Our Winter Auction will take place Saturday, January 31st and Sunday, February 1st at our Main Gallery in Knoxville and features fine art, antiques, and jewelry from collections including the estates of Elisabeth Hardin, Gadsden, Alabama; Dr. Allen E. Johnson, Knoxville; Waltraut H. Mizell, Nashville; Annette Eskind, Nashville; and Dr. Michael Spalding, Nashville; the collections of Marty and David Black, Rockford, TN, and Dr. James and Rebecca Whicker, Knoxville, TN; and the Arkansas Museum of Fine Arts Foundation, The Hunter Museum of American Art, The Memphis Brooks Museum of Art, The Vanderbilt Museum of Art, and a Southern corporate collection. We are continually adding new preview items, so please check in regularly. We expect to publish our full catalog on our website later in December.
Eanger Irving Couse (American, 1886-1936) oil on panel painting, “Moonlight, Indian Lake.” A Native American kneels and gazes into a pool of water while the moon hangs in the night sky above and casts a beam of yellow moonlight onto the water’s surface. Signed lower right. Additionally titled, signed, and dated in pencil en verso. Findlay Galleries, Chicago label to backing and Fine Arts Gallery, San Diego label affixed verso. Housed in a carved giltwood wooden frame with brass nameplate. Sight: 20 in. H x 24 in. W. Framed: 21 1/2 in. H x 28 3/4 in. W. 1926.
Large Helen La France (Kentucky, 1919-2020) oil on canvas landscape painting depicting an African American church congregation gathering for a 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 foreground. Signed “Helen LaFrance” and dated 1995 lower right. Sight: 47 1/2 in. W x 26 1/2 in. H. Frame: 51 1/2 in. H x 30 1/2 in. W.
William Edmondson (American/Tennessee, 1874-1951) carved limestone sculpture, “Schoolteacher,” that depicts a woman with thick, deeply-incised hair, a bowtie, and a long dress tied in back with a bow. With her right arm she holds a book against her side and with her left she raises the hem of her dress to reveal a scalloped slip or undergarment. Her feet extend over the carved, rectangular base. 15 1/2 in. H x 6 in. W x 8 in. D. Provenance: by descent from the consignor’s parents, Mr. and Mrs. William R. Rutherford McDaniel of Nashville. Bill McDaniel was a publisher, radio station owner, and editor at the Nashville Tennessean newspaper. In the 1930s, he and William Edmondson both worked for the Federal Works Progress Administration in Nashville. In his role at the WPA, McDaniel served as director of the Tennessee Writers’ Project, and published Tennessee: A Guide to the State (which briefly referenced Edmondson and his work). Additional note: this sculpture is pictured in a Feb. 9, 1941 article about Edmondson in the Nashville, Tennessean newspaper, along with two other female figures, all noted as “showing the broad and rich humor of his views on the human race.” The article was a preview for a one-man exhibit of more than 30 Edmondson works at the Nashville Art Gallery at 419 Union Street. Additional exhibition, “Will Edmondson’s Mirkels”, Cheekwood, Nashville, 1964, #101 (“Schoolteacher lifting her Skirt”).
William Edmondson (American/Tennessee, 1874-1951) carved limestone sculpture that depicts two doves perched on a rectangular ledge. Both birds lower their beaks into their breast feathers in a shared posture. Incised lines define their wing, breast, and tail feathers. 7 in. H x 9 in. W x 7 in. D. Provenance: The collection of Wharton McDaniel, by descent from his parents, Mr. and Mrs. William R. Rutherford McDaniel of Nashville. Bill McDaniel was a publisher, radio station owner, and an editor at the Nashville Tennessean newspaper. In the 1930s, he and William Edmondson both worked for the Federal Works Progress Administration in Nashville. In his role at the WPA, McDaniel served as director of the Tennessee Writers’ Project, and published Tennessee: A Guide to the State (which briefly referenced Edmondson and his work). Exhibited, “Will Edmondson’s Mirkels”, Cheekwood, Nashville, 1964, #30 (“Two Doves”).
Eugene Louis Boudin (French, 1824-1898) oil on panel painting depicting ships and figures along a wharf at the Port of Trouville, under a sky thick with clouds. Signed “E. Boudin” lower left. Cove molded giltwood frame. Panel: 13 3/4 in H. x 10 1/2 in. W. Frame: 18 in. H x 14 in. W. Provenance: The collection of Walter Squire, New York, thence by descent. An exhibition of primarily French art from the Squire Collection was held at Taylor Hall, Vassar College, in 1932 and, according the the Vassar Quarterly, February 1933, it included artwork by Boudin, Bonheur, Courbet, Corot, Delacroix, Manet, Raffaelli, Rousseau, and Whistler, among others.
Marianne Harvey (British, 1787-1812) oil on canvas Romantic equestrian portrait of her father, John Harvey (1755–1842), Mayor of Norwich, after John Opie’s (British, 1761-1807) 1792 portrait in the Norwich Civic Portrait Collection, Norwich Castle Museum and Art Gallery, Norwich, England. Harvey stands in full dress uniform in a foggy, windswept landscape and holds the reigns of a large, seal brown horse as he turns to look to the viewer’s right. In his left hand he holds a bearskin cap. Sight: 54 in. H x 39 in. W. Framed: 59 1/2 in. H x 44 1/4 in. W.
