500 Walter Parsons Shaw Griffin (Connecticut/Maine, 1861-1935)
Boigneville Woodcutters, Brittany, France, 1912, signed lower right “Griffin”, also signed and inscribed canvas verso “Walter Griffin Boigneville 1912”, oil on canvas, 24 x 30 in.; gilt wood frame, 31-1/2 x 37-1/2 in., original canvas and stretchers, probable yellowed varnish; frame with some abrasions
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $2,000 - $3,000
501 Coulton Waugh
(American, 1896-1973)
Approach to a Ferry Slip, New York, unsigned, oil on canvas, 30-1/4 x 25 in.; gilt wood frame, 34-1/4 x 29 in., wax lined, metal strip lining, areas of retouch; frame with minimal wear
Conserved by Cumberland Art Conservation, Nashville, Tennessee, 1993. Treatment label attached verso.
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $600 - $800
502 - Withdrawn
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American & Western Auction
503
Charles Webster Hawthorne (American, 1872-1930)
Girl in a Pink Dress, signed upper left “CW Hawthorne”, oil on canvas, 24-1/4 x 20-1/4 in.; period carved gold finished wood frame, 29-1/2 x 25-1/2 in., original canvas and stretchers, crackle, stretcher marks, canvas loose at corners; frame with wear
Provenance: Sotheby’s, New York, 11982 (label verso); Mr. and Mrs. Walter Knestrick; Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $7,000 - $9,000
504
Charles Courtney Curran (American, 1861-1942)
Oriental Still Life, 1940, signed and dated lower left “Charles C. Curran N.A. 1940”, also inscribed by the artist verso and numbered “268-15”, oil on Masonite, 22 x 17-3/4 in.; fine painted and gilt wood frame, 27-1/4 x 23-1/4 in., areas of retouch; frame with abrasions
Conserved in October, 2,000. Conservation report on file from the High Museum of Art, Atlanta, Georgia.
Provenance: Private Collection, Atlanta, Georgia; C. Duncan Connelly Fine Art, Atlanta, Georgia; Private Collection
Estimate: $5,000 - $7,000
Exhibited: Echoes from Abroad, American Art from the Collection of Barbara Guillaume, Georgia Museum of Art, University of Georgia, Athens, Georgia, May 22-August 15, 2021.
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505 Everett Shinn (American, 1876-1953)
Nude Before a Mirror, 1904, signed twice lower center margin, “E. Shinn 1904”, sepia and white chalk on buff paper, 16-3/4 x 10-1/2 in.; gilt wood frame, 21-1/4 x 17-1/4 in., laid on board, toning; frame in good condition
Provenance: Estate of Everett Shinn; James Graham & Sons, Madison Avenue, New York; Mr. and Mrs. James Holland, New York, NY; Peachtree & Bennett Galleries, Atlanta, Georgia; Private Collection
Estimate: $700 - $900
507
JJ Enwright (C. Hjalmar “Cappy” Amundsen) (American, 1911-2001)
Harbor Scene, signed lower left “JJ Enwright”, oil on canvas, 24 x 30 in.; carved gilt wood frame, 29-1/4 x 35-1/4 in., old patch repair upper left verso, crackle, stretcher marks; frame with abrasions and small losses
Provenance: Peachtree Battle Antiques, Atlanta, Georgia, 2016; Private Collection
Estimate: $800 - $1,200
506
Everett Shinn
(American, 1876-1953)
Tree Study, circa 1900-1920, signed lower left “E. Shinn”, inscribed board verso “Tree Study by E. Shinn”, oil on canvas, 13-1/4 x 10 in.; fine carved gilt wood frame, 21-3/4 x 18-1/4 in., laid on board, wear at all edges; frame with abrasions
Provenance: Estate of Charles A. Winter (inscribed board verso); The Red Piano Art Gallery, Hilton Head, South Carolina (label verso); Mr. and Mrs. Sam Bartholomew (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $1,000 - $2,000
508
Kenneth Frazier (New York, 1867-1949)
Woman Seated, Resting Face in Hands, signed upper right “K. Frazier”, pastel on board, 30 x 20 in.; gilt wood frame, 37-1/4 x 27-1/4 in., minor wear at corners just visible under frame; frame with wear, repairs
Provenance: FAR Gallery, New York, NY (label verso); Jeanne Frank, New York, NY (label verso); Mr. & Mrs. Rolf Wartenberg, Miami, Florida ; Bonham’s Skinner, Boston, Massachusetts, May 29, 2015; Private Collection
Estimate: $1,000 - $2,000
Exhibited: Kenneth Frazier: American Impressionist, The Westmoreland County Museum of Art, Greensburg, Pennsylvania, October 6-28, 1979, label verso.
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American & Western Auction
509
Philip Evergood (American, 1901-1973)
Great Neck, New York, Landscape, signed lower right “Philip Evergood”, also titled and signed board verso, oil on board, 12 x 16 in.; stamped gilt wood frame, 17 x 21 in., board very slightly warped, minimal wear at edges, some surface dirt; frame with some wear
Provenance: Mr. and Mrs. Walter Knestrich (presumably, label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $3,000 - $5,000
510 Whitney Myron Hubbard (American, 1875-1965)
New England Winter, signed lower left “Whitney M. Hubbard”, oil on canvas, 16 x 20 in.; fine ornate carved gilt wood frame, 22-1/2 x 26-3/4 in., laid on stretcher backed Masonite, surface dirt, crackle (appears stable); frame with abrasions and some cracking, rubbed finish
Provenance: Private Collection
Estimate: $2,000 - $4,000
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511
Aldro T. Hibbard (American, 1886-1972)
West River, Dummerston, Vermont, signed lower left “A.T. Hibbard”, oil on canvas, 22-1/4 x 30 in.; rubbed gilt wood frame, 30 x 38 in., canvas loose at corners, possibly slightly dirty; frame with some wear and small losses, wood liner with separation and small gouge
Provenance: A Manchester, Vermont Estate
Estimate: $3,000 - $5,000
512
Richard Hayley Lever (American, 1876-1958)
The Club House at Marblehead, Massachusetts, signed lower left “Hayley Lever at Marblehead/ The Club House”, watercolor on heavy paper, 16-3/4 x 20 in.; unframed, hinged in with archival tape at top edge
Provenance: Estate of Edward Clayton,(owner of Clayton-Liberatore Art Gallery, Bridgehampton, Long Island, New York); Private Collection
Estimate: $500 - $700
513
Richard Hayley Lever (American, 1876-1958)
Ocean Sketch, signed lower left “Hayley Lever”, inscribed presumably in artist’s hand panel verso “Hayley Lever Sketch done from board ship coming to America from Cherbourg, France:, oil on panel, 6 x 8-3/4 in.; gilt wood frame, 9-1/2 x 12-1/4 in., some surface dirt, one tiny area of paint loss right center near edge; frame with wear and chips at edges
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $800 - $1,200
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514
Alice Schille
(American, 1869-1955)
Easter Sunday, circa 1930, unsigned, oil on canvas, 30 x 25-1/4 in.; fine period carved gilt wood frame, 36-1/2 x 31-3/4 in., Beva lined, areas of retouch; frame with wear and losses to surface
Conserved by Cumberland Art Conservation, Nashville, Tennessee, 1993. Treatment label attached verso.
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $8,000 - $10,000
Exhibited: Alice Schille Memorial Exhibition, April 2-May 3, 1964, The Columbus Gallery of Fine Arts (label verso); Lyrical Colorist, Alice Schille 1869-1955, Columbus Museum of Art, Columbus, Ohio, February 21-April 24, 1988; Cheekwood Fine Arts enter, Nashville, Tennessee, June 11-July 24, 1988; Generous Plenty; American Still Life Paintings from Southern Collections, The Morris Museum of Art, Augusta, Georgia, (traveling) 1995-96.
516
Maud Mary Mason
(New York/Connecticut, 1867-1956)
515
Alice Shille
(American, 1869-1955)
Indian Church at Cuernavaca, circa 1923, signed lower right “A. Schille”, watercolor on paper, 6 x 5 in.; float mounted in carved gilt wood frame, 16 x 15 in., not examined out of frame, floating on silk backing board, appears in good condition; frame with abrasions and small losses Provenance: Keny Galleries, Columbus, Ohio (label verso); Private Collection Estimate: $1,800 - $2200
Cannas, signed canvas verso “Mary M. Mason/New York”, oil on canvas, 30 x 25 in.; unframed, crackle, surface dirt
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $800 - $1,200
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517 John Sloan (American, 1871-1951)
Sally, Sarah, and Sadie, Peter and Paul, 1915, signed lower right “John Sloan”, oil on canvas, 32 x 26 in.; fine carved gilt wood frame, 43-3/4 x 37-3/4 in., wax lined, area of retouch; frame with some wear
Provenance: Kraushaar Galleries, New York, NY (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $20,000 - $30,000
Exhibited: John Sloan, The Gloucester Years, Museum of Fine Arts, Springfield, Massachusetts, July-August 1980; The Montclair Art Museum, Montclair, New Jersey, September-November 1989; Hunter Museum of Art, Chattanooga, Tennessee, November 1980-January 1981; Munson-Williams-Proctor Institute, Utica, New York, January 1981-March 1981; The Heckscher Museum, Huntington, New York, April 1981-June 1981; John Sloan: Spectator of Life, organized by the Delaware Art Museum, Wilmington, Delaware; IBM Gallery of Science and Art, New York NY, April 26-June 18, 1988; Delaware Art Museum, July 15-September 4, 1988; Columbus Museum of Art, Columbus, Ohio, September 17-November 6, 1988; Amon Carter Museum of Art, Fort Worth, Texas, November 201988-January 1, 1989; Pride in Place, Landscapes by the Eight in Southern Collections, organized by the Albany Museum of Art, Albany Georgia; Albany Museum of Art, Albany, Georgia, January -March, 2,000; Montgomery Museum of Art, Montgomery, Alabama, April - May, 2,00,0; Lauren Rogers Museum of Art, Laurel, Mississippi, June - August 2000; Cheekwood Museum, Nashville, Tennessee, August - October, 2000.
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American & Western Auction
518
Ida Ten Eyck O’Keeffe (American, 1889-1961)
Roots in Autumn, 1940, inscribed canvas verso “Ida Ten Eyck O’Keeffe/1940/ Roots in Autumn/Royal Oak, East Tennessee/Here forces were mustered for battle for King’s Mountain/the turning point in American Revolution”, oil on canvas, 20 x 26 in.; natural wood frame, 21 x 27 in., small patch repair upper right verso, small areas of draw crackle, slight crackle in white areas, slight stretcher marks lower left corner, loose canvas at upper right corner, dry, unvarnished surface; frame in good condition
Provenance: Private Collection; Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $8,000 - $12,000
This is one of two virtually identical paintings of the Royal Oak that relate to a larger version by O’Keeffe in private hands. This work’s sister painting, with extensive literature and exhibition history, was sold in New York at Christie’s, November 2021, for $13,750.
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519
Robert Henri (American, 1865-1929)
The Fisherman’s Daughter, 1910, signed lower left “Robert Henri”, also signed verso and inscribed “170 F”, oil on canvas, 24 x 20 in.; carved gilt wood frame, 33 x 29 in., original canvas and stretchers, slight stretcher marks, canvas slightly loose at corners; frame with abrasions
Provenance: Estate of the artist, sold through Hirschl & Adler Gallery, New York, NY, 1958; Mr. and Mrs. Herbert Gladstone, New York, NY (label verso); Widing and Peck, New York, NY (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $18,000 - $22,000
Exhibited: The MacDowell Club, New York, NY, beginning November 2, 1911; The Eight, The Brooklyn Museum of Art, Brooklyn, New York, November 24, 1943 - January 16, 1944, as “Laughing Girl”, cat. *8.
Thank you to Dr. Valerie Ann Leeds for her help with researching this lot.
