P.O. Box 50031 Nashville, Tennessee 37205

Phone 615-390-1836

Email: Jacksonpress@comcast.net

© Michael Hall Antiques 2010

Harvey Joiner ( 1852-1932) Kentucky Artist

S.Cockrell, Natchez coin silver,  P.H. Barid Natchez John Bigelow Natchez E. Profilet Edwin Whittemore Natchez  T.C. Coit Natchez Asa Blanchard Lexington Kentucky J.Kitts Agricultural and Mechanical Association Alabama Steamboat Captain Monroe Quarrier (1805-1856) Presentation Loving Cup ca. 1847  Made by Gale and Hughes  General Nathan Bryan Whitfield 1799-1868 Demopolis Alabama Portrait Walnut Sugar Chest Hepplewhite Early Sugar Chest John Kitts Agricultural and Mechanical Presentation Silver Ewer  Asa Blanchard Beakers

Emile Profilet, T.C. Coit silver Leather Key basket Virginia or North Carolina. Kentucky Daguerreotype, Memphis Daguerreotype Tennessee Sugar Chest Alabama Sugar Chest

“Presented to Capt. Monroe Quarrier by the Citizens of Gainesville and its vicinity as

a token of their admiration of his prompt and gallant rescue of the passengers and Crew

of the ill fated Steamer Tuscaloosa on the night of the 28th of January 1847.” Captain Monroe Quarrier, captain of the steamship “James Hewitt”, came to the aid of the burning Steamship Tuscaloosa on the night of January 1847. Despite being laden with cotton captain Quarrier rescued the passengers and crew of the steamship Tuscaloosa. Antique Dealer Specializing in American Decorative Arts, Southern Coin Silver, Furniture and Art Belle Meade Area Antique Show Open By appointment, Paul Revere silver, Beaker  Paul Revere Silversmith patriot Confederate Navy Button Courtney and Tennent, Manton’s patent Charleston South Carolina Conning Mobile Thomas Coit Gray Ladle Second quarter 19th century. Made by Thomas Chester Coit, active Natchez, Mississippi, 1821-1840,

Mark: “T.C. COIT” Kentucky Coin Silver Agricultural Premium ca. 1855  Maker: John Kitts South Western Agricultural and Mechanical Association, 1855 Tennessee Portrait of Mary Jones (Polk) Branch (1830-1918) Maury County. Map of the State of Kentucky and Adjoining Territories ca. 1795 Published by John Reid, New York. Engraved by Winterbotha Wm./A. /nA. Anderson.Paper watermark, “ J.KOOL” Mary Polk Branch was the author of  Memoirs of a Southern Woman "Within the Lines," and a Genealogical Record  Chicago: The Joseph G. Branch Publishing Co., c1912. Washington Girard, (1873-1931) Nashville, Tennessee  Landscape, early 20th century Oil on artist’s board. “Joy to the World”, street singers in Downtown Nashville.

Earnest A. Pickup (1887-1970)  Mary Louise McComb (1883-1973) Kentucky/Florida. "Black Family in Front of Cabin", signed lower left "M.L. McComb", watercolor and pencil on brown paper, painted and gilt wood frame. Possibly the Hannibal Square area of Winter Park, Florida. Woodblock print. Makers: Henry Hudson and Jacob Dolfinger   Nashville Civil War Print View of the State Capital and Second Avenue from Edgefield. ca. 1865 Incised Mark: “Hudson and Dolfinger  Louisville B. Keller  Hand Made Bricks From West Tennessee  ca. 1870-90.  Toone, Hardeman County. Sketch of a British Officer  John Singleton Copley (American, 1738-1815)  Oil on canvas. Silver in Kentucky Life 1780-1870 An Exhibition Honoring The Bicentennial Year of Transylvania University.Bodley House in Cratz Park May 11-18, 1980.

Hubert Shuptrine ( 1936-2006) Chattanooga, Tennessee artist Oil on canvas  Ketners Mill. Late 1960’s.  Silver Beaker ca. 1845 Richmond, Virginia.Mark of Mitchell and Tyler  (working 1845-66)   Confederate General Henry Hudson Norman(1839-1906) Murfreesboro, Tenn. Coin Silver Spoon. ca. 1855-60.Mark: G.W.DONIGAN

Photographers: J.A. Sheldon and George T. Shaw.. Mortimer Thompson  glaze and radcliffe coin silver Whole Plate Ambrotype Adolph Heinze, (1887-1958) Sun Rays Glacier National Park Large oil on canvas  Paul Sawyier (1865-1917)

Nichols  ( 1911-1992)  Anthony Rasch (1780-1858) Mary Louise McComb (1883-1973) William Alan Youngblood (Tennessee/Virginia, 1915-2009) Himmel Christian Kuchler Hyde and  Goodrich New Orleans Coin Silver Silver Nashville antiques and fine art appraisals antiques roadshow appraiser nashville tennessee Tennessee Antiques Nashville Antique Dealer specializing in southern furniture silver paintings fine art S.H. Wilson Yazoo City Mississippi Antique southern furniture Coin silver mint jule,p cup southern coin silver ladle Alabama coin silver, James Conning Mobile, Tennessee Portraits Colonial dames portrait project in Tennessee  Washington Bogart Cooper portrait  William Cooper portrait Nashville portrait painter Washington B. Cooper, Cornelius Hankins, Sugar Chest, Walnut Sugar Chest, Tennessee Sugar ChestHyde and Goodrich coin silver

