1903, and became a leader in the East Tennessee arts community. (Courtesy James A. Hoobler, Tennessee State Museum). 2nd item: Book titled THE ART OF LLOYD BRANSON A FAMILY CONNECTION: Celebrating a Life in Tennessee Art, Lloyd Branson 1853 – 1925 by John Anderson and Sally Branson. Published in 2015.

PROVENANCE: The Estate of John Z. C. Thomas, Knoxville, TN.

CONDITION: Painting with crease to lower right corner, some dampstaining along the mat top margin. Book in excellent condition. [See more photos →]

1st item: Gents 18K yellow gold cufflinks featuring two (2) ancient copper coins. The cufflinks are marked “750” and XRF test 18K gold, while the coins XRF test 85% copper. The cufflinks are 3/4 x 3/4″ in size and have a gross weight of 19.72 grams. 2nd item: Four (4) gents shirt stud buttons featuring four (4) ancient copper coins. The studs are marked “750” and XRF test 18K gold. The studs are 1/2 x 1/4″ in size and have a gross weight of 10.37 grams. Gross weight of the lot is 30.09 grams.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

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

Hugo Ballin (American/California, 1879-1956), oil on board painting titled “Music Critic,” depicting a balding man in a tuxedo asleep in a crowded concert hall. Another man behind him taps his shoulder to wake him, while in the background, a production is taking place on a stage. Signed lower left “Hugo Ballin” with personal inscription, “To Lucien Cailliet / Music Critic (Sketch).” Additionally signed and inscribed en verso “The Critic (Sketch for Music Critic)”. Housed in a wide fluted giltwood frame. Sight: 19″H x 23″W. Frame: 27″H x 31″W. Note: Lucien Cailliet was a French-American composer, conductor, arranger and clarinetist. He also worked in the Hollywood film industry, contributing to nearly fifty films as either composer or arranger. This painting has descended in Cailliet’s family to his grandson, the present consignor.

CONDITION: Overall good condition. Some scattered tiny flakes, notably to lower left quadrant (chair back) and to subject’s hand and programme. Paint is thick in some areas, possibly to cover imperfections in the board or changes to the image consistent with it being a study. No restoration is visible under UV light. [See more photos →]

Persian Tehran or Kashan main carpet, wool on cotton. Central ivory field with scrolling foliate and boteh designs, within three main foliate borders. woven in cream, blue, red, green, pink, and gold. 9ft 8in x 6ft 9in. Mid 20th century.

PROVENANCE: Private Des Moines, Iowa collection.

CONDITION: Overall very good condition with even pile wear. Scattered areas of white knots and some minor losses to fringed ends. [See more photos →]

Tadashi Nakayama (Japan, 1927-2014) woodblock print depicting two horses rendered in black and silver with red highlights to manes, 1961. Signed, dated, and numbered 28/50, lower margin. Housed under glass in a distressed black and giltwood frame with cream fabric mat. Sight: 30 1/2″ H x 24 1/2″ W. Framed: 42″ H x 35″ W.

CONDITION: With marginal creases and toning. Not examined outside of frame. Frame with minor abrasions and losses. [See more photos →]

Tanaka Ryohei (Japan, 1933-2019) color etching and aquatint entitled Big Ginko Tree and depicting a large, yellow Ginko tree with a small building below, 2011. Signed and dated lower right and numbered 9/50 lower left. Numbered 755 and titled in Japanese lower left. Unframed. Sheet: 18 3/4″ H x 13 1/4″ W.

PROVENANCE: Private Knoxville, TN collection.

CONDITION: Excellent condition. [See more photos →]

Chinese white jadeite snuff bottle, flattened vase form, with flowering branch relief carved decoration and a moss-colored nephrite stopper. 2 1/2″ H. Late 19th/Early 20th century.

PROVENANCE: Private Franklin, TN collection, by descent from Norman and Martha Stein Dickson, who owned an antiques store at 732-736 Royal Street in New Orleans from the 1950s until their deaths in the 1970s.

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

Fifteen (15) sterling silver goblets, including twelve (12) International Sterling “Lord Saybrook” P664 pattern (6 1/2″ H); two (2) Manchester Silver Co. “948” pattern (6 5/8″ H); and one (1) goblet marked “Sterling” (6 5/8″ H). 74.33 troy ounces.

PROVENANCE: Private Nashville Collection.

CONDITION: International goblets with monogram, and one with bent foot. [See more photos →]

Ladies 18K yellow gold pierced clip back earrings featuring two (2) mabe pearls, eight (8) shield cut citrines, and eight (8) mother-of-pearl frames. The earrings are marked “Mazi 18K 14K” and XRF test 18K gold. The earrings are 7/8 x 7/8″ in size and have a gross weight of 22.88 grams.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

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

French school, 18th C., three quarters-length oil on canvas portrait of Marie Martrin de Donos. She wears an ornate green dress surrounded by a billowing red textile and gazes directly at the viewer. In her left hand she holds a small bouquet and in her hair are additional flowers. Unsigned. Inscription en verso reads: “Marie Martrin / De Donos Femme / de Jacqnes de Mon / tagnac, morte en / 1768″ (Marie Martrin de Donos wife of Jacques de Montagnac, died in 1768). With Le Garde Meuble le Public, 18 Rue St. Augustine [Paris]” sticker to stretcher. Housed in a gilt and molded wood frame. Sight: 38 5/8″ H x 30 3/4″ W. Framed: 49 3/8″ H x 37 1/2″ W.

PROVENANCE: Deaccessioned by the Hunter Museum of American Art.

CONDITION: With craquelure throughout, plus stretcher marks with related cracking. Some blooming to varnish layer, especially in background. Verso text faintly visible en recto, especially in raking light. [See more photos →]

Two (2) autographed letters signed by Winston 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″ H x 4 1/2″ W. 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″ H x 7 1/4″ W. 3rd item: Photographic print of Bernard Baruch and Winston Churchill, seated together on a sofa. Sight: 8 1/2″ H x 6 1/4H W. All items matted and framed together under glass in a silvered wood frame. Framed: 15″ H x 28 1/2″ W. 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.

CONDITION: Overall good condition with light toning and creasing, not examined out of frame. Some wear to frame. [See more photos →]

Ladies 18K yellow gold braided mesh style bracelet. The bracelet is marked “K18 Italy 252 VI” and XRF tests 18K gold. The bracelet is 7″ L. and has a weight of 21.51 grams.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

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

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. Note: this is perhaps the best recognized of a series of approximately 15 lithographs created by Wolfe depicting lives of African Americans in Nashville during the Jim Crow era, and speaks to healthcare challenges the artist observed facing many Black Nashvillians. This particular image, along with Wolfe’s “Red Eye’s Hall” and “Tuesday – Ophelia” (also included in this auction) from the same series, are among the prints and drawings in the Ben and Beatrice Goldstein Foundation Collection at the Library of Congress; “Vanderbilt Clinic” is also in the collection of the San Francisco Museum of Art and Vanderbilt University. Biography: Meyer (“Mike”) Wolfe was born into a Jewish Lithuanian immigrant family, the second of ten children. He was raised in a low-income, multiracial neighborhood of Nashville just north of the Tennessee State Capitol, where he observed the social and cultural lives of his African American friends. As a teen with an interest in drawing, he became a protege of Pulitzer Prize-winning Nashville cartoonist Carey Orr. In 1917 he studied briefly at the Art Institute of Chicago and worked as an illustrator. In 1918 he moved to New York and met Ashcan School painter John Sloan, who became one of his most influential teachers. Wolfe traveled to Paris in 1926 to train at the Academie Julian in Paris. While overseas, he met (and later married) the fashion photographer Louise Dahl-Wolfe. Meyer exhibited at the San Francisco Art Association, the New York 1939 World’s Fair, and in Nashville, where he later returned to live. However, much of his later life was spent supporting and managing his wife’s career, and as a result, many of Wolfe’s paintings and prints were never publicly shown or sold. His narrative lithographs of African American life in Nashville during the 1930s are considered among his most important works and very rarely come on the market. His work is also held by the National Museum of American Art-Smithsonian Institution, the Tennessee State Museum, and the Frederick R. Weisman Art Museum, Minneapolis. Sources: “Meyer Wolfe: The Star of All Things” (digital catalog for the 2021 exhibition at the Nashville Parthenon); Dr. Lawrence Wolfe; Robert Ikard, Tennessee Historical Quarterly, Summer, 2007.

