OCTOBER 21, 2021–With an eye for fine materials and a sharp sense of humor, Jerry and Deena Kaplan formed an important collection of contemporary American art and craft. Passionate, focused, and philanthropic collectors, they have donated works of art and given funds in support of their interests to such institutions as The Carnegie Musem of Art, The Renwick Gallery at the Smithsonian American Art Museum, Yale University, and The Holocaust Museum in Washington, D.C. Their extensive collection contains some of the greatest artists working in glass, ceramics, wood, textiles, and weaving. It embodies the whimsical, surreal, and serious. Included objects are Dan Owen Dailey’s Upside Down Man (Estimate: $25,000 – $35,000), William Morris’ Rhyton Vessel (Estimate: $20,000 – $30,000, Donald Keith Sultan’s Green Lilies, White Lilies, Yellow Lilies, Pink Lilies (Estimate: $15,000 – $25,000) and Jun Kaneko’s Dango (Estimate: $15,000 – $25,000).
SEPTEMBER 30, 2021–Known widely as one of the most prominent figures in the history of contemporary American wood turning, Rude Osolnik (1915-2001) led an accomplished career as an artist and teacher. In over sixty years in the field, Rude produced over 100,000 pieces – each the unique product of a lifetime spent developing his craft. Now, twenty years after his passing, Rude’s children have decided to bring a collection of his work to market. Brunk Auctions is pleased to offer a selection of Rude Osolnik’s turned bowls, platters, candlesticks, and more in our Modern & Design Auction this November 11th, 2021.
Rude was born in Dawson, New Mexico in 1915, and grew up in Johnston City, Illinois, where he gained his first experiences with wood turning throughout high school and college. Following his graduation with a B.F.A. from Bradley University in 1937, he accepted an offer to work at Berea College in Kentucky, where he taught for the school’s Industrial Arts Department for over forty years. He continued to produce his own work in addition to teaching, and with the help of his wife, Daphne, created a thriving business from his home in Berea. He attended and organized craft fairs, taught numerous workshops, and went on to become a key member in several craft organizations – most notably, the Southern Highland Handicraft Guild (for which he served on the board of directors multiple times), the Kentucky Guild of Artisans and Craftsmen, and the American Craft Council.
Rude worked with a wide variety of wood types from an equally wide range of sources, often creating works from discarded log spurs and fencepost tops. His resulting body of work is robust, exemplifying not only the artist’s technical skill, but his knowledge of and eye for design. In his own words, Rude actively worked towards “achieving a pure, simple, unadorned style containing a sense of proportion and a perfect balance between material, purpose, and contour.” His work has been exhibited in numerous galleries and shows across the country, and resides in the permanent collections of the Renwick Gallery of the Smithsonian, the Museum of Fine Arts, Boston, the High Museum of Art, Atlanta, the J.B. Speed Art Museum, Louisville, the Museum of Sciences and Industry, Chicago, and other institutions.
Brunk Auctions will offer a grouping of nearly fifty lots containing works by Rude Osolnik, as well as works by several other notable wood turners, including Dale Nish, David Ellsworth, Frank Sudol, and others. The Modern & Design Auction begins November 11, 2021 at 9:00 AM. A second grouping of Rude’s work will be offered in a future sale in the spring of 2022.
SEPTEMBER 16, 2021–The Walker family served the United States Army and Military for over eight decades. Both father and son achieved the rank of Four Star General; the only time this has happened in United States history. Walton H. Walker first saw action in World War I, and served as a battalion commander with the 15 th
Infantry Regiment from 1930-1933 at the American barracks in Tietsin, China. It was at this point that
he and his wife, Caroline, became avid collectors of Asian art, porcelains, furniture and textiles. The
diverse collection encompasses Chinese, Japanese and Korean objects from years spent living abroad in
service to the United States Military. Of note is a finely enameled famille rose and yellow ground vase
with a Jiaqing reign mark, along with its original fitted cloth case. The collection will be sold in two
sections, during our September 23 rd Asian Art sale and our January 2022 Asian Art sale.
After an illustrious career in World War II in the European theater, Walton Walker was given command
of the 8 th Army in Japan in 1948. His son, Sam Walker and his wife, Charlotte, also served in Japan in the
post war years. In 1950, both men served in Korea. Walton Walker is considered a pivotal figure in the
defense and maintenance of the Republic of Korea, a distinction he achieved by leading his forces to
successfully defend the southern end of the peninsula and its vital port of Pusan. Sam Walker earned the
Silver Star and held the post of Secretary of the General Staff of the United Nations/US Forces of Korea.