Xanthus Russell Smith (Pennsylvania, 1839-1929) oil on canvas painting, “General Reynolds Rallying the Pennsylvania Reserves at the Second Battle of Manassas,” 1864. Major General John F. Reynolds, on horseback, waves the American flag as he rallies his Pennsylvania Reserves troops against a Confederate brigade shown at left. At right, Reynolds’s Federal troops raise the flag of Pennsylvania. Signed “Xanthus Smith” and dated 1864, lower right. Additionally signed and inscribed en verso: “Gen. Reynolds Rallying the Penna. Reserves at the 2nd Battle of Manassas / Painted by Xanthus Smith.” Sight: 9 3/4 in. H x 16 1/4 in. W. Framed: 12 3/4 in. H x 19 1/4 in. W.
Edward S. Curtis (American, 1868-1952) gold tone AKA Curt-Tone photograph on glass, “At the Old Well of Acoma.” An Acoma Pueblo, New Mexico, woman or girl sits on a rock and watches as a second figure dips a pottery vessel into a body of water, with rocky cliffs beyond. Signed and with Los Angeles (“LA”) copyright insignia lower right. Housed in the original Curtis-designed “batwing” frame. Glass: 11 in. H x 14 in. W. Frame: 15 in. H x 18 3/4 in. W. Negative date 1904.
Pablo Picasso (Spanish, 1881-1973) lithograph on Arches paper, “Nu Assis, de Profil” (Seated Nude in Profile), 1947. A seated, nude woman shown in profile rests her right hand on a bent knee and supports herself with her left arm. Pencil signed lower center and numbered 31/50, lower right. From the edition of 50 plus five proof impressions. Dated “Dimanche (Sunday) 11.5.47” in the stone, lower center. Stamped “Made in France” to verso, lower left, plus pencil inscriptions in French and numbering. With Arches watermark lower center. Ref.: Bloch 454, Mourlot 103. Housed under glass in a giltwood frame with cream textile mat and gilt fillet. Sheet: 19 3/4 in. H x 25 1/2 in W. Frame: 27 3/4 in. H x 33 3/4 in W.
William Browning Cooper (1811–1900), three-quarter length oil on canvas portrait depicting Ann Eliza Strickler Cooper (1833 – 1872), wife of Tennessee and U.S. Senator Henry Cooper (1827 – 1884). She is depicted seated in a Victorian chair, arms crossed, wearing an off-the-shoulder dark red velvet dress. Her hair is styled upswept, with ringlets framing each side of her face, all set against a landscape scene and painted corners mimicking spandrels. Unsigned. With a restoration specialist stamp on the backing. Housed in a heavily carved giltwood and gesso Rococo-style frame. Sight: 35 1/4 in. H x 28 1/4 in. W. Framed: 47 1/4 in. H x 40 1/4 in. W. Note: A portrait of her husband Sen. Henry Cooper is also included in this auction. The couple married in Shelbyville, TN, in 1850 and had five children.
Middle Tennessee sugar sideboard, cherry primary with cherry veneer, poplar secondary. Consisting of a two-board pegged rectangular top over cherry veneered frieze, three deep scratch-beaded drawers, the center drawer is the largest, over one long drawer, all dovetailed with wooden knobs and brass escutcheons. Ring turned and tapered legs. 35 3/4 in. H x 38 in. W x 20 1/4 in. D. Circa 1820-1830. Note: Two similar examples are illustrated in the book “The Art & Mystery of Tennessee Furniture” by Nathan Harsh and Derita Williams, p. 153, figures 170 & 171.
Southern Middle Tennessee diminutive sideboard/server. Cherry primary, tulip poplar secondary. Two projecting dovetailed drawers over one long dovetailed drawer flanked by ring and cylindrical turnings, paneled sides, ring turned legs terminating in an elongated ball and spike. Lincoln Co., TN. Second quarter of the 19th century. 37 1/2 in. W x 22 1/2 in. L x 43 in. H.
Kentucky Sheraton sugar chest, cherry primary, poplar secondary, having a rectangular dovetailed and pegged case; three-quarter depth hinged top above one dovetailed drawer with wood pulls over tall turned Sheraton legs. 36 3/4 in. H x 25 1/4 in. W x 18 1/4 in. D. 2nd Qtr. 19th century.
East Tennessee Federal desk and bookcase or secretary, figured walnut with poplar secondary wood. Bookcase section with cove molded cornice over a plain frieze and two single paneled doors, flanked by chamfered corners; three (3) interior shelves with plate grooves. Diamond inlay at keyhole, molded base. Desk section with fall front, battened top and sides, opening to fitted interior with central plain prospect door, flanked by two vertical document drawers with molded edges, and two drawers over three cubbyholes on each side. Plain writing surface over four graduated drawers and a serpentine skirt, raised on tall flaring French feet. Brass pulls and plates appear original and are stamped with images of cotton bales with triple masted ship in the background, and the caduceus (medical) symbol. Possibly Knox County, Tenn., 1790-1810. Interior of top drawer has MESDA (Museum of Early Southern Decorative Arts) label dated 9/12/82 ref. #11604. Exhibited, “Art of Tennessee,” Frist Center for the Visual Arts, illustrated exhibit catalog p. 62 fig. 28. Also illustrated, “Art and Mystery of Tennessee Furniture” by Nathan Harsh and Derita Coleman Williams, ed. Tracey Parks, p. 103, fig. 60, and exhibited Cheekwood, 1971, “Made In Tennessee” exhibit. 94″ H x 42″ W x 21 1/2″ D.
