2026 Summer Two Day Highlights

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. Rodrigue Galleries stamp en verso. Molded giltwood frame. Stretcher: 24 in. H x 20 in. W. Frame: 29 in. H x 25 in. W. Circa 1995. This painting is in the catalog raisonne of George Rodrigue’s works maintained by the artist’s estate.

Biography: Born and raised in Cajun Country, artist George Rodrigue “portrayed on his canvas what he feared was his dying heritage – including its land, people, traditions, and mythology and sought to ‘graphically interpret the Cajun culture, preserving it in the face of a progressive world’. Rodrigue began to draw and paint as a child, after being confined to bed with polio. Recovered, he went on to study art at the University of Southwest Louisiana and the Art Center College of Design, then in Los Angeles. In the early 1990s he was commissioned to create art for a book of Cajun ghost stories. This project was the genesis of his Blue Dog Series, inspired by the French-Cajun Loup-Garou legend (of a cursed human who transforms into a werewolf under the full moon) and modeled after his own childhood dog, Tiffany.

The Blue Dog catapulted him to worldwide fame. Rodrigue portrayed his famous melancholy canine subject in a variety of unlikely settings, with Presidents, celebrities and in ads for Absolut Vodka, as well as in traditional bayou landscapes. A passionate philanthropist, Rodrigue later founded the George Rodrigue Foundation of the Arts www.rodriguefoundation.org, advocating the importance of the arts in education. Programs include art supplies for schools, scholarships, and arts integration through Louisiana A+ Schools. Rodrique died of cancer in 2013 at the age of 69. (Source: The George Rodrigue Foundation).

PROVENANCE: Private Southern Collection.

CONDITION: Excellent condition. [See more photos →]

Ladies’ 14K yellow and white gold diamond solitaire ring containing one (1) 5.03 carat round brilliant-cut diamond measuring 11.12 x 11.16 x 6.64 mm, with D color, I1 clarity. Diamond with very good polish, very good symmetry, and excellent cut grade. Mounted in a 14K gold setting with a 14K white gold head and 14K yellow gold shank. Ring size 6.5 and gross weight of 4.3 grams. Accompanied by GIA report no.1236957126.

PROVENANCE: The Collection of Ann Gipson.

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

Robert “Bob” Norman Ross (American, 1942-1995) oil on canvas Wet-on-Wet Technique oval landscape painting that depicts a body of water lined with tall evergreen trees and a distant, misty mountain range all beneath a yellow-and-blue sky. Impasto details describe shrubs and other plants that grow in the foreground. Signed lower left. Canvas: 18 in. H x 24 in. W. Circa 1993. A Certificate of Authenticity issued by Bob Ross Inc. accompanies this painting.

Note: Unlike Ross’s artwork created for The Joy of Painting, that was typically produced in groups of three — one to use as a reference while taping, one painted on-camera, and a final, perfected version used for reproduction in instructional books — the present painting is likely a unique artwork. Additionally, Ross typically avoided the application of blue and yellow paint to adjacent areas, as seen in the sky and mountains in the present painting, likely to avoid the creation of green as a result of the artist’s wet-on-wet technique.

Biographical Note: Bob Ross developed a love of painting after attending art classes at the Anchorage U.S.O. club around 1960. He later stated he found himself frequently at odds with many of his painting instructors, who were more interested in abstract painting. In Ross’ own words: “They’d tell you what makes a tree, but they wouldn’t tell you how to paint a tree.” Ross developed his quick-painting technique to create art for sale during brief daily work breaks, and became so successful that he was able to retire from the military and move to Florida to pursue his art career. With the help of Annette and Ross Kowalski, he created and hosted The Joy of Painting from 1983-1994, which became a pop culture phenomenon. Ross died a year after the show ended, at the age of 52.

PROVENANCE: Personal collection of the artist, donated to WIPB-TV, Muncie, Indiana, by the artist’s wife, Lynda Freeman Ross, and sold via “Telesale,” 2001.

CONDITION: Excellent condition. [See more photos →]

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 1979 (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.  A Certificate of Authenticity issued by Bob Ross Inc. accompanies this painting.

Note: Painted before Ross gained widespread recognition through his PBS television show, The Joy of Painting, this landscape dates from his years in Alaska, serving in the United States Air Force. Ross developed a love of painting after attending art classes at the Anchorage U.S.O. club around 1960. He later stated he found himself frequently at odds with many of his painting instructors, who were more interested in abstract painting. In Ross’ own words: “They’d tell you what makes a tree, but they wouldn’t tell you how to paint a tree.”

Ross developed his quick-painting technique to create art for sale during brief daily work breaks, and became so successful that he was able to retire from the military and move to Florida around 1981 to pursue his art career. With the help of Annette and Ross Kowalski, he created and hosted The Joy of Painting from 1983-1994, which became a pop culture phenomenon. Ross died a year after the show ended, at the age of 52.

PROVENANCE: The collection of Megan Himes, by descent from her father, the late Vernon Boyles, of Fairbanks, Alaska.

CONDITION: The painting is in excellent condition. There are a few minor abrasions to the frame. Painting was put into the frame wet and has some rubbing to paint around the edges (not visible when in frame). [See more photos →]

Important Exhibited Newcomb Art Pottery “Daffodil Vase,” circa 1897. This early Newcomb vase was thrown by Joseph Meyer and decorated by painter Katherine Kopman. The unique underglaze painting features long narrow leaves in varying tones of green on a background of lighter color green, and yellow blossoms encircling the shoulder. The blooms 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). This vase was the featured object for the brochure for the 2013-2016 international traveling exhibit, WOMEN, ART & SOCIAL CHANGE: THE NEWCOMB POTTERY ENTERPRISE, organized by the Newcomb Art Museum of Tulane University and the Smithsonian Institution (an exhibit brochure and custom-made framed poster accompany this lot) and is pictured in the catalog on page 21.

Note: Katharine Kopman was born in 1869 in New Orleans, LA and died in 1950. Kopman earned her Diploma in Art from Newcomb College in 1895 and was a member of the first pottery decoration class which opened in the Fall of that same year. She was a graduate art student from 1896 to 1898 and taught from 1896 as an Instructor in Drawing. In 1907, as the program began to be more defined, she became an Instructor in Drawing and Design and eventually worked in a supervisor role.  In 1918 Kopman became Supervisor of Art at Alexandria Grammar School in Alexandria, Louisiana and also taught at Louisiana College in Pineville. She exhibited pottery at the 1915 Panama-Pacific International Exposition in San Francisco and created a series of Red Cross posters in November of 1917. (Kopman biography excerpted from Newcomb Centennial, 1886-1986: An Exhibition of Art by the Art Faculty by Judith H. Bonner, exhibition catalog, published by Newcomb College, Tulane University, 1986, p. 34)

PROVENANCE: The collection of Ruth Weinstein Lebovitz, by descent from her father, B. Bernard Weinstein, M.D., a native of New Orleans. Dr. Weinstein received his medical degree from Tulane in 1937 and was a founder (in 1933) of the Tulane University History of Medicine Society, the oldest student run organization of its kind. He founded and led many international sterility and fertility societies in the United States and abroad, among them the American Society for the Study of Sterility and the International Fertility Association. A portion of his collections are in the Rudolph Matas Library and the Louisiana Research Collections at Tulane University.

CONDITION: Some minor glaze wear at base, approx. 2 mm glaze flake to inner rim edge, otherwise excellent condition. A specially constructed padded box also accompanies this lot. [See more photos →]

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. The scene features automobiles parked in front of the church with two horse-drawn vehicles approaching lower left; the church features graves marked with wreaths, with a field and hills visible beyond. Ladies set out food on a large white-covered table, while parishioners visit with each other and little girls play a circle game in the foreground. Signed lower right.

Note: This is the largest Helen LaFrance “Church Picnic” painting Case has ever offered, with the canvas measuring 60 in. W x 30 in. H and the frame, 64 in. W x 34 in. H. The sizeable canvas afforded LaFrance the opportunity to include elements not commonly found in most of her other church picnic scenes, including more than 150 figures, the expanded treatment of the golden crops and green hills of the land beyond the churchyard, the use of linear perspective on the church itself, a second horse-drawn vehicle (most of her church picnic scenes only include one), a man with a horse (background, left), and the possibly unique inclusion of a school bus.

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 Middle Tennessee collection, purchased circa 1995 from Shelton Gallery, Nashville.

CONDITION: Excellent condition. [See more photos →]

Manuscript orderly book detailing day to day activities of multiple Virginia regiments 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. Includes 44 pages front and back with approximately 58 dated entries. Sites listed include Williamsburg, VA; College Camp, VA: Camp Crossroads, PA; Ramapo, NJ/NY; Roxboro, PA; “Stenton near Germantown,” PA; and Wilmington, Delaware.

Note: This recently discovered book has descended through an important NJ Revolutionary War family: Major Joseph Morris, his wife Hannah, and their son, Lt. Jonathan Ford Morris. Of early 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 stop at Williamsburg, July 8, 1776 and resume on July 9, 1777, with the Virginia Line then at George Washington’s headquarters at Morristown, New Jersey (no pages have been removed in this transition). An additional point of key interest is August, 1777 when the troops were with Washington at Camp Cross Roads at Warwick Township, Pennsylvania during a period known as The Neshaminy Encampment. The Virginia Line had been engaged in a grueling period of strategic maneuvering defined by a nearly 100 mile march in the heat, low morale, and frustration by a lack of news about the enemy’s whereabouts.

The book records numerous court martial proceedings brought on by bad behavior at every troop level. On Aug. 22, Washington received crucial intelligence that Gen. Howe’s fleet had finally anchored in Chesapeake Bay, threatening the temporary American capital of Philadelphia. He ordered the Continental Army to immediately prepare to march South, at the same time urging a higher standard for his officers: “The commander-in-chief regrets that he is so frequently obliged to censure officers in G.O. for neglect of duty and other offenses and wishes earnestly that by an attentive and punctual discharge of their duty, they would save him from a task so disagreeable and painful. Officers should, in their own conduct, set examples before the men of diligence and an exact compliance of every order. Delays are always dangerous, and in the military service are always attended with the most fatal consequences, especially must they be so in Officers on whom the distribution of G.O. depends. The General, at the same time, thinks those officers who(se) regard for the good of the service leads them to bring delinquents to justice and assures them that such conduct will ever meet with his warm approbation and adds positively that for future rem— in brigadier majors in any part of their duty he will certainly suspend them ‘til the pleasure of congress be known concerning them, as there is no possibility of conducting the affairs of the army without the greatest punctuality in the performance of the duties of their departments.”

Later that day, good news of the Battle of Bennington, VT reached Gen. Washington: “The commander-in-chief has the happiness to inform the army of a signal victory obtained at the Northward. A part of General Burgoine’s army about fifteen hundred in number where (sic) detach’d towards New Hampshire and advancing with a design to possess themselves of Bennington Brig. Genl Starke of the state of New Hampshire with about 2000 men mostly militia attack’d them. Our troops behav’d in a very brave and heroic manner they push’d the enemy from one work to another throne upon advantageous ground and from different posts with spirit and fortitude until they gained a compleat victory over them. (A list of prisoners killed and wounded follows.) The number of the enemy who were slain had not been ascertained but it is supposed to be about 200. Their artillery consisting of four brass field pieces with a formidable quantity of baggage likewise fell into our hands. Our ___ consists of about 20 or 30 killed and perhaps about 50 wounded…” Two days later, on Aug. 24, Washington marched the entire army -including the Virginia regiments-through the streets of Philadelphia to boost morale. (To make the soldiers look more “military”, despite their ragged clothing, the Virginians reportedly wore sprigs of green in their hats).

On August 25 and 26, the date when this book leaves off, the Virginia line arrived in the vicinity of Wilmington, Delaware and took up defensive positions and began the initial skirmishing and scouting that would lead directly to the Battle of Cooch’s Bridge (Sept. 3) and the Battle of Brandywine (Sept. 11). This book records activities of multiple Virginia regiments and includes mention of officers including Brig. Gnl. Peter Muhlenberg, Brig. Gnl. George Weedon, Brg. Genl. William Woodford, Major Alexander Spotswood, and numerous others. Approximate dimensions: 9 1/4 in. H x 6 3/4 in. W.

PROVENANCE: The Collection of Deborah and Kent Vauclain Bissell, Sr, by descent in his family. Bissell was a direct descendent of Revolutionary War hero Major Joseph Morris (1732-1777), his wife, Hannah (m. 1759), and their son, Lt. Jonathan Morris, of Morristown, NJ. Major Jos. Morris served with Daniel Morgan’s Rangers and was fatally wounded at the Battle of White Marsh (near Philadelphia) on Dec. 6, 1777. Hannah Morris was known to have supported the war effort by housing officers in their Morristown home, which was labeled as a tavern on at least one period map (drawn by Washington’s cartographer Robert Erskine). Their son, Jonathan Morris, achieved the position of Lieutenant with the 1st New Jersey Regt. at the age of 17 and fought at the Battle of Brandywine (with members of the Virginia Line) and at the Battle of Monmouth. He left the military for a time after his father’s death but returned to the war in 1780 as a surgeon’s mate and later became a physician. For a fascinating account of this family and the care taken of Jonathan and Hannah Morris by the Marquis de Lafayette and other high ranking officers following Joseph’s death, see https://morriscounty250.morristourism.org/a-soldiers-story-joseph-hannah-and-jonathan-ford-morris/.

CONDITION: Some pages torn out. Covers detached and rubbed. Spine worn. Minor dampstains and handling grime. [See more photos →]

Rare large half plate Civil War ambrotype photograph depicting nine (9) Confederate soldiers, likely all members of the 19th Georgia Infantry, and members of the Johnson Family of Georgia, seated and standing outside an army tent. This image was taken in June of 1862 when John Hutchins Johnson (1807-1864) (pictured far right, front, seated and holding a hat), and members of his family traveled from his plantation in Coweta County, Georgia to Richmond, VA to visit his sons, members of the 19th GA Infantry, whose regiment was stationed nearby.  Lt. Col. Thomas Coke (T.C.) Johnson stands at far left holding the hand of his seated wife, Ella Wiggins (1840-1911), with their young son at her feet. Just a few weeks after this image was taken, T.C. Johnson was killed leading the 19th Georgia Infantry into action at the Battle of Mechanicsville.

According to family records, the soldier standing just behind T.C. is his brother, Richard Allen Johnson (1845-1914). Seated at J.H. Johnson’s right is family friend and distant relative Rev. Dabney Jones. Jones’ son sits beside him, under the flag, wearing a beard without mustache. The older woman standing beside Ella Johnson may be J.H. Johnson’s second wife, Mariah. Not pictured in this image is John Hutchins Johnson’s sons Lt. William Henry Harrison “Adjutant” Johnson (b. 1840, who would be killed in action at Oluste, FL, in 1864).

The Georgia Digital Library, which provided some of the information for this entry, has another photographic view of this same family gathering which does include William Johnson standing next to T.C. Johnson.  Additional information was provided by a 1938 letter by Edgar H. Johnson, son of a fourth brother, John Andrew Johnson (1837-1900), written to Thomas Coke Johnson III. It is not clear if John is in the photograph. A copy of this letter is available to the winning bidder. 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).

Also included in this lot is a group of eight (8) assorted daguerreotypes, tintypes and ambrotypes of various unidentified family members in civilian clothing, ranging from ninth to sixth plate sizes. Some subjects pictured may also be members of the James Harvey Pride or Edward Chambers Betts families. Thomas Coke Johnson III (1899-1986), the grandson of Lt. Col. Thomas Coke Johnson, married Pride and Betts descendant Elizabeth Broun Pride (1909-1997). All of these photographs descended to their daughter, Sally Johnson Harlan, of Jackson, Tennessee.

Note: a plantation journal from the John Hutchins Johnson family is also in this auction, lot 538, along with a tintype of Lt. Col. T.C. Johnson, (lot 536), and a portrait of John Hutchins Johnson and possibly his wife, Mariah, lot 1116 (Day 2 of this auction).

PROVENANCE: Estate of Sally Johnson Harlan.

CONDITION: Half plate family photograph: scattered dark discoloration throughout, but particularly concentrated to upper half of image and mat, likely due to corrosion or mold. The image is matted but lacks a case. The other smaller photographs are in varying degrees of condition with scattered spots of corrosion and tarnish to daguerreotypes and mats, but the tintypes are in generally good condition. The union cases are in generally poor condition with wear and separations. We have not attempted to remove these photographs from their frames. [See more photos →]

Historic oil on canvas panoramic landscape painting of Chattanooga, Tennessee, circa 1904, from the perspective of the Crutchfield House on Stringer’s Ridge, depicting the Hill City bridge, river bend factories, and broad fields along the Tennessee River. Signed S.L. Owen (American, 1885-1918), lower right, and housed in a molded giltwood frame. Sight: 79 3/4 in. L x 19 3/4 in. H. Framed: 85 3/4 in. L x 25 3/4 in. H. 1904.

Note: Newspaper articles from The Chattanooga Times in February and May 1904 detail the “new and excellent” painting’s origin and installation at the Chamber of Commerce, pointing out that it “carries a plain view of some of the most prominent industries, mills, factories, etc. and is suggestive of the picturesque, the agricultural and the manufacturing advantages of Chattanooga.” The painting is also described as “the best view of Chattanooga ever hung in public.”

Despite the glowing reviews of his work, the birthplace and full identity of the 21 year old artist, Mr. S.L. Owen, remain unknown. One of the articles states that he studied under the artist Sidney Clare at the Boston School of Art and “is rapidly forging to the front of his profession… supplementing his studies by painting views of the scenery about the city” and the other reports he “is engaged with Mudge, the photographer, of this city.” No other known works by Owen have surfaced according to our research.  Source: The Chattanooga News, 25 February 1904, Page 5 and The Chattanooga Daily Times, 15 May 1904, Page 4

PROVENANCE: Deaccessioned by a Southern Institution.

CONDITION: Cleaning and restoration recently undertaken to remove dark varnish and soot staining.  Patch replaced on old repair, sky area, with additional scattered retouch to sky area. [See more photos →]

Zvonimir Mihanovic (Croatia, b. 1946) oil on canvas hyperrealist or photorealist painting, titled “Alone.” A fisherman sits in a small boat and watches a line that he holds in his right hand. A red umbrella casts shade over the man’s face and reflects on the calm surface of the water, likely off Croatia’s Dalmatian Coast in the Adriatic Sea. Inscribed, possibly signed, “Mihanovic” to back of frame. Titled and inscribed “[copyright] BY ARTIST” to stretcher plus 1986 museum accession number to backing. Housed in a giltwood frame with tan textile liner. Sight: 38 1/2 in. H x 38 1/2 in. W. Framed: 45 in. H x 45 in. W.

Biographical Note: “Zvonimir Mihanovic was born on August 12, 1946 in the village of Sitno Donje in Poljica near Split, Croatia. After completing his elementary and high school education in Split, Croatia Mihanovic went to Paris in 1971 to study at the L’Ecole des beaux-arts in the studio of French painter Zavaro. In order to learn the craft of classical painting, he explored museums and galleries in Western Europe and the United States and perfected his skill by making sanctioned copies of paintings by the old masters.

Mihanovic gained recognition in the art world in 1978 when one of his paintings was shown at the Salon d’automne in the Grand Palais in Paris in a jurored show of European artists. This painting won the ‘Best of Show’ honor for the ‘realism’ division of the show. It was here that major art dealers recognized his work and introduced him to the international art scene. Major galleries in the United States began promoting his art and organizing exhibitions, including galleries in New York, Palm Beach, Aspen and Scottsdale.” (Source: mihanovic.com)

PROVENANCE: Deaccessioned by the Hunter Museum of American Art.