Nashville Dealers, Tennessee Furniture, Tennessee coin silver, Southern Coin silver, Southern 19th century art,  Tennessee pottery, Southern Agricultural Premiums, New Orleans Coin, Mississippi coin silver  Southern Furniture, Samuel Wilmot coin silver, Savannah Coin Silver,  Ernest A. Pickup wood block prints, Louisville Coin silver cup, John Kitts Agricultural Premium, Tennessee Coin silver, The Art and Mystery of Tennessee Furniture, Mrs. Alexander William Campbell (1833-1916), Confederate Brigadier General Alexander William Campbell (1828-1893), Washington Girard, (1873-1931) Nashville, Tennessee, Charles Mortimer Thompson, Tennessee (b. 1858), East Tennessee Landscape, Andrew Ellicot Warner ( 1786-1870) Bimore coin silver, Anne Goldthwaite (1869-1944) Montgomery Alabama artist , Arthur Kowalski artist, W.PIERCE  mobile alabama, Tennessee sugar chest,

Cherry sugar chest, Alanson Knapp and Leslie. Mobile Alabama, James Conning Mobile, Smith and L. Sloat, (1819-1839) Mobile, James R. and Daniel Poor Selma Alabama,  J.J. Enwright, Carroll Cloar (1913-1994) Drawing, Levison and Blythe out of St. Louis, Missouri , walnut sugar chest, M.W. G and Brothers (1847-1879), Washington D.C. , Hall, Hewson and Company Albany, New York,  Abraham L. Coan, Mobile Alabama(1835-41),

Retailed by Durgin and Burtt, ( 1859-1863) St. Louis, Missouri Kentucky sugar chest, John A. L’Hommedieu,  (1806-1883) Silversmith, jeweler, dentist. Mobile (1839-1867), Kentucky  Agricultural Premium Julep Cup, E.&D.KINSEY  PREMIUM , William Poindexter, (1818-1884) kentucky silversmith, Hudson and Dolfinger  Louisville, JOHN KITTS & CO, J. KITTS, George W. McDannold, coin silver,

Southern sugar chest, Edgar Julian Bissell(1856-   ), American, Silver in Kentucky Life 1780-1870

An Exhibition Honoring The Bicentennial Year of Transylvania University. Middle Tennessee sugar chest coin silver beaker

Federal Inlaid Breakfast Table
ca. 1795-1810.
Mid-Atlantic/ possibly New England
Beautifully figured, solid mahogany top with bowed ends and demilune drop leaves over conforming base with line inlay and graduated heart inlay. 

Height: 29”
Width: 20”
Length: 31”

$ 9,800Furniture/Pages/Inlaid_Pembroke_Table.html
Southern Coin Silver Julep Cup / Beaker
New Orleans, Louisiana. 
ca. 1852-58
Maker: Christopf Christian Kuchler
Mark: “Hyde and Goodrich Manufacturer, New 
Orleans, LA. Warranted Pure Coin, “K”(Kuchler mark)
Engraved: “Samuel”
Note bold Anthemion foot banding.
Height: 3 3/4”
Weight: 4.90 oz troy
$ 2,000American_%26_Southern_Silver/Pages/Kuchler_Beaker,_New_Orleans_LA.html
Coin Silver Julep Cup. 
ca. 1855-1858.
Louisville, Kentucky
Makers: Henry Hudson and Jacob Dolfinger.
Incised Mark: “Hudson and Dolfinger  Louisville”
“T.E.C. Burney? 1870 scratched on bottom.
Height: 3 5/8”
Weight: 4.95 oz troy
Hudson and Dolfinger was a short lived partnership between the two makers, they are listed together in the 1855 Louisville directory and alone by 1858. They are know to have made Julep cups as well as flatware and large presentation ewers and pitchers. (Silversmiths, Jewelers, Clock and Watch Makers of Kentucky 1785-1900 By Boultinhouse, page 160.)
Scattered dents.
 $ 1,850
Large  Kentucky Coin Silver Spoon. 
ca. 1800-20
Maker: Samuel Ayres (1767-1824)
Mark: “S .AYRES in a rectangular cartouch. 
Worked in Lexington Kentucky: 1786-1823
Worked in Danville, Kentucky: 1823-24
Length: 8 3/4”
Weight: 1.64 oz troy
$ 395American_%26_Southern_Silver/Pages/Ayres,_Samuel_Lexington_KY.html
Portrait of Mrs. Alexander William Campbell (1833-1916)
Wife of  Confederate Brigadier General Alexander William Campbell (1828-1893). Jackson, Tennessee
ca. 1857
Artist: Washington or William  Cooper. (likely William)
An elegant mid 19th century portrait by Nashville’s best known and successful portrait painter of his time. 
Magnificent period composition gesso and gold leaf frame. 
Documented in “Portraits in Tennessee painted before 1866, National Society of Colonial Dames of America in Tennessee”, 1964 page 18, no. 66. Owned at the time by Mrs. J.L. Tarwater, Harriman Tennessee. 
Documented by the Smithsonian American Art Museum. 
Repository: Inventories of American Painting and Sculpture, Smithsonian American Art Museum, P.O. Box 37012, MRC 970, Washington, D.C. 20013-7012
Control Number: IAP 81770064
Canvas: 25” x 30”
Frame: 34 1/2” x 40”

$ 7,800

   Welcome to our website.  We are an online antique and fine arts gallery based in Nashville, Tennessee.  Our focus is American Decorative Arts with an emphasis on Southern Furniture, Art, Silver, and Pottery. We strive to present pieces of historic and/or aesthetic appeal to the collector and museums interested in American and Southern Decorative Arts. 