Among the collection are fine examples of Japanese and Korean art and furniture.
Brunk Auctions is honored to represent the collection of the Walker family, which has been in private
hands for decades.
SEPTEMBER 16, 2021–During the 1970s and 80s, Ray Olivier became passionate about researching, investigating, and acquiring Chinese earthenware and porcelains. Ray and his wife, Joyce, would travel far and wide to hunt down treasures and fill any gap in his collection. Upon Ray’s passing the Chinese Art collection was sold in its entirety to a new owner. After having been the steward of the collection for many years, the new
owner has decided to bring this group to market. Ray collected all types of Chinese porcelain, including Tang dynasty pots and figures, Song ceramics, Hare’s fur, monochrome glazes of greens, blues and reds, Peach Bloom, Sang de Bouef, and crackle glazed wares from the Ming and Qing dynasties. A finely enameled lotus blossom cup with a reign mark is a special object and of fine quality. It is not often such a group is offered to the public in its entirety. The examples are a testament to Ray and his breadth of knowledge and understanding of Chinese ceramics. A very well-rounded collection, Brunk Auctions is pleased to bring this group to the market just as Ray had envisioned it.
Historic preservation was a central part of the lives of Joan and James Loeb, and the collecting of fine American antiques was a natural extension of that passion. Among their many accomplishments in support of preservation and the arts, in 1967 they helped establish Landmarks Foundation of Montgomery in their Alabama hometown, an organization that now includes 50 historic properties.
They variously served on numerous boards, including the Montgomery Museum of Fine Arts. And, together they sought out and collected fine American antiques to furnish their Montgomery home, patronizing the best dealers of the time including Israel Sack, Bernard & S. Dean Levy, C.L. Prickett, and others.
Some things are hard to square about Joel E. Finn. He loved speed, but collected with infinite patience. Solitary by nature, he was inseparable from his wife and soulmate, Ann Y. Smith. A visionary who excelled in the technology sector, Finn was as canny about the future as he was fascinated by the past.
Finn’s habit of looking at things from the inside out, of understanding beauty as an expression of design, construction and inner belief, calls to mind another former resident of Connecticut’s northwest hills, sculptor Alexander Calder (1898-1976). Art critic Holland Carter recently characterized Calder’s genius as “a marriage of poetry and physics,” something that could be said of Finn’s instinctive approach, as well. Finn worked with purpose and industry to assemble several notable collections. His initial love was the dominant cultural icon of the twentieth century, the automobile. He acquired his first car when he was ten and later distinguished himself as a driver, competing in the United States and Europe, and as a historian of vintage race cars and racing. Portions of his formidable holdings of automotive memorabilia will be preserved in the Revs Institute at the Collier Museum in Florida. Finn’s early work for IBM brought him from upstate New York to suburban Connecticut. After moving to rural Litchfield County in the 1980s, he began assembling parcels of land, much of it now conserved by the Weantinoge Heritage Land Trust. Acquiring land was another way of understanding beauty from the inside out, of experiencing landscape by placing himself in it, by shaping its contours and knowing intimately its ridges and declivities, its movement and solitude. If the landscape paintings Finn and Smith lived with seem to echo the views from their hillside perch, it was because Finn designed the house, collection and contoured setting as a synergistic whole.
Finn’s desire to furnish with locally-made pieces prompted him to seek case furniture by eighteenth-century craftsmen from the then largely agrarian communities of Woodbury, Southbury and Newtown, Connecticut. A less resourceful collector might have abandoned his search for these scarce, quirky, little understood specimens. Finn’s hunt instead led him to Waterbury’s Mattatuck Museum, and to its curator at the time, Ann Smith. As she later recalled, “He liked to tell people we were introduced by someone who had been dead for 200 years: the maker of the furniture he collected from Litchfield County. He was fascinated with trees and lumber and the local pull of the places he lived. He was a brilliant man with wide-ranging interests.” On her first visit, she climbed a ladder to the door of the still unfinished house, passing from one life into another. Their interests were soon intertwined. Collector and curator, impulse and insight, their fascination with Connecticut furniture leading to exhibitions, accompanied by catalogues, at the Mattatuck Museum and Litchfield Historical Society.