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520
American Queen Anne Walnut Tray Top Tea Table
New England, mid 18th century, tea or center table with rectangular top with tray molding over single blocked and shaped drawer, cabriole legs with slipper feet, 27 x 26-1/2 x 17 in., brasses replaced, break and repair at one front leg attachment with some patches at back, one rear toe pieced, cracks at one rear leg with small patch at return and plugged screw, face patch to back of skirt, dent at one front knee, top with some later plugged screws (not removed for exam), narrow spline repair at underside of top, cracks and veneer patch at one front corner, other scattered wear, distress, and repairs
Provenance: Drawer with label for Herbert Schiffer Antiques; Private Virginia Collection; Sold Brunk Auctions, February 2021, lot 1004; Private Collection, Brentwood, Tennessee
Estimate: $1,000 - $1,500
522
American Federal Inlaid Mahogany Tall Case Clock circa 1800, likely Mid Atlantic, scrolled pedimented bonnet with brass finials and fluted columns, paint decorated wood panel dial, wooden movement, case with fluted quarter columns and shell and urn inlay, serpentine base with flared legs, 95-1/2 x 19 x 11 in., structurally sound, dial with scattered paint loss and craquelure, paint appears to be original with some retouch, dial panel with thin cracks, lacking weights and pendulum, case with scattered patch repairs, later pinning, and minor cracks, feet with restorations, other wear and imperfections as expected with age and use, clock functionality not tested
Provenance: Estate of Patricia P. Langhorne
Estimate: $1,200 - $1,800
521
Four Philadelphia Chippendale Mahogany Dining Chairs
Pennsylvania, 1760-1780, each with finely carved back with scrolled crest rails and ears, pierced splats over the rail, upholstered seats, set on cabriole legs, through tenon construction, 39-1/2 x 25 x 22 in., some cracks at rear legs at through tenons, base splats with later screws from the back, seat frames with later corner braces, break and repair at back of one front leg, some knee returns likely restored, upholstery with light stains and wear, not examined under upholstery
Provenance: From the Estate of a Harvard University Professor, Cambridge, Massachusetts, sold Brunk Auctions, November 12, 2022, lot 772; Private Collection, Brentwood, Tennessee
Estimate: $1,000 - $2,000
523
Chippendale Mahogany Tilt Top Tea Table
American or British, late 18th century, pie crust tilt top with bird cage support, foliate lobed vasiform standard, tripod base with cabriole legs and anthemion carved pad feet, 28 x 21-1/2 x 21 in., overall structurally sound, top is somewhat loose when tilted, top has been reset from lower bracing, one foot with extensive repair, feet previously had casters, feet with wear and abrasions, other general wear as expected with age and use
Provenance: Private Collection, Brentwood, Tennessee
Estimate: $800 - $1,200
524
Rare New England Federal Birdseye Maple Inlaid Mahogany Bergere
Boston or possibly Portsmouth, New Hampshire, 1800-1810, white floral upholstery with loose down seat cushion, 33-3/4 x 24 x 25 in., some patches and repairs at arm attachments and hand grips, break and repair at base of one reeded baluster (see detailed photos), bumps and wear at legs, caster attachments are loose, not examined under upholstery, upholstery in good condition overall with light wear and surface dirt at arm tops
Provenance: Private Collection
Estimate: $1,200 - $1,800
526
525
American Federal Inlaid Mahogany Sideboard
circa 1800, shaped bowfront top, conforming frieze with three drawers, serpentine lower cabinets with corner fan inlay, string inlaid legs, tapered feet, 39 x 63 x 24 in., structurally sound, legs have likely been cut and tapered feet are likely a later alteration, replaced brasses, rear proper left leg has been repaired and reattached near top, scattered shrinkages throughout, small inlay losses and repairs, scattered imperfections and wear from age and use
Provenance: Private North Carolina Collection
Estimate: $800 - $1,200
Newport Chippendale Shell Carved Mahogany Slant Front Desk
Goddard Townsend School, underside of case with carved date of 1785, dense figured mahogany, slant lid opening to a fitted interior with three shells, four graduated long drawers, dovetailed construction with red cedar and white pine secondary, drawers with probably original batwing brass and escutcheons, 41 x 41-1/2 x 23 in., probably original feet with scattered patches and repairs (later color at back makes clear vetting difficult), prospect door possibly restored? (later color at back), refinishing with scattered finish losses and distress, especially at feet
Provenance: back with chalk inscription, “Ginsburg and Levy”; A Washington, D. C. Estate
Estimate: $1,000 - $1,500
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527
Serapi Carpet
late 19th century, orange field with three central stepped medallions with leafy designs, wide guard borders with birds, 20 ft. 3 in. x 14 ft. 2 in., loss to ends with overcasting and reinforced, scattered wear with some exposed foundation, wear to pile, staining and discoloration to white border, wear to selvage, abrash, fading Provenance: Sotheby’s, New York, November 23, 1985, $18,000; Private Collection Estimate: $5,000 - $7,000
528
Karabaugh Rug
mid 20th century, wine colored field with three diamond medallions with hooked edges, humanoids and quadrupeds, leaf and wine glass border, 3 ft. 6 in. x 9 ft. 9 in., abrash, overcast at both ends, loss to pile with some exposed foundation, wear to selvage
Estimate: $600 - $900
529
Kurdish Rug
mid 20th century, seven vertical panels with geometric medallions with hooked edges, repeating triangle design, 4 ft. x 9 ft. 3 in., loss to fringe, uniform pile, restoration to brown pile on sides, wear to pile consistent with age and use
Estimate: $600 - $900
530
Hamadan Runner
early to mid 20th century, blue field with repeating boteh design, leaf and floral borders, 19 ft. 8 in. x 3 ft., loss to both ends, overcast, exposed foundation, shortened at one end and in middle of rug, areas of restoration, wear to selvage
Estimate: $600 - $900
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531
New England Chippendale Mahogany Drop Leaf Table late 18th century, drop leaves with rounded corners, heavily acanthus carved legs with ball and claw feet, two gate legs, beech secondary wood, 29 x 42 x 17-1/2 in., structurally sound, heavy mahogany, scattered insect holes to secondary wood under table top (not active), one brace board is loose, some later screws visible under top, reinforced leg joints, other general wear and imperfections expected with age and use
Provenance: Private Collection, Brentwood, Tennessee
Estimate: $1,000 - $1,500
532
Eight American Chippendale Mahogany Dining Chairs late 18th century, includes seven side chairs and one armchair, serpentine crest rail, Gothicized pierced splat, molded square legs, stretchered base, armchair 37 x 24-1/2 x 21 in.; side chairs 37 x 21 x 20 in., all chairs structurally sound, armchair with repaired arm at upright joint, scattered small repairs to splats on some chairs, slip seats are thoroughly upholstered with multiple layers (not removed for inspection), scattered wear to finish, minor stretcher reattachments, other general wear, marks, abrasions, and imperfections from age and use
Provenance: Private Collection, Brentwood, Tennessee
Estimate: $2,000 - $3,000
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533
Six Piece Fletcher & Gardiner Coin Silver Tea Service, Massachusetts, early 19th century, urn forms with grape and vine die rolled borders, carved wooden handles, no monograms, marks for Fletcher & Gardiner (Boston, Massachusetts, working 1808-1810 and Philadelphia, Pennsylvania, working 1811-1827), 184.44 oz. T. gross weight, 12-1/4 in. coffee pot with matching two teapot, covered sugar, creamer, and waste, several handles pushed in, both teapots with damage to wooden handles, all with wear, light scratches, and some loss to decoration
Provenance: Private Baltimore Collection
Estimate: $3,500 - $5,500
534
Three Piece Gorham Sterling Coffee Service American, early 20th century, Baronial pattern variation with griffins, shells and scroll decoration, gilt interior, ivory spacers, marks for Gorham, “Y” monogram (Yawkey Family), 46.40 oz. T., 10 in. coffee pot with matching creamer, and sugar, coffee pot with repair to base, loss to gilt, otherwise good condition
Provenance: Estate of William C. Yawkey, by descent in family; Private Collection; Brunk Auctions, May 22, 2017, lot 1268; Private Virginia Collection
Estimate: $1,000 - $1,500
Thomas Yawkey Austin, of Detroit, born February, 1903 was the grandson of lumber and iron magnate William Clyman Yawkey. Tom’s uncle, William, son of William and Margaret Yawkey, acquired the Detroit Tigers baseball team the same year. After his father, Thomas Austin, died, William adopted Tom and his name was then changed to Thomas Austin Yawkey. William Yawkey died in 1919 and left his $40 million estate to his adopted son, Tom and Tom’s older sister Emma. Tom purchased the Boston Red Sox in 1933. Tom Yawkey was much loved by his family. Although he preferred a quiet and introspective life, he was a popular figure in Boston and major league baseball until his death in 1976. His legacy continues through his lifetime dedication to preserving nature and supporting the Jimmy Fund.
◉ This lot contains animal or plant material that may be restricted under federal, state and/or local law. Prospective bidders should check all applicable government wildlife restrictions prior to placing a bid. The buyer is solely responsible for obtaining any necessary licenses or permits from federal, state and/or local authorities applicable to their purchase or transport of the object.
535
Reed & Barton Francis I Sterling Bowl
American, mid 20th century, round with fruit and foliate decoration, no monogram, marks for Reed & Barton, “X569”, 19.91 oz. T., 2-1/2 x 11-1/4 in., scratches on interior of bowl and wear
Provenance: Private Collection, Asheville, North Carolina
Estimate: $400 - $800
536
Towle Old Master Sterling Flatware, 204 Pieces
American, 20th century, including twelve 9-5/8 in. hollow handle knives, stainless blades; eighteen 8-7/8 in. hollow handle knives, stainless blades, six without monograms; twelve 7-3/4 in. forks; sixteen 7-1/4 in. forks, four without monograms; twenty 6-3/8 in. salad forks, eight without monograms, [one handle damaged]; twenty five 6 in. teaspoons, 13 without monograms; twelve 6-1/4 in. round soup spoons; twelve 6-1/4 in. oval soup spoons, no monograms; twelve 8 in. ice tea spoons; thirteen 5-7/8 in. cocktail forks, one without monogram; ten 4-1/4 in. demitasse spoons, no monograms; twelve 5-3/4 in. solid handle spreaders; thirty serving pieces including six serving spoons (two without monograms), two tomato severs, two serving oval shaped bowl spoons, three serving forks, two sugar spoons, two bon bon, three ladles, lemon fork, seven with hollow handles: carving set, two carving knives, pie server, cheese knife, and spreader, most with monograms, all with marks for Towle, 199.65 oz. T. excluding hollow handle piece; with large wooden one drawer case, average wear
Provenance: Private Collection, Asheville, North Carolina
Estimate: $4,000 - $6,000
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539
Wedgwood Black Basalt Bust of George Washington
After Jean-Antoine Houdon (French, 1741-1828), stamped “Wedgwood” on base and “Washington” to back of neck, 20 x 12-1/2 x 8-3/4 in., some surface dust/ accretion, some abrasions, red adhesive residue at top and underside of socle
Provenance: Property from a Southern Institution
Estimate: $1,000 - $1,500
537
Six American Chippendale Mahogany Side Chairs late 18th century, serpentine crest rail with shell corners centered by an acanthus relief, scrolled and pierced splat with floral decoration, molded seat rail and legs, stretchered base, period slip seats, incised Roman numerals, 39 x 21 x 21 in., all chairs structurally sound, resurfaced, one chair has repairs to splat and crest rail joints, repaired rear leg, and rear legs ended out approximately 1/2 inch, other chairs with small repairs to splats, slip seats with several upholstery tack holes, other general wear and imperfections expected with age and use
Provenance: Private North Carolina Collection
Estimate: $1,500 - $2,500
538
New England Federal Figured Maple Inlaid Mahogany Sofa, Northeastern Shore, New England, early 19th century, arched upholstered back, damask upholstery with studded decoration, paneled arms, reeded uprights, tapered legs, birch and white pine secondary woods, 32 x 75-1/2 x 24 in., structurally sound and in very good overall condition, two front center legs are slightly loose, resurfaced, scattered abrasions and tiny inlay losses along front legs, replaced glue blocks, upholstery in good condition with minor discoloration, other general wear expected with age and use
Provenance: Sotheby’s, New York, The Property of Dr. and Mrs. Henry C. Landon III, January 24, 2009, lot 55; Private Collection, Brentwood, Tennessee
Estimate: $2,000 - $3,000
540
Stanley Bate (New York/Tennessee, 1903-1972)
Tugboat Docking, signed lower right “Stanley Bate”, oil on board, 14 x 13 in.; fine carved gilt wood frame, 22-1/2 x 21-1/2 in., some crackle, minimal surface dirt; frame with small losses to surface
Provenance: D. Wigmore Fine Art, New York, NY (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $800 - $1,200
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American & Western Auction
541
Birger Sandzen
(Swedish, Kansas/Colorado, 1871-1954)
At the Timberline, Rocky Mountain National Park, circa 1928, signed lower right “Birger Sandzen”, also inscribed verso “At the Timberline/ Rocky Mountain National Park/ Colorado/ Birger Sandzen/ Lindsborg, Kansas”, oil on Masonite, 22 x 28 in.; silver and gilt wood frame, 29 x 35 in., painting in very good overall condition; frame in good condition
Provenance: Birger Sandzen Gallery, Bethany College, Lindsborg, Kansas, purchased 1940s; Descended in the family; Private Collection
Estimate: $70,000 - $90,000
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542 Birger Sandzen (Swedish, Kansas/Colorado, 1871-1954)
Pine and Aspen, Rocky Mountain National Park, 1928, signed lower right “Birger Sandzen”, inscribed verso “Pine and Aspen/ Rocky Mountain National Park/Colo. 1928/ Birger Sandzen/ Lindsborg, Kans”, oil on Masonite, 14 x 12 in.; gilt wood frame, 19-1/2 x 17-1/2 in., surface dirt layer; frame with wear and small abrasions
Provenance: Birger Sandzen Gallery, Bethany College, Lindborg, Kansas, purchased 1940s; by descent in the family; Private Collection
Estimate: $40,000 - $60,000
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543
Birger Sandzen (Swedish, Kansas/Colorado, 1871-1954)
Sunset, Smoky Valley Landscape, 1952, signed lower right “Birger Sandzen”, also inscribed on board attached to backing verso, “Sunset, Smoky Valley Landscape, Birger Sandzen/Lindsborg, Kansas/ 1952”, watercolor on paper, sight 10 x 14 in.; metal sectional frame, 19-1/2 x 22 in., mounted to mat verso with archival tape, older tape remnants at edges, areas of slight staining; frame in good condition
Provenance: Private Collection
Estimate: $5,000 - $7,000
544
Birger Sandzen
(Swedish, Kansas/Colorado, 1871-1954)
The Friendly Creek, Wild Horse Creek, 1952, signed lower right “Birger Sandzen”, also inscribed on board attached to backing verso “The Friendly Creek (Wild Horse Creek/ Graham County, Kans.)/Birger Sandzen/ Lindsborg, Kansas /1952”, watercolor on paper, sight 10 x14 in.; metal sectional frame, 19-1/2 x 23-1/2 in., mounted to mat verso with archival tape, older tape remnants at edges; frame with abrasions at edges
Provenance: Private Collection
Estimate: $6,000 - $8,000
545
Edith C. Blum (New York, 1892-1976)
Still Life with Red Glasses and Apples, signed lower right “Edith Blum”, oil on canvas, 19-3/4 x 24 in.; gilt wood frame, 27-3/4 x 32 in., crackle, canvas slightly loose at corners; frame with losses to surface
Provenance: Mr. and Mrs. Charles Wells (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $500 - $700
546
David Burliuk (Russian/America, 1882-1967)
Mathilde Haslauer by the Sea, 1956, signed lower left “Burliuk 1956”, inscribed lower right “Florida”, inscribed canvas verso ‘Mathilde Haslauer”, oil on canvas, 24 x 18 in.; carved gilt wood frame, 31-1/4 x 251/4 in., probable yellowed varnish, surface dirt; frame with wear and tiny losses to surface
Provenance: Christie’s (label verso, n.d.); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $3,000 - $5,000
547
Attributed to Anna Sarah Fisher (American, 1873-1942)
By the Window, circa 1930, unsigned, acrylic on board, 20 x 16 in.; carved gilt wood frame, 28-3/4 x 24-3/4 in., extensive losses from abrasion; frame with wear
Provenance: Godwin Gallery, Pepperell, Massachusetts (label verso); Dr. E. James (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $400 - $600
https://live.brunkauctions.com/auctions/brunk/americanwestern-auction-march-8-2024-13763/catalog#catalog
American & Western Auction
548
John Christen Johansen (Danish/America, 1876-1964)
The Story Book, 1905, signed and dated lower right “J.C. Johansen 1905”, oil on canvas, 38-1/4 x 29-1/2 in.; fine Newcombe Macklin carved gilt wood frame, 443/4 x 35-1/2 in., wax lined, stabilized crackle, stretcher marks, retouch; frame with abrasions
Painting conserved 1985, treatment label attached to backing verso. Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $3,000 - $5,000
549
Edgar Julian Bissell (Missouri/Illinois, 1861-1928)
Woman in a Flowered Hat, 1892, signed lower left “Edgar J. Bissell 92”, oil on canvas, 12-1/4 x 9 in.; gilt wood frame, 15 x 12-1/4 in., wax lined, areas of retouch; frame with minimal wear at corners
Painting conserved by D.D. Minault, Nashville, Tennessee, n.d. Treatment label attached backing verso.
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $400 - $600
552
Meyer Wolfe (New York, 1897-1985)
Jaime the Dwarf, Mallorca, Spain, signed lower right “Meyer R. Wolfe 28”, inscribed canvas verso “Jaime The Dwarf 1928/ Mallorca Spain”, oil on canvas, 36-1/2 x 23-1/2 in.; carved wood frame, 40-1/2 x 28 in., original canvas and stretchers, signature reinforced, with original signature underneath; frame with wear
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $700 - $900
551
Meyer R. Wolfe (New York, 1897-1985)
Bedouins, Kairouan, Tunisia, 1924, signed lower left “Meyer R. Wolfe”, oil on canvas, 25-3/4 x 21-1/2 in.; painted and gilt wood frame, 30-1/2 x 26 in., lined, minimal retouch; frame with abrasions and losses to surface
Painting conserved by Cumberland Art Conservation, Nashville, Tennessee, 1993. Treatment label attached to backing verso.
