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Wilkinson Sword 50 year commemorative dagger, the blade etched 'To celebrate fifty years of peace and reconciliation since the year 1945, when hostilities between nations finally halted with the ending of World War II, the reverse etched 'Peace commands a high price - freedom has never been free. To all those who fought worked and suffered, paid with their lives to bring peace to the world 50 years ago and to all those that defend our peace today, this blade is gratefully dedicated. 

1965 Vintage Rolex GMT-MASTER Superlative Chronometer Wristwatch with Pepsi bezel on oyster bracelet. Rolex model 1675 serial no. 1290259. The watch in our opinion is in very good condition for the year. The watch is moving forward at time of describing and engraved  W. B .WENTZ to the case. The case shows minor wear with some light scratches to the glass, face in very good condition with bright bezel (bezel possibly later than the watch). The bracelet numbered 7836/20 is in good overall condition with light scratches and will fit a wrist of 19cms. This lot includes two Rolex boxes and two Rolex desk pads, and Identity cards of W.B.Wentz as well as comprehensive paperwork relating to the servicing of the watch in Geneva - Dr Wentz was on the Rolex 'white list' and thus the watch was subject to service and repair at the factory in Geneva with no additional charges. Provenance  The Rolex GMT-Master wristwatch was originally designed in collaboration with Pan American Airways and issued by the airline to their crews on long-haul flights. To include a full file of correspondence with Rolex Geneva including service receipts and letters. Extracts include;  'we have been wondering whether you are still working in your interesting profession involving, we believe we recall, the time of missiles' and a letter to the director of Rolex: Dear Mr. Jeanneret: 2nd April 1974. Your letter of 3 October 1972 asked me to test the new non-expanding bracelet you installed on my GMT Master watch. I have. It's been used continually. Bracelet and watch have been diving in the Caribbean and Pacific, crashed several times in motorcycle spills in the California desert, and just generally given a bad time. Both worked perfectly. But what else do you expect, they are Rolex products? I recently spent 10 days lecturing at the U.S. Submarine Base at Pearl Harbor, Hawaii. My students were an interesting mix of officers--submariners, fighter pilots, and a couple of Marines. Many wore Rolex watches. Those who did were all unofficial salesmen. (The military, of course, is not gentle with the use of your products.) They truly liked their Rolex'. Thanks for the fine bracelet. Sincerely,  WBW:mg This lot also comprises miscellaneous identity cards including U.S Department of Commerce Airman Identification Card from 1929,  U.S.A Civil Aeronautics Administration Certificate 1954, U.S.A Federal Communications Commission Radiotelephone Operator Permit 1956, U.S.A Federal Aviation Agency Certificate 1963, Timers Aero-club membership 1963, U.S.A. National Aeronautic Association membership 1965, U.S. Marine Corps Air Station El Toro (Santa Ana) California, U.S.A Accident Prevention Counselor 1991, U.S.A Federal Aviation Administration Flight Instructor Licence 2007, Blimp pilot licence and Bidford gliding centre membership.

RAF collection 3 postal covers signed by 10 officers who have commanded the Royal Air Force Battle of Britain Memorial Flight since 1981, Limited edition no 8, 60. Good Condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.

Beswick Beatrix Potter Figurines 'The old woman who lived in a shoe knitting' (BP3c), 'Little Pig Robinson Spying' (BP3c), 'Tom Thumb' (BP3c) and 'Tom Kitten and Butterfly' (BP3c), unboxed (4)

Beswick Beatrix Potter Figurines ' Mr Jackson' (BP3a), 'The Old Woman who lived in a shoe' (BP3b), 'Mr Alderman Ptolemy' (BP3a) and 'Tom Kitten' (PB3b), unboxed (4)

WW1 World War 1 Bassingthwaighte Brothers Story. 3 Brothers served in the war , Arthur ( standing in photo ) served in the Middlesex Regiment , George William served in the Bedfordshire Regiment ( sitting in the photo ) got discharged due to injuries the discharge certificate is in this lot and Bert Cecil who served in the Norfolk Regiment was killed in action and his death plaque is in this lot.

A set of twelve early 20thC German while metal table forks, each with a tapering handle and engraved initial B. Stamped 800, makers marks for Mansfelder Silber, Dusseldorf, and a set of twelve table knives, each engraved with the initial B, handles with 800 standard mark and stainless steel blades marked for J.A Henckels of Solingen etc. weighable silver 25 3/4oz. Provenance; Brought back by the vendor's father who was in the Royal Army Service Corp, attached to the Royal Army Medical Corp as an ambulance driver. He landed in France in the aftermath of D Day, September 1944. The cutlery were believed to be previously in a chateau that had been recently vacated by German forces.

Isaac Duhamel: a mid 18th Century bracket clock, the brass dial with silvered roman chapter ring, date aperture to centre, seconds dial to arch engraved with makers name, strike/ silent lever below, fitted striking twin fusee movement now converted to an anchor escapement, engraved backplate, the ebonised case with fretwork panels, brass carrying handle on dome top, 26 x 17 x 44cms high. Notes: Isaac Duhamel was listed amongst those Protestant exiles who moved to Britain during the reign of Louis XIV. The style shows more of an English influence to his later work from his earlier French designs.

A platinum Santos wristwatch by Cartier, the square signed white dial with baton numerals, with the National emblem of Oman at 12, sword hands, sweep seconds hand, automatic movement, with faceted synthetic ruby winder, case 24mm, case back signed Cartier and numbered 090103695, on a brushed platinum strap with screw decoration, signed Cartier, with maker's mark and with deployant clasp Provenance: given as a gift by the current owner's brother, who worked for the Prime Minister of the Royal Court of the Sultan of Oman in the 1980s.