Scarce Weakley County West TN Schoolgirl Needlework Sampler, stitched by Unity M. Terrell in 1837. Silk on linen, featuring a hemstitched border with strawberry and vine embroidery, enclosing 6 rows of alphabets and numbers, over a verse and signature: “Unity M. Terrell’s sampler wrought in the 10 year of her age – Dresden 1837.” (Note: Dresden is the seat of Weakley County). The lines of text are divided by decorative geometric stitched bands, all rendered in cross stitch, Queen’s stitch, and rice stitch. Housed under glass in a later molded simulated wood frame. Sight: 19 3/4 in. H x 21 3/4 W. Frame: 21 1/4 in. H x 22 1/4 in W. According to the Tennessee Sampler Survey, this sampler, documented after the publication of its book (Tennessee Samplers: Female Education and Domestic Arts 1800-1900, published by the University of Tennessee Press, 2025 ), is only the 18th sampler to have been discovered from West Tennessee.
Charles Krutch (Tennessee, 1849-1934) oil on canvas laid to board Tennessee landscape painting with trees flanking a small stream and a distant view of a blue mountain range. Signed “Krutch” lower right in red. Canvas board: Sight: 9 3/4 in. H x 7 3/4 in. W.
Lloyd Branson (Tennessee, 1861-1925) impressionist watercolor and gouache on paper painting that depicts an autumn landscape with nearly leafless birch trees that grow along a dirt path. Rendered in pink, yellow, green, and purple tones with white highlights. Signed lower right. Housed under glass in a giltwood frame with gold mat and cream reveal, likely the original McCrary & Branson, Knoxville, TN frame. Sight: 9 1/4 in. H x 21 3/4 in. W. Framed: 22 in. H x 34 1/4 in. W.
Maria Howard Weeden (Alabama, 1846-1905) watercolor on card portrait painting. A young woman shown in bust-length, three-quarters view wears a blue and brown head covering and gold earring and looks to her left. Signed “Weeden,” lower left. Framed under glass in a painted wooden frame with white mat and gold reveal. Card: 8 7/8 in. H x 6 7/8 in. W. Sight: 4 3/8 in. x 4 3/8 in. Framed: 14 3/4 in. x 14 3/4 in.
Maria Howard Weeden (Alabama, 1846-1905) watercolor on card portrait painting. A young girl with braided hair shown in bust-length, profile view. She wears a light blue dress or shirt and gazes slightly upward. Signed “Weeden,” lower left. Framed under glass in a painted wooden frame with white mat and gold reveal. Card: 8 15/16 in H x 6 7/8 in. W. Sight: 4 7/8 in. x 4 7/8 in. Framed: 14 3/4 in. x 14 3/4 in.
Elizabeth Quale O’Neill Verner (South Carolina, 1883-1979) pastel on card drawing that depicts a Charleston, South Carolina flower vendor who stands in profile view with a large basket of colorful flowers on her head. She places her left hand on her hip and wears a vibrant blue blouse, white apron, and white headscarf. Signed “E.O.N. Verner,” lower right. Housed in a beveled oak frame. Sheet: 17 3/4 in. H x 12 3/4 in. W. Framed: 20 3/4 in. H x 15 3/4 in. W.
Clementine Reuben Hunter (American/Louisiana, 1886/87-1988), “Gin Picking Cotton,” oil on canvasboard painting that depicts a farm landscape with four African American figures who load cotton into a gin building and handle baled cotton. A plume of smoke rises from the building into the blue and purple sky. Signed with monogram, lower right, and titled en verso. Housed in an ebonized wooden frame. Sight: 17 1/2 in. H x 23 1/2 in. W. Framed: 19 5/8 in. H x 25 5/8 in. W. Note: We are grateful to Thomas Whitehead for his assistance in confirming the authenticity of this painting.
Noel Rockmore (New York/New Orleans, 1928-1995) oil on canvas portrait of a trumpet player from his Preservation Hall series. The unidentified subject is seated with his body facing the viewer but with his head and gaze turned, holding a trumpet at rest in his right hand, against a dark and indistinct background. Signed “Rockmore” upper right and dated 1963 with “N.O.” for New Orleans; artist name and other, illegible, inscriptions plus remnants of an old paper label en verso of stretcher. Sight: 38 in. H x 29 1/2 in. W. Frame: 39 in. H x 31 1/2 in. W.
Nell Hinton Choate Jones (Georgia/New York, 1879-1981) oil on canvas painting that depicts five African American men who wear brightly colored clothes and dance at night in a clearing before an old wooden fence. Two curving trees bookend the group and dense foliage grows beyond the fence. Signed “Nell Choate Jones,” lower left. Housed in a silvered wooden frame with linen liner. Sight: 19 3/16 in. H x 23 2/16 in. W. Framed: 22 1/4 in. H x 26 5/16 in. W.
William “Bill” Sawyer (American/Tennessee, 1936-2020), oil on board painting of a little girl in a pink dress peering out a window at the end of a long hallway, with her back to the viewer. Only a brick-red square, probably the corner of an adjacent building, hints at what has captured her attention. The words “clean me” are finger-printed into the window shade, and two teacups and a block sit abandoned in the foreground. Signed “Bill Sawyer” lower right. Housed in a beige-painted wooden frame. Sight: 19 1/2 in. H x 15 1/2 in. W. Framed: 25 in. H x 21 in. W.
Willie Betty Newman (American/Tennessee, 1863-1935) oil on canvas painting depicting a Breton woman at a table, clasping her hands and bowing her head in prayer. A loaf of bread sits on the table alongside a bowl, flowers, and a crucifix. Signed “W.B. Newman” lower right. Framed in a later giltwood molded frame. Sight: 23 1/2 in. H x 19 1/2 in. W. Frame: 27 in. H x 23 in. W.