   Items are being added weekly.  Email or call us if you are looking for specific items that are not on our website.  If you would like to be on our mailing list call or email  us with your contact information. All objects are guaranteed to be as described.

Paul Sawyier (1865-1917) 
Road to Midway, Kentucky.
Watercolor on paper.

Paul Sawyier is considered one of Kentucky’s most talented artist, this stunning watercolor is almost photographic in nature. 

Signed lower right, Paul Sawyier. 

Condition: Excellent. 

Painting size 5” x 8” 
Frame size 15” x 12 1/4”

Sketch of a British Officer
John Singleton Copley (American, 1738-1815)
ca. 1787-1801
Oil on canvas. 
21 1/2 x 18 1/4 inches. 

Sketch of a British Officer
Unsigned, identified on fragmentary labels including the Museum of Fine Arts, Boston, and Doll and Richards, Boston, on the reverse, inscribed “by J. S. Copley . . . . Lord Lyndhurst sale Christie’s Room 864” on the reverse.
This sketch is most similar to the large painting of Colonel William Fitch and His Sisters Sarah and Ann Fitch painted in 1800-1801. Now in the collection of the National Gallery in Washington D.C. 
“ William Fitch (1756-1795), an American-born officer in the British army, prepares to depart on a magnificent steed. Since Colonel Fitch had been killed in action at Jamaica six years before this gigantic group portrait was exhibited at the Royal Academy in 1801, Copley must have painted his late friend’s image from memory or from other likenesses. Fitch’s two sisters, dressed in mourning, reach poignantly toward their lost brother. The antique urn is a funerary emblem, and the fiery sunset is a reminder of time’s passage.”

Frame: 25 1/8” x 27 5/8”            Fine_Art/Pages/John_Singleton_Copley_%281738-1815%29.html
American School Portrait of George Washington
ca. 1860-80.
Oil on canvas with original medial brace stretcher. 
Painted by an unidentified 19th century artist. Likely inspired by Alonzo Chappel's
 ca. 1860 painting, "George Washington: Design for an Engraving," which is held at the Metropolitan Museum of Art (accession no. 83.2.473). 

The unidentified artist of the Washington portrait made changes to the Chappel original composition, such as eliminating the sword, and chair as well as adding the table with books and writing ink bottle. It is likely that this painting was commissioned for a large home or a public building in the second half of the 19th century.

Provenance: Purchased from an old estate in Fredericksburg Virginia about 12 years ago. 

Frame: 61” x 46 1/2”
Canvas: 42” x 56”

Kentucky Coin Silver Agricultural Premium
ca. 1855
Maker: John Kitts
Inscription: “ South Western Agricultural and Mechanical Association, 1855”
Tapering cylindrical sides with applied plain and beaded banding to base and rim. 
John Kitts was a very successful Louisville, Kentucky silversmith, it is noted in Silversmiths, Jewelers, Clock and Watch Makers of Kentucky 1785-1900 by Marquis Boutinghouse.

Harvey Joiner ( 1852-1932)
Oil on canvas
Likely Cherokee Park in Louisville, Kentucky
Appears to retain its original gilded oak and composition frame.

Harvey Joiner was a popular  Kentucky artist in his time and was well known for his Cherokee Park paintings. In this painting we see a woman walking along a path in the woods. It is unusual to find a figure in his paintings. 
Condition: Cleaned  and lined. 
Signed lower right, Harvey Joiner
Canvas: 10 1/4” x 20 1/4”
Frame: 19 1/2” x  29 1/2”

Sugar Chest 
ca. 1825-35.
Likely Williamson or Davidson County Tennessee.
Primary wood: Cherry 
Tulip Poplar Secondary Wood.

A well proportioned sugar chest with original dividers, note that lid still has its original  keeper. Dovetailed box is of desirable single board construction. 

For an almost identical sugar chest see: Williamson County More Than A Good Place to Live
by Rick Warwick. Page 89. “This sugar chest is believed to have originated in the John and Susan Blackman Gray family to the George A. and Talitha Gray Kinnie Family of Ash Grove.” The Gray family sugar chest and our Warterman sugar chest both have 3 1/4” wide drawers.
Page 90 has another double balled sugar chest of similar size  and proportions that was made for the marriage of Burwell Lazenby and Elizabeth  Cotton of Granny White Pike, Thomas N. Cotton was the cabinetmaker and brother of the bride. 

Rectangular hinged lid with bread board ends and perimeter molding over dovetailed box with three way divider, resting on base with dovetailed drawer and turned and tapered legs ending in distinctive double bulbous feet.  Drawer runners and stops are original.

Provenance: Descended in the family of Charles W. Warterfield, a noted Nashville architect and photographer. The Warterfields were a prominent Nashville  family and owned the Warterfield Grain Company in Union City Tennessee. 

Height- 35 1/8”
Leg Height- 13”
Width- 29 1/4” (case)
Width overall- 30 3/4”
Depth- 16 1/2”
Drawer width: 3 1/4”
Tennessee Julep Cup
ca. 1855, Nashville
Maker/Retailer : Thomas Gowdey (1795-1863)
Mark: “T. GOWDY” (misspelled mark see Tennessee Silversmiths page 95. figure 74 c.)
Julep cup with cylindrical tapering sides and applied beading to base and rim. Tennessee Julep cups are very scarce, this one is in excellent condition with a period monogram. 
Thomas Gowdey was born in Castlewellan, County Ireland in 1795.  He was a  lieutenant in the British army and fought under Lord Nelson. After being wounded and disabled he moved to Charleston, South Carolina in 1818 then Madison Georgia where he pursued a mercantile business. In 1823 he married Ann Power and moved to Nashville in 1825. Gowdey operated a very successful store and was a leading Nashville citizen. It is likely that this cup was made in New York where it was stamped with his misspelled name.  

