Our Summer Auction will take place Saturday, July 12 and Sunday, July 13 at our Main Gallery in Knoxville. This sale will feature fine art and antiques from several high profile estates and private collections, along with deaccessioned objects from the Arkansas Museum of Art and the Memphis Brooks Museum. The consignment deadline is April 15. Below are just a few upcoming highlights. Watch for our full catalog to be published on our website by mid June.
Carroll Cloar (American/Tennessee, 1913-1993), “Final Resting Place,” 1964, acrylic (tempera casein) on board “Magic Realism” painting depicting a woman in patterned dress and sunglasses standing beside a grave. Floral funerary sprays on wire stands are stuck into the freshly mounded soil beside her, including one containing the surrealistic face of a clock. In the background are grasses and trees rendered in Cloar’s characteristic pointillism. Signed lower left, “Carroll Cloar,” in script; titled with artist name en verso in paint. Labels en verso for the Alan Gallery, New York, and Christie’s Auction. Ref: G. Northrop, “Hostile Butterflies,” Memphis, Tennessee, 1977, p. 99, no. 229, illustrated. Housed in the original stained and olive painted wood frame with gilt sight edge. Board: 22 in H x 32 in W. Frame: 30 in H x 40 in W. Provenance: the estates of Jane and Ervin Entrekin, Nashville.
William Edmondson (American/Tennessee, 1874-1951), “Mother and Child,” carved limestone sculpture depicting a woman with high forehead and short hair, balancing a child on one hip and carrying a pocketbook in the other hand. 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 and the Lady With A Bustle sculpture auctioned by Case in Winter 2024. 13 in H x 5 1/4 in W x 5 1/3 in D (overall).
Helen La France (Kentucky, 1919-2020) oil on canvas landscape painting depicting an African American congregation gathering for a church picnic, with automobiles parked in front of a church and horse and buggy approaching lower left; food is being set out in the background, while little girls play a circle game in the right foreground. Signed “Helen La France” and dated 1998 lower right. Floated in a simple wood frame. Stretcher: 18 in H x 24 in W. Frame: .19 in H x 24 in W.
Meyer R. Wolfe (Tennessee/New York, 1897-1985), “Gay Street,” American Regionalist painting depicting an African American couple standing along an urban Nashville street and watching a train go by on a nearby railroad overpass. Signed lower right “Wolfe” and housed in a cream-painted plain wood frame. Panel: 20 in H x 24 in W. Frame: 28 in H x 32 in W. The area depicted in this undated painting is likely the formerly poor neighborhood near the Tennessee State Capital known as Hell’s Half Acre, near where Meyer Wolfe grew up. It was cleared in the 1950s under a series of Urban Renewal projects to make way for open greenspace, a six-lane road, and commercial buildings, and residents were relocated to public housing. The railroad bridge still stands and is in use today. Provenance: the estate of Dr. Lawrence Wolfe, Nashville, by descent from his uncle, the artist Meyer Wolfe.
William Lester Stevens (American, 1888-1969) oil on canvas Charleston, South Carolina street scene that depicts Meeting Steet with St. Michael’s Church at right and palms and other trees in the foreground. Signed “W. Lester Stevens.,” lower right. Housed in a giltwood frame with foliate corners. Sight: 15 1/2 in H x 19 1/2 in W. Framed: 22 in H x 25 3/4 in W. Note: Although he produced at least four watercolor depictions of various locations in the city, this is Stevens’s only known oil painting of Charleston.
Francis Speight (North Carolina/Pennsylvania, 1896-1989) oil on canvas winter cityscape, 1952. Two industrial buildings stand in the melting snow along Cotton St. in Manayunk, Philadelphia, with a dilapidated building and hillside visible in the distance at right. Signed “F. Speight” and dated, lower right. With 1957 Corcoran Gallery exhibition label with title affixed to stretcher along with Henry M. Taws Philadelphia art supplier stamp. Housed in a painted and giltwood frame with textile liner and painted and gilt fillet. Canvas: 20 in H x 32 in W. Sight: 19 in H x 28 3/4 in W. Frame: 31 3/4 in H x 41 3/4 in W. Exhibition History: Twenty-Fifth Biennial Exhibition of Contemporary American Paintings, Corcoran Gallery, January 13 – March 10, 1957.
