Our Summer Auction will take place Saturday, August 1st and Sunday, August 2nd at our Main Gallery in Knoxville and features fine art, antiques, and jewelry from Southern institutions, collections, and estates. We are continually adding new preview items, so please check in regularly. We expect to publish our full catalog on our website later in June.
George Rodrigue (American/Louisiana, 1944-2013), “The Return of the Loupe-Garou,” acrylic on canvas painting featuring Rodrigue’s iconic Blue Dog seated atop a white tombstone or monument. A full moon, glowing pink, rises from the horizon and casts shadows around a bare, red tree. Signed “Rodrigue” lower left. Molded giltwood frame. Stretcher: 24 in. H x 20 in. W. Frame: 29 in. H x 25 in. W.
Important Exhibited Newcomb Art Pottery “Daffodil Vase,” circa 1897. This early vase, thrown by Joseph Meyer, is thought to have possibly been decorated by painter Katherine Kopman. The unique underglaze painting features long narrow leaves in varying tones of green rising up against a background of lighter color green to the yellow blooms which encircle the shoulder. The blossoms are delineated by a narrow black line, all under a glassy, faintly crackled glaze. 6 7/8 in. H x 5 5/8 in. diameter (at widest point). Note: this vase was the cover object for the 2013 traveling exhibit, WOMEN, ART & SOCIAL CHANGE: THE NEWCOMB POTTERY ENTERPRISE (a brochure for the exhibit accompanies this lot). This vase is also featured in the catalog.
Panoramic landscape of Chattanooga from Stringer’s Ridge, signed S.L. Owen. 7 ft. W x 3 ft. H. 1904. More information in the coming weeks.
Charles Krutch (Tennessee, 1849-1934) watercolor East Tennessee landscape that depicts an atmospheric Smoky Mountain vista beneath a cloudy sky. Fog gathers in the valley at right and a break in the trees reveals a patch of bare earth at left. Signed “Krutch” lower left in red. Housed under acrylic in a likely original giltwood frame. Sight: 9 1/8 in. H x 17 7/16 in. W. Framed: 13 1/4 in. H x 21 9/16 in. W.
Joanna Higgs Ross (Tennessee, 1934-2025) acrylic on canvas modernist East Tennessee landscape painting, “Cades Cove No. 8.” A green, yellow, and red valley lies at the foot of a towering blue mountain range, with a line of trees that separates the two. Signed, titled, and dated to back of stretcher. Unframed. 61 3/4 in. H x 72 1/4 in. W. 1985.
Important early Tennessee map: “A DRAUGHT OF THE CHEROKEE COUNTRY… taken by Henry Timberlake when he was in that Country in March 1762.” Matted and housed under glass in an ebonized and parcel gilt wood frame. Plate: 15 1/2 in. x 9 5/8 in. Sight: 17 1/4 in. x 11 1/8 in. Frame: 26 in. x 20 in. This hand colored, engraved map on laid and watermarked paper was included as part of Thomas Jefferys and Robert Sayer’s 1768 “General Topography of North America”. Ref. Margaret Pritchard, Degrees of Latitude, p. 190. Another example is in the collection of Colonial Williamsburg.
Porfirio Salinas (Texas, 1910-1973) oil on panel painting depicting a Texas hill country road winding past a patch of bluebonnets and a large tree, down into a shadow-covered valley. Signed “P. Salinas” lower left. Possibly original textured giltwood frame with Bradford Paint Co. Austin TX label en verso. Sight: 13 1/4 in. W x 9 1/2 in. H. Frame: 18 in. W x 14 in. H.
Robert Gwathmey (Virginia/New York, 1903-1988) oil on canvas painting of an African American man and woman seated outdoors on a porch. The man plays an acoustic guitar while the woman listens with eyes closed. Signed lower left. With The House of Heydenryk, New York, framer’s label affixed to back of frame. Housed in a distressed painted and giltwood frame. Sight: 35 1/2 in H. x 24 1/2 in. W. Framed: 47 in. H x 41 in. W.
Exceptionally large Helen La France (Kentucky, 1919-2020) oil on canvas landscape painting depicting an African American church community gathering for a Decoration Day or Memorial Day picnic celebration. Signed lower right. Note: This is the largest Helen LaFrance “Church Picnic” painting we have ever offered, with the canvas measuring 60 in. W x 30 in. H and the frame, 64 in. W x 34 in. H.
