WALKER SISTERS POEM DRAWING PLUS GREATWALKER SISTERS POEM DRAWING PLUS GREAT SMOKY MOUNTAINS ...1st item: Louisa and Hattie Walker, "My Log Cabin Home," framed handwritten poem and illustration, pencil and colored pencil on cream paper. The poem recounts the history of their family's log cabin located in the Great Smoky Mountain National Park, and the illustration at the top depicts the cabin. Framed under glass in a black plastic document frame. 11 1/8" H x 8 1/2" W. 2nd half 20th century. History: The Walker sisters spent their entire lives in a log cabin built by their grandfather in the 1840s in Little Greenbriar Cove, located in what is now the Great Smoky Mountain National Park. Their parents John and Margaret had 7 daughters and 4 sons. Only 1 of the daughters married and the remaining 6 daughters (Margaret, Polly, Martha, Nancy, Louisa, and Hettie) remained single and at home. When the National Park was established in 1934, the 5 living sisters (Nancy passed away in 1931) refused to leave their home and negotiated a settlement in which they received $4,750 for their land and were allowed to live in the cabin for the rest of their lives. They became unofficial ambassadors of the park and greeted visitors at their cabin and sold them homemade items, including poems. They continued to live a 19th-century lifestyle until the last sister, Louisa passed away in 1964. Source: https://www.visitmysmokies.com/blog/smoky-mountains/history-of-the-walker-sisters-in-smoky-mountains/. 2nd item: East Tennessee-related book titled THE GREAT SMOKY MOUNTAINS by Laura Thornborough. Published by Thomas Y. Crowell Company, New York, 1937. 160 pages with 16 full-page illustrations from photographs and 27 pen-and-ink drawings by Vivian Moir. Hardcover green cloth, spine and front board lettered in gilt. Cream-colored dustjacket with protective plastic cover.
Condition:
1st item: Paper with creasing to the center and minor chipping to lower right corner, not examined out of the frame. 2nd item: Light toning to cover with some losses and chipping to edges and corners. Some fading to hardback cover edges.
RACHEL V. HARTLEY, NEW YORK (1884-1955),RACHEL V. HARTLEY, NEW YORK (1884-1955), UNTITLED, 1932, OIL ON BOARD, 19 1/2"H X 23 1/4"W (SIGHT), 28"H X 31"W (FRAME).Rachel V. Hartley, New York, (1884-1955) untitled, 1932, oil on board Signed and dated lower right. Exhibited: PPOW Gallery, NY Biography from the Archives of askART: Born into a family of artists in New York City on January 4, 1884, Rachel Hartley was the daughter of sculptor Jonathon Scott Hartley and Helen Inness Hartley. Her grandfather was George Inness, one of America's greatest 19th century painters. She was raised in Montclair, New Jersey, and educated in private schools there. At age 17, and with a letter of recommendation from her famous grandfather, Miss Hartley entered the Art Students League in New York City as a special student. After her studies at the League were over, she worked in a studio next to her father's and devoted herself to portraits. In 1916, she was invited to accompany her botanist brother on the first William Beebe expedition to South America. Hartley was the official artist on the expedition organized by the American Museum of Natural History. The team spent six months at the Tropical Research Station of the New York Zoological Society in British Guiana. During the trip, Hartley perfected a loose representational style and developed a keen interest in the pure landscape expressed through natural colors and dramatic use of light. An important untitled Florida painting of a large and impressive tree that dominates a riverine landscape, now in the Percy-Geiger Collection in Tallahassee, Florida, is representative of this phase in her career. Here, Hartley also reflects the influence of the independent movement in American art led by Robert Henri and John Sloan but in a Florida-based landscape with possible religious reference to the Tree in the Garden of Eden. This painting hovers between 19th century academic painting and the work of the 20th century Realists. Rachel Hartley often said that her "artistic career really began on a train bound for Tarpon Springs, Florida, with her grandparents," who maintained a vacation home there. Florida was to play an important role in the life of this suffragette artist throughout her long and prolific career. Hartley maintained residences in New York City and Southampton, Long Island. Typically, she spent summers partly in Southampton and partly in