Condition: Excellent, minor dents associated with use and age. 
Weight: 4.70 oz
Height: 3 1/2”
Paul Revere Silver Beaker
Boston. ca. 1790.
Mark: “REVERE” Kane mark B. 
Maker: Paul Revere (1734-1818) Silversmith and Patriot. 

A hand raised tapered cylindrical beaker with slightly flaring lip 
and caulked rim, engraved “W. N. Boylston”. 
Paul Revere is one of the most famous figures in the American revolution. He is best know for his role as the midnight rider from Boston to Lexington to warn of the movements of the British army. 
Patricia Kane, Colonial Massachusetts Silversmiths and Jewelers, 1998, p. 807.
Antiques Magazine Advertisement, April 1971 page 502.

The “W.N. Boylston” engraving  refers to William Nicholas Boylston, benefactor of Harvard University, and after whom Boylston Street was named after.  

Condition: Good.
Height:  3 3/4”
Weight: 3 oz. 

Nashville Tennessee Civil War Lithograph

Title: “Nashville, and the camp of the sixteenth Regiment of the Ills. Vols. Inft. At Edgefield, Tennessee”.
Date of Creation: Ca. 1865-70.
Artist: Unknown.
Medium of original: Stone lithograph.
Lithographer: Theodore Schrader Chestnut Street St Louis Mo.
Less than six of these prints are  known to have survived, one example is at the Tennessee State Museum. 
Frame size: 37 3/4” x 32”.
Image size: 27” x 21”.

This fascinating American Civil War lithograph was created by an unknown artist , possibly a member of  a Union regiment stationed in Nashville.  Perhaps a traveling artist saw an opportunity to make a drawing that he could later  reproduce  for the troops and their families as a souvenir of the war  The incredibly detailed print gives us a rare insight in to camp life during the Union occupation  of Nashville. We see the Union encampment on the east side of the Cumberland River looking westward towards downtown Nashville and the State Capitol building.
The foreground is centered by a guarded gate with lots of camp activities, and rows of tents. To the left of the print is a swing-span bridge built in the 1850’s and designed to pivot around its central support to allow tall steamboats to pass. There is a steam locomotive on the far left that has just crossed the bridge. One the Cumberland River we see two U.S. Mail paddle steam boats and two iron-clad Union gunboats. The background is a view of the State Capitol and downtown Nashville. 
The 16th regiment infantry of Illinois was organized at Quincy Illinois, and mustered in May 24 1861. This regiment was known as the “twins” due to its close association and campaigning with the 10th regiment. The 16th Illinois regiment arrived in Nashville Tennessee on August 28th 1862. They saw action in Columbia Tennessee on September 10th; and were involved in the siege of Nashville and the repulse of Forrest’s attack on Edgefield on November 5th. They were stationed in Nashville until July 20th of 1863. We see them here camped next to the swing span bridge which was heavily fortified to repel attacks from Confederate raiders. 
 Creases in paper minor foxing, archival framing  and Mat.
Condition: Good, creases in paper, minor foxing, archival framing and mat. 

$ 5,800
Set of 4 Asa Blanchard Julep Cups/Beakers
ca 1830-38. Lexington, Kentucky 
Maker: Asa Blanchard ( working 1808-1838)
Incised mark: “BLANCHARD”
Engraved: “Woodson”
Tapering Cylindrical sides with applied reeded banding to base and rim, incised makers mark.
A beautifully made and exceptionally heavy set of  beakers by one of Kentucky’s best know makers.
Single Blanchard beakers are rare, to find a set of four with and early Kentucky  owners name is remarkable. 
Asa Blanchard is know to have made silver in Lexington, Kentucky as early as 1808, he was very successful and advertised in the Lexington papers. He is listed in the 1820 Census as having two manufacturers that were male slaves and two female slaves. His shop was listed in the Lexington directory of 1838 as 18 North Mill Street, the corner of short, and his home was at 41 N. Mill. 
Excellent original  condition and skin with no repairs. Three beakers are clearly struck BLANCHARD, the fourth beaker is missing most of the R and all of the D. 
Height: 3 3/8”
Weight: between 6.45 and 6.75 troy ounces each 
Total weight: 26.35 oz. troy
Portrait of Two Children Posed Before An Allegorical Landscape
ca. 1860-70. Central Kentucky. 
Oil on Canvas.
Attributed to Raphael Strauss (1830-1901)
The Licking River which runs through parts of rural Bourbon (Paris) and Harrison (Cynthiana) counties in central Kentucky.