A mid 19th century cornelian intaglio-mounted early 20th century gold Neoclassical pendant by Andre Bucher The unsigned intaglio probably by Luigi Pichler (1773-1854), c1805, depicting a standing and youthful Cupid [Eros], with a quiver of arrows by his feet, drinking wine from a bowl held by a reclining Bacchus [Dionysus] who lies on an animal skin-draped couch, holding an amphora and thyrsus, 3.5cm wide The gold Empire-style pendant with oval laurel frame, supported by two stylised ancient Babylonian griffins, their outstretched wings joined, with pierced foliate lower section over a rectangular laurel-chased base, laurel swags hanging from three grotesque masks with three citrine pendants, signed with maker's lozenge to reverse, a fleur-de-lys between initials AB, 7.4cm wide, later fitted case The subject of the intaglio is an allegory of the effect of wine on love. It is a faithful copy of one of four marble reliefs, with subjects taken from Greek mythology by the celebrated Danish sculptor Bertel Thorvaldsen (1770 - 1844). One marble of this subject is in the Thorvaldsen Museum, Copenhagen. A similar marble is also believed to have been in the collection of Lord Norton at Hams Hall, Warwickshire. It is described in the 1909 biography of Lord Norton as one of four commissioned works by Thorvaldsen, all of which have been lost to history. Luigi Pichler (1773-1854), was a descendent of the celebrated family of German-Italian gem engravers and studied under his elder half brother, the esteemed Giovanni Pichler (1734 - 1791). In the latter part of the 18th century Luigi travelled to Austria where he attracted wide foreign patronage and was presented to Emperor Francis I in Vienna in 1808. In 1818 he was appointed Professor of Gem Engraving at Akademie der Bildenden Künste in Vienna, a post he held until 1850 before retiring to Rome. He also copied various other subjects from the work of Bertel Thorvaldsen, of which plaster casts can be seen in the Harvard Art Museum collection. See object numbers 1910.12.1.27, 1910.12.1.71 and 1910.12.1.100. A plaster cast of a similar gem was taken by the Italian painter and engraver Pietro Paoletti. See 'Catalogo di num. 120 Impronte instucco... etc', ref no. 117 'amore disetato da Bacco' (Love quenched by Bacchus). Relevant information and images are available in The Beazley Archive database, The Ashmolean, Oxford.

An early 19th century diamond monogram brooch, the diamond-set 'A' beneath a coronet on blue enamel ground, set within two surrounds of smaller and larger graduated old cushion-shaped diamonds suspended from a diamond scroll, in open and closed-back silver and gold mount, 5.7cm high, case Provenance: Family tradition holds that the brooch was given as a gift by Maria Feodorovna, Duchess Sophie Dorothea of Wьrttemberg; Empress consort of Russia (1758-1828), second wife of Tsar Paul I to John Delaware Lewis (1774-1841). Delaware Lewis was an American merchant who operated in St. Petersburg for approximately thirty years. His son John Delaware Lewis (1828 - 1884) was a member of Parliament from 1868-1874. Thence by descent to its current owner. The 'A' monogram probably refers to Alexander I, Tsar of Russia (1801 - 1825). Reference: For a similar example, see exhibit no. ?-294 at the Hermitage Museum, St Petersburg. The ring was acquired from the collection of Grand Duke Alexei Alexandrovich (1850-1908).

An impressive spinel bead pendant, the spinel weighs approximately 108cts, measuring 31.28 x 20.80 x 16.75mm, suspended from a gold-coloured fabric necklace Accompanied by report number GRS2020-027183 dated 13 February 2020 from GRS, Switzerland stating that the polished and drilled spinel is a natural pink spinel with no indications of heat treatment. Origin: Tajikistan Provenance: Family tradition holds that the spinel originated from the Indian Nawab family, who claim to have acquired this Mughal stone when the Poet King Wajid Ali Shah (the last king of Awadh) was exiled by the British to Garden Reach, Matiabruz in 1856. The spinel is possibly from the Badakhshan mine, in the 'Pamir' region on the frontier between Afgahnistan and Tajikistan.

DUGUAY-TROUIN, René (1673-1736). Memoires de M. du Gue-Trouin, chef d' Escadre des Armées de S. M. T. C. & Grand-Croix de l' Ordre Militaire de Saint Louise. Amsterdam: chez Pierre Mortier, 1732. 12mo (145 x 85mm). Title printed in red and black with woodcut device, headpieces and initials (small hole in blank margin of I9, some light spotting and staining). Contemporary speckled armorial calf gilt, spine gilt in compartments (rebacked, top fore-corner of upper cover eroded, spine heavily rubbed). Provenance: De Bariville (old signature on front free endpaper and coat-of-arms stamped on covers); "Ex Libris Laurentii Currie" (armorial bookplate). [?]Second 'pirated' edition, the last text page (verso) numbered 290 followed by 2 blank leaves. cf. Barbier III, 209 (erroneously calling for 2 vols.); Berger pp.150-1; Borba de Moraes I, 270-272; Brunet II, 476 (under 'Guay-Trouin', citing the Paris 1740 ed. only); Cohen-de Ricci I, 334; Polak 2855; Sabin 29098 (citing the Paris 1740 ed. only). The author was a celebrated seaman or 'corsair' - some might say a 'pirate' - who famously captured and ransacked Rio de Janeiro in 1711. The first 'authorised' edition of his memoirs, which (at the insistence of Cardinal Fleury) suppressed much of the more colourful contents of the present edition, was published in 1740.

MITFORD, Nancy (1904-73).  A two-page autograph letter on paper headed '7 Rue Monsieur VII, Suffren 7665', dated 6 April '54, stating, "Dear Mr Zerbe, I am so pleased you like [her book] Pompadour - of course it isn't really meant for somebody who knows the whole story already, as you do, but for the (surprising) number of people who are totally ignorant of it. My agent gave it to the Atlantic Monthly - she really might have let you know. I am pleased in one way, because I've already done things for them & Mrs Weeks is very nice to me. When you come I hope you'll help me in my campaign against that wicked Gerald [Van der Kampe, restorer of Versailles], who has filled the park at Versailles with reflectors & is busy turning the chateau into a huge juke box. Well, he knows what I think! Do ring me up. Yours sincerely, Nancy Rodd [i.e. Mitford]", with the original envelope addressed in Nancy Mitford's hand. Also included in the lot is a copy of Nancy Mitford's book Madame de Pompadour (New York, 1968, cloth, dust-jacket) referred to in the letter. The recipient of this letter is Jerome Zerbe (1904-88), renowned American society photographer.

