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534297 Los(e)/Seite
Los 100
Three (3) Louis XV style gilt bronze candelabra including one electrified as a lamp. 1st-2nd items: Pair of Louis XV style gilt bronze two-light candelabra, likely French, with foliate decoration and adjustable screens fitted with damask to the centers. 22 1/2" H x 9 1/4" W. 19th century. 3rd item: Louis XV style gilt bronze two-light candelabra, likely French, with foliate decoration, the center electrified for use as a lamp with two sockets. 23" H x 8 3/4" W. Late 19th/early 20th century. Provenance: Living Estate of Frances Fulton, Knoxville, TN. CONDITION: All pieces with overall general wear, 1 screen with tear to damask, lamp working at time of inspection.
Los 1013
Chriss Whipple Hardy (Florida/New York/Tennessee, 20th/21st Century) oil on canvas painting titled "Charleston Light & Shadow" depicting a white building with greenery, a white stone bench, and a pathway leading to a green door partially cast in shadow by a flowering tree. Signed "Chriss Hardy" lower left. Typed artist's biography en verso. Housed in a contemporary black wooden frame with a giltwood rabbet edge. Sight - 11 1/2" square. Framed - 16 3/4" square. American, late 20th/early 21st century. CONDITION: Overall excellent condition.
Los 1017
Group of eight (8) equestrian related items, including Lou Burke and Fred Stone prints, books. 1st-4th items: Four (4) Lou Burk (American/Illinois, 1845-1914) horse lithographs depicting Percheron horses, 3 signed in the plate. All housed in matching silvered wood frames. Sights ranging in size from 12 5/8" H x 18" W to 13 3/8" H x 23" W. Frames ranging in size from 20 3/4" H x 26 1/2" W to 21 1/2" H x 24 1/2" W. Note: Lou Burk was born in Kentucky in 1845. He grew up on a farm in Illinois and went on to a career painting cattle, horses and other animals for catalog illustrations for livestock farmers and breeders. Late 19th-early 20th century. 5th item: Fred Stone (American, b. 1930) Artist Proof color gravure print titled "'Secretariat' Ron Turcotte Up!" depicting a collage of Ronald Joseph Morel "Ronnie" Turcotte, a Canadian thoroughbred race horse jockey, and Secretariat, winner of the U.S. Triple Crown in 1973. Signed "Fred Stone (copyright)" lower left in the stone, signed "Fred Stone:" in pencil, lower left, titled in pencil lower center, with "AP" in pencil, lower right. Housed and matted with a wooden liner under glass in a wooden frame. Sight - 20 3/4" H x 18 1/4" W. Framed - 34 1/2" H x 32" W. Late 20th century. 6th item: LEGENDS: THE ART OF RICHARD STONE REEVES, as told to Edward L. Bowen, First Edition, published by Oxmoor House, Inc., 1989. Oblong quarto, 143 pages including color illustrations, one quarter brown leather with off white cloth sides, front cover with blindstamp image of a horse and rider gilt lettering to spine, brown end paper with text. Includes original dust jacket and advertisement for Paddock Room Galleries, Ocala, FL. 12 1/4" H x 15 3/4" W x 1" D. 7th item: THE PERCHERON HORSE, illustrated, translated from the original French text by Charles Du Hays, printed by W. T. Walters, Baltimore, 1886. Quarto, 128 pages including 33 photographic reproductions on tissue paper, hardbound off white paper sides with gilt blindstamping and red lettering to front cover. Includes original rag paper dust jacket. 12 3/4" H x 10" W x 1" D. 8th item: Reproduction color gravure print titled "The Winning Post" by W. Summer after a painting by Henry Alken Jr. (English, 1810-1894), originally published by J. McQueen, London, 1871. Depicts a race horse and jockey pulling away from the group before a large stadium full of spectators. Title and publication below image. Housed and double matted under glass in a gilt wood frame. Sight - 18" H x 28 1/2" W. Framed - 26 3/4" H x 36 1/2" W. 20th century. CONDITION: 1st-4th items: Largest lithograph with some toning, one crease and losses to the perimeter. Two with some very light toning. One overall good condition. 5th item: Overall very good condition. Not examined outside of frame. 6th item: Light wear to dust jacket, spine, and corners. Dust jacket has been price clipped, retail sticker to top of front flap. 7th item: Overall good condition with some toning/acid burning. Illustrations appear to be collated. Some pages are uncut. Front end paper possibly cut down. 8th item: Overall very good condition. Not examined outside of frame.
Los 1021
20th century room size wool on cotton Aubusson style needlepoint carpet with central floral cartouche design on an emerald green field with foliate border and corners, woven in colors of green, blue, pink, gold, and cream. 14 ft. x 9 ft. 10". CONDITION: Overall good condition with very light wear, one area of light staining noted.
Los 1024
Two (2) pairs of Chanel Beige and black leather cap toe shoes, including ballet flats and slingback pumps. 1st item: Ballet flats with a slight pointed toe, low block heel, and beige leather lined uppers. Stamped "MADE IN ITALY CHANEL" with double "C" logo to beige leather insole, stamped with double "C" logo "MADE IN ITALY 42" to light brown leather sole. Made in Italy, size 42 (US size 11.5). 2nd item: Slingback pumps with a pointed toe and slight square tip, 3" heel, gold tone hardware, and beige leather lined uppers. Stamped "MADE IN ITALY CHANEL" with double "C" logo to beige leather insole, stamped "CHANEL" to buckles, stamped with double "C" logo "MADE IN ITALY 40 1/2" to light brown leather sole. Made in Italy, size 40.5 (US size 10). Provenance: Private Knoxville, TN collection. CONDITION: Both pairs in used condition with creases to leather, scuffs to heels and soles.
Los 1025
Two (2) Hermes scarves, including Regina and Passementerie, 4 items total. 1st item: "Regina" silk twill scarf, reissue after the original 1972 design by Leila Menchari, inspired by Queen Elizabeth II, depicting a bouquet of flowers surrounded by a gold ribbon border with pink belts and flowers at each corner, all on a red ground, hand rolled hems. Signed "Leila Menchari" lower right, "HERMES - PARIS" top center, "(copyright) HERMES", lower left. Titled lower center. Original care tag with "MADE IN FRANCE" sewn top right reverse. Approximately 35" square. Late 20th/early 21st century. 2nd item: "Passementerie" silk twill scarf, reissue for Neiman Marcus after the original 1960 design by Francoise Heron, depicting an array of tassels in shades of blue, purple, green, black, gold, and white hanging from horizontal bars on a white ground, surrounded by a navy blue border, hand rolled hems. Signed "HERMES-PAIRS (copyright)" lower left. Titled center. Original care tag with "MADE IN FRANCE" sewn top right reverse, "MADE IN FRANCE NEIMAN-MARCUS" sewn top left reverse. Approximately 35" square. Third quarter/late 20th century. 3rd-4th items: One (1) orange Hermes box and one (1) red Hermes box with alphabet animals. Boxes - 9 3/4" square x 1" D. Late 20th/early 21st century. CONDITION: 1st item: Overall very good, gently used condition. 2nd item: Overall good condition with makeup stains to center of white ground. Few loose threads to reverse labels. 3rd-4th items: Light wear to boxes.