Carroll Cloar (American/Tennessee/Arkansas, 1913-1993) Pencil and marker on paper. Titled “Pond Side Girl” lower left, signed “Carroll Cloar” lower right. Double matted under glass in a molded giltwood frame. Sight: 21 1/4 in. H x 31 1/4 in. W. Frame: 33 in. H x 43 in. W.
William McKendree Snyder (Indiana, 1848-1930) oil on canvas autumn landscape painting. A leaf-strewn road leads through a forest, thick with finely detailed trees, toward a cottage in the distance. Signed “W. McK. Snyder” lower right. Molded giltwood frame. Sight: 27 1/4 in W x 17 1/2 in. H. Frame: 33 in. W x 24 in. H.
James Vance Miller (West Virginia/Virginia, 1912-2002), “Glow in the Morning and Rolled Rock,” impressionist style oil on canvas painting depicting a large creek flowing through a sun dappled wooded landscape, with large rock in the foreground. Signature incised in paint lower right. Titled on label en verso. Housed in a molded giltwood frame with scalloped edges having floral ornamentation. Painting: 24 in. H x 36 in. W. Frame: 29 in. H x 41 in. W.
John Kelly Fitzpatrick (Alabama, 1888-1953) oil on canvas fall landscape painting, 1942. A row of purple treetrunks extend from the floor to the canopy of a forest filled with colorful autumnal foliage. With passages of heavy impasto throughout. Scraffito signature and date to lower right. Housed in a giltwood frame. Canvas: 12 in. H x 16 in. W. Framed: 14 5/8 in. H x 18 5/8 in. W.
Alexander John Drysdale (American/Louisiana, 1870-1934) oil wash on paper Louisiana Bayou landscape painting, 1916. A river winds through a hazy, wetland landscape rendered in Drysdale’s atmospheric style. Pencil signed and dated, lower left. Housed under glass in a giltwood frame with cream mat and grey reveal. Sight: 14 1/4 in. H x 19 1/4 in. W. Framed: 22 1/8 in. H x 27 1/8 in. W.
Johann Berthelsen (Danish/American, 1883-1972) oil on board New York City winter street scene painting with the Empire State Building shown contre-jour before a yellow and orange sky. An American flag blows in the wind at lower center while several pedestrians stand on a sidewalk and a third begins to cross the icy street. Snow and wind obscure other, more distant figures and vehicles. Berthelsen describes the nearby building at left in relatively saturated shades of purple and blue. Signed lower right. Housed in a giltwood frame with cream linen liner. Sight: 15 1/2 in. H x 11 1/2 in. W. Framed: 21 5/8 in. H x 17 5/8 in. W.
Large Carl Sublett (Tennessee, 1919-2008) oil on canvas abstract painting, “Beach, II,” 1961. Rendered primarily in white and shades of blue with red underpaint and passages of impasto throughout. Signed and dated lower right. Titled en verso along with old label with title and artist information affixed to stretcher. Housed in a simple wooden frame. Canvas: 49 3/4 in. H x 43 3/4 in. W. Framed: 50 3/4 in. H x 44 3/4 in. W.
Knoll Barcelona chair and stool, designed in 1929 by Ludwig Mies van der Rohe and manufactured circa 1965. Original black tufted leather cushions with leather support straps, polished steel X-form legs. Both the chair and the stool retain the original labels and stickers for “Knoll Associates Inc., 745 5th Avenue, New York, NY 10022.” Chair measures 30 in. H x 30 1/4 in. W x 30 1/2 in. D. Stool measures: 15 in. H x 24 1/2 in. W x 22 1/2 in. D. Circa 1970s. Purchased in 1977 or 1979. Ref. Knoll Furniture: 1938-1960, Rouland and Rouland, page 80.
Mid Century JBL Paragon Speaker Enclosure System. More information in the coming weeks.
Men’s Vintage 18K rose gold Patek Philippe Lortscher wristwatch, mechanical manual wind movement, Ref #1471, Case Serial #659823, Movement Serial# 954659, 31mm champagne dial with gilt baton markers, Caliber 10-200 movement, 18 jewels. Dial is double-signed by the maker and retailer. Retains the original 18K rose gold buckle and the original gold spring bars. Fitted with a Patek Phillipe brown leather band. 9 in. L. Gold case weight with crystal 13.2 grams. Circa 1950s.
Men’s Rolex Air-King stainless steel wristwatch with black dial and stainless steel markers, Ref# 14000M, Serial# P857609, 34.5mm, self-winding, with stainless steel oyster bracelet. Approx. 6 1/2 in. interior circumference. Circa 2000.
Ladies’ Cellini Style 18K Rolex watch, 26mm, manual wind Ref#5205, with full diamond pave dial, diamond lugs and case, approximately 3.4 carats, fitted with a black leather Rolex band with 18K Rolex buckle. Dial marked “Rolex Geneve” and the back of the case marked 5205 and E752271, 18K, together with two hallmarks. 7 3/4 in. L.
Ladies’ 18K gold and diamond Cartier Panthere 8669 wristwatch, small size (22.9 x 30mm). Serial# 198422, Reference# 8669. White enameled dial with black Roman numeral markers, diamonds along the bezel, and case lugs, beaded crown set with sapphire cabochon, and blued steel markers. 18K yellow gold bracelet features a hidden butterfly clasp. Battery quartz movement. Retains the original Cartier box. Approx. 5 1/2 in. interior circumference.