Marc Chagall (French/Russian, 1887-1985) lithograph in colors entitled La Chasse a l’Oiseau bleu (Chasing the Bluebird), 1969. On Arches paper with watermark center right. Pencil signed, lower right, and numbered 24/75, lower left. Inscribed in pencil “La chasse aux oiseaux” and “MC-58″ en verso. Ref.: Mourlot 594. Housed in a giltwood frame with cream textile mat and gilt fillet. Sheet: 29 1/8” in H x 21 7/8 in W. Sight: 26 in H x 21 1/2 in W. Framed: 34 in H x 29 1/2 in W.
Tom Wesselmann (American, 1931-2004) Mixografia pop art print on textured handmade paper entitled Still Life with Blonde and Goldfish, 2000. From the series of 75 published by Mixografia, Los Angeles. Signed in pencil and number 74/75, lower right. Floated on a white mount in an acrylic frame. Sheet: 33 in H x 39 in W. Framed: 35 in H x 40 1/2 in W.
After Alexander Calder (French/American, 1898-1976) hand-woven maguey jute fiber tapestry, Doll/Josephine Baker, 1974-5. Woven monogram, date, and edition number 75/100 along lower edge. Published by CAC Publications with label en verso. 81 1/2 in H x 56 1/2 in W.
Walter Francis Kuhn (American, 1877-1949), “Mrs. Elizabeth B. Parkinson, 1944,” oil on board painting depicting a woman with short dark hair and bright red rouge and lipstick. The bust-length portrait highlights the straps and bodice of her lacy black dress, pearl choker necklace and bare arms, while her neck and hollows of her cheeks are portrayed in shadows before an indistinct gray background. Signed center right, “Walt Kuhn” and dated 1944. Titled and dated en verso along with two Walt Kuhn Gallery, Cape Neddick, Maine labels, additional Christie’s Auction labels, and several numerical inscriptions. Wide molded giltwood frame. Board 21 in H x 15 in W. Frame: 27 in H x 21 in W. Note: Elizabeth Bliss Parkinson (1907-2001) was an art collector and patron from New York City. She was a trustee of the Museum of Modern Art for the majority of her life. Provenance: the estates of Jane and Ervin Entrekin, Nashville.
Maurice Brazil Prendergast (American, 1858-1924), “Cattle in a Landscape,” 1890, watercolor on paper painting depicting cattle in a pastoral landscape setting under a partly cloudy blue sky. Signed lower left “Maurice B. Prendergast” and dated July 1890. Ref. Maurice Brazil Prendergast: A Catalog Raisonne, Williams College Museum of Art, p. 330, fig. 514 (illustrated). Exhibited, Heath Gallery, Atlanta, “Nature in Early Modern American Art,” May 17-31, 1986. Matted under glass in a giltwood Rococo style frame with labels for Heath Gallery and Sotheby’s. Sight: 8 in W x 6 1/4 in H. Frame :15 in W x 14 in H. Note: A copy of the Maurice and Charles Prendergast Catalog Raisonne accompanies this lot.
Jasper Francis Crospey (New York, 1823-1900) oil on canvas Hudson River School landscape painting, “Along the Delaware,” 1889. Within a lush, atmospheric landscape filled with colorful fall foliage a lone figure carries a red bindle and walks away from a small bridge. The bridge transverses a creek that flows into the distant Delaware River. At right, the roof of a small building and a wooden fence peer over a hillside while dark clouds hang in the sky above. Signed and dated “J.F. Cropsey 1889,” lower left. With 1991 Christies labels affixed to back of frame. Housed in a giltwood frame with brass nameplate. Canvas: 12 in H x 20 in W. Sight: 11 in H x 19 in W. Frame: 21 in H x 29 1/4 in W.
Thomas Doughty (Pennsylvania/New York 19th c.) Hudson River School oil on canvas landscape painting depicting sailboats on a placid river positioned between steep hillsides, all under a sky filled with gray clouds. Signed “T DOUGHTY” lower center. Housed in a period giltwood frame. Sight: 28 in H x 35 in W. Frame: 40 in H x 47 in W.
