Santa Fe Art Auction Catalog 2026 by Art Gallery Publication

NOVEMBER 6 –7, 2026 | SANTA FE, NEW MEXICO

Front Cover Lot 352 Rebecca Salsbury James (1891–1968) White Roses at Twilight, 1941 Frontispiece A Lot 380 Malcolm Furlow (Choctaw, 1946–2023) Indian at the Table Frontispiece B Lot 357 Oscar Edmund Berninghaus (1874–1952) Morning of the Fiesta - Taos Pueblo

THE PREMIER SALE OF THE YEAR November 6 – 7, 2026

THE SIGNATURE LIVE SALE Friday + Saturday, November 6 + 7, 2026 932 Railfan Road, Santa Fe, NM Session I | (Lots 1 – 142) Prints, Multiples + Works on Paper Sculpture Edward Curtis Friday, November 6 | 1:00pm MST Session II | (Lots 143 – 271) Pottery, Textiles, Jewelry Western Paintings + Works on Paper Saturday, November 7 | 9:30am MST Break for Lunch | 12:00pm MST Session III | (Lots 272 – 464) Western Paintings Historic + Contemporary Saturday, November 7 | 1:00pm MST

RECEPTIONS + PREVIEWS

932 Railfan Road, Santa Fe, NM 87505 Cocktail Preview Reception Wednesday, November 4 | 5:00 – 7:00pm MST Open House (all day) Friday, November 6 | 9:00am – 6:30pm MST Saturday, November 7 | 9:00am – 6:30pm MST Post Auction Brunch (pickups + payments) Sunday, November 8 | 9:00 – 11:00am MST General Previews Monday through Friday + by appointment October 19 – November 6 | 10:00am – 5:00pm MST

BIDDING OPTIONS Online Bidding santafeartauction.com invaluable.com liveauctioneers.com In-Person Bidding Register to attend at santafeartauction.com or visit 932 Railfan Road, Santa Fe, NM Telephone + Absentee Bidding Arrangements must be made no later than; November 5 | 5:00pm MST for Session I November 6 | 5:00pm MST for Session II + III Bidders not in the room are encouraged to leave absentee bids in the case of technical difficulties. Please direct all inquiries to 505.954.5858 Register online at santafeartauction.com

SESSION I

LOTS 1 – 142

Friday, November 6 1:00pm MST

1 Gene Kloss (1903–1996) Shadows of the Evening, 1973 etching, drypoint, aquatint, artist’s proof, edition of 50 editioned and titled lower left: Artist’s Proof Shadows of the Evening signed lower right: Gene KLoss 12 x 15 in. (30.5 x 38.1 cm.) frame: 21 3/4 x 24 5/8 x 1 1/4 in. (55.2 x 62.5 x 3.2 cm.) Provenance: Private Collection, Texas Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 143, No. 560 $800 — $1,200

2 Gene Kloss (1903–1996) To a Wedding in North House, 1973 etching, drypoint, aquatint, artist’s proof, edition of 50 editioned and titled lower left: Artist’s Proof To a Wedding in North House signed lower right: Gene KLoss N.A. 12 3/4 x 15 7/8 in. (32.4 x 40.3 cm.) frame: 22 3/4 x 25 5/8 x 1 1/8 in. (57.8 x 65.1 x 2.9 cm.) Provenance: Private Collection, Texas Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 133, No. 551 $1,000 — $2,000

3 Gene Kloss (1903–1996) Rain Dance Beginning at Old Tamáya, 1956 drypoint, aquatint, edition of 50 editioned and titled lower left: Ed 50 Rain Dance Beginning at Old Tamáya signed lower right: Gene KLoss imp 7 7/8 x 10 3/4 in. (20 x 27.3 cm.) frame: 15 5/8 x 18 1/8 x 3/4 in. (39.7 x 46 x 1.9 cm.) Provenance: Private Collection, New Jersey Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 33, No. 462 $2,500 — $3,500

SANTA FE ART AUCTION

4 Gene Kloss (1903–1996) San Felipe Buffalo Dancers, 1962

5 Gene Kloss (1903–1996) Magpies and Red-Tailed Hawk, 1962

etching, artist’s proof, edition of 50 editioned and titled lower left: Artist’s Proof San Felipe Buffalo Dancers signed lower right: Gene KLoss N.A. 11 3/4 x 13 1/4 in. (29.8 x 33.7 cm.) frame: 18 3/4 x 20 3/4 x 1 in. (47.6 x 52.7 x 2.5 cm.)

etching, drypoint, edition of 50 titled lower left: II Magpies and Red-Tailed Hawk signed lower right: Gene Kloss imp 15 5/8 x 9 1/2 in. (39.7 x 24.1 cm.) frame: 21 x 15 x 1/4 in. (53.3 x 38.1 x 0.6 cm.)

Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, New Mexico

Provenance: The Artist’s Estate Private Collection, Oregon (by descent)

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 71, No. 493

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 69, No. 492

$1,500 — $2,500

6 Gene Kloss (1903–1996) Penitente Easter, 1979 etching, drypoint, aquatint, artist’s proof, edition of 25 editioned and titled lower left: Artist’s Proof Penitente Easter signed lower right: Gene KLoss 10 3/4 x 13 3/4 in. (27.3 x 34.9 cm.) frame: 20 1/8 x 24 x 3/4 in. (51.1 x 61 x 1.9 cm.) Provenance: The Owings Gallery, Santa Fe, New Mexico Private Collection, New Mexico Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol II, p. 163, No. 580 $2,500 — $4,500

SANTA FE ART AUCTION

7 Gene Kloss (1903–1996) Rocky Mountain Valley, 1963

8 Gene Kloss (1903–1996) Chaco Canyon Ruins, 1970

etching, edition 18 of 50 titled and editioned lower left: Rocky Mountain Valley 18/50 signed lower right: Gene KLoss imp 11 7/8 x 18 in. (30.2 x 45.7 cm.) frame: 19 3/4 x 25 1/8 x 7/8 in. (50.2 x 63.8 x 2.2 cm.)

intaglio, edition 9 of 11 (50 planned) editioned and titled lower left: 9/50 Chaco Canyon Ruins signed lower right: Gene KLoss N.A. 14 x 18 3/4 in. (35.6 x 47.6 cm.) frame: 18 3/4 x 23 3/4 x 1/2 in. (47.6 x 60.3 x 1.3 cm.)

Provenance: Private Collection, Utah

Provenance: The Artist’s Estate Private Collection, Oregon (by descent)

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 74, No. 496 $1,000 — $2,000

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 115, No. 536 $3,000 — $5,000

9 Gene Kloss (1903–1996) Taos Pueblo, 1925

10 Gene Kloss (1903–1996) Adobes in the Snow, 1944

drypoint, gouache titled lower left: Taos Pueblo signed lower right: Gene KLoss 4 7/8 x 6 3/8 in. (12.4 x 16.2 cm.) frame: 14 3/4 x 16 1/4 x 3/4 in. (37.5 x 41.3 x 1.9 cm.)

etching, artist’s proof, edition of 75 titled lower left: II Adobes in The Snow signed lower right: Gene KLoss imp 8 1/2 x 12 in. (21.6 x 30.5 cm.) frame: 18 1/4 x 23 3/4 x 5/8 in. (46.4 x 60.3 x 1.6 cm.)

Provenance: Private Collection, Arizona

Provenance: Private Collection, Illinois

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 32, No. 45

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 216, No. 393

$1,500 — $2,500

SANTA FE ART AUCTION

11 Gene Kloss (1903–1996) All Saints’ Day Mass - Taos Pueblo, 1934 drypoint, aquatint, edition of 30 titled lower left: All Saints’ Day Mass signed lower right: Gene KLoss 9 3/4 x 13 3/4 in. (24.8 x 34.9 cm.) frame: 17 3/4 x 21 3/4 x 5/8 in. (45.1 x 55.2 x 1.6 cm.) Provenance: Private Collection, New Mexico Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 139, No. 302 Gene Kloss (Alice Geneva Kloss) was a leading American printmaker celebrated for evocative etchings and aquatints of Taos Pueblo life, Northern New Mexico ceremonies, and high-desert landscapes. Born in Oakland, California, she studied at UC Berkeley and first visited Taos in 1925, later dividing her time between California and New Mexico before settling permanently in Taos. Working almost entirely on her own press, she produced 600+ plates, using etching, drypoint, and aquatint techniques, distinguished by rich chiaroscuro, luminous tonal ranges, and an unusual sensitivity to sacred subjects, such as Penitente rites and Pueblo dances, typically portrayed with dignity and restraint rather than spectacle. $10,000 — $15,000

SANTA FE ART AUCTION

12 Ernest Martin Hennings (1886–1956) Across the Sage, ca. 1924 - 1925 lithograph, edition 18 of 50 editioned and titled lower left: 18/50 “Across the Sage” signed lower right: E. Martin Hennings 9 x 10 in. (22.9 x 25.4 cm.) sheet: 15.5 x 16.25 in. (39.4 x 41.3 cm.) frame: 17 x 17 1/2 x 3/4 in. (43.2 x 44.5 x 1.9 cm.) Provenance: Barridoff Galleries, Portland, Maine Private Collection, New Mexico $1,500 — $2,500

13 Ernest Martin Hennings (1886–1956) Through Sage and Cedar lithograph, edition 30 of 100 editioned and titled lower left: 30/100 “Through SagE and CEdar” signed lower right: E. Martin HEnnings 10 x 10 in. (25.4 x 25.4 cm.) frame: 19 3/8 x 18 7/8 x 3/4 in. (49.2 x 47.9 x 1.9 cm.) Provenance: Private Collection, Arizona $2,000 — $3,000

14 Joseph Henry Sharp (1859–1953) Blackfoot Chief, ca. 1900 monotype signed lower right: JH SHARP 13 7/8 x 10 7/8 in. (35.2 x 27.6 cm.) frame: 19 3/4 x 16 3/4 x 1 1/4 in. (50.2 x 42.5 x 3.2 cm.) Provenance: Private Collection, Montana $3,000 — $5,000

SANTA FE ART AUCTION

15 Frederic Sackrider Remington (1861–1909) Buckskin Suite lithograph each signed lower right: Frederic Remington featuring eight framed lithographs with accompanying descriptive text panel sight: each approximately 19 3/8 x 14 1/2 in. (49.2 x 36.8 cm.) frame: 29 x 22 3/8 x 1 in. (73.7 x 56.8 x 2.5 cm.) Provenance: Private Collection, Colorado This complete suite of eight lithographic prints, each drawn from Remington's celebrated studies of the American frontier, offers a vivid survey of the artist's lifelong subject: the mounted figure in motion across the plains. Cavalry troopers, scouts, and Native American horsemen alternate throughout the set, each rendered in Remington's characteristically energetic line with keen attention to equine anatomy and period accoutrement: saddlery, fringed buckskin, feathered headdress, and campaign hat are all observed with the documentary precision that made Remington the preeminent visual chronicler of the vanishing West. $15,000 — $25,000

SANTA FE ART AUCTION

16 George Catlin (1796–1872) Buffalo Hunt on Snow Shoes hand-colored lithograph inscribed lower left: Catlin del. M’Gahey lith. titled lower center: No. 15. / BUFFALO HUNT, ON SNOW SHOES. / From Catlin’s N. A. Indian Collector. inscribed lower right: Day & Haghe Lithrs. to the Queen 15 1/2 x 20 1/4 in. (39.4 x 51.4 cm.) frame: 17 3/4 x 22 1/4 x 1 in. (45.1 x 56.5 x 2.5 cm.) Provenance: Private Collection, Colorado $1,000 — $2,000

17 Edward Borein (1872–1945) Robes and Meat etching, drypoint inscribed lower left: [horse cipher] signed lower right: Edward Borein 6 x 9 1/8 in. (15.2 x 23.2 cm.) frame: 12 3/8 x 14 1/8 x 1/2 in. (31.4 x 35.9 x 1.3 cm.) Provenance: Private Collection, New Mexico Literature: John Galvin, Warren R. Howell, and Harold G. Davidson, The Etchings of Edward Borein: A Catalogue of his Work, John Howell Books, 1971, No. 178 $1,500 — $2,500