William Aiken Walker (American/South Carolina, 1838-1921) oil on academy board cabin scene painting with an African American family gathered before a cabin or small house and accompanied by a small cat. Chickens walk through the foreground while laundry dries on a line at right. Spanish moss hangs from the branches of a tree that reaches over a cornfield visible in the background at left. Signed lower left. Inscribed “Cabin” along with other text en verso. Housed in an ornate giltwood frame. Board: 6 1/2 in. H x 12 1/4 in. W. Sight: 5 3/4 in. H x 11 5/8 in. W. Framed: 14 in. H x 20 in. W.
Maria Howard Weeden (Alabama, 1846-1905) watercolor on card portrait of an elderly African American man shown in bust-length. He wears a striped, blue shirt under a jacket and looks directly toward the viewer. Signed “Weeden,” lower left. Inscribed “Mm. A. L. Eastland / Los Gatos” and “Mm. Ha[rrison?]” in pencil to verso. Framer’s note inscribed the lower edge of recto reads “Make nearly sa[me s]ize as [others?] as possible.” “W.K. Vickery / Publisher and Art Dealer / 224 Post Street / San Francisco” gallery label affixed to old backing board (housed behind newer backing board). Gallery label, verso, and mat all numbered 5593. Framed under glass in a giltwood frame with textured creat mat. Card: 11 in. H x 9 in. W. Sight: 9 1/4 in. H x 7 in. W. Framed: 16 in. H x 13 1/2 in. W. Note: W.K. (William Kingston) Vickery (1851-1925) established his W.K Vickery gallery in San Francisco in the last decades of the 19th century. By 1900, the firm took the better-known name of Vickery, Atkins, & Torrey. The present painting was likely framed or sold by Vickery prior to 1900.
Maria Howard Weeden (Alabama, 1846-1905) watercolor and pencil artist’s book on two sheets of bifolded card entitled “The Banjo of the Past” with the text of the poem published in Weeden’s 1899 book of poetry Bandanna Ballads plus six accompanying watercolor or illustrations, including cover. Cover with illustration that depicts a banjo that hangs on a string, title, and text that reads “By Howard Weeden.” Second illustration depicts an elderly Afircan-American man seated with legs crossed on a stool. A hat lies on the floor and a cane leans against his stool. With the first verse of the poem, written in calligraphic text, on the preceding page.
Harvey Joiner (Kentucky/Indiana, 1852-1932) oil on canvas or linen laid to board landscape painting that depicts sunlight breaking through a grove of trees and onto a grassy clearing and small body of water. A fallen tree lies in the foreground. Signed lower left. Housed in a giltwood frame with name plate. Sight: 9 1/2 in. H x 19 1/2 in. W. Board: 10 in. H x 20 in. W. Framed: 15 3/8 in. H x 25 1/2 in. W.
Dale Chihuly (American, b. 1941) art glass sculpture, Vermillion Macchia Set with Viridian Lip Wraps, 1987. Seven pieces of graduated sizes, featuring a mottled purple-white exterior with red striated interior accentuated by bright green lips. Largest piece: 16 in. W x 13 in. D x 8 1/2 in. H. A copy of the original sales receipt from Chihuly Inc., dated June 2, 1987, numbering this piece as 454.87.7 is available to the winning bidder.
Dale Chihuly (American, b.1941) art glass sculpture, Clover Green Seaform Set with Carmine Lip Wraps. Seven pieces of graduated sizes and in various forms feature striped green and yellow surfaces accentuated by bright red lips. Signed and dated to the base of one piece. Largest piece: 19 1/2 in. x 12 1/4 in. 7 1/2 in. 2001.
George Rodrigue (American/Louisiana, 1944-2013) “Blue Dog” Winter Fest cameo glass vase, 1995, signed “Rodrigue” in the design to side and numbered to underside 33 or 35/35. 10 7/8 in. H x 7 in diameter. Note: Between 1993 and 1995, George Rodrigue worked with Kelsey Murphy and Pilgrim Glass in West Virginia to recreate his Blue Dog designs in cameo glass. The layered pieces are sandblasted, revealing Rodrigue’s raised patterns. A total of three bowls and one vase were designed, each in editions of thirty-five.