James Guy Evans (American/ Louisiana, 1809/10-1859) oil on canvas maritime painting titled “The Eleanor Jane… in a Stiff Blow Near Cape Henry [Virginia],” depicting the ship in choppy waters heading into a dark storm cloud. Flags including an American ensign fly from the masts. Other unidentified vessels are visible in the difference. Signed “Evans Paint” lower right. 2 stencils on back for artist supply stores R. Hall & __ Canal St., New Orleans, and Groupil, New York. Stretcher: 29 in H x 26 in W. Frame: 37 in H x 44 in W. Note: New Orleans-based marine painter James Guy Evans first enlisted in the U.S. Marine Corps in 1829 and was discharged from Navy service at Norfolk in 1836. He lived briefly in New York and Cuba before moving to New Orleans in 1846 where he opened a commercial painting studio specializing in house, ship, sign, and ornamental painting. Contemporary accounts record that he sailed with his subjects on occasion, serving as both a painter and minister while on board. In about 1850 he took on a partner, German-born artist Edward Arnold (1824-1866); the two also worked together on some paintings.
Oil on paper mounted to panel portrait of President George Washington, attributed to James Peale, Sr. (Maryland/Pennsylvania, 1749-1831). Washington appears in bust-length, three-quarters view and wears a powdered wig, black coat, and white cravat. 19th c. or earlier. Unsigned. With label en verso inscribed “Property of / Frank Dudensing / James Peale / FD 114 – 7 x 6,” plus additional inventory label with Peale attribution. Housed under glass in a painted wooden frame with gilt fillet. Sight: 6 in H x 5 in W. Frame: 13 3/4 in H x 11 3/4 in W. Note: Art dealer Frank Dudensing (New York, d. 1940) was the father of the noted gallerist F. Valentine Dudensing, operator of the modernist Valentine Gallery. According to the Valentine Gallery, Frank’s father, Richard Dudensing, “emigrated from Germany and was a successful printer and engraver in New York, while [his son Frank] opened the art gallery Richard Dudensing & Son in 1903.” (Source: Valentine Gallery)
Edgar Alwin Payne (Missouri/California, 1883-1947) oil on board depicting a placid lake, in the High Sierras, shadowed by barren mountains with scattered snowfall. Rendered in a light impasto are the multicolored trees settled on a boulder-strewn valley and the grey/purple mountains that make up the background. Signed “Edgar Payne” in lower right. Housed in a gilt frame with areas of floral design carved into the corners. Sight: 11 1/2 in H x 15 1/2 in W. Frame: 18 in H x 22 in W.
Cornelius Haly Hankins (Mississippi/Tennessee, 1863-1946) oil on canvas still life painting depicting a basket of fruit, nuts and nutcracker beside a frosted fruitcake and a bottle of wine, set against a dark, indistinct background. Signed “Cornelius Hankins” lower right and dated “Xmas 1897.” Housed in a giltwood Aesthetic Movement style frame. Sight: 23 1/2 in H x 15 1/2 in W. Frame: 24 in W x 32 in W.
Carl Gutherz or Guthers (Tennessee/Missouri, 1844-1907), “Missing,” oil on canvas painting of a fallen soldier who lies partially hidden by foliage on a forest floor while a small bird perches on a branch above. He wears the uniform of a French foot soldier active during the Franco-Prussian War. Although the soldier’s body shows no sign of distress, the blasted tree in the background suggests the possibility of cannon fire. Signed “Carl Gutherz” and dated 1886, lower left. Housed in giltwood frame. Sight: 50 1/2 in H x 35 1/2 in W. Canvas: 51 1/8 in H x 36 1/8 in W. Frame: 58 1/2 in H x 42 in W.
Elizabeth Quale O’Neill Verner (South Carolina, 1883-1979) pastel on silk portrait depicting a Charleston flower vendor seated and holding a bouquet of flowering branches. She smokes a pipe and wears a bright blue head wrap. Signed “Elizabeth O’Neill Verner” lower right. Housed in a beveled oak frame. Sight: 8 1/2 in. H x 7 7/8 in. W. Framed: 11 3/4 in. H x 11 1/4 in. W.
Charles Roger “Red” Grooms (Tennessee/New York, b.1937) color lithograph on paper titled “Truck II”. Numbered “32/75” lower right and pencil signed “Red Grooms”. Housed and matted in a contemporary black frame under glass. Sheet: 24 1/4″ H x 61 3/4″ W.
Carroll Cloar (American/Tennessee/Arkansas, 1913-1993) large graphite and colored marker on paper drawing. A young woman wearing a checkered apron with hands in her pockets, stands in an open field with yellow grass and tall wildflowers, and a grove of trees in the distance. Signed, Carroll Cloar, lower left. Framed under glass in a molded giltwood frame with intentional distressing. Sight: 35 in W x 21 in H. Frame: 45 in W x 31 in H.