18 Edward Borein (1872–1945) The Covered Wagons (Emigrant Train) etching signed lower right: Edward Borein artist’s original studio sticker affixed verso 5 7/8 x 13 7/8 in. (14.9 x 35.2 cm.) frame: 11 x 18 1/2 x 1/2 in. (27.9 x 47 x 1.3 cm.) Provenance: Private Collection, California Literature: John Galvin, Warren R. Howell, and Harold G. Davidson, The Etchings of Edward Borein: A Catalogue of His Work, John Howell Books, San Francisco, CA, 1971, No. 148 $1,000 — $2,000

SANTA FE ART AUCTION

19 John Steuart Curry (1897–1946) Ajax, 1932 lithograph, edition of approximately 25 titled and editioned lower left: “Ajax” 25 edition signed and dated lower right: John Steuart Curry 1932 11 x 15 3/8 in. (27.9 x 39.1 cm.) frame: 13 1/4 x 17 5/8 x 7/8 in. (33.7 x 44.8 x 2.2 cm.) Provenance: Private Collection, Colorado $1,500 — $2,500

20 Grant Wood (1891–1942) July 15th, 1939 lithograph signed lower right: Grant Wood accompanied by signed Certificate of Authenticity 10 1/4 x 13 1/8 in. (26 x 33.3 cm.) frame: 12 3/8 x 15 3/8 x 7/8 in. (31.4 x 39.1 x 2.2 cm.) Provenance: Private Collection, Colorado $4,500 — $6,500

SANTA FE ART AUCTION

21 Thomas Hart Benton (1889–1975) Fire in the Barnyard, 1944 lithograph, edition of 250 signed in the plate lower right: Benton titled and inscribed lower left: Fire in the Barnyard To Audree + Bill - Tom signed lower right: Thomas H. Benton 13 1/8 x 8 1/2 in. (33.3 x 21.6 cm.) frame: 14 3/4 x 18 7/8 x 7/8 in. (37.5 x 47.9 x 2.2 cm.) Provenance: Private Collection, New Mexico Literature: Creekmore Fath, The Lithographs of Thomas Hart Benton, University of Texas Press, Austin + London, 2001, No. 75 $3,000 — $5,000

22 Thomas Hart Benton (1889–1975) West Texas, 1952 lithograph, edition of 300 signed and dated in the plate lower left: SMU / Benton 52 signed lower right: Thomas H. Benton 10 3/4 x 13 3/4 in. (27.3 x 34.9 cm.) frame: 18 3/4 x 21 1/2 x 5/8 in. (47.6 x 54.6 x 1.6 cm.) Provenance: Baker Collector Gallery, Lubbock, Texas Private Collection, New Mexico Literature: Creekmore Fath, The Lithographs of Thomas Hart Benton, University of Texas Press, Austin + London, 2001, No. 77 $3,000 — $5,000

23 Thomas Hart Benton (1889–1975) Photographing the Bull, 1950 lithograph, edition of 500 signed in the plate lower left: Benton signed lower right: Thomas H. Benton 11 7/8 x 15 7/8 in. (30.2 x 40.3 cm.) frame: 22 5/8 x 26 5/8 x 1 1/8 in. (57.5 x 67.6 x 2.9 cm.) Provenance: Private Collection, New Mexico Literature: Creekmore Fath, The Lithographs of Thomas Hart Benton, University of Texas Press, Austin + London, 2001, No. 75 $2,500 — $3,500

SANTA FE ART AUCTION

24 Gustave Baumann (1881–1971) Corn Dance - Santa Clara, (State II), 1924 / 1931-1932

25 Gustave Baumann (1881–1971) Church - Ranchos de Taos (State II) , 1919 / 1945

woodcut, edition 109 of 125 titled lower left: CORN DANCE - SANTA CLARA editioned lower right: 109 125 signed lower right: Gustave [hand in heart chop] Baumann 7 1/4 x 8 3/8 in. (18.4 x 21.3 cm.) frame: 18 1/2 x 19 7/8 x 1 3/8 in. (47 x 50.5 x 3.5 cm.)

woodcut, edition 97 of 125 titled lower left: CHURCH - RANCHOS DE TAOS editioned and dated lower right: II 97 125 45 signed lower right: Gustave [hand in heart chop] Baumann original Baumann studio sticker affixed verso 10 3/4 x 12 in. (27.3 x 30.5 cm.) frame: 19 1/4 x 21 x 1/4 in. (48.9 x 53.3 x 0.6 cm.)

Provenance: Taos Fine Art, Taos, New Mexico Private Collection, New Mexico Literature: Baumann Inventory No. 94 Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 146 $8,000 — $12,000

Provenance: Mariposa Gallery, 1982 Private Collection, Texas Literature: Baumann Inventory No. 33 Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 60 $12,000 — $18,000

26 Gustave Baumann (1881–1971) Talpa Chapel, (State II), 1924 / 1931-1932 woodcut, edition 18 of 125 titled lower left: TALPA CHAPEL editioned lower right: 18 125 signed lower right: Gustave [hand in heart chop] Baumann 7 1/8 x 8 in. (18.1 x 20.3 cm.) frame: 17 1/4 x 18 3/4 x 1/2 in. (43.8 x 47.6 x 1.3 cm.) Provenance: Maxwell Alexander Gallery, Pasadena, California Private Collection, New Mexico Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 93 $12,000 — $18,000

SANTA FE ART AUCTION

27 Gustave Baumann (1881–1971) Processional (State III), 1930 / 1956 woodcut, edition 117 of 125 titled lower left: PROCESSIONAL editioned lower right: III 117 125 signed lower right: Gustave [hand in heart chop] Baumann original, woodblock printed Baumann receipt from 1970 is included 14 x 13 1/2 in. (35.6 x 34.3 cm.) frame: 22 x 22 in. (55.9 x 55.9 cm.) Provenance: The Artist, 1970 Private Collection, Texas Literature: Baumann Inventory No. 101 Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 136 $15,000 — $25,000

28 Gustave Baumann (1881–1971) Spring Blossoms (State II), 1950 woodcut with silver leaf, edition 117 of 130 titled lower left: SPRING BLOSSOMS editioned and dated lower right: II 117 130 50 signed lower right: Gustave [hand in heart chop] Baumann original Baumann studio sticker affixed verso 12 1/8 x 13 in. (30.8 x 33 cm.) frame: 20 7/8 x 20 3/4 x 7/8 in. (53 x 52.7 x 2.2 cm.) Provenance: Private Collection, New Mexico Literature: Baumann Inventory No. 142 Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 180 $8,000 — $12,000

SANTA FE ART AUCTION

29 Gustave Baumann (1881–1971) Autumnal Glory (State II), 1920 woodcut, edition 20 of 100 titled lower left: Autumnal Glory editioned lower center: NO 20 OF 100 signed lower right: Gustave [hand in heart chop] Baumann 12 7/8 x 12 7/8 in. (32.7 x 32.7 cm.) frame: 22 1/4 x 21 x 7/8 in. (56.5 x 53.3 x 2.2 cm.) Provenance: Private Collection, Colorado Literature: Baumann Inventory No. 61 Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 75 $7,000 — $10,000

SANTA FE ART AUCTION

30 Gustave Baumann (1881–1971) Hopi Katzinas, (State III), 1925 / ca. 1940 woodcut, edition 67 of 125 titled lower left: HOPI KATZINAS editioned lower right: 67 - 120 III signed lower right: Gustave [hand in heart chop] Baumann please note that Baumann misnumbered the print edition as 120 instead of 125, another example of which is noted in the Raisonné and which is the stated edition size for the third printing 13 3/8 x 13 3/4 in. (34 x 34.9 cm.) frame: 21 1/4 x 21 3/4 x 1 1/2 in. (54 x 55.2 x 3.8 cm.) Provenance: Private Collection, California Literature: Baumann Inventory No. 70 Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 106 $8,000 — $12,000

31 Gustave Baumann (1881–1971) Taos Patio (State I), 1925 woodcut, edition 12 of 100 titled lower left: Taos Patio editioned lower center: NO 12 OF 100 signed lower right: Gustave [hand in heart chop] Baumann 7 1/4 x 8 3/8 in. (18.4 x 21.3 cm.) frame: 15 x 15 3/4 in. (38.1 x 40 cm.) Provenance: Private Collection, Texas Literature: Baumann Inventory No. 36 Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 105 This adobe in Taos was the home of Bert Geer Phillips, one of the original members of the Taos Society of Artists and the first artist to settle in the town. $7,500 — $10,000

SANTA FE ART AUCTION

32 Gustave Baumann (1881–1971) Indian Pottery Old and New, 1919 woodcut on cream Zanders Bergisch Gladback laid paper, first edition featuring 28 pages of illustrations and text, printed by Baumann from 42 woodblocks printed by Koshare Press, Santa Fe 8 3/8 x 6 7/8 in. (21.3 x 17.5 cm.) Provenance: Private Collection, New Mexico Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 250 Conceived as an edition of fifty, only a handful of copies were completed, making this original publication exceptionally rare. $6,000 — $9,000

33 Gustave Baumann (1881–1971) Frijoles Canyon Pictographs, 1939 woodcut, letterpress, edition of 480 fold-out print signed lower right: Gustave Baumann inscribed on flyleaf page: To bring back memories of a / wonderful day together – / Love to my wonderful mother / from Robin published by Writers’ Editions, Inc., Santa Fe, New Mexico, 1939 featuring forty-eight pages with 26 woodcut illustrations on Bayreuth Antique paper. 8 3/4 x 7 3/4 x 1/2 in. (22.2 x 19.7 x 1.3 cm.) Provenance: Private Collection, Texas $2,000 — $4,000

34 Gustave Baumann (1881–1971) An Eagle Ceremony at Tesuque Pueblo, 1932 woodcut signed in block lower left: G [hand in heart chop] B printed by Pynson Printers 6 1/2 x 7 in. (16.5 x 17.8 cm.) sight: 7 x 7 in. (17.8 x 17.8 cm.) frame: 10 3/4 x 10 3/4 x 1 in. (27.3 x 27.3 x 2.5 cm.) Provenance: Private Collection, New Mexico Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 142 $2,000 — $4,000

SANTA FE ART AUCTION

35 Edna Boies Hopkins (1872–1937) Fuchsia, ca. 1910 - 1913 woodcut signed lower left: Edna Boies Hopkins inscribed lower right: 13 11 x 7 1/4 in. (27.9 x 18.4 cm.) frame: 18 1/2 x 14 3/4 x 0 5/8 in. (47 x 37.5 x 1.6 cm.) Provenance: Private Collection, New Mexico $8,000 — $12,000

SANTA FE ART AUCTION

36 Ed Mell (1942–2024) Single Strike, ca. 2013 lithograph, edition 1 of 200 editioned lower left: 1/200 signed lower right: Ed Mell 32 3/4 x 24 3/4 in. (83.2 x 62.9 cm.) frame: 41 1/8 x 33 1/2 x 1 in. (104.5 x 85.1 x 2.5 cm.) Provenance: Private Collection, New Mexico $2,000 — $3,000

37 Ed Mell (1942–2024) Clouds Over Third Mesa, ca. 1982 lithograph, edition 7 of 100 editioned lower left: 7/100 signed lower right: Ed Mell printer’s chops lower left and right 14 x 24 3/4 in. (35.6 x 62.9 cm.) frame: 23 3/4 x 34 x 1 1/2 in. (60.3 x 86.4 x 3.8 cm.) Provenance: Collection of Jeffrey Ferrell Collection of Grant and Rebecca Ferrell (by descent) $1,000 — $2,000

SANTA FE ART AUCTION

38 Tony Abeyta (Diné [Navajo], b. 1965) Chief, 1990 hand-colored monotype, collage on handmade paper signed lower left: Tony Abeyta © dated lower right: 1990 43 1/4 x 31 1/4 in. (109.9 x 79.4 cm.) frame: 49 3/4 x 37 3/4 x 1 1/2 in. (126.4 x 95.9 x 3.8 cm.) Provenance: Private Collection, New Mexico $7,000 — $10,000