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $800 - $1,200
550
Meyer R. Wolfe (New York, 1897-1985)
Brahim, Kairouan, Tunisia, 1927, signed lower left “Wolfe 27”, also inscribed with title and dated 1928 canvas verso, oil on canvas, 14 x 12 in.; unframed, crackle, apparently restretched and stapled onto a slightly smaller stretcher than originally intended
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $500 - $700
553 Fritz Scholder (Arizona/New Mexico/Minnesota, 1937-2005)
American Totem, 1984, signed lower right ‘Scholder”, oil on canvas, 40 x 30 in.; natural and gilt wood gallery frame, 42-1/2 x 32-1/2 in., painting in good condition; frame with minimal wear
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $12,000 - $18,000
https://live.brunkauctions.com/auctions/brunk/americanwestern-auction-march-8-2024-13763/catalog#catalog
554
Gustave Baumann, Talaya Peak (1931) (New Mexico/California, 1881-1971)
Talaya Peak, 1931, edition 83/120, signed lower right “Gustave Baumann”, with artist’s Hand-in-Heart chop mark, inscribed edition “83-120-III”, colored wood block on paper, image 9-1/2 x 11-1/4, sheet 13-3/8 x 17 in.; gilt wood frame by Tres Mowka Designs, 18-1/2 x 20 in., hinged in, good impression with bright color, some light foxing in margin, bottom edge possibly trimmed and lacking Baumann Inventory number; frame with abrasions
Provenance: Ex-Collection of John A. and Margaret Hill, No. 47; Zaplin-Lampert Gallery, Santa Fe, New Mexico; Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $10,000 - $15,000
Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 111.
555
Gustave Baumann, San Geronimo, Taos (1932) (New Mexico/California, 1881-1971)
San Geronimo, Taos, 1932, second edition 62/125, signed lower right “Gustave Baumann”, with artist’s Hand-in-Heart chop mark, inscribed, color woodcut on watermarked laid paper, image 9-1/2 x 11-1/4, sheet 13-3/8 x 17 in.; wood frame, 21-3/8 x 17-1/4 x 1-1/4 in. in., good, strong color impression on full sheet, one light point of foxing, very slight toning
Provenance: Ex-Collection of John A. and Margaret Hill, No. 46; Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $10,000 - $15,000
Literature: Chamberlain, Gala, In a Modern Rendering: The Color Woodcuts of Gustave Baumann, Rizzoli Electa, 2019, No. 96 Baumann Inventory No. 52 (inscribed in bottom right corner)
556
Gustave Baumann, Church at Ranchos de Taos (1948)
(New Mexico/California, 1881-1971)
Church at Ranchos de Taos, 1948, final edition 79/125, signed lower right “Gustave Baumann”, with artist’s Hand-in-Heart chop mark, inscribed edition “I-79-125-48”, color wood block on paper, image 9-1/2 x 11-1/4, sheet 13-3/8 x 17 in.; gilt wood frame in., taped in at two points top with archival tissue, on full sheet, some light toning, fading, and points of foxing in margin; frame with abrasions
Provenance: Ex-Collection of John A. and Margaret Hill, No. 49; Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $10,000 - $15,000
Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No..60 Baumann Inventory No. 33 (inscribed in bottom right corner)
557
Gustave Baumann, Chile con Cabra (1920) (New Mexico/California, 1881-1971)
Chile con Cabra, 1920, edition 15/100, signed lower right “Gustave Baumann”, with artist’s Hand-in-Heart chop mark, inscribed edition, color woodcut on paper, image 6 x 7-5/8 in., sheet 10-3/16 x 13-1/4 in.; wood frame, 15 x 15 x 7/8 in., laid down, margins possibly trimmed, museum stamp lower left margin, toning with some darkening effects but colors seem good; frame with abrasions
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $6,000 - $9,000
Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 91.
Laverne Nelson Black (New Mexico/Illinois/Wisconsin, 1887-1938)
Indian on Horseback, signed lower left “Laverne Nelson Black”, oil on canvas, 13 x 11 in.; carved gilt wood frame, 20 x 17-3/4 in., Beva lined; frame with abrasions
Conserved by Cumberland Art Conservation, Nashville, Tennessee, 1992. Treatment label attached verso.
Provenance: The John and Margaret Hill Collection of Western Art (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $8,000 - $12,000
559
Grace Hill Turnbull (American, 1880-1976)
The Grand Canyon, unsigned, oil on canvas, 29 x 37 in.; natural wood float frame, 30-3/4 x 38-1/2 in., stretcher marks, slight wear at edges, surface scratch upper left side; frame with minimal wear
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $2,000 - $3,000
https://live.brunkauctions.com/auctions/brunk/american-west-
560
Theodore Jeremenko (Yugoslavia/New York, born 1938)
First Presbyterian Church, 1982, signed lower right “T. Jeremenko”, acrylic on canvas, 14 x 16 in.; gilt wood frame, 15-1/2 x 17-1/2 in., painting in good condition; frame with minor abrasions
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $400 - $600
561
Peter Ellenshaw
(British/California, 1913-2007)
Western Rocks, 1968, signed and dated lower right “Peter Ellenshaw 68”, also stamped verso, oil on Masonite, 11-1/2 x 15-1/2 in.; carved gilt wood frame, 18-1/2 x 22-1/2 in., painting in good condition; frame with some wear, scattered areas of loss to surface
Provenance: Hammer Galleries, New York, NY (inventory stamp board verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $2,000 - $3,000
562
Emil Bisttram (New Mexico/New York, 1895-1976)
Ranchos Church, signed lower right “Bisttram”, watercolor on paper, sight 20 x 17 in.; natural wood frame 31-1/4 x 25-1/4 in., painting in very good condition, no apparent toning or fading, mat sealed on all sides so mount not visible; frame with small nicks
Provenance: Fenn Galleries, Santa Fe, New Mexico (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $2,000 - $4,000
https://live.brunkauctions.com/auctions/brunk/americanwestern-auction-march-8-2024-13763/catalog#catalog
563
Gerald Ira Diamond Cassidy (New Mexico/California, 1869-1934)
New Mexico Mission, signed lower right “Gerald Cassidy”, illegible colourman stamp canvas verso, oil on canvas 20 x 16 in.; fine gilt wood frame, 26-3/4 x 22-3/4 in., old patch repair verso, probable surface dirt; frame with wear and abrasions
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $4,000 - $6,000
564
Gerald Ira Diamond Cassidy (New Mexico/California, 1869-1934)
On the Balcony, Ville Franche Sur Mer, The Riviera; signed lower right “Gerald I. Cassidy”, oil on canvas, 28-1/2 x 23-1/2 in.; carved gilt wood frame, 35-1/2 x 30-1/2 in., lined, canvas slightly warped in places, limited amounts of crackle; frame with slight wear, small losses to surface top and bottom edges
Provenance: Robert E. McKee (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $4,000 - $6,000
565
Gilbert Gaul (American, 1855-1919)
Cabin in the Woods, circa 1890, signed lower left “G Gaul”, oil on board, 13-1/2 x 9-1/2 in.; reproduction gilt wood frame, 18-1/2 x 14-1/2 in., board with slight warp, wear at edges and corners not visible under frame; frame in good condition
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $1,000 - $2,000
1866-1936)
Blessing the Waters, signed lower left “E.I. Couse”, inscribed in pencil verso “Blessing the Waters/E. Irving Couse”, collectors label verso “EAM No. 314”, oil on canvas, 8 x 10 in.; gold painted wood frame 14-1/2 x 16-3/4 in., laid on board, lifting away from board at corners and edges, surface dirt layer; frame with wear
Provenance: The Christine Biddle Wainwright Collection & American Paintings, Furniture & Decorative Arts, Doyle, New York, May 2022, sold for $15,120.; Private Collection
Estimate: $10,000 - $15,000
567
Clark Hulings (New York/New Mexico, 1922-2011)
Afternoon, Eziers, France, signed lower right “Hulings”, oil on canvas, 8 x 10 in.; dark wood gallery frame, 9-1/4 x 11 in., floating in gallery frame, painting in good condition; frame with minimal wear
Provenance: Fenn Galleries, Santa Fe, New Mexico (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $2,000 - $3,000
https://live.brunkauctions.com/auctions/brunk/americanwestern-auction-march-8-2024-13763/catalog#catalog
Conserved by Cumberland Art Conservation, Nashville, Tennessee, 1992. Treatment label attached verso.
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $3,000 - $5,000
Provenance: Property of a Southern Museum
to benefit the Acquisition Fund
Estimate: $1,000 - $2,000
Provenance: Gerald P. Peters,
to benefit the Acquisition Fund
Estimate: $2,000 - $4,000
https://live.brunkauctions.com/auctions/brunk/american-western-auction-march-8-2024-13763/catalog#catalog
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571
Ned Jacob
(Colorado/Tennessee. born 1938)
Crow Watcher, 1978, signed lower center “Ned Jacob”, also signed and dated canvas verso, inscribed artist’s label verso “painted from life at Ketchum, Idaho”, oil on canvas, 24 x 17 in.; carved gilt wood frame, 30-1/2 x 233/4 in., painting in good condition; frame with small losses
Provenance: Fenn Galleries, Santa Fe, New Mexico (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $800 - $1,200
https://live.brunkauctions.com/auctions/brunk/americanwestern-auction-march-8-2024-13763/catalog#catalog
572
Kenneth Pauling Riley
(Arizona/Kansas/Missouri, 1919-2015)
Aravaipa Canyon, signed lower right “Kenneth Riley”, titled panel verso, oil on Masonite, 24 x 16 in,; dark wood frame, 25-1/4 x 17-1/4 in., painting in good condition; frame with minor wear at corners
Provenance: The John and Margaret Hill Collection of American Western Art (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $10,000 - $15,000
573
Henry C. Balink (New Mexico, 1882-1963)
Portrait of Little Bear, signed upper right “Henry C. Balink”, oil on canvas, 24 x 20 in.; natural wood gallery frame, 25-3/4 x 21-3/4 in., stretcher marks; frame in good condition
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $6,000 - $8,000
574
Harvey William Johnson (New Mexico, 1921-2005)
Chowtime in Montana, 1972, signed lower left “HW Johnson CA ‘72”, oil on canvas, 15 x 30 in.; dark wood frame, 16-1/4 x 31 in., painting in excellent condition; frame in good condition
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $2,000 - $3,000
575
Robert Elmer Lougheed (American, 1910-1982)
The Saw Mill Roan, signed lower right “RE Lougheed”, signed, titled and stamped panel verso, oil on Masonite, 16 x 20 in.; dark finished wood frame, 17-1/4 x 21-1/4 in., small area of accretion near right side center, very minor surface dirt; frame with slight wear at corners
Provenance: The John and Margaret Hill Collection of American Western Art (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $1,000 - $2,000
https://live.brunkauctions.com/auctions/brunk/american-west-
576
20th century, blue field with 14 diamond medallions with hooked borders, white border with octagonal medallions, 3 ft. 4 in. x 6 ft. 10 in., abrash, wear to pile, soiling, loss to fringe
Provenance: Private Collection, Brentwood, Tennessee
Estimate: $600 - $800
tan field
eight geometric
with stepped edges, geometric and barber pole borders, signature at one end, 10 ft. 7 in. x 3 ft. 7 in., loss to both ends, overcast, wear to pile, exposed foundation, new selvage
Estimate: $800 - $1,200
577
Baluch Carpet field with eight geometric medallions, floral and geometric borders, 11 ft. 6 in. x 7 ft 4 in., loss to fringe, over cast at one end, universal low pile, exposed foundation, loss to brown pile, pest damage, wear to selvage
Estimate: $600 - $800
Estimate: $800 - $1,200
https://live.brunkauctions.com/auctions/brunk/american-
580
Very Fine American Federal Fan and Bellflower Inlaid Mahogany Pembroke Table New York/New Jersey, possibly Matthew Egerton, Jr. (New Brunswick, New Jersey), circa 1795, highly figured mahogany, oval top with two drop leaves, fan inlaid drawer flanked by fan patera on bellflower chain inlaid tapered legs, poplar and white pine secondary with cherry gates, 28-1/2 x 21 x 31-1/4 in., excellent overall, corner patch at one leaf, probably original brass pull, typical bumps at legs, scattered surface flaws and minor veneer repairs, brass on false drawer reset or replaced
Provenance: Hardenberg-Hasbruck family, New York; Collection of John and Rebecca Zoler, sold Sotheby’s January 22, 2005, lot 630 ($55,000); Private Collection
Estimate: $4,000 - $6,000
Sotheby’s catalog notes “the mate to this table sold in these rooms, Important Americana, October 10, 1998, lot 270. Its drawer had a pencil inscription reading ‘left to Georgiana Ethel von Klock by her aunt Susu Estella v. k. Muleux?, May 1921’”.
581
Set of Eight Classical Carved Tiger Maple Dining Chairs New York, circa 1825, each with highly figured tablet back over a leaf carved splat, caned seats and turned front legs, six fitted with loose upholstered cushions, 33 x 17-1/4 x 21 in., surface wear and finish losses, especially at tablet backs, caning in good condition, overall scattered repairs with some later plugged screws and retouch at joints of rear stiles to seat rails, two with separations at front stretcher attachments, other surface distress and minor structural repairs
Provenance: according to consigner notes, purchased Clearing House Auctions, Old Wethersfield, Connecticut, April 13th, 1985 for $8,500; Private Collection
Estimate: $800 - $1,200
582
Classical Giltwood Wall Mounted Decoration, early 19th century, likely American and in original surface, anthemion and scroll motif, 14 x 66 in., retains a fine likely original surface with scattered losses and wear, surface cracks and some raised spots, reverse with later cleats and hardware, other general wear from age and use
Provenance: Stevens Antiques, Frazer, Pennsylvania, January 1998; Private Baltimore Collection
Estimate: $800 - $1,200
583
Classical Egyptianesque Parcel Painted and Giltwood Mirror early 19th century, stepped cornice and blocked frieze, fluted stiles surmounted by Pharaoh busts flanking a foliate panel over a beveled mirror plate, reeded base, 44 x 28 in., scattered small gilt and surface restorations throughout, later black paint, later mirror plate, minor losses, abrasions, and other imperfections from age, use and restoration
Provenance: Private Collection, Charlotte, North Carolina
Estimate: $800 - $1,200
https://live.brunkauctions.com/auctions/brunk/american-west-
584
American Classical Parcel Painted Maple Grecian Sofa early 19th century, likely New York, out scrolled head and footboard with floral medallions, caned scrolled back, paneled seat rail, carved hairy paw feet with foliate brackets, custom upholstery and cushions, poplar secondary wood, 30 x 72 x 20 in., structurally sound, scattered superficial repairs and reattachments, scattered small losses, feet with later paint and scattered minor paint loss, thin cracks and minor separations, custom upholstery in very good condition, other general wear and imperfections from age and use
Provenance: Estate of Patricia P. Langhorne
Estimate: $4,000 - $6,000
585
New York Classical Parcel Gilt and Paint Decorated Mahogany Sideboard and Cellarette early 19th century, possibly Duncan Phyfe or contemporary, figured backsplash flanked by reeded pilasters, breakfront top with return slides over three conforming drawers, paneled cabinet doors and foliate Ionic columns centered by an arched skirt, acanthus paw feet, 50 x 73 x 24 in.; associated cellarette with a hinged flat dome top opening to a square well, sloped case, reverse ogee base on acanthus paw feet with casters, 27-1/4 x 20-3/4 x 20-1/2 in., sideboard and cellarette in a fine state of preservation overall; sideboard top with thin cracks, filled areas and a small area of sticker transfer, slides with thin cracks, well restored finish, feet with restored paint and gilt, drawer facings with small patches from earlier pulls (pulls would not have been original), front feet with some minor repairs, rear tapered feet appear to be replaced; associated cellarette with minor veneer repairs along base, interior is lacking divider or metal liner within well, well restored surface, feet with restored gilt and paint; both with general wear and imperfections expected with age, use, and restoration
Provenance: Sideboard purchased from F.J. Carey, Penllyn, Pennsylvania, February 1993, for $12,500; Private Baltimore Collection Cellarette sold Christie’s, New York, October 23, 1993, lot 257, sold for $3,680; J. Michael Flanigan, Baltimore, Maryland, November 1993, purchased for $4,330; Private Baltimore Collection
Estimate: $8,000 - $12,000
https://live.brunkauctions.com/auctions/brunk/americanwestern-auction-march-8-2024-13763/catalog#catalog
586
Rare Pair of American Classical Cut Glass Mounted and Gilt Stenciled Burlwood Pier Tables New York, circa 1825-1835, burlwood (possibly burr oak), original shaped marble top over an arched tympanum with stenciled lower border, columnar supports with diamond cut glass capitals and bases, mirrored back flanked by carved and parcel gilt pilasters, ebonized paw feet surmounted by giltwood acanthine scrolls, 37 x 42 x 18-1/2 in., in a fine state of preservation overall, original marble tops with scattered minor discolorations and typical wear, professionally restored finish and gilt stenciling, cut glass mounts in very good overall condition with minor imperfections (not removed for examination), all columns each with two small patches along top and bottom of rear side, columns with scattered shrinkages and some veneer cracks, one table retains original backboard (other with replaced boards), mirror plates appear of the period, feet with later gilt and ebonization, one table with loss to one toe of foot, one table with small molding replacements to rear feet, other general wear and imperfections as expected with age and use
Provenance: According to corresponding documentation, descended in the Mitchell family of Port Washington, Long Island, New York; one table sold via Christie’s, New York, June 3, 1989, lot 76; J. Michael Flanigan, Baltimore, Maryland, May 1991, sold for $35,000; Private Baltimore Collection
Estimate: $10,000 - $15,000
The use of cut glass column capitals was an unusual choice among New York cabinetmakers of the early 19th century, making these pier tables exceptionally rare. Very few documented examples displaying cut glass mounts have survived, including a closely related New York card table in the collection of the White House, featuring identically modeled glass capitals, along with a figured oak veneered top—another unusual choice similar to the current lot and possibly the same cabinetmaker. See Betty C. Monkman, The White House, p. 256.