CONDITION: Overall very good condition, with uneven discoloration to varnish throughout. [See more photos →]

Francis Martin Drexel (Austrian-American, 1792-1863) oil on canvas portrait of Harriote Adaline Craig of Philadelphia and Tennessee (1795-1867), signed and dated 1819 en verso. The half length portrait depicts Mrs. Craig in a diaphanous white gown with ruffled collar and wearing a diamond ring on her right hand, which she rests on the edge of a chair or settee. It is covered by an embroidered red shawl, which extends to cover the sitter’s left arm. She wears her hair in tight dark curls accented by gold earrings, and stands against an indistinct olive green background. Old, possibly original wide giltwood molded frame. Sight: 29 1/2 in H x 23 3/8 in. W. Frame: 37 in. H x 31 in. W. Biography: Artist Francis Drexel was born in far western Austria and apprenticed to a portrait painter as a youth. He emigrated to Philadelphia from Austria in 1817 and established a studio at 131 South Front Street in a matter of weeks. The Pennsylvania Academy exhibited nine of his oils and a number of drawings in its 1818 exhibition. He continued to exhibit there periodically through 1825. In 1826, family conflict prompted him to sail to South America, and he continued to travel to faraway places throughout the rest of his life, returning occasionally to Philadelphia throughout his life. He eventually abandoned his art career and went into the banking business, moving to Louisville, KY and later San Francisco to take part in the Gold Rush. Sources: The Maine Antiques Digest, Groce and Wallace: The New York Historical Society’s Dictionary of Artists in America; Peter Falk: Who Was Who In American Art.  The subject, Harriotte Adaline Craige, was born in Philadelphia in 1795 to Margaret and Seth Craige, owner of Philadelphia’s largest cotton mill. She married James Cowan, son of North Carolina plantation owner and Revolutionary War Capt. Thomas Cowan, the same year this portrait was painted. The couple lived briefly in Georgia before moving to Henry County in West Tennessee, where Cowan owned a successful cotton plantation he called Mount Holyoke. They had seven children. Mr. Cowan died in 1864; Mrs. Cowan died in 1867 and is buried in Trenton in Gibson County.

PROVENANCE: A Middle Tennessee estate.

CONDITION: 1 1/8 in tear at center, to subject’s upper chest/collar, with 1 1/8 in x 5/8 in. area of paint loss, and a 5/8 in hole with paint loss near upper left edge of canvas. A few other small divits, flakes and scratches. Cracquelure throughout and scattered areas of bloom. [See more photos →]

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 and “McCarty” to lower left side. 15 1/2 in. L x 8 1/2 in. W x 6 1/2 in. 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 died 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. [See more photos →]

Important Elkington Sterling Silver Urn, presented by Queen Victoria to her daughter, Princess Helena in 1891, as a wedding anniversary gift. The vase is of classical form with stepped lip, over a body with repousse floral decoration surrounding the inscription, TO CHRISTIAN AND HELENA, IN RECOLLECTION OF THEIR SILVER WEDDING, FROM THEIR AFFECTIONATE MAMA, VICTORIA R I, JULY 5, 1891. The body is flanked by reeded handles terminating in foliate mounts, and has a ribbed lower column with repousse leaf and bud decoration, atop a weighted base with circular foot.  Hallmarked at base for Elkington & Co., Birmingham, with date mark for 1876 or 1882,  and with lion passant and same date mark to underside of base.  The original cover to the vase has been modified for later conversion to a lamp and is not shown in the main image. Vase: 12 1/2 in. H x  8 1/2 in. W (at handles) x 5 1/2 in. D. Weighted.

Note: Princess Helena Augusta Victoria and Prince Frederick Christian Charles Augustus, Duke of Schleswig-Holstein, wed on July 5, 1866 at Windsor Castle. They were both the great great grandchildren of English George III. The couple were married for 51 years until Prince Christian’s death in 1917,  Princess Helena died in 1923. This vase is one a pair -both originally including covers- given to the couple for their twenty-fifth wedding anniversary (for which silver is a traditional gift). The pair of vases were acquired in the late 1940s or early 1950s by Harry Clarke Thompson for his historic Virginia home, Upper Brandon Plantation and upon his death, divided between his two daughters. This one went to his daughter Eliot (aka Patsy Ann) Thompson. At some point, likely in the mid 20th century, the present urn was made into a lamp, with a drop-in cylinder attached to the cover, which was modified for wiring. The other lamp was sold at Heritage Auctions April 12, 2016 (lot 74130) and did not include a lid.

PROVENANCE: The collection of Dr. Lewis Pendleton Armistead of Nashville, by descent from his mother, Eliot Thompson Armistead.

CONDITION: The vase originally had a cover, which is still present and included with this lot, but it has been modified to accommodate a cylinder with wiring for a lamp; there was likely originally a finial which is no longer present. The electrical apparatus is no longer functional. The main vase remains intact and is in very good condition with a few minor dents and some scratches, most notably to the foot. [See more photos →]

Porfirio Salinas (Texas, 1910-1973), oil on wood 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.

Biography: The child of Mexican immigrant farmers, Porfirio Salinas worked at a local art supply store in Bastrop, Texas. There, he met the painter Robert William Wood. Salinas worked as a studio assistant to Wood and also learned from Spanish painter Jose Arpa, but eventually became sought after in his own right for his impressionist style, Hill Country landscapes. President Lyndon Johnson was among this most noted patrons, and several Salinas works hung in the White House during his term. Salinas was the subject of a 1962 solo exhibition at the Witte Museum in San Antonio.

PROVENANCE: A Middle Tennessee estate.

CONDITION: Overall good condition. Some yellowing of the varnish and a few scattered fine horizontal cracks, primarily visible in the sky. Areas of flourescence in the trees appear to show areas where varnish was unevenly applied, rather than retouch. [See more photos →]

PROVENANCE: Genetta Marie Pugh Estate.

CONDITION: See the GIA report for the condition of the center stone, #5231930090. [See more photos →]

Continental, likely Greek or Italian carved marble sculpture head of Heracles (Hercules) wearing the carcass of the Nemean Lion, after the 1st century Roman Imperial portrait of the King of Pontus Mithridates VI as Heracles in the collection of the Louvre, Paris. Overall: 16 in. H x 10 in. W x 9 in. D. Approx. 80 lbs 9 oz. 19th century or earlier.

PROVENANCE: A Nashville, TN estate.

CONDITION: General wear and weathering from outdoor exposure, losses to base, superficial fissures, scratch to nose, scattered pock marks and grime. [See more photos →]

Philip (1907-1987) and Kelvin LaVerne (1937-2025) Studios “Spring Festival” etched, patinated, and polychromed bronze and pewter coffee table. Rectangular form, designed in the manner of a Chinese scroll depicting various figures and structures in a spring landscape, resting on squared legs. Raised signature to the lower middle edge. Retains the original Philip LaVerne Collection, New York, label. Literature: Sculpture II, Bronze and Pewter Tables, The Art of Philip Laverne, Laverne studio catalog, p. 19. 16 in. H x 53 in. W x 20 in. D. Circa 1960s.

CONDITION: Overall, good condition. Minor spotting and wear to the top perimeter. Minor wear to the lower legs. [See more photos →]

Percussion long rifle owned by Obediah Wade Hill (1824-1893) of Williamson County, TN. Heavy, octagonal 44 1/4 in. barrel, 30 cal. Lockplate is marked “Kirkman & Ellis Nashville Tenn” with game bird design behind hammer; set trigger. Brass ramrod guides, buttplate, and trigger guard. Stock features several inlaid German silver pieces, including fish, fowl, fox, deer and skunk, as well as inlaid silver medallions along its full stock. Accompanied by framed reproduction photograph of Obediah Hill and handwritten biography. This gun is discussed and illustrated in the 2003 book ART OF TENNESSEE by the Frist Center for the Visual Arts, pgs. 38-39. Barrel 44 1/4 in. L; Overall 60 in. L. Note: 1848 records list a hardware manufacturing/storefront partnership between John Kirkman and James Ellis, located at 34 Public Square, Nashville.

CONDITION: Non-functioning; lock slightly loose in stock, nipple loose but present. Butt plate is period replacement. Stock with some cracks in wrist area, front of stock loose from muzzle. Numerous replacement screws.  [See more photos →]

Western Union Model 35-A self-winding ticker tape machine, serial #8703, with brass frame marked near the serial number MFD BY T A EDISON. INC., telegraph mechanism, and tape feed with escapement mechanism, over an electromagnet. All housed in a cast iron base with Western Union label stenciled: Quotations Furnished by The Western Union Telegraph Co. – Apply to Local Manager. Retains the original glass dome. Machine measures: 10 3/4 in. H x 5 3/4 in. W. Overall: 13 3/4 in. H x 7 1/4 in. W.

PROVENANCE: The Collection of Deborah and Kent Vauclain Bissell, Sr., by descent from his great-uncle, William Cullen Morris (1874-1975) of New York. Morris was a Vice President of Con Edison and engineer instrumental in the construction of the Astoria Tunnel. 

CONDITION: Not tested for functionality. Light wear to the paint and lettering of the cast iron base. All parts appear to be present. [See more photos →]

Mary Russell Smith (American, 1842 – 1878) oil on board painting depicting three fledgling chicks surrounding a nest with eggs in a forest floor setting. Signed and dated lower left in red “Mary Smith 1877” and housed in a modern gilt wood frame. Sight: 11 1/4 in. H x 9 1/2 in. W. Framed: 15 in. H x 13 1/4 in. W.

Artist’s Biography: (Adapted from AskArt & Charleston Renaissance Gallery) – Mary Russell Smith is best remembered for her intimate genre scenes featuring chickens and barnyard life. She came from a prominent artistic family: her parents were Russell Smith and Mary Priscilla Wilson Smith, and her brother, Xanthus Smith, was also an artist. She was born at Rockhill, the family’s countryside home just north of Philadelphia, and later lived at their estate, Edgehill, in Jenkintown, Pennsylvania, for the remainder of her life.

Her artistic training began at home under her mother, an accomplished painter of flowers and still lifes. By the age of fourteen, Mary had already begun creating her own work. Her talent developed quickly, and she exhibited regularly at the Pennsylvania Academy of the Fine Arts between 1859 and 1869, with additional showings in 1876 and 1878. Over the course of her brief career, she completed more than three hundred paintings, which she meticulously recorded in her personal ledger, Account of Work Done by Mary Smith, Artist (now held in the Archives of American Art at the Smithsonian Institution).

In his 1867 publication Book of the Artists, Henry Tuckerman praised her work for its elegance, accuracy, and technical ability, particularly in her depictions of birds—her primary subject. At Edgehill, she kept and cared for the chickens she painted, working directly from observation. Her compositions often blend these subjects with elements of landscape or still life, as seen in works that pair chicks with floral arrangements, rendered with refined color and delicate attention to texture.

PROVENANCE: Collection of Patricia and Paul DeHaan, Kalamazoo, Michigan

CONDITION: Overall very light craquelure. Minor losses to the lower left corner near the signature area and some minor scattered abrasions to the left margin. [See more photos →]

Robert Natkin (American/Chicago, 1930-2010), acrylic on wove paper abstract painting, number six from the artist’s “Intimate Lighting” series. Organic shapes and fields of vibrant colors, some applied through a mesh, overlap and blend together.  A light-green border encloses the composition. Signed in pencil to lower center-left. With Andre Emmerich Gallery, New York label and stamp to backing. Also inscribed “#6” and “Emmerich” to backing. Housed under glass in a metallic frame. Sight: 35 in. H x 56 3/4 in. W. Framed: 36 in. H x 57 3/4 in. W. 1972/3.

Note: In 1973, Natkin exhibited twelve artworks from his “Intimate Lighting” series at New York’s Andre Emmerich gallery. In his April 1973 Artforum review of the exhibition, Joseph Masheck notes that all dated from 1972. However, the Andre Emmerich gallery label affixed to the backing of the present example dates this work to 1973. See Joseph Masheck, “Robert Natkin,” Artforum 11, no. 8 (1973), 81.

Biographical Note: “Chicago-born Robert Natkin studied at the Art Institute of Chicago and is best known for his unique blending of abstract styles of the second half of the 20th century, including Abstract Expressionism, Color Field painting, and Lyrical Abstraction. Natkin utilized found fabrics and textured materials to create surface character.” (Source: Delaware Art Museum)

PROVENANCE: Deaccessioned by the Hunter Museum of American Art; Andre Emmerich Gallery, New York.

CONDITION: Overall very good condition. Not examined out of frame. [See more photos →]

Greene Co., Tennessee, Chippendale 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 the 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.

PROVENANCE: Estate of Donna C. Rogers, Greeneville, TN.

CONDITION: Older refinished surface. Scattered patches and repairs to drawer lips with the largest being the upper one inch edge of the top center drawer. The side moldings of the top having replaced sections of the upper ogee edge. Most of the drawers with the lower drawer sides built up. Retains the original feet with minor cracks, scattered regluing. Appears to retain some of the original wooden pulls. [See more photos →]

1st item: Blue English Staffordshire cylindrical apothecary jar with “LEECHES.” label in a white swag banner with gilt lettering. Exterior has two white handles and a perforated Maltese cross-designed lid with bud finial. Bottom has red-gummed label with E-18 inventory number, from the Max M. Warsaw Collection, Chicago. 13 in. (incl. lid finial) H x 10 in. D (incl. handles). 2nd item: English Staffordshire apothecary jar with perforated domed lid and pedestal base.  Labeled “LEECHES.” in gilt lettering, with gilt accents. Exterior finial and two handles. Gilt faces painted on each side of handles. 10 in. with lid H x 4 1/2 in. D., Bottom has red-gummed label with E-19 inventory number, from the Max M. Warsaw Collection, Chicago. 15 in. (incl. lid finial) H x 8 in. D (incl. handles).

PROVENANCE: The estate of Dr. Ian M. Mathison, Murfreesboro TN and Big Rapids, MI.

CONDITION: 1st item:  Overall good condition with a cracked and chipped lid, consistent with age and use.  2nd item: Overall good condition, with a small chip on the lid and rim interior, consistent with age and use.  [See more photos →]

Ladies’ 18K yellow gold Patek Phillipe wristwatch, Ref. #4503, caliber 16-250, movement Serial # 1401013, case serial #2788688. Square face with tapering corners, 23mm x 23mm, diamond-set bezel, champagne sunburst dial with diamond hour markers, mechanical movement. Fitted with a black leather Patek Phillipe strap and tang buckle. Also includes an additional black alligator strap. 22.25 total gross grams. Circa 1980s.

CONDITION: Overall good condition. The watch was working at the time of inspection. Additional black alligator strap missing loop. [See more photos →]

18K white gold sapphire and diamond floral brooch featuring an intricate openwork design set with invisibly set square French-cut natural blue sapphires and containing approximately 700 sapphires with an estimated total weight of 70.0 carats. Accented by 20 round brilliant/full cut diamonds with an approximate total weight of 1.8 carats, graded H-I color and SI1 clarity. Measuring approximately 56 x 58 x 17.5 mm. Brooch XRF tests 18K. Total weight: 48.9 grams.

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

Ladies’ 14K and platinum three-diamond ring featuring a 2.01 emerald-cut natural fancy intense yellow diamond, SI1 clarity, measuring 7.69 x 6.37 x 4.70mm, good Polish, good symmetry, and faint fluorescence, GIA# 2231957557.  Accented by 2 trillion-cut diamonds weighing approximately .75 ctw. Band is marked “14K, 900PT and M F” for Marin Flyer. Band XRF tests 14K, and the head XRF tests 90% platinum. Size 7 1/4. 3.45 total grams.

PROVENANCE: Estate of Donna C. Rogers, Greeneville, TN.

CONDITION: Ring is in overall good condition. Please see GIA report number for yellow diamond. [See more photos →]

Joanna Higgs Ross (Tennessee, 1934-2025) oil on canvas modernist still life painting entitled “Studio” that depicts the artist’s studio in Nashville, TN with brushes, tubes of paint, and a canvas. Signed lower left and additionally signed, titled, and dated to back of stretcher. With 2010 Central South Art Exhibition, Nashville, label affixed to back of frame. Float mounted in a thin, painted wood frame. Canvas: 40 in. H x 48 in. W. Framed: 42 in. H x 50 in. W. 2010. Biography: “Having worked in all three regions of the state, Joanna Higgs Ross has contributed significantly as a Tennessee artist over her distinguished seven-decade career. In 1956, she became the first female student to receive a bachelor of fine arts degree from University of Tennessee Knoxville. Her artistic talents quickly came to the attention of Buck Ewing, head of the University of Tennessee’s Department of Fine Arts, who was sufficiently impressed to recruit her as the only female member of a group of modern artists called The Knoxville 7. The group represented a loose affiliation of groundbreaking Knoxville-based artists active from roughly 1955 to 1965. They were among the first artists in Tennessee to explore the new visual language of Abstract Expressionism in bold and innovative works in a variety of media. As influential artists and teachers, they were instrumental in energizing Tennessee’s visual arts communities and establishing a foothold for modern art ideas across the state. Bringing credibility to the University of Tennessee’s new art department, the Knoxville 7 promoted the notion that meaningful art could happen in East Tennessee as much as anywhere…Despite Joanna’s departure from Knoxville in 1960 to pursue her master of fine arts degree at the University of Illinois, Buck Ewing was so enamored with her work that he continued to include her as a member of the Knoxville 7 until the group dissolved in 1965…Fresh from college, she began her teaching career as the only art professor at Lambuth College in Jackson, Tennessee, where she taught until 1983. Joanna’s prolific portfolio extends nearly 60 years. Her work can be found in art collections throughout Tennessee and Illinois including the Tennessee State Museum; Austin Peay State University; East Tennessee State University; Brooks Museum of Art; University of Illinois; University of Tennessee Knoxville; Knoxville Museum of Art; Watkins College of Art, Design, & Film; First American Bank; Third National Bank; Bass, Berry & Sims; and the Brentwood Chamber of Commerce. Ross’ work has been selected for juried exhibitions at the Butler Institute of American Art, the Arkansas Art Center, the Hunter Museum of American Art, the High Museum of Art, the Nashville Parthenon, the Brooks Museum of Art and the Evansville Art Gallery. Additionally, her work was featured in solo exhibitions across Tennessee in Nashville, Knoxville, Clarksville, Jackson, Oak Ridge, Memphis, and Dyersburg.” (Source: Tennessee Arts Commission)

PROVENANCE: Estate of Joanna Higgs Ross, Nashville, TN

CONDITION: Excellent condition.  [See more photos →]

Cartier 18K yellow gold Tank Louis wristwatch, Reference 78086, featuring a 23 mm x 31 mm case, white “Paris” dial with Roman numerals, blued steel hands, and a beaded crown set with a cabochon sapphire. Manual mechanical movement. Case back marked “Cartier Paris” and numbered “780864702”; interior marked “18K 750 18K Swiss.” Fitted with a new Cartier black crocodile leather strap and an 18K gold Cartier buckle. 9 in. total L. 

PROVENANCE: Estate of Donna C. Rogers, Greeneville, TN.

CONDITION: Light scratching to the dial and watch case. The watch was functioning at the time of inspection. Service is recommended. [See more photos →]

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. Biography: “Having worked in all three regions of the state, Joanna Higgs Ross has contributed significantly as a Tennessee artist over her distinguished seven-decade career. In 1956, she became the first female student to receive a bachelor of fine arts degree from University of Tennessee Knoxville. Her artistic talents quickly came to the attention of Buck Ewing, head of the University of Tennessee’s Department of Fine Arts, who was sufficiently impressed to recruit her as the only female member of a group of modern artists called The Knoxville 7. The group represented a loose affiliation of groundbreaking Knoxville-based artists active from roughly 1955 to 1965. They were among the first artists in Tennessee to explore the new visual language of Abstract Expressionism in bold and innovative works in a variety of media. As influential artists and teachers, they were instrumental in energizing Tennessee’s visual arts communities and establishing a foothold for modern art ideas across the state. Bringing credibility to the University of Tennessee’s new art department, the Knoxville 7 promoted the notion that meaningful art could happen in East Tennessee as much as anywhere…Despite Joanna’s departure from Knoxville in 1960 to pursue her master of fine arts degree at the University of Illinois, Buck Ewing was so enamored with her work that he continued to include her as a member of the Knoxville 7 until the group dissolved in 1965…Fresh from college, she began her teaching career as the only art professor at Lambuth College in Jackson, Tennessee, where she taught until 1983. Joanna’s prolific portfolio extends nearly 60 years. Her work can be found in art collections throughout Tennessee and Illinois including the Tennessee State Museum; Austin Peay State University; East Tennessee State University; Brooks Museum of Art; University of Illinois; University of Tennessee Knoxville; Knoxville Museum of Art; Watkins College of Art, Design, & Film; First American Bank; Third National Bank; Bass, Berry & Sims; and the Brentwood Chamber of Commerce. Ross’ work has been selected for juried exhibitions at the Butler Institute of American Art, the Arkansas Art Center, the Hunter Museum of American Art, the High Museum of Art, the Nashville Parthenon, the Brooks Museum of Art and the Evansville Art Gallery. Additionally, her work was featured in solo exhibitions across Tennessee in Nashville, Knoxville, Clarksville, Jackson, Oak Ridge, Memphis, and Dyersburg.” (Source: Tennessee Arts Commission)

PROVENANCE: Estate of Joanna Higgs Ross, Nashville, TN

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

Andy Warhol (American, 1928-1987) serigraph 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.

