DOCSLIB.ORG

American Controversy: Nudity in Art and Its Discontents Sarah Katherine Mcphaul University of Tennessee, Knoxville, [email protected]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
American Controversy: Nudity in Art and Its Discontents Sarah Katherine Mcphaul University of Tennessee, Knoxville, Smcphau1@Vols.Utk.Edu View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Tennessee, Knoxville: Trace University of Tennessee, Knoxville Trace: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2017 American Controversy: Nudity in Art and its Discontents Sarah Katherine McPhaul University of Tennessee, Knoxville, [email protected] Recommended Citation McPhaul, Sarah Katherine, "American Controversy: Nudity in Art and its Discontents. " Master's Thesis, University of Tennessee, 2017. https://trace.tennessee.edu/utk_gradthes/4762 This Thesis is brought to you for free and open access by the Graduate School at Trace: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of Trace: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Sarah Katherine McPhaul entitled "American Controversy: Nudity in Art and its Discontents." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in History. Lynn Sacco, Major Professor We have read this thesis and recommend its acceptance: Timothy Baumann, Ernest Freeberg Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official student records.) American Controversy: Nudity in Art and its Discontents A Thesis Presented for the Master of Arts Degree The University of Tennessee, Knoxville Sarah Katherine McPhaul May 2017 ABSTRACT While walking through an exhibit at the East Tennessee Historical Society last year, I witnessed one of the curators tape sheets of white paper on top of some of the paintings. The exhibit served to remember the artwork of the Knoxville artist Lloyd Branson (1853 – 1925). His paintings consisted of mostly portraits, large-scale history scenes, and peaceful landscapes. Of the portraits displayed in the gallery, a few of them showed nude women. One of the paintings titled The Weeping Magdalene referred to a biblical narrative of Mary Magdalene crying. The other painting was not a biblical story, but one likely pulled from the Romantic period entitled The Nude. It showed a woman distressed by a presumable nightmare. Both paintings show the women nude above the waist, but fabric covered their bodies below the waist. They were small-scale paintings whose purpose was to present a dramatic story. These two “controversial” paintings of nude women were, in fact, the very ones that the curator carefully covered up. As I saw this action taking place, I wondered why. I would later find that the reasoning was due to a fifth grade Christian school group that was scheduled to tour the exhibit. The school requested that the paintings depicting nudity be covered during their visit. After consideration, the East Tennessee Historical Society staff decided to grant their request. My observation of censorship at this local historical society led me to question not only the organization’s decision, but also the reasons why the school felt it imperative to censor the art of their students. This event in Knoxville, Tennessee is reflective of a longer and complex history of Americans’ debates on nudity in art and also its ideas on whether that material is harmful to children. In this thesis, I take a public history approach to understand how museum censorship occurs and the history of why ii many Americans are uncomfortable with nudity in art. Through this approach, I argue that censorship can be harmful to the development of children and young students. iii TABLE OF CONTENTS Chapter One: Introduction……..………..……..……………………...…………………..1 Chapter Two: Museum Exhibits of Controversy………………………………………….7 Chapter Three: Nudity in Art as a Controversial Subject………………..………............21 Chapter Four: Gender and Sexuality in American Politics…….……………...…………30 Chapter Five: Thoughts on Nudity in Art from the Christian Perspective………............34 Chapter Six: Proposal for a Methodology…………….…………………………..…..…39 Chapter Seven: Conclusion………………………………………………………..……..51 Bibliography.…...………………...……………………………...………………………53 Appendix……………………………………………………...………………...………..59 Vita...………………………..……………………………………………………………63 iv LIST OF FIGURES Figure 1. The Weeping Magdalene…………………………………………………..…..60 Figure 2. The Nude………………………………………………………………………60 Figure 3. Gathering of Overmountain Men at Sycamore Shoals…………..…………….61 Figure 4. The Grand Canyon of the Yellowstone……………………………………..…61 Figure 5. Tea Leaves……………………………………………………………………..62 Figure 6. Dust Storm, Fifth Avenue………………………………………….