Michael Hall Antiques

Still Life painted in Paris, France. Signed upper right and dated 1934. Oil on canvas 39” × 31 3/4”. Original wormwood frame: 43 ½” x 36 ½ ”. Provenance: From a Belle Meade Estate.

Philip Perkins grew up in Waverly, Humphreys County, Tennessee. He went to Hume-Fogg high school in Nashville and Vanderbilt University followed by the Art Institute of Chicago. In 1932 moved to Paris where he studied with Jean Marchand, Louis Marcoussis and Ferdnand Leger. In 1934 he exhibited at the Salon D'Automne and the Salon de Tuileries. He moved back to Tennessee where he taught at the University of Tennessee Extension service from 1948 to 1953. In 1954 he was in Segovia, Spain on a 2 year fellowship from the School of International Painting. He lived in Paris from 1959-1961 before moving back to Nashville in 1961 where he taught at Watkins Institute and at the Fine Arts Center at Cheekwood. He exhibited at the Parthenon in 1967 as well as a posthumous exhibit at Randall Galleries in New York in 1977

Boats in Harbor, France. Oil on canvas 19” x 27 1/4”. Frame: 24 1/2” x 32 1/2”. Frame label: Spivy-Johnson Co. Birmingham, Alabama.

Martha Elliott was a skilled painter of landscapes, still lifes, but she was best known as a portrait painter. Martha Elliott, with the birth name Martha Beggs, was born in 1892 in Birmingham, Alabama. The father of five, her father, Mr. John Beggs, was originally from an English iron-working family.

Martha remained in the Birmingham area where she attended Samford College and later married Vann S. Elliott. She gave birth to a daughter and worked as an elementary teacher while practicing painting and drawing in her spare time. It wasnt until she was thirty-eight years old that Elliott took her first art classes.

After studying briefly with Louise Cone in Birmingham she enrolled in summer portraiture classes in Elizabethtown, New York. Her career as an artist started in Birmingham and continued in New York City and Dallas, Texas. She was known to have traveled abroad to study with friends in Paris, France at the Academie Julien and La Chaumier. She continued to travel as an artist over the years between Europe, Hawaii, the United States and North Africa. (source Ask Art)

Frederick Weygold (Kentucky 1870-1941) Oil on board 9” x 1`4 1/4”. Original Frame 13 1/4” x 19”. Signed lower right, F.W. Painted 1920.

Frederick P. Weygold was born in St. Charles, Missouri in 1870, he studied at the Pennsylvania Academy of Fine Arts and Germany. In 1914 he moved to Louisville, where he was very influential in the development of local art and artists. Weygold was very interested in the Sioux Tribe and amassed a vast collection of artifacts which he donated to the Speed Museum. He died in Louisville in 1941.

This rare painting shows Federal Hill, in 1920 before it was purchased by the state and became My Old Kentucky Home State Park. Federal Hill was built between 1795 and 1818 by Judge John Rowan. The Marquis de Lafayette, Stephen Foster, Andrew Jackson and Henry Clay all visited Judge Rowan at Federal Hill. Weygold was friends with Madge Rowan Frost (the last heir of Federal Hill Farm) and painted a series of these paintings to help raise awareness of the property and encourage the Commonwealth of Kentucky to purchase the property.

Typed inscription on back reads:

“ The Sun Shines Bright in the Old Kentucky Home”. Just a little reminder to Mary Alice and Irwin Gernert from Frieda and Frederick Weygold that the sun shines somewhere, even if it is gloomy in Nashville. Federal Hill near Bardstown, Ky as it appeared in the summer of 1920 before it became a state reservation. It was in this house, built in about 1800 (1818), that Stephen Foster wrote (in about 1859) America’s most beautiful folksong “My Old Kentucky Home.”

Provenance: Given by the artist and his wife to Mary Alice and Irwin Gernert or Nashville, Tennessee.

The Old Kentucky Home, 1920. Frederick Weygold (Kentucky 1870-1941) Oil painted on artist made frame . Inscribed on back by artist: To Ray Gernert from Frederic Weygold. 11 1/2” x 9 1/2”.

Frederick P. Weygold was born in St. Charles, Missouri in 1870, he studied at the Pennsylvania Academy of Fine Arts and Germany. In 1914 he moved to Louisville, where he was very influential in the development of local art and artists. Weygold was very interested in the Sioux Tribe and amassed a vast collection of artifacts which he donated to the Speed Museum. He died in Louisville in 1941.