PROVENANCE: Private Baltimore, MD collection.

CONDITION: Waviness to sheet. Sheet is mounted to mat with archival tape affixed to verso along upper edge and upper left and right edges. Frame with abrasions and losses plus scratches to acrylic. [See more photos →]

Half plate sized photograph tintype of Georgia Confederate Officer Lt. Col. Thomas Coke Johnson, 19th Ga. Infantry, killed in action at Mechanicsville, Virginia, 1862, together with his posthumous Southern Cross of Honor. Johnson is pictured three quarter length, standing, with one hand holding his hat atop a table, and gripping his sword in the other. Embossed gilt metal mat with oval opening, in an embossed leather partial union case. Sight: 4 1/2 in. H x 3 1/2 in. W. Frame: 6 in. H x 4 3/4 in. W. The Southern Cross is engraved with Johnson’s name and unit and measures 2 in. x 1 1/3 in. Also included with this lot is Johnson’s copy of the book “The Life of William Penn,” 1836, by M.L. Weems, in which Thomas Coke Johnson’s name, likely his signature, appears four times. (Note: Johnson’s mother was Ann Frances Penn, daughter of Francis Taliaferro Penn).

Lt. Col. Thomas Coke Johnson was born 1835 in Oglethorpe County, GA and by the 1840 census was living with his father John Hutchins Johnson, mother, and four brothers in Coweta, GA (his mother died in 1845 after giving birth to his fifth brother). Thomas, or T.C. as he was known, attended the Emory and Georgia Military Institute. He married Ella J. Wiggins in 1856 in Griffin, GA and they had two sons (Thomas Coke Johnson Jr. and Lee Clifford Johnson) before Thomas enlisted in the Confederate Army. He is believed to have been killed in the Battle of Beaver Dam Creek at Mechanicsville, VA on the first day of the famed Seven Days War and this photograph descended in his family.

PROVENANCE: Estate of Sally Johnson Harlan.  Note: a photograph of Lt. Col. Johnson along with members of his family in 1862 is also for sale in this auction (lot 537) along with plantation journal from his family (lot 538), a portrait of his father (lot 1116, Day 2 of this auction) and other items.

CONDITION: Union case is worn with left half missing, but the image itself is in excellent condition; some specks trapped under the glass. Image has not been examined out of frame. [See more photos →]

Joanna Higgs Ross (Tennessee, 1934-2025) oil on canvas expressionist self-portrait that depicts the artist as a young woman on a porch or interior space and before a large window, possibly in a studio setting with paintbrush in hand and canvases at right. Green, blue, pink, and white colors describe her face, with passages of heavy impasto especially in clothing. Signed, dated, and inscribed “portrait” to stretcher. Unframed. 36 in. H x 50 in. W. 1958. Note: Painted during the artist’s Knoxville period, the scene likely shows Ross in a Knoxville location. Biography: “Having worked in all three regions of the state, Joanna Higgs Ross has contributed significantly as a Tennessee artist over her distinguished seven-decade career. In 1956, she became the first female student to receive a bachelor of fine arts degree from University of Tennessee Knoxville. Her artistic talents quickly came to the attention of Buck Ewing, head of the University of Tennessee’s Department of Fine Arts, who was sufficiently impressed to recruit her as the only female member of a group of modern artists called The Knoxville 7. The group represented a loose affiliation of groundbreaking Knoxville-based artists active from roughly 1955 to 1965. They were among the first artists in Tennessee to explore the new visual language of Abstract Expressionism in bold and innovative works in a variety of media. As influential artists and teachers, they were instrumental in energizing Tennessee’s visual arts communities and establishing a foothold for modern art ideas across the state. Bringing credibility to the University of Tennessee’s new art department, the Knoxville 7 promoted the notion that meaningful art could happen in East Tennessee as much as anywhere…Despite Joanna’s departure from Knoxville in 1960 to pursue her master of fine arts degree at the University of Illinois, Buck Ewing was so enamored with her work that he continued to include her as a member of the Knoxville 7 until the group dissolved in 1965…Fresh from college, she began her teaching career as the only art professor at Lambuth College in Jackson, Tennessee, where she taught until 1983. Joanna’s prolific portfolio extends nearly 60 years. Her work can be found in art collections throughout Tennessee and Illinois including the Tennessee State Museum; Austin Peay State University; East Tennessee State University; Brooks Museum of Art; University of Illinois; University of Tennessee Knoxville; Knoxville Museum of Art; Watkins College of Art, Design, & Film; First American Bank; Third National Bank; Bass, Berry & Sims; and the Brentwood Chamber of Commerce. Ross’ work has been selected for juried exhibitions at the Butler Institute of American Art, the Arkansas Art Center, the Hunter Museum of American Art, the High Museum of Art, the Nashville Parthenon, the Brooks Museum of Art and the Evansville Art Gallery. Additionally, her work was featured in solo exhibitions across Tennessee in Nashville, Knoxville, Clarksville, Jackson, Oak Ridge, Memphis, and Dyersburg.” (Source: Tennessee Arts Commission)

PROVENANCE: Estate of Joanna Higgs Ross, Nashville, TN

CONDITION: Overall very good condition, with passages of minor cracking, possibly aging or drying cracks. [See more photos →]

New England Chippendale mahogany block-front secretary – desk or desk and bookcase. Two-part construction, white pine secondary. Top section with molded arch bonnet pediment and three flame finials, over two tombstone paneled doors flanked by undulating scrolled pilasters opening to three shaped shelves. Desk with slant front having cleated ends, opening to a fitted interior with a center prospect door with a carved shell design that can be removed vertically with a key. The removal of the prospect door reveals a scalloped valence with a hidden dovetailed drawer of shallow depth over two blockfront dovetailed drawers. The center prospect section is flanked by vertical half-turned columnar hidden drawers. The columnar drawers are flanked on each side by a set of four blockfront dovetailed drawers and four pigeonholes above the drawers. All interior blockfront drawers with brass pulls. Blockfront lower case with four graduated, dovetailed drawers with batwing pulls and escutcheons; lip molding around the case perimeter for each drawer. Base with ogee molding transitioning to conforming blockfront feet with returns. 98 1/4 in. H (includes finials) x 38 3/4 in. W x 21 1/2 in. D. Possibly Massachusetts, late 18th century. Note: a nearly identical form is illustrated in Wallace Nutting’s FURNITURE TREASURY (New York: McMillan Co., 1948), Figure 697.

PROVENANCE: The estate of Dr. W. Harwell Murrey, Middle Tennessee.

CONDITION: Graduated desk drawers with replaced bottom boards and buildup of lower drawer sides indicate the possible marriage of blockfront drawers from another desk. Interior drawer supports replaced. Finials are replacements. Brasses and some of the hinges and locks are replaced. Backboards appear original, retaining some of the original rosehead nails. [See more photos →]

Ladies’ 18K Rolex yellow gold Oyster Datejust wristwatch, 26mm, reference # 6917, serial # 7394101, automatic movement with date, champagne dial with bar hour markers, 18K yellow gold President bracelet with concealed crown clasp. Bracelet numbered 8570. 63.8 total gross grams. 6 in. interior measurement.

PROVENANCE: Genetta Marie Pugh Estate.

CONDITION: The watch is in working condition at the time of inspection. The bracelet is well-worn, and the spring bars are not original. Cleaning and servicing are recommended. [See more photos →]

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.

Biographical Note: “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.” (Source: Knoxville Museum of Art)

PROVENANCE: Private Southern Collection.

CONDITION: Overall very good condition. Not examined out of frame. Frame with minor abrasions, primarily to corners. [See more photos →]

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.

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.

PROVENANCE: Private Florida Collection; Charleston Renaissance Gallery, Charleston, South Carolina.

CONDITION: Overall very good condition. Approximately 1/8 in. x 1/8 in. loss to sky with related 3/8 in. L surface abrasion at upper left. With surface grime and areas of retouching or inpainting to old frame abrasions along edges, outside of the sight area, along with minor areas of loss to edges also outside of the sight area, largest 1/4 in. x 1/4 in. to lower left corner. [See more photos →]

Continental Baroque faux red tortoise shell veneered vitrine or display cabinet on stand with gilt bronze mounts. The vitrine features a balustrade top with openwork ormolu cherub and grapevine motif, with cherub finials atop faux tortoiseshell veneered plinths, over a flat molded cornice and faux tortoiseshell veneered frieze with ormolu cherub mask. Glass door and sides, opening to two removable glass shelves, all flanked by plain columns with gilt bronze capitals, atop a molded ebonized base. The interior floor of the vitrine features parquetry inlay. The ebonized wood stand is likely later than the vitrine itself and features ball and baluster turned legs joined by a lower x-form serpentine stretcher on four claw and ball feet. The interior of the vitrine is lined in ivory colored moire silk on the back wall and has an added interior lamp. Vitrine only: 52 in. H x 36 in. W x 22 1/2 in. D. Base: 33 in. H x 32 in. W x 22 in. D. Overall: 85 in. H x 36 in. W x 22 in. D. Vitrine – possibly Dutch or Flemish, 18th century or earlier. Stand: Late 19th century or earlier.

PROVENANCE: The estate of Dr. Michael Spalding, Nashville, TN.

CONDITION: Vitrine: numerous patches to veneer, most noticeably at lower edge of door, Several areas of loss to moldings, mostly at lower sides and near back. Interior: some wear and staining to silk lining, loss to parquet “floor”. Stand: open splits to two legs, one repaired split to stretcher. Overall general wear and abrasions. [See more photos →]

Eight (8) Mark Scearce sterling silver Kentucky mint julep cups or beakers with a tapered body and beaded upper and lower rims. Marked on the underside MARK J. SCEARCE SHELBYVILLE KENTUCKY / STERLING with an eagle symbol and JFK initials commemorating the American president during the period in which it was made (John F. Kennedy, 1961-1963). 3 3/4″ H. 36.63 total troy ounces. (Second set of 2 Scearce JFK-era juleps offered in this auction).

PROVENANCE: The estate of Dr. Michael Spalding, Nashville, TN.

CONDITION: Most cups have an occasional pinpoint dent. One has a 1/2 inch dent near the foot. One has a 1/4 inch dent. Light use wear. No monograms. [See more photos →]

Large carved limestone (or Tennessee grey marble) dog sculpture on an integral plinth, with intricately carved eyes, mouth, wavy fur, and rudder tail (or table sweeper) that fans on both sides and across the back of the sculpture. From the Knoxville, Tennessee estate of George Washington Callahan (1862-1927), the dog stood sentinel in front of the Callahan home, Amberwood Hall, at their Valley View Farm estate. Possibly modeled after a Newfoundland farm dog named Grover that Callahan owned in 1907. The stone dog was once the victim of a mischievous heist by University of Tennessee students when, in 1948, his front paws and base were cracked and then repaired. Photo sequence includes a photo of the dog statue in front of the Callahan family home c.1910, plus Knoxville newspaper articles of the lost dog classified ad in 1907 and the student heist coverage in 1948.  38 in. H x 17 in. W. 32 in. D. Early 20th c. or before.

Biographical Note: From stone cutter’s apprentice to marble-yard owner, then alderman, successful railroad builder, and gentleman farmer, George Washington Callahan is a prominent figure in Knoxville’s history, remembered today for the road and I-75 interstate exit that bears his name. Callahan’s firm was enlisted as fabricators for many statues and monuments in the region, including Knoxville’s Confederate Monument, a Tennessee gray marble sculpture designed by Lloyd Branson and carved by Union veteran George Hoyle Whitaker, who served in the 143rd New York Infantry.

PROVENANCE: Irene Sullivan Estate, Oak Ridge, TN descendant of the Callahan family of Knoxville, TN.

CONDITION: Weathering and paint loss, 1 inch chip to tip of nose, and old repair to legs and base sustained by the 1948 heist by UT Students. A hole in the plinth is likely native to the piece, where a chain or railing could have been installed. [See more photos →]

Nano Lopez (Colombian/American, b. 1955), “Maria Alma,” large bronze sculpture with hand-applied patina depicting a winged female figure, embellished with a red heart, leaves, seeds, flowers, and other organic elements, and standing on a naturalistic base with a guardian face at her feet. From the limited numbered edition of 68 (six artists’ proofs and two foundry copies also exist). Signed, dated, and numbered on the base “Nano/07 15/68”.  32 1/2 in. H x 16 in. W x 11 in. D. Accompanied by a Nano Lopez giclee (print on canvas) titled “Maria Gatherer,” depicting a similar figure, signed lower right and numbered 43/50. Sight: 18 in. H x 8 1/2 in. W. Frame: 24 1/2 in. H x 15 in. W.

PROVENANCE: The collection of John and Lelia Udick.

CONDITION: Bronze: Repair to the leaf at upper tip of right wing, otherwise overall very good condition. Giclee Print: Excellent condition. [See more photos →]

Joanna Higgs Ross (Tennessee, 1934-2025) oil on canvas abstract expressionist painting, “Waterfall, II.” Gestural green and black brushwork accented by yellow, pink, and red highlights surrounds a white diagonal form that diagonally bisects the composition. Signed, titled, and dated to back of stretcher. Housed in a simple wooden frame. Canvas: 50 in. H x 36 in. W. Framed: 51 in. H x 36 5/8 in. W. 1960.

Biography: “Having worked in all three regions of the state, Joanna Higgs Ross has contributed significantly as a Tennessee artist over her distinguished seven-decade career. In 1956, she became the first female student to receive a bachelor of fine arts degree from University of Tennessee Knoxville. Her artistic talents quickly came to the attention of Buck Ewing, head of the University of Tennessee’s Department of Fine Arts, who was sufficiently impressed to recruit her as the only female member of a group of modern artists called The Knoxville 7.

The group represented a loose affiliation of groundbreaking Knoxville-based artists active from roughly 1955 to 1965. They were among the first artists in Tennessee to explore the new visual language of Abstract Expressionism in bold and innovative works in a variety of media. As influential artists and teachers, they were instrumental in energizing Tennessee’s visual arts communities and establishing a foothold for modern art ideas across the state. Bringing credibility to the University of Tennessee’s new art department, the Knoxville 7 promoted the notion that meaningful art could happen in East Tennessee as much as anywhere…Despite Joanna’s departure from Knoxville in 1960 to pursue her master of fine arts degree at the University of Illinois, Buck Ewing was so enamored with her work that he continued to include her as a member of the Knoxville 7 until the group dissolved in 1965…Fresh from college, she began her teaching career as the only art professor at Lambuth College in Jackson, Tennessee, where she taught until 1983. Joanna’s prolific portfolio extends nearly 60 years.

Her work can be found in art collections throughout Tennessee and Illinois including the Tennessee State Museum; Austin Peay State University; East Tennessee State University; Brooks Museum of Art; University of Illinois; University of Tennessee Knoxville; Knoxville Museum of Art; Watkins College of Art, Design, & Film; First American Bank; Third National Bank; Bass, Berry & Sims; and the Brentwood Chamber of Commerce. Ross’ work has been selected for juried exhibitions at the Butler Institute of American Art, the Arkansas Art Center, the Hunter Museum of American Art, the High Museum of Art, the Nashville Parthenon, the Brooks Museum of Art and the Evansville Art Gallery. Additionally, her work was featured in solo exhibitions across Tennessee in Nashville, Knoxville, Clarksville, Jackson, Oak Ridge, Memphis, and Dyersburg.” (Source: Tennessee Arts Commission)

PROVENANCE: Estate of Joanna Higgs Ross, Nashville, TN

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

Joanna Higgs Ross (Tennessee, 1934-2025) acrylic on canvas portrait entitled “Kitty.” A young African American woman shown in bust-length wears a white headwrap and brown overalls as she sits before a geometric black-and-green background. Signed, titled, and dated to back of stretcher. Housed in a simple wooden frame. Sight/Canvas: 25 1/8 in. H x 30 1/8 in. W. Framed: 26 in. H x 30 7/8 in. W. 1975. Exhibition History: Joanna Higgs Ross: A Mini-Retrospective 1956-2015; Tennessee Arts Commission, Nashville, TN; May 29-July 24, 2015. Biography: “Having worked in all three regions of the state, Joanna Higgs Ross has contributed significantly as a Tennessee artist over her distinguished seven-decade career. In 1956, she became the first female student to receive a bachelor of fine arts degree from University of Tennessee Knoxville. Her artistic talents quickly came to the attention of Buck Ewing, head of the University of Tennessee’s Department of Fine Arts, who was sufficiently impressed to recruit her as the only female member of a group of modern artists called The Knoxville 7. The group represented a loose affiliation of groundbreaking Knoxville-based artists active from roughly 1955 to 1965. They were among the first artists in Tennessee to explore the new visual language of Abstract Expressionism in bold and innovative works in a variety of media. As influential artists and teachers, they were instrumental in energizing Tennessee’s visual arts communities and establishing a foothold for modern art ideas across the state. Bringing credibility to the University of Tennessee’s new art department, the Knoxville 7 promoted the notion that meaningful art could happen in East Tennessee as much as anywhere…Despite Joanna’s departure from Knoxville in 1960 to pursue her master of fine arts degree at the University of Illinois, Buck Ewing was so enamored with her work that he continued to include her as a member of the Knoxville 7 until the group dissolved in 1965…Fresh from college, she began her teaching career as the only art professor at Lambuth College in Jackson, Tennessee, where she taught until 1983. Joanna’s prolific portfolio extends nearly 60 years. Her work can be found in art collections throughout Tennessee and Illinois including the Tennessee State Museum; Austin Peay State University; East Tennessee State University; Brooks Museum of Art; University of Illinois; University of Tennessee Knoxville; Knoxville Museum of Art; Watkins College of Art, Design, & Film; First American Bank; Third National Bank; Bass, Berry & Sims; and the Brentwood Chamber of Commerce. Ross’ work has been selected for juried exhibitions at the Butler Institute of American Art, the Arkansas Art Center, the Hunter Museum of American Art, the High Museum of Art, the Nashville Parthenon, the Brooks Museum of Art and the Evansville Art Gallery. Additionally, her work was featured in solo exhibitions across Tennessee in Nashville, Knoxville, Clarksville, Jackson, Oak Ridge, Memphis, and Dyersburg.” (Source: Tennessee Arts Commission)

PROVENANCE: Estate of Joanna Higgs Ross, Nashville, TN

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

118 pieces Christofle silver plated flatware in the Albi pattern, including 12 knives (9 1/2 in.); 12 knives (7 3/4 in.); 12 forks (8 1/8 in.); 12 forks (6 3/4 in.); 12 fish forks; 12 fish knives; 12 tablespoons; 12 five o’clock teaspoons; 12 dessert/oval soup spoons; 1 soup ladle; 1 gravy ladle; 1 serving spoon; 1 serving fork; 1 carving knife; 1 carving fork; 1 solid fish serving knife; 1 solid fish serving fork; 1 salad serving fork and 1 salad serving spoon. Late 20th century. 

PROVENANCE: Private Nashville collection. 

CONDITION: All items mint, unused condition in original plastic bags.  [See more photos →]

John Rettig (American/Cincinnati, 1855-1932) oil on board impressionist painting, possibly depicting Marblehead, Massachusetts. Water shimmers under a sunny sky as yachts sail past a harbor; figures converse on a pier beside a boat, possibly preparing to enter the race. Signed lower right. Period, possibly original giltwood frame. Cincinnati framing label en verso. Sight: 17 1/2 in. W x 14 1/2 in. H. Frame: 21 in. W x 19 in. H.

Biography: John Rettig was born in Cincinnati and began fresco painting as a teenager. He attended the Cincinnati Art School where he studied with Edward Potthast and Frank Duveneck. He furthered his studies in Paris and spent many years in Holland living in fishing villages. In Cincinnati, Rettig worked as a modeler of Rookwood Pottery. He also worked as a painter, muralist, and set designer, and created many open-air pageants in Cincinnati, North Africa and Mexico. His work was exhibited at the Pennsylvania Academy, the Boston Art Club, and the Art Institute of Chicago.