18K Piaget Gourmette Bracelet Watch retailed by Van Cleef & Arpels. Champagne oval dial with Roman Numeral markers and marked “Piaget” and “Van Cleef & Arpels”. Back of the dial marked 3771 N65 and 178266. Clasp marked “Piaget”, .750, and VCA (faintly) together with additional numbers. 7 5/8 in. L. 88.1 gross grams. Circa 1975.
Ladies platinum engagement ring featuring one (1) oval brilliant cut diamond 5.04 carats, Clarity-SI2, Color-G, GIA number-15718839, accented by two (2) crescent cut diamonds approximately 1.02 carats together, Clarity-SI1, Color-H. The ring is marked “Plat” and XRF tests 95% platinum. The ring is size 7 1/4 and has a gross weight of 7.90 grams.
18K yellow gold mesh bracelet by Roberto Coin featuring thirty one (31) round brilliant cut melee diamonds and one (1) natural marquee cut ruby. The bracelet is marked “Roberto Coin” and XRF tests 18K gold. The bracelet is 7 in. L. and has a gross weight of 88.86 grams.
Ladies 14K white gold ring featuring one (1) central round brilliant diamond approximately 2.96 carats, Clarity-SI2, Color-J. flanked by two (2) round brilliant diamonds approximately 2.00 carats, Clarity-SI2, Color-I, accented by another thirty-four (34) melee diamonds approximately 0.62 carats together. The ring is marked “14K DPM” and XRF tests 14K gold. The ring is size 7 1/4 and has a gross weight of 6.18 grams.
Ladies platinum Art Deco ring featuring one (1) Euro cut diamond approximately 1.87 carats, Clarity-VS2, Color-J, accented by four (4) round brilliant cut melee diamonds and twenty-one (21) natural sapphires. The ring XRF tests 95% platinum. The ring is size 7 1/4 and has a gross weight of 4.81 grams.
Ladies 18K yellow gold large link bracelet by Tiffany and Company. The bracelet is marked “18Kt Tiffany&Co Germany” and XRF tests 18K gold. The bracelet is 7 1/2 in. L. and has a weight of 152.97 grams.
Ladies 18K yellow gold charm bracelet featuring six (6) 18K yellow gold charms and one (1) 14K yellow gold charm. The bracelet and one (1) of the charms are marked “750” and the bracelet and six (6) of the charms XRF test 18K gold. One (1) of the charms is marked “585” and XRF tests 14K gold. The bracelet is 7 in. L. and has a gross weight of 92.44 grams.
E. Howard & Co. grade no. 7 15 jewel size 16s pocket watch. The watch is in a 14K yellow gold hunting case. The case is marked “14K” and XRF tests 14K gold. The serial number is 62803 and was produced in 1887. Gross weight of the watch is 115.38 grams.
Pair of English George III style sterling candelabra, marked on the base edge and five-light branch “Hunt & Roskell Late Storr & Mortimer” for the firm Hunt & Roskell, working in London, and a date letter for 1867. Each raised on a stepped square base with a baluster-form shaft and removable five-light branch, convertible to a single candlestick and removable bobeches, with gadrooned edges throughout. 23 in. H x 16 1/2 in. W. 320.0 total troy ounces. Note: Hunt & Roskell was a renowned jewelers and silversmiths on Bond Street in London who for many years held the Royal Warrant of Queen Victoria. The firm was the successor to the celebrated silversmith Paul Storr, who had left Rundell, Bridge & Rundell to set up his own workshop on Harrison Street near Clerkenwell in 1819.
Large Sterling Silver Tea and Coffee Service in the Richelieu pattern by International. Includes sterling tray, tea kettle with stand, coffee pot (9 cup capacity), tea pot, sugar with lid, creamer, and waste bowl, all in a Rococo inspired design with pear shaped bodies, C-scroll handles with acanthus overlay, domed lids with leaf and floral finials and scroll-footed bases, all with chased floral and scroll decoration. Creamer and waste bowl have gilt-washed interiors. All stamped with International hallmarks and numbers WC530. American, early 20th century. Tray measures 27 3/4 in. (33 in. including handles) x 20 in. Combined weight: 389.8 oz troy.
Martin Brothers stoneware two-handled loving cup, dated 1892. Tapering cylinder form, having incised and painted decoration depicting a dragon amongst scrolling foliate designs. The underside is inscribed, “10-1892, R. W. Martin & Brothers, London & Southhall”. 5 7/8 in. H x 8 1/2 in. W.
Olivier Mosset (Swiss, b. 1944) acrylic on canvas painting, “Too Little Too Late,” 1986. Blue and aquamarine fields meet along a diagonal, with a heavy black line that rises from lower right and culminates at the divide between the two colored fields. Inscribed “top” in pencil to upper center en verso. With Margo Leavin Gallery, LA exhibition label affixed to stretcher. Unframed and unstretched. Lot includes the original stretcher (disassembled) and shipping/storage tube inscribed with title. 84 in. H x 252 in. W. Exhibition History: Margo Leavin Gallery, Los Angeles, “Paravision,” July 12 -August 23, 1986; John Gibson Gallery, New York, “Olivier Mosset, New Paintings,” January 10-February 11, 1987.
Priscilla Heine (American, b. 1956), “To Water,” large oil on linen abstract painting featuring vibrant swaths of diverse colors applied in a variety of textures and techniques. Signed lower right and en verso. Wally Findlay Galleries label en verso. Unframed. 79 in. H x 67 1/2 in. W.