…………..62 v CHAPTER ONE INTRODUCTION While walking through an exhibit at the East Tennessee Historical Society last year, I witnessed one of the curators tape sheets of white paper on top of some of the paintings. The exhibit served to remember the artwork of the Knoxville artist Lloyd Branson (1853 - 1925). His paintings consisted of mostly portraits, large-scale history scenes, and peaceful landscapes. Of the portraits displayed in the gallery, a few of them showed nude women. One of the paintings titled The Weeping Magdalene (Figure 1) referred to a biblical narrative of Mary Magdalene crying. The other painting was not a biblical story but one likely pulled from the Romantic period entitled The Nude (Figure 2). It showed a woman distressed by a presumable nightmare. Both paintings show the women nude above the waist, but fabric covered their body below the waist. They were small-scale paintings whose purpose was to present a dramatic story. These two “controversial” paintings of nude women were, in fact, the very ones that the curator carefully covered up. As I saw this action taking place, I wondered why. I would later find that the reasoning was due to a fifth grade Christian school group that was scheduled to tour the exhibit. The school requested that the paintings depicting nudity be covered during their visit. After careful consideration, the East Tennessee Historical Society staff decided to grant their request because covering the paintings would not impede the intended learning outcome for the school group tour. The censorship at this local historical society led me to question not only the organization’s decision but also the reasons why the school felt it 1 imperative to censor the art for their students. This event in Knoxville, Tennessee reflects a longer and complex history of Americans’ debates on nudity in art and also its ideas on what material is harmful to children and who gets to decide. In this Master’s thesis, I plan to discuss this topic through a public history approach. I divide my paper into five sections. The first section discusses museum exhibits that presented or attempted to present “difficult” histories. There have been a number of exhibits that stirred controversy among Americans over the story of American history and who tells the story. Some of these shows included Back of the Big House at the Library of Congress in 1995, which attempted to examine slavery through plantation architecture. Another was the Enola Gay exhibit at the Smithsonian National Air and Space Museum also in 1995. I discuss these exhibits and why exactly they were deemed controversial. With exhibits surrounding topics on slavery and America’s role in warfare, there is a legitimate debate about what happened and how to publicly commemorate it. Especially when presenting this material to schoolchildren, these aspects of history might better serve older students in middle school or high school who have a larger knowledge base to understand the nuances of complicated ideas and events. There are a number of works by public historians and historians dedicated to public history and controversial exhibits and museum topics. Julia Rose’s book Interpreting Difficult History at Museum and Historic Sites (2016) addresses some museum exhibits that discussed difficult topics. She also lays out a methodological approach of how to discuss them at historic sites and museums.1 Slavery and Public History: The Tough Stuff of American Memory (2006) offers a collection of essays on the 1 Julia Rose, Interpreting Difficult History at Museums and Historic Sites (Lanham, Boulder, New York, and London: Rowman and Littlefield, 2016). 2 James Oliver Horton and Lois E. Horton, Slavery and Public History: The Tough Stuff 2 topic of how to accurately and respectfully teach and represent slavery to the public along with real cases where different controversies occurred.2 Public history also can mesh into the field of archaeology with Barbara Little and Paul Shackel’s collection of essays entitled Archaeology as a Tool of Civic Engagement (2007), which relates to using archaeology educationally as a way to build relationships in communities and create engaged citizens.3 These works and others discussing public history arise out of museum exhibit controversies from the 1990s and also the increasing interest for museum and historic sites to develop critical educational programming to connect visitors and students through their museums in better ways. The second section of my thesis moves to the paper’s main issue of nudity as an area of contention in American museums and institutions. Why is nudity controversial? More specifically why is it in some cases determined to be inappropriate for children? Who is arguing this?