The couple’s deeply knowledgeable approach to collecting nineteenth century New England landscape paintings originated with Smith’s training at the University of Michigan, where she studied with David Carew Huntington (1922-1990), the Frederic Edwin Church (1826-1900) scholar credited with helping save the painter’s home, Olana, in the 1960s. Hudson River School paintings appealed to Finn, always drawn, as his wife recalls, to the great sweep of unpopulated landscapes. Working in tandem, the couple acquired “View from Narragansett” by John Kensett (1816- 1872) around the time Smith produced Images of Contentment: John Frederick Kensett and The Connecticut Shore, a catalogue and exhibition at the Mattatuck Museum in 2001. Meticulous in their approach, they drove to New York’s Catskill Mountains to study Kaaterskill Clove, a touchstone for nineteenth-century artists, and the subject of one of two paintings by Sanford Gifford (1823-1880) in Smith and Finn’s collection. Also in their collection, “Sunset” by William Sonntag (1822-1900) and “The Grey Month” by Bruce Crane (1857-1937) are superlative examples by much praised artists, the latter associated with the art colony at Old Lyme. Closer to home are Litchfield County views by John Casilear (1811-1893) and Edward Nichols (1819-1871). The couple’s gathering of paintings by Alexander Theobald Van Laer (1857-1920), whose house still stands on West Street in Litchfield, is unsurpassed. Finn’s fascination with the little-known Van Laer, whose sketchbooks he pursued and ultimately acquired, ran parallel to his love for the sometimes-overlooked furniture of northwestern Connecticut. Undeterred by the furniture’s scarcity, the obscurity of its makers or the complexity of its stylistic origins, Finn was instead challenged to know more. Collecting casepiece furniture seriatim is no longer common in an era more characterized by its eclectic, if not random, approach to objects. But in Joel Finn and Ann Smith’s perfectly designed living room, one welcomes as stately physical presences the chests-on-chests and high chests of drawers that circle the space. Even as they did for Finn and Smith, these august relics prompt lively conversation in a setting of thoughtful repose.
Laura Beach, Antiques and The Arts Weekly
Special thanks to Jeffrey Tillou Antiques, Litchfield, Connecticut and Laura Beach, Antiques & The Arts Weekly.
This collection of charts, manuscript maps, and documents descended in the Sever family of Kingston MA. Nicholas Sever (1680-1764) and his son, William (1729-1809) were successful merchants involved in the coastal New England trade and were known to own at least seventeen trading vessels. They shipped primarily wood, plank, staves, and salt fish out of Boston and Salem. William, who had formerly served on the Governor’s Council, became president of the Massachusetts Provincial Congress on July 26, 1775. During the Revolutionary War, William constructed, armed, and supplied privateer vessels. The account book and index reflect the period of time that Nicholas and William ran the firm “Nicholas Sever and Sons” (1755-1777). When William retired, he turned over his shipping and trade business to his sons, John Sever (1766-1803) and Captain James N. Sever (1761-1845).
Captain James N. Sever attended Harvard and immediately afterward received an ensign’s commission in the 7th Massachusetts Regiment (Feb. 1, 1781). He later transferred to the 4th Massachusetts Regiment (June 12, 1783) and continued service until June 20, 1784.
In 1795, Sever superintended the building of the frigate USS Congress and afterward served as her commander during the Quasi War. In 1798 Sever was appointed one of the first six Post Captains in the United States Navy. The manuscript collection contains approximately 154 documents and correspondence from 1794 to 1801 pertaining to the Quasi war and the USS Congress.
Most, if not all charts belonged to Captain James Sever, being endorsed on the reverse with his signature. Five of the printed charts were called “Blueback Charts” because of the blue paper backing that was pasted on the back to strengthen them. Bluebacks were drafted, printed, and sold by private London publishers and were preferred by merchant ship captains worldwide over those produced for the Admiralty because they were designed to meet the needs of specific routes. Often both the departure and the destination were incorporated within a single map and they generally contained a number of inset maps to assist with navigation into various ports along the way. Although blueback charts were often more expensive than charts produced by the British Admiralty, the cost was offset by the need for fewer of them due to the inclusion of the inset maps.
Two of the charts were compiled by Joseph Frederick Wallet Des Barres who was commissioned by the British Admiralty to provide the accurate surveys of the North American coastline. In addition to providing soundings for harbors and channels, his nautical surveys often included depictions of the beaches, fields, and markers along the shoreline. These two maps and the extraordinarily rare map of Nantucket Shoals by Paul Pinkham were likely used during the short period of time that the Sever family was involved with whaling off of the New England shores.