Claude Grosperrin (1936-1977), “Hospices de Beaune,” oil on canvas painting. Label en verso for The Eric Galleries, New York. Sight: 51 1/2 in. H x 44 in. W. Frame: 60 in. H x 48 in. W.
Tom Wesselmann (American, 1931-2004) color Pop Art lithograph on Somerset paper, “Lulu,” 1982. A woman with red hair shown in bust-length reclines and looks toward the viewer. She wears colorful flowers in her hair, with several other flowers at right, and a window behind her reveals a body of water. From the 1984 Metropolitan Opera Fine Art II portfolio. Signed, dated, and numbered 195/250 in pencil, lower margin. Printed by American Atelier and co-published by Circle Fine Art and Metropolitan Opera Association, with American Atelier and Metropolitan Opera Association blind stamps to lower corners and printed publisher information plus copyright date en verso. Unframed. Sheet: 30 in. H x 22 in. W. Note: This image depicts the title character from Alban Berg’s 1937/1979 opera, Lulu.
Jose Chavez Morado (Mexican, 1909-2002), “Ancianas,” oil on canvas painting depicting four elderly peasant women hunched over various tasks in the midst of a village setting. Signed lower left and dated 1967. Label en verso for Merkup (Merl Kuper) Gallery, Mexico. Narrow giltwood frame. Sight: 47 1/2 in. W x 37 1/2 in. H. Frame: 48 1/2 in. W x 36 1/2 in. H. This lot is accompanied by the original sales receipt from MerKup Gallery, 1968, and a 1968 authenticity certificate signed by Jose Chavez Morado to the original buyer (the consignor’s parents).
Francisco Zuniga (Mexican, 1912-1998), Evelia en Una Butaca (1972), bronze sculpture depicting a woman leaning back in a chair with her legs parted and her head turned to one side, with eyes closed. Signed, dated, and numbered en verso of chair “Zuniga 1972 II/VI.” Sculpture: 14 1/4 in. H x 11 1/2 in. W x 12 1/4 in. D. Mounted to a rectangular base, 2 in. H x 10 in W. x 13 1/2 in. D. Note: this lot is accompanied by the 1975 sales receipt from The Galeria Tasende, Acapulco, which includes a certificate of authenticity signed by Francisco Zuniga.
Large Dale Chihuly (Tacoma, WA, b.1941) Macchia art glass sculpture, the interior with classic blue and clear glass colors and lime green lip. Signed Chihuly and dated 1985 on the base. 20 5/8 in. Dia. x 16 in. H.
Large Dale Chihuly (Tacoma, WA, b. 1941) pink and blue Macchia art glass sculpture with yellow edge rim. Signed Chihuly and dated 1985. 32″ Diameter.
Large Dale Chihuly (Tacoma, WA, b.1941) Macchia art glass sculpture, the interior with aqua blue, white, and clear glass, and a pale yellow lip. Signed and dated 1985 on the base. 21 in. H x 14 3/4 in. Dia.
Stephen Rolfe Powell (Alabama/Kentucky, 1951-2019), untitled double-lobed and multi-colored murrine art glass sculpture or vase, comprised of multiple bands of fused colored canes. Signed and dated on one side “Stephen Powell, 1997, and initialed JU”. 33 1/2 in. H x 21 in. W x 11 in. D.
Niyoko Ikuta (Japanese, b. 1953) green glass sculpture comprised of layered panes of glass joined in a wing design and mounted onto a stepped glass vase. Etched signature and date of 1995 in one corner. 13 3/4 in. H x approx. 13 in. W.
Larry Cohen (California, b. 1952) oil on canvas bird’s-eye cityscape painting, “View of the Bay, Pacific Palisades,” 1991. Los Angeles’s Pacific Palisades neighborhood and Santa Monica Bay shoreline recede toward distant mountains while dappled light breaks through the cloudy sky and illuminates the landscape. Signed in pencil to verso, lower left, and double-signed to stretcher in blue and red paint. With two Salander-O’Reilly Galleries, New York labels affixed to stretcher. Housed in a thin, modern wood frame. Canvas: 72 in. H x 44 in. W. Frame: 72 3/4 in. H x 44 3/4 in. W.
William Dunlap (Mississippi/Virginia, b. 1944) large watercolor painting, “After the Storm – Rose Hill Plantation – And Friends.” Signed in pencil script lower right. Mounted under glass atop linen in an ebonized, cove-molded frame with gilt ribbon molded sight edge. Sight: 42 in. H x 50 in. W. Frame: 57 in. H x 64 in. W.
Mortimer Luddington Menpes (Australia/England, 1855-1938) oil on board painting, “A Group of Eastern Women,” c. 1887-1908. A group of 15 women and girls, many of whom wear Kashmiri kasaba headdresses, gather around a stairway. With 1931 Christie’s auction catalog clipping as well as title and artist information affixed to verso along with Dowdeswell & Dowdeswells and Charles Roberson & Co. labels. Note: Dowdeswell & Dowdeswells moved to 160 New Bond Street, London, in 1887 and Charles Roberson & Co. adopted the Charles Roberson & Co Ltd. name in 1908. As such, the present work likely dates from c. 1887 -1908.