Virginia Federal huntboard or sideboard. Cherry, walnut, figured cherry veneers. Yellow pine and poplar secondary. Pegged construction. Plain rectangular top over two deep side drawers and two stacked center drawers, each drawer dovetailed and having figured or “tiger” cherry veneer surrounded by figured crossbanding at the edges and oval brass pulls embossed with acorns and leaves. Supported on four tall square tapered legs. 42 in H x 57 in W x 20 3/4 in D. Circa 1810.
American Schoolgirl Needlework Sampler by Lucy Ann Reid, Spring Hill TN Female Academy, 1842, silk thread on linen ground. Cross stitched double vine and blossom borders enclosing two alphabets (one rendered in box stitch) and a row of numbers, divided by satin stitch sawtooth borders, a vine and blossom border, and decorations of flowering baskets, over a verse, “Jesus permit thy gracious name to stand / engraven by an infant hand / As I my finger oor the canvass move / inspire my bosom with thy love.” Cartouche lower center signed “Lucy Ann Reid aged 9 / Spring Hill Female Academy / Nov. 15, 1842” within a geometric border. Later molded wood frame, under glass. Sampler: 17 in H x 16 3/4 in W. Frame: 21 in H x 20 1/2 in W. Note: this sampler has been documented by the Tennessee Sampler Survey, which notes that Lucy Reid was born Feb. 16, 1832 in either Tennessee or North Carolina. Her parents William Buchanon Reid and Ede Harris Brown moved to Macon in Fayette County Tennessee by 1834. Spring Hill Female Academy on the border of Williamson and Maury Counties was likely the closest site for her to receive educational instruction. Lucy Reid married Edmond Madison Waller in 1851. He served as a private in the Confederate Army (13th Tennessee Infantry) and was killed at the Battle of Stones River Dec. 31, 1862. Lucy herself and their son do not appear in any records after that, although their 3 daughters lived to adulthood.
Large patriotic blue and white hand-pieced cotton Medallion pattern quilt top, of original design and possibly based on a mosaic floor design, with four eagles in each corner and additional star and foliate designs throughout. Consisting of two blue cotton print fabrics and a white cotton tape to secure the edges. 102 in. x 95 in., Circa 1850 – 1870. Note: This quilt is one of three in this sale that belonged to Linda McCormick Felts, an antique collector and interior designer from Memphis, TN. All three quilts were also featured in the Pieced & Patterned exhibit at the Museum of Fine Arts in St. Petersburg, Florida, which ran from September 18, 2021, to January 23, 2022.
Mid-19th century hand pieced, appliqued, and quilted patriotic Bursting Star pattern quilt. Consisting of printed chintz cotton in Prussian blue, pink, and brown colors, appliqued eagles to each corner consisting of ombre prints, interspersed with appliqued potted roses consisting of red, green, and brown prints, all on a white ground with white cotton back. Cotton batting with diagonal quilting with quilting around each applique, visible from the back. 88 in. x 88 in. Circa 1850’s with some fabrics dating to the 1840’s. Note: This quilt is one of three in this sale that belonged to Linda McCormick Felts, an antique collector and interior designer from Memphis, TN. All three quilts were also featured in the Pieced & Patterned exhibit at the Museum of Fine Arts in St. Petersburg, Florida, which ran from September 18, 2021, to January 23, 2022.
Edward Alfred Cucuel (American, 1875-1954) oil on canvas impressionist style painting rendered in a thick impasto, depicting a well-dressed woman lounging in a folding chair in a garden setting on what appears to be a bright yet chilly day. She wears a feathered hat and fur stole and holds a parasol, and beside her sits a table spread with food. Signed lower right “E. Cucuel” with possible additional faint signature in script en verso. The whitewashed parcel gilt Rococo style frame retains a Kunlthaus Buhler, Stuttgart, gallery label en verso, and has possible title “Cecelia” inscribed in chalk along with various numbers. Sight: 25 in H x 18 in W. Frame: 33 in H x 26 in W. Biography: California-born Edward Cucuel began his formal art training at the age of 14 at the School of Design in San Francisco and three years later undertook studies at the Academie Julian in Paris followed by training at L’Ecole des Beaux Arts under Jean Leon Gerome. In 1896 he returned to the U.S. and worked briefly as a newspaper illustrator before returning to Europe. By 1907 he had established a studio in Munich where he worked with Leo Putz and developed his own Impressionist style. Cucuel lived in Europe until 1939, when World War II forced him to move back permanently to California. He is best known for his Impressionist paintings of elegant women engaged in leisurely outdoor activities.