Los 1028
Eight (8) Gucci items, including two (2) mens belts, Centennial 1881-1981 promotional keychain. 1st item: Men's black logo canvas and leather belt with gold tone Gucci logo belt buckle. "GUCCI ITALY" stamped to buckle, "MADE IN ITALY BY Gucci" to belt. 37 1/4" L. 2nd item: Men's black leather belt with gold tone Gucci logo belt buckle. "Gucci Italy" stamped to belt buckle. 36 1/2" L. 3rd item: Centennial 1881-1981 gold and silver tone key ring/chain, with Gucci emblem, obverse, "Centennial of the founder Guccio Gucci 1881-1981" reverse. Housed in a fitted red velvet Gucci box. Key ring/chain - 2 5/8" H x 1 5/8" W. Box - 3/4" H x 4 3/4" W x 3 1/4" D. 4th item: Gold digital desk clock, affixed to a silver tone stand. "GUCCI ITALY" stamped to stand. 2" H x 4" W x 1 1/4" D. Note: 3rd-4th items received by the consignor as promotional items from Gucci stores. 5th-6th items: Two (2) women's off white celluloid and gold tone hardware shoe buckles, Gucci logos to center. 5/8" H x 2" W. 7th-8th items: Two (2) Green cotton drawstring dust bags with black lettering reading "(logo) GUCCI". 15 1/4" H x 9 1/4" W. All items Italian, late 20th century. CONDITION: 1st item: Used condition with areas of wear to leather and canvas. Light tarnish to buckle. 2nd item: Stitching to leather has been repaired, marks to leather were removed during repair. Wear to buckle near snaps. 3rd item: Overall good condition with light wear. 4th item: Light surface scratches. Functioning at time of inspection. Panel to reverse of clock face is stuck. 5th-6th items: Used condition with light tarnish to gold tone hardware. 7th-8th items: Overall good condition, wear to lettering.
Los 1030
Balenciaga classic envelope light coral grained calfskin leather crossbody body, including detachable matching leather strap, studs, buckle details, and exterior pocket, silver tone hardware. Fold-over hidden magnetic snap closure opens to a black fabric interior with two compartments, light coral leather label stamped "BALENCIAGA PARIS" above zip pocket, interior and exterior pockets with tassel zipper pulls. Includes mirror in grained calfskin leather case and original dustbag. 7 1/4" H x 12 1/4" W x 1 1/2" D. Early 21st century. Provenance: Private Knoxville, TN collection. CONDITION: Gently used condition with very light surface scratches to exterior. Two loose threads, largest 1/8", one to top of interior compartments and one to bottom left of fold over flap.
Los 105
Hendrick Goltzius (Netherlands, 1558-1617), "The Dragon Devouring the Companions of Cadmus," engraving on laid paper after the painting by Cornelis van Haarlem (Netherlands, 1562-1638). Second state of four, with foolscap watermark. 9 3/4" x 12 1/4", 245 mm x 310 mm. The print is framed under glass with ivory mat in a distressed silver-gilt frame. First half 17th century. Bartsch 262; Hollstein 310. Note: The image refers to the mythical story of Cadmus, the legendary founder of Thebes, and two of his brothers, who set out to find their sister Europa after she kidnapped by Zeus. During their travels, they encountered a dragon which devoured the brothers before being slain by Cadmus. The tale is said to represent youthful aspirations being destroyed by wisdom, but it may also have symbolized the political climate of the period, with the dragon representing Spain. Other examples of this image are in the collections of the National Gallery of Canada and the Metropolitan Museum of Art. Provenance: The Estates of Olen Bryant and late Vanderbilt University art professor Thomas Brumbaugh, Clarksville/Cottontown, Tennessee. CONDITION: Overall good condition with light toning and a couple of small spots of foxing. Trimmed along plate mark, hinge mounted along top edge to paper support backing. Previous owner annotations to paper support backing. Some light thumbprints to mat.
Los 1057
Pair large Neoclassical style 3-light candelabra with reeded arms supporting rectangular, gadroon-edge candle cups and issuing from a central square tapering shaft and rectangular base with curved corners, with gadrooned edges throughout. Shell mark to side of base for Barker Ellis, England. Converts to two single candlesticks. Candelabra: 18 3/4"H x 18 1/2"W x 5"D. As candlesticks: 12 1/4"H x 6"W x 5"D. Early to mid-20th century. Provenance: the estate of Marion H. "Bit" Hutcheson, Happy Valley Farms, Rossville, Georgia. CONDITION: Excellent condition.
Los 108
Pieter Wouverman or Wouwerman (Netherlands, 1623-1682) oil on board landscape hunt scene titled "The Hawkins Party" depicting riders on horseback, one holding a horn with four hunt dogs foreground, castle gate and additional figures and building in the background. Monogram signature "P. W." lower right. Plaque fixed to carved gilt frame reads "The Hawkins Party/ P. Wouverman". Sight - 12" H x 9 3/4" W. Framed - 15 3/4" H x 13 3/4" W. 17th century. CONDITION: Painting in overall good condition, very light craquelure noted to sky, with light grime. Frame has been regilded.
Los 109
Manner of Sir Godfrey Kneller (British, 1646-1723) portrait of a young man dressed in a suit of armor, with white ruffled shirt and long curly auburn hair. Unsigned. Housed in an antique molded giltwood frame. Sight - 30" H x 24 1/2" W. Framed - 26 1/2" H x 31 1/2" W. Late 17th/early 18th century. Provenance: private Chattanooga, TN collection; purchased in the 1960s in the UK by the wife of a former Alabama governor and descended in her family. CONDITION: Relined; considerable staining to back of canvas. Craquelure throughout. UV light reveals area of repair to possible hole or tear lower left corner; 1" line of inpaint at ruffled shirt; possible 1" repaired tear to subject's left breast area; 2" repaired tear to background, upper right quadrant; several small scattered spots of inpainting including a few to forehead/hair area, largest 1/4". Frame has wear and abrasions throughout.
Los 110
Manner of Jean-Marc Nattier (French, 1685-1766), oil on canvas 18th century European portrait of a young lady. Subject is attired in a blue dress and fancy lace bonnet, leaning against a green chair and holding a sprig of roses in her hand. Signed en verso "John M*** ****tier". Old Marshall Field & Co. paper label. Housed in an elaborate rococo style gilt carved frame with shell corners. Sight - 29 3/4" H x 21 1/4" W. Framed - 37 1/4" H x 29" W. Provenance: Living Estate of Frances Fulton, Knoxville, TN. CONDITION: Relined. Frame with some minor losses, primarily to corners. UV light inspection reveals areas of inpainting to left side of face, neck, and scattered areas to dress, largest 6 1/2" x 3 1/2".
Los 112
A pair of two (2) Andrew Melrose (Scottish/American, 1836-1901) oil on board landscape paintings. 1st item: View of Bothwell Castle in Scotland, sitting on a steep bank above the River Clyde. A group of figures with a small sailboat gathers on the opposite bank. Signed lower left "A Melrose". 2nd item: Scene of a bridge over a small body of water, leading to a village on one side with mountains in the background. Signed lower left "A Melrose". Both paintings matted and housed in later giltwood frames with plaques stating artist name and life dates. Both paintings: sight - 9 3/8" H x 13 1/4" W, framed - 14 1/4" H x 18" W. Provenance: the estate of Dr. Howard T. DeHaven, Columbia, TN. CONDITION: Both paintings wax lined. Each with scattered exfoliation. 1st item: Slight craquelure to sky. 2nd item: UV light shows scattered infill painting around rooftops, bridge, and large tree to the left of the bridge. One area (1 1/2" dia.) next to same tree, appears to be a patch repair with overpainting. Slight craquelure to sky and areas of brown paint.