PRAYERS AND RECITATIONS AT THE MUHARRAM FESTIVAL, CIRCLE OF SEWAK RAM, PATNA, INDIA, CIRCA 1820-30 watercolour on thick paper, black borders, framed 41.5 x 58cm (image) Provenance: Private Collection, London, acquired Christie~s, London, 11 October 1979, lot 6 Sewak Ram was the best known of a number of artists from Murshidabad who moved to Patna in the late 18th century to take advantage of the growing wealth of the city as a trading and manufacturing hub. He produced sets of paintings of Indian life, including trades and occupations as well as festivals, as here, the best known of which were produced for Lord Minto and Lord Amherst. Examples of these groups can be seen in the Victoria and Albert Museum and British Library, London. The latter are particularly notable for their large format and crowds of figures each given individualistic treatment. For an example from the Minto Collection, see Mildred Archer, ~Company Paintings: Indian Paintings of the British Period~, London and Ahmedabad 1992, no.49. Muharram is a Shi~a festival commemorating the death of Imam Hussein at Karbala (A.D. 680) which became a popular subject in Company School paintings of the region. ++Edges trimmed, otherwise mostly good

A PAIR OF CHARGERS, GARDNER FACTORY, MOSCOW, FOR THE CENTRAL ASIAN MARKET, SECOND HALF 19TH CENTURY each with scalloped rims and blue ground, the central floral medallion surrounded by a gilt and sgraffito leafy border, the underside with royal crest and factory mark with St. George and the Dragon motif reading FABRIK GARDNER MOSKVI in Cyrillic, an Islamic inscription below, wire hangers attached 4.5cm high; 38cm diameter Provenance: Private Collection, London The Gardner factory was established in the 18th century by Francis Gardner, a British banker, who helped bring the secret of porcelain production to Russia. During the from the mid-19th century, the output of this famous firm was popular in Central Asia, and this is one of the designs which was especially in demand. See Johannes Kalter, The Arts and Crafts of Turkestan, Thames and Hudson, London 1984, pl.41, p.60. ++Decoration slightly worn and scratched, one foot with old chips caused by drilling for hanging

A RUBY FIGURE OF AN OWL, LUIS ALBERTO QUISPE APARICIO, LIMA, PERU, CIRCA 2000 realistically carved as a Great Horned Owl, the ruby-in-zoisite bird with head turned to the side, applied with gold beak, gold bezel carnelian eyes and gold talons, perched upon a rock crystal natural cluster, with Global Fine Gem Laboratory certificate (Toronto, 2005) 15.5cm high overall The glyptic artist, Luis Quispe, is a second generation lapidarist, who perfected the difficult art of carving ruby at his family~s studio in Lima.

A CAST BRASS VIRABHADRA PLAQUE, WESTERN DECCAN, INDIA, 19TH CENTURY the four-armed god depicted in relief holding various weapons and arms, sun and moon emblems above, flanked by diminutive figures of Daksha and Sati, sheltered by a cobra canopy at the top, set into later carved wood frame 20.5 x 11 x 3cm approx. (plaque) Daksha had offended Siva at a sacrifice and his daughter. Sati, who was Siva~s wife, felt so insulted that she threw herself on the pyre. Siva appeared as Virabhadra and cut off Daksha~s head to avenge his wife. The gods pleaded for Daksha~s life but his severed head could not be found, so the head of a goat was substituted instead. ++Worn, some casting faults, minor chip to frame

BARRY MCRAE JAZZ BOOKS/CATALOGUES ARCHIVE. Fab collection of about 35 x books/catalogues essential for those interested in cataloguing and research. Titles include Modern Big Band Discography by W. Bruyninckx (x13 vols), All What Jazz By Philip Larkin, Fire Music - A Bibliography of New Jazz 1959-1990 by John Gray, Jazz Performers - An Annotates Bibliography of Biographical Materials by Gary Carner, Jazz Records by Grunnet Jepsen (x11 vols), Clarence Williams Discography by Elliott Goldman, Blue Note Records Catalog, A Discography of Free Jazz by Erik Raben, John Coltrane Discography by Brian Davis, Eric Dolphy by Simosko & Tepperman, Blues Who's Who by Harris and A Bio/Discography of Benny Goodman by D. R. Connor. The books are generally in very good condition.

JAZZ / SWING / BLUES / RAGTIME - BOOKS/MAGAZINES + CLOCK. Assorted collection of about 100 x books, 20 x magazines plus a turntable clock. Titles include The Big Bands, The Best of Music Masters, The Joy of Jazz, Glenn Miller & His ORchestra, Understanding Jazz, Jazz Singing, Play As I Please, Talking To Myself, Who's Who of Jazz, Jazz Anthology, The View From Within, Encyclopedia of Jazz, New Encyclopedia of Jazz, Swing to Bop, Jam Session, Riding on a Blue Note, The Jazzmen of Our Time, These Jazzmen of Your Time, Rum Bum and Concertina, Scouse Mouse, The Passion for Jazz, Sinatra and The Great Song Stylists. The books are generally in really good condition.

B B KING ALBUMS & COMPS - LPs. Amazing bundle of 13 x LPs. Titles include Live at The Regal (CLP 1870), Don't Answer The Door (CLP 3608), B. B. King in London (SPB 1041), Live in Cook County Jail (SPB 1032), Friends (ABCL 5051), To Know You Is To Love You (SP 1083), Guess Who (SPB1063), King Size, Take It Home, Love Me Tender, B. B. Volume 1, Midnight Believer and There Must Be A Better World Somewhere. Condition is generally VG to Ex.