Attrib. Carle aka Charles Andre Van Loo (1705-1765) or Jean Baptiste Van Loo (1684-1795) portrait of a young woman in three quarter perspective, possibly the Duchesse de Luynes, seated in a chair in an outdoor setting, and holding a bouquet of red flowers. She wears a gold gown with ornate jeweled bodice and a red wrap that matches the red ribbon in her hair. Unsigned. Housed in an antique deeply carved and giltwood Louis XV style frame with plaque attributing the painting to Carl(e) Van Loo and naming the subject as the Duchesse de Luynes, center. 20th c. partial paper label for Edw___ , Rue de __Paris, en verso. Sight: 39 1/2 in. H x 29 in. W. Frame: 52 in. H x 41 1/2 in W.
Pieter Fransz de Grebber (Dutch, c.1600-1653) oil on canvas painting of a boy or young man shown in half-length while he tunes a double-headed lute, c. 1620s-30s. Housed in a modern lacquered Dutch-style frame. Canvas: 20 1/8 in. H x 17 7/8 in. W. Framed: 30 in. H x 28 in. W. Note: Copies of a 1999 document signed by Jack Kilgore and of the 1998 Nancy Krieg conservation report are available to the winning bidder. The Kilgore document states that, to the best of Mr. Kilgore’s belief, the present painting “is free and clear of all encumbrances and restrictions, and since the year 1940, has not been imported or exported into or from any country contrary to its laws.”
Albrecht Durer (German, 1471-1528) engraving on laid paper, “The Peasant Couple at Market,” 1519. A Meder b impression, after the black spots to the man’s shirt and to one egg. Ref.: Bartsch 99, Meder 89. Housed in a cream window mat with gilt reveal. Sheet: 4 9/16 in. H x 2 7/8 in. W. Mat: 11 7/8 in. H x 9 5/8 in. W.
Rembrandt van Rijn (Dutch, 1606-1669) etching on laid paper that depicts a goldsmith at work on a “caritas” figural group that consists of a woman and two children, c. 1655. The artist gently holds the sculpture his his left hand as he works with a hammer held in his right hand. A furnace glows behind him at left. Signed and dated in plate, lower left. Inscribed “B123,” “391973” and “8072,” and “000[?]” in pencil to verso. New Hollstein’s second state of three; Usticke’s second state of three. Housed in a cream window mat with brown and gold reveal. Sheet: 3 5/16 in. H x 2 1/2 in. W. Plate: 2 15/16 in. H x 2 3/16 in. W. Mat: 15 in. H x 14 1/8 in. W. Ref: Bartsch 123, Hollstein (White and Boon), 285; Hind 285; Biorklund 55-D; New Hollstein 289.
Original document signed by William Blount (1749-1800, served 1790-1796), the Governor of the Territory of the United States south of the river Ohio, dated July 22, 1795, written in Knoxville, Tennessee. A warrant for payment to William Richard, the Pay Master for the troops in the territory, for three hundred and thirty-six dollars, “for the pay of a Company of Infantry commanded by Capt. William Nash from the first of April to the thirtyeth of April 1794, agreeably to pay roll and your repost therin of this date, for which this shall be your warrant. Given at Knoxville under my hand the 22nd day of July 1795”. Float-mounted, framed, and housed under glass. Letter: 13 in. H x 7 3/4 in. W. Framed: 22 1/2 in. H x 16 1/2 in. W.
Joshua Fry (c. 1700-1754) and Peter Jefferson (1708-1757), A MAP OF THE MOST INHABITED PART OF VIRGINIA CONTAINING THE WHOLE PROVINCE OF MARYLAND… London, 1775. Engraving on four laid-paper sheets, joined. This map, which has been called “the definitive eighteenth century cartographic document for the colony of Virginia,” (Taliaferro) has descended in the family of, and is believed to have been originally owned by, Virginia Governor John Tyler, Sr. (1747-1813), the father of U.S. President John Tyler. Framed under glass in an wood frame. Sight: 48 1/2 in. H x 31 1/2 in. W. Framed: 52 1/2 in. H x 35 1/2 in. Note: the year this map was published, 1775, Virginia joined the Revolutionary War and Tyler, a young Virginia attorney and plantation owner, raised a company of troops. It is possible Tyler acquired this map through his close friend and former school roommate, Thomas Jefferson, whose father, Peter, co-created this map. W. Ref. Henry Taliaferro and Margaret Pritchard, Degrees of Latitude: Mapping Colonial America, Williamsburg, VA: Colonial Williamsburg Foundation, 2002, no. 30, pg. 154-159.; William P. Cumming, The Southeast in Early Maps, Chapel Hill: University of North Carolina Press, 1998, no. 281, 449, pg. 266-268; 332.
Rare American Revolutionary War era Map by William Faden: THE BRITISH COLONIES IN NORTH AMERICA, published London, 1777, first edition, engraving with hand coloring on laid paper. This map has descended in the family of, and is believed to have been originally owned by, Virginia Governor John Tyler, Sr. (1747-1813), father of U.S. President John Tyler. Framed under glass in an antique ebonized frame with gilt sight edge. Sight: 21 1/4 in. H x 29 3/4 in. W. Frame: 25 in. H x 34 in. W. Ref. Stevens & Tree 80a, Tooley’s Mapping of America; Philips, A list of Maps of America, p. 589.
President Andrew Jackson (1767-1845) large and bold autograph signature on two page Letters Patent for John Baker’s “improvement in regulating the draught of chimneys, called a Chimney Valve,” dated Oct. 28, 1831. Countersigned by Secretary of State Edward Livingston and attorney general B.B. Taney. White wafer seal and pink ribbons adhered at the lower left. Jackson’s signature is very large, measuring over 6 1/2 in. long. The second page of the patent features a detailed description of the Chimney Valve, written and signed by Baker, a resident of Lancaster, PA. 2 pages, each 14 in. H x 11 in. W. The documents are enclosed (not attached) in a tooled leather portfolio, 16 1/2 in H x 14 in. W.