The collection also includes five unsigned manuscript maps that probably date around 1770 to 1780. All of them were drafted on paper frequently used in colonial America. Although the maker is unknown, the handwriting on three of them is similar to that of John Sever.
Courtesy of Jim Landon, June 2020
An invitation to join William Banks for luncheon at Bankshaven, his estate on the outskirts of Newnan, Georgia, was rarely declined. It seemed an experience not only of another era, but of another world. As first-time guests left the interstate highway and turned onto hardscrabble Highway 29, they could hardly be prepared for what awaited through the pristine white gates. Driving up the long and lumpy driveway to the crest of a rise, they were often halted by a snow-white peacock with tail spread in the middle of the drive – a novel sentry and introduction to the elegance beyond. Following successful negotiation with the peacock, which was sometimes lengthy, the astonishing 1820’s mansion came into view.
Set among towering and spreading oaks of an age approaching that of the house, the entry faced a circular drive bordered by magnolias and azaleas, which offered only a glimpse of a neoclassical statue hidden in the facing woods. A pair of separated single doors, one of which was blind and existed solely for symmetry, seemed incongruous under the grand, two-story semicircle of columns framing the entrance. This was, in fact, the rear facade of the residence. After choosing the correct door, the guest entered Bankshaven beneath a soaring, three-story spiral staircase and was greeted by a view, through the open double doors at the other end of the wide hall, of a boxwood hedge framing an emerald lawn sweeping down to a black lake, with only forest beyond. Depending on the season, the lake sported swans, mallards or Canada geese.
After recovering from the pleasant shock of such a spectacular entrance, the fortunate guest noticed two white-jacketed servers to the left of the entry to the dining room. Each held a small, silver tray – one with flutes of Champagne and one with a basket of cheese straws. Thus fortified, William’s guest was then whisked down the steps of the proper entrance to the home, again under a two-story rank of columns supporting an upper porch, and the tour of the gardens began. With luck the peacock rejoined the party and, if it was early April, the soft, lilac blossoms of the fifty-foot tall Japanese magnolia shadowed the kitchen wing to the right. To the left, beyond the bedroom addition to the original residence, steps led down to the fountain garden, an elongated oval of immaculate lawn and dark green boxwood borders, over which towered privet in full bloom and full scent. At the end of the oval sat the three-tier Italian marble fountain originally located at the Barnsley gardens near Rome, Georgia, which was a gift to William. To the left, a break in the hedges led to a more private space dominated by an immense styrax tree covered with white bells in early summer. On axis with the fountain was a smaller statue of a boy with a dolphin which William had discovered abandoned in the woods, apparently discarded during an earlier renovation of the gardens.
Returning to the fountain and passing through the opposing break in the boxwoods, the guest was greeted by a double set of curving steps leading down to a long, pristine swimming pool, bordered by hedges of tall, clipped hollies, at the far end of which was a fanciful pavilion with a striped tent surmounted by clusters of Prince of Wales feathers. Back through a gap in the hollies, William led his guest into an immense boxwood maze, originally moved years prior by his father (with each plant numbered on a schematic) from another garden. Flowering cherries overarched the maze, and on its edge sat a Gothic/Victorian folly of a gazebo, where the now-parched guest was delighted to find a silver bucket with chilled Champagne, ready to refill his glass.
A final garden awaited beyond a partial-brick wall bordering the box maze. This was a formal, walled flower garden with long brick walks bordered by beds of tulips, iris, violas, phlox, daisies and other annuals and perennials, all precisely placed according to William’s scheme and in most cases by his hand. The two sizeable center sections of this garden were planted, respectively, with roses and with peonies, all in shades of dark pink and red.
This exercise having created an appetite, William led his party back to the cool of the house and the delight of a formal lunch in the handsome dining room (or, for smaller parties, in the adjacent, more intimate breakfast room, where models of white cockatoos surveyed guests from perches in the niches). Luncheon was prepared by the talented Amanda Dean, who had overseen the kitchen at Bankshaven for decades. It was served on the highly polished, three-pedestal banquet table surmounted by an epergne filled alternately with roses or carnations arranged by William himself and sourced, as he once confided to me, from the Kroger in Newnan. Lunch might consist of a melon soup followed by sliced ham and perhaps chicken pie, with thoroughly cooked asparagus, and always Amanda’s superb biscuits. A glass of cold Pouilly-Fuissé accompanied this otherwise thoroughly Southern menu, and the finale could be a berry cobbler. Lucky guests at the larger luncheons often include professionals in the worlds of art and design – people who would appreciate the rare opportunity not just to marvel at, but even if only briefly, actually to live among William’s remarkable collections of American furniture and paintings from the eighteenth and nineteenth centuries.