JAZZ - BOP (POST AND HARD) - LPs. Calling all the cool cats once more with these 23 x LPs including many who recorded for Blue Note. Artists/titles include The Complete Blue Note Recordings of the Tina Brooks Quintets (Mosaic MR4-106, ltd edition number 3427/7500 - Ex+ records/Ex outer box), Duke Ellington & John Coltrane (US Impulse stereo 70s RE< AS-30 - very smart Ex/Ex), Thelonious Monk - Monk's Dream (UK mono BPG 62135), Milt Jackson/Thelonious Monk (French RE, Blue Note 1509), Andrew Hill - Smokestack (Blue Note Connoisseur LP series RE, ltd edition from 1995, B1 7243 8 32097 1 2 - Ex+ or 'as new' condition) and Judgment! (1994 ltd edition reissue, B1 7243 8 28981 1 5), Joe Henderson - The State Of The Tenor Vol 1, Grant Green - Iron City (MR 5120), Jackie McLean - A Ghetto Lullaby, Makin' The Changes, Plays Fat Jazz (RE) and 'Bout Soul, Horace Silver Quintet - Serenade To A Soul Sister (BST 84277), Dexter Gordon - Gettin' Around (BST 84204, later RE), Fred Jackson- Hootin' 'N Tootin' (Japanese BN 4094, no insert/obi), The Genius Of Wes Montgomery (3 x LP box set) and Ben Webster. Condition is generally VG+ to Ex+.

(MAINLY) 70s REGGAE - UK 7". Super dope collection of 72x killer 7", mainly from the 70s and venturing into the early 80s. Artists/titles/cat. numbers include Ken Boothe (x6) inc. Who Gets Your Love?, (It's The Way) That Nature Planned It and Everything I Own, Derrick Harriott - Eighteen With A Bullet and Why Do Fools Fall In Love?, Rupie Edwards (x2), Judge Dread (x11), Bob And Andy Band (TR 7821), The Marvels (x2), Marcia Griffiths (HJ-6623), Harry J. All Stars, Bob And Marcia (x4), The Pioneers (x3), Horace Faith (TR-7790), Trojan Explosion EPs (TMX 4001 and 4003, Ex+ copies), Derrick Morgan, Count Prince MIller, Greyhound, Tinga Stewart, The Rudies, Pluto Shervington, Scott English, Teddy Brown, Millie, Althea & Donna, Ras Midas, Carlos Malcolm, Peter Tosh, Toots & The Maytals , Third World and Alton Ellis. Condition is generally VG to Ex+.

ORNETTE COLEMAN - LPs. 25 x LPs from 'The Prophet Of Freedom'. Titles include The Shape Of Jazz To Come (original US mono sleeve, 1317 which is signed to Barry from Ornette - VG with some tape repair around the edges/housed with UK plum Atlantic pressing LP, 588022 in Ex+ condition), The Art Of The Improvisers (plum Atlantic UK 2400109), Jazz Abstractions (UK plum 587043), On Tenor (588121 plum UK), Free Jazz (early circa 1962 US mono pressing, 1364, with 'black fan' labels - Ex/Ex lovely condition, only light wear to the die-cut design), Friends And Neighbors, Chappaqua Suite (UK CBS 66203), Town Hall 1962 (early 60s reissue, 180 Riverside Dr sleeve, 156 5th Avenue labels, textured sleeve, ESP-1006 - Ex/Ex), Crisis (AS 9187, Impulse stereo og), Ornette At 12 (MIPL 518), The Music Of... (RD 7944), To Whom Who Keeps A Record (Japanese P-10085A, with insert no obi), Skies Of America, Dancing In Your Head, Science Fiction, Soapsuds, Of Human Feelings and Who's Crazy?

DON CHERRY - BLUE NOTE LPs (INCLUDING ONE SIGNED WITH SKETCH!). Wicked pack of 3 x original US pressing Blue Note LPs from Don including one that is signed and doodled! Titles are Symphony For Improvisers (BLP 4247, original New York USA labels, VAN GELDER - Ex very clean record/Ex light edgware, cooly signed by Don Cherry who has also penned a little landscape sketch, making a sun with the Blue Note logo), Complete Communion (BLP 4226, original New York USA labels, VAN GELDER and Plastylite p - Ex lovely condition record, a couple of very light and minor surface marks/VG+ nice and clean sleeve, pen on the reverse stating the recording date) and Where Is Brooklyn? (BST 84311 'Division Of Liberty' og, VAN GELDER - Ex/VG+).

JAZZ - 7"/EPs PLUS 8" RARITY!. Impressive collection of around 60 x 7"/EPs plus 1 x unusual 8" rarity... Artists/titles include Steve Lane & The Famous Southern Stompers (8" self-released on 'Vortex' VX 1001 - VG+/VG+ and in later years Barry clearly showed the EP to Steve Lane who was good enough to sign it in 2000), Bab Bole - Kazoobole #1 (white label single sided 7, self released on 'Slob' records), John Coltrane - Jazz Masters (Savoy-Musidisc 3008), Sonny Rollins - Valse Hot (Esquire EP 228), Jimmy And Mama Yancey - Harmonium Blues (Roots EPL-001), Billy Holiday - Lady Day (TFE 17010), Dizzy Gillespie, Mutt Carey's New Yorkers, Jack Teagarden, Charlie Johnson, Jelly Roll Morton and Henry 'Red' Allen. Condition is typically VG+ to Ex+.

Beaufort, Rev. William Louis (1771-1849) Rector of Glenmire, Prebendary of Rathcooney 1814-1849, watercolour artistVarious letters and ephemera, the letters mainly from his sister Frances Beaufort (Frances Beaufort Edgeworth, stepmother to Maria Edgeworth, his brother was Admiral Francis Beaufort, (the hydrographer who invented the Beaufort Scale), the letters are dated 1831, 1832, 1835, 1838 ..., there are 17 letters in total, there is one letter from Maria Edgeworth to William, there are various pieces of ephemera including a photograph of Frances Beaufort Edgeworth on the back is written 'Aunt Edgeworth aged 96', etc 

The Who; Three Vinyl LP records, The Who Sell Out Mono 612002 matrix A-2/B-1, The Who Live at Leeds Stereo 2406001 matrix A-1/B-1 with 11 inserts (no large poster), The Who By Numbers matrix 1-Y/2-Y Holland pressing.