SANTA FE ART AUCTION

39 T. C. Cannon (Kiowa/Caddo, 1946–1978) Woman at the Window, 1978 woodcut, edition 62 of 200 editioned and signed lower left: 62/200 Walter Cannon printed lower right: T C Cannon 16 7/8 x 15 1/2 in. (42.9 x 39.4 cm.) frame: 30 7/8 x 25 1/2 x 1 in. (78.4 x 64.8 x 2.5 cm.) Provenance: Private Collection, New York $3,000 — $5,000

40 John Nieto (1936–2018) The Custer Suite, 1993 serigraph, printer’s proof, edition 4 of 45 each editioned lower left: PP 4/45 each signed lower right: nieto five-piece suite housed in three frames accompanied by Certificate of Authenticity and monograph portfolio book from the Utah Museum of Fine Arts Sitting Bull: 14 1/2 x 12 in. (36.8 x 30.5 cm.) frame: 29 1/2 x 27 x 2 in. (74.9 x 68.6 x 5.1 cm.) Arapaho: 14 1/2 x 12 in. (36.8 x 30.5 cm.) frame: 29 1/2 x 27 x 2 in. (74.9 x 68.6 x 5.1 cm.) Crazy Horse, Custer, Red Cloud (each): 14 1/2 x 12 in. (36.8 x 30.5 cm.) frame: 29 1/2 x 53 x 2 in. (74.9 x 134.6 x 5.1 cm.) Provenance: Private Collection, Oklahoma A hallmark suite by the New Mexico-based painter known for his Fauvist-inflected palette and bold, gestural line, the Custer Suite presents five individual portrait studies of principal figures from the Battle of the Little Bighorn: General Custer, Crazy Horse, Sitting Bull, Chief Joseph, and an Arapaho chief. Each is rendered in Nieto's signature high-key color and confident brushwork. Nieto's work resists literal ethnographic portraiture in favor of an expressive, almost totemic treatment of his subjects, and this suite is counted among his bestknown print series, with examples held in institutional collections including the Albuquerque Museum. Sold as a complete set of five, together with the accompanying John Nieto Retrospective portfolio book. $5,000 — $7,000

SANTA FE ART AUCTION

41 Jaune Quick-to-See Smith (French-Cree / Shoshone / Salish, 1940–2025) What is an American?, 2003 lithograph with chine collé, paper, acrylic, metal grommets, edition 15 of 20 editioned lower left: 15/20 signed lower right: Jqts Smith published by Rutgers Center for Innovative Print and Paper, New Brunswick, New Jersey printed by Eileen M. Foti 69 x 40 in. (175.3 x 101.6 cm.) Provenance: Brodsky Center at PAFA (previously Rutgers Center for Innovative Print and Paper), the publisher Private Collection Literature: Laura Phipps, Jaune Quick-to-See Smith: Memory Map, Whitney Museum of American Art, 2023, pp. 47, 123, pl. 52 Per the artist, the print is designed to resemble a parfleche, a Plains Indians packet/pouch which can carry, among other things, a message. Created after September 11, 2001, Jaune Quick-to-See Smith’s What Is an American? questions national identity and patriotism by confronting the historical mistreatment of Indigenous peoples. Shaped like a traditional parfleche carrying case, the print combines Indigenous imagery, a hand bleeding red, white, and blue, and sardonic text to critique racism, consumerism, and corporate culture. Government food labels also introduce questions of poverty, revealing how viewers’ economic experiences shape their understanding of the work. Jaune Quick-to-See Smith was a groundbreaking Native American painter, printmaker, curator, and activist and an enrolled citizen of the Confederated Salish and Kootenai Tribes. Raised on the Flathead Reservation in Montana, she developed a distinctive visual language combining abstraction, maps, commercial imagery, text, and Indigenous symbols to address land, colonialism, environmental stewardship, and contemporary Native identity. Smith was also an influential advocate and curator who created greater visibility for generations of Indigenous artists. Her five-decade career was celebrated in the Whitney Museum’s major 2023 retrospective, Memory Map. $8,000 — $12,000

SANTA FE ART AUCTION

42 Jaune Quick-to-See Smith (French-Cree / Shoshone / Salish, 1940–2025) Where Is John Lennon When We Need Him?, 2003

43 Jaune Quick-to-See Smith (French-Cree / Shoshone / Salish, 1940–2025) Wisdom/Knowledge, 1996 (from the Survival Suite series)

lithograph on Rives BFK, edition 6 of 6 (edition of 30 + 6 roman numerals) editioned lower left: VI/VI signed lower right: Jqts Smith Tamarind chop lower left artist’s + printer’s chops lower center and right inscribed verso: 03810 / Rives BFK collaborating printer: Lee Turner edition printer: Bill Lagattuta 25 x 19 in. (63.5 x 48.3 cm.)

lithograph on Arches, chine-collé, edition 43 of 50 editioned lower left: 43/50 signed lower right: Jqts Smith printer’s chop lower right inscribed verso: JQTS 944 stamped verso: Published by / ZANATTA / EDITIONS printed by Lawrence Lithography Workshop published by Zanatta Editions 36 x 24 5/8 in. (91.4 x 62.5 cm.)

Provenance: Private Collection

Literature: Tamarind Institute Online Catalogue Raisonné, No. 03-810

Literature: Laura Phipps, Jaune Quick-to-See Smith: Memory Map, Whitney Museum of American Art, 2023, pp. 44-45, 217, pl. 118

$2,500 — $3,500

44 Jaune Quick-to-See Smith (French-Cree / Shoshone / Salish, 1940–2025) Tribe/Community, 1996 (from the Survival Suite series) lithograph on Arches, chine-collé, edition 43 of 50 editioned lower left: 43/50 signed lower right: Jqts Smith printer’s chop lower right inscribed verso: JQTS 944A stamped verso: Published by / ZANATTA / EDITIONS printed by Lawrence Lithography Workshop published by Zanatta Editions 36 x 24 3/4 in. (91.4 x 62.9 cm.) Provenance: Private Collection Literature: Laura Phipps, Jaune Quick-to-See Smith: Memory Map, Whitney Museum of American Art, 2023, pp. 44-45, 217, pl. 119 $2,500 — $3,500

SANTA FE ART AUCTION

45 Gérard Rancinan (b. 1953) La Banquet des Idoles, Variant I (Wonderful World XIII), 2016 chromogenic print on plexiglass face-mount, edition 1 of 3 inscribed verso: Gerard RANCINAN / 2016 accompanied by signed Certificate of Authenticity 70 3/4 x 118 in. (179.7 x 299.7 cm.) frame: 71 x 118 1/4 x 2 5/8 in. (180.3 x 300.4 x 6.7 cm.) Provenance: Private Collection, New Mexico Gérard Rancinan is a French photographer known for monumental, theatrically staged images exploring contemporary society. He began his career as a newspaper photojournalist before joining the Sygma agency, covering international events and photographing prominent figures in art, film, and sport. His later work combines elaborate sets, dramatic lighting, and references to art history and popular culture to examine power, identity, and social excess. His series Wonderful World (2012) forms the final chapter of The Trilogy of the Moderns, developed with writer Caroline Gaudriault. Its seductive yet unsettling scenes imagine society as an artificial amusement park, questioning the promises of consumer culture, manufactured happiness, and conformity, and their cost to human individuality. $20,000 - 30,000

46 Myron Wood (1921–1999) Portrait of Georgia O'Keeffe, Abiquiu, New Mexico, 1980 gelatin silver dated on mount lower left: 4 - 80 signed on mount lower right: Myron Wood 14 3/8 x 18 3/8 in. (36.5 x 46.7 cm.) frame: 22 1/4 x 28 1/4 in. (56.5 x 71.8 cm.) Provenance: Private Collection, New Mexico $1,000 — 2,000

SANTA FE ART AUCTION

47 Fritz Scholder (Luiseño, 1937–2005) Indian with Butterfly, 1975 lithograph, edition 93 of 150 signed lower left: Scholder editioned lower right: 93-150 29 1/2 x 22 in. (74.9 x 55.9 cm.) frame: 36 1/4 x 28 5/8 x 3/4 in. (92.1 x 72.7 x 1.9 cm.) Provenance: Private Collection, New Mexico $2,000 — $4,000

48 Fritz Scholder (Luiseño, 1937–2005) Buckskin Indian (State I), 1974 lithograph, edition 25 of 75 editioned lower left: 25-75 signed lower right: Scholder 30 1/8 x 22 1/4 in. (76.5 x 56.5 cm.) frame: 31 1/4 x 23 1/4 x 3/4 in. (79.4 x 59.1 x 1.9 cm.) Provenance: Private Collection, New Mexico $1,500 — $2,500

SANTA FE ART AUCTION

49 Fritz Scholder (Luiseño, 1937–2005) Indian with Pistol, 1978 lithograph, edition 100 of 150 editioned lower left: 100-150 signed lower right: Scholder printer’s chop lower right 22 1/2 x 30 in. (57.2 x 76.2 cm.) frame: 30 3/4 x 38 1/4 x 1 in. (78.1 x 97.2 x 2.5 cm.) Provenance: Private Collection, New York $1,500 — $2,500

50 Fritz Scholder (Luiseño, 1937–2005) Hopi Dancers (State II), 1974 lithograph, edition 37 of 75 signed lower left: Scholder editioned right of lower center: 37-75 22 3/8 x 30 in. (56.8 x 76.2 cm.) frame: 29 x 36 7/8 x 7/8 in. (73.7 x 93.7 x 2.2 cm.) Provenance: Private Collection, New Mexico Literature: Tamarind Institute Online Catalogue Raisonné, No. 74-637 $1,500 — $2,500

SANTA FE ART AUCTION

51 Francisco Zúñiga (Mexican, 1912–1998) Juchitecas, 1974 lithograph, edition 33 of 91 editioned lower left: 33/91 signed and dated lower right: Zga / 1974 Kyron, S.A. chop lower right co-published by J.M. Tasende, Mexico D.F. 20 7/8 x 27 in. (53 x 68.6 cm.) frame: 28 1/2 x 34 5/8 x 1 3/4 in. (72.4 x 87.9 x 4.4 cm.) Provenance: Private Collection $1,000 — $2,000

52 Luis Jiménez (1940–2006) Howl, 1977 lithograph, trial proof signed and editioned lower right: Luis Jimenez / “trial proof” published by Hand Graphics, Ltd., Santa Fe printed by David Panosh 36 x 26 in. (91.4 x 66 cm.) frame: 40 1/4 x 30 1/4 x 3/4 in. (102.2 x 76.8 x 1.9 cm.) Provenance: Private Collection, Nevada $5,000 — $7,000

SANTA FE ART AUCTION

53 Luis Jiménez (1940–2006) Old Woman with Cat, 1969 fiberglass, edition 4 of 5 inscribed: L. JIMENEZ / 69 / 4/5 Luis Jimenez each work in the edition was executed in a different color, including blue/teal, green, and this example in black 40 x 31 x 31 in. (101.6 x 78.7 x 78.7 cm.) Provenance: Private Collection Literature: Man on Fire: Luis Jiménez - El hombre en Ilamas, Albuquerque, NM: The Albuquerque Museum, 1994, pl. 11 “The Old Woman with Cat is a portrait of my grandmother who lived to be 101. I picked up an old green overstuffed chair out in the street that I used to sit in when I was working in the studio. I kept looking at that chair and one day I said, ‘I could make a sculpture out of that.’ So I made a sculpture around my old green chair - just stuck clay on it. By the time my grandmother died, she couldn’t see very well, even though she used to sew, and she’d become fairly immobile. So it was really a kind of statement about what happened with old people. My grandmother had never had a cat. Why I put the cat in there I don’t know. My feeling is that it was an intuitive move just to accentuate the fact that she was immobile. Somehow she is totally symmetrical and immobile-looking, but the cat isn’t.” -Man on Fire: Luis Jiménez, The Albuquerque Museum, 1994, p. 63 $30,000 — $50,000