This rare painting shows the front door of Federal Hill, in 1920 before it was purchased by the state and became My Old Kentucky Home State Park. It is the companion painting to the Ferderal Hill painting on my website showing the entire house. Both paintings were given as gifts to the Gernerts of Nashville.

Federal Hill was built between 1795 and 1818 by Judge John Rowan. The Marquis de Lafayette, Stephen Foster, Andrew Jackson and Henry Clay all visited Judge Rowan at Federal Hill.

Provenance: Given by the artist and his wife to Mary Alice and Irwin Gernert or Nashville, Tennessee.

Oil on canvas, 22 × 26 1/4”. Frame: 25 1/2” x 29 1/2” Signed and dated l.r. Perkins, 61. Inscribed on back: “Philip Perkins, Lyzon Inc. Title: And my discourse was of sea, St. John Purse, “Amers”"

Perkins is quoting a line from the poem "Amers" by Saint-John Perse (pen name for Alexis Leger)

The poem, whose title translates to "Seamarks" in English, is a poetic exploration of the sea as a metaphor for life and human existence. It delves into the relationship between humans and the sea, examining its vastness, mystery, and relentless force. It explores themes of exploration, discovery, and the human spirit. 

"Amers" is considered a significant work, published in 1957, three years before Perse was awarded the Nobel Prize in Literature. The poem's meaning is multifaceted, possibly playing on the French words for "bitter" (amers) and "sea" (mer), suggesting themes of both bitterness and the vastness of the ocean, which symbolizes life's journey and its inherent complexities.  Provenance: The estate of Nashville artist Marie Taylor Barton.

Abstract oil on canvas 12 1/2” x 10 1/4”. Original frame. 17 1/8” x 15”. Lyzon label on back.” Lyzon, 411 Thompson Ln. Nashville, 6-7538.” Unsigned. Provenance: From the Estate of Nashville artist Marie Taylor Barton.

Philip Perkins grew up in Waverly, Humphreys County, Tennessee. He went to Hume-Fogg high school in Nashville and Vanderbilt University followed by the Art Institute of Chicago. In 1932 moved to Paris where he studied with Jean Marchand, Louis Marcoussis and Ferdnand Leger. In 1934 he exhibited at the Salon D'Automne and the Salon de Tuileries.He moved back to Tennessee where he taught at the University of Tennessee Extension service from 1948 to 1953. In 1954 he was in Segovia, Spain on a 2 year fellowship from the School of International Painting. He lived in Paris from 1959-1961 before moving back to Nashville in 1961 where he taught at Watkins Institute and at the Fine Arts Center at Cheekwood. He exhibited at the Parthenon in 1967 as well as a posthumous exhibit at Randall Galleries in New York in 1977.

“Aspens, Snow, Sunlight III" c. 1978. Depicts the Sangre de Cristo Mountains, the southernmost part of the Rockies in New Mexico.

Acrylic on canvas, 30” x 30”

Frame: 35” x 35”

Painter Douglas Atwill was born in Pasadena, California in 1933.

1962 Graduate Study, University of Texas at Austin
1961 BA, University of Texas at Austin
1958 Prima Diploma, Universitá Italiana per Stranieri, Perugia, Italy

$3,800.

Fully rigged ship. Oil on tin. Signed l.r. W.H. Coffin, ‘95. 19th century cove gilded frame: 26” x 32”.

Dorothy Brewington in her Dictionary of Marine Artists says that Coffin was active until 1898. He was primarily a marine painter, though he may have painted other subjects as well. The Smithsonian Institution Research Information Service presently lists 15 marine paintings by him.
Two early works, View of the Brig Ceylon Wrecked on Nantucket (1839) and The USS Constitution vs. HBM Guerriere are in the Peabody Essex Museum

Title: “Blue Water, Rockport”. Oil on board 16” x 20”. Frame: 22 1/4” x 26 1/4”

Gustave Cimiotti was one of the exhibitors at the Armory Show of 1913. He began his art education at the Art Students League in New York, studying under artists including Robert Blum, Oliver Reid, Karl Volk, and John Twachtmann. He attended the Academy Julian in 1899 and later the Delacluse Academy. He eventually returned to New York and had a studio for 54 years in New York at 51 W. 10th Street where William Merritt Chase, Winslow Homer, and John La Farge also worked. He taught at the Berkshire Summer School of Art, the Montclair Museum School, the old Whitney Museum School, the Newark School of Fine and Industrial Arts, and the Pratt Institute. In 1943, Cimiotti moved briefly to Laguna Beach, California, but returned to New York City in 1945. He exhibited widely at the National Gallery of Art, the Salmagundi Club, the Corcoran Gallery, the National Academy of Design, and with the Society of American Artists.