PROVENANCE: Estate of Dr. Lawrence Wolfe, Nashville, Tennessee.

CONDITION: Overall very good condition. With negligible specks of very faint foxing to lower right corner and along lower sight edge. Not examined outside of frame. Negligible abrasions and paint loss to frame. [See more photos →]

1st item: An early 20th century Cherokee rivercane basket, round form with slightly tapered rim, a fixed handle and squared base, woven with bloodroot and natural weavers. 12 3/4″ H x 9 1/2″ W x 9″ D. Circa 1920’s. Note: Ex-collection of Robert Brunk. 2nd item: Mid-20th century Cherokee rivercane basket, rectangular form with a rounded body, fixed handle, and slightly tapered rim, woven in walnut, bloodroot, and natural weavers. 12 1/4″ H x 12 1/2″ W x 8″ D.

PROVENANCE: The Estate of John Z. C. Thomas, Knoxville, TN.

CONDITION: Both baskets in overall very good condition. Earlier basket with minor wear to the interior finish and to the base. [See more photos →]

Civil War salt print depicting CSA Captain Joseph Dunbar Shields of Mississippi, seated and holding his sword. Framed under glass in a later oval gold painted frame. Note en verso states that he was a captain in General Stewart’s Cavalry command, and was killed at Culpepper Court House in Virginia in 1863. Sight: 6 1/2″H x 5″W. Frame: 9″H x 7″W. Note: Joseph Dunbar Shields, Jr. was born 1840 to Joseph Dunbar Shields and Margaret Spencer Martin Shields of Mississippi. Like his cousins Thomas and Bisfield Shields (whose photographs are also in this auction), he sided with the Confederacy when the Civil War broke out. He mustered into Captain W.D. Martin’s Company, Mississippi Volunteers, as a Private in May of 1861. (This company subsequently became Company A, Jeff Davis Legion Mississippi Cavalry.) He was mortally wounded in action.

PROVENANCE: By descent in the family of the sitter.

CONDITION: Fading to image. Not examined out of frame. [See more photos →]

Ladies 14K yellow gold spinning carousel pendant featuring five (5) natural emeralds, five (5) natural rubies, and five (5) natural sapphires. The pendant is marked “14K” and XRF tests 14K gold. The pendant is 1 1/2 x 7/8″ in size and has a gross weight of 23.74 grams.

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

Erte (Romain De Tirtoff, Russian/French, 1892-1990) limited edition gilded and cold-painted cast bronze sculpture titled “Copacabana” and depicting a woman attired in Art Deco haute couture, 1990. Dated, numbered 81/375, and inscribed Chalk and Vermilion and Sevenarts to the dress train. 19″ H x 11″ W x 7″ D.

PROVENANCE: A Nashville, Tennessee estate.

CONDITION: Overall very good condition. 1 1/4″ scratch to end of train, opposite signature. [See more photos →]

WWII Japanese Shin-Gunto Sword, Signed Koa Isshin, made with Mantetsu steel. The tang is signed “Koa Isshin” and “Mantetsu Kin Saku” (Mantetsu made this); the opposite side bears the zodiac cycle date “Showa Mizunoe-Uma haru”, or Spring of 1942. This dating method was used almost exclusively on swords with Koa Isshin Mantetsu signatures. “Koa Isshin” can be roughly translated to “Asia – One Heart”, an apt patriotic slogan for Japan during this period. The edge of the tang also bears an RA production number 1027. The mountings are WW II shin-gunto military mounts, with ray skin grip wrapped in silk threads, and tsuba with five petal flowers. The overall length of the weapon is 40 1/4″ L. “; the length of the blade (Nagasa) is 27”. Sheathed in period saya (scabbard) with tassels, and silk sheath. Accompanying the sword is a signed, typewritten note dated January 17th, 1946, authorizing the removal of “captured enemy material”. Note: The South Manchuria Railway Company (Mantetsu) steel was developed at the Dairen Manchurian Railroad Factory beginning in September of 1937, and was made specifically for the production of sword blades. They were successful in making steel that was close to pure iron. A sword factory was established and production begun in November of 1937.

CONDITION: Very good overall condition, components fit snugly, unpolished. [See more photos →]

Federal inlaid mahogany Pembroke table, poplar and oak secondary. Oval top with two drop leaves, all with double line inlaid edges, convex skirt with dovetailed drawer on one side and false drawer on the other, both outlined with inlaid border with larger band of inlay around drawer edges. Lower edge of skirt with dark and light inlay band, stiles with oval inlay of bellflowers and leaves over square tapered legs with inlaid bellflowers bordered by line inlay terminating in brass casters. Oval brasses. American/possibly Southern, Early 19th century. Retains a Sothebys label underside. 27 5/8″ H x 32 3/4″ D x unfolded: 40″ W (folded: 19 3/4″ W).

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

CONDITION: Refinished, drawer interior appears to have been stained on drawer sides and underside, later hinges, fly supports with later repairs, contemporary supports on underside of top inside of gate frame, [See more photos →]

Marius Roy (French, 1833-1921) oil on canvas painting entitled “The Morning Attack,” 1882. French soliders including Zouaves storm a fortifiied wall while those inside fire at them, as indicated by the emergence of smoke and fire from behind the fortification. Numerous fallen soldiers lie on the ground. Signed and dated lower left. With Hammer Galleries, New York label affixed to stretcher and second label affixed to back of frame. Housed in a giltwood frame with name plate. Sight: 22″ H x 34 1/4″ W Frame: 35″ H x 47 1/4″ W.

PROVENANCE: Private Knoxville, TN collection; Hammer Galleries, New York.

CONDITION: Overall very good condition. Canvas has been lined. With scattered retouching throughout, especially to sky and edges, largest area along upper left edge in sky, 2 3/4″ x 5.” See UV photography. [See more photos →]

Harold Kraus (Tennessee, b. 1944) oil on board painting titled “Party of 5” depicting a colorful bouquet of five flowers set against a beige background. Signed lower right “Kraus.” Additionally signed and titled en verso. Housed in a beveled gilt wood frame and painted white wood mat. Sight: 10 3/8″ H x 8 1/2″ W. Framed: 23 1/2″ H x 21″ W.

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

English George IV sterling silver kettle on stand, the bulbous body adorned with intricate repousse decoration featuring a standing Greyhound on both sides, with two dog heads, likely Pointers, depicted amidst scroll and floral motifs. Bone handle and hinged lid with a floriform finial, and a sterling silver stand decorated with intertwined vines and flowers, resting on four wide foliate feet. Fully hallmarked for Wrangham & William Moulson, London 1822. Kettle approximately 8″ tall (including lid and finial) x 11 1/2″ wide (including spout). Overall 12″ H x 11 1/2″ W x 9″ D. 86.275 troy ounces.

CONDITION: Lacking burner. Some age cracking to handle material. Otherwise overall excellent condition. [See more photos →]

1882, 1898, and 1901 $5 Liberty half eagle gold coins. All coins XRF test 90% gold. First item: 1882 coin weighs 8.3 grams. Second item: 1898 coin weighs 8.3 grams. Third item: 1901 coin weighs 8.4 grams. Gross weight of the lot is 25 grams.

PROVENANCE: The Estates of Thomas Maxfield and Sara McIntyre Bahner.

CONDITION: Circulated condition. [See more photos →]

Two small oil on board paintings by Sterling Boyd Strauser (American/Pennsylvania, 1907-1995). 1st item: Painting depicting a four hot air balloons rising into a blue-green sky, with figures watching from the ground beside a car, and mountains in the distance. Rendered with incised lines and a few thick brushstrokes of impasto. Signed and dated lower left, “Strauser ’77”. Lightly distressed gilt carved frame with painting board set into a linen mat, Lyzon Gallery (Nashville) label en verso. 2nd item: Head and shoulder Expressionist portrait of a man with white hair. Signed lower left and dated, “Strauser ’92”. Wood frame with white linen liner. Sight – 11″H x 7 1/2″ W. Frame – 14″H x 10″W.