SANTA FE ART AUCTION

54 Bob Haozous (Chiricahua Apache, b. 1943) Cat carved stone 10 x 15 1/2 x 6 1/2 in. (25.4 x 39.4 x 16.5 cm.) Provenance: Private Collection, Arizona $2,000 — $4,000

55 Allan Capron Houser (Haouzous) (Chiricahua Apache, 1914–1994) Quiet, 1989 bronze, edition 6 of 15 inscribed: ALLAN HOUSER / © 89 24 x 8 3/4 x 8 in. (61 x 22.2 x 20.3 cm.) with base: 25 x 10 5/8 x 9 7/8 in. (63.5 x 27 x 25.1 cm.) Provenance: Private Collection, Georgia $8,000 — $12,000

SANTA FE ART AUCTION

56 Allan Capron Houser (Haouzous) (Chiricahua Apache, 1914–1994) Warm Spring Apache, 1991 bronze, edition 11 of 12 inscribed: ALLAN HOUSER / © 11/12 10 3/4 x 7 3/8 x 8 1/2 in. (27.3 x 18.7 x 21.6 cm.) with base: 13 x 7 1/2 x 8 1/2 in. (33 x 19.1 x 21.6 cm.) Provenance: Private Collection, Georgia $3,000 — $6,000

57 Allan Capron Houser (Haouzous) (Chiricahua Apache, 1914–1994) Plains Drummer bronze, edition 2 of 24 inscribed: 2/24 ALLAN HOUSER 9 7/8 x 4 x 7 1/4 in. (25.1 x 10.2 x 18.4 cm.) with base: 10 3/4 x 4 1/4 x 8 in. (27.3 x 10.8 x 20.3 cm.) Provenance: Glenn Green Galleries, Santa Fe, New Mexico + Scottsdale, Arizona Private Collection, New Mexico $2,500 — $3,500

SANTA FE ART AUCTION

58 Kim Seyesnem Obrzut (Hopi, b. 1969) New Butterfly, 2002

59 Roxanne Swentzell (Santa Clara, b. 1962) All Directions Covered

bronze, edition 9 of 25 inscribed: ROX / 9/25 15 1/4 x 10 3/8 x 16 3/4 in. (38.7 x 26.4 x 42.5 cm.)

Provenance: Private Collection, Arizona $3,000 — $6,000

Provenance: Private Collection, Texas $5,000 — $7,000

60 Roxanne Swentzell (Santa Clara, b. 1962) Sharing bronze, edition 11 of 35 inscribed: ROX 11/35 8 x 8 3/4 x 11 3/4 in. (20.3 x 22.2 x 29.8 cm.) Provenance: Private Collection, Texas $2,000 — $4,000

SANTA FE ART AUCTION

61 Star Liana York (b. 1952) Gathering the Flock, 1992 bronze, edition 35 of 35 inscribed: S. L. York / 35/35 28 3/8 x 28 1/2 x 15 in. (72.1 x 72.4 x 38.1 cm.) with base: 31 1/2 x 28 1/2 x 17 in. (80 x 72.4 x 43.2 cm.) Provenance: Private Collection, Georgia $2,000 — $4,000

62 Star Liana York (b. 1952) Jack of Hearts

63 Star Liana York (b. 1952) Itchy

bronze, edition 16 of 25 inscribed: S L York / 16/25 14 1/4 x 29 1/2 x 16 1/2 in. (36.2 x 74.9 x 41.9 cm.)

bronze, edition 3 of 35 inscribed: S L York 3/35 10 x 5 3/4 x 8 in. (25.4 x 14.6 x 20.3 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

$1,000 — $2,000

SANTA FE ART AUCTION

64 Veryl Goodnight (b. 1947) High Country, 1984

65 Sherry Salari Sander (b. 1941) Sunning Wolves

bronze, edition 2 of 30 inscribed: VERyl GoodNight / 1984 © 2/30 8 1/2 x 9 3/4 x 3 3/4 in. (21.6 x 24.8 x 9.5 cm.) with base: 9 3/4 x 9 3/4 x 5 1/2 in. (24.8 x 24.8 x 14 cm.)

bronze, marble, edition 18 of 25 inscribed: © SSANDER 18/25 10 x 11 x 8 in. (25.4 x 27.9 x 20.3 cm.) with base: 12 1/4 x 11 x 9 1/4 in. (31.1 x 27.9 x 23.5 cm.)

Provenance: Private Collection, Colorado

Provenance: Private Collection, New Mexico

$800 — $1,200

$1,000 — $2,000

66 Sherry Salari Sander (b. 1941) Sunday Brunch bronze, edition 35 of 35 inscribed: 35/35 S. SANDER © 11 1/8 x 8 1/2 x 10 3/4 in. (28.3 x 21.6 x 27.3 cm.) with base: 13 1/2 x 10 1/2 x 11 7/8 in. (34.3 x 26.7 x 30.2 cm.) Provenance: Private Collection, Oklahoma $1,500 — $2,500

SANTA FE ART AUCTION

67 Arnold Rönnebeck (1885–1947) Nec Soli Cedit (He Yields not Even to the Sun)

68 Gerald George Balciar (b. 1942) Cougar’s First Stalk, 1996

bronze inscribed: RONNEBECK / NEC SOLI CEDIT (Latin translation: he yields not even to the sun) foundry stamp: H NOACK / BERLIN FRIEDENAU 7 1/2 x 3 1/4 x 7 7/8 in. (19.1 x 8.3 x 20 cm.) with base: 8 1/2 x 5 7/8 x 8 1/4 in. (21.6 x 14.9 x 21 cm.)

Provenance: Private Collection, New Mexico

Provenance: Private Collection, Colorado $1,500 — $2,500

$1,500 — $2,500

69 Dan Ostermiller (b. 1956) Benjamin, 1992 bronze, edition 1 of 20 inscribed: © Dan Ostermiller 1992 / 1/20 39 1/8 x 16 1/4 x 30 in. (99.4 x 41.3 x 76.2 cm.) Provenance: Private Collection, Colorado $7,000 — $10,000

SANTA FE ART AUCTION

70 Cyrus Edwin Dallin (1861–1944) Appeal to the Great Spirit, 1913 patinated bronze, edition no. 59 inscribed: © / C.E. Dallin 1913 / GORHAM Co FOUNDERS QPN #59 21 1/4 x 14 3/4 x 21 3/4 in. (54 x 37.5 x 55.2 cm.) Provenance: Private Collection, Illinois Literature E. Wilbur Pomeroy, “Cyrus E. Dallin and The North American Indian: Four Statues Which Express the Fate of a Dying Race,” Arts and Decoration, February 1914, p. 153 Rell G. Francis, Cyrus E. Dallin: Let Justice Be Done, Springville, Utah, 1928, pp. 33, 43–50, 52 Patricia J. Broder, Bronzes of the American West, New York, 1973, pp. 94, 98, pl. 96 Kent Ahrens, Cyrus E. Dallin: His Small Bronzes and Plasters, Seattle: University of Washington Press, 1995, no. 10, pp. 51, 106 Masterworks of American Sculpture: Selections from Members of the National Sculpture Society, 1875–1999, Fleischer Museum, Scottsdale, Arizona, pp. 20–21 David B. Dearinger, Paintings and Sculpture in the Collection of the National Academy of Design, New York, 2004, p. 143 Cyrus Edwin Dallin’s childhood encounters with the Ute community in Springville, Utah, inspired his lifelong interest in Native American subjects and advocacy for Indigenous rights. Modeled in 1907, Appeal to the Great Spirit culminated a series of four equestrian sculptures exploring relations between Native peoples and the United States government. Its mounted figure, with face uplifted and arms outstretched in supplication, earned a gold medal at the 1909 Paris Salon and became Dallin’s best-known composition. Following the monumental sculpture’s installation outside the Museum of Fine Arts, Boston, Dallin produced reductions through the Gorham Manufacturing Company, of which this is an example. $60,000 — $90,000

SANTA FE ART AUCTION

71 Vic Payne (b. 1960) When the Hunter Becomes the Hunted, 1999 bronze, edition 24 of 55 inscribed: 12/99 © VIC PAYNE / 24/55 68 1/4 x 31 x 22 1/2 in. (173.4 x 78.7 x 57.2 cm.) with base: 71 1/2 x 31 x 22 1/2 in. (181.6 x 78.7 x 57.2 cm.) Provenance: Private Collection, New Mexico $10,000 — $15,000

72 Dave McGary (1958–2013) Last Stand Hill, 2004 bronze, edition 29 of 40 inscribed: [artist’s thumbprint] DAVE McGARY- / 2004 / 29/40 33 3/4 x 53 x 26 in. (85.7 x 134.6 x 66 cm.) with base: 35 1/2 x 53 x 26 in. (90.2 x 134.6 x 66 cm.) Provenance: Private Collection, Colorado $25,000 — $35,000

SANTA FE ART AUCTION

73 Dave McGary (1958–2013) Blessing of the Bear, 2003 bronze, edition 19 of 40 inscribed: DAVE McGARY- / 2003 / [artist’s thumbprint] / 19/40 38 x 29 x 20 1/2 in. (96.5 x 73.7 x 52.1 cm.) with base: 40 1/2 x 29 x 21 7/8 in. (102.9 x 73.7 x 55.6 cm.) Provenance: Private Collection, Colorado $20,000 — $30,000

74 Dave McGary (1958–2013) Rain in the Face, 1992 bronze, edition 34 of 50 inscribed: [artist’s thumbprint] DAVE McGARY 34/50 22 3/4 x 10 1/8 x 7 3/8 in. (57.8 x 25.7 x 18.7 cm.) with base: 26 1/2 x 13 1/4 x 9 in. (67.3 x 33.7 x 22.9 cm.) Provenance: Private Collection, Ohio $10,000 — $15,000

SANTA FE ART AUCTION

75 Dave McGary (1958–2013) The Honor Dress, 2006 bronze, edition 24 of 50 inscribed: DAVE McGARY- [artist’s thumbprint] / 2006 / 24/50 21 1/2 x 16 1/4 x 8 3/4 in. (54.6 x 41.3 x 22.2 cm.) with base: 26 x 16 1/4 x 13 in. (66 x 41.3 x 33 cm.) Provenance: Private Collection, New Mexico $5,000 — $7,000

76 John Coleman (b. 1949) Taos Trade, 1999

77 Craig Dan Goseyun (San Carlos White Mountain Apache, b. 1960) Apache Mountain Spirit Dancer, 1992

bronze, edition 32 of 35 inscribed: “TAOS TRADE” / JOHN COLEMAN / © 99 32-35 20 1/2 x 7 1/2 x 5 1/8 in. (52.1 x 19.1 x 13 cm.) with base: 21 1/2 x 7 1/2 x 7 3/8 in. (54.6 x 19.1 x 18.7 cm.)

bronze, edition 16 of 32 inscribed: 16/32 Craig d. GosEyun © / 92 [foundry mark] 12 1/4 x 12 1/4 x 9 1/4 in. (31.1 x 31.1 x 23.5 cm.) with base: 13 3/4 x 15 x 9 in. (34.9 x 38.1 x 22.9 cm.)

Provenance: Private Collection, New Mexico

$3,000 — $5,000

$1,000 — $2,000

SANTA FE ART AUCTION

78 Gib Singleton (1936–2014) Texas Ranger, 2008

79 Gib Singleton (1936–2014) Blackjack Ketchum, 2001 / 2009

bronze, edition 17 of 25 inscribed: © / SiNgletoN / 17/25. 66 x 22 1/2 x 19 in. (167.6 x 57.2 x 48.3 cm.) with base: 80 1/4 x 28 x 22 in. (203.8 x 71.1 x 55.9 cm.)

bronze, edition 24 of 25 inscribed: SiNgletoN / 24/25 / 2001 27 5/8 x 26 x 13 1/2 in. (70.2 x 66 x 34.3 cm.) with base: 30 3/8 x 26 3/4 x 14 1/2 in. (77.2 x 67.9 x 36.8 cm.)