Strauss, a Bavarian born artist, emigrated to Cincinnati in 1858. He offered his services as a portraitist and as a tinter of photographs. After the Civil War he began an itineracy in central Kentucky painting members of the extended Estill-Clay-Buckner families. He was in Paris, Kentucky several times between 1868 and 1873 painting the four children of Mr. and Mrs. Allen Bashford. While in Cythiana, Kentucky he often worked from the home of the Howk (Hauch) family, associates from the German Community in Cincinnati. 
This work clearly shows the impact of the rise of photography, especially the studio technique of posing children against a backdrop, and rendering them on a somewhat flattened, frontal, manner. The atmospheric background in this painting is intended to be a reference to the Licking River which runs through Bourbon and Harrison counties in the rich farmland of central Kentucky. It is the same background which appears in the miniature portrait of Miss Lorraine Megibben, also of Cynthiana, and illustrate in Jones & Weber on page 134. Srauss children are usually posed in the fancy dress of the day, with certain historical references. In this work the  young boy is wearing a blue dress in the Balmoral style of Queen Victoria’s era and often found in portraits of her children by such artists as Franz Xavier Winterhalter and Carl Haag. The Young girl wears a white dress whose blouson sleeve has been gathered with a coral bracelet which was thought to ward off ill health. As to coloration, Strauss has used a softened palette, one which suggests the tonal values of the landscape in conjunction with the figures, blending, rather than contrasting shades to achieve the subtle contours which push the figures forward on the planar field. In scale and presentation this work represents the artist’s place in the revivalist spirit of the age in Kentucky and the Ohio River Valley where a fondness for the gravitas and scale of the Renaissance Revival style enjoyed a great popularity in art, architecture and interior design. 

Condition: Good, minor touch up, canvas has been lined. 

 Canvas 36” x 29”Fine_Art/Pages/Raphael_Strauss_Central_Kentucky.html
Cornelius Hankins (1861-1946)
Still Life of Peaches and Grapes with vase in background.
ca. 1885   Oil on Canvas. Signed l.r. 
A beautifully rendered  early still life, likely painted around 1885 while Hankins was studying under Robert Henri or William Merritt Chase. 
Hankins is one of Middle Tennessee’s best know early 20th century landscape and still life painters. Born in Guntown, Mississippi, Hankins moved to Nashville in 1883 and Studied under Edwin M. Gardner, soon afterwards he move to Eagleville, Tennessee to teach at Miss Clark’s Select School for girls. Hankins then moved to St. Louis to study with Robert Henri, then with William Merritt Chase in New York City. Between 1894 and 1899, he lived and worked in Richmond, Virginia where he completed several important portrait commissions of Confederate Generals for Battle Abbey. By 1904 he was back in Nashville, where he lived the remainder of his life as a portrait, landscape and still life painter.  Hankins was a prolific painter in the 20th century producing many small oil’s on board, it is rare  to find an early  oil on canvas example of his early work. Although the painting is not dated the cast iron stretcher keys on the back of the canvas are patented 1885 which give us an indication of when the painting  was created. 
Canvas: 10”x 13 1/4”
Frame: 15 1/2” x 18 1/2”Fine_Art/Pages/Cornelius_Hankins_Nashville_TN.html
Moon and Moss, Live Oak Grove Newcomb College Pottery Tile
ca. 1917.
Artist: Sarah Agnes Estelle "Sadie" Irvine, Newcomb Art School, Class of 1906

A beautiful and rare Newcomb Pottery tile by one of the most influential and talented Newcomb artists. Sadie Irvine coined the term Moon and Moss, Live Oak Grove for any tree with moss hanging from its branches. It was a popular design that was influenced by the writings of George Washington Cable. 
This tile is in excellent condition with its original frame and paper label identifying Sadie Irvine as the artist and the year 1917. 
Tile: 9 7/8” x 5 5/8”
Frame: 13 3/4” x 9 7/8”
Rare Columbia South Carolina Derringer
Haws (Hawes) and Waggoner

Mahogany or walnut with iron and silver mounts. Barrel is marked: “Hawes & Waggner”

It is likely that Hawes and Waggoner operated a dry goods business in Columbia, South Carolina and contracted with a local gunsmith to produce Derringers for the store. 

Length: 6”
Barrel Length: 2 3/4”Accessories/Pages/Haws_%26_Waggoner_S.C..html
W.H. Calhoun, Nashville Agent Marked Derringer
ca. 1850 Nashville, Tennessee.
Walnut or Mahogany with silver mounts, engraved throughout. 
Henry Derringer (1786-1868) a Philadelphia gunsmith became famous for his copies of English pocket pistols. His agent marked southern pistols are highly sought after and rare. 
W.H. Calhoun(1815-1865)was on of Nashville's most successful silversmiths  and fancy goods store owners, he work in Nashville from 1835 until his death in 1865.
For an almost  identical Derringer see: Tennessee Silversmiths  by Dr. Benjamin Caldwell Jr. page 51 fig. 47i and j.
Length: 6 1/2”
Barrel length: 2 9/16”                                                                       Accessories/Pages/W.H._Calhoun_Nashville.html
An Exceptional  English/Irish  Giltwood Carved Girandole  Eagle  Mirror 
ca. 1st half of 19th Century. 
Surmounted with spread winged eagle flanked by scrolling foliage, circular frame with ball decorations and reeded ebonized fillet, original convex mirror. Base of mirror has stacked fans ending in bellflower and fruit drop. 

For and similar mirror see Queen Anne and Georgian Looking Glasses, Old English and Early American by F. Lewis Hinckley page 236 figure 298. “ Regency Gilded  Convex Eagle  Wall Mirror. At Moore Abbey, County Kildare. Courtesy of the late  Noel C. Hartnell, Dublin.”

Condition: Excellent.

Height: 41” Width: 24 1/2”

Paul Revere, Jr. Silver  Bright Cut Sugar Tongs
ca. 1780 - 1795

Sugar tongs, marked (pellet) REVERE in a rectangle inside the bow of the tongs.  Paul    Revere, probably 1780’s or 1790’s.   This is Buhler MFA mark b, which she says he used until about 1795.

The monogram is D at the bow in an elliptical reserve.  The monogram is for G A Captain Gilbert Dench and his wife Anna of Boston.
Research indicates that Revere’s surviving daybooks list two transactions with Captain Dench, one in 1782 and one in 1790 (vol.2, page69 and 89).  Neither is these tongs.  These tongs are listed in Kane’s Colonial Mass, Silversmiths on page 828.