Los 115
Samuel John "Lamorna" Birch (English, 1869-1955) oil on canvas landscape painting depicting a woman in long skirt and hat, following three cows along a path with body of water in the foreground, with the sun setting against a tree-lined horizon in the background. Signed and dated "S J Lamorna Birch 1897" lower right. Several labels en verso including framing label and a conservation label for Laurelwood Gallery, Memphis, TN, along with an early label for Batchelar & Son Ltd Depository, Croydon (a company listed as a "house furnisher' in London directories of the early 1900s). Housed in a molded giltwood frame with ribbon molded rabbet and outer edge. Sight - 23 3/4" H x 34 1/2" W. Framed - 31 3/4" H x 43 1/2" W. Note: This work features similarities to a Birch painting titled "Evensong: The Brook at Halton Green," which was exhibited at The Royal Academy of Arts, London, 1897, now in the collection of the Lancaster Maritime Museum. Biography: Samuel John Birch was a member of the second generation of the Newyln School of artists and was best known for his landscapes in both oil and watercolor. He studied at the Atelier Colarossi in Paris and settled in Lamorna, Cornwall, where he was heavily influenced by the landscape and by Newlyn artist Stanhope Forbes. It was Forbes who reportedly suggested Birch adopt the name of the area as his own, to avoid confusion with another artist named Birch. Lamorna Birch exhibited frequently at the Royal Academy and the Royal Society of Watercolour Artists, and was elected a member of the Royal Academy in 1934. Provenance: private Nashville, TN collection. CONDITION: Canvas relined, slight surface grime. Few areas of inpainting visible under UV light (largest 1 1/4" x 3/4") to limbs and branches in center, next to figure. Craquelure concentrated in sky and water areas, or where paint application is heavy. Two areas of paint abrasion with losses in lower right quadrant, largest (1/2" x 1/4") near figure's feet. Light gray scattered staining to back of canvas. Frame - light surface grime, some wear to gilt (largest loss 2 1/2" x 1/2").
Los 124
William Daniel Penny (United Kingdom, 1834-1924) pair of small oil on board marine paintings depicting English ships off a coastline, with other ships in the background. Both signed lower left W.D. Penny; one dated '88 for 1888. Housed in matching giltwood frames with carved corner ornaments. One painting has a label en verso for Aiken Dott & Son Carvers & Gilders, Edinburgh. Plexiglass covers en verso. Panels - 6 1/4" H x 9 1/2" W. Frames - 8" H x 11" W. CONDITION: Painting dated 88 has a tiny flake in sky area, 1/8", and a couple of small scratches at lower edge. Both paintings have light grime and yellowing to varnish layer. Some light wear and small losses to frames; overall good condition.
Los 125
Charles Gregory (United Kingdom, 1810-1896) important oil on canvas marine painting of the 1870 America's Cup Yacht Race, depicting the Cambria, representing the Royal Thames Yacht Club, racing against one of seventeen American schooners. The ships are in full sail, under a partly cloudy sky, with sailors visible on deck, and smaller vessels - including the Sandy Hook light ship- in the background. Signed "Charles Gregory" lower right. Titled on plaque affixed to front of frame. Label en verso of frame for RJ Stannard Picture Frame Manufacturers, London. Housed in a likely original giltwood frame with acanthus, husk and rope moldings. Sight - 27 1/2" H x 35 1/2" W. Framed - 39" H x 47" W. Note: the 1870 America's Cup was the first to be hosted in the United States, and was declared by the New York Herald that year to be "the most exciting yachting event on record." It was the first challenge to the Cup since 1851, when the yacht America had claimed the "100 Guinea Cup," an annual lap of the Isle of Wight, and brought the trophy to the United States. Nineteen years later, British tycoon James Ashbury and the crew of his yacht, the Cambria, believed she could reclaim the trophy for England. They mounted what was, ultimately, an unsuccessful challenge against seventeen schoolers from New York Yacht Club on August 7, 1870. An estimated 100,000 people watched as Franklin Osgood's Magic, the overall winner, successfully retained the cup, and became the trophy's first defender. The artist, Charles Gregory, was considered the premier yacht portraitist of his day. He was born and painted his entire life on the isle of Wight, known then (as now) as the yachting capital of Great Britain. Provenance: Private Chattanooga area collection. CONDITION: Overall very good condition with yellowing and some grime to varnish layer. Scattered craquelure. Frame: Some wear and regilding to frame; scattered shrinkage and small losses.
Los 128
Thomas Alexander Harrison (American, 1853-1930) oil on board seascape, depicting the light from a moon, partially shrouded by clouds, reflected in calm waters along a shoreline. Signed lower right "A. Harrison". Housed in a gilt carved frame and gilt wood liner with brass placard to lower edge with artist's name. Sight - 12 1/4" H x 15 1/4" W. Framed - 21" H x 24" W. Biography: Thomas Harrison was renowned for his nocturnal maritime paintings, a skill he honed while working for the U.S. Coastal Survey as a topographical draftsman in 1872. He also studied at the Pennsylvania Academy of Fine Arts and at the San Francisco School of Design. By 1879 he had settled in Paris, where he was introduced to plein-air painting and became the acknowledged leader of the artists' colony at Pont Aven, Brittany. The French government made him a Chevalier of Legion of Honor and Officer of Public Instruction. He continued to return to San Francisco, however, to exhibit and take part in activities of the Bohemian Club. He earned numerous awards including gold medals at the PAFA and the Paris Exposition, both in 1889. His work is in several major museums. Sources: John Davis, "Thomas Alexander Harriston," Paintings and Sculpture in the Collection of the National Academy of Design, Volume One, 1826-1925; Edan Hughes, "Artists in California, 1786-1940." Provenance: The estate of Joan Dearden, Johnson City, Tennessee. CONDITION: Rubbing along the lower left margin. A few pinprick losses to surface, mid-right quadrant. Minor abrasions to the frame.
Los 131
George Loftus Noyes (MA/NY, 1864-1954) oil on board impressionist French river scene titled "The Seine near St. Germain." Rendered in broad, impasto strokes, the painting depicts brightly colored fishing boats moored along a tree-lined bank, with a town, including a church with tall spire, and hills in the background. Sun from a partly cloudy sky is reflected in the water below. Signed lower left "G. L. Noyes" and titled in pen en verso. Housed in a gilt and painted wood frame with linen liner. Sight - 13 3/4" H x 15 1/4" W. Framed - 18 1/4" H x 19 3/4" W. Artist's Biography: Noyes was a member of the Boston School of American Impressionism and studied at the Massachusetts Normal School with George Bartlett in the early 1880s and in France at the Academie Colarossi in Paris between 1890-93. He was a highly respected landscape and still life painter in Boston in the early 1900s. Noyes exhibited at the Pennsylvania Academy of Fine Arts, the Art Institute of Chicago and the Corcoran Gallery in Washington, D.C.. He was an early teacher to Newell Convers Wyeth, father of Andrew Wyeth and grandfather to Jamie Wyeth. Provenance: The estate of Joan Dearden, Johnson City, Tennessee. CONDITION: Overall good condition. Light overall grime. UV light reveals added paint strokes to sterns of both boats in harbor.
Los 133
Arthur Spear (Massachusetts/California/District Of Columbia, 1879-1959) oil on canvas portrait painting titled "Ruth" depicting Ruth Norton White, daughter of Edward Little, as a young woman. She is depicted seated in a chair and attired in a white blouse and long floral skirt. Signed lower left "Arthur Spear" and titled en verso. Housed in a gilt and black Spanish style frame. Sight - 31" H 25" W. Framed - 36 3/4" H x 31" W. Circa 1944. Note: This painting was exhibited by The Warren Historical Society, Warren, ME in 1981 and is listed in the exhibit catalog on page 38. CONDITION: Light horizontal abrasion across mid section of painting, otherwise good condition. Scattered light wear to frame.