PROVENANCE: Private Middle Tennessee Collection.

CONDITION: Both items excellent condition. [See more photos →]

Sterling Strauser (American, 1907-1995) oil on Masonite still life painting depicting orange poppies in a clear cylindrical vase set against an indistinct, swirled yellow/white background, all rendered in a thick impasto with sgraffito outlines and detailing. Signed “Strauser” and dated “8_” lower right. Unframed. 24″ H x 11 1/2″ W.

PROVENANCE: The collection of Myron King, Nashville, Tennessee.

CONDITION: Some grime and inclusions to upper left quadrant including in background, where a raised area may have come into contact with a darker colored surface (possibly cardboard) while still wet. Some minor edge and corner chipping. [See more photos →]

Colette Pope Heldner (American, 1902 – 1990) watercolor and gouache painting depicting a Southern urban street scene, likely New Orleans, featuring a large stuccoed home visible on a street corner with a woman holding a basket walking along the street. Signed lower right. Housed in a gilt wood frame with a beaded edge. Sight: 7 1/2″ H x 9 3/4″ W. Framed: 14 1/4″ H x 16 5/8″ W.

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

Antique Ersari Turkmen Prayer rug, wool on wool. central brick red ground “mihrab'” niche with stylized tree designs and dates to the upper left and upper right niche field, enclosed with a cream ground stylized tree borders, all within three primary borders. 6ft 7in x 4ft 5in. Circa 1890’s.

PROVENANCE: Private Des Moines, Iowa collection.

CONDITION: Overall very good condition, with a couple of small holes noted to each border, and losses to fringed edges. Rod pocket added to the top en verso for hanging. [See more photos →]

A unique set of four custom-bound volumes, containing the complete 275 pages of Childe Harold’s Pilgrimage: A Romaunt by Lord Byron, London: John Murray 1855, interspersed with over 350 prints, many before lettering, and collectively bound into an expanded four volumes. Prints include over twenty portraits of Byron along with Angelica Kauffmann’s portrait etching of Johann Winckelmann with collector’s mark of Sir Joshua Reynolds’ en verso, rare Percy Shelley portrait etching by W. B. Scott (“private print, 50 copies”) from a bust by Leigh Hunt, and an original ink painting of the colosseum. Green Morocco with gilt stamping on covers and spine, raised bands, marbled endpapers; stamped in gilt on the bottom inside edge of each front board “Bound by W. Pratt”. From the collection of Peter Marie; (1826-1903), a New York socialite and renowned collector of art and literature, and likely commissioned by him. This set was auctioned after Marie’s death in 1903 (along with many other pieces) by the American Art Association at a 4-day auction event in April of that year. 11 1/4″ x 9″. The following is the relevant excerpt from the 1903 Catalogue of the Art and Literary Treasures Collected by the Late Peter Marie; (page 29): “128. Childe Harold’s Pilgrimage. A Romaunt. (With Notes.) 1 vol. extended to 4, by the insertion of 380 very fine portraits and plates. 4 vols., 4to, green levant morocco extra, gilt edges, by Pratt. Murray. London, 1855. Large paper edition, illustrated by the insertion of 23 portraits of Byron, mostly proofs on India paper, and most of them rare, and 357 choice portraits and plates, mostly proofs on India paper, many of them before letter. The few plates which are not of the size of the book neatly inlaid to size. Specially printed title-page to each volume. A few of the noticeable plates in these sumptuous volumes are (besides the portraits of Byron above noted), many exquisite engravings by Finden, proofs and proofs before letter on India paper; Sir Walter Scott, by C. Picart, proof on India paper; Shelley, etching on India paper by W. B. Scott from a bust by Mrs. Leigh Hunt, “private print, 50 copies ” only struck off; Canova, by Worthington; Machiavelli, by Cipriani; Washington, by Blanchard after Couder; finely executed painting in India ink of the Coliseum; Cosmo de’ Medici, by Perfetti; unlettered proofs of Napoleon, Rousseau, Goldsmith, Dryden Alfieri, Boccaccio, etc.” Note: Bookbinder William Pratt was one of the leading English bookbinders of the mid to late nineteenth century, having learned the art from his father. Biographical Note: “Peter Marie; was the son of a French shipping merchant who traded with Mexico and the uncle of Mrs. George Hunt Pendleton. He was a leading member of the “Four Hundred” and commissioned 300 miniature portraits of Gilded Age socialites. He was described by a contemporary as someone who, “had spent most of his life in study and travel, and whose collection of snuff-boxes was unrivaled. He had picked up many art treasures during his wanderings, and his parties were famous, for at them one could always reckon to meet the most charming people. He was of a poetical turn, and once gave a remarkable dinner, for which the invitations were written in poetry and those invited were asked to respond in verse. A beautiful prize was awarded to the guest who composed the best answer, and I believe that Miss (Elizabeth Marshall) Lamson, now Lady (Victor Arthur Wellington) Drummond, was the winner. Peter Marie; and Ward McAllister were “Brummellian” types… (he) was content to take life as he found it (and) represented the rapidly disappearing old French type; he looked like an aristocrat of the time of Louis XV, and possessed all the polished manners of the period.” He lived for many years in New York at 48 West 19th Street before retiring to 6 East 37th Street. He summered in Bar Harbor, Maine, and Newport, Rhode Island. He did not marry nor had any children.” (from American Aristocracy website, https://americanaristocracy.com/people/peter-marie ).

CONDITION: Overall very good condition with some foxing and toning throughout; minor bumping to corners, rear board of Vol. IV with 3/4″ scuff. [See more photos →]

BLOOD MERIDIAN OR THE EVENING REDNESS IN THE WEST, by Cormac McCarthy, New York: Random House, 1985. First printing with stated First Edition on copyright page and correct Random House number line “24689753”. Only 5,000 printed. Octavo, 337 pages including epilogue, hard bound in quarter red cloth over red paper boards with gilt lettering to spine, includes original pictorial dust jacket with $17.95 price on flap. 8 1/2″ H x 5 3/4″ W x 1 1/4″ D.

PROVENANCE: The Estate of John Z. C. Thomas, Knoxville, TN.

CONDITION: Book is tight with moderate foxing to page block, previous owner’s name inside front cover. Unclipped jacket with even toning to top, 1/16″ tear top spine of jacket. [See more photos →]

Continental School, likely 18th century, oil on canvas painting of a wooded landscape with a stream and waterfall in the foreground. A stone bridge stands before an Italianate villa or other building in the background, with a mountain range above which the sun rises or sets in the distance. Unsigned. Museum labels affixed to stretcher and frame. Housed in an antique giltwood frame. Sight: 39″ H x 29″ W. Framed: 47″ H x 37″ W.

PROVENANCE: Deaccessioned by the Hunter Museum of American Art.

CONDITION: Overall very good condition, canvas has been lined. With craquelure and surface grime throughout. Frame with minor abrasions. [See more photos →]

Japanese “Lac Burgaute” or Laque Burgaute lacquer on brass snuff bottle in the form of a butterfly, one side depicting a house in a river landscape setting and the other side depicting a bird and vase with flowers. Maker’s marks on the base. 2 3/8″ H. 1st half 20th century.

PROVENANCE: Private Franklin, TN collection, by descent from Norman and Martha Stein Dickson, who owned an antiques store at 732-736 Royal Street in New Orleans from the 1950s until their deaths in the 1970s.

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

Sulton Rogers (Mississippi, 1922-2003) carved and painted wood head depicting a mustached man with a grotesque face, mounted onto a painted wood stand. Unsigned. 10″ H x 9″ W x 7 3/8″ D.

PROVENANCE: The collection of Ronnie Steine, Nashville, TN.

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

Carved and painted canvasback drake decoy attributed to Ned Burgess (NC, 1863-1956). Retains an older, possibly original painted surface. 8 1/2″ H x 17″ 1/4 L. 1st half 20th century.

PROVENANCE: Private Knoxville, Tennessee collection.