Condition:  Excellent. 
Length: 5-1/4”.  Weight .9 troy oz.  

Tennessee  Cherry  Press
ca. 1814-20
Tulip Poplar Secondary Wood.

A superb Southern/Tennessee china/ book  press showing all the qualities of a well trained cabinetmaker working in the back country. The rectangular top with a removable dovetailed cornice  composing of Greek cyma moulding over a plain cavetto (cove) over a Frieze with vertical crotch cherry veneer flanked by cock breading. Pair of glazed doors with astragal mullions, interior having a central fixed shelf and adjustable top and bottom shelves. Lower section has ogee mid moulding over pair of dovetailed and scratch beaded drawers over pair of cupboard doors. Stiles end it ring turned and tapering feet ending in a ball and spike. Interior of base has a single fixed shelf. 


                                 Height: 91 1/4”
                                 Width: 43 3/4” (base)
                                 Depth: 15 1/2” (base)
                                 Leg Height: 7 1/2”
Federal Inlaid Mahogany Serpentine-Front Sideboard
ca. 1800. New York
Secondary Wood: Tulip Poplar and White Pine. 

Rectangular top with serpentine-front over two concave drawers and one convex drawer, over recessed cupboard doors, supported by line and dot inlaid square tapering legs ending in cross banded cuffs.
Condition: Excellent, brasses likely replaced, scattered small scratches and veneer patches expected with age. 

Provenance: Sotheby’s  sale 6483 October 24th 1993.

                                      Height: 39 1/2” 
                                      Length: 76”
                                      Depth: 33”

Sugar Chest
ca. 1835 Middle Tennessee
Possibly Davidson or Williamson Co. 
Primary Wood: Cherry 
Secondary Wood: Tulip Poplar

A classic middle Tennessee sugar chest with a rectangular top with perimeter moulding, over a conforming dovetailed box, the right well has the unusual feature of having a removable  fitted dovetailed box. The dovetailed rests on a frame with a single dovetailed box supported by ring turned and tapering legs. 

Note: A classic Middle Tennessee  cherry sugar chest with desirable dovetailed box on frame form and  mellow old refinish and attractive bold legs ending in a ball and spike. The dovetailed drop in box is a desirable and unusual feature, it is believed that these drop in boxes were intended to be removed and taken to town when sugar was going to be purchased.

                                                 Height: 35 1/8”
                                                 Width: 28 3/8”
                                                 Depth: 17 7/8”
                                                 Leg Height: 9 1/4”

Garner and Winchester Kentucky Julep Cup
ca. 1845.  Lexington.
Eli C. Garner and  Daniel Frank Winchester  became partners in the firm or Garner and Winchester around 1843, Garner was born in Virginia in 1817 and came to Lexington where he apprenticed under Asa Blanchard. Winchester apprenticed in Baltimore, this explains the use  of the purity standard marks commonly used on Baltimore silver. 10 oz 15 refers to 10oz of silver per 15 ounces Troy or about 89.6% silver. 
 A well made  cup with plain tapered cylindrical form with applied 
reeded bands on rim and base. 
Note: It is desirable to have city marked southern silver. 
Condition: Good, no repairs, no monogram, small denting to sides could be  removed if desired. 

Height: 3 1/4”

Documented Tennessee Walnut Cradle
ca. 1840-60
Origin: Marshall Co, Tennessee. Pictured in the Art and Mystery of Tennessee Furniture by Nathan Harsh and Derita Williams. Page 247, 
figure 343.
A rare documented walnut cradle with  rounded head and foot board , sides are shaped with cut out handles, rounded applied rockers. Square nail and screw construction. 
Provenance: Descended in the Orr family of Marshall County Tennessee, it was purchased by Lewisburg, Tennessee collectors Knox and Sara Bingham. 


                                                                   Height: 17 1/2”
                                                                   Width: 25” (rockers)
                                                                   Length: 37 3/4”Furniture/Pages/Tennessee_Walnut_Cradle.html
Oil on board from the Hotel Washington, Washington D.C. 
Artist: Earl Purdy 

Wonderful caricature of two men in 18th century attire. One of the  men is drinking from a toby jug.  This is  one of a set of 34 that were commissioned and hung in the lounge of the Hotel Washington, Washington, D.C. during the 1930‘s. It is not know how many survived after the lounge was remodeled but this is one of several that were discovered in an estate in Bowling Green, Kentucky. 

Earl Purdy is listed in Who Was Who in American Art, 1564-1975  as a 20th century Mural painter, architect and etcher, his murals are listed as the Hotel Washington, DC (doubtless they are the set of 34 oil paintings on masonite). 

The Hotel Washington  is located across the street from the White House and was built in 1917, designed by John Carrere and Thomas Hastings.  

Height: 28 1/4”    Width- 39 1/2”Fine_Art/Pages/Earl_Purdy_Hotel_Washington,_D.C..html
George Cooke (1793-1849)
Two Children in a pastoral setting
Dated 1844
Oil on canvas, 36 1/4 x 29 3/8 inches
Signed on tree “G.C. 1844”

The portrait at hand is an excellent example of the artist’s ambitious intent.  The figures dominate the composition, having been placed forward in the picture plane and anchored by the centrality of a brimming hat of flowers.  The upheld hand of the child on the left, holding a piece of fruit, and the down curving hand of the child on the right, holding a flower, suggest a symbolic circle of life.  Considering Cooke’s familiarity with old master European art, both through observation and the acquisition of print sources, it may be possible that the upheld hand recalls Murillo’s Children Eating Fruit.  This painting has distinct similarities with the artists other extant portraits of children.  Western Berkeley Thomas and Emily Howard Thomas of Augusta, Georgia (Morris Museum of Art, Augusta, Georgia) is the same size and deploys a similar frontal composition.  Semiotic fecundity is also to be seen in the upheld hand of children in Mrs. Mann S. Valentine and her Children (Richmond Valentine History Center, Richmond, Virginia), and Mrs. Philip A. Clayton and Her Children, Philip and Julia Florence, (private collection).       