Provincetown, Gloucester, or elsewhere in New England. She also spent part of the year painting in Florida and other southern states, especially Virginia and the Carolinas. She exhibited her popular works, including Florida-themed works, principally in the Northeast in Boston and New York, including exhibitions at the Ainslie and MacBeth Galleries. Her paintings are included in many North and South American collections, including the National Gallery in Georgetown, British Guiana, and the Museum of Arts and Sciences in Daytona Beach, Florida. Hartley is included in a number of standard reference works including Modernism in the South, Impressionism and Post-Impressionism Transformations 1885-1945, the Dictionary of American Artists, and Reflections II :Watercolors of Florida 1835 – 2000. Hartley's important "Peacock paintings" are based on a well-known farm located at the southeast corner of Haines Road or U.S. 19 and Gulf to Bay Boulevard in Clearwater, Florida. The Seville Farm produced peacocks that eventually inundated the area of Greenbriar in north Clearwater where this farm was founded and run by African-American farmers in the 1920s who collected the peacock feathers to sell for use in the fashion industry. The Great Depression signaled the end of the Seville Farm and the fowl were released into the area. Over the years many of the peafowl have been trapped and relocated, yet many still roam the area today. In the painting represented here, Hartley unites the African-American farmers with their fowl. She presents a marginal location and cultural moment previously ignored as inappropriate for the subject of a painting until the revolution prompted by the so-called Ashcan Group of painters at the Art Students League prior to the Armory Show of 1913 where a new style of relaxed realism and personal expression was formally introduced to contemporary American art. In doing so, she creates a canvas of visual interest in her characteristic style of relaxed realism and local color, as she captures a bit of Black ethnic life and history which was a subject of great interest to northern artists and thinkers working in the South because of the exotic and symbol-laden peacock with its rich associations of sainthood, vice, and the mysteries of the East. Excerpt from essay submitted to askART titled Out of the Shadows: Women and the Florida School of Art, by Gary R. Libby, Art Historian and author of book Reflections II: Watercolors of Florida 1835-2000. oil on board Dimensions: 19 1/2"H x 23 1/4"w (sight), 28"H x 31"W (frame).
ROSEVILLE ART POTTERY TWO-HANDLED 'DAHLROSE'ROSEVILLE ART POTTERY TWO-HANDLED 'DAHLROSE' VASE, A WELLER 'GREENBRIAR' VASE AND A PIGEON FORGE POTTERY VASE / DOUGLAS FERGUSONROSEVILLE ART POTTERY TWO-HANDLED 'DAHLROSE' VASE, A WELLER 'GREENBRIAR' VASE AND A PIGEON FORGE POTTERY VASE / DOUGLAS FERGUSON, the first, Roseville, OH, circa 1924-1930, faint impressed marks and numerals, oviform with flaring mouth and angular handles at the neck above a band of molded entwined daisy mums, on a brown rustic glaze ground; the second Zanesville, OH, 1930-1940, of thistle form, glazed in flambe layers of frosted grey and lavender over chartreuse, h: 8.75 in.; the third Pigeon Forge, TN, circa 1980, incised mark and artist signed Ferguson for Douglas Ferguson (1921-1999), cylindrical, the interior and exterior crystalline drip glazed in shades of brown and green (3) Provenance: Estate of Ronald Sperling
GORHAM STERLING SILVER, GREENBRIAR PATTERN,GORHAM STERLING SILVER, GREENBRIAR PATTERN, 89 PIECE FLAT TABLE SERVICE, 87.9 WEIGHABLE OZGorham Sterling Silver, Greenbriar Pattern, 89 Piece Flat Table Service,, Dimensions: 87.9 weighable oz
STERLING: "GREENBRIAR" STERLING SILVERSTERLING: "GREENBRIAR" STERLING SILVER FLATWARE BY GORHAM, IN FITTED BOX, 80+ PIECES INCLUDING THIRTEEN DINNER KNIVES WITH STAINLESS STEEL BLADES, 8 ¾" L. (EST. WEIGHT 0.5 OZT. EACH); TWELVE DINNER FORKS, 7 1/4" L.; E...STERLING: "Greenbriar" sterling silver flatware by Gorham, in fitted box, 80+ pieces including thirteen dinner knives with stainless steel blades, 8 ¾" l. (est. weight 0.5 ozt. each); twelve dinner forks, 7 1/4" l.; eleven salad forks, 6 5/8" l.; twenty-four tea spoons, 5 7/8" l.; twelve solid individual butter knives, 5 ¾" l.; four serving spoons; a serving fork; gravy or soup ladle; sugar shell; fish knife; and pie server with weighted handle (est. weight 0.5 ozt. each); wear consistent with age and use. [Total Weight: 85.5 ozt. tw. including 7 ozt. est. weight.]