Hamilton Hamilton (Connecticut/California, 1847-1926) impressionist oil on canvas painting depicting a young woman in a long white dress standing before a trellis covered in blooming roses. The trellis grows up the column of a house with window visible behind the column. Signed “Hamilton Hamilton NA” lower right. Label en verso for Berry Hill Galleries, with title listed as “Young Woman Standing Before a Trellis of Flowers” and approximate date of 1890-1895. Giltwood frame with Neoclassical style fluted, egg and dart and beaded moldings and carved corner ornaments. Sight: 23 1/2 in H x 13 1/2 in W. Frame: 28 1/2 in H x 18 1/2 in W.
Frederick DeVoll (Rhode Island/New York, 1873-1941) oil on board impressionist cityscape painting, “Milk Delivery Early Morning.” A horse-drawn milk cart navigates a city street while long, purple shadows cast by buildings spread out before it. Signed “F. Usher De Voll,” lower left. Titled to back of board in pencil. Housed in a giltwood frame with cream linen mat. Sight: 15 1/4 in H x 19 1/2 in W. Frame: 24 1/4 in H x 28 1/4 in W.
Hayley Lever (American, 1876-1958) oil on board impressionist painting depicting a grassy tract of land on a sunny fall day, with a wheelbarrow centered between two large trees with changing and falling leaves. A row of trees in the background with leaves in shades of gold and purple, provide a colorful background. Signed “Hayley Lever” lower left and inscribed “Caldwell, NJ 1935” en verso. Gilt molded frame with linen mat. Sight: 17 1/2 in W x 13 1/2 in H. Frame: 24 in W x 20 in H.
Eduardo Kingman (Ecuador/United States, 1913-1997) oil on canvas painting that depicts two indigenous workers who use straps and ropes to carry a heavy load, 1938. A worker in white and red kneels and carries a large sack on his back while a second, standing figure assists. Signed and dated 1938, lower right. Housed in a simple wooden frame, likely original. Sight: 30 in H x 28 in W. Frame: 35 1/2 in H x 34 1/4 in W.
Samuel Bak (United States/Israel/Poland, b. 1933) oil on canvas surrealist painting entitled The Origins of the End Game, 1971. Oversized chess pieces and weathered wooden constructions sit on a rocky hillside beneath a dark, cloudy sky and before an expansive landscape. The shadow or silhouette of a horse’s head or knight chess piece appears prominently on a central wooden panel. Signed “BAK,” lower right. With Safrai Art Gallery, Jerusalem and Boston label affixed to stretcher plus inventory number inscribed to upper-right of stretcher. Housed in a distressed giltwood frame with linen fillet. Sight: 18 in H x 14 1/2 in W. Frame: 24 in H x 20 5/8 in W. Literature: Paul T. Nagano, SAMUEL BAK: THE ETERNAL ENIGMA (Boston, MA: Pucker/Safrai Gallery, Inc., 1971), front cover. Exhibition History: Samuel Bak: The Eternal Enigma; Pucker/Safrai Gallery, Boston, MA; Jan. 10-Oct. 11, 1971.
Thomas Hart Benton (American, 1889-1975) Regionalist lithograph entitled “Youth Music,” with a band that plays on-stage before a small audience who clap and dance. The band features guitar, piano, upright bass, drums, and vocalists. Signed in pencil and in the stone, lower right. Ref.: Fath 92. Housed under plexiglass in a silvered wood frame with white mat. Sheet: 20 1/2 in H x 27 in W. Sight: 17 1/2 in H x 21 in W. Frame: 27 in H x 33 1/2 in W.
Large Native American Acoma polychrome pottery olla having stylized black and white geometric designs including bird’s head to the body with a polychrome burnt orange base and interior. 13 1/2 in H x approx. 14 1/2 in W. Late 19th/Early 20th century.