William’s paintings and furniture are described in detail in the following pages of this catalogue, so I will not presume to list their outstanding features here. Suffice it to say that, although each is an exemplar of its type in its own right, it was the ensemble that created the extraordinary and possibly, even, romantic atmosphere of Bankshaven. Although William occasionally remarked that his taste perhaps ran to objects that were more refined than what would have been expected in the 1820’s in rural Georgia, there is no doubt that they appeared completely at home in the exquisite architecture of the Gordon-Banks House in its extraordinary setting near Newnan. It was William’s strict discipline in acquiring pieces of the period, and his unerring eye for excellence, that resulted in a harmonious collection. It is worth noting that virtually none of the furnishings were crafted in the American South, but rather in New England and the Middle Atlantic States. These were the sources of the elegant yet honest pieces with which owners of the new and impressive mansions of the South furnished their homes during this period.
Bankshaven, as it has come to be called, is more formally referred to as the Gordon-Banks House. Its first life was not in Newnan, but in the tiny town of Haddock, near Milledgeville, Georgia – the state’s first capital. It was constructed by Daniel Pratt for the newly wealthy Mr. John W. Gordon, who later became a Georgia legislator. Pratt was born in Temple, New Hampshire, was apprenticed to carpenters there, and at age twenty sailed to Savannah to seek greater opportunity. In Savannah he also served apprenticeships with carpenters and, perhaps more importantly, builders. In the 1820’s he sought work from the newly wealthy landowners farther from the coast, and arrived in Milledgeville. With no formal architectural training, but with the invaluable aid of Asher Benjamin’s manuals and pattern books, he designed and constructed at least a half dozen porticoed mansions and other buildings, including John Gordon’s home which he began in 1828. Pratt was also an inventor, and made improvements on the cotton gin, which led to his removal farther west again to Alabama where he established the town of Prattville and became Alabama’s most illustrious industrialist at that time.
Williams Banks saw the Gordon House on one of his rambles through the state, and remembered it immediately when he learned, after buying a house in Temple, New Hampshire (to be close to the mountains where he liked to ski), that Daniel Pratt was Temple’s most favorite son. That coincidence led to a greater interest in the Gordon House, which although still well maintained, had been occupied only seasonally by its owners for decades. After the death of William’s father, he suggested to his mother that they raze the family’s Tudor-style mansion on the outskirts of Newnan, for which the striking gardens had been designed by William Pauley, and dismantle and reconstruct the Gordon House on its site. The work began in 1968 and was completed in 1970, overseen by the preservationist architect Robert Raley. The major rooms on the ground floor were moved intact, to preserve their unique plasterwork and faux wood-grained doorways and wainscoting, on flat-bed trucks. The spiral staircase was also moved intact by (a very long) truck. The upper floor rooms were disassembled, the boards numbered, and reassembled on site. Roads had to be closed and power lines temporarily removed along the hundred-mile route. It was clearly an undertaking of passion, which also informed the later furnishing of what was now the Gordon-Banks House.
Who was the man who possessed such passion? William was often referred to as the quintessential Southern gentleman. Born in Grantville, Georgia, in 1924, to a prominent family, he attended Dartmouth before serving in the United States Army during the Second World War. He recommenced his studies after the Army, this time at Yale, from which he graduated with membership in Phi Beta Kappa. He had a consuming interest in theater, and was the author of several successful plays, including Season of Choice, which had a successful run in New York, The Glad Girls and The Curate’s Play, which received positive reviews in The New York Times. William also wrote numerous carefully researched articles on historic American towns and houses, most of which were published in The Magazine Antiques.
William was a lifelong bachelor who was very popular with a number of attractive and intelligent ladies. He maintained an apartment in Manhattan for many years, as well as the house in Temple. He loved to ski and to play tennis, and hunted in his youth. He drove a black Mercedes convertible and exploited the constant twinkle in his eye. He admired creativity in all of its forms and was a generous supporter and Trustee of the Mac Dowell Colony in New Hampshire. He was loyal to his friends and modest in his affect, including even the twinkle. He collected furniture, paintings and experiences with the same passion that brought Bankshaven to life.