Los 136
Thomas Alexander Harrison (American, 1853-1930) oil on board impressionist landscape titled "The Lonely Farm". Depicts a farmstead, likely French, set beyond a broad, grassy field with trees and hills in the background, under a hazy sky. Sight: 12 1/2" H x 15 3/8" W. Framed: 19" H x 22" W. Biography: Thomas Harrison was renowned for his nocturnal maritime paintings, a skill he honed while working for the U.S. Coastal Survey as a topographical draftsman in 1872. He also studied at the Pennsylvania Academy of Fine Arts and at the San Francisco School of Design. By 1879 he had settled in Paris, where he was introduced to plein-air painting and became the acknowledged leader of the artists' colony at Pont Aven, Brittany. The French government made him a Chevalier of Legion of Honor and Officer of Public Instruction. He continued to return to San Francisco, however, to exhibit and take part in activities of the Bohemian Club. He earned numerous awards including gold medals at the PAFA and the Paris Exposition, both in 1889. His work is in several major museums. Sources: John Davis, "Thomas Alexander Harriston," Paintings and Sculpture in the Collection of the National Academy of Design, Volume One, 1826-1925; Edan Hughes, "Artists in California, 1786-1940." Provenance: The estate of Joan Dearden, Johnson City, Tennessee. CONDITION: Housed under glass, not examined out of the frame. Overall good condition, light overall grime.
Los 137
Two (2) Hudson Kitchell (American, 1862-1944) oil on canvas landscape paintings. 1st item: Nocturnal landscape depicting the moon shining down on a Native American man in a canoe. Signed and dated "HM Kitchell 1926". Housed in a giltwood frame. Sight - 8 5/8" H x 11 5/8" W. Sight - 15" H x 18" W. 2nd item: Nocturnal landscape depicting a group of Native Americans standing by a teepee with a fire, on a moonlit night by a river. Signed and dated "HM Kitchell 1926" lower right. Leger Galleries label en verso. Housed in a giltwood frame. Sight - 8 1/2" H x 11 1/2" W. Framed - 14 1/8" H x 17 1/8" W. Provenance: private Nashville, TN collection. CONDITION: 1st item: Craquelure throughout. 1 1/2" impact crackle upper right corner. 2nd item: Moderate craquelure throughout. Light surface grime. Scattered small abrasions to frames.
Los 138
Hudson Kitchell (American, 1862-1944) oil on board landscape depicting a small group of Native Americans gathered around their teepees at sunset, in a valley beside a river. Signed and dated "HM Kitchell 1925" lower left. Housed behind glass in a carved giltwood frame. Sight - 6 1/2" H x 8 1/2" W. Framed - 12 1/2" H x 14 1/2" W. Provenance: private Nashville, TN collection. CONDITION: 1/4" loss to paint in lower left corner, a few scattered minute flakes and inclusions. Light craquelure throughout.
Los 140
Childe (Frederick) Hassam (American, 1859-1935) etching titled "Portsmouth Church," with view of a church on a hill surrounded by other town buildings and a body of water in the foreground. Artist's monogram signature in pencil, lower right margin, with "imp" and pencil inscription lower left, "Selected for FJ Dearden by CH 1921". Also signed with monogram and dated "1921" in the plate lower left. Printed on white wove paper taken from a section of the Old Testament visible to one margin. Etching hinge mounted on cardstock, reverse of cardstock with pencil inscription reading "#2 Dearden 1153-A 4503 #2". Housed in a gilt wood frame with placard to lower margin with artist's name and title. Image - 8 3/8" H x 5 7/8" W. Sight - 8 3/4" H x 6 1/4" W. Framed - 20 1/2" H x 15 5/8" W. First quarter 20th century. Provenance: The estate of Joan Dearden, Johnson City, Tennessee. CONDITION: Overall light toning to image, minor waviness noted to paper. Minor scattered abrasions to the frame.
Los 141
Carroll Cloar (Tennessee, 1913-1993) signed lithograph on paper titled "Group of Myselves," depicting a self-portrait of the artist at various stages of life, set against the background of a rural town. Signed in pencil lower right and titled lower left. Housed under glass in an ebonized and molded giltwood frame with black mat. Sight - 16" H x 12" W. Framed - 22" H x 18" W. Circa 1939. Note: This is considered one of Cloar's most important, and scarce, lithographs. One is in the collection of the Philadelphia Museum of Art and another was exhibited in the 2014 exhibit of Cloar Lithographs at the Georgia Museum of Art. It is the first work (and one of the few lithographs) set to poetry in the book "Second Sight: Poems for Paintings by Carroll Cloar" by Dabney Stuart (University Of Missouri Press, 1996, ref. p.3). Biography: Carroll Cloar was known for incorporating nostalgic images from his Southern childhood, often merged with dreamlike motifs, into powerful magic realist scene, and noted that literature, particularly by Southern Gothic writers such as William Faulkner or Eudora Welty, influenced his artistic approach. Cloar graduated from Southwestern College (now Rhodes College) in Memphis, Tennessee, and went on to study at the Memphis Academy of Arts under the artist George Oberteuffer. In 1936, he moved to New York to attend the Art Students League. There, Cloar's achievements earned him a McDowell fellowship which he used to travel across the American Southwest, West Coast and Mexico. Cloar served with the Army Air Corps during World War II and upon his return, he was awarded a Guggenheim traveling scholarship to fund an extended sojourn to Central and South America. Two years later, several of his images were featured in a Life Magazine article titled Backwoods Boyhood, and Cloar's career went on to receive additional national acclaim. By the mid 1950s, Cloar had settled permanently in Memphis, where he produced paintings, often executed in casein tempera and acrylic paints. His works are in the collections of the Hirshhorn Museum and Sculpture Garden, Metropolitan Museum of Art, Museum of Modern Art, Brooks Museum of Art, and Library of Congress. In 1993, Cloar's painting, Faculty and Honor Students, Lewis Schoolhouse, was one of six paintings by American artists selected to commemorate the inauguration of President Clinton. (Source: The Johnson Collection/Memphis Brooks Museum of Art). Provenance: Private West Tennessee Collection. CONDITION: Small line of discoloration lower left margin, very light toning, a few light thumbdings, overall excellent condition. Not examined out of frame.
Los 143
Attributed to Washington Bogart Cooper (Tennessee, 1802-1888), Southern oil on canvas oval portrait of William Robinson Cornelius Jr. (1855-1945) depicted as a child of about 5-10 years old, attired in a black suit and white shirt. Unsigned. Conservation label en verso. Probably original oval rose and scroll molded giltwood frame. Sight - 30" H x 25" W. Framed - 38" H x 33" W. Circa 1860. Note: William Robinson Cornelius, Jr. was born in Nashville to William Robinson Cornelius, Sr., and Martha Dorris Cornelius. His father was an undertaker in Middle Tennessee, whose services were especially in demand during the Civil War. (According to his 1910 obituary, William Cornelius Sr. buried 25,000 citizens and 40,000 soldiers, "more than any man in Tennessee, and probably more than any man who is living today."). William Jr. did not follow his father into the funeral business, but instead became a grain broker. He lived in Nashville and married Lily Allen LeSueur, with whom he had five children. He is buried in Mt. Olivet Cemetery in Nashville. (source: Findagrave.com). Provenance: the estates of Llewellyna and James T. Granbery, Historic Seven Springs Farm, Brentwood, Tennessee. CONDITION: Professionally restored by Cumberland Art Conservation, Nashville, TN. Copy of conservation report available on request. UV light reveals some fluorescence to subject's right forehead area, extending into hairline, and some infill painting of a few scattered miniscule spots across face. There is also some fluorescence to coat area at edges of shoulder, and center chest area. Light craquelure throughout.