PROVENANCE: Private Middle Tennessee collection, by descent from family in Cincinnati.

CONDITION: Overall very good condition. Light yellowing to varnish and a few small inclusions to sky area. Not examined out of frame. [See more photos →]

Sterling Boyd Strauser (American, 1907 – 1995), oil on board still life painting depicting a bouquet of mixed flowers, including a sunflower and gladiolas, in a green/blue vase on a white ground and multicolor background. Rendered with some impasto and sgraffito linework. Signed and dated lower right “Strauser, ’94”. Unframed. 22 in. H x 18 in. W.

CONDITION: Overall very good condition. Some scattered paint voids, mostly to the right margin – appears to be in the making. [See more photos →]

Margaret D. (Hawkins) Keane (American/Tennessee, 1927-2022) oil on canvas painting titled “Sound of Fragrance,” depicting a young woman with Keane’s trademark “big eyes,” holding a flower near her ear. The woman is depicted waist length, in a sleeveless yellow dress, with partially upswept auburn hair, against a blue and white shaded background. Signed “MDH Keane” lower left corner. Rococo style carved, white-painted and parcel gilt frame. Stretcher: 24 in. H x 18 in. W. Frame: 32 in. H. x 26 in. W.

Note: This painting is accompanied by a certificate of authenticity from the Keane Eyes Gallery of San Francisco (and of a 2016 invoice from the gallery for repair work done in part by the artist, Margaret Keane). This painting was the cover image for a circa 1962 marketing brochure telling the story of “the wonderful world of the Walter Keanes.” The brochure is included with this lot.

Biography: Nashville born Margaret Keane was best known for her portraits of children, women and animals with distinctively large and expressive eyes. Other than attending the Traphagen School of Design in New York for a period of time in her late teens, she was largely self taught, yet she became one of the most commercially successful and controversial artists of the 1950s-60s, with her portraits often reproduced on decorative, mass produced items. For years, her second husband Walter Keane successfully marketed and sold the paintings as his own. In 1986 Margaret sued Walter, revealing that she had actually painted the works, and a judge ordered a live “paint-off” in court. Margaret won when she quickly painted one of her trademark figures, while Walter declined, claiming shoulder pain. Their story became the basis of a 2014 film, “Big Eyes,” starring Amy Adams and Christoph Waltz. Margaret died in California in 2022.

PROVENANCE: The collection of Mr. and Mrs. David C. Allen, Springfield, Tennessee; Heritage Auctions, lot 35067, Sept. 2024; ex-Gwenne L. Barr, Boca Raton, Florida; ex-Keane Gallery, San Francisco.

CONDITION: Repaired 2 1/2 in. tear with retouch to background, just above subject’s right shoulder, visible under UV light.  Per the accompanying invoice, the retouch was done by the artist, Margaret Keane. Some other possible retouch to areas of perimeter. Small 1/8 in. spot of retouch to subject’s hair, top of head, and 1/4 in. spot of retouch to the flower, all visible under UV light. Some small spots of wear and loss to outer edges of frame. [See more photos →]

School of Charles Webster Hawthorne (American, 1872-1930), oil on board painting depicting a woman in a hat and colorful frock, seated outdoors with hands folded in her lap. Unsigned. Numbered “#8” in pencil lower left. En verso the board is marked “The Upson Company / Lockport NY USA / US PAT”  Unframed. 23 3/4 in H x 20 in. W. First quarter 20th century.  Note: The subject is devoid of facial features, a technique Hawthorne called “Mud Head” in his plein air art classes at the Cape Cod School of Art, Provincetown, MA. Hawthorne instructed students to use a pallet knife as a brush and positioned models with their backs to the light to place emphasis on conveying light and color rather than fine details.

CONDITION: A few scattered inclusions, with dirt, bent corners, and rough edges. Paint is thin along edges.   [See more photos →]

Hans (Ronsard) Zatzka (Austria, 1859-1945) oil on canvas floral still life painting that depicts an ornamental vase filled with a variety of dewy, multicolored flowers. Butterflies, a bee, ladybug, caterpillar, and other insects populate the scene along with a small yellow bird that feeds two fledglings. Signed “H. Zatzka Fecit” to lower center. Additionally signed and inscribed “Jede art nachbildung vorbehalten” (All forms of reproduction reserved) en verso. With Leopold Hess, Berlin stamps to stretcher. Housed in an ornate giltwood frame with name plate. Sight: 29 1/4 in. H x 21 7/8 in. W. Canvas: 30 3/4 in. H x 22 3/4 in. W. Framed: 37 in. H x 29 1/2 in. W.

CONDITION: Overall very good condition, canvas is slightly loose in stretcher. With minor, pinpoint impact indentation to upper right, in background. [See more photos →]

Set of twelve (12) Gorham Chantilly pattern sterling silver water goblets, each with Gorham hallmarks and pattern number 1033-1 on the base. 6 1/2 in. H. 70.57 total troy ounces.

PROVENANCE: The estate of Dr. Ian M. Mathison, Murfreesboro TN and Big Rapids, MI.

CONDITION: 1 goblet with bending to the rim. The remaining goblets in overall good condition. [See more photos →]

Meyer R. Wolfe (Tennessee/New York, 1897-1995), pastel drawing depicting five men seated at a cafe table. Four of the men respond strongly as the man in the center gestures with his hands to make a point. Signed and dated 1951 lower right. Matted and framed under glass in a molded giltwood frame. Sight: 17 1/2 in. W x 14 1/2 in. D. Frame: 28 1/2 in. H x 22 1/2 in. W. Note: This painting was exhibited in the 2020 Meyer Wolfe retrospective at the Parthenon in Nashville. According to the catalog notes, Wolfe liked to call this painting -a nod to the cafes of Europe- “The Socialists”. 

PROVENANCE: The estate of Dr. Lawrence Wolfe, Nashville, Tennessee, by descent from his uncle, the artist Meyer “Mike” Wolfe. 

CONDITION: There is a crease or crack in the paper running the full height of the image. Otherwise excellent condition. Not examined out of frame.  [See more photos →]

OUTER DARK, Cormac McCarthy, Random House, New York, 1968. First Edition, stated “First Printing” on copyright page; inscribed and signed on front free endpaper “For Dr & Mrs Frank Rogers / 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, in protective archival cover. McCarthy’s second book, only 5,000 printed in the first run. 8 1/2 in. H x 5 3/4 in. W.

CONDITION: Book Very Good with slight toning to page block; toning to top 1 in. boards; Jacket unclipped, light toning to spine and interior folds; 1 in tear top front, 1/2 tear rear bottom; spine chips top and bottom. Archival cover added after photos. [See more photos →]

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. Biographical Note: Arthur Weeks was born and raised in Birmingham, Alabama. Known for colorful paintings in the Fauvist style, he gained wide acclaim throughout the Southeast following a solo exhibition of his work at the Birmingham Museum of Art in 1970.

CONDITION: Painting in excellent condition. Some spotting to mat and a few small chips to frame. [See more photos →]

Rembrandt van Rijn (Dutch, 1606-1669) etching on laid paper, “The Crucifixion: Small Plate.” Usticke’s second state (of 4), New Hollstein’s second state (of 3), with the long diagonal scratch below the signature and broken line in Christ’s abdomen. Signed in plate, upper center. With pencil inscriptions en verso. Floated under glass in Dutch-style faux-tortoiseshell and ebonized wood ripple frame with cream silk mat. Ref: Bartsch 80; Biorklund 35-1; Hollstein (White and Boon) 80. Sheet: 3 11/16 in. H x 2 9/16 in. W. Plate: 3 5/8 in. H x 2 8.5/16 in. W. Framed: 23 in. H x 22 in. W. Circa 1635.

PROVENANCE: Private Knoxville Collection.

CONDITION: A very good early impression with part of the faintly etched obelisk over the head of the standing man with hands raised at right distinct. With crisp plate edges and narrow to thread margins. Mounted with archival tape affixed to upper and lower center. With remnants of old tape to upper and lower left corners en verso plus faint pencil inscription, likely a collector’s mark, also en verso. [See more photos →]

An early Tennessee coin silver ladle with fiddle pattern handle and distinctive pointed fins. The handle stamped E. RAWORTH in a rectangle for Edward Raworth (Nashville, Tennessee, working 1808-1820). Monogrammed “M”. Approximately 13 1/2 in. L. 5.68 troy ounces. Note: According to TENNESSEE SILVERSMITHS by Dr. Benjamin H. Caldwell, Edward Raworth was one of Nashville’s earliest silversmiths, working there as early as 1808. His final ad ran in 1820, noting that he was leaving town; he died in 1835.

CONDITION: Possible repair at junction of bowl and handle. Light surface wear and few minor small dents to the bowl. [See more photos →]

Joanna Higgs Ross (Tennessee, 1934-2025) oil on canvas modernist Appalachian mountain landscape painting that depicts a view of the Blue Ridge Mountains, likely in North Carolina or Virginia. Broad, multicolored brushstrokes describe a hazy, atmospheric vista, possibly with a faint city skyline in the distance at center. Signed, titled, and dated to stretcher (Previous title “View from the Blue Ridge Parkway No. 1” has been amended to read “The Blue Ridge.”) Unframed. 44 1/2 in. H x 54 in. W. 1995. Biography: “Having worked in all three regions of the state, Joanna Higgs Ross has contributed significantly as a Tennessee artist over her distinguished seven-decade career. In 1956, she became the first female student to receive a bachelor of fine arts degree from University of Tennessee Knoxville. Her artistic talents quickly came to the attention of Buck Ewing, head of the University of Tennessee’s Department of Fine Arts, who was sufficiently impressed to recruit her as the only female member of a group of modern artists called The Knoxville 7. The group represented a loose affiliation of groundbreaking Knoxville-based artists active from roughly 1955 to 1965. They were among the first artists in Tennessee to explore the new visual language of Abstract Expressionism in bold and innovative works in a variety of media. As influential artists and teachers, they were instrumental in energizing Tennessee’s visual arts communities and establishing a foothold for modern art ideas across the state. Bringing credibility to the University of Tennessee’s new art department, the Knoxville 7 promoted the notion that meaningful art could happen in East Tennessee as much as anywhere…Despite Joanna’s departure from Knoxville in 1960 to pursue her master of fine arts degree at the University of Illinois, Buck Ewing was so enamored with her work that he continued to include her as a member of the Knoxville 7 until the group dissolved in 1965…Fresh from college, she began her teaching career as the only art professor at Lambuth College in Jackson, Tennessee, where she taught until 1983. Joanna’s prolific portfolio extends nearly 60 years. Her work can be found in art collections throughout Tennessee and Illinois including the Tennessee State Museum; Austin Peay State University; East Tennessee State University; Brooks Museum of Art; University of Illinois; University of Tennessee Knoxville; Knoxville Museum of Art; Watkins College of Art, Design, & Film; First American Bank; Third National Bank; Bass, Berry & Sims; and the Brentwood Chamber of Commerce. Ross’ work has been selected for juried exhibitions at the Butler Institute of American Art, the Arkansas Art Center, the Hunter Museum of American Art, the High Museum of Art, the Nashville Parthenon, the Brooks Museum of Art and the Evansville Art Gallery. Additionally, her work was featured in solo exhibitions across Tennessee in Nashville, Knoxville, Clarksville, Jackson, Oak Ridge, Memphis, and Dyersburg.” (Source: Tennessee Arts Commission)

PROVENANCE: Estate of Joanna Higgs Ross, Nashville, TN

CONDITION: Excellent condition. [See more photos →]

Ladies’ 14K yellow gold emerald and diamond ring featuring a 10.4 carat emerald cut natural emerald and 6 round full cut natural diamonds weighing .6 total carats, SI1, color J/K. Size 5 1/2. 8.9 total gross grams.

CONDITION: Emerald has been oil-treated. Crown facets have slight abrasions. [See more photos →]

John Geoffrey Caruthers Little (Canadian, 1928-2024), “Rue Laporte, Quebec,” oil on board Winter street scene painting. Signed “John Little” lower right. Additionally signed, titled and dated 1966 en verso. Housed in a carved giltwood frame with linen mat. Board: 13 in. W x 10 in. H. Frame: 21 1/2 in. W x 18 1/2 in H. Biography: John Little was known for his paintings depicting urban life, mostly in Montreal and Quebec. He studied at the Art Association of Montreal under Arthur Lismer and Goodridge Roberts and at he Art Students League of New York under Will Barnet and Frank Joseph Reilly.  When he returned to Montreal he worked as a draughtsman at his father’s architectural firm, before he began painting full time in 1953. In 1961 he was elected an associate of the Royal Canadian Academy of Arts and exhibited there in 1952 and 1966. He also exhibited at the Montreal Museum of Fine Arts from 1946 to 1954. Source: Colin S. MacDonald, “A Dictionary of Canadian Artists”, 1974.

Some of the most prestigious private galleries in Canada have exhibited his paintings including Watson Galleries, Continental Galleries and, currently, Galerie Walter Klinkhoff, all of Montreal. His works are very avidly collected. They are also in some important Canadian public collections including the Leonard & Bina Ellen Art Gallery (Concordia University, Montreal), the Montreal Museum of Contemporary Art, the University of Montreal and the National Gallery of Canada (Ottawa)(5).

PROVENANCE: Private Nashville collection. Consignor’s father acquired the painting directly from the artist circa 1960. Consignor’s father took music lessons as a child in one of the buildings pictured in the painting.

CONDITION: Painting – excellent condition. Some light discoloration to mat and a couple of minor abrasions to frame. [See more photos →]

Williamson County, Tennessee cherry sugar chest, poplar secondary wood. Hinged top with breadboard ends having a half-round molded edge over a dovetailed case with a divided interior. Lower case with an ogee molding over a dovetailed drawer with a tri-divided interior and two wooden pulls. Case rests on bulbous ring-turned tapering legs.  32 1/4 in. W x 19 7/8 in. D x 36 in. H. Circa 1830.

PROVENANCE: By descent in the Meacham family of Williamson County, Tennessee to present consignor.

CONDITION: Older refinish. Appears to retain the original lock and hinges. Minor chips/losses to left drawer edge and minor losses to left side ogee molding. Top dovetailed well is removable from the bottom stand. [See more photos →]

Alfonse Mucha (French, 1860-1939) “Reverie du Soire” (“Evening Contemplation”) lithograph in colors on wove paper. Signed in the stone lower right and dated 1899. From the series “Times of the Day,” by F. Champenois, Paris, 1899 (Rennert/Weill 62). Matted and framed under non-glare glass in an Art Nouveau style floral carved giltwood frame. Sight: 39 1/2 in. H x 13 1/2 in. W. Frame: 57 in. H x 31 in. W. 

PROVENANCE: The collection of John and Lelia Udick. 

CONDITION: Overall very good condition. Small 1/4 in. scuff with loss along upper right edge, some scattered minor creasing and light fading. Two small lines (each a little over 1 inch in length) along lower left and lower right corners may be creasing or repaired tears. Not examined out of frame.  [See more photos →]

Isaac Shelby (1750-1826) first governor of Kentucky and Revolutionary War officer, a scarce and historically significant 1823 monograph addressing the long-standing controversy over the leadership of the Overmountain Men’s victory at the Battle of Kings Mountain (1780). Cover has string binding and  handwritten inscription with possible Shelby signature: “Battle of Kings Mountain by Isaac Shelby.” Inscribed “James Rhea, April 1823,” on page 1.   Possible Shelby signature again on page 24, below a printer’s ornament “Finis,” which the Library of Congress attributes to a Lexington, KY imprint of Thomas Smith. 8 1/2 inches L x 5 1/4 W.  24 pages.  

Notes: “First brought to public attention by Isaac Shelby during his race for the Kentucky governorship in 1812, the charge that William Campbell had exhibited cowardice at the 1780 Battle of King’s Mountain, and had received undue recognition for that victory, resurfaced when four private letters from Isaac Shelby to John Sevier of Tennessee were published by Sevier’s son, George Washington Sevier, in the Nashville Gazette in 1821. One of Campbell’s grandsons, William C. Preston, vehemently denied the charges in several newspaper articles. Shelby published [this] pamphlet two years later to substantiate his statement “Battle of King’s Mountain: Address to the Public Relating to William C. Preston’s Article Entitled, “Colonel Campbell and Governor Shelby” [Lexington, Ky., 1823; Shoemaker, Richard H., comp., “A Checklist of American Imprints for 1820–1829” (11 vols.; New York, 1964–72). 14105]), to which Campbell’s supporters provided a blizzard of rejoinders, including one from Campbell’s son-in-law, Francis Preston. Shelby’s charges were never proved. The letters, newspaper articles, and pamphlet are published in Lyman C. Draper, “King’s Mountain and Its Heroes” (Cincinnati, 1881), 558–91. For a fuller discussion of the controversy, see Agnes Graham Sanders Riley, “The Shelby-Campbell King’s Mountain Controversy and the Gubernatorial Campaign of 1812,” Filson Club History Quarterly 66 (1992): 220–31.” 

See also: “Francis Preston to James Madison, 15 May 1823,” Founders Online, National Archives. [Original source: The Papers of James Madison, Retirement Series, vol. 3, 1 March 1823 – 24 February 1826, ed. David B. Mattern, J. C. A. Stagg, Mary Parke Johnson, and Katherine E. Harbury. Charlottesville: University of Virginia Press, 2016, pp. 55–56.] 

See also NYPL.org:  “A reply to a newspaper article by William C. Preston, entitled: “Colonel Campbell and Governor Shelby.” Printer’s ornament on p. 24 appears in other Lexington imprints of Thomas Smith, according to the Library of Congress.” Title Battle of King’s Mountain Author Shelby, Isaac, 1750-1826 Publication Date [1823] Imprint [Lexington, Ky. : T. Smith, 1823]. Pages 26 Language English Document Type Monograph Sabin Collection Number 80116 Physical Description 24 p.; 20 cm Source Library American Antiquarian Society Gale Document Number GALE| CY0110182635.

PROVENANCE: Private Johnson City collection, by descent in a historic East Tennessee family. 

CONDITION: Cover is in fragile condition with edge chipping. Foxing to all interior pamphlet pages, some bent page corners, scattered creases and edge chipping. [See more photos →]

A lighted pharmacy or apothecary jeweled copper and brass trade sign (or “show mortar”) in the form of a mortar and pestle, the mortar constructed of copper plates featuring multicolor glass cabochons fitted with interior lights and raised on a tripodal base with paw feet.  Pestle is constructed of brass and also features multicolor glass cabochons. Approximate dimensions:  37 in. H x 22 1/2 in. W. 20th century.

PROVENANCE: The estate of Dr. Ian M. Mathison, Murfreesboro TN and Big Rapids, MI. Ex. Max M. Warsaw Collection (Chicago), as pictured in a 1953 newspaper article from the Chicago Tribune. PDF copy available to winning bidder.

CONDITION: The base is likely a later addition to the mortar body. Copper top is also likely a replacement. Fixture is in working order.  [See more photos →]

Charles Kermit “Buck” Ewing (Tennessee, 1910-1976), oil on canvas, expressionist seascape depicting breaking waves along the shore with a sliver of blue sea in the background, all under a tranquil sky, rendered in muted colors of blue, grey, white, and brown. Signed en verso “C. Kermit Ewing, Professor of Fine Arts, Univ. of Tennessee, Knoxville, Tenn” and dated Jan. 19, 1964. Housed in a grey resin frame. Sight: 33 3/8 in. H x 44 in. W. Framed: 36 in. H x 46 1/8 in. W.

CONDITION: Some rubbing along the vertical stretchers and some minor errant drips to the upper right and left quadrants. [See more photos →]

Continental, likely Dutch, polychrome carved wooden architectural coat of arms with conjoined crowned shields and tassels, flanked by two rampant lions. 50 in. W x 28 1/2 in. H x 7 in. D. Late 17th to early 18th century. 

PROVENANCE: The estate of Dr. Michael Spalding, Nashville, TN. Ex-Barbara Evans and C.M. Leonard, New Canaan, CT. The original receipt accompanies this lot. 