Load more

Recommended publications
  • 2018-19 Annual Report Donor Roll Mr
    McCLUNG MUSEUM 2018-2019 ANNUAL REPORT director As I write this, the museum is preparing for the arrival of the new director, Claudio Gómez, the first to serve as the Jefferson Chapman vision Executive Director. As announced in our newsletter, Claudio has been The McClung Museum of Natural History and Culture will be one of the top university museums in the country. the director of the National Museum of Natural History in Santiago, Chile. A highlight of this transition for me was a retirement fund– raising dinner at Cherokee Country Club in June. I have been truly mission honored and moved by wonderful letters, poems, and pictures that The McClung Museum of Natural History and Culture complements and embraces the mission of the University of Tennessee, Knoxville. have been generated by my retirement. The McClung Museum of Natural History and Culture seeks to advance understanding and appreciation of the earth and its natural Exhibitions this year—a history of mind-altering drugs, visual culture wonders, its peoples and societies, their cultural and scientific achievements, and the boundless diversity of the human experience. of the Civil Rights movement, art from indigenous communities in The museum is committed to excellence in teaching, scholarship, community service, and professional practice. India, and recent acquisitions—reflect both our broad educational mission and the talents of our staff. Concomitant with our exhibits, both temporary and long term, were strong education programs attendance comprising experiences for PreK-12, families, the community, and The museum continues to serve visitors from Knoxville and nearby communities, tourists, and university students, and faculty.
    [Show full text]
  • Tennessee Blue Book 1995-1996 Bicentennial Edition (1796-1996)
    State of Tennessee Department of State Tennessee State Library and Archives 403 Seventh Avenue North Nashville, Tennessee 37243-0312 TENNESSEE BLUE BOOK 1995-1996 BICENTENNIAL EDITION (1796-1996) SLIDES USED IN THE PRODUCTION OF THE HISTORY OF TENNESSEE SECTION (PP. 322-420) RECORD GROUP 238 Processed by: David R. Sowell Archival Technical Services TENNESSEE STATE LIBRARY AND ARCHIVES Date completed: 4/22/1997 INTRODUCTION This collection consists of photograph slides, some of which were used as illustrations in the publication of the History of Tennessee section of the Bicentennial Edition of the Tennessee Blue Book. Most of the images in these slides were from the collections of the Tennessee State Library and Archives, but other institutions furnished materials for this undertaking. These were: Tennessee Photographic Services; the Tennessean and Nashville Banner newspapers; the Vanderbilt University Jean and Alexander Heard Library Special Collections and University Archives; the University of Tennessee- Knoxville, Hoskins Library, Special Collections; the Tennessee State Museum; Fisk University; the Kansas State Historical Society. These slides will be available for reference purposes. Patrons should consult an archivist and the photographer of the Tennessee State Library and Archives on producing copies of any images in this collection. The following container list will serve as a guide to the subject content of this slide collection. Patrons using these photograph slides in published works should procure permission and proper attribution phrasing from the repositories holding these images. CONTAINER LIST SLIDE NUMBER (ORIGINAL) SUBJECT NUMBER (NEW) 1-25 Iron Works at Chattanooga (engraving). (Harper’s New Monthly Magazine, No. XCIX, Aug. 1858, Vol.