CONDITION: Overall good condition with paint wear commensurate with age and use. Old repairs to head. [See more photos →]

5 pieces of S. Kirk & Son Repousse sterling. 1st Item: Kirk sterling pitcher in repousse pattern, marked “S. Kirk & Son Co. 925/1000″ on base, 7″ H. 2nd-4th Items: matching Kirk Repousse serving spoon (9 3/4″ L), fork (9 7/8″ L), and berry spoon (8 7/8″ L). 5th Item: Kirk repousse ladle (7” L). Combined weight 35.07 troy ounces.

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

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

Oil on canvas painting of the Holy Family in a lunette after the “Madonna del Sacco” fresco by Andrea del Sarto (1486-1530) in the Chiostro Grande or Chiostro dei Morti at the Basilica della Santissima Annunziata, Florence. 19th century or earlier. Christ moves across Mary’s lap while Mary looks toward the viewer. Joseph, at left, leans against a white sack and holds an open book. With Christie’s stickers affixed to frame and edge of canvas, plus Christie’s label to stretcher with reference number NYCEL 591. Housed in a giltwood frame. Sight: 18″ H x 28″ W. Framed: 21 3/4″ H x 32 1/2″ W.

PROVENANCE: The collection of Alex and Cristina Ionescu, South Carolina, by descent from his father, the artist, conservator, and collector Vlaicu Ionescu of New York (1922-2001); ex-Christie’s.

CONDITION: Canvas has been relined, with tape visible at edges. Scattered retouches, largest 3″ x 1″, upper left, and 2″ x 1 1/4″ to Christ’s drapery. See U/V photography. With craquelure throughout. [See more photos →]

William Gropper (American, 1897-1977), thirty four signed and numbered (26/50) lithographs from the Capriccios portfolio, 1953-1957. Sheet size 16 1/4″ x 12 1/4″. Unframed. Titles include: The Grave Yard, The Spinster, Fledglings, Pomp (or Thine), Alone, Dream, Playmates, Heroics, Pegasus, Blacklist, Logic, Fame, All God’s Children, Fate, Lust, Justice, Uprooted, First Step, Gossip Mongers, Crisis, Tornado, Informers, The Old Man, Fall of the Gods, Emancipated, Fantasy, Vengeance, Fear, Psychosis, the Horn Blowers, Echoes, Patrioteers, Eruption, and Ladder of Success. Background:<br /> “From his humble beginnings in the tenements of New York’s Lower East Side to his artistic radicalism and subsequent blacklisting by Senator Joseph McCarthy, William Gropper always stayed true to his vision for exposing the realities and struggles of the daily life of the lower class. Known to some as the “American Daumier,” Gropper’s involvement with radical press like The Daily Worker and The New Masses caught the attention of McCarthy and the House Un-American Activities Committee, and his investigation in 1953 inspired his incredible series of fifty lithographs, The Capriccios. Gropper’s tenacity and strength of depiction are culminated in these lithographs, which expose the fallacies of mid-century America during a time of great turmoil and suspicion.” Source: The Wayne State University Art Collection.

PROVENANCE: Private Tennessee collection, by descent from the collection of Betty and Norman Luboff.

CONDITION: Lacking covers, not the complete set. Light toning and minor handling wear, some with light corner creases. Small smudge on the Fame lithograph. [See more photos →]

Charles Landseer (British, 1799-1879) oil on panel painting of a scene from Sir Walter Scott’s 1825 Orientalist novel The Talisman, from the Waverley series, c. 1840-1860. Richard the Lionheart lies ill in his tent and several women, including his wife, Berengaria of Navarre, Queen Consort of England, and Lady Edith Plantagenet, attend to him. This painting is likely a study for a painting on canvas in the collection of the Sunderland Museum and Winter Gardens, Sunderland, England. Signed lower left and stamped BROWN HOLBORN en verso. Housed in a painted wood frame with nameplate. Sight: 13 1/2″ H x 17 3/8″ W. Framed: 22″ H x 25 1/2″ W. Note: The Talisman, one of Scottish author Sir Walter Scott’s Waverley novels, focuses on the Third Crusade and the relationship between King Richard I of England, or Richard the Lionheart, and Saladin, Sultan of Egypt and Syria and founder of the Ayyubid dynasty. Biographical note: The son of artist John Landseer and brother of artists Edwin and Thomas Landseer, Charles Landseer specialized in history painting, scenes from literary works, and genre. He began his studies at the Royal Academy of Art, London, in 1816 and in 1825-26 accompanied the English ambassador Sir Charles Stuart on his diplomatic mission to Brazil. He became an Associate member of the Academy in 1837 and in 1845 was elected Royal Academician. He served on the Royal Academy Council in the office of Keeper from 1851-1873. (Source: Royal Academy of Arts)

PROVENANCE: The collection of Jon E. Jones, Cookeville, TN, by descent from Robert “Bob” Jones, Jr., former President and Chancellor of Bob Jones University.

CONDITION: Overall very good condition. Areas of retouching especially to figural group and background at upper center and left, largest to body of woman with black hair, 1 1/2″ x 1/2″. See U/V photograph. Two minor losses to upper edge of panel, 1/2″ x 1/4″ and 1/4″ x 1/8,” plus negligible frame abrasion. [See more photos →]

Pair mid-century Knoll Wassily Chairs, model B3, designed by Marcel Breuer in 1925, having tubular steel frames with black leather backrests and seats. Both chairs retain the original labels for Knoll Associates Inc., 320 Park Avenue, New York. 28 3/4″ H x 31″ W x 25 1/2″ D. Circa 1965.

CONDITION: Oxidation to chrome with some scratching. Minor abrasions to the leather armrests. [See more photos →]

1st item: Rare Felix Grundy (1777-1840) ALS dated Nashville, TN, June 11th, 1818, addressed to Thomas T. Armstrong of North Carolina: “Dear Sir, We have the smallpox in this place and the Federal Court has adjourned in consequence of it, having done no business – your suit stands on a rule for a new trial…” The letter goes on to urge Armstrong to “come to this state immediately – Mr. McCall has been with me yesterday and today, in consultations respecting that part of your father’s estate now lying in the Indian boundry and not already sacrificed…” 10″ x 7 1/2″. 2nd item: Lithographed portrait of Felix Grundy after a painting by W.B. Cooper, published by Duval, Philadelphia, with facsimile autograph. Likely from an early book. Under glass in an antique wide giltwood frame with inscription, “direct descendant from Grundy W.A. Bass family.” Sight – 8 1/2″H x 7 1/2″W. 16″ X 15″. Late 19th century. 3rd item: lithographed portrait of Grundy with facsimile signature, 11 1/2″h x 8″w, 20th century. 4th item: FELIX GRUNDY: CHAMPION OF DEMOCRACY by Joseph Howard Parks, Louisiana State University Press, 1940. 368 pages. Previous owners inscription detailing relation of Grundy to the Bass family. Blue cloth covers, paper dustjacket. Note: Felix Grundy was an attorney and politician who served as the 13th United States Attorney General. He also served as a congressman and U.S. Senator from Tennessee.

PROVENANCE: Private Nashville Collection.

CONDITION: Letter: smearing and crease across signature, some separations at fold lines. Lithograph in frame: heavily toned with foxing and dampstaining upper right, not examined out of frame. Unframed lithograph: toning, edge loss. Book: Dust jacket heavily toned, with chipping and sunning. Pages toned. [See more photos →]

1st item: Ladies 14k yellow gold dome ring with green and blue enamel. The ring is marked “14K” and XRF tests 14K gold. The ring is size 6 1/2 and has a gross weight of 10.06 grams. 2nd item: Ladies 14K yellow gold earrings with green and blue enamel. The earrings are marked “14K” and XRF test 14K gold. The earrings are 3/4 x 1/2″ in size and have a gross weight of 18.85 grams. Gross weight of the lot is 28.91 grams.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

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

Johann Kluska (German, 1904-1973), “Dante Allegorie,” oil on board painting depicting a man lying on the ground between two shrouded figures, against a dark and ominous background. Titled on estate label en verso. Wide gilt molded frame and white linen mat. Sight: 17 1/2″ H x 14″ W. Frame: 25″ H x 21 1/2″ W.