587
early 19th century, stepped cornice decorated with spherules, pastoral relief reserve, Egyptianesque stiles, beveled mirror plate, blocked base, 48-1/4 x 26-1/2 in., structurally sound, areas of gilt restoration throughout surface, minor surface losses and wear, antique mirror plate is likely a replacement (not removed for inspection), some spherules are slightly loose, other general wear as expected with age, use and restoration
Estimate: $600 - $900
589
588
Five Piece Poole Old English Sterling Tea Service and Silver Plate Tray, American, 20th century, pear forms with scroll and floral decoration, ivory inserts, no monograms, all with marks for Poly, “700”, 97.83 oz. T., 9-1/2 in. coffee pot with matching teapot, covered sugar, creamer and waste; with 24-1/2 in. two handle silver plate tray, all with small dents and minor wear
Provenance: Private Collection, Asheville, North Carolina
Estimate: $2,000 - $3,000
◉This lot contains animal or plant material that may be restricted under federal, state and/or local law. Prospective bidders should check all applicable government wildlife restrictions prior to placing a bid. The buyer is solely responsible for obtaining any necessary licenses or permits from federal, state and/or local authorities applicable to their purchase or transport of the object. Please note that bidders in New Jersey may not bid on any lots containing elephant ivory, mammoth ivory, or rhinoceros horn.
Lunt Alexandra Sterling Silver Flatware, 116 Pieces
American, 20th century, including twelve 9-1/8 in. hollow handle knives, modern stainless blades; twelve 7-1/2 in. forks; twenty 6-5/8 in. salad forks; twenty six 6-1/8 in. teaspoons; twelve 6-7/8 in. oval soup spoons; ten 7-3/8 in. ice tea spoons; twelve 6-1/4 in. hollow handle spreaders, stainless blades; ten serving pieces including two serving spoons, slotted serving spoon, sugar spoon, serving spoon with shaped bowl, slotted serving spoon with shaped bowl, ladle, pick fork, hollow handle cake knife, hollow handle butter knife, no monograms, all with marks for Lunt, 133.14 oz. T. excluding hollow handle pieces; with one drawer wooden case, good condition
Provenance: Private North Carolina Collection
Estimate: $2,500 - $3,500
590
Set of Eight Sterling Goblets
American, 20th century, typical form, no monograms, marks for Amston, 32.22 oz. T., 6-1/2 in., one with 1 in. circular dent, all with light scratches, and small dents
Provenance: Estate of Patricia P. Langhorne
Estimate: $600 - $900
591
Lily of the Valley Whiting Sterling Flatware, 38 Pieces
American, 20th century, including six 9-1/8 in. hollow handle knives, blunt stainless blades; six 7-1/2 in. forks; six 7 in. forks; seven 6 in. teaspoons; six 7-1/8 in. oval soup spoons; six 8-1/8 in. serving spoons; one 8-1/4 in. slotted serving spoons, all with monograms on back, marks for Whiting, 50.78 oz. T. excluding hollow handle knives; with pasteboard case, average wear
Provenance: Private Collection, Asheville, North Carolina
Estimate: $1,000 - $1,500
592
Sterling Tea Service, Bell and Silver Plate Tray, Six Pieces
American, 20th century, including for four piece International Prelude tea service including 10-3/4 in. coffee pot, teapot, creamer and lidded sugar, no monograms, all with marks for International; bell with monogram, 68.05 oz. T.; with Gorham two handle silver plate tray, 27 in., all with small dents, light scratches, and wear; silver plate tray with loss to plate
Provenance: Private North Carolina Collection
Estimate: $1,200 - $1,600
https://live.brunkauctions.com/auctions/brunk/americanwestern-auction-march-8-2024-13763/catalog#catalog
American & Western Auction
593
Pair of American Renaissance Parcel Gilt and Ebonized Walnut and Marquetry Parlor Cabinets circa 1870, likely New York, architectonic pedimented top with incised and paneled decoration, marquetry reserve door flanked by incised columns, birdseye maple interior with adjustable shelves, scrolled foliate stiles, conforming stepped plinth base, one cabinet with incised numeral “VIII” on reverse, 58-1/2 x 44 x 19 in., both cabinets overall structurally sound, one cabinet with loose fitting columns, both with well restored surface, gilt decoration is worn but likely original, some building, later bracing and modern screws to pediments, filled/repaired cracks, scattered minor shrinkages, abrasions and general imperfections as expected with age and use
Estimate: $3,000 - $5,000
594
American Renaissance Parcel Ebonized Walnut and Marquetry Center Table circa 1870, likely New York, circular figured walnut top centered by a marquetry reserve, incised frieze with applied scalloped brackets, quadripartite architectonic base with rosette and scrolled acanthus accents, turned and incised feet with wood casters, 29-1/2 x 27-1/2 in., structurally sound and in generally good condition, top with a thin veneer repair and scattered veneer shrinkages and abrasions, some retouches to ebonization of top, base with scattered wear and losses to ebonized surfaces, underside of top with later brace block, traces of gilt decoration remain within incised lines, small loss to one foot, other general wear and imperfections expected with age and use
Estimate: $1,200 - $1,800
595
American Renaissance Parcel Gilt and Ebonized Walnut and Marquetry Center Table, circa 1870, rectangular burl walnut top centered by a marquetry cartouche reserve, shaped pendant brackets, paneled and incised decoration throughout, architectonic scrolled legs with gilt incising and foliate accents, 28-1/2 x 33 x 23-1/2 in., structurally sound and in generally good condition, lacking casters, well restored surface, later gilt within incising, one pendant bracket is a later replacement, top reset during restoration with small patch at top of one leg, scattered small shrinkages and general imperfections from age and use
Estimate: $1,200 - $1,800
https://live.brunkauctions.com/auctions/brunk/american-western-auction-march-8-2024-13763/catalog#catalog
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596
Roger B. Sprague
(New Mexico, 1937-2010)
Church, Ocate, 1988, signed lower right “RBSprague”, also inscribed canvas verso “RBS ‘88”, oil on canvas, 18 x 24 in.; dark wood gallery frame, 20 x 26 in., painting in good condition; frame in good condition
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $800 - $1,200
597
Sheldon Parsons
(New Mexico/ New York, 1866-1943)
Glory of the Aspens, signed lower left “Sheldon Parsons”, also titled and signed panel verso, oil on wood panel, 32-1/4 x 24 in.; dark stained wood frame, 33-1/2 x 25 in., painting in good condition; frame with minimal wear
Provenance: The John and Margaret Hill Collection of American Western Art (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $5,000 - $7,000
598
Sheldon Parsons
(New Mexico/ New York, 1866-1943)
Charisma in November, Santa Fe, New Mexico, signed lower left “Sheldon Parsons”, signed and titled on paper label affixed to canvas verso, oil on canvas, .36 x 36 in.; dark finished wood gallery frame, 38 x 38 in., canvas with wear/fraying at stretcher edge; frame with slight wear at corners and edges
Provenance: Fenn Galleries, Santa Fe, New Mexico (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $5,000 - $7,000
599
Theodore Van Soelen (New Mexico/Minnesota, 1890-1964)
Cowboy’s Day Off, signed lower center “Van Soelen”, inscribed verso by artist with medium information, tempera on Masonite, 24 x 40 in.; dark wood frame, 25-1/4 x 41 in., painting in good condition overall, slight surface abrasions upper right corner; frame in good condition
Provenance: Gerald P. Peters, Santa Fe, New Mexico (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $10,000 - $15,000
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600 William Moyers (New Mexico, 1916-2010)
A Hard Ride or a Long Walk, signed lower right “Wm Moyers”, inscribed with title stretcher verso, oil on canvas, 23 x 28 in.; fine carved gilt wood frame, 30-1/4 x 35-1/4 in., painting in overall good condition; frame with wear, some small abrasions and nicks
Provenance: Fenn Galleries, Santa Fe, New Mexico (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $4,000 - $6,000
601
Howard Norton Cook
Howard Norton Cook (New Mexico,1901-1980)
Taos Indian (Fat John), portrait of John D. Lujan (Luhan), 1927, edition of 50, signed lower right “Howard Cook/1927”, lower, wood block on paper, image 12 x 10 in.; modern black frame, 20-1/4 x 17-1/4 x 1 in., not examined out of frame, some toning
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $600 - $900
According to Duffy (no. 65), this print was set to be printed in an edition of 50 but only forty were ever pulled).
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602
Oscar Berninghaus (New Mexico/Missouri/Kansas, 1874-1952)
Scout of the Caravan, signed lower right “O.E. Berninghaus”, inscribed canvas verso “Scout of the Caravan/O.E. Berninghaus/Taos, N.M.”, oil on canvas, 25 x 30 in.; dark wood gallery frame, 26-3/4 x 31-3/4 in., painting with some surface dirt; frame with abrasions
Provenance: The John and Margaret Hill Collection of American Western Art; Inscribed in pen stretcher verso “Mr. C.R. Smith; Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $5,000 - $7,000
603
Attributed to Jervis McEntee (American, 1828-1891)
Hudson River Sunset, unsigned, oil on canvas, 10-3/4 x 18-3/4 in.; period carved gilt wood frame, 22 x 30 in., scattered spots of retouch sky; frame with wear, small losses, separation at corners
Provenance: Private Collection, Rhode Island
Estimate: $1,000 - $2,000
605
Gilbert Gaul
(American, 1855-1919)
Snow Scene, signed lower left “Gilbert Gaul”, oil on canvas, 11-1/4 x 15-1/4 in.; gilt wood frame, 16-1/4 x 20-1/4 in., wax lined, retouch, possibly trapped grime; frame with minimal wear
Provenance: Mrs. Marshall B. Wood; Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $800 - $1,200
606
William Langson Lathrop (American, 1859-1938)
Tonalist Landscape with Picket Fence, signed lower left “WL Lathrop”, oil on canvas, 30 x 24 in.; dark wood frame, 37 x 31 in., original canvas and stretchers, surface dirt, stretcher marks; frame with wear
Provenance: Private Collection, Hillsborough, North Carolina
Estimate: $2,000 - $3,000
604
Gilbert Gaul (American, 1855-1919)
Summer Scene, On the Hillside, signed lower right “Gilbert Gaul”, oil on canvas, 17 x 13 in.; reproduction carved gilt wood frame, 21-1/4 x 17-1/4 in., lined, stretcher marks; frame with wear and losses
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $1,000 - $2,000
608
Alexander Helwig Wyant (American, 1836-1892)
Sunset Landscape, 1889, signed and dated lower left “AH Wyant 89”, oil on canvas, 14 x 20 in.; reproduction gilt wood frame, 19-1/4 x 25-1/4 in., lined, acrylic backed, stabilized crackle: frame with some abrasions
Provenance: Various Provenance labels verso, in uncertain order: American Art Association/Anderson Galleries, New York, NY; I.N. Seligman; Newman Galleries, Philadelphia, Pennsylvania; M.H. Bury, Villanova, Pennsylvania; Mr. and Mrs. Walter Knestrick; Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $1,000 - $2,000
610
Eli Terry Pillar and Scroll Shelf Clock
607
Edward Lamson Henry (American, 1841-1919)
The Homecoming, signed and dated lower left “E.L. Henry 1899”, oil on canvas, 15-3/4 x 24-3/4 in.; probably original carved gilt wood and composition frame, 26-1/2 x 35-1/2 in., original canvas and stretchers, unusual fluorescence pattern, seemingly pigment related, crackle, cupping and cleavage, uneven varnish; frame with wear, cracking, tiny losses
Provenance: Private Collection, Virginia Beach, Virginia
Estimate: $2,500 - $3,500
609
Three Boston Classical Mahogany Side Chairs
circa 1820-1830, scrolled crest rail, drapery carved reeded splat, ogee molded seat rail, lobed and ring turned legs, ovoid feet, 32-1/4 x 17-1/2 x 19 in., all three chairs structurally sound and in generally good condition, restored surface with attractive patina, one chair with repaired crest rail at stile joints, one chair with repaired splat, one chair with ended out rear feet and replaced front ball feet, scattered minor shrinkages and abrasions, some replaced screws, other general imperfections and wear expected with age and use, upholstery is worn
Provenance: J. Michael Flanigan, Baltimore, Maryland, May 1995, purchased for $7,500; Private Baltimore Collection
Estimate: $1,500 - $2,500
19th century, painted wood dial with Roman numerals and gilt highlights, set in mahogany wood case with hinged front door with eglomise lower panel, interior label for “Patent Clocks ... Eli Terry Made and sold at Plymouth, Connecticut by Eli. Terry & Sons”, front panel verso with numerous illegible inscriptions, with winder, weights, and pendulum, 31 x 17-1/4 x 4-1/2 in., case with scattered scratches and bumps, minor cracks and small chips at interior edges, dial with crackle and small losses to paint, losses to interior paper label, brass urn finials slightly loose, unused holes at backboard, upper glass panel at front door with crack to upper right corner, scattered losses to eglomise paint; according to appraisal from C.L. Prickett, finials and two side returns are later or replaced
Provenance: C.L. Prickett (accompanied by copy of receipt and authentication dated 6/17/1987 for $3,925); Private Baltimore Collection
Estimate: $800 - $1,200
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American & Western Auction
611
Large Eglomise Pillar and Scroll Shelf Clock
American, 19th century, painted wood dial with Arabic numerals, set in mahogany case with eglomise and mirrored front panels, inlaid ivory escutcheon, 35-1/2 x 17-3/4 x 6 in., works not visible, not tested for functionality, painted dial and mirror likely later/replaced, mirror plate not removed for inspection, some spotting to mirror plate, case with scattered scratches, bumps, small chips, and areas of infill, dial panel with one pin loose at hinge, proper right column capital slightly loose, minor losses to eglomise paint
Provenance: Private Collection, Weaverville, North Carolina
Estimate: $500 - $700
◉This lot contains animal or plant material that may be restricted under federal, state and/or local law. Prospective bidders should check all applicable government wildlife restrictions prior to placing a bid. The buyer is solely responsible for obtaining any necessary licenses or permits from federal, state and/or local authorities applicable to their purchase or transport of the object. Please note that bidders in New Jersey may not bid on any lots containing elephant ivory, mammoth ivory, or rhinoceros horn.