For further information click on this text or 

Frame: 42” x 35”Fine_Art/Pages/George_Cooke_%281793-1849%29.html
Asa Blanchard Beaker / Julep Cup
ca 1820-30. Lexington, Kentucky 
Maker: Asa Blanchard ( working 1808-1838)
Cartouche mark: “A.BLANCHARD”
Monogrammed: “P.T.” ?

Slightly tapering Cylindrical sides with applied reeded banding to base and rim, cartouche  makers mark.
A beautifully made and  heavy  beaker by one of Kentucky’s best know makers.
This beaker  is nicely struck with the earlier cartouche mark, “A.BLANCHARD”. It is nice to find a beaker in such beautiful condition with a period monogram.
Asa Blanchard is know to have made silver in Lexington, Kentucky as early as 1808, he was very successful and advertised in the Lexington papers. He is listed in the 1820 Census as having two manufacturers that were male slaves and two female slaves. His shop was listed in the Lexington directory of 1838 as 18 North Mill Street, the corner of short, and his home was at 41 N. Mill. 

Wight: 5.9 oz troy
Height: 3 3/8”American_%26_Southern_Silver/Pages/Asa_Blanchard_Beaker.html
Katherine Sibley  McEwen ( 1875- 1957)
Dragoon Mountains Arizona c. 1920’s 
Oil on canvas
32 1/4  x 38 1/2 inches.
Inscribe on stretcher : "Katherine McEwen Arizona Desert Landscape"

A beautiful example of the work of  pioneering American  woman artist, Katherine McEwen. This colorful plein Air impressionist landscape painting is  believed to be of Rockfellow Dome, a geological feature of the Cochise Stronghold Canyon, located in the Dragoon Mountains of Arizona.  In the foreground we see native plants like the  prickly pear cactus with its distinctive red buds as well as an agave plant and shrubs.  Painted during the 1920’s  while  Katherine lived on the 7 Bar Ranch near Dragoon, Arizona. We can see the influence of her teachers, William Merritt Chase, and Charles Herbert Woodbury, two important artists who were  advocates for American plein air painting.  Katherine has captured the desert light and color with her wide confident brushstrokes and use of  bright colors. The Archives of American Art at the Smithsonian have a photograph of Katherine and her artist sister Alexandrine at the Arizona Ranch. (copy is enclosed below).

Katherine McEwen was born in England in 1875 to Robert Forrester McEwen and Mary Sibley Adam McEwen.  She was educated in England and  Germany, then emigrated, with her artist sister Alexandrine, to Wayne, Detroit, Michigan in 1895. They lived with her great aunt Sarah Alexandrine Sibley.  Katherine studied at the  Detroit Art Academy and the Chase School of art in New York, attending art classes with Chase in Spain. She also studied under Charles Herbert Woodbury at his summer school in Ogunquit, Maine. Woodbury was a highly  influential American artist and  teacher as well as advocated  for plein air painting. 

In 1906, Katherine  and her sister became  founding members of the Detroit Society of Arts and Crafts,  the society became internationally known and was the first Arts and Crafts organization to offer an education program in the arts. Officially becoming a college in 1962, the society changed its name to the Center for Creative Studies-College of Art and Design. In 2001 they  became the College for Creative Studies, a top automotive design college. 

McEwen was a founding member of the Detroit Society of Women Painters and Sculptors, she was president from 1915-1918.  
A talented mural painter, Katherine was a member of the American National Society of Mural Painters. In the early 1930’s she  was part of a team called the “Fresco Block of Mural Painters” who helped Mexican artist  David Alfaro Sisqueiros(1896-1974), complete his first Los Angeles Mural, Street Meeting, a fresco on an exterior wall at Chouinard. She also painted a large fresco at Christ Church and the Arts and Crafts Building for Boy’s both in Cranbrook, Michigan. 

She travelled throughout the west painting, often spending time painting  on her family ranch, The 7 bar ranch near Dragoon,  Arizona. ( Mantle Fielding’s Dictionary  of American Painters Sculptors and Engravers has her ranch address as Johnson, Arizona which is slightly north of Dragoon. Once a thriving copper mining town it became a ghost town in the late 1920’s due to a drop in the price of copper. 

In 1942, she moved with her sister to British Columbia, where she became a member of the Arts Center of Greater Victoria and continue to paint landscapes. She passed away on December 11th, 1957. Fine_Art/Pages/Katherine_McEwen_%281875-1957%29_Arizona.html
Benjamin Sayre Cory Kilvert (1879-1946)
“College of Charleston”
ca. 1934.
Oil on board: 14” x 18”
Period frame:  17 1/4” x 21 1/4”

An impressionist painting of the College of Charleston showing students congregating outside the main building. The Main Building, now known as Randolph Hall was designed by Philadelphia architect William Strickland and was completed in 1829. Architect Edward Brickell extensively remodeled the building in 1854, adding the ionic portico and wings. 