PROVENANCE: The estate of Thelma Schlicher, by descent from the estate of U.S. Ambassador Ronald Schlicher, Brentwood, TN; acquired Jackson’s Auction, 2014. 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.

CONDITION: Painting in excellent condition. Frame has some scattered dents and dings, some possibly intentional distressing. [See more photos →]

Two (2) Sullivan County, Tennessee lead-glazed earthenware pottery cream pots attributed to the Cain Pottery. 1st item: Small East Tennessee copper oxide and lead-glazed body red earthenware cream pot. Ovoid form with a short neck and glazed base. 4 1/2″ H. 2nd item: Small East Tennessee lead-glazed body red earthenware cream pot. Ovoid form with two incised lines below the rolled rim and an unglazed base. 3 1/2″ dia. Second half of the 19th century.

PROVENANCE: Living Estate of JoAnn Newland, Arcadia, Tennessee.

CONDITION: 1st item: Stabilized hairline to one side, scattered glaze exfoliation to the rim. 2nd item: A couple of very shallow fleabites to the rim and one firing flaw noted to the body. [See more photos →]

Sterling silver teapot in the Chinese taste, the base with George II hallmarks for 1733, London; the handle hallmarked for Edward & John Barnard, London,1869-1870. Bombe form body with repousse decoration of Chinese figures in a landscape including one figure handing a cup of tea to another, a figure smoking a pipe, a figure holding a fan, and three pagodas. Domed lid with scalloped foliate edge decoration and figural finial. Scrolled D-shaped handle with acanthus thumbpiece and S-shaped spout with foliate decoration. The whole raised on four scrolled legs with female masks at the knees. Engraved armorial to one side with the Latin motto “Nil Admirari” or “To be surprised by nothing”. 6 1/2″ H x 10 1/4″ W. 31.475 troy ounces.

CONDITION: Overall very good condition. Handle repaired or replaced circa 1869 as indicated by the later hallmarks. The lid has a very tiny hole to one C scroll along the border; it is not hallmarked, raising the possibility it may be an old replacement, but appears to be the same age as the pot itself. [See more photos →]

Pati Bannister (Mississippi, 1929-2013) oil on board painting of a young blue-eyed girl with a flower garland in her brown hair seated in a wicker chair on the porch of a Victorian house and a grassy field intersected by a dirt pathway in the background. Signed BANNISTER and dated ’80 lower right. Housed in a silvered carved wood frame with a tan velvet mat. Sight: 21 3/4″ H x 31 3/4″ W. Framed: 33 5/8″ H x 43 5/8″ W x 2 1/4″ D.

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

1st and 2nd items: Two Chinese scrolls -one appearing to be watercolor, the other (smaller one) a print- attributed to or after Tang Fan, Ko Kim Fu, and other Chinese artists, depicting flowering branches with calligraphic poems or inscriptions, mounted to brocade backings measuring 39″ x 14″ and 42″ x 15″. Old notes written on the backs of these scrolls provide a brief history and attributions to Tang Fan (smaller scroll) and to Lo Chung Pang, Ko Kim Fu, and Yung Chu Chuan (larger scroll). Acquired in Hong Kong, 1955. 3rd item: Peiluo Shi (China, b. 1957) ink on rice paper woodblock print depicting a woman, child, and cat as seen through an open window. Signed with calligraphy and chop mark lower right. Mounted to silk brocade and framed in painted black frame under glass. Image: 13″ square. Frame: 16 1/2″ square. 4th item: 27″ W roll of Asian silk brocade, acquired by consignor’s mother in Japan in 1931 for the purpose of mounting a scroll, never used.

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

CONDITION: 1st and 2nd items: Smaller scroll has a 2″ area of light staining lower left and separation between brocade and rod at lower left end; both scrolls with scattered light foxing and minor tears. 3rd item: Overall very good condition. 4th item: Very good condition. [See more photos →]

Richard Jolley (American, born 1952) drawing on glass with silver leaf titled “Boy and Globe”, depicting a nude male in an outdoor setting gazing down at a large globe. Signed and dated lower right “Richard Jolley 2004”. Artist’s label with title en verso. Housed in a contemporary black beveled frame. Sight 8 3/4″ sq. Framed: 10 3/4″ sq.

PROVENANCE: The Estate of John Z. C. Thomas, Knoxville, TN.

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

Ladies 14K yellow gold tennis bracelet featuring thirty five (35) round brilliant cut diamonds approximately 5.60 carats together, Clarity-SI2, Color-H. The bracelet is marked “14K” and XRF tests 14K gold. The bracelet is 7″ L. and has a gross weight of 17.49 grams.

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

Ladies 14K yellow gold necklace with pendant featuring one (1) pear shaped diamond approximately 0.96 carats, Clarity-I1, Color-M. The necklace is marked “14K” and XRF tests 14K gold. The necklace is 24″ L. and has a gross weight of 5.26 grams.

PROVENANCE: The estate of Gertrude S. Caldwell, Nashville, Tennessee.

CONDITION: The necklace is broken in two places. [See more photos →]

Misha Frid (Russian Federation, b. 1938) figural bronze titled “The Cello Player” depicting a nude man and woman standing in an intimate pose with their left arms raised and intertwined as the man runs a bow across her body. Signed and numbered on the base “M. Frid, 180/185″ together with the foundry stamp. 21 1/2″ H x 17 3/4” W. 20th century.

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

Four (4) pieces of Navajo jewelry, including one (1) squash blossom necklace, two (2) cuff bracelets, and one (1) ring. 1st item: Sterling silver squash blossom necklace with 24 silver blossoms mounted onto a double row of engraved silver beads and a central naja featuring turquoise, marked “sterling” and unsigned. 2nd item: Sterling silver bracelet featuring turquoise with a 7″ cuff and a gross weight of 58.27 grams. 3rd item: Sterling silver Zuni cuff bracelet featuring turquoise and a watch slot. The cuff tests sterling and is signed “AH” for Alonzo Hustito with a bull pictorial. The cuff is 7″ and has a gross weight of 104.2 grams. 4th item: Sterling silver ring featuring turquoise. The ring is marked “sterling” and signed “R”. The ring is size 11 1/2 and has a gross weight of 21.26 grams. Gross weight of the lot is 523.73 grams.

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

Three (3) Consecutive 1899 One Dollar Silver Certificates with Blue Seal and Black Eagle in Sequential Order. Serial numbers: V48995150V, V48995151V, and V48995152V. Framed and matted. Open on the back for double sided viewing of the notes. Approximate framed measurements: 16 1/2″ W x 23″ H.

CONDITION: Nearly uncirculated. [See more photos →]

Pair of Victorian Bohemian emerald glass mantel lustres. White cased petal shaped tops, each with 10 faceted cut glass prisms, over green glass with gilt foliate decorations surrounding hand-painted center portraits of two different women. 10 1/2″ H x 5″ dia. Late 19th century.

CONDITION: Overall very good condition with some minor chips to prisms. [See more photos →]

G. Preston Frazer (Tennessee/Virginia, 1908-2003) oil on board painting depicting a nocturnal scene with pine trees framing a 1940s era crane, outside an industrial building positioned before a taller, Classical style building. Signed “Frazer” lower left. Housed in a giltwood frame with bead and laurel/dart moldings. Board – 16″H x 20″W. Frame – 21 1/2″H x 25 1/2″W.

Biography: George Preston Frazer was born in Davidson County, Tennessee in 1908, to George Augustine Frazer and his wife Sadie, a member of the prominent Warner family. He received a BA in Liberal Arts from the Virginia Military Institute in 1929. In 1935, he completed a BS in Engineering at the University of Hawaii, and in 1937, a Masters of Architecture at Harvard University. During World War II, he served with the Second Armored Division in Europe and North Africa. He remained in the Army Reserves until 1968.

From 1939 to 1940 and from 1946 to 1974, he taught in the Art Department of Virginia Tech. Following his retirement, Frazer continued to support Virginia Tech, which continues to be among the many institutions to display donations of his work. Frazer died at his home in Catawba, North Carolina, in 2003. (Source: Virginia Tech University). Frazer’s work rarely comes up at auction. The last work to do so – of which we are aware – was a depiction of the Nashville Steeplechase grounds, from the estate of his relative Margaret Lindsley Warden in our April, 2008 auction.