Large Native American Apache polychrome figural basket tray or bowl, coiled willow construction with devil’s claw designs radiating from the center with seven figures around the sides interspersed with triangular designs emanating from the rim. 3 1/2in H x 15in dia. 1st Qtr. 20th century.
1st item: Ladies platinum ring featuring one (1) round brilliant cut diamond approximately 4.62 carats, Clarity-VS1, Color-RS, accented by two (2) tapered baguette cut diamonds approximately 0.36 carats together, Clarity-VS1, Color-K. The ring XRF tests 90% platinum and is size 4 3/4. Gross weight of the ring is 6.33 grams. 2nd item: Ladies 14K white gold ring jacket featuring twenty six (26) round brilliant, marquise, and baguette cut diamonds approximately 1.62 carats together, Clarity-SI2, Color-I. The ring is marked “14K EREV 72423” and XRF tests 14K gold. The ring is size 6 3/4 and has a gross weight of 6.96 grams. Gross weight of the lot is 13.29 grams.
Ladies 14K yellow gold solitaire engagement ring featuring one (1) round brilliant cut diamond weighing 2.69 carats, Clarity-VVS2, Color-L. Measuring 9.26 – 9.37 x 5.18 mm. Very good cut, good polish, very good symmetry, and no fluorescence. The ring is marked “14K” and XRF tests 14K gold. The ring is size 5 1/4 and has a gross weight of 3.35 grams. GIA Report Number: 5232538053. 2nd item: Ladies 14K yellow gold jacket ring featuring fourteen (14) round brilliant cut and fourteen (14) baguette cut diamonds approximately 1.54 carats together, Clarity-SI2, Color-J. The ring XRF tests 14K gold and is size 5 3/4. Gross weight of the ring is 9.16 grams. Gross weight of the lot is 12.51 grams.
Ladies 18K yellow gold Italian designer Etruscan Revival collar necklace by Oreste Guidi. The necklace is marked “RMC 750 2 BU GO” and XRF tests 18K gold. The necklace is 17 in. L. and has a weight of 127.20 grams.
Pair of large Art Nouveau sterling silver candelabra by Howard and Company, New York. Each candelabra consisting of two sections including a top with five scrolling arms centering a raised single light and a lower repousse and chased base section terminating into a square base with four scrolling feet. The underside of the base is marked HOWARD & CO. / STERLING / NEW YORK and dated 1905. The top is numbered in various areas and is otherwise unmarked but XRF tests Sterling. 25 in. H x 17 3/4 in. dia. 325.47 total troy ounces total.
Art Nouveau sterling silver vase, Bailey, Banks & Biddle, with trophy inscription for the 1904 Baltimore Horse Show. The vase features a flaring trumpet style rim with undulating repousse floral and leafy stem decoration which repeats on the wide domed base, and a narrow tapering waist engraved in script: BALTIMORE HORSE SHOW 1904 WON BY LORD AND LADY WOOTTON / FIRST BEST PAIR NOT EXCEEDING 15.02 / FIRST BEST PAIR AND APPOINTMENTS FOR GENTLEMAN’S PARK USE / SECOND TANDEMS/ SECOND LORD WOOTTON / RUNABOUT AND APPOINTMENTS /SECOND LADY WOOTTON BEST HORSE NOT EXCEEDING 15.02 . Marked to underside for Bailey, Banks and Biddle, 925/1000 and numbered 3227. Height: 24 1/2 inches. Weight: 90.41 oz troy.
Large 19th Cent. Continental Russian Silver Tea Tray with Armorial Engraving. Rectangular form with ribbed sides and floral chased border accented with large floral decorations at corners, and two side handles having grape and vine chased decoration. Center armorial engraving of dove on branch surmounting a shield with banner engraved PREST POUR MON PAYS (translated from French as “Ready for my Country.” Russian touch marks to each handle and to back, including 84 (.875) fineness, maker Henrik Tallberg, and assayer Mikhail Karpinsky, St. Petersburg, 1830. Later inscription en verso, “Virginia Watts Bailey / Dec. 24, 1934”. Measures 30 in x 20 in (including handles). 123.77 oz troy.
Large Ferahan Sarouk, 12 ft x 8 ft 3 in. Early 20th century. More information in the coming weeks.
Pablo Picasso (Spain/France, 1881-1973) Sujet Poule (A.R. 250), earthenware bowl with blue and white engobe in the form of a hen, designed in 1952 and executed in an edition of 500. Underside stamped and signed “Edition Picasso / Madoura Plein Feu / Edition Picasso”. 5 1/4 in. H x 7 1/2 in. D x 4 1/2 in. W.