Vinyl LP and 7" single records; including nineteen LPs, Fleetwood Mac Kiln House with inner booklet, The Beetles Sgt Peppers Lonely Hearts Club Band mono PMC7027 matrix XEX-637-1/XEX-638-1 with pull-out cut-outs, other Beatles, George Harrison All Things Must Pass, Deep Purple The Book of Talesyn gate-fold sleeve A1G/B1G, McGuinness Flint, The Nice Five Bridges, Lindisfarne and others, along with twenty 7" singles including The Beatles Long Tall Sally, Twist and Shout, The Rolling Stones, The Who, The Hollies and others.

The Who; three signatures, Pete Townsend, Roger Daltrey, Zak Starksy, mounted, framed and glazed with photo above, 38cm by 25cm, with certificate from A T U Memorabilia.

Three bags of LP records, to include The Who, Phil Collins, Elkie Brooks etc.

A bag of single records, to include The Beatles, The Who, Shirley Bassey etc.

A Keith Moon autograph, The Who, display.

A quantity of collector's card to include Pokemon, Lord of the Rings, Star Trek, Dr Who etc.

A rare Call for Philip Morris bellhop suit and cap belonging to Johnny Roventini, the actor who played Johnny Philip Morris (John Louis Roventini), interior of pants having the Brooks Uniform CO. New York label, and Mr. Johnny Roventini, numbered 27391, w 28 1/2 l 24 1/2, with union label affixed, the coat retains the Brooks label, and original Call For Philip Morris patch, hat is intact with strap, together with a signed photograph of Joe Di Maggio with a Philip Morris executive and Johnny Roventini, inscribed "To George, You Look Like A Natural .... Wishing You The Best Always, Joe DiMaggio", together with a smoking advertising group, including a Philip Morris change tray depicting Johnny Philip Morris, assorted pins, Philip Morris money clips, a Marlboro advertising tin, together with smoking accessories

Jean Charlot (French/Mexican, 1898-1979), "Who Turned her Back on Me," 1933, pencil on paper, signed and dated lower right, dedicated "To Sonya" lower left/center, sight: 11.25"h x 8.5"w, overall (with mat): 20"h x 16"w. Provenance: From the collection of acclaimed actress Barbara Babcock, inherited from her aunt Sonya Noskowiak, who was a noted photographer, close friend, model, and lover of the famous photographer Edward Weston.

Jean Charlot (French/Mexican, 1898-1979), "How to Wash at Home," 1933, pencil on paper, signed and dated lower right, dedicated "To Sonya" lower center, sight: 8.5"h x 11.25"w, overall (with mat): 16"h x 20"w. Provenance: From the collection of acclaimed actress Barbara Babcock, inherited from her aunt Sonya Noskowiak, who was a noted photographer, close friend, model, and lover of the famous photographer Edward Weston.

Jean Charlot (French/Mexican, 1898-1979), "Women's Head," 1933, pencil on paper, signed, dated, and dedicated "To Sonya" upper left, sight: 8.75"h x 11.5"w, overall (with mat): 16"h x 20"w. Provenance: From the collection of acclaimed actress Barbara Babcock, inherited from her aunt Sonya Noskowiak, who was a noted photographer, close friend, model, and lover of the famous photographer Edward Weston.

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.

Fourteen (14) Foreign and United States currency items, including silver Spanish Colonial, French, Italian, Roman Imperial Alexandrian Tetradrachm, and more. 1st item: Spanish Colonial Mexican Charles III of Spain 4 Reales milled bust type silver coin, 1797. Includes handwritten notation on an envelope indicating that the coin originally belonged to F.W. Taylor II and that it was presented by Mrs. David Getay and her daughter Louise Getay Taylor on September 6, 1917.  2nd item: French Louis XVIII 5 Francs silver coin, 1817 B. 3rd item: Italian Napoleon 5 Lire silver coin, 1811 M. 4th item: Spanish Colonial Mexican Half Reales milled pillar type silver coin, circa 1734–1771. 5th item: Mexican Empire of Maximilian 10 cent silver coin, 1866 M. 6th item: Roman Imperial Alexandrian Tetradrachm coin, depicting the bust profile of Emperor Carus (282-283), obverse, a standing eagle with the regnal year L A in field, reverse. 7th item: Illegible Roman coin, possibly an AS or Follis, depicting a bust profile, obverse, and a temple facade, reverse. 8th item: Chinese "cash" coin. Includes a handwritten note stating that the coin was brought back by Miss Rankin who was a Christian missionary in 1885 and that it was presented by Miss Hattie Ray of Asheville, NC. 9th item: Illegible Spanish Colonial Mexican coin. Includes a handwritten note reading "Sent me by J M Rader 1897 No 748". 10th item: Republic of Mexico 1 Centavo coin, 1886 M. 11th item: US Liberty Head Large Cent coin, illegible date. 12th item: Cuban Remember The Maine coin, circa 1898. Includes a handwritten note reading "749". 13th item: Facsimile C. Bechtler Georgia Gold 5 Dollar coin. 14th item: Dominion of Canada One Dollar bill, issued in Ottawa, March 31, 1898. Serial # 433270. Plate # B. For Minister of Finance/Countersigned signatures. Includes a cloth drawstring bag with a handwritten note reading "The coins in this bag was given me by F. T. Nance They were formerly the property of AX Shields June 5/ 08 F.W. Taylor". Total silver weight, 5 coins: 66.5 grams. Provenance: Estate of Anne Harrison Taylor & Joseph F. Taylor, Morristown, TN. CONDITION: All items in circulated condition.

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").

Vincent De Vos (Belgium, 1829-1875) oil on panel painting depicting a black and brown dog in a barn attentively watching a bug crawl up a wall. Signed "de Vos" lower left. Typed transcription of a letter from Antwerp, Belgium regarding the painting dated April 16, 1874 affixed en verso. Housed in a molded giltwood frame. Sight - 6 3/4" H x 9 1/4" W. Framed - 11 3/4" H x 14 1/4" W. Third quarter 19th century. Note: Vincent De Vos was a Belgian artist who specialized in paintings of animals. CONDITION: Overall good condition with 1 1/4" area of rubbing, top left edge of board. Areas of loss to frame.