CONDITION: Wear and scattered pest holes, shrinkage cracks up to 8 in. L (lion arm), crown reattached.  [See more photos →]

Albrecht Durer (German, 1471-1528) etching on laid paper, “Man of Sorrows by the Column,” from the Engraved Passion series. A Meder c-d (of e) impression, with very faint traces of the vertical wiping scratches to left of Christ’s feet and beneath monogram. With stamped collector’s marks of Albert W. Blum (1882-1952) (Lugt 79b & 3198) plus inscription in ink, possibly “I.N.” en verso. Ref.: Bartsch, Meder 3. Floated under glass in a giltwood frame with cream textile mat and gilt fillet. Sheet: 4 5/8 in. H x 2 7/8 in. W. Framed: 20 1/4 in. H x 18 1/4 in. W. 1509.

PROVENANCE: Private Knoxville Collection; Albert W. Blum, Switzerland/New Jersey, USA.

CONDITION: A richly and evenly inked impression with strong contrasts. Trimmed to plate edge. With waviness to sheet and dampstaining to lower left and right corners. Additional dampstaining en verso not visible on recto. Remnants of old tape to corners en verso. [See more photos →]

Albrecht Durer (German, 1471-1528) woodcut on laid paper, “Christ Taking Leave from his Mother,” from the Small Passion series, 1511 Latin text edition. With Graf Yorck von Wartenburg (1805-1865) (Lugt 2669) and Dr. Albert Blum (1882-1952) (Lugt 79b) stamped collector’s marks to verso along with numbering in pencil. Ref.: Bartsch 92, Meder 204. Floated under glass in a giltwood frame with black textile mat and gilt fillet. Sheet: 5 in. H x 3 7/8 in. W. Framed: 21 1/2 in. H x 21 1/2 in. W. 1509-11.

PROVENANCE: Private Knoxville Collection; Hans David Ludwig Graf Yorck von Wartenburg, Poland; Dr. Albert Blum, Switzerland/New Jersey, USA.

CONDITION: A richly and evenly inked impression with strong contrasts. With thread to narrow margins, border line is preserved. Foxing throughout, especially to uninked areas. Mounted with archival tape affixed to upper edge en verso. [See more photos →]

Model 1866 Winchester Saddle Ring Carbine “Yellow Boy”, 4th model.  Serial no. 151499, dating to 1879. .44 rimfire caliber, 20-inch barrel with fixed front sight and folding rear sight, later blued finish, and scroll-engraved brass receiver. Replacement hardwood stock; fore-end likely original. Correct 4th model carbine butt with cleaning rod reservoir. Barrel address obscured / absent.  39 in. overall L.

PROVENANCE:  Collection of Mr. & Mrs. Daniel Klatt, Franklin, TN.

CONDITION: Smooth action, not tested with ammo. Bore with visible lands and grooves. Butt stock replaced. Metal parts incl. barrel, magazine tube, hammer, lever, and trigger reblued. [See more photos →]

Pair of French Empire gilt and patinated bronze candelabra. Designed in the form of a winged Victory figure or caryatid holding aloft a central flame finial surrounded by four scrolled eagle-headed branches and standing on a globe featuring a pegasus, all resting on an eight-sided decorated pedestal and eight-sided marble base. Each 28 3/4 in. H x 7 1/2 in. W. 19th century.

PROVENANCE: The Estate of George Bradley, Lewisburg, TN.

CONDITION: Overall good condition with light wear and patination. One candle holder on one candelabrum rests slightly askew. Each piece likely originally had a center finial or insert for holding an additional candle. [See more photos →]

David Le Batard AKA LEBO (American, 1972-2023) acrylic on canvas abstract painting entitled “The Resurrection and the Light” that depicts a twisting form which extends across the length of the canvas. Signed lower right. Titled en verso. Housed in an ebonized and silvered wood frame. Sight: 23 1/2 in. H x 95 1/2 in. W. Framed: 31 1/2 in. H x 103 1/2 in. W. 

PROVENANCE: The collection of John and Lelia Udick.

CONDITION: Overall very good condition. 4-inch vertical abrasion with minor losses to paint layer along left edge. Not examined out of frame. Frame with minor abrasions.  [See more photos →]

Stephen Scott Young (American, b. 1957) watercolor painting, study for “White Rock,” depicting a coastal landscape with lighthouse and red-roofed house and outbuilding, signed and dated 2006 upper right. Sight: 10 1/2 in. W x 8 in. H. The watercolor is matted and framed together with a copperplate etching (3rd impression, first state) of the same scene, but smaller and from a slightly different angle, with artist’s notes. Sheet: 7 5/8 in. H x 10 in. W. The etching is mounted atop the mat, over the watercolor, and both pieces are housed under plexiglass in a silvered molded frame with gallery label verso. Frame: 24 in. H x 20 in. W.

PROVENANCE: Private collection, ex-Alan Shuptrine Fine Art, Chattanooga.

CONDITION: Watercolor with some exfoliation lower left and slight buckling to paper. Print with ink smudges.  [See more photos →]

Charles Krutch (Tennessee, 1849-1934), oil on canvas laid to board, East Tennessee Smoky Mountain landscape painting. Signed “Krutch” lower left in red. With E.G. Gagg, The Picture Framery, Knoxville, Tenn. label affixed to back of frame. Housed in a painted and giltwood frame. Sight: 7 1/2 in. H x 9 1/2 in. W. Canvas: 7 7/8 in. H x 9 5/8 in. W. Framed: 11 1/2 in. H x 13 1/2 in. W.

Biographical Note: “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. (Source: Knoxville Museum of Art)

CONDITION: Overall, in very good condition. With retouching to three pinpoint punctures at the left, right, and lower center. [See more photos →]

1st item: Carroll Cloar (American/Tennessee, 1913-1994) graphite on paper drawing. A nude man stands before a group of seated women with his back to the viewer. Inscribed or captioned “He’s been talking about skinny dipping for three years,” lower left, and signed “Carroll Cloar,” lower right. Unframed. Shipping tube included. Sheet: 10 3/8 in. H x 15 5/8 in. W. Tube: 36 in. L x 2 in. Dia. Note: The father of the consignor was the model for the standing figure in this drawing. 2nd item: Signed copy of Carroll Cloar’s book “Hostile Butterflies and Other Paintings: Carroll Cloar” published in 1977 by Memphis State University Press. Inscribed “To Paul and Lulu / affectionately, / Carroll Cloar / Nov. 21, 1977.” 10 3/4 in. H x 9 3/4 W x in. 1 in. D.

PROVENANCE: Gift of the artist, thence by descent.

CONDITION: Both items in overall very good condition. Item 1 rolled, with single pinpoint punctures to upper left and right corners and two pinpoint punctures to lower right corner plus negligible creasing to edges. Item 2 with approximately 3/4 in. L vertical tears to upper edges of front and back of dust jacket, front tear repaired with tape affixed to interior. Dust jacket with soiling, especially to back, largest area 4 1/2 in. x 1 3/4 in. to back of dust jacket. [See more photos →]

Sam (Samir) Barber (Italy/American, b. 1943) impressionist oil on board landscape painting depicting a marsh in Dennis, Cape Cod, Massachusetts. Rendered in bright colors with houses and trees in the background. Signed lower left. Additionally signed and titled en verso. Housed in a gilt wood frame with a linen liner. Sight: 29 1/2 in. H x 35 1/2 in. W. Framed: 36 in. H x 42 in. W.

PROVENANCE: Deaccessioned by the Hunter Museum of American Art

CONDITION: Painting overall very good condition. Frame with some rubbing to the gilt finish. [See more photos →]

William Thompson Russell Smith (Scotland/American, 1812 – 1896) oil on paper landscape painting titled “Mother and Xanthus Smith”. Depicting the artist’s wife, Mary, holding their son Xanthus while seated in a forest setting beside a large boulder. Signed and dated en verso “Milestown, Pa. W. T. Russell Smith 1839”. Housed in an American gilt wood fluted cove style frame with applied ornaments. Sight: 7 1/2 in. H x 10 3/4 in. W. Framed: 13 1/2 in. H x 16 3/4 in. W

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

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.

PROVENANCE: Martin Lawrence Limited Editions

CONDITION: Minor scattered foxing, primarily to yellow background, plus very faint, erased numbering to upper right corner. Mat with scattered foxing or mildew spots and frame with minor abrasions without loss.  [See more photos →]

Joanna Higgs Ross (Tennessee, 1934-2025) acrylic on canvas modernist  landscape painting, “Landscape with Clouds.” Sunlight partially breaks through clouds that fill the sky above a suburban area which includes a group of houses and a parking lot. The top of a pine tree extends upward from the lower center edge of the composition. All rendered with loose, gestural brushwork. Signed, titled, and dated to back of stretcher. With Third National Bank inventory label that reads “TNB13823” affixed to upper edge of frame. Housed in a simple wooden frame. Sight: 39 1/2 in. H x 47 1/4 in. H. Framed: 41 5/8 in. H x 49 1/2 in. W. 1985. Biography: “Having worked in all three regions of the state, Joanna Higgs Ross has contributed significantly as a Tennessee artist over her distinguished seven-decade career. In 1956, she became the first female student to receive a bachelor of fine arts degree from University of Tennessee Knoxville. Her artistic talents quickly came to the attention of Buck Ewing, head of the University of Tennessee’s Department of Fine Arts, who was sufficiently impressed to recruit her as the only female member of a group of modern artists called The Knoxville 7. The group represented a loose affiliation of groundbreaking Knoxville-based artists active from roughly 1955 to 1965. They were among the first artists in Tennessee to explore the new visual language of Abstract Expressionism in bold and innovative works in a variety of media. As influential artists and teachers, they were instrumental in energizing Tennessee’s visual arts communities and establishing a foothold for modern art ideas across the state. Bringing credibility to the University of Tennessee’s new art department, the Knoxville 7 promoted the notion that meaningful art could happen in East Tennessee as much as anywhere…Despite Joanna’s departure from Knoxville in 1960 to pursue her master of fine arts degree at the University of Illinois, Buck Ewing was so enamored with her work that he continued to include her as a member of the Knoxville 7 until the group dissolved in 1965…Fresh from college, she began her teaching career as the only art professor at Lambuth College in Jackson, Tennessee, where she taught until 1983. Joanna’s prolific portfolio extends nearly 60 years. Her work can be found in art collections throughout Tennessee and Illinois including the Tennessee State Museum; Austin Peay State University; East Tennessee State University; Brooks Museum of Art; University of Illinois; University of Tennessee Knoxville; Knoxville Museum of Art; Watkins College of Art, Design, & Film; First American Bank; Third National Bank; Bass, Berry & Sims; and the Brentwood Chamber of Commerce. Ross’ work has been selected for juried exhibitions at the Butler Institute of American Art, the Arkansas Art Center, the Hunter Museum of American Art, the High Museum of Art, the Nashville Parthenon, the Brooks Museum of Art and the Evansville Art Gallery. Additionally, her work was featured in solo exhibitions across Tennessee in Nashville, Knoxville, Clarksville, Jackson, Oak Ridge, Memphis, and Dyersburg.” (Source: Tennessee Arts Commission)

PROVENANCE: Collection of Third National Bank 

CONDITION: Overall very good condition. Frame with minor abrasions and accretions, primarily to sides and not visible frontally.  [See more photos →]

Middle Tennessee, likely Marshall County, cherry sugar chest, poplar secondary wood. Rectangular hinged top with breadboard ends and a simple flat molding over a dovetailed case with an inset divider. Base with an ogee molding over a dovetailed drawer with wooden pulls. Case rests on bulbous turned legs ending in a compressed ball turning. 33 5/8 in. H x 30 5/8 in. W. x 19 in. D. History of descent in a Marshall Co., TN family. Circa 1835. 

PROVENANCE: The Estate of George Bradley, Lewisburg, TN.

CONDITION: Older refinish with replaced hinges. Patches and repairs to wood around the hinges. Drawer with a rectangular cutout to the top edge on both sides of the drawer. Brass brace for the hinged top is a later addition.  [See more photos →]

Alexander Calder (American, 1898-1976) color lithograph on wove paper, “Balloons”, 1973. Pencil signed, lower right, and editioned EA, lower left. Artist’s proof, aside from the numbered edition of 150. Unframed. Sheet: 39 3/4 in. H x 28 1/4 in. W.

PROVENANCE: Deaccessioned by the Hunter Museum of American Art.

CONDITION: Overall very good condition, with faint toning to left and right sides of sheet plus remains of old archival tissue mount to upper corners en verso. Museum accession number inscribed en verso in pencil. [See more photos →]

Joan Miro (Spanish, 1893-1983) abstract color lithograph on Japan Nacre paper, plate 14 from Le Lezard aux plumes d’or (The Lizard with Golden Feathers). Signed and numbered I/XX in pencil, lower margin. Published by Louis Broder, Paris, and printed by Mourlot, Paris. Ref.: Mourlot 797; Cramer Books 148. Floated under glass in a giltwood frame with tan textile liner and gilt fillet. Sheet: 16 in. H x 21 3/4 in. W. Framed: 30 3/4 in. H x 36 1/2 in. W. 1971. Note: Mourlot states that the total edition size is unknown. The present impression comes from the edition on Japan Nacre paper with wide margins. An edition on Japan paper with narrow margins also exists. Miro issued impressions on Rives, parchment, Japan, and Japan Nacre.

PROVENANCE: The Estate of Stacy Widelitz. Mr. Widelitz was an award winning composer and songwriter, and a noted photographer. He led numerous arts boards in Nashville after relocating from Los Angeles in 2000, and served as an Oak Hill (TN) City Commissioner 2016-2020.

CONDITION: Approximately 1 in. x 1/2 in. area of discoloration to upper center, otherwise very good condition. Not examined outside of frame.  [See more photos →]

20th century designer Rose Tarlow French style desk of angular bombe form, featuring a rectangular lipped top with inset leather writing surface, and a central long drawer flanked on each side by two short drawers, supported on four curved angular legs. Drawers are dovetailed, with serpentine brass bail pulls. 31 in. H x 66 in. W x 30 in. D. California, circa 1980.

PROVENANCE: Private Nashville collection. 

CONDITION: Overall good condition. Each foot has been lengthened by 2 inches, so that the distance from floor to bottom of central drawer is 25 1/2 inches for extra knee clearance. Some fading and staining to leather top. Small corner of dry wood to one drawer. Wear to finish at front center lip. Some losses to rear edges. A few other small areas of wear and loss.  [See more photos →]

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. 

CONDITION: Excellent condition. [See more photos →]

Salvador Dali (Spanish, 1904-1989) two-color drypoint etching in black and sanguine on Japon paper, “Les femmes dans les vagues” (The Women in the Waves). From the “The Hippies” suite. Published by Graphic Europa Anstalt, Switzerland. Signed and numbered XCIX/C in pencil, lower margin. Ref.: Field 69-13 D. Floated under acrylic in a giltwood frame with cream mat and gilt fillet. Sheet: 25 1/2 in. H x 20 in. W. Framed: 39 1/4 in. H x 33 1/4 in. W. 1969. 

CONDITION: Overall very good condition, a richly and evenly inked impression. Not examined outside of frame.  [See more photos →]

Harry Pelling Gill (England/Australia, 1855-1916) oil on canvas landscape painting entitled “The Coming Shower.” Cattle and sheep huddle beneath a group of trees as storm clouds gather over a vista with a river and distant mountains. A man watches the coming storm from between the trees at left and a small house stands on the bank of the river at right. Signed “H Gill,” lower right. Titled, dated, and additionally signed en verso. Housed in an ornate giltwood frame. Sight: 15 in. H x 23 1/2 in. W. Framed:  21 in. H x 29 in. W. 1891. Biographical Note: Harry Pelling Gill, art curator and teacher, was born in Brighton, Sussex, England, the son of a master dairyman. He was educated at Brighton, Hove and Sussex Grammar School and at the local art school as an evening student. In 1877 he won a scholarship to the National Art Training School, South Kensington, London (Royal College of Art), which he held for five years and combined with teaching. In 1882 the Board of Governors of the South Australian Institute (from 1884 the Public Library, Museum and Art Gallery of South Australia) chose Gill as master of the school of design, one of its two art departments. In 1892 he was appointed honorary curator of the art gallery and, following the resignation in December of Louis Tannert as master of the school of painting, Gill assumed control of all the board’s art teaching activities. Gill had shown promise as an artist and hoped to win repute in Australia. However, teaching and administration had left little time for his painting. His rare decorative and aesthetic compositions, and also his landscapes, are painted with meticulous detail without sacrificing the overall unified effect. (Adapted from G.L. Fischer, Australian Dictionary of Biography)

PROVENANCE: Private Middle Tennessee Collection.

CONDITION: Overall very good condition. with craquelure throughout. Scattered retouching, especially to frame abrasions, largest area to path at lower left, 2 inches x 1/2 inch. Repaired minor punctures to rightmost third, in sky and in distant mountains. Frame with negligible abrasions and losses.    [See more photos →]

William Thompson Russell Smith (Scotland/American, 1812 – 1896), oil on canvas, river landscape painting depicting a scene of the Wissahickon River with a lone figure standing on the riverbank. Signed W. L. R. S. and dated 1836. Housed in a modern carved gilt wood frame with a gilt placard on the lower edge with title, artist, and artist’s dates. Sight: 7 7/8 in. H x 11 3/8 in. W. Framed: 11 5/8 in. H x 15 in. W.

CONDITION: Some areas of touch-up to the lower right quadrant. Overall good condition. [See more photos →]

Itzchak “Isaac” Tarkay (Israel/Serbia, 1935-2012) acrylic on canvas painting titled: Inacabado (“Incomplete/Unfinished”) #9. Depicting a partially painted bust portrait of a dark-haired young woman set against a pale blue background. Signed lower right and housed in a carved gilt wood frame with black wood matte. Sight: 27 1/4 in. H x 21 1/8 in. W. Framed: 37 3/4 in. H x 31 3/4 in. W. Created in 2006. COA available to the winning bidder.

PROVENANCE: The collection of John and Lelia Udick.

CONDITION: Excellent condition. [See more photos →]

Persian Afshar tribal rug, wool on cotton foundation; the field a deep indigo ground with vines, stems, and florals; a geometric hexagonal central medallion in hues of rust, ivory, and sage; with all-over geometric floral designs and matching rust-red and sage colored floral border. 40 1/4 in. x 42 in. Persia, late19th/early 20th century.

PROVENANCE: The estate of Dr. Michael Spalding, Nashville, TN.

CONDITION: Overall good condition with even pile wear. [See more photos →]

Newcomb College Art Pottery Lidded Jar, decorated by Anna Frances Simpson, with a landscape of live oak trees; the lid modeled with the stylized date 1914 along with acorns and oak leaves, and Latin motto inscription under the lid, FORTIER ET RECTE (“Bravely and Correctly”). Matte glaze with blue, green and yellow underglaze. Base marked with Newcomb cipher, decorator’s mark, reg. no. HF20 for the year 1915, and C for buff clay body. 5 1/2 in. H x 4 3/4 in. Diameter. 

PROVENANCE: The collection of Mr. and Mrs. David Allen, Springfield, Tennessee, ex-Neal Auction, lot 315, Feb. 8., 2020. 

CONDITION: Excellent condition. [See more photos →]

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 2, 1795, Knoxville, Tennessee. A warrant numbered 284, addressed to David Henley Esquire, Agent to the Department of War, for payment to William Rickard, the Pay Master pro tem. to the Troops in the Territory, in the amount of three hundred and twenty-two dollars, “for the pay of a Detachment of Mounted Infantry of Mero District, Colonel Robert Hays’ Regiment, under the command of Cornel (sp) Benjamin McIntosh from the thirteenth March to the twenty seventh March 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.” Corner-mounted beneath a maroon matte, framed, and housed under glass. Letter: 12 1/2 in. H x 7 3/4 in. W. Framed: 15 1/2 in. H x 10 3/4 in. W.

Note: In February 1790, North Carolina ceded its western land holdings to the United States. A few months later, the area became the newly created Territory of the United States South of the River Ohio (the Southwest Territory). President George Washington appointed Blount territorial governor. In 1795, Blount called a meeting of the territorial legislature to request a referendum for statehood, and Tennessee officially became a state on June 1, 1796. (Source: The Tennessee Encyclopedia). Additional note: A similar document was sold in Case Auctions’ Winter 2026 auction, Lot 487.

CONDITION: Document with three fold lines, paper separation at the top and third folds, and toning. Document has slightly shifted from behind the mat, near the middle of the frame on the right side. [See more photos →]

Salvador Dali (Spanish, 1904-1989) two-color drypoint etching in black and sanguine on Japon paper, “Le Couloir de Kathmandou” (The Corridor of Katmandu). From the “The Hippies” suite. Published by Graphic Europa Anstalt, Switzerland. Signed and numbered XCIX/C in pencil, lower margin. Ref.: Field 69-13 G. Floated under acrylic in a giltwood frame with cream mat and gilt fillet. Sheet: 25 1/2 in. H x 20 in. W. Framed: 39 1/4 in. H x 33 1/4 in. W. 1969. 