Los 144
Attributed to Samuel Shaver (Tennessee, 1816-1878), pair of oval East Tennessee companion paintings depicting a husband and wife. Oil on canvas laid on paperboard. Male subject is seated and wearing a black suit with gold spectacles and a long beard, the female is seated in a red chair wearing a black dress with a lace collar and red floral brooch and upswept hair. Partially legible pencil writing en verso of cardboard of female portrait reads " Ms. Joseph Ward/Word, Gr. Grandmother of Elizabeth ---- Fible?, June ----- -----". Both housed in matching pierced gilt frames. Sight - 23 1/4" H x 19 1/4" W. Framed - 27 1/2" H x 23 3/8" W. Mid-19th century. Provenance: Found in Knoxville, TN estate. Biography (by James C. Kelly, Virginia Historical Society): "Portraitist Samuel M. Shaver was born in Sullivan County, the son of David Shaver and Catherine (Barringer) Shaver. He may have been influenced by William Harrison Scarborough (1812-1871), a native-born Tennessee artist, four years Shaver's senior, who did portraits of Shaver's relatives. Shaver's earliest known painting dates to 1845, but he was probably painting before that time. For the next quarter-century, he was East Tennessee's standard portraitist. In 1851 Shaver was professor of drawing and painting at the Odd Fellows Female Institute in Rogersville. In 1852 he advertised in Greeneville and Knoxville papers; for several years thereafter his whereabouts are unknown. The death of his first wife in January 1856 recalled him to Rogersville, where he remained until the Civil War. At the outset of the war, pro-Confederate Shaver moved to Knoxville, where he became one of the founders of the East Tennessee Art Association. The association commissioned him to do portraits of fifteen Confederate leaders and generals, presumably from photographs. None of the portraits have been located, and perhaps they were never painted. From 1863 to 1868 Shaver lived and worked near Russellville. About 1868 he joined his mother-in-law and family in Jerseyville, Illinois, near St. Louis, where he continued painting. He died June 21, 1878." CONDITION: Canvas adhered to paperboard. Blistering, craquelure and scratching with losses (largest 2 1/4" to female portrait, on face) to both canvases. Male portrait - 6" L horizontal line of cleavage, located 1" from top edge of frame, due to paperboard being in 2 pcs en verso. 2 areas of inpainting visible under UV light; in lower left quadrant, largest 3" x 2/34", with smaller area being possible previous repair. Female portrait - area of inpainting visible under UV light; in lower right along frame edge, 3 x 3 1/2". Housed in newer frames.
Los 145
Two (2) Fernando Golsch (Kentucky/California, 1874-1952) oil on canvas forest landscape paintings, possibly Kentucky scenes. Signed lower left in red paint. Housed in similar but not identical giltwood frames. Sights approximately 16 1/2" H x 10 5/8" W. Frames ranging in size from 21 1/2" H x 15 5/8" W to 22 1/2" H x 16 5/8" W. Biography: Fernando Golsch was born in Newport, Kentucky and also lived for a time in Covington, where he married in 1897, and in Dayton, KY. He worked as an engraver in Cincinnati and for a "training school" in Chicago before moving to California by 1924. He primarily painted landscapes and western scenes. CONDITION: Both paintings - very good condition, no damage. Frames appear original and are in good condition with a few minor abrasions and light wear.
Los 146
Harvey Joiner (Kentucky/Indiana, 1852-1932) oil on canvas (laid on board) landscape painting depicting sunlight breaking through a grove of trees onto a forest path. Signed "Harvey Joiner" lower right. Housed in a gilt and painted wood frame. Sight - 16 1/2" H x 13 1/2" W. Framed - 19 1/2" H x 16 1/2" W. Biography (from the Filson Historical Society): 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. CONDITION: Painting overall good condition. Minor scattered paint losses to frame, wood loss to frame lower rear edge.
Los 147
Harvey Joiner (Kentucky/Indiana, 1852-1932) small panoramic oil on board autumn landscape painting depicting a river surrounded by trees and illuminated by the glow of a setting sun. Signed lower right "Harvey Joiner". Housed in a molded gilt and painted wood frame. Sight - 4 1/4" H x 12 1/8" W. Framed - 7 14" H x 15 1/4" W. Biography (from the Filson Historical Society): 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. CONDITION: Painting overall very good condition. UV light inspection shows some fluorescence to upper and mid sky area. Frame with minor scattered wear, very slight losses to rear edges, upper right front edge.
Los 149
Olen Bryant (Tennessee, 1927-2017) Figured walnut carving titled "Head", mounted on an oak base. Exhibited, Hopkinsville Art Guild's Pennyrile Exhibit (label en verso of base). 13 1/2" H x 7" W x 8" D. Provenance: Estate of Olen Bryant, Cottonwood/Clarksville, TN. A letter of authenticity and provenance from the artist's niece, who served as his studio assistant and personal representative for his estate, will accompany this lot. Biography: Born in Cookeville, TN, Bryant was a 1950 graduate of Murray State University and a 1954 graduate of the Cranbrook Academy of Art in Bloomfield, Michigan with a Master's Degree in Fine Arts. He additionally studied at the Cleveland Institute of Art, the Institute in the Visual Arts in American Culture at the University of Delaware and the Winterthur Museum in 1967. Bryant was a professor at Austin Peay State University from 1964 to 1991. Bryant's artwork is widely collected around the United States and is a part of several museum collections, including the Hunter Museum of American Art in Chattanooga, the Tennessee State Museum of Art and the Cheekwood Museum of Art in Nashville and his works have been displayed at the Tennessee Performing Arts Center and at the Governor's Mansion during the Phil Bredesen administration. He was a founding member of the Nashville Artist Guild and the Tennessee Association of Craft Artists (source: Nashville Fine Arts Magazine & The Leaf Chronicle). CONDITION: Overall very good condition. Minor scratch (1" L) above right eye. Light scuffs to bottom of base.
Los 150
Beauford Delaney (American, 1901-1979), "Composition," watercolor on paper abstract expressionist painting featuring green, red, orange, and yellow brushstrokes. Signed and dated in ink "Beauford Delaney 64" lower right corner. Float mounted onto ivory cardstock and housed in a contemporary silver and gilt frame. Sheet - 14" H x 10 3/4" W. Framed - 22 5/8" H x 18 5/8" W. Third quarter 20th century. Provenance: Private South Carolina collection, originally acquired through Tree Galleries, Chicago. Biography: Beauford Delaney was born in Knoxville, Tennessee. An apprentice to artist Lloyd Branson, Delaney was encouraged by his mentor to study art in Boston. In 1929 he traveled to New York and established himself as a prominent artist of the Harlem Renaissance. There he gained the attention and admiration of well known writers and artists such as James Baldwin, Georgia O'Keeffe, Alfred Stieglitz, and many others. His departure from New York to Paris in 1953, where he would live the rest of his life, also marked his transition from figurative compositions to abstract expressionism, with a focus on color and light. In 1978, the year before he died, the Studio Museum in Harlem initiated its Black Master series with a retrospective of his work. His paintings can be found in the Museum of Modern Art, the Metropolitan Museum of Art, the Art Institute of Chicago; the National Portrait Gallery, the Smithsonian Institution, and numerous other museums. CONDITION: Overall very good condition with some light toning and waviness to paper. Light wear and abrasions to frame, losses to lower right corner.