Maine Seascape. Oil on board. Silver Italian frame: 23” x 27”.

Gustave Cimiotti was one of the exhibitors at the Armory Show of 1913. He began his art education at the Art Students League in New York, studying under artists including Robert Blum, Oliver Reid, Karl Volk, and John Twachtmann. He attended the Academy Julian in 1899 and later the Delacluse Academy. He eventually returned to New York and had a studio for 54 years in New York at 51 W. 10th Street where William Merritt Chase, Winslow Homer, and John La Farge also worked. He taught at the Berkshire Summer School of Art, the Montclair Museum School, the old Whitney Museum School, the Newark School of Fine and Industrial Arts, and the Pratt Institute. In 1943, Cimiotti moved briefly to Laguna Beach, California, but returned to New York City in 1945. He exhibited widely at the National Gallery of Art, the Salmagundi Club, the Corcoran Gallery, the National Academy of Design, and with the Society of American Artists.

Winter snow covered Landscape. Signed l.r. Oil on board. Original early 20th century hand carved and gilded frame. Frame: 13 1/2” x 16 1/2”. Back of frame inscribed in pencil: “Mrs. George C. Greer.”

Gustave Cimiotti was one of the exhibitors at the Armory Show of 1913. He began his art education at the Art Students League in New York, studying under artists including Robert Blum, Oliver Reid, Karl Volk, and John Twachtmann. He attended the Academy Julian in 1899 and later the Delacluse Academy. He eventually returned to New York and had a studio for 54 years in New York at 51 W. 10th Street where William Merritt Chase, Winslow Homer, and John La Farge also worked. He taught at the Berkshire Summer School of Art, the Montclair Museum School, the old Whitney Museum School, the Newark School of Fine and Industrial Arts, and the Pratt Institute. In 1943, Cimiotti moved briefly to Laguna Beach, California, but returned to New York City in 1945. He exhibited widely at the National Gallery of Art, the Salmagundi Club, the Corcoran Gallery, the National Academy of Design, and with the Society of American Artists.

Dauphinee’s Beach, Hubbard, Nova Scotia. Oil on board. Signed and titled verso. 14”x16 1/2”.     

Ocean Point, Maine. Costal scene and boat. Oil on board: 16” x 20”. Frame: 21 3/4” x 25 3/4”

Oil on Canvas. 25 x 30. Landscape with rock walls and sheep and house in background. Signed l.l and dated 1930.

Born in Auburn, Michigan on January 11, 1871, Charles L. A. Smith was a self taught painter who spent his early career in Chicago. He visited California sometime before 1908 but did not settle in Los Angeles until the 1920's. In 1933 Smith was granted Jonathan Club Artist Membership in exchange for one of his paintings. In 1937 he was designated as the Club's "librarian and art connoisseur," replacing Stanislaus Porary as custodian of the art collection. Smith died on November 26, 1937. Primarily a landscape painter, Smith also painted portraits.

Member: California Watercolor Society; Boston Art Club; California Art Club.

Exhibited: Panama-Pacific International Exposition, San Francisco, 1915; California Liberty Fair, 1918; Ebell Club, Los Angeles, 1921; California State Fair, 1930.

Works Held: Laguna Art Museum; University of Maine Museum of Art, Bangor, Maine; Lawrence Art Museum, Massachusetts; Gardena High School.

Sources: Artists in California, 1786-1940, Edan Hughes

Art at the Jonathan Club, Jonathan Art Foundation

Winter Stream, Oil on Canvas. 24 1/2” x 29 1/2”. Signed l.r. Original chestnut wormwood frame: 31” x 36”.

Originally from Dublin, Ireland, Inglish studied at the Dublin Academy then at the Ecole des Beaux-Arts under Jean-Léon Gérôme.  At the Académie Colorossi his teachers were Raphaël Collin and Gustave Courtois.

Inglis settled in Rochester, New York, where he was active in the Rochester Art Club, and served as president.  He taught at the School of the Mechanics Institute.

With his academic European training, Inglis was regarded as a learned senior painter. His basically conservative style included elements of Impressionism.  At the Art Exhibition of the Rochester Industrial Exposition in 1925, Inglis won a gold medal

Abraham Lincoln (American. William H. Dougal, 1822-1895)

Signed and dated lower left. W.D. ’65.

Oil on canvas. Original Carved and gilded frame. A rare Lincoln portrait painted during the last year of his life in an exceptional original carved and gilded frame.