CONDITION: Overall very good condition, a richly and evenly inked impression. Not examined out of frame.  [See more photos →]

Large Tiffany Studios Favrile Art Glass Leaf and Vine Trumpet Vase, marked L.C. Tiffany-Favrile 9786 K. Height: 12 inches (31 cm). 

PROVENANCE: Private Nashville, TN collection. Consignor’s grandparents purchased at Marshall Field & Co., Chicago, circa 1910.

CONDITION: Slight wear to underside, no chips or cracks, overall excellent condition. [See more photos →]

Carl Everton Moon (American, 1879-1948), “Arizona,” oil on board painting depicting a lone figure on horseback riding through a desert landscape, under a bright blue sky dotted with clouds. Signed lower left and titled en verso. Housed in a molded giltwood frame with carved stylized leaf decoration at corners. Sight: 19 1/2 in. H x 25 1/2 in. W. Frame: 24 1/2 in. H x 30 1/2 in. W. Biography: Ohio born Carl Moon moved to Albuquerque, NM after graduating from college and operated a photography studio.  He worked there until 1907 when he moved to the Grand Canyon headquarters of Fred Harvey to manage and operate Harvey’s art business. Moon studied painting with visiting artists Thomas Moran, Frank Sauerwein, and Louis Akin.  While in the Southwest he captured many images of the Pueblo Indians both on film and canvas. He and his wife Grace Purdie settled in Pasadena in 1914. In California he concentrated on landscapes and illustrated several children’s books about Native Americans which he co-authored with his wife. He was a member of the Pasadena Art Association; the Pasadena Library Club; and the California Writer’s Guild. Source: Edan Hughes, “Artists in California 1786-1940”, American Art Annual 1933, Who’s Who in American Art 1936-47; Artists of the American West (Samuels); NY Times & Los Angeles Times obituaries, June 26, 1948.
 

PROVENANCE: The Estate of Stacy Widelitz. Mr. Widelitz was an award winning composer and songwriter, and a noted photographer. He led numerous arts boards in Nashville after relocating from Los Angeles in 2000, and served as an Oak Hill (TN) City Commissioner 2016-2020.

CONDITION: Overall good condition. A couple of scattered inclusions, mostly to sky area; 1 tiny darkened dent center sky area, near horizon. A couple of small flakes at painting edges. Some scattered spots of craquelure to sky area. Some scattered small losses to gilding on frame, mostly at edges and corners.  [See more photos →]

1st Item: Reelfoot style duck call with label “Earl Dennison / “The Duck Call Man” / Newbern Tennessee,” circa 1950. Note: Earl Dennison (1889-1968) was a game call maker and designer who grew up and guided on Reelfoot Lake in West Tennessee. After his death, his son and grandson took over the business until the storefront was closed in 1993. (Courtesy of Mossy Oak). 2nd item: Bespoke duck call carved with crosshatch pattern from dark wood featuring the monogram “JHP,” circa 20th century. 3rd item: contemporary carved Blue-winged Teal decoy stamped 30 to the underside. Wood display stand included. Ranging in size from 5 1/2″ H x 1 1/2″ W to 4 1/2″ H x 11 1/4″ W.

PROVENANCE: Living Estate of Sally Johnson Harlan.

CONDITION: 1st item: Overall good condition with slight wear to the label; has intact reed and produces noise when operated. 2nd item: Overall good condition with slight wear to edges; does not contain reed and has not been tested with any reed to observe its functionality. 3rd item: Overall good condition with light general wear. [See more photos →]

Nancy Marlene Friese (American, b. 1948), large oil on linen expressionist landscape painting titled “Into the Sun”. Toni Birckhead Gallery label en verso with artist information, title, and date 1992. Housed in a simple wood frame. Sight: 60 in. H x 70 in. L. Framed: 60 1/2 in. H x 70 1/2 in. W.

PROVENANCE: Southern corporate collection.

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

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.

Biographical Note: “Born in Charlestown, Indiana, Harvey Joiner showed artistic capability at an early age. At 16, he worked on boats on the bayous of Louisiana, where he completed sketches of African-American culture. In the spring of 1874 he met a German portrait painter named Hoffman in St. Louis, and became his assistant and pupil. In later years Joiner became an itinerant painter, and eventually established a studio in Louisville, KY. He concentrated on portraits for the first twenty years of his career. Later he became famous for his woodland scenes, especially of beech trees, and exhibited all over the world. It is known that he exhibited in a private gallery in Denmark in 1923. Joiner’s work is noted for its unique use of light and shadow, recalling the great French landscape artists of the 19th century.” (Source: Filson Historical Society)

CONDITION: Overall very good condition, with three pinpoint spots of retouching to upper left corner. Frame with scattered abrasions and losses. [See more photos →]

American Classical period drink mixing table of highly figured mahogany with poplar secondary wood. White marble rectangular top over a plain frieze supported by s-scroll brackets. Hinged cabinet door with a raised shaped panel front, opening to a compartment with two interior shelves. Plinth base and half-rounded feet. 37 1/2 in. H x 33 1/4 in. W x 17 in. D. Second quarter 19th century.

PROVENANCE: The collection of Mr. and Mrs. David Allen, Springfield, Tennessee.

CONDITION: Overall good condition with minor scattered wear, with some old minor veneer repairs to lower corner edges and lower front edge, shrinkage cracks visible to underside of base. Marble with scattered stains, scratches, and some old chips to edges.  [See more photos →]

Manner of Abraham Willaerts (Netherlands, 1603-1669), “Neptune,” painting of the mythological sea god depicted as a bearded man reclining on a beach while surrounded by shells and holding a trident. Ships sail in the distance under an ominously darkening sky. Early, illegible paper label to stretcher, verso, along with a stenciled number. Later wave-carved giltwood frame; black mat with 20th century lettering attributing the painting to Adrien Van der Werff along with his life dates and the title. Stretcher: 18 1/2 in. H x 16 1/4 in. W. Frame: 25 in. H x 23 in. W. 17th century.

PROVENANCE: The estate of Dr. Michael Spalding, Nashville, TN; Ex-Christie’s, New York City, Old Master and 19th Century European Paintings, Feb. 26, 1997, lot 130; deaccessioned from the Sheldon Swope Art Museum in Terre Haute Indiana, 1997.

CONDITION: UV light inspection reveals retouching to the perimeter of the painting and a 2-inch area of repair/restoration to the center sky area. Canvas possibly cut down. A few scattered inclusions and fine craquelure. Several small losses to the later frame. [See more photos →]

Pietro Bazzanti (Italian, 1842-1881) marble portrait bust of Diana after the Diana of Versailles full figure statue, originally executed in 100 BCE, now in the Louvre, mounted on a circular plinth base. Signed “P Bazzanti Florence” to reverse. 24 1/2 in. H x 18 in. W x 9 1/2 in. D. Approx. 110 lbs 3 oz. 19th century.

PROVENANCE: The Estate of George Bradley, Lewisburg, TN.

CONDITION: Overall very good condition, with a few minor scattered fleabites including to right arm, small scattered dark spots and scratches. [See more photos →]

Large figural porcelain sculpture designed by the German artist Gunther Granget for Lorenz Hutschenreuther, titled “The Challenge”, depicting a pair of great blue herons in a nest. The male is modeled with outstretched wings in a protective posture, guarding his mate and a single egg in the nest. Numbered 30/200 underside of base with incised “Gunther Granget” signature to side. Fitted with a round black wood stand. Sculpture: 20 1/2 in. H x approx. 18 in. W. Stand measures 3 1/2 in. H x 12 in. dia. Note: Case Auctions sold “The Challenge” number 55/200 in our Winter 2026 auction, lot 353. 

CONDITION: Excellent condition. [See more photos →]

Xanthus Russell Smith (Pennsylvania/Maine, 1839-1929), watercolor and gouache on card, depicting a rocky coastal scene, likely Maine. Signed lower right “1916 X.S. Sep 5th.” Housed in a modern giltwood frame. Sight: 5 3/4 In. H x 8 3/4 in. W. Framed: 9 3/4 in. H x 12 3/4 in. W. Biographical note: Xanthus Russell Smith was born in 1839 into a family of Philadelphia painters, including his parents and sister. He received initial drawing instruction from his parents until he advanced to the Pennsylvania Academy of Fine Arts. The turning point in Smith’s career as an artist came with his enlistment in the Navy during the Civil War. While serving on naval ships, Smith studied the vessels and articulated their detail through meticulously drawn compositions. Smith illustrated naval activity on a small scale. He limited most of his compositions to less than fifteen inches on either side, developing his personal penchant for the “small, compact, and neat.” After Smith’s naval service ended and before he died in 1929, he continued to paint accurate and detailed depictions of sea-going vessels and battles they encountered. Smith discovered his niche in the art world, for his compositions evoked consistent approval from patrons, as well as the favor of critics at exhibitions. (Adapted from askART).

CONDITION: Painting in overall good condition. Minor abrasions to corners. [See more photos →]

Large Chinese gilt bronze mounted cloisonne “tusk” on fitted hardwood stand. The cloisonne “tusk” features polychrome dragons chasing flaming pearls through a cloud filled sky on a blue ground, accented by gilt bronze central panel, banding, and caps at each end. The hardwood stand features openwork carved clouds and organic forms on a molded, footed base. “Tusk”: 43 in. L x 6 in. Diameter at widest. Stand:12 in. H x 20 in. W x 6 in. D. Early to mid 20th century. Note: this lot does not contain any actual animal material.

PROVENANCE: Private Nashville collection. 

CONDITION: Overall good condition. Scattered wear/discoloration and pock marks to cloisonne; scattered oxidation/discoloration and dents to gilt elements. [See more photos →]

Flemish or French Verdure Tapestry, wool, depicting the mythological scene of Meleager offering Atalanta the head of the Calydonian Boar in a forest setting. Mounted to a later foliate needlework border, with a hanging board attached to top edge of border en verso. Overall: approx. 48 in. H x 81 in. W. Late 17th to 18th century.

PROVENANCE: Private Middle Tennessee collection.

CONDITION: Three tears (3-5 in. long) to upper section of tapestry, near top border, with several other separations, small losses, and spots of reweaving throughout, overall good condition. Backed with tan linen, which is coming loose from tapestry at bottom. [See more photos →]

Napoleon Bonaparte (1769-1821) signed note, in Italian, requesting a payment or update about an account. Undated. Later registration stamps. Mounted to a beige mat, under glass in an ebonized wood frame along with a small engraved portrait of Napoleon. Frederick Keppel & Co. New York gallery label en verso. Autographed note (sheet): 6 in. W  x 4 1/4 in. H. Print (sight): 3 1/4 in. W x 4 1/4 in. H. Frame: 17 in. W x 10 in. H. Note: Shortly after becoming Emperor of France in 1804, Napoleon also claimed the title of King of Italy. He left a lasting influence in Italy, transforming it from a collection of fragmented states into modern entities and promoting numerous legal and social reforms.

PROVENANCE: The Collection of Deborah and Kent Vauclain Bissell, Sr., by descent from his great-uncle, William Cullen Morris (1874-1975) of New York. Morris was a Vice President of Con Edison and engineer instrumental in the construction of the Astoria Tunnel. 

CONDITION: Discoloration/toning to signed note and to mats. Creasing and some small holes to sheet including a 1/4 in hole affecting one word. Not examined out of frame. Some wear and scratching to frame.  [See more photos →]

Two (2) oil on canvas paintings by Janine Wesselmann (New York/American – b. 1947), titled “Gossip” and “Interiors,” each depicting a European-style social scene in Wesselmann’s impressionistic style. “Gossip” details a standing woman in a blue dress sharing apparently surprising news, as other guests react. Sight: 13 1/4 in. W x 10 1/4 in. H. Framed: 19 1/2 in. W x 16 1/4 in. H. “Interiors” shows a seated woman with a notebook, contemplating, while her guest and a café patron observe. Sight: 23 1/4 in. W x 27 1/4 in. H. Framed: 30 in. W x 36 in. H.  Both in gilt frames. Late 20th century.

PROVENANCE: Estate of Donna C. Rogers, Greeneville, TN.

CONDITION: Overall excellent condition, with some scratches to the frames.  [See more photos →]

Large Sterling Boyd Strauser (Pennsylvania, 1907-1995) oil on board landscape painting depicting a garden and garden paths and rows of multicolored flowers.  Rendered in heavy impasto and sgraffito linework. Signed and dated “93” lower left. Unframed. 24 in. H x 48 in. W.

PROVENANCE: Private Virginia Collection.

CONDITION: Minor wear to the right margin, primarily to the lower right corner. Dampstaining visible en verso of the board to the left and right margins. [See more photos →]

Momoyama Period (late 18th century) Japanese Rinpa School Byobu, ink and color on gilt paper two panel folding screen with chrysanthemum motif. Plain gray paper back. Each panel measures 68 1/4 in. H x 35 3/8 in. W x 5/8 in. D. Fully open: 68 1/4 in. H x 70 1/2 in. W x 5/8 in. D. 

PROVENANCE: The estate of Eleanor H. Baer, Memphis, Tennessee (The Eleanor H. Baer Irrevocable Trust).

CONDITION: Wear, scattered repaired tears and few small open tears and losses. Professional conservation was undertaken in 1993 by Perry Houston and Associates for tears and mold removal. (A copy of this report is available on request).  Scattered foxing still discernible. Some losses and fraying to damask border. Patching visible en verso. Scattered wear and losses to black lacquered frame. [See more photos →]

Three (3) hanging apothecary show globes with elaborately etched glass ovoid forms and gilt brass hardware. Each stamped “Pat’d June 16 1891,” and most likely produced by Whitall Tatum (Millville, NJ). 19 in. H x 11 1/2 in. W. 33 in. H with chain. American, late 19th century. Note: These globes would traditionally be filled with a colorful liquid (red, green, or blue) and used as a pharmacist’s trade sign.

PROVENANCE: The estate of Dr. Ian M. Mathison, Murfreesboro TN and Big Rapids, MI.

CONDITION: Overall good condition. Some oxidation to gilt metal and cloudy spots inside the glass, consistent with age and use.  [See more photos →]

Two (2) John B. Fairbanks (Utah, 1855-1944) oil paintings, likely Utah scenes. 1st item: Oil on canvas laid to board Autumn landscape painting with a body of water flanked by fall foliage. Dark storm clouds gather overhead and rain enters the scene at right. Mongrammed and dated lower left. Board: 9 in. H x 12 in. W. Sight: 8 5/8 in. H x 11 5/8 in. W. Framed: 17 3/4 in. H x 20 3/4 in. W. 1927. 2nd item: Oil on heavy card stock Spring landscape painting titled “Apple Blossom Line” that depicts a group of apple trees with white blossoms which cast long, purple shadows. Signed and dated lower right. Titled en verso. Board: 9 in. H x 12 3/4 in. W. Sight: 8 3/4 in. H x 12 1/2 in. W. Framed: 17 3/4 in. H x 20 3/4 in. W. 1922. Both housed under glass in simple wood frames with cream mats. Biographical Note: “John B. Fairbanks was born in Payson, Utah, on December 27, 1855. His parents, John Boylston Fairbanks and Sarah Van Wagoner Fairbanks, crossed the plains with a Mormon wagon train in September of 1847…[In Payson] John Hafen became J. B.’s mentor and friend and remained so for the rest of his life. J. B. worked for several years, often in conjunction with Hafen, painting landscapes of Utah and drawing portraits of such notable state figures as George Q. Cannon and Heber J. Grant… He also served a mission for the Mormon church to the Southern States Mission in 1881-1883. One of the most important events in Utah art history occurred in 1890, when John Hafen and Lorus Pratt visited George Q. Cannon of the First Presidency of the LDS church to request funding to study art in France. The artists had been called to paint murals in the soon-to-be-completed Salt Lake Temple and wished to receive better training before beginning. The funding was granted and three artists were chosen to travel to France: John Hafen, Lorus Pratt, and J. B. Fairbanks. The three were given $1,800 and were set apart by the church as ‘missionaries with a special purpose.’ The three artists enrolled in the Academie Julian in 1890…J. B. studied with several artists including Rigelot, who painted in the French Rural Naturalist style using muted colors and tone. Fairbanks also trained under Benjamin Constant…Then, with their studies completed, the three artists returned to Utah to direct the painting of the murals in the Salt Lake LDS temple. After the murals in the Salt Lake temple were completed, Fairbanks traveled to Arizona to assist with the murals in the Mesa temple…Fairbanks also became an art educator, serving as art supervisor in Ogden, he replaced John Hafen, teaching at the LDS College in Salt Lake City, and as a board member of the Utah Art Institute.” (Source: Springville Museum of Art)

PROVENANCE: Private East Tennessee Collection

CONDITION: Both items in overall very good condition. Item 2 with minor, localized flaking without loss to approximately 1/4 in. x 1/4 in. area of white apple blossom at upper left plus minor crack without loss to corner of board at upper left. Frames with negligible abrasions plus toning to mats. Item 1 with brown speck to interior of glass at upper right, in falling rain. 

  [See more photos →]

After Nicolas de Largilliere (French, 1656-1746), two oil on canvas bust-length three-quarters pose oval portraits. 1st item: portrait of a woman with a red ribbon in her hair, red bodice, and blue mantle, based on a portrait by Largilliere of a “Madame Bazin” (current location unknown). Handwritten labels tacked to wooden backing reads “E323 Bon 4408 / 2 chassis ovales en hauteur avec peintures: Mme Bazin cartouches peints largilliere” (“Two tall oval canvases with paintings: Mme Bazin / painted cartouches by Largilliere”). Also with label likely removed during previous conservation and affixed to modern card stock that reads “No. 323/4408 / [illegible].” Two additional labels are also affixed to back of frame, one with canvas information including dimensions in centimeters, and another numbered “72” along with illegible text. 2nd item: Portrait of a man, identity unknown, in a powdered wig, lace cravat, and red mantle. Handwritten label tacked to wooden backing reads “E 323 Bon 4408 / 2 chassis ovales en hauteur / avec peintures: Mansart / cartouches peints largilliere” (“Two tall oval canvases with paintings: Mansart painted cartouches by Largilliere”). Additional handwritten label tacked to back of frame reads: “2 chassis ovales en hauteur / avec peintures: Mme. Bazin / cartouches peints largilliere” (“Two tall oval canvases with paintings: Mme Bazin painted cartouches by Largilliere”). Also with label likely removed during previous conservation and affixed to modern card stock that reads “No. 323/4408 / [illegible].” Two additional labels are also affixed to back of frame, one with canvas information including dimensions in centimeters, and another numbered “72” along with illegible text. The paintings are housed in oval giltwood frames with identical measurements (Sight: 30 1/2 in. H x 24 in. W. Canvas: 31 3/4 in. H x 25 1/4 in. W. Framed: 35 1/2 in. H x 28 1/2 in. W).

PROVENANCE: Deaccessioned by the Hunter Museum of American Art.

CONDITION: 1st item: Overall very good condition. Canvas has been relined. With fine craquelure throughout, primarily absent from skin. Multiple campaigns of restoration and associated retouching, primarily outside of figure, largest area to mantle at lower left, 1 1/4 inch x 1 inch. See UV photography. Frame with gilt losses. 2nd item: Overall very good condition. Canvas has been relined. With fine craquelure throughout, especially to hair. Multiple campaigns of restoration and associated retouching primarily outside of figure, largest area to upper right along top of hair, 1/2 inch x 1/2 inch. See UV photography. Frame with gilt losses. [See more photos →]

English inlaid burlwood Davenport Desk, surmounted by a lockable hinged upper correspondence organizer with a brass gallery, atop a locking, hinged lid.  Lid lifts to reveal a green embossed leather writing surface, which pulls out for use and lifts for storage of pens, paper, and ink. The cantilevered top creates a recessed kneehole area and is joined to a moulded plinth base by corbels and pilasters, all resting on 4 castors. The locking right side door encloses 4 vertical drawers with brass pulls. All sides are finished with contrasting lightwood marquetry inlay, with geometric and foliate motifs to front, top, sides, and back.  Retains locks and keys.  23 in. L x 22 in. W x 32 1/2 in. H. Mid to late 19th century. 