    [Show full text]
  • Kh09summernewsfinal LOREZ.Pdf
    QUARTERLY SUMMER 2009 KNOX HERITAGE WORKS TO PRESERVE STRUCTURES AND PLACES WITH HISTORIC OR CULTURAL SIGNIFICANCE. THE “GREEN HOUSE” AT WORLD’S FAIR 2009 ART & ARCHITECTURE TOUR PARK WILL PRESERVE HISTORY AND SEPTEMBER 4, 6:00 P.M. PRODUCE SOLAR ENERGY The Art & Architecture Tour returns for the third year, Knox Heritage is embarking and this time the featured neighborhood is historic Fort on its next restoration project! Sanders. The tour will be held on Friday, September 4. Together with Knoxville’s Cardinal Development and Kinsey Tour attendees will begin the evening at a reception Probasco Hays of Chattanooga, with food and wine upstairs at the Knoxville Knox Heritage announced in Museum of Art, and then take a tour through late May the final phase of the the Fort Sanders neighborhood led by local restoration of the Victorian-era author and historian Jack Neely and longtime Fort houses at the World’s Fair Park Sanders resident and architect Randall De Ford. in the Historic Fort Sanders neighborhood. As part of that Like last year’s event, the 2009 Art & Architecture plan, the development firms Tour will feature winners of a photography contest donated a circa 1880s house organized by Knox Heritage. Local photographers to Knox Heritage. submitted images of Fort Sanders buildings to be judged by a panel of local artists, art educators, and This generous donation marks executives in the fine arts. The winning entries will several important milestones form the route for this year’s tour, and these works for Knox Heritage. It launches will also be displayed at the Knoxville Museum of Art for the month of September.
    [Show full text]
  • A History of Tennessee.Indd
    352 TENNESSEE BLUE BOOK A HISTORY OF TENNESSEE 353 SECTION VI Tennessee 354 TENNESSEE BLUE BOOK A HISTORY OF TENNESSEE 355 A HISTORY OF TENNESSEE The Land and Native People Tennessee’s great diversity in land, climate, rivers, and plant and animal life is mirrored by a rich and colorful past. For all but the last 200 years of the 12,000 years or so that this country has been inhabited, the story of Tennessee is the story of its native peoples. The fact that Tennessee and many of the places in it still carry Indian names serves as a lasting reminder of the significance of its native inhabit- ants. Since much of Tennessee’s appeal for her ancient people as well as for later pioneer settlers lay with the richness and beauty of the land, it seems fitting to begin by considering some of the state’s generous natural gifts. Tennessee divides naturally into three “grand divisions”—upland, often moun- tainous, East Tennessee, Middle Tennessee with its foothills and basin, and the low plain of West Tennessee. Travelers coming to the state from the east encounter first the lofty Unaka and Smoky Mountains, flanked on their western slope by the Great Valley of East Tennessee. Moving across the Valley floor, they next face the Cumberland Plateau, which historically attracted little settlement and presented a barrier to westward migration. West of the Plateau, one descends into the Cen- tral Basin of Middle Tennessee—a rolling, fertile countryside that drew hunters and settlers alike. The Central Basin is surrounded on all sides by the Highland Rim, the western ridge of which drops into the Tennessee River Valley.
    [Show full text]
  • Highlights from the Mcclung Museum's European & American Art Collections
    Highlights from the McClung Museum’s European & American Art Collections Introduction Like many university museums, the University and broader community to inter- McClung Museum has been gifted a wide act with them in their teaching and learn- variety of art since it opened its doors fifty ing. years ago. Among those gifts is a signifi- cant grouping of American and European In that sense, we are grateful for the long art that forms the backbone of the Mu- history of generous donations to the seum’s Western Art collections. McClung Museum, which not only benefit the museum itself, but University of Tennes- From nineteenth century society portraits see faculty, students, and researchers, as to twentieth century abstract art, these well as the East Tennessee community. paintings, sculptures, and works on paper reflect a handful of collectors’ tastes. While Collections like this one allow for the kind not focused in any particular area, the col- of intimate and eye-opening, and I think ex- lection is wonderful in its breadth and qual- traordinary important, interactions with art ity. that can only happen in the museum space. I organized this show the Summer of 2014 in order to highlight some of the gems in our collections, many of which had not been displayed in decades. Its chronologi- cal display not only roughly follows the col- Catherine Shteynberg lecting patterns of each of the donors pro- Curator filed throughout the exhibit, but also of course the chronology of major art move- ments. As we are a University museum, we not only have the opportunity to temporarily display these works of art, but to allow the ii The Collectors iii The Audigiers were Knoxvillians and strong patrons of the arts who made one of the first large donations of art to the Uni- versity of Tennessee.