Dougal was a Washington, D.C. artist and engraver, notably designing and engraving the Grand Inauguration Ball invitation for President Zachary Taylor in 1849. Lincoln was a manager of the ball, along with Robert E. Lee, Alexander Stephens, Winfield Scott and others.

Provenance: Sold by the American Art Association, New York January 25th, 1935.

$ 19,500.

Signed lower left. Oil on board. 16" x 20". Gilded frame: 20 1/2" x 24 1/2".

Signed and dated June, 29th, 1993. Numbered 29.000.916. "I find image of Jesus on back side of Elvis." Height : 11 3/4” . Width 10 1/2" Mixed media on plywood.

Provenance: Purchased directly from Howard Finster, July 18th, 1993 by Chuck Lurker of Franklin, TN.

A Man Reading. Pencil on woven paper. 4 7/8” x 3 1/8”. Drawn 1900-1901. Included and pictured in the Catalogue Raisonne. James McNeill Whistler, Drawing, Pastels and Watercolors A Catalogue Raisonne by Margaret F. MacDonald. Page 589, Fig. 1638.

Provenance: The artist’s studio at the time of is death in 1903 and bequeathed to his sister-in-law, Miss R. Birnie Philip. It was removed from a sketch book and sold to Colnaghi, London dealers, on May 11th 1956 then sold to Bournmouth dealer Alistair Matthews who sold it to a Nashville collector on January 22nd, 1958.

“ This may be a portrait of Ronald Murray Philip. It looks as if he was reading by firelight. The drawing is quite elaborate, for all its size. Whistler worked first with soft diagonal lines pencil lines, and then with a very fine point poked in to it for details. The lines were cross hatched and lightly rubbed. There a loose and weak lines around the body. The soft and grainy effect is typical of Whister’s later drawings” . Source: James McNeill Whistler, Drawing, Pastels and Watercolors A Catalogue Raisonne by Margaret F. MacDonald.

Still Life of Corn, Oil on board, 22 x 27 1/2. Signed lower right: A. Montgomery. Original frame.

Alfred Montgomery was born in Logan County, Illinois, and moved to Bloomington in 1893 from Mason City, Iowa. He was known as the Farmer Artist or the Corn Artist and considered by the Lakeview Museum in Peoria as Bloomington’s best-known painter. He achieved renown in artistic circles for his paintings of farm animals and still lifes featuring corn. He settled in Los Angeles in 1906, spent the next decade in Tulsa, Oklahoma, and died in Los Angeles in 1922.

Signed lower right. Titled and dated on back. 1974. Oil on Board: 12"x9". Frame: 16 3/4" x 13 1/2".

Ignatz Sahula-Dycke was a painter, illustrator and designer. Born 1900 in Bohemia, Austria. Studied at the Chicago Academy of Fine Arts 1911-1918. U.S. Navy 1918-1919. Life member Art Institute of Chicago.

Navajo Mother and Child. Dated 1977. Oil on board. 11" x 14". Signed lower left. Frame: 15" x 18". Ignatz Sahula-Dycke was a painter, illustrator and designer. Born 1900 in Bohemia, Austria. Studied at the Chicago Academy of Fine Arts 1911-1988. U.S. Navy 1918-1919. Life member Art Institute of Chicago.

Portrait of George Washington

After the original by Gilbert Stuart.

19th century. Oil on canvas. 28 1/8” x 22 3/16”.

Period early 19th century frame: 36” x 25”.

This painting is a very close copy of Washington's head and shoulders as depicted in the full-length version of the "Lansdowne" portrait that is owned by the Pennsylvania Academy of the Fine Arts. The direction of Washington's gaze indicates that this painting is copied from the Lansdowne type full-length, and not the more well known Athenaeum type. In the full-length Lansdowne type he looks off to the side; in the Atheneum and its replicas and copies, he looks directly at the viewer.

There are three versions of the Lansdowne; the others are at the National Portrait Gallery and the Brooklyn Museum.  This painting appears to be copied from the PAFA painting because it is very close in every detail not only to the face and shoulders, but also to minor aspects like the shape of the shirt ruffle and the queue ribbon.  Also, importantly, the PAFA version was on view at the academy from 1811, a bequest from Pennsylvania Senator William Bingham, who died in 1804.  Bingham was the person who commissioned the original Lansdowne (the painting now in the collections of the National Portrait Gallery). 