Scarce Hippopotamus figurine by McCarty Pottery of Merigold, Mississippi, with three-tone glaze and cobalt eyes. Inscribed “McCartys / Merigold / Miss” to the underside. 14″ L x 7″ W x 5″ H. Circa 1960s. Note: Another Hippopotamus example by McCarty sold in the January 2025 Case Auction.
Richard Jolley Green Glass Sculpture signed on circular base edge, “Richard Jolley 2002”. More information in the coming weeks.
Large Daum Fleur de Paon art glass vase, consisting of a mix of molded peacock feathers and exotic palm leaves, in colors of green, blue, and amber. Signed along the base edge “Daum France”. 15 1/4 in. H x 10 1/2 in. W. 20th century.
Large Chinese celadon jadeite brush pot, the exterior with continuous heavily carved figural, animal and landscape decoration including two figures conjoined by string with a dragon dog beneath a pagoda, a figure atop a deer with two deer below, a figure atop an elephant beneath a stand of pine trees and two figures depicted seated in alcoves in meditative poses. All contained within a heavily carved rim and base. The underside of the base with an incised seal mark. 8 1/4 in H x 7 3/4 in total dia. Late 19th/Early 20th century.
Tsibi Geva (Israel, b. 1951) acrylic and oil on canvas abstract painting in white, grey, and muted pastel hues arranged within an uneven grid, with gestural brushwork and drips throughout, 1994. Signed and dated en verso. With Annina Nosei Gallery, New York, label affixed to back of frame. Housed in a modern, silvered wood frame. Canvas: 72 in H x 72 in W. Framed: 74 1/4 in H x 74 1/4 in W.
Ogle Winston Link (American, 1914-2001) silver gelatin print photograph, “Hotshot Eastbound, Iager, West Virginia, July 1957,” 1957, printed June 1993. Numerous cars filled with moviegoers park in a 1950s drive-in theater in West Virginia while a train steams past and an image of an airplane appears screen. Housed under plexiglass in a modern wood frame with white mat. Sight: 15 3/4 in h x 19 1/2 in W. Frame: 24 1/2 in H x 28 in W.
Joyce Tenneson (American, b. 1945) cibachrome print, “Suzanne,” 1987, printed 1997. Signed, dated, and numbered 28/50 en verso. Housed under glass in an ebonized wood frame with white mat. Sight: 35 1/4 in H x 28 1/4 in W. Frame: 54 in H x 47 1/4 in W.
Kiki Smith (American, 1954) etching “Two”. Edition of 16/18, signed lower right margin, “Kiki Smith 2002”. Plate 38 in. x 30 in., Sheet 45 in. x 35 in.
Edward Rusha (American, b. 1937) signed lithograph, “Yo,” from the Tamarind Institute portfolio “Artists’ Impressions, 1989-1991,” 1991. Signed, dated, and numbered 21/30 in pencil, lower margin. Floated under plexiglass in a painted wood frame with white mount. Published by Tamarind Institute with their chop mark, lower left, and printer Erica Gutenschwager’s chop mark, lower right. Sheet: 12 in H x 12 in W. Frame: 14 1/8 in H x 14 1/8 in W.
Samuel Lewis Francis (American, 1923-1994) monotype that depicts a partial view of a nude woman described with gestural black splatter and expressive linework, 1987. Signed, dated, and numbered “1” in pencil, lower margin. Housed under plexiglass in a black metallic frame. Plate: 15 1/2 in H x 20 in W. Sight: 17 3/4 in H x 21 1/2 in W. Frame: 34 1/4 in H x 38 1/4 in W.
Joan Miro (Spanish, 1893-1983) abstract lithograph on Rives paper, “Chevauchee (Horse-ride) Orange,” 1969. Printed and published by Maeght Editeur, Paris. Signed in pencil, lower right, and numbered 49/75, lower left. With partial watermark, upper right. Titled in French and inscribed G/24453 in pencil en verso. Ref.: Mourlot 606. Housed under plexiglass in an ebonized wood frame with white textile double mat and black fillet. Sheet: 33 1/4 in H x 23 3/4 in W. Frame: 47 3/4 in H x 38 3/4 in W.