PROVENANCE: The estate of Dr. Ian M. Mathison, Murfreesboro TN and Big Rapids, MI.

CONDITION: Very good condition.  Light scuffs and scratches overall consistent with use, particularly at base and where side door opens. Some ink stains to exterior lid and interior storage compartments.   [See more photos →]

Grand Tour Sienna yellow marble pedestal bowl in Neoclassical style, with square molded edge and fluted, scalloped well, over a fluted and scalloped standard on a square base. Made in two sections for ease of moving. 10 1/2 in. W x 10 1/2 in. D x 8 1/2 in. H. Italian, Late 19th or early 20th century.

PROVENANCE: The estate of Dr. Michael Spalding, Nashville, TN. Purchased Sotheby’s, Lot 98, Oct. 8, 2015: Palladio’ 70 Furniture and Works of Art from a Villa Decorated by John Fowler and Tom Parr. The receipt is available to the winning bidder.

CONDITION: Scattered tight cracks and several repairs to old cracks and chips, including to the center well and pedestal. [See more photos →]

Yolande Ardissone (French, 1927-2024) oil on canvas French Riviera seascape painting depicting Antheor, a coastal neighborhood in the Alpes-Cote d’Azur province. Signed lower left. Wally Findlay Galleries label affixed to backing. Housed in a giltwood frame with linen mat. Sight: 28 1/4 in. H x 35 3/8 in. W. Framed: 36 1/2 in. H x 44 in. W.

PROVENANCE: Deaccessioned by the Hunter Museum of American Art; ex-Wally Findlay Galleries.

CONDITION: Painting in overall very good condition. Mat with minor discoloration in the upper left corner, frame with minor scattered abrasions to the back corners. [See more photos →]

Scarce Nashville, Tennessee coin silver julep cup or beaker, stamped CAMPBELL & DONIGAN in rectangle plus two elephant hallmarks for the short-lived partnership of John Campbell and George Washington Donigan, working together at the corner of College and Union Street from 1853-1855. Tapering round cup with reeded rim and foot, with engraved script hallmark “B”. 3 3/8 in. H. 3.76 oz troy. 

PROVENANCE: The collection of Hank and Mary Brockman. 

CONDITION: Possible old repair at top 3/4 inch of seam. Scattered minor small dents and scratches. [See more photos →]

Thomas Hart Benton (American, 1889-1975), regionalist lithograph titled “The Boy.” A young man holds a suitcase and gestures toward his mother and father as he walks down a country road and toward the viewer. From the edition of 250 published by Associated American Artists, New York. Signed in pencil, lower right margin, and in the stone. Ref.: Fath 72. Housed under acrylic in a silvered wood frame with cream mat and silver reveal. Sight: 10 1/4 in. H x 14 1/4 in. W. Framed: 19 1/4 in. H x 23 in. W. 1948.

PROVENANCE: The Estate of Stacy Widelitz. Mr. Widelitz was an award winning composer and songwriter, and a noted photographer. He led numerous arts boards in Nashville after relocating from Los Angeles in 2000, and served as an Oak Hill (TN) City Commissioner 2016-2020.

CONDITION: Overall very good condition, with strong contrasts. Sheet with evening toning. Not examined out of frame.  [See more photos →]

Anne Packard (American, b. 1933) oil on board atmospheric seascape painting depicting a lone sailboat sailing toward a distant horizon under a darkening sky. Signed “A. Packard,” lower left. Housed in a white painted frame with gilt edges and linen mat. Sight: 5 1/2 in. H x 2 1/2 in. W. Frame: 8 1/2 in. H x 5 1/2 in W. Biographical Note: Anne Packard is known for her small-scale paintings. The granddaughter of American painter Max Bohm, Packard attended Bard College and studied with the late Phil Malicoat, but her 20s and 30s were spent mainly as a wife and mother. Her interest in painting was not taken seriously until her 40s, when she began selling her work out of financial necessity. Her contemporary, realist seascapes were well received and she sold paintings for several years out of her home in Hopewell, NJ before opening Packard Gallery in Provincetown, MA in 1988. Her work is in the collections of the New Jersey State Museum, the Provincetown Art Association, and the Oglethorpe University Museum. The Cape Cod Museum of Fine Art hosted a major retrospective of her work in 2006. 

CONDITION: Painting in excellent condition. Frame with several small chips and losses, including at lower corners. Light grime/staining to mat.  [See more photos →]

Sterling Strauser (American/Pennsylvania, 1907-1995) oil on board painting of a standing black cat with lifted paw and turned head, outlined in sgraffito on an ivory background. (The cat was likely modeled on the artist’s own black cat, Jasper, one of his frequent subjects). Signed lower right “Strauser” and dated 1973. Mounted on a black faux leather covered board in an ivory-painted ripple carved frame. Sight: 24 in. W x 12 in. H. Frame: 34 in. W x 21 in. H.

PROVENANCE: The estate of Anne Buffington, Brentwood, TN.

CONDITION: Overall good condition, some negligible grime. Spots of wear to frame. [See more photos →]

David Davidovich Burliuk (New York/Russian Federation/Ukraine, 1882-1967) oil on board bust length portrait of a woman with dark hair, lined face, and wide blue eyes. She sits before a blue background, turned in three quarter view, wearing a blue dress, gazing forlornly past the viewer. Signed lower right and dated 1918. Wide molded wood frame with silvered accents and a cream painted wood mat with gilt sight edge. Panel 12 1/2 in. H x 9 in. W. Frame: 21 in. H x 18 in. W. Note: inscription in pen, en verso, identifies the sitter as Pavla (Paula?) Kuzminichnu Curyanova, “wife of doctor who was lost by her 1917; husband had 9 times tifus [sic] fever / David Butler collection.” An additional pen inscription suggests the title of the painting is “Mary the Winter”. Biography:  “Born into a privileged class of Russian Society, David Burliuk became a central figure in the history of the Russian avant-garde movement as an accomplished poet, art critic, and exhibition organizer. He studied at the Kazan School of Fine Arts in 1898, then in Odessa, Moscow, Munich, and in Paris at the Ecole des Beaux Arts, however, as a breaker of artistic tradition, he found himself expelled from the Moscow Institute in 1911. His early works were Fauve-like and were exhibited with the Blue Riders in Munich. With the advent of World War I, he left Russia and traveled for four years. He moved to America in 1922 and settled on Long Island where he continued to paint until his death in 1967.” (Source: Michael David Zellman, 300 Years of American Art). 

PROVENANCE: The Estate of Stacy Widelitz. Mr. Widelitz was an award winning composer and songwriter, and a noted photographer. He led numerous arts boards in Nashville after relocating from Los Angeles in 2000, and served as an Oak Hill (TN) City Commissioner 2016-2020.

CONDITION: Overall very good condition, with a couple of scattered lines of craquelure. There is a small 1/2 in. spot of retouch to paint in the background, upper left corner, visible under UV light. At the subject’s shoulder, lower right, the paint is thin, with print from the support board partially visible. Frame exhibits some intentional and unintentional wear, with small area of loss lower left corner.  [See more photos →]

Two (2) East Tennessee Grindstaff pottery one-gallon stoneware jars. 1st item – Blount County, 1-gallon salt-glazed stoneware pottery straight-wall preserving jar marked for Grindstaff Pottery (1870 – 1890). Impressed mark reading W. GRINSTAFF and “1” denoting capacity, two incised lines below the rolled rim, beveled foot. 8 3/4 in. H. 2nd item – Tapered-wall 1-gallon jar with four incised lines below the flattened edge rim and a stamped “1” capacity mark associated with the Grindstaff pottery. 8 in. H.

PROVENANCE: The collection of Marty and David Black, Rockford, TN.

CONDITION: 1st jar very good condition. 2nd jar with chip to inner rim, otherwise overall good condition. [See more photos →]

John Angus Chamberlain (American, 1927-2011), “T.V. Christmas IMP/CP 1314,” 1984, monotype print with lithographic ink and hand coloring in crayon on Arches paper, inscribed in pencil IMP/CP 1314 and signed lower right “John Chamberlain,” with blind stamp. Mounted atop a white linen mat under plexiglass in a wooden frame with canted sides and gilt front edges. Sheet: 41 1/2 in. W x 29 1/2 in. H. Frame: 50 1/2 in. W x 38 1/2 in. H. Note: This print was acquired directly from the artist through his studio, Ten Coconut, in Sarasota Florida on Feb. 16, 1987, along with the signed aluminum template from which it was made, also for sale in this auction (lot 437).

PROVENANCE: The estate of Eleanor H. Baer, Memphis, Tennessee (The Eleanor H. Baer Irrevocable Trust), acquired directly from the artist’s studio, Ten Coconut, Inc., Sarasota, FL. A copy of the original Ten Coconut sales receipt as well as 1990 correspondence between Mrs. Baer and Pace Gallery (which later represented Chamberlain) regarding an appraisal are available to the winning bidder.

CONDITION: Overall very good condition. Areas of scattered light creasing, most noticeably to lower left quadrant at edges. Some minor spots of wear to frame.  [See more photos →]

Diminutive Neoclassical Maison Jansen style console table, possibly by Mastercraft of Grand Rapids. Bronze table with rectangular, metal-clad wood top over four square tapering legs having acanthus form capitals and paw feet, joined by x form side supports and a turned carved wood stretcher. Old Grand Rapids, Michigan label to underside. 30 1/2 in. H x 40 in. W x 15 1/4 in. D. American, second quarter 20th century.

PROVENANCE: A Nashville, TN estate. 

CONDITION: Significant oxidation, wear and some staining and pitting to bronze legs, possibly from some outdoor exposure. Some splits to wood stretcher. Table top is bronze-colored metal and is magnetic; it has some scattered minor stains and wear. [See more photos →]

Walt Gonske (American, b. 1942) oil on canvas painting, “Basilica di San Marco.” Gondolas float in the canal before a crowded street in Venice, with St. Mark’s Basilica in the background. Passages of heavy impasto describe the people and architecture. Signed lower left. Additionally signed, titled, and numbered 1721 en verso. With Fenn Galleries, Santa Fe label and informational index card affixed to backing. Sight: 23 1/2 in. H x 16 5/8 in. W. Canvas: 24 in. H x 17 in. W. Framed: 31 1/2 in. H x 24 1/2 in. W.

PROVENANCE: Deaccessioned by the Hunter Museum of American Art

CONDITION: Overall very good condition. Not examined out of frame. [See more photos →]

Pair of 14K yellow gold emerald and diamond omega-back earrings, set with 32 emeralds totaling approximately 1.20 carats and 44 round brilliant-cut diamonds totaling approximately 0.44 carats. Measuring approximately 8.6 mm in width, total weight 6.5 grams.

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

Kentucky coin silver footed water pitcher with engine-turned decoration to the urn-shaped body, repousse floral decoration around a central cartouche, and repousse floral decoration to the footed base. Naturalistic branch-form C-scroll handle with grape decoration. Base underside with incuse marks for retailer Kitts & Werne of Louisville (working in partnership 1864-1878). 11 1/4 in. H. 20.43 troy ounces.

CONDITION: Overall very good condition. Not monogrammed. [See more photos →]

Mid-19th-century oil on canvas oval half-length portrait of a young man in a black suit with a black cravat or necktie shown in three-quarters pose. A string tied around his neck disappears beneath his vest. Unsigned. Housed in a ornate molded and giltwood frame with foliate ornamentation. Sight: 29 in. H x 24 in. W. Framed: 37 in. H x 32 in. W.  Probably European.

PROVENANCE: The estate of James Drury, Lombard, Illinois.

CONDITION: Overall very good condition, canvas has been lined. With localized retouching primarily to background, largest 5 inch x 1/4 inch, upper right. Areas of florescence under UV light along lower edge, in suit, may be from resotoration or irregularities in varnish layer. See UV photography. Negligible craquelure also primarily to background.  [See more photos →]

Jacques and Mary Regat (American/Alaskan, contemporary), patinated bronze sculpture titled “Sweet and Sassy” depicting two embracing grizzly bears. Cast signed, dated 1994, and numbered 73/75. 8 1/4 in. H x 11 in W x 7 in. D.

CONDITION: Excellent condition. Green felt to underside. [See more photos →]

Rare Memphis Tennessee retailed pocket watch, the white enameled dial with Roman Numerals and seconds dial, signed J.E. MERRIMAN & CO MEMPHIS for James E. Merriman (working Memphis, 1845-1860). Fusee movement, possibly English. Gilt backplate engraved “Merriman Co.N1474 and “Memphis/Tennessee” . Plain round coin silver case stamped “D & Co” and “coin” in separate banners, 61114 (attributed to Duhme & Co., Cincinnati). Keys present. 3 1/4 in. x 2 3/8 in. Circa 1855. Note: this watch is illustrated and discussed on p. 128 of the book “Tennessee Silversmiths” by  Dr. Benjamin H. Caldwell, Jr. (pub. Museum of Early Southern Decorative Arts, 1988). Dr. Caldwell, who was a previous owner of this watch, writes that James E. Merriman established the firm of J.E. Merriman & Co. at 32 Front Row, Memphis, in 1847. While at this address, the firm advertised “Watches, Clocks, Jewelry, Silverware Gold Pens, Etc.” . By 1856, the firm moved to 253 Main Street, where it remained through 1860.

PROVENANCE: The collection of Hank and Mary Brockman, ex-Brunk Auctions, May 20-21, 2006, lot 253, property of Dr. Benjamin Caldwell. 

CONDITION: Dial with hairlines and a few tiny edge chips. One hand bent at tip. Movement off track, chain broken, lacking hinge pins. Case with numerous small dents and repairs. No monograms. [See more photos →]

Tom Haney (American/North Carolina, b. 1962) polychrome painted wood automaton sculpture featuring a marionette of the U.S. president from Tennessee, James K. Polk, presented as a marionette on a proscenium modeled after the Tennessee State Capitol building. Polk’s movements on the stage are controlled by a switch at the lower side of the case via a Victrola motor powered by four cams and levers inside. Signed en verso. 37 in. H x 18 in. W x 11 in. D. Note: Haney created this piece in 2005 for a Seattle gallery show organized around the music of the rock band “They Might be Giants.” It was inspired by their song “James K. Polk”. Lyrics to the song are painted on the sides of the automaton case.

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

CONDITION: Excellent condition, fully functional. [See more photos →]

Joe Parrott (American/Tennessee, b. 1944), oil on board, impressionist Knoxville cityscape painting depicting a train yard, possibly the Southern Railway Station. Signed and dated ’75 lower right and housed in a cove molded wood frame. Sight: 19 1/4 in. H x 27 7/8 in. W. Framed: 23 1/2 in. H x 31 1/2 in. 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.

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

Large Native American Mission coiled basketry bowl with geometric designs, woven in willow and bracken fern root. 4 1/4 in. H x 14 dia. Circa 1920.

CONDITION: In overall very good condition. Rods intact. Very minor stitch loss. No fading. No apparent restoration. [See more photos →]

Antebellum and Civil War Era Archive related to the Coweta County, GA family of John Hutchins Johnson (1807-1864) and his son, CSA Lieutenant Colonel Thomas Coke Johnson (1835-1862, KIA Mechanicsville, VA). Comprising 35 loosely bound pages from what was originally a “Daily Record of Passing Events” on John Hutchins Johnson’s plantation.  Includes cotton production values attached to lists of first names of 11 enslaved persons (Andrew, Isham, Ben, Baily, Wash, Tom, Lucy, Ely/Eley, Gus, Simon, Cornelia) along with inventories and receipts for the sale of household goods (possibly related to the settlement of an estate), along with handwritten planting records. The book, whose entries appear to begin in the 1850s, was later used as a scrapbook for saving newspaper clippings and small cut outs from early books or magazines (including ladies fashion plates). On page 23, there is a draft poem dated July 30, 1862, and described in margin: “Written by Mr. Jack Johnson when his Bro Tomas was killed near Richmond Va – Civil War.”  Latest date is a newspaper article titled “Death Is An Opportunity,” August 31, 1907.  9 in. W x 14 in H.

Note: Pages are from a partially printed commercially available ledger called the “The Cotton Plantation Record and Account Book,”  a detailed system created by Thomas Affleck in the mid-19th century for the purpose of allowing plantation owners to track the efficiency of their production and other aspects of plantation management, including the day-to-day activities of slaves.  Section D is titled “Record of Clothing and Tools Given Out to the Negroes Upon Plantation During the Year 185_,” with columns still visible for Buckets, Bed-Ticks, Mosquito Bars, Blankets, Comforts, Shoes and Sacks (no entries).

PROVENANCE:  Estate of Sally Johnson Harlan, a direct descendant of the Johnson family. Note: other items related to this family are also for sale in this auction including an ambrotype portrait of the Johnson Family (lot 537), a  tintype of Lt. Col. T.C. Johnson, (lot 536), and a portrait of John Hutchins Johnson and possibly his second wife, Mariah, lot 1116 (Day 2 of this auction).

CONDITION: Missing covers, overall loose pages.  Pages 44-58 retaining string binding, 61-94 held together by a thread.  Foxing to all pages, some bent page corners, scattered creases, tears, and edge chipping. First and last pages in overall fragile condition. [See more photos →]

Sterling Strauser (American, 1907-1995), “Wild Honeysuckle,” large oil on board modernist still life painting depicting vases filled with pink honeysuckle branches. The branches and outlines of the vases are rendered in sgraffito. Signed “Strauser” and dated 1954 upper right. Titled en verso. 29 1/2 in. H x 48 in. W. Unframed.

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

CONDITION: Overall very good condition with wear and minor losses to edges of board. Unframed. [See more photos →]

Group of three (3) Charles W. Smith (Virginia/American, 1893-1987) artworks and publications. Item 1: Abstract Cubist mixed media painting on heavy wove paper. Signed lower left. Unframed. 14 1/2 in. H x 11 3/8 in. W. Item 2: Charles Smith’s “A Historical Map of Virginia” offset lithograph poster with numerous vignettes that illustrate significant people, places, and events in Virginia history. Printed by Garrett & Massie, Inc., Richmond, VA. 21 in. H x 27 in. W. 1930. Item 3: Charles Smith and Virginius Dabney’s THE UNIVERSITY OF VIRGINIA: THIRTY-TWO WOODCUTS (The University of Virginia Press, 1955), 2nd edition, signed by Charles Smith. 12 in. x 9 in. x 1/2 in. Item 4: Charles Smith’s THE ANIMAL FARE (Garrett & Massie, 1962). 9 1/2 in. x 8 3/4 in. x 3/4 in. Note: Painting shows evidence of Smith’s “block painting” technique, especially in wing-like form at center-left. Biographical Note: “Charles Smith, a Virginia-born artist, is well known in America and abroad for his abstract paintings, his wood-cuts, and for his block paintings, a process of his own invention. He is represented in twenty-three museums and in many private collections. Among the museums owning his work are: The Museum of Modern Art; Guggenheim Museum of Non-Objective Art; The Art Institute of Chicago; Yale University Gallery of Fine Arts; The Seattle Museum of Art; the Portland Museum, Oregon; Newark Museum; Honolulu Museum; Institute of Modern Art, Boston; The Whitney Museum of American Art…The son of a pattern maker for a foundry which manufactured [stove doors], he was accustomed to the use of gouges and chisels from his earliest childhood, for his father carved these patterns from white pine in massive abstract designs in great variety.  Art training at the University of Virginia, the Corcoran Gallery of Art and the Yale School of Fine Arts followed and Charles Smith naturally turned to the use of wood working tools in the making of block prints as a professional artist. Through his architectural subjects, book illustrations, books entirely of block prints and portraits he became well known but his unique contribution has been the development of the method of block painting…Where block paintings are done by imprinting, one at a time, various carved wood shapes which combine to form a composition. These compositions resemble paintings in their use of under-painting and over-coating, their textural variety and their color. Each is approached as a single work and cannot be repeated.” (Source: The Renaissance Society, Chicago)

CONDITION: 1st item in overall very good condition, with old mounting tape affixed to versos along upper edge. 2nd item rolled in original tube, as issued. With insect damage along right edge in margins and into map. Also with acid burn to left side of verso, approximately six inches into sheet, from contact with tube. Not visible on recto. 3rd item retains original wax paper slip cover. With speckled discoloration to cover, otherwise very good condition. 4th item with staining to front of dust jacket and losses to edges and back of dust jacket. Otherwise very good condition. [See more photos →]

1st item:  Chinese Famille Rose porcelain bottleneck vase with applied blue glazed figural dragon to the neck. Blue seal-form Qianlong mark on the base. Retains the original wooden display box. Vase: 4 3/4 in H x 2 1/2 in W.  Box: 7 1/4 in. L x 4 3/4 in W.  2nd & 3rd items:  A pair of Chinese iron red and green porcelain “fish” plates. The interior depicts a red carp above green and red waves within a red-and-yellow border. The rim depicts 3 red carp above red and green waves. Six-character iron red Ch’eng Te (Ming Dynasty) mark on the undersides, apocryphal. 9 3/4 in. dia. 20th century. 4th & 5th items: Pair of Chinese Famille Verte porcelain teacups and saucer with lotus and floral decoration. Blue seal form hallmark to the underside of all pieces. Cups: 1 1/3 in. H x 3 1/4 in. dia. Saucers: 5 in. dia. 20th century.