Provenance: From a Washington D.C. Estate in 1909. Purchased at auction in New York City in 1909 by Santa Monica, California art dealer J.F. MacCarthy, There is an article in the Los Angeles Times, Sunday, January 15th, 1933 that talks about Mr. MacCarthy and the Washington Portrait. By descent to Miss Mary MacCarthy who loaned the painting in 1942 to The Society of Liberal Arts, Joslyn Memorial Omaha, Nebraska through the courtesy of Father De Persio of Bellevue, Nebraska. The painting transferred ownership to Father De Persio (1916-1990) then to his brother Dr. John D. De Persio (1914-2002) who sold the portrait to the current owner. Dr. John D. De Perio’s parents were Dominick and Martha McCarthy DePersio.

Condition: Very good, painting was under glass for a good portion or the 20th century. Examined under black light, upper left corner has touch up. (visible with the naked eye due to varnish being dryer than the rest of the canvas.

Plate 89,. Printed and published by R. Havell, Printed 1832. First edition of The Birds of America (London: 1827-1838). . Depicting a male and female resting upon a shrub with red berries. J WHATMAN 1832 paper watermark. Housed in a contemporary gilt wood frame. Plate - 19 1/8" H x 13 7/8" W. Sight - 22 7/8" H x 15 3/4" W. Sheet - 37 3/4" H x 25 1/2" W. Framed - 44 3/4" H x 37 3/4" W.

Exhibited, The Art of Tennessee, Frist Center for the Visual Arts, 2006.

Landscape , oil on canvas . 20” x 23”. Lyzon frame.

Baker was from Winchester, Tennessee. He attended the University of the South in Sewanee where he majored in Philosophy.

In 1938, aged sixteen, Baker met another Winchester artist, Avery Handly (1913-1958). Though some nine years older, Handly helped shape his perceptions, criticized, and shared his insights in literature and music. Through his encouragement and mentoring Baker chose a career in the arts. He later studied art at the Dallas Museum of Fine Arts, Southern Methodist University and the Art Institute of Chicago. He spent four years at the Atlanta Art Institute, obtaining the degrees of B.F.A., 1952, and M.F.A., 1953. There he was rated “the star” of the school and awarded the Ellen S. Booth scholarship for advanced studies in painting at Cranbrook Academy of Art, Michigan. He later studied at the Fine Arts Center of Colorado Springs.

In 1955 Baker came to Nashville, Tennessee to teach art at Watkins Institute. He later taught at the University of Tennessee, Cheekwood Botanical Garden and Museum of Art and Tennessee State University. Besides being a popular art teacher, Baker continued to create. He expressed himself in many different styles ranging from touches of cubism and expressionism to impressionistic scenes sometimes bordering on pointillism.

In 1960 Baker was honored as Nashville Artist of the Year by the Davidson County Business and Professional Women's Club for his work in organizing a memorial exhibition for his longtime friend and mentor, Avery Handly.

Baker won numerous honors for his work and exhibited at the University of the South, 1950; Dallas Museum of Fine Arts, 1950; Virginia Intermont Competition, 1953; the High Museum of Art in Atlanta, 1953; University of Tennessee, 1958; Tennessee State Fair, 1958, 1959; Vanderbilt University, 1962; and the Parthenon (Nashville), 1960, 1979. But perhaps his most memorable work is the 63 stained glass windows he designed for the Thomas P. Phillips Memorial Library and Archives in Nashville.

His work is widely represented in private collections as well as the permanent collections at the Cheekwood Botanical Garden and Museum of Art, the Tennessee State Museum, the Dallas Museum of Art, and the Southern Methodist University.

In 1985 he retired from teaching and died May 16, 1994. He is buried in the Baker family plot in Winchester.

In 1996 a memorial retrospective of Baker’s work was held at Belmont University in Nashville.Provenance, purchased directly from artist.

Texas Landscape.

Oil on Canvas. 24” x 36” Customer made leaf frame made by Art Center, Corpus Christy, Texas. 31 3/4” x 43 3/4”.

Signed l.l. Palmer Chrisman,

Palmer Chrisman was born in 1913, after his service in World War II he returned to Texas where he became a Physician and began painting, studying under Porfirio Salinas. His paintings depict the Texas Hill Country, President Lyndon B. Johnson was a patron of Chrisman and is said to have ordered 30 of his paintings to be given as Christmas Gifts from the White House. (Source: Ask Art)

Watercolor on Paper 20 1/2” x 27”. Signed and dated 1957. l.r. Frame: 24” x 30 1/2”.