Los 154
Important African American "TVA" Quilt, designed by Ruth Clement Bond and made by an unknown quilter working in the TVA dam sites at the juncture of Mississippi, Alabama, and Tennessee, circa 1937. The hand-stitched cotton quilt with cotton batting depicts a young black man with government-uniformed white arm on his right shoulder and a fiddle or banjo in his left hand, held by a woman whose face appears in partial profile upper right foreground and whose form is suggested by two partial curves in the foreground, right edge. The man's head is turned toward his right with his knees bent, against a background of sinking sun and light green foliage. Pale brown border with quilted vine and bud stitching and solid light orange backing. Unsigned. 81" H x 62" W. Note: This is one of six known surviving quilts in this pattern, named one of the top 100 quilts of the 20th century by judges elected from the Alliance for American Quilts, the American Quilt Study Group, the International Quilt Association, and the National Quilt Association. This lot includes a 1978 photograph of the quilt taken at "Seay-Me-Home," the vacation home of its then-owner, Maurice Seay, along with a copy of a typewritten document dated 1976 found with the quilt, describing Seay's connection to the quilt. It states this quilt was given as an expression of gratitude by workers at the Pickwick Dam Village to Maurice Seay, director of the educational program at the Tennessee Valley Authority (TVA) dam sites during the Depression era. It was designed by Ruth Clement Bond (1904-2005), an African American educator, civic leader, and designer who "helped transform the American quilt from a utilitarian bedcovering into a work of avant-garde social commentary" (Source: The New York Times obituary of Mrs. Bond, Nov. 13, 2005 - https://www.nytimes.com/2005/11/13/obituaries/ruth-clement-bond-101-quilter-and-civic-leader-is-dead.html ). Bond accompanied her husband, Max, to the TVA dam construction sites where he had been hired in 1934 as a personnel manager to work with the black construction workers. He was, at the time, the company's highest ranking African American official. Mrs. Bond supplied wives of the workers living at the various sites with quilt designs, many rich with symbolism, including this one, which exhibits elements reminiscent of paintings by Harlem Renaissance artist Aaron Douglas (particularly his mural series, "Aspects of Negro Life," 1934). This is one of six quilts in this particular pattern known to exist. One is in the collection of the Museum of Art and Design in New York, a second is in the Michigan State University African American quilt collection, and a third is in the private collection at TVA Headquarters. The whereabouts of the other two, both documented prior to 1990 by author and quilt researcher Merikay Waldvogel, are unknown. A detailed discussion of these so-called "TVA Quilts" can be found in Waldvogel's book, "Soft Covers for Hard Times: Quiltmaking and the Great Depression" (Rutledge Hill Press, 1990). It contains information from interviews with Bond and two of the quilters, Rose Marie Thomas and Grace Tyler. All offered slightly differing titles and meanings for the quilt. Bond herself stated "The man with his banjo is full of frivolity. He is between the hand of the government [TVA] and the hand of a woman. He must choose between the government job and the life he has known...we wanted to show that he chose the TVA job. It has a hopeful message...things were getting better and the black worker had a part in it." (p. 80). Note: The Seay paperwork dated 1976 (which appears to have been compiled for an exhibit at Western Mississippi University the same year) indicates this quilt was made in Northern Mississippi, however, the other surviving quilts all have strong ties to the Wheeler Dam construction site in North Alabama. CONDITION: Central image in very good structural condition with even fading and a 3" area of tiny scattered stains lower left; a couple of tiny areas of separation in stitching at lowermost edge of guitar and on subject's left lower leg at edge. Border with overall fading in addition to discoloration and significant color loss along lower section. Scattered smaller areas of border have barely noticeable discoloration (largest is 1"L, positioned along right edge). Documentation with this lot includes a note from this quilt's original owner, Maurice Seay, dated 1988, stating that the bottom of the quilt "was stained and faded as it hung on the north wall in the cabin."
Los 158
American apothecary or spice chest and North Carolina Federal one-drawer stand, 2 items total. 1st item: American cherry 15 drawer apothecary or spice cabinet, poplar secondary. Dovetailed and pegged construction, drawers with inner dividers and brass pulls, lower drawer with inlaid diamond. 16" H x 19" W x 14" D. Circa 1820. 2nd item: North Carolina diminutive Hepplewhite walnut one-drawer stand, yellow pine secondary. Broad, overhanging top, dovetailed drawer with inlaid edge, original brass pull, over an apron with molded edge, all on square tapered legs. 23 7/8" H x 23" W x 16" D. Circa 1820. Provenance: The estate of James (Jimmy) Neely, Smyrna, TN. CONDITION: 1st item: Overall general wear, some light scratching and losses to top. Brass pulls are old replacements. 2nd item: Older refinished surface, some stains and light wear to top.
Los 162
Southern vernacular sugar chest in the form of a desk, likely Kentucky or Tennessee, cherry primary with red wash, poplar secondary wood. Backsplash with curved edges over a hinged fall front, opening to a divided interior with lock. Base with one full length dovetailed drawer over straight skirt and bracket feet. Plain sides. Case nailed construction. 32 1/2" H x 30 1/2" W x 19 1/4" D. Circa 1850. CONDITION: Streaks of white discoloration across surface of front and base. Interior shelf supports indicate a previous shelf or compartments. Overall light general wear. Key not present.
Los 164
Two (2) Southern Sheraton stands, including Middle Tennessee. 1st item: Middle Tennessee Sheraton two-drawer stand, cherry primary, poplar secondary. Comprised of a plain top above two dovetailed drawers having wood pulls and turned Sheraton legs. 28" H x 23 1/2" W x 18 1/4" D. Found in Fayetteville, TN. 2nd item: Sheraton, two-drawer stand, possibly Kentucky, walnut primary with poplar and American pine secondary. Comprised of a plain overhanging top above two dovetailed drawers with wood pulls, paneled sides and turned turnip shaped legs. 29" H x 28 1/4" W x 20 3/4" D. Both circa 1830. Provenance: The estate of James (Jimmy) Neely, Smyrna, TN. CONDITION: Both stands refinished. 1st stand with some fading and light staining to top. 2nd stand with some light scratching and staining to top.
Los 166
Middle Tennessee cherry and mahogany veneered and inlaid corner cupboard, poplar secondary, single-piece construction, attributed to Dekalb County. Top comprised of an ogee molded cornice above a figured mahogany veneered frieze, two glazed doors with twelve panes opening to reveal three interior shelves. Mid-section with three flame mahogany veneered and dovetailed drawers flanked by inlaid figured mahogany rectangles with curved corners at top of stiles. Lower section having two paneled doors flanked by ring and ball half-turned pilasters above a shaped skirt with central cut-out and small spur returns, resting on ball and ring turned feet. Underside of central drawer illegibly signed. 85 3/4" H x 46" W (at cornice) x 40 3/4" W (at case) x approx. 23" D. Circa 1830. Provenance: the estate of Kent Cathcart, Nashville, Tennessee, by descent in his family, the Stark/Cathcart family of Alexandria, Tennessee. CONDITION: Overall very good condition. Light wood shrinkage noted to frieze. Some losses to veneer on lower drawer edges. One area of minor losses to backboard on upper left side. Losses to tip of one foot.
Los 17
Japanese bronze Ikebana or flower frog centerpiece, constructed in three parts; the naturalistic center arm fits into a base modeled as a lily pad with figural frog, and supports a lily with removable flower frog holder. The underside of the base is extensively signed in Japanese script. 11 1/2" H x 12" dia. Possibly Meiji period, late 19th to early 20th century. Provenance: Private Nashville, TN collection. CONDITION: Edges of base (lily pad) are thin and have some small holes, possibly as made. Some wear and light oxidation to upper two pieces at center of lily.
Los 173
Middle Tennessee Sheraton walnut chest of drawers, Rutherford County, poplar secondary. Comprised of an overhanging top above four scratch beaded and dovetailed graduated drawers with kite shaped inlaid escutcheons and oval brasses, paneled sides, and turned feet. 42 3/4" H x 42" W x 20" D. Circa 1825. Provenance: The estate of James (Jimmy) Neely, Smyrna, TN. CONDITION: Older refinish, with light staining to the top and general wear. Brasses are replacements. Drawer sides have been built up. Losses to one backboard.