612
American Classical Mahogany Window Bench Form Footstool circa 1825-1830, turned cylindrical upholstered arms, upholstered seat, turned feet, watered silk upholstery, underside with old pencil inscription, 13-1/2 x 29-1/4 x 14 in., structurally sound and in generally good condition, arms are slightly loose with later pegs connecting arms to seat, scattered small surface losses and abrasions, small discolorations in upholstery, other minor wear from age and use
Provenance: Aileen Minor, Princess Anne, Maryland, January 1993; Private Baltimore Collection
Estimate: $800 - $1,200
613
Pair Lead Greyhound Garden Statues early 20th century, British or American, unmarked, the identical pair 23-1/2 in. tall on integral rectangular bases 1-1/4 x 10-1/2 x 7 in.; on associated fiberglass plinths, stamped “Hen Feathers”, 20th/21st century, 7 x 13-1/2 x 13-1/2 in., attractive surface patina commensurate with age and outdoor use, the typical brown surface staining, wear at bottom edge, possibly removed from an original mount or plinth; fiberglass plinths with wear and abrasions
Provenance: Private Collection, Asheville, North Carolina
Estimate: $1,000 - $2,000
614
Prairie School Style Arts and Crafts Green on Green Slag Glass Lamp American, 20th century, unsigned, rectangular box form wood base with six cutouts and three caramel slag glass inset panels, trapezoidal wood shade frame with four inset caramel and green slag glass panels, wired for electricity, 18-1/2 x 22 x 12-1/2 in. overall, surface dirt, minor bumps and scratches to frame, shade with one glass panel cracked, base with crack and separation to one glass panel, one panel with some edge roughness (possibly as made), some lifting/looseness to one wood panel at shade top, not tested for functionality
Provenance: Property from the John B. Schorsch Collection
Estimate: $1,000 - $1,500
615
William Hentschel for Rookwood Vase (American, 1892-1962), dated 1912, base stamped with Rookwood Pottery mark, William Hentschel mark, and “XII/1658B”, 14-5/8 x 7-3/8 in. diameter, anomalies, scratches to surface, slight wear to base
Provenance: Private Collection, Charlotte, North Carolina
Estimate: $600 - $900
Accompanied by exhibition catalog for William Hentschel.
616
Gorham Portsmouth Sterling Flatware, 39 Pieces
American, 20th century, including six 8 in. hollow handle knives, stainless blades; eight 7-1/4 in. forks; four 6-3/4 in. salad forks; nine 6 in. teaspoons; two 6-3/4 in. oval soup spoons, gilt bowls; two 6-3/4 in. round soup spoons, gilt bowls, eight serving pieces including two jelly servers, solid handle spreaders, lemon fork, ladle, solid handle butter knife, slotted bowl serving spoon, slotted bowl serving fork, no monograms, marks for Gorham, 38.28 oz. T. excluding hollow handle items, average wear
Provenance: Mary Lou Gillum, Asheville, North Carolina
Estimate: $900 - $1,500
618
617
Towle Dorothy Manners Sterling Flatware, 21 Pieces
American, 20th century, including five 7-3/4 in. forks; five 7-1/4 in. forks; two 5-1/2 in. ice cream spoons; two 5-5/8 in. cocktail forks; seven serving pieces including two serving spoons, sugar spoon, olive spoon and two olive forks, all with monograms, marks for Towle, 27.13 oz. T., all with average wear
Provenance: Private Collection, Asheville, North Carolina
Estimate: $500 - $800
Three Pieces Sterling, Gorham Coffee Service and Windsor Small Tray
American, 20th century including three piece Gorham, Plymouth style, tea service, wooden finials and handles, monograms, all with marks for Gorham, 10 in. coffee pot, covered sugar, and waste; Reed & Barton Windsor tray, 7 x 5 in., 47.88 oz. T. gross weight, coffee pot with bent foot and lid, creamer with bent foot, sugar with cracks and loss to wooden finial, all with small dent
Provenance: Private Collection, Matthews, North Carolina
Estimate: $900 - $1,200
619
Six Sterling Table Items
American, 20th century, including International Wild Rose bowl; Gorham oval bread tray; International Windsor oval tray; International Prelude compote; International Lord Saybrook gravy boat and underplate, no monograms, 44.14 oz. T., 6-1/4 in. to 11-3/4 in., light scratches and typical wear
Provenance: Private Collection, Asheville, North Carolina
Estimate: $800 - $1,200
620
Silver Goblets and Small Plates, 14 Pieces
American, 20th century, including three sterling Gorham goblets, “272”; ten sterling small plates including five Wallace with monograms; four Gorham, no monogram; one International Lord Saybrook; 14.3 oz. T., 6-1/4 in. to 6-5/8 in.; with one silver plate small plates, all with light scratches and wear
Provenance: Private Collection, Asheville, North Carolina
Estimate: $800 - $1,200
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621
Seven Sterling Goblets
American, 20th century, all typical form: two trophies; one Gorham with scroll decoration on foot; two other pairs, 25.07 oz. T., 6-1/2 in. to 6-3/4 in., dents, light scratches and wear
Provenance: Estate of Patricia P. Langhorne
Estimate: $400 - $800
622
Fisher Sterling Water Pitcher
American, 20th century, round body with helmet form spout, scroll handle, “R” monogram, marks for Fisher, “2026”, 19.08 oz. T., 1 in. dent on side, other small dents, light scratches, and wear
Provenance: Private Collection, Asheville, North Carolina
Estimate: $300 - $600
623
Set of Six Sterling Goblets
American, 20th century, typical form with foliate border, all with monograms, marks for International, 19.46 oz. T., 6 in., all with dents and wear
Provenance: Private Collection, Asheville, North Carolina
Estimate: $300 - $600
624
International Sterling Water Pitcher
American, 20th century, urn form with band decoration, monogram, marks for International, “5549”, 24.49 oz. T., 8-1/4 in., heavy damage to spout, light scratches, and wear
Provenance: Private Collection, Asheville, North Carolina
Estimate: $400 - $800
625
Dominick & Haff Sterling Hot Water Pot
American, early 20th century, swirl wave and floral repousse decoration, ivory spacers, hinged spout, scroll finial, marks for Dominick & Haff, “452”, 26.65 oz. T., 10 in., dent in foot, light wear
Provenance: Collection of the Thomas Rose House, A Charleston, South Carolina Collection; Brunk Auctions, September 2017, lot 417, hammered $650; Private Virginia Collection
Estimate: $400 - $800
◉This lot contains animal or plant material that may be restricted under federal, state and/or local law. Prospective bidders should check all applicable government wildlife restrictions prior to placing a bid. The buyer is solely responsible for obtaining any necessary licenses or permits from federal, state and/or local authorities applicable to their purchase or transport of the object.
Illustrated in Catherine Forrester, At Home in Charleston: Traditions and Entertaining in a Charleston Home (Wimmer Cookbooks, 2006).
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626
G.T. Pendleton
(American, 19th century)
Portrait of Elizabeth O’Nora Yaeger, unsigned, oil on canvas, 45 x 26 in.; period carved painted wood frame, 48-3/4 x 30 in., wax lined, aluminum backed, stabilized crackle, retouch; frame with wear and losses
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $800 - $1,200
627
G.T. Pendleton
(American, 19th century)
Portrait of Presley Neville Yaeger, inscribed verso “Painted by G.T. Pendleton...??”, oil on canvas, 34-1/4 x 26 in.; period grain painted wood frame, 38-1/2 x 30 in., acrylic lined, metal strip lining; stabilized crackle, retouch; frame with wear and small losses
Provenance: Label verso: “Gift of Mary Dudley Cobb
Pilcher Hopkins in memory of her maternal grandmother
Laura Barbour Howe” Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $800 - $1,200
629
628
G.T. Pendleton
(American, 19th century)
Portrait of Susan Frances Hardin Yaeger, unsigned, oil on canvas, 34-1/4 x 26 in.; period grain painted wood frame, 38-1/2 x 30 in., lined, metal strip lining, stabilized crackle, retouch; frame with wear commensurate with age
Provenance: Label verso: “Gift of Mary Dudley Coll
Pilcher Hopkins in memory of her maternal grandmother
Laura Barbour Howe; Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $800 - $1,200
American Portrait, Boy and his Dog (American School, 19th century)
A Young Man in Fancy Dress, unsigned, oil on canvas, 50 x 40 in.; marbleized wood frame, 57-1/2 x 47-3/4 in., lined, stabilized crackle, stretcher marks, areas of retouch; frame with wear and small losses
Provenance: Private Collection, Sewickley, Pennsylvania
Estimate: $5,000 - $7,000
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630
Attributed to Ammi Phillips (New York/Connecticut, 1788-1865)
A Pair of Portraits, both unsigned, “he” inscribed Masonite verso “?---1823 Perot”, both oil on canvas, 31-1/4 x 21-3/4 in.; matching fine period gilt wood frames, 41-1/4 x 31-1/2 in., both laid on Masonite, evidence of old repairs, retouch, uneven surfaces; frames with wear and abrasions
Estimate: $3,000 - $5,000
631
American School Portrait of a Man (19th century)
A Learned Gentleman, unsigned, oil on canvas, 30-1/4 x 25 in.; ornate carved gilt wood frame, 38 x 33 in., original canvas and stretchers, crackle, loose canvas, surface scratches at upper edge, small area of paint loss at lower edge; frame with wear and losses
Provenance: The Estate of Dr. J. Clayton Davie and Family
Estimate: $700 - $900
632
Jacob Eichholtz (Pennsylvania, 1776-1842)
Portrait of Mrs. Jacob Leman, Sister of the Artist, circa 1813, unsigned, oil on canvas, 29 x 24 in.; period carved gilt wood frame, 36 x 31 in., original canvas and stretchers, small patch repair verso, crackle, retouch; frame with wear, cracking, small losses
Treatment report from Eric Gordon Conservation, Baltimore, Maryland, accompanies this lot.
Provenance: Leman Family; Miss Adelia Leman, 1857-1947; Moose Hall, Lancaster, Pennsylvania, 1948; Mr. and Mrs. Robert Shoemaker, Lancaster, Pennsylvania; Mr. Richard Witmer; Private Baltimore Collection
Estimate: $3,000 - $5,000
Exhibited: Lancaster Exhibition, 1912, lent by Miss Adelia Leman; Eichholtz Exhibition, York, Pennsylvania, 1959, lent by Mr. and Mrs. Robert Shoemaker
Literature: Beal Rebecca J. 1969. Jacob Eichholtz 1776-1842 : Portrait Painter of Pennsylvania Philadelphia Pa: Historical Society of Pennsylvania, p. 133, ill. p. 296.
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633
Plumer Prescott (Illinois, 1833-1881)
Portrait of a Bearded Man in a Fur Cap, 1880, signed lower left “PPrescott 1880”, oil on canvas, 24 x 20-1/4 in.; gilt wood and composition frame, 33-1/4 x 29-3/8 x 4 in., old patch repair upper center verso, original canvas and stretchers, crackle, surface dirt, stretcher marks; frame with wear and losses
Provenance: The Estate of Dr. J. Clayton Davie and Family Estimate: $600 - $800
634
Prior Hamblin School (American, mid 19th century)
Portrait of a Lady with a Hair Net and Red Bow, oil on board, 17 x 12 in.; period gilt wood frame, 22 x 17 in., surface dirt, surface wear, areas of retouch; frame with wear commensurate with age
Provenance: Private Collection, Charlotte, North Carolina
Estimate: $3,000 - $5,000
635
Valori Fussell (California, 20th/21st century)
Self Portrait, Flanders, 1992, unsigned, inscribed in pencil with artist’s name and address verso, oil on stretcher mounted panel, 13 x 10 in.; dark finished wood frame, 19 x 16 in., painting in good condition; frame in good condition
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $400 - $600
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637
On the Hudson, unsigned,
stabilized crackle; frame with some abrasions
Provenance: Peter Tillou, Litchfield, Connecticut, purchased 1985; Private Collection
Estimate: $6,000 - $8,000
Robert Loftin Newman (American, 1827-1912)
Two Women, inscribed verso “RL Newman Exh ATL Fine Arts Museum”, oil on canvas, 12 x 9 in.; period carved gilt wood frame, 16 x 13 in., heavily varnished surface, crackle, retouch; frame with wear, regilt
Provenance: Graham Gallery, New York, NY (presumably, label verso); Mr. and Mrs. Albert Werthan (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $1,000 - $2,000
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638
Currier & Ives - Husking (Nathaniel Currier (1813-1888) and James Merritt Ives (1824-1895))
Husking, 1861, after Eastman Johnson by Charles Severin, hand colored lithograph with gum arabic highlights, image 21-1/4 x 27-1/8 in.; modern frame, 28-3/4 x 35-1/4 x 1-3/4 in., full sheet, tideline, toning recto and verso associated with old wood panels, flyspeck verso, remnant hinging tape, fading, two small pin or registration holes, some foxing; frame with abrasions
Provenance: Estate of Barbara F. Chatham, Ronda and Roaring Gap, North Carolina
Estimate: $500 - $700
639
Nathaniel Currier - American Farm Scenes (American, 1813-1888)
American Farm Scenes, No. I, after Francis Palmer, 1853, large folio, hand colored lithograph, image 16-5/8 x 24 in., sheet 21-3/8 x 29-15/16 in.; original painted wood frame, 23-7/8 x 32-7/16 x 1 in., registration hole, 3/16 in. tear to the right (in tree), small hole in right margin, full sheet, toning recto and verso, some flyspeck, tidelines, minor chipping, discoloration to front from wood panels, waviness due to humidity
Provenance: Estate of Barbara F. Chatham, Ronda and Roaring Gap, North Carolina
Estimate: $400 - $600
640
Attributed to Henry Benbridge (American, 1743-1812)
Portrait of James McNutt, period label verso, “James Mc Nutt Esq.re / of Augusta Co Virginia in 1780 / Henry Benbridge, Pinxt, oil on canvas, 30 x 25 in.; period giltwood frame, 36-3/4 x 32 in., surface cleaned some time ago, repaired tear in area of chest with associated retouch, relined, cracklure throughout, small areas of retouch primarily in background, edges and lip; frame with scratches
Provenance: Sold at Skinner, November 1, 2008
Estimate: $2,000 - $4,000
James Mcnutt was born in 1740, married Margaret McElroy in 1768 and resided in Augusta, Virginia. Together they had three children. James McNutt died September 6, 1811 and is buried at Old Providence Church, Rockbridge, Virginia.