Provenance: Private Collection, New Mexico

$40,000 — $60,000

$15,000 — $25,000

SANTA FE ART AUCTION

80 Gib Singleton (1936–2014) Santa Fe Trail, 2001 bronze, edition 13 of 25 inscribed: SiNgletoN / 13/25 2001 20 3/4 x 54 3/4 x 36 1/4 in. (52.7 x 139.1 x 92.1 cm.) with base: 24 3/4 x 54 3/4 x 39 3/4 in. (62.9 x 139.1 x 101 cm.) Provenance: Private Collection, New Mexico $30,000 — $50,000

SANTA FE ART AUCTION

81 Charles Marion Russell (1864–1926) Smoking Up, 1904 / 1952

82 Charles Marion Russell (1864–1926) Big Horn Sheep: Monarch of the Rockies

bronze, edition no. 32 inscribed: CM Russell / 32. foundry stamp: ROMAN BRONZE WXS INC posthumous cast by Roman Bronze Works 11 7/8 x 9 3/4 x 5 3/4 in. (30.2 x 24.8 x 14.6 cm.)

bronze inscribed: C. M. Russell 4 5/8 x 5 x 5 3/4 in. (11.7 x 12.7 x 14.6 cm.)

Provenance: Private Collection, Colorado

Provenance: Private Collection, Colorado $2,000 — $4,000

Literature: Rick Stewart, Charles M. Russell: Sculptor, Harry N. Abrams Inc., 1994, pp. 142-146 $5,000 — $7,000

83 Harry Andrew Jackson (1924–2011) The Marshall III, 1979

84 Joe Neil Beeler (1931–2006) Last Dollies

bronze, edition 222 of 1000 inscribed: © Harry Jackson 79 / MA III 222/1000 10 1/2 x 3 1/2 x 10 3/4 in. (26.7 x 8.9 x 27.3 cm.) with base: 11 3/4 x 3 1/2 x 10 3/4 in. (29.8 x 8.9 x 27.3 cm.)

bronze, edition 30 of 30 inscribed: JOE BEElER / 30/30 [Cowboy Artists of America insignia] 7 3/4 x 11 x 4 in. (19.7 x 27.9 x 10.2 cm.) with base: 8 1/4 x 11 x 4 in. (21 x 27.9 x 10.2 cm.)

Provenance: Private Collection, Colorado

$800 — $1,200

$1,200 — $1,800

SANTA FE ART AUCTION

85 Jose Maria David (French, 1944–2015) Pair of Bears

86 G. (Gerald Harvey Jones) Harvey (1933–2017) Come on Grampa, 1995

bronze, edition 2 of 8 each inscribed: J. M DAVid 2/8 sitting bear: 6 x 5 x 8 1/4 in. (15.2 x 12.7 x 21 cm.) laying bear: 3 1/2 x 6 1/4 x 5 1/8 in. (8.9 x 15.9 x 13 cm.)

Provenance: Private Collection, Colorado

Provenance: Private Collection, New Mexico

$1,000 — $2,000

$2,000 — $4,000

87 Joe Neil Beeler (1931–2006) Wolfman

88 Peter M. Fillerup (b. 1953) Portrait of a Cowboy

89 Brent Lawrence (b. 1962) Diptych: Elk + Bears

bronze, edition 12 of 30 inscribed: 12/30 / JOE BEElER 8 1/2 x 4 3/4 x 5 in. (21.6 x 12.1 x 12.7 cm.) with base: 10 1/2 x 4 3/4 x 5 in. (26.7 x 12.1 x 12.7 cm.)

bronze, edition 11 of 21 inscribed: 11/21 Peter M Fillerup / © / 13 x 10 x 11 in. (33 x 25.4 x 27.9 cm.) with base: 14 1/4 x 10 x 11 in. (36.2 x 25.4 x 27.9 cm.)

stainless steel each: 24 1/2 x 19 in. (62.2 x 48.3 cm.) overall: 24 1/2 x 38 x 1 1/4 in. (62.2 x 96.5 x 3.2 cm.)

Provenance: Private Collection, Colorado

$1,000 — $2,000

Provenance: Private Collection, New Mexico $1,500 — $2,500

SANTA FE ART AUCTION

90 Edward S. Curtis (1868–1952) Canyon de Chelly - Navajo, 1904 orotone (vintage goldtone on glass) signed in the negative lower left: Curtis / © facsimile Studio legend label on frame verso set in an original Curtis Studios batwing frame negative date: 1904 print date: ca. 1904 11 x 14 in. (27.9 x 35.6 cm.) frame: 16 x 19 x 1 1/2 in. (40.6 x 48.3 x 3.8 cm.) Provenance: Private Collection, Illinois Literature: The North American Indian (1907-1930), Portfolio 1, pl. 28 Florence Curtis Graybill and Victor Boesen, Visions of A Vanishing Race (Boston, 1976), pl. 2 Barbara A. Davis, Edward S. Curtis: The Life and Times of a Shadow Catcher (San Francisco, 1985), p. 244 Native Nations, Bulfinch Press, 1993, p. 30 Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, frontispiece, 189 Timothy Egan, Short Nights of the Shadow Catcher: The Epic Life and Immortal Photographs of Edward Curtis (Boston, 2012), p. 158 Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 53, back cover Edward S. Curtis’s Canyon de Chelly, taken in 1904, is among his most celebrated landscape images, presenting a group of Navajo riders moving through the massive sandstone walls of Canyon de Chelly, a sacred location in the heart of Navajo country in Arizona. Rather than treating the canyon simply as scenery, Curtis used the small scale of the figures against the towering cliffs to emphasize the profound relationship between people and place. The image combines documentary observation with the atmospheric, carefully composed qualities of Pictorialism and has become one of the defining photographs associated with The North American Indian. Curtis produced the image using several photographic processes, exploring the tonal richness of a composition that continues to resonate with viewers. This example is bright and luminous, which is a unique quality of the goldtone process. $8,000 — $12,000

91 Edward S. Curtis (1868–1952) Out of the Darkness - Navajo, 1904 orotone (vintage goldtone on glass) signed in the negative lower left: Curtis / © remnant of original Curtis Studio label and original price sticker on verso set in an original Curtis Studios batwing frame negative date: 1904 print date: ca. 1904 11 x 14 in. (27.9 x 35.6 cm.) frame: 15 5/8 x 18 5/8 x 2 in. (39.7 x 47.3 x 5.1 cm.) Provenance: Korwin and Karol King Collection Private Collection, Canada Literature: The North American Indian (1907-1930), Portfolio 1, pl. 37 Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 191 This image was taken in Tesakod Canon, a side canyon associated with the Canyon de Chelly system in northeastern Arizona. Curtis photographed extensively in and around Canyon de Chelly in 1904. $7,000 — $10,000

SANTA FE ART AUCTION

92 Edward S. Curtis (1868–1952) The Piki Maker - Walpi, 1906 orotone (vintage goldtone on glass) signed in the negative lower right: Curtis original Curtis Studio label on verso set in an original Curtis Studios batwing frame negative date: 1906 print date: ca. 1906 14 x 11 in. (35.6 x 27.9 cm.) frame: 19 x 16 x 1 5/8 in. (48.3 x 40.6 x 4.1 cm.) Provenance: Korwin and Karol King Collection Private Collection, Canada Literature: The North American Indian (1907-1930), Portfolio 12, pl. 432 Native Nations, Bulfinch Press, 1993, p. 117 Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 86 Edward S. Curtis: The Women, Bulfinch Press, 2005, pp. 9, 88 Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 89 $7,000 — $10,000

93 Edward S. Curtis (1868–1952) The Piki Maker - Walpi, 1906 orotone (vintage goldtone on glass) signed in the negative lower right: CURTIS partial original studio legend label on verso, upper left: The Piki Maker original backing paper, partially intact, with original Vash Gon promotional poster visible through backing paper at upper verso set in an original Curtis Studios batwing frame negative date: 1906 print date: ca. 1906 9 5/8 x 7 5/8 in. (24.4 x 19.4 cm.) frame: 13 5/8 x 11 5/8 x 1 1/8 in. (34.6 x 29.5 x 2.9 cm.) Provenance: Private Collection, Colorado Literature: The North American Indian (1907-1930), Portfolio 12, pl. 432 Native Nations, Bulfinch Press publisher, 1993, p. 117 Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster publisher, 2000, p. 86 Edward S. Curtis: The Women, Bulfinch Press, 2005, p. 9, 88 $6,000 — $9,000

94 Edward S. Curtis (1868–1952) The Piki Maker - Walpi, 1906 platinum on vintage paper mount copyright blind stamp lower left: COPYRIGHTED 1906 BY E.S. CURTIS negative date: 1906 print date: ca. 1906 7 3/4 x 6 in. (19.7 x 15.2 cm.) vintage mount: 8 1/8 x 6 1/8 in. (20.6 x 15.6 cm.) overmat: 20 x 16 in. (50.8 x 40.6 cm.) Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 12, pl. 432 Native Nations, Bulfinch Press, 1993, p. 117 Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 86 Edward S. Curtis: The Women, Bulfinch Press, 2005, pp. 9, 88 Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 89 $1,500 — $2,500

SANTA FE ART AUCTION

95 Edward S. Curtis (1868–1952) Flathead Camp on the Jocko River, 1910 orotone (vintage goldtone on glass) inscribed in the negative lower left: X3152-10 signed in the negative lower right: CURTIS original Curtis Studio label affixed verso in an original Curtis Studios pie-crust style frame negative date: 1910 print date: ca. 1910 7 5/8 x 9 1/8 in. (19.4 x 23.2 cm.) frame: 10 5/8 x 12 1/8 x 1 5/8 in. (27 x 30.8 x 4.1 cm.) Provenance: Valley Fine Art, Aspen, Colorado Private Collection, Colorado $6,000 — $9,000

96 Edward S. Curtis (1868–1952) The Vanishing Race - Navajo, 1904

97 Edward S. Curtis (1868–1952) The Vanishing Race - Navajo, 1904 (Unpublished Variant)

orotone (vintage goldtone on glass) signed in the negative lower right: Curtis original “The Vanishing Race” studio legend label remnant affixed verso set in an original Curtis Studios batwing frame negative date: 1904 print date: ca. 1904 7 5/8 x 9 5/8 in. (19.4 x 24.4 cm.) frame: 11 3/4 x 13 3/4 x 1 1/4 in. (29.8 x 34.9 x 3.2 cm.)

platinum signed in the negative lower left: Copyrighted 1904 / by ES Curtis / x [illegible]81 copyright blind stamp lower left: COPYRIGHTED 1904 BY E.S. CURTIS signed lower right: Curtis negative date: 1904 print date: ca. 1904 12 1/2 x 16 3/8 in. (31.8 x 41.6 cm.) frame: 22 1/4 x 26 1/4 x 1 in. (56.5 x 66.7 x 2.5 cm.)

Provenance: J. J. Brookings Gallery, San Jose, California Private Collection, California Literature: The North American Indian (1907-1930), Portfolio 1, pl. 1 Native Nations, Bulfinch Press publisher, 1993, p. 123 Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster publisher, 2000, p. 188 Edward S. Curtis: The Great Warriors, Bulfinch Press publisher, 2004, p. 7 Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 91, 166 $5,000 — $7,000

SANTA FE ART AUCTION

Provenance: Private Collection, Aspen, Colorado This exceptionally rare and possibly unique variant of Curtis’s The Vanishing Race shows the same Navajo riders moving away from the viewer but differs substantially from the familiar composition published as Plate I. Viewed more from the riders’ left side, it gives the surrounding landscape a greater role. This alternate composition offers insight into Curtis’s creative process and the development of the image that came to define his ambitious undertaking. $6,000 — $9,000

98 Edward S. Curtis (1868–1952) The Scout - Apache, 1906 gelatin silver mounted to contemporary board signed lower right: CURTIS negative date: 1906 print date: ca. 1906 16 5/8 x 22 1/8 in. (42.2 x 56.2 cm.) mount: 18 3/8 x 23 7/8 in. (46.7 x 60.6 cm.) frame: 27 3/8 x 31 x 3/4 in. (69.5 x 78.7 x 1.9 cm.)