Baker was from Winchester, Tennessee. He attended the University of the South in Sewanee where he majored in Philosophy.
In 1938, aged sixteen, Baker met another Winchester artist, Avery Handly (1913-1958). Though some nine years older, Handly helped shape his perceptions, criticized, and shared his insights in literature and music. Through his encouragement and mentoring Baker chose a career in the arts. He later studied art at the Dallas Museum of Fine Arts, Southern Methodist University and the Art Institute of Chicago. He spent four years at the Atlanta Art Institute, obtaining the degrees of B.F.A., 1952, and M.F.A., 1953. There he was rated “the star” of the school and awarded the Ellen S. Booth scholarship for advanced studies in painting at Cranbrook Academy of Art, Michigan. He later studied at the Fine Arts Center of Colorado Springs.
In 1955 Baker came to Nashville, Tennessee to teach art at Watkins Institute. He later taught at the University of Tennessee, Cheekwood Botanical Garden and Museum of Art and Tennessee State University. Besides being a popular art teacher, Baker continued to create. He expressed himself in many different styles ranging from touches of cubism and expressionism to impressionistic scenes sometimes bordering on pointillism.
In 1960 Baker was honored as Nashville Artist of the Year by the Davidson County Business and Professional Women's Club for his work in organizing a memorial exhibition for his longtime friend and mentor, Avery Handly.
Baker won numerous honors for his work and exhibited at the University of the South, 1950; Dallas Museum of Fine Arts, 1950; Virginia Intermont Competition, 1953; the High Museum of Art in Atlanta, 1953; University of Tennessee, 1958; Tennessee State Fair, 1958, 1959; Vanderbilt University, 1962; and the Parthenon (Nashville), 1960, 1979. But perhaps his most memorable work is the 63 stained glass windows he designed for the Thomas P. Phillips Memorial Library and Archives in Nashville.
His work is widely represented in private collections as well as the permanent collections at the Cheekwood Botanical Garden and Museum of Art, the Tennessee State Museum, the Dallas Museum of Art, and the Southern Methodist University.
In 1985 he retired from teaching and died May 16, 1994. He is buried in the Baker family plot in Winchester.
In 1996 a memorial retrospective of Baker’s work was held at Belmont University in Nashville.

Provenance: Purchased directly from Gus Baker by his friends and patrons, Whitworrh Stokes and Lucy Brock Stokes in 1957.

Watercolor on artist board. Frame: 23 5/8” x 18 1/2”.

Oil on canvas, Dated: 9- 1975. Canvas 9”x12” Frame: 13 1/2” x 16 1/2”. Signed lower right.

Bush Brick Yard, Nashville 1949. 8 3/4” x 12”. Frame 17” x 20”. Watercolor on paper painting depicting the Bush Brick Yard, east of the Cumberland River near Jefferson street. . This scene is likely the old plant number 2 located at the end of 2nd avenue close to where Bearded Iris Brewery in Germantown is located now. The round domed structure in the center is likely the brick kiln flanked by a large chimney and a multistory warehouse.. Signed upper right "McC Partee". Housed in a silvered wood frame.

Bush Brick Company (founded in 1867 by Confederate veteran Major W.G. Bush in 1867) and T. L. Herbert and Sons, from 1911 to 1961. The family business made bricks used for the construction of many buildings on the campus of Vanderbilt University as well as the Maxwell House Hotel, the Downtown Presbyterian Church and the Tulip Street Methodist Church.

Watercolor on paper : 14 1/3” x 10 1/2”housed in a 19th century gold leaf frame: 15 3/4” x 11 3/4”.
Julia Pope Moss was born in 1842 in Oglethorpe County and came to Athens to attend the Lucy Cobb Institute. She became principal of the Grove School. She did not marry. She died in 1931.

There is a miniature on ivory portrait of Miss. Moss in the collection of the Philadelphia Museum of Art painted in 1926 by Lucy May Stanton, (American, 1876-1931).

$850

Title: The Deserter.

Oil en grisaille (painting executed entirely in shades of gray or another neutral grayish color) on artists’ board. 18 3/4” x 24 3/4”. Frame: 24 1/2” x 30 5/8”.

Provenance: Private collection, purchased from Robert M. Hicklin Jr. Inc.

Signed l.l.

William Gilbert Gaul was born in Jersey City, New Jersey. Upon the death of his maternal uncle, Gaul inherited land near Fall Creek Falls in Van Buren county Tennessee. Gaul split his time between Fall Creek Falls and New York City. He later taught at Cumberland Female College inMcMinnville, Tennessee. He opened a studio in Nashville in 1905.