Benjamin Sayre Cory Kilvert was born in Canada in 1879. At a young age he moved to New York City to study under Robert Henri (1865-1929)  at the Art Students’ League.
He supported himself as an illustrator with many of his illustrations appearing in magazines and books from 1902 until the 1930’s.

In 1934, he lived in Charleston, South Carolina with his family where he painted scenes of Charleston.  Fine_Art/Pages/Benjamin_Kilvert_%281879-1946%29_Charleston.html
George Cooke (American 1793-1849)
Portrait of a Man
Dated 1829. Oil on Canvas
Signed on back of canvas “ Geo. Cooke for CC 1829”
27 1/2  x  23 inches

 Portrait of a young American man sitting in a yellow Baltimore Fancy side chair with a painted tablet back. The back of the canvas is inscribed by George Cooke: 
“Geo. Cooke for C.C.” we do not know who C.C. is but is is possible that the sitter could be identified with further research. In 1829 George Cooke was living in Rome, Italy with a group of American expatriates. 
Tennessee Sampler
1834 Judith W. Amis of Culleoka, Maury County. 
Little Dog Group
Silk on Linen
18” x 17 5/8”
“Judith W. Amis 12                                                           “look well at what you take in land
years of age M.C. (Maury County) state of                       for learning is worth more than land
Tennessee. Oct. 3rd                                                           When land is gone and money spent
1834”                                                                                 Then learning is most excellent.”

 This rare sampler is from the “little dog” group, before the discovery of this sampler there were eleven documented samplers for this group.  The samplers in the group have a similar composition with the school house in the lower right and the girl’s name and date to the left of the school house surrounded. The dog is facing right on the lower left side of the house. 

Judith Woodson Amis was born October 12th 1821 in Maury Co., Tennessee.  Her parents were Mary Knight and John Erasmus Amis. John Amis and his wife Mary moved to Williamson co. Tennessee from Granville County, North Carolina in 1819.

 In 1821 John Amis  purchased the Turnhill farm on Fountain Creek, near Culleoka, Marshall county from Abner Pruett who moved to Missisippi in 1818. John Amis established a water mill on Fountain Creek, known as Amis Corn Mill.  The mill became a voting precinct in 1842. 

Their son  Thomas Amis, at the age of 23 began raising mules and driving them south, becoming one of the first mule dealers in the county. 

 Mary Knight’s mother’s maiden name was Judith Woodson (1741-1821) and from there we can trace Judith W. Amis’s lineage back to John Woodson (1586-1644) who arrived in Jamestown ,Va in 1619.  Judith married a John H. Walker in Maury Co., 16 December 1836 and the couple sometimes thereafter moved to Austin Texas. 
Interestingly, Judith’s Great Great Grandfather was Joseph Woodson (1685-1776), who had, among other siblings, two sisters, Elizabeth and Mary.  Mary Woodson, who married George Payne, was “Dolly” Payne Todd Madison’s grandmother.  Elizabeth, in turn, married a “Mims” whose daughter married a “Poor” whose daughter married a “James” and therein is the genealogical connection of Judith to Jesse Woodson James. [In short, Judith is a 7th generation, Dolly Madison a 5th generation and Jesse James an 8th generation Woodson in America.]

South Union Kentucky Folk Art Watercolor. 
19th century 
Signed on back Nellie Lockhart, South Union, Kentucky 
Watercolor is accompanied by 5 love/courtship letters addressed to Miss Nellie Lockhart, South Union Kentucky, the letters date from 1895 to 1897. 
Each letter is written in code, one of the letters  has been partially decoded. 

11” x 7 3/4” Painted on lined paper. 
17” x 13” Framed

Important East Tennessee Cherry  Safe Attributed to John Wolfe (1810- 1891)
Ca. 1840-60   
Piney Flats, Sullivan County, Tennessee. 
Tulip Poplar Secondary Wood. 

A good example of a group attributed to cabinetmaker John Wolf of Pine Flats, Sullivan County, Tennessee. This sideboard safe form has a rectangular stained Tulip Poplar top over a cherry base with three drawers over two large doors with stylized tins decorated with urns and  sprouting flowers. Base has an applied molding and well turned ball and spike feet. 

Provenance: Collection of Mary Jo Case. Exhibited  and pictured in the Art of Tennessee Exhibit Curated by Benjamin Caldwell Jr., Robert Hicks and Mark Scala. Frist Center for the Visual Arts, Nashville, TN. 2003. Pictured on page 77.

For and identical safe see the Tennessee State Museum Furniture collection; Tennessee Historical Quarterly Volume LXII Spring 2003 Number 1 page 58,59 and 60. Also see Art and Furniture of East Tennessee The Inaugural Exhibit of the Museum of East Tennessee History  by Namuni Hale Young. 1997. Page 38. There is another safe from the same group picture in the Art and Mystery of Tennessee Furniture by Nathan Harsh and Derita Williams. 1998.page 163.

H- 50 1/2”    W 54 3/8”    D 19”Furniture/Pages/Important_East_Tennessee_Safe.html
Silver  Dirk
Rare Louiville, Kentucky Identified Dirk.
Owner: J.N. Johnson.
Collectors tag reads: “Owned by J.N. Johnson and bought with his Confederate Buckle Marked Louisville, Ky.”
A beautifully engraved dirk with fish scale handle with raised cartouches on each side, front cartouche is  scratched with “J.N.J.” and back cartouche is marked “Lou ll  K.Y.” The scabbard is engraved with trailing acorn branch with leaves and acorns. 
Overall length: 10”
Blade Length: 5 3/4”Accessories/Pages/Kentucky_Dirk.html