99 Edward S. Curtis (1868–1952) A Walpi Man, 1900 gold-toned printing-out-paper print (GTPOP) negative date: 1900 print date: ca. 1900 15 7/8 x 11 7/8 in. (40.3 x 30.2 cm.) frame: 31 x 27 3/8 x 3/4 in. (78.7 x 69.5 x 1.9 cm.)

Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 1, pl. 13 Native Nations, Bulfinch Press, 1993, p. 121 Chiefs & Warriors, Bulfinch/Callaway Editions, 1996, p. 31 Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 91 Edward S. Curtis: The Great Warriors, Bulfinch Press, 2004, pl. 14 This image, from Portfolio I of Edward Curtis’ The North American Indian, is presented here as a rare, oversized gelatin silver print. Curtis produced a relatively small body of toned gelatin silver prints for exhibition and sale, using papers with varied textures, weights, and finishes. $4,000 — $6,000

Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 12, pl. 424 Native Nations, Bulfinch Press, 1993, p. 136 Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, Front cover; p. 109 Edward S. Curtis One Hundred Masterworks, Delmonico Books/ Prestel Publishing, 2015, p. 54 For a very short period beginning around 1898–99, Edward S. Curtis produced a small group of gold-toned printing-outpaper prints for exhibition and sale. Made by exposing delicate, light-sensitive paper beneath a negative, usually in sunlight, then processing and gold-toning it, these prints typically have a luster surface and rich reddish-brown tones, yielding fine details and delicate tonal gradations. Few survive, making them rare examples of Curtis’s early photographic artistry. $6,000 — $9,000

100 Edward S. Curtis (1868–1952) A Son of the Desert - Navajo, 1904 platinum signed lower right: CURTIS in an original oak period frame negative date: 1904 print date: ca. 1904 15 7/8 x 12 in. (40.3 x 30.5 cm.) frame: 22 1/2 x 18 3/4 x 1 in. (57.2 x 47.6 x 2.5 cm.) Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 1, pl. 32 $5,000 — $7,000

SANTA FE ART AUCTION

101 Edward S. Curtis (1868–1952) Typical Nez Percé, 1899 gold-toned printing-out-paper print (GTPOP) signed and dated in the negative lower left: CURTIS / COPYRIGHTED / 1899 / 15 negative date: 1899 print date: ca. 1899 15 x 11 3/4 in. (38.1 x 29.8 cm.) overmat: 24 x 20 in. (61 x 50.8 cm.) Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 8, pl. 258 Native Nations, Bulfinch Press, 1993, p. 27 Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 144 Edward S. Curtis: The Great Warriors, Bulfinch Press, 2004, pl. 53 Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 146 $4,000 — $6,000

102 Edward S. Curtis (1868–1952) Nesjaja Hatali - Navajo Medicine Man, 1904 platinum copyright blind stamp lower left: COPYRIGHTED 1904 BY E.S. CURTIS dated and signed in the negative lower left: COPYRIGHT 1904 By E S CURTIS / 65 signed lower right: CURTIS negative date: 1904 print date: ca. 1904 15 x 10 3/8 in. (38.1 x 26.4 cm.) frame: 27 1/8 x 23 1/8 x 3/4 in. (68.9 x 58.7 x 1.9 cm.) Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 1, pl. 31 Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 112 Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 58 $4,000 — $6,000

SANTA FE ART AUCTION

103 Edward S. Curtis (1868–1952) Chief Joseph - Nez Percé, 1903

104 Edward S. Curtis (1868–1952) Chief Garfield - Jicarilla, 1904

photogravure on Japanese gampi tissue inscribed in the plate upper left: Plate 256 titled in the plate lower left: CHIEF JOSEPH - NEZ PERCÉ inscribed in the plate lower center: From Copyright Photograph 1903 by E.S. Curtis inscribed in the plate lower right: Photogravure John Andrew & Son 15 5/8 x 11 in. (39.7 x 27.9 cm.) sheet: 22 1/4 x 17 5/8 in. (56.5 x 44.8 cm.)

gelatin silver mounted to vintage board signed lower right: CURTIS negative date: 1904 print date: ca. 1904 17 7/8 x 12 3/4 in. (45.4 x 32.4 cm.)

Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 8, pl. 256

Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 1, pl. 21 $3,000 — $5,000

$4,000 — $6,000

105 Edward S. Curtis (1868–1952) A Walpi Man, 1900

106 Edward S. Curtis (1868–1952) Typical Nez Percé, 1899 (Unpublished Variant)

photogravure on Japanese gampi tissue inscribed in the plate upper left: Plate 424 titled in the plate lower left: A WALPI MAN inscribed in the plate lower center: From Copyright Photograph 1921 by E.S. Curtis inscribed in the plate lower right: Photogravure Suffolk Eng. Co. Boston 15 1/2 x 11 3/8 in. (39.4 x 28.9 cm.) sheet: 22 x 17 3/4 in. (55.9 x 45.1 cm.)

platinum signed and dated in the negative lower left: Curtis / COPYRIGHTED / 1899 / 14 copyright blind stamp lower left: COPYRIGHTED 1899 BY E.S. CURTIS signed lower right: Curtis negative date: 1899 print date: ca. 1899 15 5/8 x 8 in. (39.7 x 20.3 cm.)

Provenance: Private Collection, Aspen, Colorado

Literature: The North American Indian (1907-1930), Portfolio 12, pl. 424

This is a relatively rare, unpublished variant of the published image from Portfolio VIII.

$3,000 — $5,000

SANTA FE ART AUCTION

107 Edward S. Curtis (1868–1952) Waiting in the Forest - Cheyenne, 1910 photogravure on Holland Van Gelder inscribed in the plate upper left: Plate 218 titled in the plate lower left: WAITING IN THE FOREST – CHEYENNE inscribed in the plate lower center: From Copyright Photograph 1910 by E.S. Curtis inscribed in the plate lower right: Photogravure John Andrew & Son 15 1/2 x 11 in. (39.4 x 27.9 cm.) sheet: 22 x 18 1/4 in. (55.9 x 46.4 cm.) Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 6, pl. 218 Native Nations, Bulfinch Press, 1993, p. 125 Hidden Faces, Bulfinch/Callaway Editions, 1996, p. 55 Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 51 Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 46 $3,000 — $5,000

108 Edward S. Curtis (1868–1952) Untitled (Hopi Maiden) (Unpublished), ca. 1900

109 Edward S. Curtis (1868–1952) Basket Carrier - Puget Sound, 1899

gold-toned printing-out-paper print (GTPOP) on board inscribed verso: ESC/7102 negative date: ca. 1900 print date: ca. 1900 12 x 10 in. (30.5 x 25.4 cm.) overmat: 20 x 16 in. (50.8 x 40.6 cm.)

gold-toned printing-out-paper print (GTPOP) negative date: 1899 print date: ca. 1899 14 5/8 x 7 5/8 in. (37.1 x 19.4 cm.) frame: 20 1/2 x 12 1/2 x 2 1/8 in. (52.1 x 31.8 x 5.4 cm.)

Provenance: Private Collection, Aspen, Colorado $1,200 — $1,800

Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 9, pl. 311 $2,500 — $3,500

SANTA FE ART AUCTION

110 Edward S. Curtis (1868–1952) Untitled (Mother and Child) - Hopi (Unpublished), ca. 1900 gold-toned printing-out-paper print (GTPOP) signed in the negative lower left: Curtis / X741 negative date: ca. 1900 print date: ca. 1900 7 1/8 x 4 5/8 in. (18.1 x 11.7 cm.) mount: 9 3/4 x 7 7/8 in. (24.8 x 20 cm.), overmat: 20 x 16 in. (50.8 x 40.6 cm.) Provenance: Private Collection, Aspen, Colorado $1,000 — $2,000

111 Edward S. Curtis (1868–1952) Wishham Girl, Profile, 1910 gelatin silver, toned inscribed in the negative lower left: X3067-10 negative date: 1910 print date: ca. 1910 8 x 6 in. (20.3 x 15.2 cm.) overmat: 20 x 16 in. (50.8 x 40.6 cm.) Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 8, pl. 279 $800 — $1,200

112 Edward S. Curtis (1868–1952) Nez Percé Warrior, 1906 platinum inscribed in the negative lower left: 246-05 copyright blind stamp lower left: COPYRIGHTED 1906 BY E.S. CURTIS signed lower right: CURTIS / CURTIS negative date: 1906 print date: ca. 1906 15 3/4 x 10 3/4 in. (40 x 27.3 cm.) overmat: 24 x 20 in. (61 x 50.8 cm.) Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 8, pl. 262 $2,000 — $4,000

SANTA FE ART AUCTION

113 Edward S. Curtis (1868–1952) A Snake Priest, 1900 gelatin silver dated and signed in the negative lower left: COPYRIGHT / 1900 / BY / E. S. CURTIS / 97 negative date: 1900 print date: ca. 1900 16 1/8 x 12 3/8 in. (41 x 31.4 cm.) overmat: 24 x 20 in. (61 x 50.8 cm.) Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 12, pl. 418 Edward S. Curtis’s studio staff made gelatin silver reference prints from selected negatives after his return from the field. These served as a visual record and an editing tool, helping him evaluate images for further use. More durable and refined than the cyanotypes he likely used in the field, reference prints were generally untoned and printed on semi-gloss or glossy paper. This Southwest image of a Snake Priest in large format is an excellent example of a Curtis reference print. $2,000 — $4,000

114 Edward S. Curtis (1868–1952) Haschézhini - Navajo, 1904 platinum on original paper mount inscribed in the negative lower left: X1076-04 copyright blind stamp lower left: COPYRIGHTED 1904 BY E.S. CURTIS signed lower right: CURTIS Curtis Studio chop on mount lower left: THE CURTIS STUDIO SEATTLE inscribed on mount verso: Yebachai – Haste Zhinny negative date: 1904 print date: ca. 1904 7 7/8 x 6 in. (20 x 15.2 cm.) vintage mount: 13 1/2 x 10 in. (34.3 x 25.4 cm.) frame: 22 1/2 x 18 1/4 x 1 in. (57.2 x 46.4 x 2.5 cm.) Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Volume 1, facing page 102 $2,000 — $4,000

115 Edward S. Curtis (1868–1952) Eskadi - Apache, 1903 platinum copyright blind stamp lower left: COPYRIGHTED 1903 / BY E. S. CURTIS signed lower right: CURTIS negative date: 1903 print date: ca. 1903 15 1/2 x 11 3/8 in. (39.4 x 28.9 cm.) overmat: 24 x 20 in. (61 x 50.8 cm.) Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 1, pl. 16 $1,500 — $2,500

SANTA FE ART AUCTION

116 Edward S. Curtis (1868–1952) Kutenai Duck Hunter, 1910

117 Edward S. Curtis (1868–1952) Homeward - Puget Sound, 1898

photogravure on Japanese vellum inscribed in the plate upper left: Plate 249 titled in the plate lower left: KUTENAI DUCK HUNTER inscribed in the plate lower center: From Copyright Photograph 1910 by E.S. Curtis inscribed in the plate lower right: Photogravure John Andrew & Son 9 7/8 x 15 3/8 in. (25.1 x 39.1 cm.) sheet: 18 x 21 7/8 in. (45.7 x 55.6 cm.)

platinum inscribed in the negative lower left: 504-98 signed lower right: CURTIS set in an original oak period frame negative date: 1898 print date: ca. 1898 9 1/2 x 12 7/8 in. (24.1 x 32.7 cm.) frame: 15 1/4 x 18 3/4 x 1.60 in. (38.7 x 47.6 x 4.1 cm.)

Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 7, pl. 249 Edward S. Curtis’s Kutenai Duck Hunter depicts a solitary hunter crouched in a canoe among reeds, waiting for waterfowl in the misty dawn. The canoe’s graceful profile and reflection stretch across the still water, while the subdued light lends the scene a quiet, contemplative mood. Published as Plate 249 in Portfolio VII of The North American Indian, the photograph combines a depiction of traditional hunting with the atmospheric softness and carefully balanced composition characteristic of Curtis’s Pictorialist style.

Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 9, pl. 318 This image was one of Curtis’s earliest photographs of Indigenous peoples and also one of his earliest award-winning images. Photographed in Puget Sound, this massive canoe was made from a single dugout tree trunk. $3,000 — $5,000

$4,000 — $6,000

118 Edward S. Curtis (1868–1952) Homeward - Puget Sound, 1898 gold-toned printing-out-paper print (GTPOP) signed and dated in the negative lower left: Curtis / 851 A / COPYRIGHTED / 1898 negative date: 1898 print date: ca. 1898 6 x 8 in. (15.2 x 20.3 cm.) vintage mount: 6 1/8 x 8 1/8 in. (15.6 x 20.6 cm.) overmat: 16 x 20 in. (40.6 x 50.8 cm.) Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 9, pl. 318 $2,000 — $4,000

SANTA FE ART AUCTION

119 Edward S. Curtis (1868–1952) At the Old Well of Acoma, 1904

120 Edward S. Curtis (1868–1952) The Vanishing Race - Navajo, 1904

platinum on vintage paper mount in the negative lower left: X1165-04 copyright blind stamp lower left: COPYRIGHTED 1904 BY E.S. CURTIS signed lower right: CURTIS negative date: 1904 print date: ca. 1904 5 1/2 x 7 1/2 in. (14 x 19.1 cm.) vintage mount: 7 7/8 x 10 in. (20 x 25.4 cm.)

photogravure on Holland Van Gelder inscribed in the plate upper left: Plate 1 titled in the plate lower left: THE VANISHING RACE – NAVAHO inscribed in the plate lower center: From Copyright Photograph 1904 by E.S. Curtis inscribed in the plate lower right: Photogravure John Andrew & Son 11 3/4 x 15 5/8 in. (29.8 x 39.7 cm.) sheet: 18 x 21 7/8 in. (45.7 x 55.6 cm.)

Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 16, pl. 571 $2,000 — $4,000

Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 1, pl. 1 $2,000 — $4,000

121 Edward S. Curtis (1868–1952) In the Land of the Sioux, 1905 (Unpublished Variant)

122 Edward S. Curtis (1868–1952) Sioux Chief, 1905 (Unpublished Variant of Sioux Chiefs)

platinum inscribed verso: ESC - MPM – 062 negative date: 1905 print date: ca. 1905 12 1/4 x 16 in. (31.1 x 40.6 cm.)

gelatin silver, toned inscribed in the negative lower left: X1407-05 partial blindstamp lower left: COPYRIGHTED 1905 negative date: 1905 print date: ca. 1905 13 3/8 x 17 3/4 in. (34 x 45.1 cm.) overmat: 24 x 20 in. (61 x 50.8 cm.)

Provenance: Private Collection, Aspen, Colorado This is a rare, unpublished variant of “In the Land of the Sioux” from Portfolio III of The North American Indian. $2,000 — $4,000

Provenance: Private Collection, Aspen, Colorado This is a rare, unpublished variant of the image, Sioux Chiefs, from Portfolio III of The North American Indian. $1,500 — $2,500

SANTA FE ART AUCTION

123 Edward S. Curtis (1868–1952) The Spirit of the Past - Apsaroke, 1908 platinum copyright blind stamp lower left: COPYRIGHTED 1908 BY E.S. CURTIS signed lower right: CURTIS negative date: 1908 print date: ca. 1908 13 x 9 3/4 in. (33 x 24.8 cm.) overmat: 20 x 16 in. (50.8 x 40.6 cm.) Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 4, pl. 122 $1,500 — $2,500

124 Edward S. Curtis (1868–1952) A Heavy Load - Sioux, 1908 photogravure on Holland Van Gelder inscribed in the plate upper left: Plate 100 titled in the plate lower left: A HEAVY LOAD – SIOUX inscribed in the plate lower center: From Copyright Photograph 1908 by E. S. Curtis inscribed in the plate lower right: Photogravure John Andrew & Son 15 3/4 x 11 7/8 in. (40 x 30.2 cm.) sheet: 22 1/8 x 18 1/4 in. (56.2 x 46.4 cm.) Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 3, pl. 100 $1,000 — $2,000

125 Edward S. Curtis (1868–1952) The Wood Gatherer - Sioux, 1908 photogravure on Holland Van Gelder inscribed in the plate upper left: Plate 105 titled in the plate lower left: THE WOOD GATHERER – SIOUX inscribed in the plate lower center: From Copyright Photograph 1908 by E. S. Curtis inscribed in the plate lower right: Photogravure John Andrew & Son 15 3/4 x 11 7/8 in. (40 x 30.2 cm.) sheet: 22 1/4 x 18 3/8 in. (56.5 x 46.7 cm.) Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 3, pl. 105 $1,000 — $2,000

SANTA FE ART AUCTION

126 Edward S. Curtis (1868–1952) The North American Indian, John Batterson Stetson, Jr., Complete Set of 20 Volumes + 20 Portfolios, 1907–1930 photogravure on Japanese gampi tissue, letterpress, edition 31 of 500 A complete, original early subscriber’s edition The original subscriber was John Batterson Stetson, Jr., on May 31, 1912 Each print in folios 1 through 8 and 10 and 11 are signed in ink by Curtis in the print margin; a total of 364 prints The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska; Edited by Frederick Webb Hodge; Foreword by Theodore Roosevelt; Field Research conducted under the patronage of J. Pierpont Morgan 723 large-format photogravures, published as Portfolios 1–20, Japanese gampi tissue paper with Van Gelder overmats; title, date, copyright credit, printer’s credit and plate number in the margin; letterpress index leaves in each folio; each approximately 22 1/2 x 18 1/2 in. (57.2 x 47 cm.), or the reverse, and laid in as issued in original half morocco and buckram folding case with gilt-impressed portfolio number. 20 volumes, 4 quarto; text pages letterpress printed on Japan Vellum; containing a total of 1,505 small format photogravures on Japanese gampi tissue paper, including 35 hand-colored plates, 4 maps and 2 diagrams; over three thousand pages of text and transcriptions of language and music; signed in ink by the author, each volume numbered 31 in ink on the verso of the half-title page; original publisher’s brown half morocco gilt and buckram, top edges gilt, others uncut, stamp-signed by book binder H. Blackwell; each volume housed in a contemporary, custom, hand-made slipcase Volumes 1–5: Cambridge, Massachusetts: University Press, 1907–1910 Volumes 6–20: Norwood, Massachusetts: Plimpton Press, 1911–1930 volumes: 12 3/4 x 10 x approx. 2 1/4 in. (32.4 x 25.4 x 5.7 cm.) portfolios: 23 x 19 x approx. 2 in. (58.4 x 48.3 x 5.1 cm.) contemporary volume slipcase: 13 3/4 x 10 3/4 x approx. 2 3/4 in. (34.9 x 27.3 x 7 cm.) Provenance: The North American Indian, Inc. John Batterson Stetson, Jr., 1912 Private Collection, 1953 Howard Gottleib Collection, 1993 Private Collection, Aspen, Colorado, 2020 The Stetson Set of Edward S. Curtis’s The North American Indian is a distinguished complete example of one of the most ambitious photographic and publishing projects of the twentieth century. Published between 1907 and 1930, the work comprises twenty text volumes and twenty accompanying large-format portfolios, combining photography, ethnography, language and music transcription. Its 723 portfolio photogravures and 1,505 smaller photogravures were selected from approximately 40,000 negatives. Edited by Frederick Webb Hodge, with a foreword by Theodore Roosevelt, the publication reflects Curtis’s artistic vision and his determination to document Indigenous traditions he believed were disappearing. Issued as set number 31, this early subscriber’s copy comes from the library of John Batterson Stetson Jr., the noted American bibliophile and son of the founder of the Stetson hat company. His collecting interests in exploration, history, anthropology, and the cultures of the Western Hemisphere lend a scholarly dimension to a provenance already closely associated with the American West. Stetson bookplates appear in Volumes I–IX and Portfolios I–IX. Each text volume is numbered “31” on the verso of the half-title page, and Volume I was signed and dated by Curtis in 1907. The set’s photogravures are printed on Japanese gampi tissue, the rarest of the three paper stocks offered, with text leaves on Japanese vellum. Especially remarkable are the 364 photogravures individually signed in ink by Curtis across Portfolios I–VIII, X, and XI. The signatures appear in the print margins, except for Plate I, The Vanishing Race, which is signed on its Van Gelder overmat. An accompanying facsimile of the original subscription form, dated May 31, 1912, identifies the set as “Special Signed Tissue.” This documented designation and extensive, cohesive group of signed images are among the set’s defining, and most likely unique, attributes. The books retain their original publisher’s brown half-morocco gilt bindings, gilt top edges, and H. Blackwell binder stamps. Each is protected by a custom contemporary handmade slipcase echoing the original binding, while the portfolios retain their original halfmorocco cases with gilt numbering. The entire collection is housed in a custom oak cabinet. The books are especially well preserved, with Japanese vellum pages and the absence of library markings. The portfolios also present well, with fourteen having undergone conservation treatment. Six of the later portfolios exhibit discoloration and planar distortion typical of unconserved sets, both of which are very amenable to conservation treatment. Curtis’s undertaking required decades of travel, extensive fieldwork, and exacting photogravure production. Although J. P. Morgan and later his son provided substantial financial support, subscription sales could not sustain its enormous costs. Curtis relinquished his rights in 1928, and the publishing venture ended in bankruptcy shortly after the final volumes appeared in 1930. Approximately 257 sets are reported to have been completed from a planned edition of 500, with many having since been divided and dispersed. The Stetson Set also has a notable auction history. Shortly after Stetson’s death, it sold at Parke-Bernet Galleries in 1953 for $650 and subsequently appeared at Sotheby’s New York in October 1993, realizing $662,500 including buyer’s premium, a landmark price for a photographic lot at the time. Its completeness, early set number, Stetson provenance, rare tissue printing, original bindings, and extensive Curtis signatures distinguish it as an exceptional example of this landmark in American photography and publishing, with significance across rare books, Western Americana, and cultural history. $600,000 — $900,000

SANTA FE ART AUCTION

127 Edward S. Curtis (1868–1952) Self-Portrait, 1899 photogravure on Holland Van Gelder inscribed in the plate lower left: Photogravure inscribed in the plate lower right: John Andrew & Son, Boston 10 x 6 7/8 in. (25.4 x 17.5 cm.), sheet: 19 x 11 in. (48.3 x 27.9 cm.) Provenance: Private Collection, Aspen, Colorado Literature: Native Nations, Bulfinch Press, 1993, p. 18 Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 18 Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 9 Taken when Curtis was in his early thirties, this portrait of the photographer in field attire has become the best known of his self-portraits. This example is rendered in photogravure and was printed by John Andrew & Son of Boston on Holland Van Gelder etching stock, the format in which the image is most commonly encountered. $1,500 — $2,500

SANTA FE ART AUCTION

128 Edward S. Curtis (1868–1952) The North American Indian: Volume I, 1907 photogravure on Japanese gampi tissue, letterpress forward signed: Theodore Roosevelt (Unusually, this volume includes a self-portrait of Curtis after the title page) featuring the Southwest tribes of the Apache, Jicarilla and Navajo 79 photogravures and over 180 pages of text, including transcriptions of language and music hand letterpress printed on hand-made paper hand-bound 12 3/4 x 10 1/4 x 2 in. (32.4 x 26 x 5.1 cm.) Provenance: Private Collection, Illinois Volume I introduced the monumental twenty-volume project and established its visual and scholarly ambitions. Devoted principally to the Apache, Jicarilla and Navajo, the volume combines Curtis’s ethnographic text with photogravures depicting individuals, ceremonies, dwellings, and daily life. It also includes some of the most iconic imagery associated with the entire project, making Volume I both a foundational and especially desirable component of the set. This volume is unnumbered, with images printed on handmade Japanese gampi tissue etching stock, quarto, top edges gilt, original ¾ brown crushed levant morocco, over beige linen-covered boards, original gilt lettered, raised paneled spine, ribbon bookmark, with photogravure plates by John Andrew & Son of Boston after photographs by Edward S. Curtis, edited by Frederick Webb Hodge, Chief of the Bureau of American Ethnology, field research conducted under the patronage of J. Pierpont Morgan. $6,000 — $9,000