$ 4,800

We are interested in purchasing paintings by Gilbert Gaul, feel free to email us at:

Michael@MichaelHallAntiques.com

or call us at 615-390-1836

ca. 1850’s. Oil on canvas. 25”x30” Original Tulip poplar stretcher. Artist: Attributed to Washington Bogart Cooper.

Male nude in a courtyard.

Oil on board: 18” x 22”. Signed and dated l.r. Frame: 26” x 30”.

Baker was from Winchester, Tennessee. He attended the University of the South in Sewanee where he majored in Philosophy.
In 1938, aged sixteen, Baker met another Winchester artist, Avery Handly (1913-1958). Though some nine years older, Handly helped shape his perceptions, criticized, and shared his insights in literature and music. Through his encouragement and mentoring Baker chose a career in the arts. He later studied art at the Dallas Museum of Fine Arts, Southern Methodist University and the Art Institute of Chicago. He spent four years at the Atlanta Art Institute, obtaining the degrees of B.F.A., 1952, and M.F.A., 1953. There he was rated “the star” of the school and awarded the Ellen S. Booth scholarship for advanced studies in painting at Cranbrook Academy of Art, Michigan. He later studied at the Fine Arts Center of Colorado Springs.
In 1955 Baker came to Nashville, Tennessee to teach art at Watkins Institute. He later taught at the University of Tennessee, Cheekwood Botanical Garden and Museum of Art and Tennessee State University. Besides being a popular art teacher, Baker continued to create. He expressed himself in many different styles ranging from touches of cubism and expressionism to impressionistic scenes sometimes bordering on pointillism.
In 1960 Baker was honored as Nashville Artist of the Year by the Davidson County Business and Professional Women's Club for his work in organizing a memorial exhibition for his longtime friend and mentor, Avery Handly.
Baker won numerous honors for his work and exhibited at the University of the South, 1950; Dallas Museum of Fine Arts, 1950; Virginia Intermont Competition, 1953; the High Museum of Art in Atlanta, 1953; University of Tennessee, 1958; Tennessee State Fair, 1958, 1959; Vanderbilt University, 1962; and the Parthenon (Nashville), 1960, 1979. But perhaps his most memorable work is the 63 stained glass windows he designed for the Thomas P. Phillips Memorial Library and Archives in Nashville.
His work is widely represented in private collections as well as the permanent collections at the Cheekwood Botanical Garden and Museum of Art, the Tennessee State Museum, the Dallas Museum of Art, and the Southern Methodist University.
In 1985 he retired from teaching and died May 16, 1994. He is buried in the Baker family plot in Winchester.
In 1996 a memorial retrospective of Baker’s work was held at Belmont University in Nashville.

Watercolor on board. A variation of his Punch and Judy puppet scenes.

20 x 16"

Werner Wildner was born in Germany, he moved to Detroit with his family as a child and, as a teenager, to Nashville. He studied art briefly at the Mienzinger Art School in Detroit. He returned to Nashville to practice commercial art, but by the mid-1950s had decided to pursue his own art career. Wildner met with critical and commercial success after a 1962 exhibit of his art (at what is now known as Cheekwood).

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American, Texas.

Dated 1970

Untiled, Oil on canvas board.

12” x 16”

Price: $ 4,800

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Locust Hill also know as the Hays-Kiser House, Antioch Tennessee. 

Oil on board 

18 inches by 24 inches. 

Locust Hillis one of the earliest brick homes built in Davidson county, the master bedroom has the finest carved, gouged, paintined and grain paneled wall in Middle Tennessee. Built in the late 18th/early 19th century by Charles Hays. 

Werner Wildner was born in Germany, he moved to Detroit with his family as a child and, as a teenager, to Nashville.  He studiedart briefly at the Mienzinger Art School in Detroit.  He returned to Nashville to practice commercial art, but by the mid-1950s had decided to pursue his own art career. Wildner met with critical and commercial success after a 1962 exhibit of his art (at what is now known as Cheekwood).

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Taos Pueblo, Taos, New Mexico. 

Watercolor on paper. 

19 x 27 inches. 

Signed l.r. Ragon. 

Inscribed on back: “Taos Pueblo Taos New Mexico by Imogene Ragon”

Original Frame.

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Boy
Pastel on paper. 19 x 8 inches.
Signed lower left Brantley Smith, '
Frame:

Brantley Smith studied art in New York at the William Merritt Chase School of Art. Early in his career, Smith had studios in New York City and Newport, R.I. During the winters of the late 1930s and early 1940s, Smith had studios in Boca Raton and Palm Beach, Florida. He taught art at Winchester and Jasper, Tennessee.