Martin Chirino (Spanish, 1925-2019), “Raiz” (Root), 1970, gilded chromed iron abstract sculpture, 16 in. W x 7 in H x 5 1/2 in. D. (40 cm x 18 cm x 13 cm). Accompanied by a circular wooden turntable base, 1 3/4 in. H x 9 1/2 in. diameter. Note: this lot includes the 1970 purchase receipt from the Galeria Juana Mordo, Madrid, with certification that it is an original sculpture by the artist, along with a 1990 letter from the same gallery appraising it at $27,000.
John Angus Chamberlain (1927-2011), “Christmas,” cased ink on aluminum template and print (2 items). The crushed colored ink on aluminum template is signed lower right, “John Chamberlain” and encased in a plexiglass and black painted frame. Aluminum template: 39 in W x 29 in. H x 1/4 in. D. Painted wood and plexiglass case, overall: 45 1/8 in W x 37 1/4 in H x 12 1/2 in. D. The print, colored ink on Aches paper, is numbered in pencil IMP / C3 1314 and signed lower right “John Chamberlain”, with blind stamp. It is mounted atop a white linen mat under plexiglass in a wooden frame with canted sides and gilt front edges. Print: Sheet – 41 1/2 in. W x 29 1/2 in. H. Frame: 50 1/2 in. H x 38 1/2 in. W. This print (possibly a monoprint) and the template used to create it, are accompanied by documentation from the artist’s studio, Ten Coconut.
Pablo Picasso (1881-1973) Madoura Owl Jug, Cruchon Hibou, 1955 (Ref. A.R. no. 293). Glazed ceramic pitcher painted in black, blue and brown. Inscribed on the underside “Edition Picasso Madoura,” with the “Edition Picasso” and “Madoura Plein Feu” pottery stamps. From the edition of 500. Measures 10 in. H (25.5 cm) x 7 in. W x 5 1/2 in. D.
Willem De Kooning (American/Dutch, 1904-1997) abstract color lithograph on Arches paper, untitled from the Quatre Lithographies (Four Lithographs) portfolio. Red and blue lines augmented by graduated and solid yellow forms fill the composition. From the edition of 100 printed by Art Estampe and published by Editions de la Difference, Paris. Signed, dated, and numbered 21/100 in pencil along lower edge. Housed under acrylic in a painted wood frame with cream mat. Sight: 27 1/4 in. H x 23 3/4 in. W. Sheet: 28 1/4 in. H x 24 3/4 in. W. Framed: 34 1/2 in H. x 31 in. W. 1986.
Andy Warhol (American, 1928-1987) serigraph in black on J. Green wove paper, “Flowers.” Three blossoms and a long leaf extend from the top of a vase described with gestural linework. Printed by Studio Heinrici and published by Castelli Graphics. Initialed in pencil to lower right. Pencil signed, dated, and numbered 91/250 to verso along with “Copyright By / Andy Warhol Multiples Inc. / & Castelli Graphics 2, 1974” stamp. “J. Green” blindstamp to upper left and “JG” watermark to lower left. Ref.: Feldman/Schellmann II.105. Floated under acrylic in a modern ebonized wood frame. Sheet: 40 1/2 in. H x 27 in. W. Framed: 51 3/4 in. H x 38 3/4 in. W. 1974.
Keith Haring (American 1958-1990) color lithograph, “International Volunteer Day.” Signed, dated, and numbered 989/1000 in pencil. Printed by Emiliano Sorini Studio, New York, with their blindstamp to lower right, and published by the World Federation of United Nations Association. With Martin Lawrence Limited Editions label and World Federation of United Nations Association documentation certificate numbered 989 and signed by Annabelle Weiner affixed to backing. Ref.: Littmann p. 93. Floated under acrylic in an ebonized wood frame. Sheet: 11 in. H x 8 1/2 in. W. Framed: 16 3/4 in. H x 14 in. W. 1988.
Large Hippopotamus pottery figurine by McCarty Pottery of Merigold, Mississippi, with four-tone glaze and cobalt eyes. Inscribed “McCarty P/ Merigold / Miss” to the underside. 15 1/2 in. L x 8 1/2 in. W x 6 1/2 in. H. Circa 1960s.
Diamond ring with 4 carat center diamond (SI2 clarity, L color). More information in the coming weeks.
Ladies 18K Rolex yellow gold Oyster Datejust wristwatch. 64.1 grams. More information in the coming weeks.