STERLING: "GREENBRIAR" STERLING SILVERSTERLING: "GREENBRIAR" STERLING SILVER FLATWARE BY GORHAM, SEVENTY-SEVEN PIECES, IN CASE, PIECES INCLUDE: TWELVE DINNER KNIVES WITH STAINLESS STEEL BLADES, 8 ¾” L. (ESTIMATED AT .5 OZT. EACH); TWELVE DINNER FORKS, 7 1...STERLING: "Greenbriar" sterling silver flatware by Gorham, seventy-seven pieces, in case, pieces include: twelve dinner knives with stainless steel blades, 8 ¾" l. (estimated at .5 ozt. each); twelve dinner forks, 7 1/4" l. (16.7 ozt. tw.); twelve salad forks, 6 5/8" l. (14.8 ozt. tw.); twelve tea spoons, 5 7/8" l. (10 ozt. tw.); twelve soup spoons, 6 1/4" l. (14 ozt. tw.); twelve solid individual butter knives, 5 ¾" l. (10.9 ozt. tw.); one serving fork, 8" l. (2.2 ozt.); three serving spoons, 8 1/2" l. (7.2 ozt. tw.); and a cheese knife with stainless steel blade, 6 1/2" l. (estimated at .5 ozt.) [Total Approximate Weight of set: 82.3 ozt. tw. including 6.5 ozt of estimated weight.]
(4) Waterford crystal bowls, c/o Millennium(4) Waterford crystal bowls, c/o Millennium Happiness (6-1/8" dia x 3-1/2" h, chips to rim), Marquis by Waterford Greenbriar (8-3/4" dia x 6-1/2" h), Maeve rose bowl (6" dia x 5-1/2" h), John Rocha Signature Votive (4" dia x 2" h)
Three Watt Greenbriar bowls includingThree Watt Greenbriar bowls including a #54 salad bowl and two #52 individual bowls. All marked Oven Ware USA with respective shape numbers. There is a chip to the base foot of the #54 and one of the #52 bowls has a small flake to the rim. 8 1/4" and 6 1/4" wide.
Watt Greenbriar salt and pepper shakersWatt Greenbriar salt and pepper shakers with white drip. Unmarked. Excellent condition. 4" tall.
Bruce Crane (American 1857-1937) oilBruce Crane (American 1857-1937) oil on canvas Virginia landscape titled The Greenbriar signed lower right 22" x 30". ?
"New York Bay", a Set of Jean Zuber"New York Bay", a Set of Jean Zuber et Cie., Rixheim, Alsace, Vues d'Amerique du Nord Wallpaper Panels, ca. 1940, overall 85" x 117", mounted on plywood with a narrow giltwood frame. This important set of panels was introduced by Zuber in 1834, designed by Jean-Julien Deltil (1791-1893) from an 1828-1829 series of engravings by Jacques-Gerard Milbert (1766-1840), Itineraire Pittoresque . The panels were quickly embraced in this country as icons of Jacksonian America. Although the capability exists to reproduce the panels today -- Zuber retains the original printing blocks, now considered part of the French National Heritage -- the complicated and costly production of the four panoramic vignettes of five complete scenes, nearly fifty feet in length, involves 32 panels, 1,690 wood blocks, 233 different colors, fifty men and as much as two years production time. The removal of the present series (from a New Orleans Garden District residence) and their subsequent re-mounting was conducted by noted wallpaper conservator Susan Nash. The most famous similar conservation of a set of these panels was unquestionably that of First Lady Jacqueline Kennedy, who oversaw the 1961 removal of a set of from an historic Maryland home and their installation in the Diplomatic Reception Room of the White House, where they remain today. Another set, housed in the Carolina Inn, Chapel Hill, North Carolina, was the subject of a recent restoration; other known sets include those in the Greenbriar Resort, White Sulphur Springs, West Virginia; the Mint Museum, Charlotte, North Carolina; and the Governor's Mansions in both Columbia, South Carolina and Baton Rouge, Louisiana. Reference: Robert P. Emlen, "Imagining America in 1834: Zuber's Scenic Wallpaper", in The Winterthur Portfolio, vol. 32, no. 2/3 (Summer/Autumn, 1997), pp. 189-210.