PROVENANCE: Consignor acquired from a Nashville, Tennessee estate sale. Inscriptions en verso state the painting formerly belonged to Dr. Cromwell Tidwell, whose wife was a distant relation of the artist, and that it was given to J. Patt Coleman of Nashville in 1985; we have not been able to confirm this.

CONDITION: Overall good condition with a couple of pinpoint sized scattered flakes (minor) and a couple of small spots of inpainting (visible under UV light) at lower left corner, in vegetation. Some wear and minor spotting to frame. [See more photos →]

Ned Burgess (NC, 1863-1956) carved and painted canvasback drake decoy. Appears to retain the original painted surface. 8 1/2″ H x 17″ L. 1st half 20th century.

PROVENANCE: Private Knoxville, Tennessee collection.

CONDITION: Overall good condition with scattered wear and cracklure to paint. [See more photos →]

Four (4) original large-format vintage gelatin silver prints on glossy paper from NASA’s Second Lunar Orbiter mission, November 18-25, 1966. The photographs are designated 92M, 137M, 196M, and 196H2 lower left. Image 92M features the intersection of multiple rilles directly to the East of Triesnecker crater in the Sinus Medii region. Image 137M is of the area to the northeast of Reinhold crater. Photos 196M and 196H2 were taken from an altitude of 1519 km on the Moon’s far side, with the 233 km wide Pasteur crater prominently featured. A total of 215 “sets” of photographs were planned for the second orbiter mission in 1966, each consisting of one medium-resolution image and three high-resolution images of the same area. Unframed. Sheets measure 24″ H x 20″ W.

Note: “Five Lunar Orbiter missions were launched in 1966 through 1967 with the purpose of mapping the lunar surface before the Apollo landings. All five missions were successful, and 99% of the Moon was photographed with a resolution of 60 m or better. The first three missions were dedicated to imaging 20 potential lunar landing sites, selected based on Earth-based observations. The Lunar Orbiters had an ingenious imaging system, which consisted of a dual-lens camera, a film processing unit, a readout scanner, and a film handling apparatus.

Both lenses, a 610-mm narrow angle high-resolution (H) lens and an 80-mm wide-angle medium resolution (M) lens, placed their frame exposures on a single roll of 70 mm film. The axes of the two cameras were coincident so the area imaged in the HR frames were centered within the Medium Resolution frame areas. The film was moved during exposure to compensate for the spacecraft velocity, which was estimated by an electric-optical sensor. The film was then processed, scanned, and the images transmitted back to Earth. Lunar Orbiter 2’s mission was to photograph 13 primary and 17 secondary landing sites for the Apollo program in the northern region of the Moon’s near side equatorial area.” (Source: NASA.gov)

PROVENANCE: Private Knoxville collection. Consignor previously worked in the planetary science field in Houston, TX.

CONDITION: Each in very good condition with slight wrinkling. [See more photos →]

Two (2) Frank Whipple (American, 1923-2016) oil on board paintings of nuns in whimsical settings, examples of the artist’s recurring characters known as “Whipple’s Wimples.” One painting depicts two nuns painting a red barn and pausing to play a game of tic-tac-toe; the other depicts the pair sitting on a log, smoking, with a pack of cigarettes between them and an ominous shadow approaching in the foreground. Each painting is signed “Whipple” and housed in a gold frame with black velvet mat and gilt fillet. Sight:s 4 3/4″ H x 4 3/4″ W. Frames: 10″ H x 10″ W.

PROVENANCE: A Nashville, Tennessee estate.

CONDITION: Both in very good overall condition. [See more photos →]

Harlan Hubbard (Kentucky/Indiana, 1900-1988) sketchbook with ten (10) graphite landscape drawings–four of which are signed–including one (1) signed drawing of a covered bridge over a stream, one (1) signed drawing of a thickly wooded area and a spring spout before a small stream, one (1) signed drawing of a forest interior, one (1) signed drawing of a tree by a creek, one (1) drawing of a house in a hilly landscape, one (1) drawing of a railroad bridge, one (1) drawing of a bridge over a body of water, and three (3) drawings of trees, mid-20th c. All housed loose in a blue clothboard sketchbook. Sheets: 10 5/8″ x 8 5/8.” Book: 9″ x 11″ x 3/8.” Biographical note: Harlan Hubbard was born in Bellevue, Kentucky, opposite Cincinnati. After his father died in 1907, he moved to New York City to live with two older brothers. Hubbard was educated at Childs High School in the Bronx, the New York National Academy of Design, and the Art Academy of Cincinnati. He became a writer and painter. His books SHANTYBOAT and SHANTYBOAT ON THE BAYOUS documented [he and his wife’s] river journeys, while PAYNE HOLLOW AND JOURNALS, 1929-1944 lay out his philosophy of the well-lived life. Harlan published 12 books from 1953 to 1996, including journals, travel essays, and artwork (woodcuts and paintings) with publishers such as Dodd-Mead, Eakins Press, Oyo Press, Larkspur Press, Gnomon Press, and the University Press of Kentucky. Hubbard was a prolific painter, often selling landscapes for small amounts to pay for the necessities of life that he and his wife couldn’t grow or make.” (Source: The Carnegie Center for Literacy and Learning)

CONDITION: Overall very good condition, with minor toning to sheets, especially to edges. All sheets have been removed from book with miniscule losses to left edges, outside of images. Book with fading to front cover and soiling to front and back covers and endpapers. [See more photos →]

Jimmy Lee Sudduth (Alabama, 1910-2007), “Toto”, mud and paint on wood board, signed upper left corner. Includes a photograph of the artist completing this work, stapled to the back of the painting. Panel is screwed into the frame, constructed of black painted wood. Panel: 24″ square. Frame: 26″ Square.

PROVENANCE: Private Nashville collection.

CONDITION: Some scattered surface scratching and inclusions, possibly in the making. Overall very good condition. [See more photos →]

Howard Finster (Georgia/Alabama, 1916-2001) paint on cutout board howling wolf decorated with numerous colorful faces, architectural vignettes, and textual or numerical elements including 1987 date, artist’s name, and number 6000.866. Additionally signed, numbered, and dated in marker en verso along with “God Bless You All” inscription. 23″ H x 23″ W x 1/4″ D.

CONDITION: Excellent condition [See more photos →]

Photograph album containing CDVs of predominately Civil War era citizens and soldiers of Indiana, with most photographs identified with handwriting on their respective pages. Some notable CDVs include: Major. Moses D. Leeson (1818-1884) of the 5th Indiana Cavalry. Joined 1862, commissioned a 1st Lieutenant of Co. B, eventually promoted to Major. The 5th joined with IX Corps, commanded by Major General Ambrose Burnside, and became the first Union regiment to enter Knoxville September 2, 1863. Leeson became commander of the 5th late in the war, rounding up those he deemed “bushwackers, horse thieves, guerrillas and murderers.” (Source: Major Leeson’s War by John Sickles, Military Images Magazine, Vol. 24, No. 4 (January/February 2003), pp. 23-24) Willis Modlin (1840-1865) “enlisted in Co. D, 8th Indiana Volunteer Infantry August 1861, for three years; was in the battle of Pea Ridge, and siege of Vicksburg; re-enlisted in the same company and regiment; was taken sick and died, Jan. 1865. Son of Josiah Modlin, Dublin”. (Source: Directory and Soldiers’ Register of Wayne County, Indiana; J.C. Power, 1865). Note: In the online book THE CIVIL WAR DIARY OF HOOSIER SAMUEL P. HERRINGTON, Herrington (also of the 8th Indiana Infantry) mentions his encounters with Modlin as well as the aforementioned Maj. Moses Leeson. Major Leeson’s son, Henry, became friends with Herrington throughout the campaign. Clara Ellen (Leeson) Smith (1844-1918), Daughter of Major Moses Leeson. Henry Shuck (1844-1902), of Company F, 52nd Indiana Infantry, which fought at the Battle of Nashville (signal corp emblems on sleeves?) Discharged 15 Dec 1864. Cyrus T. Swain, Mustered in 21 Aug 1862; Company C, 84th Indiana Infantry. Sanford Fortner (1835-1917) commissioned a second lieutenant in the 101st Indiana Regiment as it was organized at Wabash. He was successively promoted to first lieutenant, captain, and major, and was assigned to the adjutant general’s office of the 2nd Brigade. The 101st saw action in Tennessee and with Sherman.