Antique 18K gold and amethyst bracelet featuring one step-cut (emerald-cut) amethyst weighing 37.37 carats, accented by eleven round mixed-cut faceted amethysts with a total approximate weight of 16.73 carats. 44mm W. XRF tests 18K. Total weight: 68.4 grams.
A.G. Schultz heavy and ornate sterling silver 4-piece tea service retailed by Sylvan Bros. Columbia, SC, circa 1900. The set includes a large teapot, sugar bowl, cream jug and waste bowl, all with repousse grapevine decoration to bodies and rounded feet, with naturalistic handles and finials. Stamped to underside “Sterling”, with the “hand made” logo of A.G. Schultz (Baltimore, 1899-1950) and retailer mark of Sylvan Bros. (1897-present). Elaborate 3 part letter monogram with leafy flourishes to one side; the teapot is engraved “Memphis” to the other side. Pot 13 inches H. Combined weight: 89.67 oz troy.
South Carolina Federal Inlaid Pembroke Table, possibly Charleston. Mahogany with cypress secondary. Blind dovetailed drawer. 29 3/4 in. H x 21 in. W (41 in. W with leaves extended) x 30 1/2 in. D. More information in the coming weeks.
Greene Co., Tennessee walnut high chest with yellow pine secondary. Ogee cornice with three over two over three dovetailed drawers, tall bracket feet with spur returns. Three hidden dovetailed drawers behind the three dovetailed drawers at the top of the case, full length dustboards. 57 1/4 in. H x 37 3/8 in. x 21 1/2 in. Greene County, Tennessee, late 18th/early 19th century. Provenance: Acquired from the Widow Bales home in the Camp Creek area of Greene County; the estate of the Late Thomas W. (Jack) and Dr. Frances Bernard Overall, Greeneville, Tennessee and estate of Donna C. Rogers, Greeneville, Tennessee. Documented by MESDA, reference S-13002; illustrated in Williams and Harsh, [The Art and Mystery of Tennessee Furniture,] page 203.
Miniature Middle Tennessee Chest of Drawers. Illustrated in the Art and Mystery of Tennessee Furniture. Measures 11 3/4 in. L x 8 1/2 in. W x 14 1/2 in. H. More information in the coming weeks.
Manuscript orderly book detailing day to day activities of Virginia troops in the Continental Army during the Revolutionary War, beginning at Williamsburg, Virginia, June 12, 1776 and ending at George Washington’s headquarters at Wilmington, Delaware, August 26, 1777. Sites listed include Williamsburg, VA; College Camp, VA: Camp Crossroads, PA; Ramapo, NJ/NY; Roxboro, PA; “Stenton near Germantown,” PA; and Wilmington, Delaware. Of particular interest are events during June and July of 1776, as several newly formed units of the Virginia Line were being trained and transitioned into the Continental Army at the state’s then-capital, Williamsburg. Entries in the book skip from Williamsburg, July 8, 1776 to July 9, 1777, when this book was at George Washington’s headquarters at Morristown, New Jersey (no pages are lost in this transition). Also covered is the period of time in August, 1777 when the troops were with Washington at Camp Cross Roads at Warwick Township, Pennsylvania during a period known as The Neshaminy Encampment.
Signed pamphlet on the Battle of Kings Mountain controversy, addressed “To the Public” by Isaac Shelby (1750-1826), published in April 1823. A scarce and historically significant monograph by Isaac Shelby, Revolutionary War officer and first Governor of Kentucky, addressing the long-standing controversy over the leadership for the Overmountain Men’s victory at the Battle of Kings Mountain (1780). Handwritten cover has string binding. Addressed to “James Rhea, April 1823,” on page 1. Dated on page 13: “Isaac Shelby. April 1823.” Signed again by on page 24, below a printer’s ornament “Finis,” attributed to a Lexington, KY imprint of Thomas Smith, according to the Library of Congress. Approximate dimensions: 8 1/2 inches L x 5 1/4 W. 24 pages.