Tennessee/Virginia, 1915-2009, 

"Foothills, Winter", signed lower right "Wm A. Youngblood", casein on illustration board, , modern wood frame,

15 x 30 inches.

Casein is a quick-drying, aqueous medium using a milk-based binding agent, and is one of the most durable mediums known to man. Casein cave paintings have been discovered in Asia, and later, the medium was used by Byzantine, Roman and Renaissance artists including the Old Masters.

Because Casein has an exceptional integrity of color and always dries to a perfect matte finish, it is unexcelled for art reproduction. The velvety matte finish can also be buffed to a satin sheen or varnished to produce a resemblance to oils. Over time, Casein pigments become resistant to moisture and as history has proven, the medium has a durability and permanence which has easily stood the test of time

15 x 30 inches

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Heavy impasto and resin on board. ca. 1960’s. Original frame. Witherspoon was born in Columbia, Tennessee in 1921. He moved to Nashville and opened up an art studio. He had one man exhibit at the Parthenon in Nashville in 1963.

Richland District , South Carolina. 

Oil on canvas. 30”x25”. Period Frame: 34” x29”.

ca. 1840.

Colonel John English was a Doctor and planter of Richland District, South Carolina. In 1843 he married Maria Elizabeth Preston Means of Fairfield District, niece of Governor John Hugh Means.

Provenance:

Robert Wills Sturdivant, Jr. (1948-2014) from his mother

Elisabeth Nininger Sturdivant, (1921-  ) from her mother 

Maria Means English (1890-1951)

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Landscape/River Scene. Watercolor on paper. 24 1/4" x 18 1/4". Signed l.l. J.B. SWORD.   Provenance: Purchased by Mr. Raynor around 1875, he lived 4465 Frankfort Ave. in Philadelphia.

Eight pages of dolls/clothing. Jensen Publishing Company, ©1946. Front/back covers are thin cardboard and each has pair of dolls for Grand Ole Opry stars Ernest and Justin Tubbs. Ernest Tubb, nicknamed the Texas Troubadour, was an singer/songwriter and one of the pioneers of country music. Justin Tubb was his oldest son. Book is unused w/all four paperdolls.

Exceptional gilded 19th century frame.
Overall dimensions 29 1/4” x 35 1/4”. Maximum artwork/ mirror size : 18 7/8” x 24 7/8”.

Paul Lancaster Landscape. Oil on canvas mounted on mat  board. 7" x 9". Frame: 9" x 11”.

Wooded scene by Nashville Artist Paul Lancaster. 

Signed lower right. Purchased directly from the artist by a local collector who was friends with the artist. 

Paul Lancaster was born in Lobelville,Tennessee in 1930 and grew up in Nashville. Without any art education, Lancaster began to paint about 1959 and gained increasing recognition. His works are in significant private collections and numerous permanent collections such as the Smithsonian, American Visionary Art Museum, Reece, Parthenon, Parrish and Hickory Art Museums and University of Virginia collection . Lancaster's early works had primitive qualities and were full of fantasy. His techniques grew exceptionally so that many cannot believe he is self taught. He worked with most all media available to the painter and even taught himself how to create etchings. His graphics work proved significant for it is in his etchings that his great facility for the drawn line and subtle color could be so fully accomplished.

Paul Lancaster Landscape. Oil on canvas mounted on board. 

Frame: 19" x 23". Under conservation glass. 

A loverly creek scene by Nashville Artist Paul Lancaster. 

Signed lower left. Purchased directly from the artist by a local collector who was friends with the artist. 

Paul Lancaster was born in Lobelville,Tennessee in 1930 and grew up in Nashville. Without any art education, Lancaster began to paint about 1959 and gained increasing recognition. His works are in significant private collections and numerous permanent collections such as the Smithsonian, American Visionary Art Museum, Reece, Parthenon, Parrish and Hickory Art Museums and University of Virginia collection . Lancaster's early works had primitive qualities and were full of fantasy. His techniques grew exceptionally so that many cannot believe he is self taught. He worked with most all media available to the painter and even taught himself how to create etchings. His graphics work proved significant for it is in his etchings that his great facility for the drawn line and subtle color could be so fully accomplished.

Washington Girard ( TN 1873-1931) Sycamore Creek, Cheatham Co. Oil on board 15” x 21”. Original frame : 21” x 26 1/2”. 

Inscribed on back: “ From Memory, Sycamore Creek, Cheatham co. Tenn. Washington Girard.”

Landscape with pond. Oil and watercolor on panel. Signed lower left. Original gilded frame, 31” x 34”.