Looking East: A Historic Collection of Asian Arts from the Collection of Frederick and Margaret Haskell
Frederick Elihu Haskell was born in New Bedford, Massachusetts in 1843, and grew up during the early days of Western colonialism in East Asia. In 1842, one year before Haskell’s birth, the British had used the Treaty of Nanking, which ended the First Opium War, to establish treaty ports in China; this opened up Shanghai to Western settlement and trade. Twenty-one years later, in 1863, the British and American settlements in Shanghai merged, forming the Shanghai International Settlement.
Frederick Haskell’s long connection with East Asia began in 1861, when he moved to Hong Kong at the age of 18. A year later, Haskell moved to Shanghai, where he owned and operated the Japan-China Trading Company, a leading trading house located on the Bund, a mile-long stretch of Huangu Pu waterfront.
Shortly thereafter, Frederick Haskell met Margaret Houston, who was in Shanghai visiting her sister, Mary Houston Allen, and Mary’s husband, Young John Allen, an influential American Methodist missionary. Margaret Houston and Frederick Haskell married in 1872, and the couple lived in Shanghai for three decades, enjoying life through travel and becoming well-loved members of their community.
During their time in Shanghai from 1862 to 1902, the Haskells amassed a wide and varied collection of Asian arts, including blue and white porcelains, brightly enameled bowls and vases, bronze censors, Yixing tea pots, Japanese porcelains, and fine Chinese silk table screens richly decorated with exotic birds. The couple filled their Shanghai home with this magnificent collection, and photos from their scrapbook give us a rare insight into their life.
In 1902, Frederick and Margaret Haskell boarded the Empress of China and sailed back to the United States. They built a home in Lake Weir, Florida, and filled it with their Shanghai memories.
Margaret Haskell’s niece, Frances Arnold, lived with the couple in their Florida home. Frederick Haskell died in 1909, and just a few short years later in 1912, Margaret Haskell died. Their well-loved collection was left to Frances Arnold, who in turn left the collection to her daughter, Frances “Polly” Margaret Cook Crowley. Crowley gifted her great aunt’s collection to a close friend in Newnan, Georgia, and this Georgia estate is offering it to market for the first time.
Brunk Auctions is very pleased to introduce this extraordinary collection, which charts a forty-year course of early American trading relations with China and Japan. Please click here to view The Collection of Frederick and Margaret Haskell.
Photos courtesy of Private Collection, Newnan, Georgia
An American Collection: Selections from Anthony Baratta’s Designs at Colonial Williamsburg’s Historic Palmer House Offered by Brunk Auctions on March 27 – 28, 2020
Brunk Auctions is very pleased to offer furniture and decorative art from the collection of American interior design icon and Colonial Williamsburg’s first Designer-in-Residence, Anthony Baratta. In a 2019 partnership with Williamsburg– the product licensing division of The Colonial Williamsburg Foundation- noted designer Anthony Baratta reimagined and refurbished the mid-18th century Palmer House in Colonial Williamsburg. The ‘King of East Coast Chic’ brought his classic Americana style to the residence on the Duke of Gloucester Street, brightening the home with vibrant hues and reflecting the original palette of the period. The bold color, lively pattern, and creative mix of old and new rendered Baratta’s Palmer House at once historic and thoroughly modern.
In a conversation with the designer, Baratta shared the personal significance of the Palmer House project, offering that “The collection represents my lifelong passion for American and English antiques, decorative furnishings and folk art. All the things found a proper home in the Palmer House on Duke of Gloucester Street in Colonial Williamsburg. Many of the pieces are covered in my signature fabrics and they all come together to celebrate the joyfulness of American design.”
The array of furnishings offered at the March 27th – 28th auction include Lot 1204, a Southern Late Federal Mahogany Desk and Bookcase; Lot 893, a Georgian Inlaid, Figured Mahogany Sideboard; Lot 120, a British Maritime Painted, Decorated Sea Chest; and Lot 101, a Painted, Decorated Hampton Roads Hanging Sign. Anthony Baratta will visit the Brunk Auctions’ gallery in Asheville to curate this twenty-six-piece collection on March 5th. For more information about Anthony Baratta’s visit, this auction or these items, please visit us in Asheville or call 828-254-6846