    [Show full text]
  • Presenting Sponsor of Higher Ground
    Presenting Sponsor of Higher Ground Ann and Steve Bailey Sponsors of Higher Ground AHB Foundation Aslan Foundation David Butler and Ted Smith City of Knoxville Clayton Family Foundation Jim and Michell Clayton Collectors Circle of the KMA Annie and David Colquitt Barbara and Jeffrey Crist Jan and David Dugger East Tennessee Foundation Karen and James Everett Guild of the KMA Teresa and Hunter Harrison Crissy and Bill Haslam Natalie and Jim Haslam Richard Jansen Florence and Russ Johnston Vicki Kinser Knox County Government Carol and Stephen Krauss The Lederer Family Brenda and Robert Madigan Lindsay and Jim McDonough Dan McGehee* Alexandra Rosen and Donald Cooney Karen and Richard Smith Tennessee Arts Commission Friends of Higher Ground Sam Beall, Jr. Barbara and Bernie Bernstein Gayle Burnett Lisa Carroll Kay Clayton Norma and Joseph Cook Monica Crane and Luke Madigan Kitsy and Lou Hartley Lane Hays Knoxville Garden Club Beth and Bill Neilson Sylvia and Jan Peters Pam and Jeff Peters Elisabeth and Bill Rukeyser Jimmy Smith Leslie and John* Testerman John Z. C. Thomas Nancy and Charlie Wagner Merikay Waldvogel and Jerry Ledbetter Stuart Worden *Deceased Higher Ground A Century of the Visual Arts in East Tennessee Introduction Higher Ground is the first permanent exhibition documenting the history of artistic achievement in East Tennessee. The selection of approximately 50 objects includes works from the KMA collection supplemented by those borrowed from public and private collections. Many of the featured artists spent their entire lives and careers in the area, while some moved away to follow their creative ambitions. Others were drawn to the region by its natural beauty, as the wealth of landscape imagery in this exhibition attests.
    [Show full text]
  • Nudity in Art and Its Discontents
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2017 American Controversy: Nudity in Art and its Discontents Sarah Katherine McPhaul University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the United States History Commons Recommended Citation McPhaul, Sarah Katherine, "American Controversy: Nudity in Art and its Discontents. " Master's Thesis, University of Tennessee, 2017. https://trace.tennessee.edu/utk_gradthes/4762 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Sarah Katherine McPhaul entitled "American Controversy: Nudity in Art and its Discontents." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in History. Lynn Sacco, Major Professor We have read this thesis and recommend its acceptance: Timothy Baumann, Ernest Freeberg Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) American Controversy: Nudity in Art and its Discontents A Thesis Presented for the Master of Arts Degree The University of Tennessee, Knoxville Sarah Katherine McPhaul May 2017 ABSTRACT While walking through an exhibit at the East Tennessee Historical Society last year, I witnessed one of the curators tape sheets of white paper on top of some of the paintings.