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American & Western Auction
641
Anna Heyward Taylor (American/South Carolina, 1879-1956)
Charleston House Tops, signed lower right, “Anna Heyward Taylor”, linocut, 10-3/8 x 14-3/8 in.; black wood frame, 17-1/2 x 15-1/4 in., surface is in very good condition, paper slightly toned under mat; frame with light wear
Estimate: $4,000 - $6,000
642
Elizabeth O’Neil Verner
(American/South Carolina, 1883-1979)
In Saint Andrew’s Parish, signed lower right “Elizabeth O’Neill Verner 30/80”, inscribed lower left “In St. Andrews Parish”, etching, 8-3/4 x 6-5/8 in.; modern gilt wood frame, 14 x 16-3/4 in., good rich imprint, light toning, one edge of sheet trimmed; frame with light wear
Provenance: Carolina Galleries, Charleston, South Carolina; From a Prominent Charleston, South Carolina Family
Estimate: $1,000 - $1,500
644
643
Alfred Heber Hutty (American/South Carolina, 1877-1954)
Gossips, Ile de Noirmoutier, c. 1927, signed “Alfred Hutty” in pencil lower right and snail cypher, etching on paper, plate size 10-1/8 x 8-1/4 in.; modern frame, 19-1/2 x 15-3/4 in., not examined out of frame, paper with subtle toning, mat with some moisture damage at bottom edge.; frame with light wear
Provenance: From a Prominent Charleston, South Carolina Family
Estimate: $400 - $600
Edward von Siebold Dingle (American/Georgia, 1893-1975)
Two works: Cardinal and Magnolia, signed E von S. Dingle, watercolor on illustration board, 20-1/4 x 15 in.; gilt wood frame, 27 x 21 in.; Clay-colored Sparrow on Chinese tallow tree, signed lower right “ES Dingle, inscribed verso “No 2057 ... price $15.00”, watercolor on illustration board, 14-3/4 x 10 in.; wood frame, 19 x 15 in., cardinal with some light foxing and discoloration under mat; frame with slight wear; Sparrow with very clean surface, lovely background, frame with light wear
Provenance: Private Collection, Spartanburg, South Carolina
Estimate: $600 - $800
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646
645
American Federal Inlaid Mahogany
Demilune Sideboard
circa 1800, likely Maryland or Virginia, shaped demilune top, conforming case with three frieze drawers over lower cabinets interspersed with bottle drawers, tapered droplet inlaid legs, 41-3/4 x 71-3/4 x 26-1/4 in., structurally sound, all legs have been ended out approximately four inches, top with thin spanning separation, scattered thin cracks, replaced pulls, scattered small veneer repairs and losses, veneer shrinkages, some replaced banded inlay, other general wear and imperfections expected from age and use
Provenance: Estate of Patricia P. Langhorne
Estimate: $3,000 - $5,000
Rare Baltimore Classical Mahogany Tall Case Clock circa 1810-1830, pedimented bonnet with arched glass door and attenuated columns, painted dial with Federal shields, moon phase painted with pastoral scene and seascape, brass movement, figured case with inset reeded quarter columns and Moorish paneling, bulbous feet, includes two weights, two keys, and winder, 94-1/2 x 21-1/2 x 11-1/2 in., structurally sound, dial and moon phase with restored painted surface, crown of pediment with minor breaks and small restorations, bonnet backboard with repairs and a later patch, some later bracing to case interior, scattered veneer shrinkages and small veneer repairs, lower backboard with separation and repair, feet are replaced, other general wear as expected with age and use, clock functionality not tested
Provenance: Private Baltimore Collection
Estimate: $2,000 - $4,000
647
Baltimore Classical Giltwood Mirror with Reproduction Mate circa 1815-1825, molded surround with rounded corner medallions, 36 x 59-1/2 in.; reproduction copy made by William A. Lewin, Baltimore, Maryland (who performed conservation treatment on the period example); accompanied by conservation report, receipts, and 19th century newspaper clipping found with period example mirror, both mirrors in very good general condition, period mirror professionally restored (see accompanying conservation treatment report), restored surface with preserved age-related wear and replaced mirror plate; reproduction example with antiqued surface made to match period example, both with light wear from usage
Provenance: According to receipt for period mirror, Estate of Mrs. Augustine Jacqueline Todd, direct descendant of Samuel Washington (brother of George Washington), Charlestown, West Virginia; Aileen Minor American Antiques, Centreville, Maryland, February 2001, purchased for $6,500; Private Baltimore Collection
Estimate: $1,500 - $2,500
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American & Western Auction
Fine Baltimore
and
circa 1820-1840, possibly the shop of John and Hugh Finlay / Finley or related cabinetmaker, rectangular top with anthemion stenciled frieze, bulbous ring turned standard mounted with brass roundels, X form base surmounted by scrolled and brass mounted brackets, turned and tapered feet with foliate cuffs and casters, 38 x 37 x 19 in., in a fine state of overall preservation, later finely cast cuffs and casters added (original height 34-1/2 in.), mostly original painted and stenciled surface with scattered small retouch throughout, scattered small paint losses, scattered abrasions, other general imperfections as expected with age and use
Provenance: Christie’s, New York, January 18, 1992, lot 543, sold for $6,600; J. Michael Flanigan, Baltimore, Maryland, 1992, sold for $7,510; Private Baltimore Collection
Estimate: $3,000 - $5,000
This table is closely related to an important group of painted Baltimore tables made by John Finlay for John Ridgely’s massive Maryland country estate known as “Hampton,” (see Elder, Baltimore Painted Furniture, fig. 42 and Wiedman, Furniture in Maryland, fig. 171). The distinctive form of this table, featuring anthemion stenciling and an X-form base, is specific to Baltimore cabinetmakers of the early 19th century.
Baltimore
Overmantle Mirror early 19th century, breakfront cornice decorated with spherules, relief panel decoration centered by a swagged putto and frolicking putti, divided mirror plate flanked by Ionic reeded columns, swagged base, 33 x 68-1/2 in., structurally sound, professionally restored (see accompanying conservation treatment report), later gilt throughout with restored original gilt, corner blocks with replaced ornaments, other rebuilt decoration, some thin cracks, mirror plate with one area of foil backing where silver is missing, other general wear and imperfections expected with age, use, and restoration
Provenance: According to receipt, Estate of Mrs. Augustine Jacqueline Todd, direct descendant of Samuel Washington (brother of George Washington), Charlestown, West Virginia; Aileen Minor American Antiques, Princess Anne, Maryland, February 1991, purchased for $7,875; Private Baltimore Collection
Estimate: $1,200 - $1,800
650
Pair of Baltimore Classical Mahogany
Card Tables, early 19th century, possibly William Camp, foldover top with reeded edge, ebonized molding, interior compartment, spiky reeded standard with stacked ring base, reeded saber legs with brass paw feet, casters, each with faint illegible pencil inscriptions inside compartment, 28-3/4 x 37-3/4 x 18-3/4 in., both tables structurally sound and in good overall condition, one table with a repaired leg and later screws on underside of leg at repair, both tables resurfaced, one table with original iron cross bar under base (other table lacking cross bar), one table with thin through crack to one leaf and butterfly joint repairs at underside, one table with small veneer loss and repair at one rear corner, one table with replaced brass paw foot and caster, other general wear and imperfections as expected
Provenance: F.J. Carey, III, Penllyn, Pennsylvania, February 1989, sold for $14,700; Private Baltimore Collection
Estimate: $2,000 - $3,000
The card tables offered here feature what is commonly referred to as a ”pillar and claw” base—a popular Regency-inspired design attribute among Baltimore cabinetmakers during the 1820s. The base of these tables relate closely to a drum table illustrated in Weidman, Classical Maryland, fig. 156, showing similar spiky reeding and stacked rings within the base motif.
651
Baltimore Mahogany Grande Sonnerie Table Clock
engraved floral silvered sheet brass dial with Roman numerals, marked “Jn. Trebily/Baltimore” and “Tempus Fugit” in the arch, replacement eight day spring powered movement, 14-7/8 x 9-1/4 x 6 in., not tested for functionality, lacking pendulum and winding key, discoloration, wear, and tarnish to dial, case with cracks, losses, and repairs, cracking and loss to moldings, back door ajar with replaced glass pane
Provenance: Bonhams Skinner, Boston, Massachusetts, December 1, 2012 lot 535
Estimate: $800 - $1,200
652
Sterling Repousse Footed Bowl
American, 20th century, round with floral repousse decoration, no monogram, no maker’s mark, “925/1,000”, “27”, 21.59 oz. T., 6 x 9 in., small interior dents
Provenance: Private Virginia Collection
Estimate: $500 - $800
653
Five Sterling Bowls/Goblet Golf Trophies, Most Asheville 20th century, including goblet, “Country Club of Asheville/1953...”, marks for Gorham, “272”; three Revere style bowl, all with inscription for Biltmore Forest Country Club, 1956, 1958, 1958, all with marks for Gorham; with one small Revere style bowl, inscribed “Billy Rose Trophy/1958”, 53.62 oz. T., 4-1/2 in. to 7-1/2 in., all with light scratches and wear
Provenance: Private Collection, Asheville, North Carolina
Estimate: $1,000 - $1,500
654
Eugene H. Thomason
(American/North Carolina, 1895-1972) Feldspar Quarry, North Carolina, oil on Masonite, signed lower left “Eugene Thomason”, inscribed verso “Feldspar Mine, Western NC, Eugene Thomason”, 30 x 36 in.; modern cove molded wood frame, 36 x 42 in., surface is very good; frame is like new
Provenance: Knoke Galleries, Marietta Georgia; Sold at Brunk Auctions 7/21/2001; Estate of Sara Graham Peacock
Estimate: $2,000 - $3,000
https://live.brunkauctions.com/auctions/brunk/americanwestern-auction-march-8-2024-13763/catalog#catalog
American & Western Auction
655
Lamar Dodd (American/Georgia, 1907-1986)
Hoover Dam, signed lower right “L Dodd”, ink on paper, sight 23 x 19 in.; fine modern frame, 31-1/4 x 36 in., surface is excellent, not examined outside of archival framing; frame with minor abrasions
Provenance: Property from a Private Collection sold to benefit the University of Georgia Foundation
Estimate: $1,500 - $2,500
656
Lamar Dodd (American/Georgia, 1909-1996)
Waterfall Camden, 1992, signed lower right “Lamar Dodd, watercolor on paper, sight 28 x 19 in.; modern gilt wood frame, 40 x 31 in., surface is very good with bright color, light foxing bottom edge, not examined out of archival framing; frame with light wear
Provenance: Property from a Private Collection sold to benefit the University of Georgia Foundation
Estimate: $1,000 - $1,500
Literature: Dodd, Lamar, William U. Eiland, and Emily Ann Arthur. Lamar Dodd: The C.L. Morehead, Jr. Collection. Athens, GA: C.L. Morehead, Jr, 1996, No. 186, ill. pg.111
657
Anthony Lord
(American/North Carolina, 1900-1993)
Bayeux Cathedral, Brittany, 1927, signed lower right “Anthony Lord”, watercolor on paper, illustration on page 51 of included book, sight 8 x 11 in.; painted wood frame,18-1/4 x 14-3/4 in.; together with 1927, The Good natured Chronicle of a Journey, 1995, The Captain’s Bookshelf, Asheville, North Carolina., painting in very good condition, not examined out of archival framing; frame with light wear; book with signs of light use
Provenance: Estate of Sara Graham Peacock
Estimate: $400 - $600
658
Bill Sawyer
(American/Tennessee, 1936-2020)
See Her Face! Looking at the Freaks, signed under left steps “Bill Sawyer”, oil on board, 20 x 16 in.; modern painted frame, 21-1/4 x 17-1/4 in., minor abrasions, light surface dirt; frame separating slightly at corners
Provenance: Tennessee Fine Arts Center; Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $3,000 - $5,000
Bill Sawyer was a self-taught artist from Nashville. He is said to have taken up painting while stationed in France in the U.S. Army Corps of Engineers in the 1950s. He went on to have several shows in several cities in the United States including San Diego, Memphis, Nashville and New York. He “mysteriously” stopped painting in the 1970s and lived in Nashville until he passed away in 2020.