Los 179
Grouping of four (4) regional East TN split oak baskets including three (3) buttocks baskets and one (1) small rectangular form basket. All have fixed handles secured at rims with nails, with the exception of the medium sized buttocks basket. All range in size from 10 1/4" H x 11" W x 11" L to 7 1/4" H x 8 1/4" W x 6 1/2" L. Largest and smallest buttocks baskets are likely late 19th century, and the other two are likely early 20th century. Provenance: Private Knoxville, TN collection. CONDITION: All with general use wear, slight losses and light grime. Scattered green paint drips to rectangular form basket, largest 1/2" L, as well as potential mold residue to weavers on base. Dark stains to largest basket: one on interior, 1" dia, and another near handle terminus which is visible from interior and exterior (2" L x 2" W.) Dark blue stain on smallest buttocks basket, 1 1/4" L, visible from interior and exterior.
Los 184
Group of three (3) 19th century American tiger maple kitchen items including a table top coffee grinder with dovetailed case and one dovetailed storage drawer (10" H x 9" W w/ handle), a rolling pin with hanger inset to one end (18" L) and one potato masher (11 5/8" L). Provenance: The estate of James (Jimmy) Neely, Smyrna, TN. CONDITION: All items in overall good condition with light general wear. Potato masher with wood shrinkage to one end, coffee grinder with wood shrinkage crack to top.
Los 188
American miniature chest of drawers, mahogany primary, pine secondary. Rectangular top with central shell and string inlay over four (4) graduated dovetailed drawers with satinwood banding and line inlay with brass pulls. Ogee base molding with case supported by ogee bracket feet. 13 1/2" H x 12 3/4" W x 8 7/8" D. Possibly Mid-Atlantic, Circa 1820. Provenance: The estate of James (Jimmy) Neely, Smyrna, TN. CONDITION: Some fading and light scratching to top. Wood shrinkage noted to a couple of drawer bottoms.
Los 194
American Federal Cumberland Action Dining Table, attributed to Thomas Constantine & Company, New York, or Thomas Seymour, Boston. Mahogany with white pine and poplar secondary; narrow top with broad hinged leaves having curved corners and comprised of a single board (24 3/4" W), over a straight molded frieze; four tapering, banded columnar supports are joined by a box stretcher and swing diagonally to support the extended leaves; sabre legs ending in brass hairy paw caps and casters. 28 3/4" H x 18 1/2" W (w/out leaves) or 68" W (w/ leaves) x 53" D. Circa 1815-1820. Note: English Cabinetmaker John Linnell is generally credited with devising the Cumberland Action table for the Duke of Cumberland in the late 1700s, although the feature was subsequently used in some American tables as well. The double gate leg feature allows diners to sit around the table without having a support leg in the way, while yet evenly supporting each leaf, and enables the table to be stored compactly when not in use. The banded supports on this table are very similar to those on a Cumberland action table bearing a label for Thomas Constantine & Co. of New York (ref. Matthew A. Thurlow: Aesthetics, Politics, and Power in Early-Nineteenth-Century Washington: Thomas Constantine & Co.'s Furniture for the United States Capitol, 1818-1819, published American Furniture, 2006, the Chipstone Foundation, figure 7). However, furniture historian Robert D. Mussey Jr. argues that the "Cumberland Action" table is exclusively a Boston form and that all examples can be attributed to Thomas Seymour (Robert Mussey Jr., The Furniture Masterworks of John and Thomas Seymour [Salem, Mass.: Peabody-Essex Museum, 2003], p. 327). Provenance: Deaccessioned from the Memphis Brooks Museum of Art. CONDITION: Refinished. Old repair to upper part of one leg. Patch repair noted to the center of one inner leaf edge where folds to meet top. Overall general use wear with some light fading.
Los 198
Two (2) Mid-Atlantic Sheraton tables, including tiger maple and walnut. 1st item: Tiger maple one-drawer stand in the original dark surface, poplar secondary. Comprised of a plain square top above one dovetailed drawer and ring turned Sheraton legs. 28" H x 17 3/4" W x 17 3/4" D. Circa 1830. 2nd item: Walnut one-drawer stand or table, white pine secondary. Comprised of a square top with line inlay above a dovetailed scratch beaded drawer with cut corner inlay and brass pull. Line inlaid stiles transition to turned Sheraton turned legs. 27 1/4" H x 20" W x 19" D. Circa 1825. Provenance: The estate of James (Jimmy) Neely, Smyrna, TN. CONDITION: 1st item: Overall general wear. Wood shrinkage and some staining to top. 2nd item: Older refinish, light staining to top, losses to line inlay on top edges.
Los 2
Japanese or Chinese inlaid bronze vase, baluster form with figural elephant head mask handles. Silver line inlay to neck and base and incised bird designs including a hawk and rooster, floral decoration to the body with gilt highlights. 13" H x 7 3/4" dia. Late 19th/early 20th century. CONDITION: Overall good condition with very light wear. Retains the original patina. One area of uneven wear to patina noted to back area of rooster.
Los 20
Three (3) Chinese Blue and White Porcelain Vases and Plate with Warrior decoration, 4 items total. 1st item: Vase with pierced floral handles and underglaze decoration of birds and flowers in a landscape setting and bamboo decoration at rim. 16 1/2" H x 8" dia. Accompanied by a 1997 Certificate of Authenticity from L & E Co., Hong Kong, stating it is a Porcelain Temple Vase dating from the Qing Dynasty, 1821-1871. 2nd and 3rd items: Two (2) vases with underglaze enamel decoration depicting scholars. Each with pierced stylized foo dog side handles. Wax seal remnants to undersides. 16 1/2" H and 16 3/4" H; both approximately 8" dia. 4th item: Porcelain dish, circular, the front with enameled decoration of warrior figures and tablets with extensive calligraphy; iron red bats to reverse. Daoguang seal mark to reverse. 8 3/4" dia. Provenance: Private Williamson County, TN collection. CONDITION: 1st item: Hairlines to base and a few firing flaws. 2nd and 3rd items: Both in overall very good condition with some scattered firing flaws; no damage; one has stubborn sales sticker residue. 4th item: Some very light minor wear to decoration, overall very good condition.
Los 202
French Louis XVI Style Gilt Carved Settee & 2 Arm Chairs. Settee with giltwood frame having oval ribbon carved back, shaped padded armrests terminating in acanthus carved handrests; shaped seat and fluted tapered legs. Back and seat with needlepoint upholstery in a basket and flowers motif. Together with two matching armchairs having oval backs and shaped seats, covered in matching upholstery. Settee - 39 1/4" H x 45 1/2" W x 23 1/2" D. Chairs - 35 3/4" H x 23 5/8" W x 19 1/2" D. French, late 19th century. CONDITION: All pieces overall good condition with light general wear. Scattered wear/losses to the gilt. Overall fading, wear and some stains to the upholstery.
Los 205
Pair of Italian Florentine style gilt carved candle sconces, comprised of shell and pierced crests above a central shaped mirror and lower central arm with candle prick. 36" H x 22 3/4" W. Early 20th century. CONDITION: Overall very good condition with light scattered wear. One with old break lower right side.
Los 210
After Eutrope Bouret (French, 1833-1906), two bronze Near East female figurines, Cleopatra and Semiramis, each depicted seated atop a plinth and holding a staff or scepter, with their names inscribed on ebonized bowfront bases. The flat backs allow for use as bookends. Each signed "Bouret" on side of base and dated "1874". 14 1/2" H x 8" W x 6" D. French, early 20th century. Provenance: the estate of Dr. Howard T. DeHaven, Columbia, TN. CONDITION: Overall excellent condition with a few scattered spots of oxidation and light wear. Cleopatra figure has old sales sticker adhesive residue to side of plinth with discoloration underneath.