    [Show full text]
  • Fall Fine Art and Antique Auction Saturday, October 1, 2011 9:30 Am EST
    Fall Fine Art and Antique Auction Saturday, October 1, 2011 9:30 am EST Case Antiques, Inc., Auctions & Appraisals www.caseantiques.com [email protected] www.facebook.com/caseantiques Knoxville Ph: (865) 558-3033 Knoxville Fax: (865) 558-3032 Nashville Ph: (615) 812-6096 Gallery and Auction located at The Historic Cherokee Mills Building 2240 Sutherland Avenue Knoxville, TN 37919 Tennessee’s leading auction gallery for investment quality art and antiques is now accepting consignments for our Winter auction to be held January 28, 2012. Below is a sampling of items st from our May 21 Auction. Our cataloged auctions offer art and antique buyers the opportunity to participate through simultaneous • Online Internet bidding, • Telephone-assisted bidding, Lloyd Branson watercolor, panoramic landscape Sold $3,450 • Absentee maximum bid offers, East TN Miniature or Redware Jug, Mort • In-person bidding at the event. Sold $19,550 Regardless of how collectors find us, consignors can trust that their items are getting maximum worldwide exposure under the stewardship of knowledgeable professionals. ACCREDITED Ojime beads, APPRAISERS Civil War Tin Type Miniature TN Cherry shibayama, ivory, East TN Soldier Press w/ Two Drawers cinnabar Sold $5,290 Sold $17,825 Sold $5,520 We offer a full range of estate appraisal Record Setting Sales From Past Auctions and liquidation services. Sold Sold Sold $7,150 $36,800 $18,400 Next Event: Left: 19th c. Coin WINTER AUCTION Silver Coffee Pot Center: Circa 1860 TN Sat., Jan. 28, 2012 Redware Jar by C. A. Haun Right: To submit items for consignment, Jan Frederik Pieter Portielje Interior Scene, Oil on Board email photos and descriptions to (Dutch, 1829-1908) [email protected].
    [Show full text]
  • Qualifications and Experience
    Qualifications and Experience About Knox Heritage Knox Heritage works to preserve the structures and places with historic or cultural significance in Knox County, Tennessee. Established in 1974 as a non-profit historic preservation organization, Knox Heritage is chartered by the state of Tennessee and governed by a board of directors representing all areas of our community. Knox Heritage is the only organization in the region that works every day to protect our treasured structures and places. Without Knox Heritage, many of our important buildings, along with the history and charm of the area, would have been demolished. Knox Heritage carries out its mission through a variety of programs and encourages community support through education and advocacy. Membership in the organization is by annual dues, which are tax deductible, and is open to all individuals, businesses, and organizations recognizing the foresight of historical preservation. Vintage Homes Program The Vintage Properties program is operated by Knox Heritage and is concentrated in historic neighborhoods surrounding downtown Knoxville. It is designed to rescue endangered historic properties and preserve the unique style and architectural heritage of those neighborhoods. For most homebuyers, the prospect of managing the restoration of a historic home can be daunting. They may not have construction experience or the time to dedicate to the project. Knox Heritage makes it possible for someone to have a historic home without having to handle the project details by themselves. In partnership with neighborhood residents, Knox Heritage targets properties in need of restoration and creates fully restored homes ready for purchase and immediate occupation. We purchase and restore the endangered historic properties for a new generation of homeowners.
    [Show full text]
  • SPRING 2016 Knoxart.Org
    CANVAS SPRING 2016 knoxart.org Supporting the operation of the Knoxville Museum of Art March 5, 2016 Presenting Sponsor Canvas_Spring_2016_v5.indd 2 11/25/15 3:56 PM EXHIBITIONS Knoxville Museum of Art FROM THE EXECUTIVE DIRECTOR 1050 World’s Fair Park Drive Knoxville, Tennessee 37916 For several years now, an overarching institutional priority of the 865.525.6101 • [email protected] KMA has been the promotion of our region’s art history. It is a long, FREE Admission rich, and fascinating story, with unexpected turns and surprises, vivid Hours personalities, false starts, dead ends, and thrilling achievements. Tuesday-Saturday 10am-5pm When Higher Ground: A Century of the Visual Arts in East Tennessee Sunday 1-5pm opened in 2008, no other institution had ever dedicated itself to Closed telling the story of the development and significance of the visual Mondays, New Year’s Day, Independence arts here (although the East Tennessee History Center has done Day, Thanksgiving, Christmas Eve, FEE JUSTIN a magnificent job of documenting and promoting the broader Christmas Day, and New Year’s Eve social, economic, and cultural history of our region, including some of its artists). When Higher Ground opened, our aims were modest, and we just managed to fill the gallery dedicated to the purpose, largely with borrowed works. We had a strong suspicion, STAFF however that there might be a lot of material out there we didn’t yet know about. We Executive Office hoped fervently that creating a permanent installation dedicated to the art history of East David Butler, Executive Director Denise DuBose, Director of Administration Tennessee would change local perceptions about the visual arts, send a strong signal Collections & Exhibitions that the KMA wanted to be a repository for East Tennessee art, and attract donations Stephen Wicks, Barbara W.