CONDITION: Album in poor condition; pages are loose, but able to be secured in hinged binding. Some photos absent. CDVs in good overall condition. [See more photos →]

Scarce Civil War related lithograph with tinstone, “The Room in The McLean House, at Appomattox C.H., in which Gen.Lee surrendered to Gen.Grant.” Entered according to Act of Congress in the year 1867 by Wilmer McLean, published by Henry B. Major and Joseph F. Knapp, New York, 1867. Housed under glass in a walnut molded frame with gilt sight edge. Sight: 22 1/2″ x 31 1/2″. Frame: 30″h x 39″W. Background (from the National Archives): “As to the beginning and the end of the Civil War itself, there is only one man who book-ended it so literally. His name was Wilmer McLean. On July 18, 1861, Confederate General Beauregard had sat down for supper in the home of a Manassas local when a cannonball pierced through the house and landed in the kitchen fireplace. It was something of a surprise, but not so overwhelming as to ruin Beauregard’s sense of humor “A comical effect of this artillery fight was the destruction of the dinner of myself and staff by a Federal shell that fell into the fire-place of my headquarters at the McLean House,” he wrote in his diary. Perhaps the shell would have been more of a shock had it not been just one of many volleys in the first major campaign of the Civil War: the Battle of Bull Run.The house belonged to a man named Wilmer McLean, who had purchased the property in 1854. Beauregard had commandeered the property – and McLean’s well-situated house and barn – as his headquarters and, later, as a hospital for Confederate troops. McLean was happy to oblige the general as he himself was a retired officer in the Virginia militia and had profited nicely off of renting the property and speculating on commodities like sugar. But by the time the Second Battle of Bull Run had occurred on his doorstep and a pregnant wife, McLean had had enough. The profits no longer outweighed the dangers, and he decided to move south. In 1863, Wilmer McLean settled on the property surrounding the Two Rein Tavern at a small and quiet crossroads over 100 miles south of the chaos of Civil War battlefields. For two years, his family lived in the relative quietude of southern Virginia until, on April 9, 1865, Charles Marshall – Gen. Robert E. Lee’s aide – approached him. Marshall asked McLean to show him a place that was suitable for Lee and another general to meet. McLean first showed him a dilapidated home, but when Marshall rejected it, McLean reluctantly offered up his own residence for the meeting. Marshall accepted. Lee arrived at McLean’s Appomattox Court House property at about one o’clock in the afternoon in a crisp uniform. Shortly after, wearing his muddied field uniform, the other general arrived. It was Ulysses S. Grant. For about 25 minutes the two spoke in McLean’s parlor, until eventually Lee brought up the purpose of their meeting, the surrender of the Confederate Army. Minutes later, the Civil War ended. Such it is that the Civil War started in Wilmer McLean’s kitchen and ended in his parlor.” Mr. McClean, hoping to recoup some of the losses incurred from hosting two armies on his farm, offered this print for sale, but very few were ultimately purchased by a war-weary public.

PROVENANCE: Private Virginia Collection.

CONDITION: Some light acid burn and toning to paper. Wear and abrasions to frame. [See more photos →]

1st item: Portfolio of 19th-century Japanese color woodblock prints of Kabuki subjects including Tsukioka Yoshitoshi, Toyokuni III Utagawa, Toyohara Kinichika, Kochoro, and other printmakers. 14″ H x 9 1/4″ W x 1/2″ D. Item 2: Kawase Hasui (Japanese, 1883-1957) color woodblock print entitled “Rain at Shinagawa” and depicting a town and harbor in the rain. Two women with umbrellas converse in the street at left. With indecipherable seal, lower right. Likely a later Watanabe impression. Housed under glass in a painted wood frame with cream mat and gold reveal. Sheet: 15 1/4″ H x 10 7/16″ W. Framed: 19″ H x 15″ W.

PROVENANCE: A Nashville, Tennessee estate.

CONDITION: 1st item with prints all laid into portfolio, with abrasions, staining, accretions, and losses. See photographs. 2nd item has been adhered to backing. With paper residue to upper margin and 1 1/4″ x 1/4″ area of sky along upper center edge. [See more photos →]

Tanaka Ryohei (Japan, 1933-2019) color etching and aquatint entitled Persimmon Thicket and depicting dense foliage with branches and red persimmons clustered within, 2007. Signed and dated lower right and numbered 21/100 lower left. Numbered 717 and titled in Japanese and English lower left. Unframed. Sheet: 19 3/4″ H x 15 3/4″ W.

PROVENANCE: Private Knoxville, TN collection.

CONDITION: Excellent condition. [See more photos →]

Scandinavian Folk Art paint decorated valuables box, possibly a marriage box, dated 1819, with hand-wrought iron hardware. Rectangular dovetailed case having a hinged lid with bail handle, interior till, iron strap hinges and escutcheon, and iron mounts. Elaborate polychrome decoration with yellow inscription on a dark green/black ground, “DSD / H 1843” over two floral sprays to front and feather decoration to sides. 11″H x 20″W x 12″D. Box possibly 18th century with 19th century paint decoration.

PROVENANCE: Private Nashville, TN collection.

CONDITION: Retains key the original key. Wear or possible insect damage with losses to corners. Paint decoration to top has worn off significantly, although it remains in good condition to front and sides. Old repair to lid, near hinges. [See more photos →]

Antique Iranian Isfahan area rug, wool on cotton, overall cream field, the center with flowering vase and bird designs within three primary borders including a bird and foliate border. Woven in red, pink, blue, green, gold, and cream colors. 7ft 1in x 5ft. Circa 1920’s.

PROVENANCE: Private Des Moines, Iowa collection.

CONDITION: Overall very good condition, even light pile wear, and losses to fringed ends primarily to the lower end. [See more photos →]

Walter Hollis Stevens (Tennessee, 1927-1980) oil on canvas abstract expressionist painting titled “Sun-Crest,” with a complex central form rendered in heavy impasto, sgraffito, and palette knife, 1960. Warmer tones of orange and red balance cooler passages of green and gray. Signed and dated ” Stevens ’60” lower left. Additionally signed “W.H. Stevens” and titled to stretcher. Housed in a simple gilt and painted wood frame, likely original. Sight: 24″ H x 18″ W. Framed: 24 3/4″ H x 18 3/4″ W. Exhibition history: Likely exhibited at the Art & Architecture Gallery, University of Tennessee, and Dulin Gallery of Art, October 1981. Lot includes exhibition flyer. Biography: (Courtesy Tennessee Arts Commission) “As one of the acclaimed Knoxville Seven in the 1960s, Stevens was fresh on the scene of abstract expressionism for East Tennessee and an early faculty member of the University of Tennessee’s art department. His work resides in numerous collections including the Birmingham Museum of Art, the Knoxville Museum of Art, Carnegie Visual Arts Center in Alabama, the Mint Museum in Charlotte, and others.”

CONDITION: Excellent condition [See more photos →]

Joe Parrott (American/Tennessee, b. 1944) oil on canvas riverscape painting depicting the Henley Street Bridge and Tennessee River in Knoxville, Tennessee. Signed and dated lower right PARROTT ’09. Unframed. 16″ H x 20″ W. Artist’s Biography: (Courtesy of the artist) Joe Parrott was born and lives in Knoxville, Tennessee. He earned a BS degree in Business Administration from the University of Tennessee in 1967 and is a self-taught artist. He worked in the graphic arts industry for 43 years while continuing to pursue his artistic aspirations. He currently paints full-time and is dedicated to a lifelong pursuit of creative evolution and exploration. Influences include Edward Hopper, Van Gogh, and printmaker Martin Lewis.