Rare large half plate Civil War ambrotype photograph depicting the Johnson Family of Cowetta County, Georgia, including nine Confederate soldiers. Pictured in the group are Lt. Col. Thomas Coke Johnson (b. 1835, 19th Ga. Infantry, KIA Mechanicsville, VA, 1862), who is believed to be pictured at far left next to his wife, Ella Wiggins (1840-1911), and their son Thomas Coke Johnson II. Also likely pictured are Lt. Col. Johnson’s brothers, Lt. William Henry Harrison “Adjutant” Johnson (b. 1840, 19th Ga. Infantry, KIA Oluste, FL, 1864) and John Andrew Johnson (b. 1837, d. 1900), along with their parents, John Hutchins Johnson (1807-1864) and Ann Francis Penn (1810-1845). The ambrotype measures 5 1/2 in. H x 4 1/4 in. W. and is housed in a gilt metal mat with oval opening (4 1/2 in. H x 3 1/2 in. W).
Robert “Bob” Norman Ross (American, 1942-1995) oil on canvas landscape painting depicting the Northern Lights illuminating the night sky over an Alaskan mountain, with snow-covered trees and lake in the foreground. Signed lower left “Ross” and dated 197_ (last digit partially concealed by frame). Stamps en verso for “Bob Ross Alaskan Oil Paintings,” Eielson Air Force Base, Alaska. Molded giltwood frame with linen mat. Sight: 19 1/2 in. H x 15 1/2 in. W. Frame 26 1/2 in. H x 23 in. W.
Hanson Duvall Puthuff (Missouri/California, 1875-1972) oil on board American Impressionist landscape painting, “Desert Gold.” Small plants grow before an expansive desert vista, with purple mountains that rise in the distance beneath a blue-green sky. Signed lower left. Additionally signed and titled to verso. With additional inscriptions to verso and old inventory label to back of frame. Housed in a painted wooden frame with textured liner and painted fillet. Sight: 15 1/2 in. H x 19 1/4 in. W. Board: 15 3/4 in. H x 19 1/2 in. W. Framed: 25 in. H x 29 in. W.
William Oliver (English, 1823-1901, sometimes referred to as “William Oliver the Younger”) large oil on canvas painting depicting two young women gathering blossoms from a tree. Signed lower left “W. Oliver” and dated 1884. Foliate and scroll molded frame with acanthus carved corner ornaments. Label en verso of frame for George Wilkinson & Co., Sheffield. Sight: 52 1/2 in. H x 30 1/2 in. W. Frame: 61 in. H x 39 in. W.
Dong Moy Chu Kingman (American, 1911-2000) watercolor painting, “Monument On Fifty Ninth St.” A group of people wait at a crosswalk before Augustus Saint-Gaudens’s William Tecumseh Sherman monument at Grand Army Plaza in Manhattan. Signed and dated to lower left. Titled and illegibly inscribed (possibly “J401” or “J49”) en verso. Housed under glass in a painted wood frame with cream mat. Sight: 14 1/4 in. H x 21 1/4 in. W. Sheet: 15 1/2 in. H x 22 1/4 in. W. Framed: 28 in. H x 34 in. W. 1948.
Arthur Weeks (American/Alabama, 1930-1988), oil on canvas impressionist painting depicting figures in a park, illuminated by golden sunlight. Signed “Arthur Weeks” lower right and additionally signed and titled (“Figures in a Park”) en verso. Rococo style giltwood and molded frame with pierced corner ornamentation and a green wood mat. Stretcher: 20 in. H x 24 in. W. Frame: 27 in. H x 31 in. W.
Large carved stone dog sculpture from the Knoxville, Tennessee estate of George Washington Callahan (1862–1927). From stone cutter apprentice to marble yard owner, then alderman, successful railroad builder, and gentleman farmer, Callahan was a prominent figure in Knoxville’s history and is still remembered today for the road and I-75 interstate exit that bears his name. The dog sculpture is pictured with the family in front of their home, Amberwood Hall, at their Valley View Farm estate. The dog was once the victim of a mischievous heist by a University of Tennessee fraternity in 1948, where his front paws and base were cracked and repaired. 38 in. H and 32 in. L. Late 19th/early 20th century. Provenance by descent of the Callahan family.
Howard Finster (Georgia/Alabama, 1916-2001) paint on cutout board of a trumpeting angel with blonde or yellow hair, unusual for Finster’s angels. Decorated with repeating colorful figures, botanical elements, architectural vignettes, and text including “Angels Love You,” signed and dated Dec-9-1997. Additional textual, scriptural, and numerical elements in marker en verso including date, artist’s name, and number 42,000.651. 48 in. L x 8 in. W x 1/4″ D. 1997.