Alfred De Breanski Sr. (United Kingdom/Scotland, 1852-1928) oil on canvas seascape titled en verso "A Pole in The Highlands" depicting two figures fishing center left, a rocky shoreline with waves foreground and mountains in the background. Titled, signed "Alfred De Breanski Sr." and possibly dated "1909" en verso with other illegible writing. Housed in a carved gilt and gesso frame. Sight - 23 3/4" H x 19 1/2" W. Framed - 29 3/4" H x 26" W. Biography: London-born painter Alfred De Breanski Sr. was a well known painter of Welsh and Scottish scenes who met with success during his lifetime. He exhibited at the Royal Academy in London from 1869-1918 and also exhibited at the Royal Society of British Artists and the Royal Institute of Oil Painters. Two of his sons also became painters. (Source: Askart). CONDITION: Canvas relined. Four areas of repair with patches en verso. Minor canvas separation noted to upper right corner. Frame with slight losses and old repairs, new gilt paint.

Xanthus Smith (American, 1839-1929) watercolor and gouache on paper maritime painting, titled "A Ship Bombarding the Shore," depicting a nighttime battle between two United States Naval ships and a seaside fort with men with cannons the shore, rendered in shades of black and white. Likely depicting a Civil War era engagement. Monogram signature "XS" lower left. Schwarz, Philadelphia gallery label, en verso. Housed and matted under glass in a gilt wood frame with carved five-pointed stars. Sight - 8 7/8" H x 13 3/8" W. Framed - 16 1/2" H x 21" W. Biography: Xanthus Smith was born to artists William Thompson Russell Smith and Mary Priscilla Wilson Smith, who lead him to study art at a young age in his household. From 1851-1852, he accompanied his family in Europe to study old master paintings and became particularly influenced by naturalism in English landscapes. In the outbreak of Civil War, Smith enlisted in the U.S. Navy, where he made small drawings during his time on the USS "Wabash". These were recognized by Admiral Du Pont, who promptly commissioned Smith to paint the ships in the fleet. At the end of the war, Smith began exhibiting his paintings of federal vessels, and maintained popularity for both his paintings and sketches in the years following as his accounts provide a unique glimpse of the Civil War through the eyes of an artist. Note: Xanthus Smith was a member of The Pennsylvania Academy of Fine Arts and The Royal Academy in London. (source: The Johnson Collection, Spartanburg, SC). CONDITION: Overall very good condition with slight waviness to paper. Not examined outside of frame. Few areas of loss, largest 1 1/2"

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.

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.

Olen Bryant (American/Tennessee, 1927-2017) carved walnut sculpture of conjoined figures, titled "David and Jonathan". Unsigned. Exhibition label with title to underside of base (exhibition location and date unknown). Mounted upon a rectangular cherry base. 28" x 12" W x 6 3/4" 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: Scattered wood shrinkage cracks, otherwise excellent condition.

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.

William Edmondson (American/Tennessee, 1874-1951) "Lady with a Book," carved limestone sculpture depicting a standing woman with short curly hair wearing a dress with bustle, holding a book in her left hand, her right arm bent upward at her waist. 12" H x 3 1/2" W x 7" D. Provenance: the estate of Leah Levitt, Long Island, New York. While it is unknown exactly when or where Mrs. Levitt and her late husband, David Levitt, acquired this sculpture and the Edmondson "Critter' sculpture in the following lot (#153), both have been in their collection for decades. (The "Lady with a Book" can be seen in the background of several of the Levitt family's photographs taken in the late 1950s-early 1960s). It is possible Mr. Levitt became familiar with Edmondson, or at least with Edmondson's work, in the 1940s when in preparation for his work in the Armed Services, he (Levitt) attended French Language training at Vanderbilt University in Nashville. By that time, William Edmondson was well known in his hometown of Nashville and beyond, having become the first African American artist to receive a solo exhibition at the Museum of Modern Art in 1937. Edmondson was born in Davidson County, Tennessee, the son of freed slaves, and worked most of his life in Nashville as a railroad employee and janitor. A spiritual experience at the age of 57 prompted him to begin sculpting limestone using a railroad spike as a chisel, and he claimed divine inspiration for the works produced during his 17-year art career. In the 1930s, his work caught the attention of Professor Sidney Hirsch, who worked at Peabody College in Nashville, located just a few blocks from where Edmondson lived (and adjacent to the Vanderbilt campus). Professor Hirsch is credited with introducing Edmondson to well-connected arts patrons Alfred and Elizabeth Starr and Harper's Bazaar photographer Louise Dahl-Wolfe. Wolfe's now-famous photographs of Edmondson and his yard full of limestone sculptures brought him to the attention of the New York art world and gained him the acquaintance of Alfred Barr, Jr., director of the Museum of Modern Art, resulting in the landmark 1937 exhibit. Although Edmondson's earliest work was more utilitarian in nature, such as tombstones and birdbaths, as his style matured his subject matter grew to include female figures (frequently based on women he knew from his community), Biblical figures, and various animals. CONDITION: Overall very good condition. Slight circular loss to lower back of dress approx. 1/4", some small losses to center of back base approx. 3/4". Protective felt added to the base.