    [Show full text]
  • Summer Fine Art & Antique Auction Saturday, July 19, 2014 9:00 Am
    Summer Fine Art & Antique Auction Saturday, July 19, 2014 9:00 am EST (Preview Friday, July 18, noon - 6pm) Case Antiques, Inc., Auctions & Appraisals www.caseantiques.com [email protected] www.facebook.com/caseantiques Knoxville Ph: (865) 558-3033 Knoxville Fax: (865) 558-3032 Nashville Ph: (615) 812-6096 Gallery and Auction located at The Historic Cherokee Mills Building 2240 Sutherland Avenue Knoxville, TN 37919 [Intentional Blank Page] Tennessee’s Leading Auction Gallery for investment quality art and antiques is now accepting consignments Anna Catherine Wiley (TN, 1879-1958) Sold $107,880 Philip Leslie Hale Sold $41,120 More Record Setting Sales From Past Auctions Our cataloged auctions include: Online Internet bidding Telephone-assisted bidding Absentee maximum bid offers In-person bidding at the event Over 2,000 registered bidders per auction Postal Mail & Emails to 20,000+ art & antique buyers Three accredited appraisers on staff Tennessee coin silver Consignors’ items get maximum worldwide exposure coffee pot, marked “W. H. under stewardship Calhoun Tenn.” Sold $7,150 Circa 1860 TN Redware Jar of knowledgeable by CA Haun. Sold $36,800 professionals. Civil War Tin Type East Miniature TN Soldier. Sold $5,290 Portrait by We offer a full range of estate appraisal and Winchester, VA Martin- John Wood liquidation services. Frye School late 18th Dodge Century Bookcase on (1807-1893). To submit items for consignment, email Bureau. Sold $93,600 Sold $22,000 photos and descriptions to: 2.99 carat [email protected] Fancy Yellow Diamond & www.caseantiques.com Platinum Ring. Knoxville: (865) 558-3033 Sold $29,000 Nashville: (615) 812-6096 CASE ANTIQUES, INC.
    [Show full text]
  • North Knoxville Historic Driving Tour N
    NORTH KNOXVILLE HISTORIC DRIVING TOUR N . G A Y / B R O A D W A Y / N . C E N T R A L / C H I C K A M A U G A / B R O A D W A Y Tour starts at the intersection of North Gay Street and Fifth Avenue Total Driving Distance = 8.2 miles 1. NORTH GAY STREET Many newcomers notice "that little downtown" of close two and three-story urban buildings north of I-40, along Fifth Avenue up to the intersection of Broadway and Central, and a bit beyond. In fact, that area was once just the northern quarter of downtown Knoxville, from the 1880s to the 1950s, connected by unbroken blocks of buildings, streets, and sidewalks, and considered integral to the central business district. Fifth Avenue is part of a mathematical puzzle. The ordinal number popped up on what was then the northern edge of town just before the Civil War. Once there were also First and Second Avenues, but they vanished before 1870. There are still fragmentary portions of Third and Fourth. They were numbered from the northern "top" of the city down. But Fifth was the main one, and it's possible that it grew much more than the others due to the fame of the Fifth Avenue in New York. By the late 19th century, it was an especially fashionable address, with grand townhouses and apartment buildings like those known today as the LUCERNE and STERCHI OAKS , as well as Minvilla Flats, which is today used as part of a public-housing program.
    [Show full text]