American School portrait painting of President Andrew Jackson shown in three-quarters, bust-length view. Jackson wears a black ascot and black coat with red collar and gold clasps and looks to the viewer’s right. After an original c. 1835 portait by Ralph Eleaser Whiteside Earl (TN/MA, 1788-1838). Unsigned. Housed in a giltwood frame with foliate corners and oval sight edge. Canvas: 26 in. H x 21 in. W. Sight: 23 1/4 in. H x 19 1/4 in. W. Framed: 35 1/4 in. H x 31 in. W. First half of the 19th century. Note: This early copy after Earl closely resembles at least three Earl paintings created during Jackson’s presidency. For related examples see Earl’s Jackson portraits in the collection of the Pennsylvania Academy of Fine Arts (1933.10.9), The Houston Museum of Fine Arts (B.68.22), and the White House Historical Association (White House Collection).
East Tennessee, Blount County, tall ovoid salt-glazed stoneware pottery monkey jar. Thin high collar with gallery to support an inset lid (not present), impressed half-crescent mark W. GRINSTAFF 18 for Grindstaff Pottery (1870 – 1890) and “2” denoting capacity below the rim, and projecting bilateral knob handles (to support jar by rope or cord). Raised impression of a man with a plow on the lower front of the jar. 14 1/2″ H. Note: This is the only documented Grindstaff pot with this particular impressed decoration. Featured on page 188, Figure 4, in the book “Tennessee Turned: Earthenware and Stoneware made in East Tennessee, 1800-1900” Part One, by Carole Carpenter Wahler.
Exhibited Memorial or Mourning Album quilt, hand pieced and appliqued, comprised of various colors of printed cotton, depicting a Paradise Garden Afterlife. Consisting of eighteen (18) outer blocks depicting floral wreaths, deer beneath trees, and four memorial or mourning blocks with willow trees and gravestones, a large center square depicting a peacock with unusual buttonhole or blanket stitching within a wreath above a smaller square depicting three deer beneath three trees, both within eighteen (18) squares with birds. All within a berry and vine border with floral basket corners. 91 in. x 82 1/4 in. Circa 1850s.
Assortment of three (3) Royal Copenhagen Flora Danica serving platters, each with a gilt-rimmed edge and marked on the underside with the Latin botanical name. One (1) round platter (14 in. dia.) marked “Solanum miniatum Bernh.”; one (1) round platter (13 1/4 in. dia.) marked “Impatiens Noli tangere L.”; and one (1) round platter (12 1/4 in. dia.) marked “Galeobdolon luteum Huds.” All are marked on the underside “Royal Copenhagen Denmark.”
A substantial Chinese Export Rose Mandarin punch bowl, polychrome and parcel gilt decoration throughout, the interior with four cartouches, depicting various figures engaging in activities in an outdoor setting, gilt fretwork surrounds and a central interior scene, and the exterior with a continuous outdoor setting depicting figures engaging in various activities and structures, both with a wide border at the top with flowers, fruit, and insects. 18 in. dia x 7 1/4 in. H.
Camille Faure (France, 1874–1956) Limoges enamel over copper vase. Ovoid form with decoration depicting black koi or carp swimming amongst gilt foliage on a dark red ground. Signed “Faure Limoges France” along the base edge. 12 1/4 in. H x approx. 8 in. dia.
Rare Charles Noke Royal Doulton Sung Ware double handled footed bowl with flambe glaze and peacock decoration to center. Signed by Noke and numbered 226, impressed 7619 A with Royal Doulton backstamp, underside. 4 1/4 in. H x 10 3/4 in. D x 13 1/2 in. W (at handles). English, circa 1920-1930.
Large KPM hand-painted old master oval porcelain plaque after Titian’s c. 1515 painting, “Flora,” in the collection of the Uffizi Gallery, Florence. An idealized woman with long, blonde hair and shown in half-length wears a loose, white chemise and pink mantle. In her right hand she holds pink and blue flowers. With impressed scepter, “KPM,” “F,” and “5” marks en verso. Housed in an ornate giltwood frame. Plaque: 10 1/2 in. H x 8 5/8 in. W. Framed: 24 in. H x 22 in. W.
Very large Sterling Strauser (Pennsylvania, 1907-1995) oil on board floral still-life painting with a profusion of multicolored flowers that surround a single, central red blossom, 1984. With passages of impasto and scraffito throughout. Signed and dated lower right. Housed in a gilt and painted wood frame with linen liner. Sight: 31 in. H x 47 in. W. Framed: 39 3/4 in. H x 55 1/4 in. W.
Nicola Simbari (Italian, 1907-2012) oil on canvas palette knife painting depicting ships clustered in busy harbor on a clear, bright day. Incised signature, “Simbari,” lower right. Molded giltwood frame with carved sight edge and white painted wood mat. Stretcher: 32 in. W x 24 in. H. Frame: 39 in. W x 31 in. H.
Gerald Harvey Jones (Texas, 1933-2017) oil on canvas landscape painting depicting a sunlit valley, likely in Texas, with mesa in the distance and windmill in the foreground. Signed “G. Harvey” lower right. Contemporary molded giltwood frame. 22 3/4 in. W x 10 1/2 in. H.