PROVENANCE: The Estate of John Z. C. Thomas, Knoxville, TN.

CONDITION: Unframed, overall very good condition. [See more photos →]

Jan Baptist Lambrechts (Flanders/France, 1680-1731) oil on canvas kitchen interior genre painting with a woman, likely a cook, seated at a table in a domestic setting. She holds apples in her apron and vegetables including cabbages, leeks, and cauliflower rest on the table and on the floor nearby. Behind her a faintly visible, seated man smokes a pipe before a fireplace. Children and a second man who stands at left with hat in hand surround the central figure. A third man, visible through the doorway at left, passes by outside. Signed “Lambrechts,” lower right. Housed in an ebonized wood frame. Sight: 31 1/2″ H x 25 1/4″ W. Framed: 38″ H x 31 3/4″ W.

PROVENANCE: The collection of Jon E. Jones, Cookeville, TN.

CONDITION: Overall very good condition, canvas has been lined. With fine craquelure and surface grime throughout. [See more photos →]

1900 $10 Liberty eagle gold coin. The coin XRF tests 89.07% gold and has a weight of 16.5 grams.

PROVENANCE: The Estates of Thomas Maxfield and Sara McIntyre Bahner.

CONDITION: Circulated condition, VF+ [See more photos →]

14K yellow gold heart locket bracelet. The bracelet and locket are marked “14K” and XRF test 14K gold. The bracelet is 6″ L. and has a gross weight of 32.76 grams.

CONDITION: Overall good condition with engraved name and date on the locket. [See more photos →]

Charleston, South Carolina retailed coin silver coffee pot or covered pitcher, 10 1/2″H, with floral finial and lobed hinged lid over a pear shaped body with elaborate mask at spout, acanthus overlaid handle, floral repousse decoration and a central cartouche monogrammed “B”. Also monogrammed on bottom “Nellie V. Baker” and stamped for retailers Hayden & Whilden, working Charleston 1855-1863, and “G & W” attributed to Grosjean & Woodward, working New York, c. 1840-1860. 37.7 oz troy.

CONDITION: Overall good condition. Some persistent tarnish or discoloration to lower body, light overall surface wear. [See more photos →]

Mark Hopkins (American, 20th-21st century), large patinated bronze of an eagle alighting on a branch, “Sovereign Territory”; impressed with “369/550”, Hopkins’ signature, and date “98”. 22″ H x 14 1/2″ W x 8″ D; approx. 30 lbs.

CONDITION: Overall very good condition with added felt lining to underside. [See more photos →]

Rare antebellum Coin Silver Cup or Mug, retailed by Gustave Braune of Eutaw, Alabama. Flared beaded upper and lower rims enclosing a pear shaped body with deep repousse ovolo band over repousse floral decoration and a cartouche engraved “Gertie”. Stamped G. BRAUNE and T.E. & Co. for retailer Gustave Braune and maker Theodore Evans of New York, along with a rubbed date mark, possibly 1855. 3 1/3″H, 3.43 oz troy. Note: According to Made in Alabama: A State Legacy (Birmingham Museum of Art, 1995), German born silversmith and jeweler Gustave Baum moved to the United States in 1836, working briefly in Milwaukee, Wisconsin before going to Rome, Georgia, and by 1853 had settled in Eutaw, Alabama. He sold wares brought back from Germany as well as from New York. Braune was a founder and board member of the First National Bank of Eutaw and also owned and operated an Opera House there. He died in 1898. At the time of publication, the authors stated no hollowware marked by Braune had been found.

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

CONDITION: Possible small solder repair to lower terminus of handle, otherwise very good condition with some scattered small scratches and tiny dents; wear to Evans mark. [See more photos →]

Erte (Romain De Tirtoff, Russian/French, 1892-1990), limited edition gilded and cold-painted cast bronze sculpture titled, “La Danseuse”. Depicting a female dancer leaping over a flame. Inscribed 155/500 Fine Art Acquisitions 1985 and signed on the base.14″ H x 9″ W x 4 3/4″ D.

PROVENANCE: A Nashville, Tennessee estate.

CONDITION: The sculpture is in very good condition. [See more photos →]

1905-S and 1907-D $5 Liberty half eagle gold coins. The coins XRF test 89.64% gold. First item: 1905 coin weighs 8.2 grams. Second item: 1907 coin weighs 8.3 grams. Gross weight of the lot is 16.5 grams.

PROVENANCE: The Estates of Thomas Maxfield and Sara McIntyre Bahner.

CONDITION: Circulated condition. 1905-S VF. 1907-D AU. [See more photos →]

Joe Parrott (American/Tennessee, b. 1944) oil on canvas streetscape depicting a corner view of Sullivan’s Saloon located in downtown Knoxville, TN. Signed and dated “Parrott “03” lower right. Housed in a molded giltwood frame. Sight: 11 1/2″ H x 15 3/8″ W. Framed: 15 1/2″ H x 19 1/2″ W. Artist’s Biography: (Courtesy of the artist) Joe Parrott was born and lives in Knoxville, Tennessee. He earned a BS degree in Business Administration from the University of Tennessee in 1967 and is a self-taught artist. He worked in the graphic arts industry for 43 years while continuing to pursue his artistic aspirations. He currently paints full-time and is dedicated to a lifelong pursuit of creative evolution and exploration. Influences include Edward Hopper, Van Gogh and printmaker Martin Lewis.

PROVENANCE: The Estate of John Z. C. Thomas, Knoxville, TN.

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

William Anslow Thornley (British, 1858-1898) oil on canvas maritime painting, “Sunset on the Thames,” depicting boats at the mouth of the Thames River, under a setting sun partially obscured by clouds. Signed lower left and titled in pencil en verso. Period carved giltwood and composition Rococo style frame. Sight: 9 1/2″ H x 15 1/2″ W. Frame: 18″ H x 24 1/2″ W. Biography: William Thornley was a prolific painter of nautical scenes who painted under multiple names including variations of Thornberry, his actual family name. He exhibited at major London venues including the Royal Academy, the Royal Society of British Artists, and the British Institute, along with the Paris Salon and the Salon of French Artists, where he won a third place medal in 1888.

PROVENANCE: Private Middle Tennessee collection.

CONDITION: Light grime; stress to canvas with cleavage at stretcher edge upper left corner, no previous restoration apparent under UV light inspection. Frame overall condition with some wear, small shrinkage cracks/repairs and an area of loss to carving at lower right corner and at lower left side (1″ area of loss to molded decoration). [See more photos →]

THE CHEROKEE LAND LOTTERY, CONTAINING A NUMERICAL LIST OF THE NAMES OF THE FORTUNATE DRAWERS IN SAID LOTTERY WITH AN ENGRAVED MAP OF EACH DISTRICT, by James F. Smith. New York: Harper & Brothers, 1838. First edition. 8vo., 414pp, plus publisher’s advertisements; full leather covers, red spine label and gilt title; 9″ H x 5-5/8″ W.

Contains multiple maps and a comprehensive list of citizens who, following a series of lotteries, were awarded land (in 160 acre lots) that had been appropriated by the state of Georgia after the forcible removal of the Cherokee in 1838. Note:The original Cherokee Indian territory became Cherokee County by an Act of December 26, 1831. A law passed on December 3, 1832, divided original Cherokee County into ten counties: Cass (renamed Bartow), Cherokee, Cobb, Floyd, Forsyth, Gilmer, Lumpkin, Murray, Paulding, and Union. In the drawing of tickets and in the granting of the land, the area was treated only as Cherokee territory. It was divided between land lots distributed by the sixth land lottery and “gold” lots that were distributed by the seventh land lottery. The territory was so expansive that Cherokee County was divided into four sections, and each section was divided into districts. There were a total of 60 land districts, and each was divided into land lots. Fractional lots of 100 acres and more were counted as whole lots. (Source: Georgia Archives). Note: another copy of this rare book sold in our Summer 2024 auction, lot 490.

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

CONDITION: Fair condition, with wear and rubbing to covers, fading to spine, separation to top; front board starting to separate from page block; writing to interior pages front and back; foxing, staining etc.; front free end paper through title page separating from spine. [See more photos →]