William Edmondson (American/Tennessee, 1874-1951) limestone "Critter" sculpture of a small animal sitting upright on its hind legs, with front legs and feet cast downward, atop a rectangular integral base. 12 1/4" H x 4 1/2" W x 8 1/4" D. Note: This example is stylistically similar to a sculpture sold by Case Antiques in 2011, Lot #190. Provenance: the estate of Leah Levitt, Long Island, New York. While it is unknown exactly when or where Mrs. Levitt and her late husband, David Levitt, acquired this sculpture and the Edmondson "Lady with a Book" sculpture in the preceding lot, both have been in their collection for decades. (The "Lady with a Book" can be seen in the background of several of the Levitt family's photographs taken in the late 1950s). It is possible Mr. Levitt became familiar with Edmondson, or at least with Edmondson's work, during the 1940s when in preparation for his work in the Armed Services, he (Levitt) attended French Language training at Vanderbilt University in Nashville. By that time, William Edmondson was well known in his hometown of Nashville and beyond, having become the first African American artist to receive a solo exhibition at the Museum of Modern Art in 1937. Edmondson was born in Davidson County, Tennessee, the son of freed slaves, and worked most of his life in Nashville as a railroad employee and janitor. A spiritual experience at the age of 57 prompted him to begin sculpting limestone using a railroad spike as a chisel, and he claimed divine inspiration for the works produced during his 17-year art career. In the 1930s, his work caught the attention of Professor Sidney Hirsch, who worked at Peabody College in Nashville, located just a few blocks from where Edmondson lived (and adjacent to the Vanderbilt campus). Professor Hirsch is credited with introducing Edmondson to well-connected arts patrons Alfred and Elizabeth Starr and Harper's Bazaar photographer Louise Dahl-Wolfe. Wolfe's now-famous photographs of Edmondson and his yard full of limestone sculptures brought him to the attention of the New York art world and gained him the acquaintance of Alfred Barr, Jr., director of the Museum of Modern Art, resulting in the landmark 1937 exhibit. Although Edmondson's earliest work was more utilitarian in nature, such as tombstones and birdbaths, as his style matured his subject matter grew to include female figures (frequently based on women he knew from his community), Biblical figures, and various animals. CONDITION: Overall good condition. Old breaks and losses to front and rear corners on right side of base. Protective felt added to the base.

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."

Three (3) Tennessee oil on board miniature mountain scene paintings, including William J. McCoy Jr. 1st item: William J. McCoy Jr. (Knoxville, 1906-1995) miniature oil on board painting depicting an East Tennessee mountain scene. Titled en verso "Birch Flats". Signed "McCoy" in red, lower right. Housed in a gilt wood frame. Sight - 5 5/8" H x 4" W. Framed - 7 3/4" H x 6" W. Mid 20th century. Note: William J. McCoy Jr. painted in the style of the East TN painter Charles Krutch, who also signed his paintings in red. Mr. McCoy's father was an early Knoxville photographer who likely worked with Krutch. 2nd & 3rd items: Pair of miniature oil on board paintings depicting Fall mountain scenes, both signed "Nine". Housed in paint and gilt decorated wood frames. Sights range in size from 2 1/4" H x 3" W to 3 1/4" H x 3 3/4" W. Frames range in size from 4 1/4" H x 5 1/8" W to 5 1/4" H x 5 5/8" W. 20th century. Provenance: Living Estate of Frances Fulton, Knoxville, TN. CONDITION: All paintings overall very good condition.

Olen Bryant (American/Tennessee, 1927-2017) green glazed ceramic sculptural vase depicting a figure with a face. Unsigned. 21 3/8" H x 18" W x 5 1/2" 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: Two chips to underside of sculpture: one measures 2 1/4", and the other 2 3/8".

Olen L. Bryant (American/Tennessee, 1927-2017) ceramic sculpture of a blue angel lying down. Signed "O. Bryant '72". Sculpture - 8 1/2" H x 14 1/4" W x 8" D. Base - 1 3/4" H x 6 1/2" W x 9 1/2" 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. CONDITION: Has chip to tip of upper wing.

Two (2) Olen L. Bryant (American/Tennessee, 1927-2017) figural watercolors on paper. 1st item: Black watercolor on paper painting of man reading a book, possibly a self portrait. Signed "Olen Bryant 1966" lower right. Housed behind glass in a contemporary black frame with gilt trim. Sight - 22 1/8" H x 19 1/2" W. Framed - 25" H x 22 1/4" W. 2nd item: Watercolor on paper painting depicting two black and grey female figures against a blue background. Signed and dated "O. Bryant 1966" lower left. Housed and matted under glass in a black and metallic silver painted frame. Sight - 23 1/8" H x 17" W. Framed - 30 1/4" H x 23 1/2" W. Both items third quarter 20th century. 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: 1st item: Overall toning and foxing. Not examined outside of frame. 2nd item: Overall toning, wrinkling to paper. Foxing spots to mat. Frame with areas of loss to silver paint. Not examined outside of frame.

Charles Kermit Ewing (Tennessee, 1910-1976) abstract oil on canvas seascape depicting waves crashing against a rocky shore scene under a cloudy sky, rendered in muted colors of blue, grey, white and brown. Signed and dated "C. Ewing '67" lower left. Additional marker inscription en verso regarding purchase in 1977. Housed in a carved painted wood frame. Sight - 17 1/2" H x 23 1/2" W. Framed - 21 7/8" H x 28" W. Biography: Charles Ewing was a Pennsylvania-born painter, teacher, and lithographer. He studied at Carnegie Mellon University, Harvard, and the University of Iowa with Jean Charlot. He was a member of art associations in Pittsburgh, Atlanta and New Rochelle, and in 1938, exhibited at the National Academy of Design. He served as art consultant for the Tennessee Valley Authority and, from 1948 until his retirement, was head of the art department at the University of Tennessee at Knoxville. (Source: Peter Falk, "Who Was Who in American Art"). CONDITION: Painting overall good condition. Minor scattered abrasions to the frame.