659
Patrick Vincent Berry (American/New York, 1852-1922)
Foothills of the Blue Ridge Mountains, signed lower right “P V Berry”, oil on canvas, 18 x 30 in.; modern wood frame, 22-1/2 x 34-1/2 in., cleaned and wax lined, re-stretched, crackle throughout surface, areas of retouch in the sky and scattered speckles in the foreground; frame with light wear
Provenance: Walker Art Center, Minneapolis Minnesota; Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $800 - $1,200
661
William Brown Cooper (American/Tennessee, 1811-1900)
Italian Scene, not visibly signed, oil on canvas, 16 x 9-1/2 in.; gilt wood frame, 191/4 x 12-1/2 in., linen backed and wax lined, with modern spring stretchers
Provenance: label verso: “This Italian scene by William Cooper was given to Nannie Eakin Steger (Mrs. Thomas M Steger) by the wife of the artist. Presented to the Nashville Art Assn. (Now Nashville Museum of Art) by Mrs. Steger in memory of her daughter, Mrs. Felicia Steger Gibson -- 1913. Owned by Nashville Museum of Art and loaned to Watkins Institute”; Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $400 - $600
660
West Virginia Landscape (American School, 19th century) Cheat River Gorge (near Morgantown, WV), not visibly signed, oil on canvas, 36 x 54-1/4 in.; giltwood frame, 41-1/2 x 59-1/4 in, painting is lined and re-stretched, crackle throughout surface, minor retouch in mountain top at left, scattered spots in sky; frame with light wear
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund Estimate: $400 - $600
662
Emil Holzhauer
(American/Georgia, 1887-1986)
Florida Pier, 1955, signed lower right “Holzhauer”, watercolor on paper, sight 141/2 x 21-1/2 in.; modern frame, 23-1/2 x 30-1/4 in., good clean image, bright color; frame with light wear
Provenance: Dave and Chris Knoke, Marietta, Georgia
Estimate: $400 - $600
https://live.brunkauctions.com/auctions/brunk/americanwestern-auction-march-8-2024-13763/catalog#catalog
663
Roderick D. MacKenzie (American/Alabama, 1865-1941)
Two drawings: Mixers & Pouring Iron into the Pig Machine, 1921, pastel on paper, each one 24 x 30 in.; black painted wood frame, 28 x 33-1/4 in., Wood on back of both pieces show water contact but the drawings appear to be unaffected and in good condition; frames with some abrasions
Provenance: The Estate of Dr. J. Clayton Davie and Family
Estimate: $3,000 - $5,000
664
Maud Florance Gatewood
(American/North Carolina, 1934-2004)
Small Summer Storm, 1977, signed verso “Maud Gatewood ‘77”, inscribed lower right “MFG 77”, acrylic on canvas, 23 x 26 in.; painted wood frame, 24 x 27 in., surface is very good with no visible loss or wear; frame with light wear
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $4,000 - $6,000
665
William Melton Halsey (American/South Carolina, 1915-1999) Space Windows, 1986, signed verso “Wm Halsey,” inscribed verso ”Wall Construction, Masonite, wood, oil paint”, 69 x 47-1/2 in.; unframed, some minor losses to paint surface, lower right corner with structural restoration
Provenance: A South Carolina Institution
Estimate: $10,000 - $20,000
666 Werner Wildner (German/American/Tennessee, 1925-2004)
Mexican Turnkey, initialed lower left “W.”, chalk and graphite on colored paper, sight 5-3/4 x 3-1/4 in.; painted frame, 16 x 12-1/2 in., color and surface are good, not examined out of frame; frame with light wear
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $200 - $300
https://live.brunkauctions.com/auctions/brunk/americanwestern-auction-march-8-2024-13763/catalog#catalog
American & Western Auction
667
North Carolina Inlaid Walnut Chest of Drawers
late 18th century, two short drawers over three long graduated drawers, line inlay throughout, spurred bracket feet, yellow pine secondary wood, 41-1/2 x 39 x 18-3/4 in., structurally sound, replaced brasses, feet possibly replaced, top with small patches, minor board separation, scattered small surface losses and chips, well restored finish, some thin cracks and shrinkages, other general wear as expected with age and use
Provenance: Private Collection, Asheville, North Carolina
Estimate: $2,000 - $3,000
668
Rare North Carolina Federal Inlaid Walnut Table Piedmont, Catawba River Valley, 1800-1810, with rectangular top over a single drawer with divided interior and elaborately inlaid facing with vine and leaf sprays, centering the initials “PH”, banded surround, drawer flanked by bookends, tapered square legs with bellflower and line inlay, yellow pine secondary, finished back with bellflower inlaid rear legs, 29 x 21-1/2 x 25-1/2 in., <p style=”margin-left:0in; margin-right:0in”>good overall, later interior braces for drawer guidance, small loss at one leg cuff, small patch to drawer lip at lock, drawer pull moved or replaced, other typical surface wear bumps and stains with minor cracks to top and some traces of early white paint
Provenance: Estate of Barbara F. Chatham, Ronda and Roaring Gap, North Carolina
Estimate: $3,000 - $5,000
This table is closely related to a small group of tables from the Catawba River Valley that have been documented by MESDA. See for example, MESDA files S-14359 and S-14360.
669
Southern Federal Mahogany Cellarette
late 18th century, hinged top opens to a divided interior, brass bail handles, lower stand with drink slide and tapered legs, yellow pine and poplar secondary wood, 41-1/2 x 20 x 16 in., structurally sound, case and frame have possibly been reconfigured, later adhesive residue at corners, one small section of interior divider replaced at center, replaced hinges, drink slide pulls replaced and slide facing has filled holes, one front leg repaired at corner, small molding repair and molding losses, minor thin cracks and shrinkages, scattered imperfections and wear expected with age and use
Provenance: Private Tennessee Collection
Estimate: $2,000 - $3,000
https://live.brunkauctions.com/auctions/brunk/american-western-auction-march-8-2024-13763/catalog#catalog
670
Southern Inlaid
late 18th/early 19th century, possibly North Carolina or Virginia, two deep drawers flanking a central cabinet door, decorated with string inlay throughout, yellow pine secondary wood, 41-1/4 x 60-1/4 x 21 in., structurally sound, legs have all been rebuilt, replaced brasses, top with later pinning and filled areas, returns with thin cracks, one drawer with nailed dovetails, other drawer with old nail holes near dovetails, small losses, scattered marks and abrasions, other wear expected with age and use
Provenance: Private Collection, Asheville, North Carolina
Estimate: $2,500 - $3,500
671
Southern Federal Inlaid Mahogany Pembroke Table late 18th century with later elements, shaped drop leaf top with inlaid edge, frieze drawer and reverse faux drawer flanked by foliate reserves, inlaid tapered legs, 28-1/2 x 34 x 21 in., structurally sound, frieze drawer has been rebuilt with later facing and bottom board, thin cracks along inlaid panels, scattered losses to inlaid borders, replaced brasses, some later bracing under table top, other general wear and imperfections expected with age and use
Provenance: Private Collection, Asheville, North Carolina
Estimate: $2,000 - $3,000
https://live.brunkauctions.com/auctions/brunk/americanwestern-auction-march-8-2024-13763/catalog#catalog
672
Serapi Carpet
early 20th century, red field with central floral medallion, geometric leaf and flowering vine, wide red border, 10 ft. 4 in. x 14 ft. 8 in., loss to ends, new selvage, abrash, staining, wear to pile, uniform low pile, some exposed knots
Estimate: $2,000 - $4,000
674
Kurdish Runner
mid 20th century, brown field with repeating geometric pattern, leaf and wine glass border, 14 ft. 1 in. x 3 ft. 3 in., loss to both ends, overcast, loss to brown pile, wear to selvage, exposed foundation,
Estimate: $600 - $800
673
Kurdish Rug
early to mid 20th century, red field with repeating leafy floral design, white border, 4 ft. x 7 ft. 1 in., wear to pile, some exposed foundation, restoration to pile, loss to ends, wear to selvage, misshapen
Provenance: Private Collection, Brentwood, Tennessee
Estimate: $500 - $700
675
Kilim Carpet
20th century, cream colored field with green border, repeating geometric pattern throughout, 11 ft. 2 in. x 7 ft. 9 in., some wear to fringe, crease wear, wear to selvage, abrash
Estimate: $600 - $900
https://live.brunkauctions.com/auctions/brunk/american-west-
676
Southern Inlaid Walnut Chest of Drawers
late 18th/early 19th century, two short drawers over three long graduated drawers, line inlay throughout, scalloped skirt, shaped feet, yellow pine secondary wood, 48-1/2 x 38-1/2 x 21 in., structurally sound, top and returns with minor board separation, finish with some sun fading, replaced brasses, proper left front foot with large patch restoration, scattered areas of later pinning and filled spots, minor shrinkages and thin cracks, other general wear and imperfections expected with age and use
Provenance: Private North Carolina Collection
Estimate: $600 - $900
678
Southern Chippendale Mahogany Side Chair
late 18th century, likely coastal Virginia, serpentine scroll back crest rail, entwined vasiform splat, parcel upholstered seat rail, cabriole legs, pad feet, American black walnut secondary (wood sample tested), 38-1/4 x 23 x 23 in., structurally sound, repaired splat and shoe, surface along base is somewhat rough, repair and cracks at proper left rear leg at seat joint, small losses along foot pads, other general wear and imperfections from age and use
Estimate: $800 - $1,200
Chairs sharing similar design attributes as the chair shown here are related to a group of chairs from the Rappahannock River Basin near the eastern shore of Virginia, documented in Hurst, Southern Furniture, 1680-1830 (figs. 18, 18.1).
677
Southern Federal Inlaid Walnut Side Table
late 18th/early 19th century, two board top over a single dovetailed drawer, bellflower inlaid tapered legs, yellow pine and poplar secondary wood, 27-1/2 x 19 x 16-1/2 in., structurally sound, resurfaced, top with later pinning, replaced drawer pull, banded inlay near front feet is likely replaced, scattered shrinkages, abrasions, and other surface wear from age and use
Provenance: Private North Carolina Collection
Estimate: $500 - $700
679
American Federal Inlaid Walnut Chest of Drawers
likely Southern, four graduated drawers, serpentine spurred apron, shaped legs, poplar secondary wood, 40 x 38-1/2 x 19-1/2 in., structurally sound, replaced pulls, top with some minor repaired cracks and small filled nail holes, drawer dovetails with nails and infill, returns with thin cracks, nails along return sides near base, proper left front foot with repair, scattered abrasions, shrinkages, and other imperfections from age and use
Provenance: Private North Carolina Collection
Estimate: $600 - $900
https://live.brunkauctions.com/auctions/brunk/americanwestern-auction-march-8-2024-13763/catalog#catalog
Jimmy Lee Sudduth (American/Alabama, 1910-2007)
Self Portrait, signed “Jim Sudduth” upper left, paint and mud on board, 49-3/4 x 23 in., general wear to wood and rough edges, likely as made, slight loss to paint
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $800 - $1,200
681
Jimmy Lee Sudduth (American/Alabama, 1910-2007)
Couple, signed “Jim Sudduth” recto, paint and mud on board, 48 x 24 in., general wear to wood and rough edges, likely as made, slight loss to paint
Provenance: Purchased directly from the artist in the 1990s; By descent in the Gassenheimer family; Property from a Private Collector
Estimate: $800 - $1,200
A remembrance from the consignor: I was a photographer for Reuters in Washington, DC when I met Pat Gallagher who was a videographer for cable TV. A mutual passion was folk art and together we embarked on a trip through the southeast to meet the prominent folk artists of the day. From this came a trove of black and white and color photographs, oral histories, video of artists at work, and a trailer for the documentary we’d started. Best of all we’re the friendships made and art purchased during this magical time.
Jimmy Lee kept a big bucket of mud-paint beside his chair. He went on walks to collect his art materials. He showed us how he collected and used the elements around him. Poke berries made purple. His studio was outside or on his front porch in the sunshine and he most often used his fingers and other natural objects like sticks and rocks as painting tools. We watched him thumbprint red heads on the figures in his lively painting of the Washington Monument. Jimmy was funny and talented, played a wide variety of music, sang, told jokes and was a great storyteller. He would play harmonica accompanied by his dog “Toto”, who he taught to sing along.
All of the artists we visited loved people, loved that people were interested in their art and what they had to say and actively lived lives of artistic expression every day.
682
Jimmy Lee Sudduth
(American/Alabama, 1910-2007)
Washington Monument, signed “Jim Sudduth” upper left, paint and mud on board, 48 x 23-1/2 in., general wear to wood and rough edges, likely as made, slight loss to paint, some water damage to bottom Provenance: Purchased directly from the artist in the 1990s; By descent in the Gassenheimer family; Property from a Private Collector
Estimate: $800 - $1,200
In the 1980s Jimmy Lee Sudduth visited Washington, DC for an exhibition of self taught art. Upon returning home he painted this landscape, as well as several other large pieces, from memory. A remembrance from the consignor: I was a photographer for Reuters in Washington, DC when I met Pat Gallagher who was a videographer for cable TV. A mutual passion was folk art and together we embarked on a trip through the southeast to meet the prominent folk artists of the day. From this came a trove of black and white and color photographs, oral histories, video of artists at work, and a trailer for the documentary we’d started. Best of all we’re the friendships made and art purchased during this magical time. Jimmy Lee kept a big bucket of mud-paint beside his chair. He went on walks to collect his art materials. He showed us how he collected and used the elements around him. Poke berries made purple. His studio was outside or on his front porch in the sunshine and he most often used his fingers and other natural objects like sticks and rocks as painting tools. We watched him thumbprint red heads on the figures in his lively painting of the Washington Monument. Jimmy was funny and talented, played a wide variety of music, sang, told jokes and was a great storyteller. He would play harmonica accompanied by his dog “Toto”, who he taught to sing along.
All of the artists we visited loved people, loved that people were interested in their art and what they had to say and actively lived lives of artistic expression every day.
https://live.brunkauctions.com/auctions/brunk/american-west-
684
Mose Tolliver
(American/Alabama, 1918-2006)
683
Mose Tolliver (American/Alabama, 1919-2006)
Jesus on the Cross, signed “MOSET” recto, paint on board, 19-3/4 x 10 in., general wear to wood, likely as made, some loss to paint
Provenance: Purchased directly from the artist in December of 1991; By descent in the Gassenheimer family; Property from a Private Collector
Estimate: $600 - $900
A remembrance from the consignor: I was a photographer for Reuters in Washington, DC when I met Pat Gallagher who was a videographer for cable TV. A mutual passion was folk art and together we embarked on a trip through the southeast to meet the prominent folk artists of the day. From this came a trove of black and white and color photographs, oral histories, video of artists at work, and a trailer for the documentary we’d started. Best of all we’re the friendships made and art purchased during this magical time.
Mose T lived in a small house in a Montgomery neighborhood located very near Alabama State University and less than five minutes from the steps of the Alabama State Capitol. There was a sofa on the front porch, usually occupied by a young relative acting as a doorman/guard for Mose. He knew us as friends and more often than not, we talked and laughed for a while and said our goodbyes without talking much about art, but sometimes he would show us new work and we would make a purchase.
Because of an injury sustained during a job, Mose was somewhat disabled and painted from his bed. His bedroom was his studio, office, and parlor so guests were welcomed. It was a happy home with his fantastical creatures, his titillating women, and strong cross art all hung together. Visiting Mose in his home was truly a fun, head spinning experience. He loved to laugh, was always joking and much of the time it was naughty. Especially when we showed up with his favorites- fried chicken and beer- to enjoy together.
Heart, signed “MOSET” lower left, inscribed extensively by artist verso, paint on board, 24 x 22 in., fading to signature, rough edges and general wear to wood, likely as made, some loss to paint
Provenance: By descent in the Gassenheimer family; Property from a Private Collector
Estimate: $600 - $900
A remembrance from the consignor: I was a photographer for Reuters in Washington, DC when I met Pat Gallagher who was a videographer for cable TV. A mutual passion was folk art and together we embarked on a trip through the southeast to meet the prominent folk artists of the day. From this came a trove of black and white and color photographs, oral histories, video of artists at work, and a trailer for the documentary we’d started. Best of all we’re the friendships made and art purchased during this magical time. Mose T lived in a small house in a Montgomery neighborhood located very near Alabama State University and less than five minutes from the steps of the Alabama State Capitol. There was a sofa on the front porch, usually occupied by a young relative acting as a doorman/guard for Mose. He knew us as friends and more often than not, we talked and laughed for a while and said our goodbyes without talking much about art, but sometimes he would show us new work and we would make a purchase. Because of an injury sustained during a job, Mose was somewhat disabled and painted from his bed. His bedroom was his studio, office, and parlor so guests were welcomed. It was a happy home with his fantastical creatures, his titillating women, and strong cross art all hung together. Visiting Mose in his home was truly a fun, head spinning experience. He loved to laugh, was always joking and much of the time it was naughty. Especially when we showed up with his favorites- fried chicken and beerto enjoy together.
685
Mose Tolliver (American/Alabama, 1918-2006)
Moose Lady on Exercise Bike or Scooter, signed “MOSET” lower left, paint on board, 15 x 31 in., general wear to wood, edges of board are rough, likely as made, slight loss to paint
Provenance: By descent in the Gassenheimer family; Property from a Private Collector
Estimate: $500 - $700
A remembrance from the consignor: I was a photographer for Reuters in Washington, DC when I met Pat Gallagher who was a videographer for cable TV. A mutual passion was folk art and together we embarked on a trip through the southeast to meet the prominent folk artists of the day. From this came a trove of black and white and color photographs, oral histories, video of artists at work, and a trailer for the documentary we’d started. Best of all we’re the friendships made and art purchased during this magical time.