Los 23
Four (4) Chinese Embroideries, including two (2) with flowers, vases and precious objects, float mounted on gilt mats, each approximately 16" H x 14" W sight, 21" H x 18" W framed; and two (2) with deer and birds of paradise in landscapes, 17" H x 8 1/2" W sight, 24" H x 14" W framed. Chinese, late 19th to early 20th century. CONDITION: Flower/vase embroideries in very good condition with a couple of scattered tiny light stains and loose threads. Embroideries with deer have some background fraying and losses to silk backgrounds and a few small light stains.
Los 235
Twelve (12) Wallace Sterling Silver Goblets, each with flared rim, tapering round stem and round foot, the bowls with gilt wash to interior and engraved monograms LRG to exterior. Some goblets with golf trophy inscriptions to undersides. Each - 6 1/2" H. Combined weight 60.46 oz troy. American, early/mid 20th century. Provenance: the estates of Llewellyna and James T. Granbery, Historic Seven Springs Farm, Brentwood, Tennessee. CONDITION: Overall very good condition with some light wear to interior gilt wash.
Los 238
Set of twelve sterling silver mint julep cups, all marked Alvin Sterling S251 on base and monogrammed AGS or AGF on front. Housed in a fitted wooden box. 3 5/8" H, combined weight 46.29 oz troy (excluding box). CONDITION: Overall excellent condition with a few scattered tiny dings and light scratches.
Los 24
3 Ladies Sterling Jewelry Items and 1 Thai Silver Box, 4 total items. 1st item: Ladies sterling silver necklace featuring 20 emerald cut amethysts accented by 78 cabochon synthetic turquoise stones. The necklace is marked "925" and "Mexico". 20" L and gross weight of 172.7 grams. 2nd item: Ladies sterling silver earrings, matching the necklace and featuring 2 emerald cut amethysts accented by 8 cabochon synthetic turquoise stones. The earrings are marked "925" and "Mexico." 1" H and gross weight of 18.0 grams. 3rd item: Ladies Filigree sterling silver beaded necklace and pendant featuring a carved stone scarab with hieroglyphics en verso. The item is marked with a crown hallmark for sterling silver. 30" L and gross weight of 52.7 grams. The gross weight of jewelry is 243.4 grams. 4th item: Thai sterling silver box having scrolling foliate and deity repousse decoration to the exterior and a fitted wood interior. Underside marked "Made in Siam Sterling". 4" H x 10 1/2" W x 7 1/4" D. CONDITION: All pieces overall good condition with light general wear.
Los 240
52 pieces Reed and Barton Burgundy pattern sterling silver flatware, including 8 hollow handle dinner knives (9 5/8" L), 8 dinner forks (7 7/8" L), 8 salad forks (6 1/2" L), 12 teaspoons (6" L), 8 iced tea spoons, 1 sugar shell, and 7 hollow handle butter knives. Monogrammed "D". 55.80 total weighable troy ounces. CONDITION: Overall good condition with light surface scratches.
Los 244
Set of three (3) English sterling silver tazzas or compotes, each of Neoclassical form with molded rim and two side handles, raised on a round, molded foot. Large tazza is 5 1/2" H x 8" diameter (excluding handles), smaller ones 4" H x 5" diameter (excluding handles). Marks for Goldsmiths and Silversmiths Co., London, 1916-1917. Combined weight 29.36 oz troy. Provenance: private Nashville, TN collection. CONDITION: Overall very good condition; a few light scratches and one small spot of persistent tarnish or pitting to large tazza.
Los 247
11 pieces American coin silver, mid 19th century. Includes: 1 coin silver card case with hinged top, shaped sides and engraved Greek Key, floral and leaf designs, center cartouche monogrammed "Berta", mark for Albert Coles (working New York, 1835-1875); 1 coin silver pie server with Rococo style engraved decoration to blade and olive pattern to handle, mark for Farrington and Hunnewell (working Boston, 1840s-1870s); 1 butter knife with engraved blade, marked Pat 1855 Coin; 1 pair sugar tongs with shell grips marked SCOVIL, WILLEY & CO in rectangle (working Cincinnati, 1836-1837); 3 coin silver tablespoons, fiddle pattern handles marked WHARTENBY in rectangle (working Philadelphia, 1811-1852); 1 tablespoon with oval fiddle handle marked P. SCOVIL in rectangle (working Cincinnati, c. 1816-1837); 1 tablespoon and 2 teaspoons marked E & D KINSEY in rectangle (Edward & David Kinsey, working ca.1836-1850, Newport, Kentucky, and Cincinnati, Ohio). Card case - 3" H x 2 1/2"W x 3/4" D. Other pieces ranging in size from 5 3/4" to 9" L. Total combined weight: 16.26 oz troy. CONDITION: A few light dents to card case and sugar tongs. Scovil tablespoon has overall wear and the tip is bent/worn. Otherwise all items very good condition.
Los 251
An assortment of twelve (12) silverplated napkin rings with figural animals including eagles, dog, butterfly, frog, owl, squirrel, bunny rabbit, and assorted birds. Maker's marks include Rogers (Squirrel), Meriden (large eagle), Van Berg (owl), Wilcox (dog), Simpson Hall & Miller (butterfly), and Chas. W. Hamill (large bird). Other birds, frog and rabbit rings are unmarked. Sizes range from 1 3/4" to 4" H. All American, 20th century. CONDITION: Light scattered wear and a few small dents, overall very good condition. Some rings monogrammed.
Los 253
European tantalus or portable liqueur cabinet, mixed woods marquetry case with engraved brass trim and brass feet. Shaped, hinged front cover opens to reveal a tiered gilt metal removable rack holding four etched and cut glass decanters and three matching cordials. Decanters - 9" H. Cordials - 3 3/8" H. Case - 10 3/4" H x 13 3/8" W x 10 1/4" D. Late 19th century. Provenance: the estate of Dr. Howard T. DeHaven, Columbia, TN. CONDITION: Light wear and some minor shrinkage to wood on case. Some cordials missing. Decanter stoppers are likely replacements; case only closes when decanter stoppers are removed. (Decanters and cordials have age, but may also be replacements).
Los 261
Four (4) European porcelain items, Royal Vienna and Dresden. 1st item: Royal Vienna porcelain cabinet plate, the center depicting the biblical character Judith with her sword, having a shaped gilt and enameled border with vignette decoration. Royal Vienna "Beehive" mark, title and impressed "2" en verso. 11 1/2" dia. 2nd item: Royal Vienna lidded porcelain urn, having a figural landscape decorated vignette to one side signed "Riemer" and a figural female with hourglass decorated vignette to the other, terminating into a squared base; all on a burgundy and ground with gilt and enameled decoration including figural gilt swan handles. Royal Vienna "beehive" mark and signature "Sapho" to the underside. 10" H. 3rd item: Royal Vienna porcelain ewer, having a figural landscape decorated vignette and scrolled gilt handle with gilt and enameled decoration throughout; all on a teal green ground and squared pedestal base. Royal Vienna "Beehive" mark to the underside. 10" H. 4th item: Dresden porcelain demitasse cup with figural landscape decoration on a cobalt ground with a shaped gilt handle and highlights. 2 1/2" H. All items Early 20th century. Provenance: Living Estate of Frances Fulton, Knoxville, TN. CONDITION: All items very good condition. 3rd item: Light surface grime.
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534297 Los(e)/Seite