East Tennessee Butler's desk, cherry primary, poplar and yellow pine secondary, with attributes similar to the Burgner school of cabinetmakers. Elaborate scrolled backsplash with carved volutes, over a rectangular top with applied reeded molding. Overhanging top drawer flanked by tombstone carved stiles opens to a fitted butler's desk interior, over three graduated dovetailed drawers having plain round wood knobs and flanked by reeded pilasters terminating in plinths; all resting on turned tapered feet. Desk section features a fitted interior including prospect section having two central pigeonholes with shaped openings, flanked by hidden document drawers with reeded fronts. One of the interior drawers has an ink inscription from the first owner reading "William A. Henderson papers in this drawer". Underside of interior appears to have originally been set with a stringed instrument which was strummed with a quill when the top desk drawer was opened. 55" H x 47 1/8" W x 22" D. Second half of 19th century. Note: Five Burgner brothers, including John C., Jacob F., Henry, Christian, and Daniel F., were cabinetmakers primarily in the Horse Creek community of Greene and Washington Counties, Tennessee from 1817 until 1902. John C. Burgner maintained a "waste book" detailing the daily operations of the business, including information on furniture forms produced as well as recordings for some of the pieces sold. The Burgners made pieces ranging from $8 to $50, in a wide range of forms. This cabinetmaking shop was known in the region for the incorporation of highly figured woods including curly maple, cherry, and walnut (source information courtesy Daniel Ackermann, Associate Curator, Museum of Early Southern Decorative Arts). Provenance: Originally found in a Sevier County, TN estate with ties to William Alexander Henderson. He was the son of early Sevier County, TN pioneers William and Mary Cannon Henderson who settled in the Pigeon Forge area of Sevier County. William Henderson (the father) represented Sevier County in the HOuse of Representative of the 22nd TN General Assembly in Nashville between 1837 - 1839. Note: A similar style desk signed by Burgner with stringed instrumentation was sold by our auction house in 2015: https://caseantiques.com/item/lot-120-burgner-greene-co-tn-musical-desk-dated-1819/.  CONDITION: Overall good condition, possibly retains the original finish. Case with general use wear and some stains and scratching. Patch noted to upper right corner of top drawer, losses to both front corners of top drawer. Knobs are likely replacements.

Large East Tennessee stoneware pottery 4-gallon crock attributed to Charles Frederick Decker of Washington County (1832-1914) with multiple bands of sine wave decoration and extruded lug handles. Stamped "4" two times on rim and one time below the rim to denote capacity. 11 1/8" H x 13" dia. Late 19th century. For similar crock forms, refer to "The Pottery of Charles F. Decker: A Life Well Made", Jonesborough/Washington County History Museum, p.33. Biography (Courtesy of Carole Wahler): Charles Frederick Decker was born in Germany in 1832. He arrived in Philadelphia in his late teens. Oral tradition suggests he worked at the Remmey Pottery before establishing his Keystone pottery there at the age of 25. He moved his family to Delaware for a few years and then back to Philadelphia. After 1869, Decker moved to Virginia, six miles north of Abingdon. The pottery he operated there was located on land owned by a man named Mallicote (Mallicoat). In 1872, he established his pottery in the Nolichucky River Valley near present day Johnson City, Tennessee. For a year or so he operated in both Virginia and Tennessee. He was one of a number of potters who settled in the region during the early years of Reconstruction. He named his Chucky Valley pottery the same name that he had used in Pennsylvania, Keystone Pottery. His pottery was marketed not only in East Tennessee, but also in North Carolina, Virginia, and Kentucky. Provenance: Private West Tennessee Collection. CONDITION: Overall good condition with chip to underside of one handle.

Two (2) Southern pottery items, Charles Decker and Solomon Bell. 1st item: East TN cobalt decorated jar, attrib. Charles Decker of Keystone Pottery, Washington Co., TN, 2 gallon capacity, having extruded lug handles, bold cobalt decorated flower or tulip design on both sides with cobalt accents to the extruded lug handles. Stamped "2" to rim denoting capacity. 11 3/4" H. 19th century. Biography (Courtesy of Carole Wahler): Charles Frederick Decker was born in Germany in 1832. He arrived in Philadelphia in his late teens. Oral tradition suggests he worked at the Remmey Pottery before establishing his Keystone pottery there at the age of 25. He moved his family to Delaware for a few years and then back to Philadelphia. After 1869, Decker moved to Virginia, six miles north of Abingdon. The pottery he operated there was located on land owned by a man named Mallicote (Mallicoat). In 1872, he established his pottery in the Nolichucky River Valley near present day Johnson City, Tennessee. For a year or so he operated in both Virginia and Tennessee. He was one of a number of potters who settled in the region during the early years of Reconstruction. He named his Chucky Valley pottery the same name that he had used in Pennsylvania, Keystone Pottery. His pottery was marketed not only in East Tennessee, but also in North Carolina, Virginia, and Kentucky. 2nd item: Solomon Bell (Virginia, 1817-1882) Strasburg, Virginia stoneware pottery bottle partially stamped "Solomon Bell" with undecipherable stamp below. Upper shoulder with cobalt "winged" style decoration. 7 3/4" H. 19th century. Provenance: Estate of Anne Harrison Taylor & Joseph F. Taylor, Morristown, TN. CONDITION: 1st item: Tight hairline approximately 3" emanating from rim into flower. Chip to the base. 2nd item: A couple of small chips to the rim, overall crazing to the glaze, and a couple of firing flaws to the body.

North Carolina Moravian earthenware caster in the form of a chicken with an overall green glaze, incised feather and eye decoration, 9 small openings below the beak and a molded comb and feet, all on an integral domed base. 4 1/8" H x 4" L. Note: An original 1891 letter accompanies this lot. The 77 year old writer, C. M. Witt, recalls this piece belonging to his grandmother, Elizabeth Horner (b. Jefferson County, TN 1838 - d. Whitesburg/Hamblen County, TN 1916), who used it as a "pepper shaker". Old label reading "98" on underside of chicken corresponds to a similar numbering system used on an inventory list created by Joseph Feamster Taylor (1892-1965) of Whitesburg, TN, son of Franklin Walter Taylor (1854-1919), grandson of Franklin William Taylor (1810-1897), great grandson of Lieutenant William Graham (1786-1857), the owner of the Early TN Militia coat in Lot 608, and father of Joseph Franklin Taylor (1934-2015), (as referenced on a powder horn, also in this sale). According to the book "The Moravian Potters in North Carolina", Chapel Hill, NC: University of North Carolina Press, 1972 by John Bivens, Jr., Moravian earthenware forms were probably being sold in frontier stores from Wytheville, Virginia to the Watauga settlement of East Tennessee (p.21, Bivens). Provenance: Descended in the consignor's family. Estate of Anne Harrison Taylor & Joseph F. Taylor, Morristown, TN. CONDITION: Old repaired break to base of chicken body where it joins the base. Scattered losses to glaze and scattered fleabites.