Mose T lived in a small house in a Montgomery neighborhood located very near Alabama State University and less than five minutes from the steps of the Alabama State Capitol. There was a sofa on the front porch, usually occupied by a young relative acting as a doorman/guard for Mose. He knew us as friends and more often than not, we talked and laughed for a while and said our goodbyes without talking much about art, but sometimes he would show us new work and we would make a purchase.
Because of an injury sustained during a job, Mose was somewhat disabled and painted from his bed. His bedroom was his studio, office, and parlor so guests were welcomed. It was a happy home with his fantastical creatures, his titillating women, and strong cross art all hung together. Visiting Mose in his home was truly a fun, head spinning experience. He loved to laugh, was always joking and much of the time it was naughty. Especially when we showed up with his favorites- fried chicken and beer- to enjoy together.
https://live.brunkauctions.com/auctions/brunk/americanwestern-auction-march-8-2024-13763/catalog#catalog
American & Western Auction
686
Mose Tolliver (American/Alabama, 1918-2006)
Nude Figural Composition, signed “MOSET” recto, paint on board, 24-1/2 x 19-1/2 in., wear to wood, edges of board are rough, likely as made, slight loss to paint, chip to bottom left corner
Provenance: By descent in the Gassenheimer family; Property from a Private Collector
Estimate: $500 - $700
A remembrance from the consignor: I was a photographer for Reuters in Washington, DC when I met Pat Gallagher who was a videographer for cable TV. A mutual passion was folk art and together we embarked on a trip through the southeast to meet the prominent folk artists of the day. From this came a trove of black and white and color photographs, oral histories, video of artists at work, and a trailer for the documentary we’d started. Best of all we’re the friendships made and art purchased during this magical time.
Mose T lived in a small house in a Montgomery neighborhood located very near Alabama State University and less than five minutes from the steps of the Alabama State Capitol. There was a sofa on the front porch, usually occupied by a young relative acting as a doorman/guard for Mose. He knew us as friends and more often than not, we talked and laughed for a while and said our goodbyes without talking much about art, but sometimes he would show us new work and we would make a purchase.
Because of an injury sustained during a job, Mose was somewhat disabled and painted from his bed. His bedroom was his studio, office, and parlor so guests were welcomed. It was a happy home with his fantastical creatures, his titillating women, and strong cross art all hung together. Visiting Mose in his home was truly a fun, head spinning experience. He loved to laugh, was always joking and much of the time it was naughty. Especially when we showed up with his favorites- fried chicken and beer- to enjoy together.
687
Mose Tolliver (American/Alabama, 1918-2006)
Freedom Bus or Montgomery Bus Boycott, signed “MOSET” lower left, paint on board with glitter and matchsticks, 13 x 26-3/4 in., bumped upper left corner, some loss to matchsticks, notably at front bumper of bus, some glue residue as made, break to bottle can hanger
Provenance: By descent in the Gassenheimer family; Property from a Private Collector
Estimate: $500 - $700
A remembrance from the consignor: I was a photographer for Reuters in Washington, DC when I met Pat Gallagher who was a videographer for cable TV. A mutual passion was folk art and together we embarked on a trip through the southeast to meet the prominent folk artists of the day. From this came a trove of black and white and color photographs, oral histories, video of artists at work, and a trailer for the documentary we’d started. Best of all we’re the friendships made and art purchased during this magical time.
Mose T lived in a small house in a Montgomery neighborhood located very near Alabama State University and less than five minutes from the steps of the Alabama State Capitol. There was a sofa on the front porch, usually occupied by a young relative acting as a doorman/guard for Mose. He knew us as friends and more often than not, we talked and laughed for a while and said our goodbyes without talking much about art, but sometimes he would show us new work and we would make a purchase. Because of an injury sustained during a job, Mose was somewhat disabled and painted from his bed. His bedroom was his studio, office, and parlor so guests were welcomed. It was a happy home with his fantastical creatures, his titillating women, and strong cross art all hung together. Visiting Mose in his home was truly a fun, head spinning experience. He loved to laugh, was always joking and much of the time it was naughty. Especially when we showed up with his favorites- fried chicken and beer- to enjoy together.
https://live.brunkauctions.com/auctions/brunk/american-west-
688
B.F. Perkins
(American/Alabama, 1904-1993)
American Flag (Pledge of Allegiance), 1991, signed “BF Perkins” and dated “7/3/91” left side, acrylic on wood, 13 x 15 in., glued to fiberboard backing, bumped and rough edges and corners, wear to wood, likely as made, some loss to paint, surface dirt/accretion
Provenance: Purchased directly from the artist the day the piece was made; By descent in the Gassenheimer family; Property from a Private Collector
Estimate: $200 - $400
A remembrance from the consignor: I was a photographer for Reuters in Washington, DC when I met Pat Gallagher who was a videographer for cable TV. A mutual passion was folk art and together we embarked on a trip through the southeast to meet the prominent folk artists of the day. From this came a trove of black and white and color photographs, oral histories, video of artists at work, and a trailer for the documentary we’d started. Best of all we’re the friendships made and art purchased during this magical time.
Reverend Perkins was a military veteran, he was very patriotic and painted flags to show his devotion to his country. He graced the entrance to his property with them. Flags, crosses, and nautical symbols were his frequent icons. He lived in remote woods and the birds visited in flocks so he hung his painted gourds everywhere for them. A dynamic preacher, he was also a kind and generous man recognizing and celebrating the goodness he saw in the world.
Sometimes B.F. Perkins painted outside on a picnic table but usually painted on his kitchen table. As with each of the outsider artists, creating was an every minute of every day experience. Reverend Perkins loved company and could paint and carry on a conversation at the same time.
689
Jake McCord
(American/Georgia, 1948-2009)
Lady in Yellow Dress, signed “JT McCord” and dated “1992” lower left, paint on canvas, 20 x 16 in., surface dirt/accretion, some loss to paint, mostly at edges, slight lifting to canvas from stretcher, protruding nails verso
Provenance: Purchased directly from the artist in 1992; By descent in the Gassenheimer family; Property from a Private Collector
Estimate: $300 - $500
A remembrance from the consignor: I was a photographer for Reuters in Washington, DC when I met Pat Gallagher who was a videographer for cable TV. A mutual passion was folk art and together we embarked on a trip through the southeast to meet the prominent folk artists of the day. From this came a trove of black and white and color photographs, oral histories, video of artists at work, and a trailer for the documentary we’d started. Best of all we’re the friendships made and art purchased during this magical time.
Jake McCord referred to these types of portraits as “Pretty Ladies”, portraits inspired by women he would see around town and on the television. Jake was a one-man yard crew and all round handyman. He was the kind of person you’d want for a friend and I was honored to have him paint my portrait.
690
R.A. Miller
(American/Georgia, 1912-2006)
Two Works on Tin: Blow Oskar, signed left side, paint on tin, 29-1/4 x 10-1/4 in.; American Flag, signed lower left, paint on tin, 13-1/4 x 22-1/2 in., surface dirt/ accretion, rust, some scratching, flaking, and loss to paint, some warping to metal
Estimate: $100 - $300
https://live.brunkauctions.com/auctions/brunk/americanwestern-auction-march-8-2024-13763/catalog#catalog
American & Western Auction
691
Mose Tolliver (American/Alabama, 1918-2006)
Two Birds, unsigned, paint on board, 17 x 16-1/8 in., wear to wood, edges of board are rough, likely as made, some bumps and abrasions, some loss to paint, notably at left edge
Provenance: By descent in the Gassenheimer family; Property from a Private Collector
Estimate: $400 - $600
A remembrance from the consignor: I was a photographer for Reuters in Washington, DC when I met Pat Gallagher who was a videographer for cable TV. A mutual passion was folk art and together we embarked on a trip through the southeast to meet the prominent folk artists of the day. From this came a trove of black and white and color photographs, oral histories, video of artists at work, and a trailer for the documentary we’d started. Best of all we’re the friendships made and art purchased during this magical time.
Mose T lived in a small house in a Montgomery neighborhood located very near Alabama State University and less than five minutes from the steps of the Alabama State Capitol. There was a sofa on the front porch, usually occupied by a young relative acting as a doorman/guard for Mose. He knew us as friends and more often than not, we talked and laughed for a while and said our goodbyes without talking much about art, but sometimes he would show us new work and we would make a purchase.
Because of an injury sustained during a job, Mose was somewhat disabled and painted from his bed. His bedroom was his studio, office, and parlor so guests were welcomed. It was a happy home with his fantastical creatures, his titillating women, and strong cross art all hung together. Visiting Mose in his home was truly a fun, head spinning experience. He loved to laugh, was always joking and much of the time it was naughty. Especially when we showed up with his favorites- fried chicken and beer- to enjoy together.
692
Mose Tolliver (American/Alabama, 1918-2006)
Self Portrait, signed “MOSET” lower left, paint on board, 16-3/4 x 14 in., wear to wood, edges of board are rough, likely as made, slight loss to paint, residue accretion at top
Provenance: By descent in the Gassenheimer family; Property from a Private Collector
Estimate: $400 - $600
A remembrance from the consignor: I was a photographer for Reuters in Washington, DC when I met Pat Gallagher who was a videographer for cable TV. A mutual passion was folk art and together we embarked on a trip through the southeast to meet the prominent folk artists of the day. From this came a trove of black and white and color photographs, oral histories, video of artists at work, and a trailer for the documentary we’d started. Best of all we’re the friendships made and art purchased during this magical time.
Mose T lived in a small house in a Montgomery neighborhood located very near Alabama State University and less than five minutes from the steps of the Alabama State Capitol. There was a sofa on the front porch, usually occupied by a young relative acting as a doorman/guard for Mose. He knew us as friends and more often than not, we talked and laughed for a while and said our goodbyes without talking much about art, but sometimes he would show us new work and we would make a purchase.
Because of an injury sustained during a job, Mose was somewhat disabled and painted from his bed. His bedroom was his studio, office, and parlor so guests were welcomed. It was a happy home with his fantastical creatures, his titillating women, and strong cross art all hung together. Visiting Mose in his home was truly a fun, head spinning experience. He loved to laugh, was always joking and much of the time it was naughty. Especially when we showed up with his favorites- fried chicken and beer- to enjoy together.
693
Mose Tolliver (American/Alabama, 1918-2006)
Double Sided Composition: Bird and Flowering Tree, each signed “MOSET”, paint on board, 18-5/8 x 21-1/4 in., rough edges, general wear, and loss to wood, mostly as made, surface dirt/accretion, some loss to paint
Provenance: By descent in the Gassenheimer family; Property from a Private Collector Estimate: $400 - $600
A remembrance from the consignor: I was a photographer for Reuters in Washington, DC when I met Pat Gallagher who was a videographer for cable TV. A mutual passion was folk art and together we embarked on a trip through the southeast to meet the prominent folk artists of the day. From this came a trove of black and white and color photographs, oral histories, video of artists at work, and a trailer for the documentary we’d started. Best of all we’re the friendships made and art purchased during this magical time.
Mose T lived in a small house in a Montgomery neighborhood located very near Alabama State University and less than five minutes from the steps of the Alabama State Capitol. There was a sofa on the front porch, usually occupied by a young relative acting as a doorman/guard for Mose. He knew us as friends and more often than not, we talked and laughed for a while and said our goodbyes without talking much about art, but sometimes he would show us new work and we would make a purchase.
Because of an injury sustained during a job, Mose was somewhat disabled and painted from his bed. His bedroom was his studio, office, and parlor so guests were welcomed. It was a happy home with his fantastical creatures, his titillating women, and strong cross art all hung together. Visiting Mose in his home was truly a fun, head spinning experience. He loved to laugh, was always joking and much of the time it was naughty. Especially when we showed up with his favorites- fried chicken and beer- to enjoy together.
694
Mose Tolliver (American/Alabama, 1918-2006)
Riding Man, signed “MOSET” lower left, paint on board, 13-1/2 x 19-3/4 in., wear to wood, edges of board are rough, likely as made, slight loss to paint
Provenance: By descent in the Gassenheimer family; Property from a Private Collector
Estimate: $400 - $600
A remembrance from the consignor: I was a photographer for Reuters in Washington, DC when I met Pat Gallagher who was a videographer for cable TV. A mutual passion was folk art and together we embarked on a trip through the southeast to meet the prominent folk artists of the day. From this came a trove of black and white and color photographs, oral histories, video of artists at work, and a trailer for the documentary we’d started. Best of all we’re the friendships made and art purchased during this magical time.
Mose T lived in a small house in a Montgomery neighborhood located very near Alabama State University and less than five minutes from the steps of the Alabama State Capitol. There was a sofa on the front porch, usually occupied by a young relative acting as a doorman/guard for Mose. He knew us as friends and more often than not, we talked and laughed for a while and said our goodbyes without talking much about art, but sometimes he would show us new work and we would make a purchase.
Because of an injury sustained during a job, Mose was somewhat disabled and painted from his bed. His bedroom was his studio, office, and parlor so guests were welcomed. It was a happy home with his fantastical creatures, his titillating women, and strong cross art all hung together. Visiting Mose in his home was truly a fun, head spinning experience. He loved to laugh, was always joking and much of the time it was naughty. Especially when we showed up with his favorites- fried chicken and beer- to enjoy together.
695
Mose Tolliver (American/Alabama, 1918-2006)
Three Works: Matchbox Basket, signed “MOSET”, paint and glitter on cardboard, matchboxes, and matchsticks, 113/4 x 9-3/8 x 7-1/4 in.; Red Animal, unsigned, paint on board, 11 x 12-1/2 in.; Watermelon, unsigned, paint on board, 7-3/4 x 14-1/8 in., general wear to wood, likely as made, some abrasions and loss to paint, surface dirt/accretion
Provenance: By descent in the Gassenheimer family; Property from a Private Collector
Estimate: $200 - $400
A remembrance from the consignor: I was a photographer for Reuters in Washington, DC when I met Pat Gallagher who was a videographer for cable TV. A mutual passion was folk art and together we embarked on a trip through the southeast to meet the prominent folk artists of the day. From this came a trove of black and white and color photographs, oral histories, video of artists at work, and a trailer for the documentary we’d started. Best of all we’re the friendships made and art purchased during this magical time.
Mose T lived in a small house in a Montgomery neighborhood located very near Alabama State University and less than five minutes from the steps of the Alabama State Capitol. There was a sofa on the front porch, usually occupied by a young relative acting as a doorman/guard for Mose. He knew us as friends and more often than not, we talked and laughed for a while and said our goodbyes without talking much about art, but sometimes he would show us new work and we would make a purchase.
Because of an injury sustained during a job, Mose was somewhat disabled and painted from his bed. His bedroom was his studio, office, and parlor so guests were welcomed. It was a happy home with his fantastical creatures, his titillating women, and strong cross art all hung together. Visiting Mose in his home was truly a fun, head spinning experience. He loved to laugh, was always joking and much of the time it was naughty. Especially when we showed up with his favorites- fried chicken and beer- to enjoy together.
https://live.brunkauctions.com/auctions/brunk/americanwestern-auction-march-8-2024-13763/catalog#catalog
American & Western Auction