PROVENANCE: A Memphis, TN estate.

CONDITION: All porcelain items are in very good overall condition.  Wooden display box has some interior loss to silk and paper, a small chip in the corner of the sliding lid, and light scratches on the exterior.  [See more photos →]

Eimerich Rein (Norway/Rhode Island, 1827-1900), “Moonlight on the Lake,” oil on canvas landscape painting depicting moonlight, filtered by clouds and shimmering on the surface of a lake, partially visible through a clearing in the midst of darkened trees. Signed lower right. Artist name and title to applied plaque lower center of frame. The wide giltwood frame with impressed, speckled texture and applied foliate border appears original. Sight: 20 in. H x 31 1/2 in. W. Frame: 27 3/4 in. H x 39 1/4 in. W. Note: Norweigan born artist Eimerich Rein was a founding member of the Providence, Rhode Island Art Club, along with fellow artists Edward Mitchell Bannister and Sydney Burleigh. According to the club’s archives, the first formal meeting to organize the group took place in Rein’s studio on North Main Street. 

PROVENANCE: The estate of Lyman O. “Buzz” Heidtke, Nashville, TN.

CONDITION: Craquelure and grime throughout. Scattered areas of pinpoint size exfoliation, most concentrated in the lower right corner. Frame with wear and losses to edges and beaded molding up to 2 1/2 in.  [See more photos →]

Sterling Strauser (Pennsylvania, 1907-1995) oil on board still life painting depicting a vase with multicolored flowers against a green background, rendered in heavy impasto and sgraffito linework. Signed and dated “Strauser 74” lower left. Housed in a giltwood frame with beige textile mat and gilt fillet. Sight: 13 1/4 in. H x 10 1/4 in W. Framed: 20 1/2 in. H x 17 1/2 in. W.

PROVENANCE: Private Nashville collection.

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

Chinese Qing Dynasty bowl with enameled decoration of immortals to the exterior and turquoise glaze to the interior. Daoguang red seal mark (1821-1850) to the base. 7 in. W x 4 in. H. 19th century. 

PROVENANCE: Private Nashville collection.

CONDITION: A few minor losses to gilding, overall very good condition. [See more photos →]

A pair of Grand Tour sienna marble obelisks with tiger eye agate veneer. Each 15 7/8 in. H. Likely Italian, early 20th century. 

PROVENANCE: Private Nashville collection.

CONDITION: Subtle repaired chip to tip of one obelisk. Natural imperfections to stone. Some very small chips to undersides.  [See more photos →]

Georg Arnold-Grabone (German, 1896-1982) oil on canvas seascape painting with two ships and a rowboat that rest in shallow coastal waters, all rendered in the artist’s characteristic thick, textured strokes applied with a palette knife. Signed lower left. Housed in a parcel gilt carved frame. Sight: 23 1/4 in. H x 31 in. W. Framed: 31 1/2 in. H x 39 1/4 in. W. Biography: German Impressionist painter Georg Arnold-Grabone was the son of regional president Wilhelm von Arnold. He studied at the Munich Art Academy and later under Max Liebermann. He was seriously injured fighting in World War I and left temporarily unable to hear or speak. After his discharge, he continued his art studies and in 1928 awarded a gold medal in Vienna for his oil painting: “Hardanger Fjord.” In 1932 he moved to Zurich to teach at an art academy. He later became an art instructor to U.S. General Dwight D. Eisenhower, who was stationed in Garmisch as the commander of occupied Europe, and to Winston Churchill (to whom he was introduced by Eisenhower). One of Arnold-Grabone’s paintings hung in the White House, and several others were brought home to the U.S. by American troops.

PROVENANCE: The estate of Robert Estrin, Nashville, TN.

CONDITION: Overall very good condition, with scattered surface accretions primarily to lower right and upper left.  [See more photos →]

Four (4) Keiko Minami (Japan, 1911-2004) color aquatint etchings on wove paper that depict birds in landscape setting. 1st item: Aquatint etching that depicts three blue birds with a leafless tree. A few red leaves hang from the tree’s branches and a female figure with a goat stand beneath it, with a distant house at right. Pencil signed and numbered 30/50 to lower margin. Housed under acrylic in a silvered wood frame with cream mat. Sight: 14 1/4 in. H x 12 in. W. Framed: 24 in. H x 20 in. W. 2nd item: Aquatint etching that depicts a bird standing in a landscape. A building stands at left and a figure rows a boat across a body of water at upper right. Pencil signed and numbered 2/50 to lower margin. Housed under glass in a silvered frame. Sight: 21 1/2 in H x 14 1/4 in. W.  Framed: 22 3/4 in. H x 15 1/2 in. W. 3rd item: Aquatint etching titled “La Mouette” (The Gull) that depicts a red bird in flight over a body of water, with the top of a tower shown partially at lower center. Pencil signed and numbered 62/100 to lower margin. Housed under glass in a silvered and giltwood frame with white mat. Sight: 17 in. H x 13 in. W. Framed: 23 1/2 in. H x 17 3/4 in. W. 4th item: Aquatint etching that depicts a bird that rests atop a red, flowering plant. Pencil signed and numbered 61/120 to lower margin. Housed under glass in a giltwood frame with white mat. Sight: 14 1/2 in. H x 12 in. W. Framed: 23 1/2 in. H x 16 in. W. Note: Lot includes Christie’s Contemporary Art Certificate of Authenticity and informational documents associated with Item 3, “La Mouette.”

PROVENANCE: Irene Sullivan Estate, Oak Ridge, TN descendant of the Callahan family of Knoxville, TN; Item 3 purchased from Christie’s Contemporary Art (now CCA Galleries).

CONDITION: Overall very good condition. Item 2 with even toning and minor foxing to sheet. Not examined out of frames. Items 1 and 2 with minor abrasions and losses to frames. [See more photos →]

Sterling Strauser (Pennsylvania, 1907-1995) – oil on board expressionist still life painting depicting a tabletop and container, with pink and green flowers/foliage scattered on the table, seemingly floating in the background, set against a pale yellow background. The painting is rendered with some impasto and sgraffito linework and is signed lower left. Unframed. 21 7/8 in. H x 28 in. W.

PROVENANCE: Private Virginia Collection.

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

1st item: Antique Ersari Turkman trapping or weaving, wool on wool, woven in floral and geometric designs in colors of blue, red, and salmon. 5 ft. 5 in. x 1 ft. 11 in. Circa 1910. 2nd item: Antique  Ersari Trapping with stylized central medallion design in colors of blue, red, and cream. 5 ft. 5 in. x 1 ft. 11 in. Circa 1910.

PROVENANCE: Private Des Moines, Iowa collection.

CONDITION: 1st item: A couple of areas of side seam separation, otherwise overall good condition. 2nd item: Overall good condition, losses to fringed ends. [See more photos →]

Large Berlin KPM hand-painted porcelain plaque depicting the biblical figure Rebecca after the painting by Emile Vernet-Lecomte (1821-1900). Marked en verso with impressed maker’s mark “KPM” together with the numbers 255-195 and additional letters. Housed in a gilt wood frame. Sight: 9 1/4 in. H x 6 7/8 in. W. Framed: 14 in. H x 11 1/4 in. W. Circa 1880s. 

PROVENANCE: The Estate of George Bradley, Lewisburg, TN.
 

CONDITION: Overall very good condition with a couple of minor firing imperfections to the lower left quadrant. [See more photos →]

Thirteen (13) Herend Porcelain pieces, hand painted in fishnet pattern with 24K gold accents. Items include: One (1) Seashell, 15534 /VHP; Dog in crate, A5758 / SVHP+C; Cavalier King Charles Spaniel, 5914 / SVH; Young goat/kid 5134 / SVHP; Mouse 15304 / VHP; Cat on Pillow, 15709 / SVHP; Napping Cat 15229 / SVH; Three (3) Guinea Pigs 15300 in colors SVHJ, SVHP, and SVHNM; Dolphin 15397 / PTVH; Sleeping Angel 15807 / SVHP; Ice cream cone, 5236 / SVHV1. Pieces range in size from 1 in x 2 in (angel) to 3 1/2 in x 3 3/4 in.  Each marked on underside with blue Herend stamp and Pattern/Color markings. Hungary, 20th C.

CONDITION: Each in excellent condition. [See more photos →]

1st item: Baluch, wool on wool, floor rug with central repeating diamond design within four main borders. Woven in brick red, blue, and cream colors.  6 ft x 4 ft 2 in., circa 1870’s. 2nd item: Chodor eating rug, wool on wool, with four central stylized tree panels and stylized animal and flowers borders at each fringed end. Woven in red, blue, cream, and salmon colors. 4 ft 9 in x 4 ft 8 in., circa 1870’s. 3rd item: Baluch eating rug, wool on wool, with stylized Ertmen guls repeated in an all-over pattern. Woven in brick red, blue, and cream colors. 3 ft 8 in x 2 ft 11 in., circa 1900.

PROVENANCE: Private Des Moines, Iowa collection.

CONDITION: 1st item:  Losses to fringe and border, fading and color abrash, center pile wear, overall good condition. 2nd item: Losses to the border with repairs, loss to the fringe, center pile wear, overall good condition. 3rd item: Overall good condition with a few areas of pile wear. [See more photos →]

Coin silver agricultural premium trophy mint julep cup or beaker, possibly awarded by the Bourbon County Agricultural Society of Kentucky, circa 1836. Tapering sides with molded and reeded upper and lower rims, engraved “T.J. Woodford” to one side and “Premium” in script to the other. The underside is engraved BCAS, with WILLEY & BLAKSLEY and CINCINNATI stamped in rectangles. 3 1/2 in H. 4.56 oz troy. Note: Kentucky silver premium cups were often sourced from Cincinnati, just across the Ohio River. Benagah Bushnell Willey (1806-1850) was in partnership with Mr. Blaksley in Cincinnati from circa 1830-36. After, and possibly during that time, he lived in Harrison County, Kentucky, which is adjacent to Bourbon County and located between Lexington and Cincinnati. He married Susan Lail Willey in Harrison County, KY, in 1838, and they are listed as living in Harrison County, KY in the 1850 Federal Census just before his death at the age of 44. Even though the cup is engraved “TJ Woodford,” TJ is quite possibly John Thornton (J.T.) Woodford Jr. (1812-1892), a “farm and stock raiser” in Bourbon  Co. KY. John T. Woodford bred thoroughbred racehorses at his farm “Raceland” near Paris, Ky. He was a President of the Lexington Racing Association for six years and a cattle judge at BCAS in later years. John T. Woodford was also a grandson of William Woodford, a Revolutionary War general and namesake of Woodford County KY, where the Woodford Distillery was founded circa 1812.  

PROVENANCE: The collection of Hank and Mary Brockman.

CONDITION: Scattered tiny dents and scratches, overall very good condition. 

  [See more photos →]

1st item: Ladies multicolored pearl strand featuring two hundred sixty (260) cultured pearls approximately 7.5mm each alternating four (4) colors. The necklace is 80 in. L. 2nd item: Ladies four-strand pearl necklace featuring four hundred ninety-two (492) elongated pearls on four (4) strands. The clasp is sterling silver marked “925” and XRF tests sterling silver. The necklace is 18 in. L. 3rd item: Ladies two-strand pearl necklace featuring one hundred twenty-four (124) cultured pearls, approximately 8.5mm each. The clasp is sterling silver marked “925” and XRF tests sterling silver and features one (1) mabe pearl. The necklace is 24 in. L. 4th item: Ladies three-strand pearl bracelet featuring fifty-seven (57) cultured pearls, approximately 9mm each. The clasp is sterling silver marked “925” and XRF tests sterling silver. The bracelet is 7 in. L.

PROVENANCE: The estate of Elizabeth Hardin, Gadsden, Alabama.

CONDITION: All items overall good condition. [See more photos →]

1st item: Hand-cut lead crystal box with gilt metal closure, style of Benito.  Unsigned, with foil stickers marked “Made in France” on the bottom, and “Crystal au Plomb / Taille Main” inside.  5 in. L x 3 1/2 in. W x 3 1/2 in. D.  2nd item: Ormolu box with finely detailed pattern and wooden liner.  Stamped France.    4 3/4 in. L x 3 1/4 in. W x 3 1/2 in. D.  3rd item: Empire-style opaline cigarette box, with cast gilt banding and paw feet.  5 1/2 in. L x 3 1/2 in. W x 2 3/4 in. H. All items 20th century. 

PROVENANCE: The estate of Mary Ann McCabe of Winnetka, Illinois. 

CONDITION: All in very good condition, with no chips.   [See more photos →]

1st item: Antique Turkmen Yomud (full bag) Torba having a central panel featuring three rows of three guls within a wide foliate border. Woven in colors of red, blue, and cream. 3 ft. 10 in. x 2 ft. 5 in. Circa 1880-1890. 2nd item: Antique Turkmen Arabatchi Chuval bag featuring three rows of three guls within a large foliate border and plain lower elem panel. 5 ft. 3 in. x 3 ft. 4 in. Circa 1870. 3rd item: Ersari Torba with central medallion design. Woven in colors of red, blue, and cream. 5 ft 3 in x 3 ft 4 in. Circa 1870.

PROVENANCE: Private Des Moines, Iowa collection.

CONDITION: 1st item: Overall good condition with losses to one seam. 2nd item: Wear and losses to one side/losses to fringe, and one hole to fringe. 3rd item: Overall good condition with some repair to margins. [See more photos →]

Four (4) Herend Porcelain bunny figurines, hand painted in fishnet pattern with 24K gold accents. Items include: One bunny holding a carrot, 15097 / SVHP (raspberry), 8 1/4 in. H; One bunny with butterfly, 5428 / SVHP 6 1/2 in. H; One tortoise and hare, 15830 / SVHV1+SVHP, 3 1/4 in. H; and one bunny holding an Easter egg, 5436 / SVHV1, 2 3/8 in H. Each marked on underside with blue Herend stamp and pattern/color markings. Hungary, 20th C.

CONDITION: Tortoise with small paint fleck on left top of shell. [See more photos →]

Two (2) East TN William Grindstaff stoneware pottery jars. 1st Item: ovoid jar impressed half-crescent mark W. GRINSTAFF 18 for Grindstaff Pottery (1870 – 1890) with two bilateral knob handles, tapering tan and gray body. 7 7/8 in. H. 2nd item: Grindstaff jar stamped “2” and “W. Grindstaff” with pulled lug handles and two incised lines on the shoulder. 12 7/8 in. H.

PROVENANCE: The collection of Marty and David Black, Rockford, TN.

CONDITION: 1st item: Broken and glued with missing voids to the underside of the rim. 2nd item: Glued hairline crack running from rim to base, and a horizontal hairline crack intersecting, a triangular missing section of the underside base filled with putty. Some overpainting is likely to the entire jar. [See more photos →]

Barren County, Kentucky, cherry tobacco box, on a later taper leg stand. Dovetailed construction and hinged lid, with locking plate marked “PATENT” on the swivel latch.  Measures 13 3/4 in. L x 13 3/8 in. W x 25 5/8 in. H. Mid 19th century.

PROVENANCE: Living Estate of Sally Johnson Harlan. By descent in the family of Isaac Harlin (1808-1851) or his son Samuel Harlin (1843-1933) of Barren County, KY.

CONDITION: Overall good exterior condition; interior has some circular staining on the base. Lid hinges may have been replaced, and the lock has broken latch. [See more photos →]

Robert Joseph Warrens (Louisiana/Wisconsin, b. 1933) watercolor with ink on paper titled “Handprints in the Sky.” A rabbit surrounded by red and black handprints and shown in profile looks toward the viewer. Colorful spatter and washes fill the composition. Signed lower left. 41 1/2 in. H x 29 1/2 in W. Biographical Note: “Born in Sheboygan, Wisconsin, Robert Joseph Warrens received a bachelor of science degree from the University of Wisconsin in Milwaukee, and later an MFA from the University of Iowa in Iowa City. In 1959, he took a teaching position at Concord College in Athens, West Virginia. In 1967, he moved south to teach art at Louisiana State University (LSU) in Baton Rouge. Warrens is a narrative painter known for his provocative, humorous, and whimsical storytelling. He retired from LSU in 1998 as a professor emeritus.” (Source: Arts New Orleans)

PROVENANCE: Arkansas Museum of Fine Arts Foundation.

CONDITION: Overall very good condition. With museum accession number en verso. [See more photos →]

Napoleon III cave a liqueur or tantalus set, a serpentine-form box with intricate marquetry comprising exotic woods such as speckled Amboyna, along with brass inlay. Hinged lid and side panels open to reveal a removable gilt metal frame with 4 crystal decanters and 16 cordials, most with gilt details and etched floral designs. The case with a brass escutcheon and an inscription written in French on the lock plate on the base. Monogrammed PT on lid. 14 in. L x 10 1/4 in. H x 9 1/2 in. D. Third quarter 19th century.

PROVENANCE: The collection of Dr. Lewis Pendleton Armistead, Nashville, by descent from his mother, Patsy Ann (aka Eliot) Thompson Armistead. The antique tantalus was gift to her while she was living at Upper Brandon Plantation in Virginia, from Gen. Lemuel C. Shepherd Jr. (1896-1990), the 20th commandant of the U.S. Marine Corps. 

CONDITION: Some losses to inlay on front bottom corners and loss to front left bun foot, scattered cracking and lifting to veneer. Shrinkage cracks on front left marquetry panels and both interior side panels. 2 cordial glasses are later replacements and do not have gilt details. [See more photos →]

A near pair of two (2) Tennessee side chairs attributed to Williamson County maker Richard “Dick” Poyner of Williamson County, TN. Hickory and possibly maple with arched slats, flattened ears and lower stiles, and woven seats. Each chair measures 36 1/4 in. H x 18 in. W x 15 in. D. Seat to floor: 16 inches.  Late 19th century. Note: Richard “Dick” Poyner (1802-1882) was born a slave in Halifax Co., VA and immigrated to Williamson County, TN, with the Robert Poyner family in 1816, settling near the present-day Cool Springs Galleria. The Poyners were established craftsmen, and it is assumed that Dick Poyner learned the furniture trade working in their shop. Unlike many slaves of that period, Dick Poyner was literate, and he obtained his freedom, and that of his second wife, Millie, between 1850 and 1860. By 1851 he was working at his horse-powered chair factory near present-day Leiper’s Fork with his son, James. His chairs have been treasured by generations of Tennessee families for their simple elegance and legendary durability. (Ref. Rick Warwick, “Williamson County: More than a Good Place to Live”, pp.15-16).

PROVENANCE: Private Middle Tennessee collection. Note: Two additional chairs attributed to Poyner from this same collection are also being offered on Day 2 of this auction, lot #872.

CONDITION: Overall good condition. One chair with breaks to seat weaving and minor shrinkage splits to legs.  Both with wear to ears and crestrails. [See more photos →]

Diminutive East Tennessee walnut blanket chest with turned feet. Poplar secondary throughout. Top with a canted molding opening to an interior with a till on the left side. Interior stile edges are canted. The right side back corner shows evidence where a till was considered. Iron hinges. Pegged case with bottom panel secured by square nails. Resting on turned Sheraton legs. 38 in. L x 15 in. W x 21 5/8 in. H. Likely Greene Co., TN, circa 1835. 

PROVENANCE: Estate of Donna C. Rogers, Greeneville, TN.

CONDITION: Older refinish with right side molding of top missing. Top with stains and slight abrasions.  [See more photos →]