129 Edward S. Curtis (1868–1952) The North American Indian: Volume X, 1915 photogravure on Japanese gampi tissue, letterpress featuring the Northwest Coast tribes of the Kwakiutl 74 photogravures and over 300 pages of text, including transcriptions of language and music hand letterpress printed on hand-made paper hand-bound 12 3/4 x 10 1/4 x 2 3/4 in. (32.4 x 26 x 7 cm.) Provenance: Private Collection, Aspen, Colorado Photographed in 1914, Volume X is devoted primarily to the Kwakwaka’wakw, (historically referred to as Kwakiutl), and neighboring peoples of the Northwest Coast. Including the Nakoaktok and Qágyuhl tribes, it is especially notable for its dramatic ceremonial imagery, including masked dancers, transformation masks, elaborate regalia, and scenes associated with winter ceremonial traditions. Visually, it is one of the most distinctive volumes in the entire series, combining Curtis’s ethnographic documentation with some of his most theatrical and compelling photographs. Curtis was so inspired by their ceremonial life that he wrote and directed the first feature-length film whose cast was composed entirely of Native North Americans, In the Land of the War Canoes. This volume is unnumbered, with the photogravures printed on handmade Japanese gampi tissue etching stock, quarto, original ¾ brown crushed levant morocco, over beige linen-covered boards, original gilt lettered, raised paneled spine with photogravure plates by Suffolk Engraving of Boston after photographs by Edward S. Curtis, edited by Frederick Webb Hodge, Chief of the Bureau of American Ethnology, field research conducted under the patronage of J. Pierpont Morgan. $5,000 — $7,000

SANTA FE ART AUCTION

130 Edward S. Curtis (1868–1952) The North American Indian: Volume VI, 1911 photogravure on Holland Van Gelder, letterpress featuring the Great Plains tribes of the Piegan, Cheyenne, and Arapaho 75 photogravures and over 190 pages of text, including transcriptions of language and music hand letterpress printed on hand-made paper hand-bound 12 7/8 x 10 1/4 x 2 1/8 in. (32.7 x 26 x 5.4 cm.) Provenance: Collection of F. E. Saunders, Original Subscriber Private Collection, Colorado Published in 1911, Volume VI of Edward S. Curtis’s The North American Indian focuses on the Piegan, Cheyenne, and Arapaho peoples of the Great Plains. Combining photographic portraits and scenes of daily life with accounts of tribal histories, beliefs, and customs, the volume explores communities whose traditions were closely connected to the Plains landscape. Particular attention is given to the Sun Dance, including its preparations, ceremonial objects, and participants. Images of tipi encampments, horseback riders, and individuals complement the text, creating a record of cultural life shaped by Curtis’s documentary ambitions and artistic vision. This volume is numbered 91 on handmade Holland Van Gelder etching stock, quarto, top edges gilt, original ¾ brown crushed levant by H. Blackwell of Boston, over beige linencovered boards, original gilt lettered, raised paneled spines, ribbon bookmarks, with photogravure plates by John Andrew & Son of Boston after photographs by Edward S. Curtis, edited by Frederick Webb Hodge, Chief of the Bureau of American Ethnology, field research conducted under the patronage of J. Pierpont Morgan. $5,000 — $7,000

131 Edward S. Curtis (1868–1952) The North American Indian: Volume XII, 1922 photogravure on Holland Van Gelder, letterpress featuring the Southwest tribe of the Hopi 75 photogravures and nearly 300 pages of text, including transcriptions of language and music hand letterpress printed on hand-made paper 12 1/2 x 9 3/4 x 2 3/8 in. (31.8 x 24.8 x 6 cm.) Provenance: Library of the University of Alberta, Alberta, Canada Private Collection, Colorado Volume XII was published in 1922 and is devoted entirely to the Hopi. The volume presents Curtis’s photographs and accompanying ethnographic text on Hopi individuals, pueblo architecture, daily life, dress, and ceremonial traditions, including imagery from villages such as Walpi. Published after a several-year interruption in the project during and immediately following World War I, Volume XII marked Curtis’s return to active publication and contains some of his most evocative Southwestern imagery. This volume is unnumbered, with images printed on handmade Holland Van Gelder etching stock, quarto, top edges gilt, later binding with black leatherette-covered boards, gilt lettered spine with photogravure plates by Suffolk Engraving of Boston after photographs by Edward S. Curtis, edited by Frederick Webb Hodge, Chief of the Bureau of American Ethnology, field research conducted under the patronage of J. Pierpont Morgan. $5,000 — $7,000

SANTA FE ART AUCTION

132 Edward S. Curtis (1868–1952) The North American Indian: Volume II, 1908 photogravure on Holland Van Gelder, letterpress featuring the Southwestern tribes of the Pima, Papago, Qahatika, Mohave, Yuma, Maricopa, Walapai, Havasupai, and Apache-Mohave 75 photogravures and over 140 pages of text, including transcriptions of language hand letterpress printed on hand-made paper hand-bound 12 7/8 x 10 1/4 x 1 7/8 in. (32.7 x 26 x 4.8 cm.) Published in 1908, Volume II of Edward S. Curtis’s The North American Indian explores Indigenous communities of the desert Southwest, including the Pima, Papago, Qahatika, Mohave, Yuma, Maricopa, Walapai, Havasupai, and Yavapai, identified by Curtis as ApacheMohave. Combining photogravures with ethnographic accounts, the volume examines daily life, basketry, pottery, dwellings, ceremonies, and creation narratives. Portraits and scenes of work and community life illustrate the varied cultural traditions of peoples living in desert, river, and canyon environments. Together, the images and text reflect Curtis’s interest in both the practical and spiritual dimensions of Indigenous life. This volume is numbered 91 on handmade Holland Van Gelder etching stock, quarto, top edges gilt, original ¾ brown crushed levant by H. Blackwell of Boston, over beige linencovered boards, original gilt lettered, raised paneled spines, ribbon bookmarks, with photogravure plates by John Andrew & Son of Boston after photographs by Edward S. Curtis, edited by Frederick Webb Hodge, Chief of the Bureau of American Ethnology, field research conducted under the patronage of J. Pierpont Morgan. Provenance: Collection of F. E. Saunders, Original Subscriber Private Collection, Colorado $4,000 — $6,000

133 Edward S. Curtis (1868–1952) The North American Indian: Volume XI, 1916 photogravure on Japanese gampi tissue, letterpress featuring the Northwest Coast tribes of the Nootka and Haida 75 photogravures and over 230 pages of text, including transcriptions of language and music hand letterpress printed on hand-made paper hand-bound 12 7/8 x 10 1/4 x 2 3/8 in. (32.7 x 26 x 6 cm.) Provenance: Private Collection, Colorado Published in 1916, Volume XI of Edward S. Curtis’s The North American Indian focuses on the Nootka, now commonly known as the Nuu-chah-nulth, and the Haida of the Northwest Coast. Combining photogravures with ethnographic accounts, it explores maritime traditions, including fishing, whaling, and canoe travel, alongside social organization, ceremonial practices, and oral histories. Portraits and scenes of coastal life complement stories of Raven and other supernatural beings, illustrating the connections between community, landscape, and belief. The volume brings together Curtis’s documentary interests and artistic vision in a detailed portrayal of these distinct Indigenous cultures. This volume is unnumbered on handmade Japanese gampi tissue etching stock, quarto, top edges gilt, original ¾ brown crushed levant by H. Blackwell of Boston, over beige linen-covered boards, original gilt lettered, raised paneled spines, ribbon bookmarks, with photogravure plates by John Andrew & Son of Boston after photographs by Edward S. Curtis, edited by Frederick Webb Hodge, Chief of the Bureau of American Ethnology, field research conducted under the patronage of J. Pierpont Morgan. $4,000 — $6,000

SANTA FE ART AUCTION

highlights from group of 37 photogravures

134 Edward S. Curtis (1868–1952) The North American Indian: Complete Portfolio XVIII, 1928 photogravure on Holland Van Gelder, letterpress featuring the northern Plains tribes of the Assiniboin, Blackfoot, Blood, Chipewyan, Cree and Sarsi 22 prints are elegantly framed in a float-mount presentation. each sheet approx. 18 x 22 in. (45.7 x 55.9 cm.) or the reverse each frame: 27 x 31 x 1 in. (68.6 x 78.7 x 2.5 cm.) or the reverse 37 large-format photogravures; published as Portfolios XVIII; all on Holland Van Gelder, except Plate 651 on Japanese gampi tissue paper with Van Gelder overmat, there are two plate 650 prints; photogravures by Suffolk Engraving of Boston after photographs by Edward S. Curtis; title, date, copyright credit, printer’s credit and plate number in the margin; letterpress index leaf included; each approximately 22 1/2 x 18 1/2 in. (57.2 x 47 cm.), or the reverse, and housed in a later folio case with black leatherette-covered boards and gilt-impressed portfolio number; edited by Frederick Webb Hodge, Chief of the Bureau of American Ethnology, field research conducted under the patronage of J. Pierpont Morgan. Provenance: Library of the University of Alberta, Alberta, Canada, 1964 Private Collection, New Mexico Portfolio XVIII of Edward S. Curtis’s The North American Indian, published in 1928, focuses on the Chipewyan (Denésoliné), Western Woods Cree, and Sarsi (Tsuut’ina) of western Canada. Its large-format photogravures combine individual portraits with scenes of tipi encampments, canoes, and wooded lakeshores, emphasizing the relationship between people and their surroundings. Images such as A Chipewyan Tipi Among the Aspens, A Cree Canoe on Lac Les Isles, and Cree Tipis complement portraits of men and women, bringing together Curtis’s attention to cultural detail and his sensitivity to landscape and composition. $6,000 — $9,000

SANTA FE ART AUCTION

135 Edward S. Curtis (1868–1952) Group of Three: Black Eagle - Assiniboin, 1908 + List of Large Plates Supplementing Volume Three + Original Portfolio III Folio This unique grouping includes the photogravure, Black Eagle - Assiniboin, 1908, an original List of Large Plates Supplementing Volume Three and a vintage Portfolio III folio that originally housed the prints. Black Eagle - Assiniboin, 1908 photogravure on Japanese gampi tissue inscribed in the plate upper left: Plate 101 titled in the plate lower left: BLACK EAGLE - ASSINIBOIN inscribed in the plate lower center: From Copyright Photograph 1908 by E. S. Curtis inscribed in the plate lower right: Photogravure John Andrew & Son 15 1/4 x 7 3/4 in. (38.7 x 19.7 cm.), sheet: 22 1/4 x 18 3/8 in. (56.5 x 46.7 cm.) List of Large Plates Supplementing Volume Three letterpress on Holland Van Gelder 21 7/8 x 18 in. (55.6 x 45.7 cm.) Portfolio III leather, buckram, gilt-impressed number 22 7/8 x 19 in. (58.1 x 48.3 cm.) Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907-1930), Portfolio 3, pl. 101 $3,000 — $5,000

136 Edward S. Curtis (1868–1952) Group of Three: The Rush Gatherer - Kutenai, 1910 + List of Large Plates Supplementing Volume Seven + Original Portfolio VII Folio This unique grouping includes the photogravure, The Rush Gatherer - Kutenai, 1910, an original List of Large Plates Supplementing Volume Seven, and a vintage Portfolio VII folio that originally housed the prints. The Rush Gatherer - Kutenai, 1910 photogravure on Japanese gampi tissue inscribed in the plate upper left: Plate 255 titled in the plate lower left: THE RUSH GATHERER - KUTENAI inscribed in the plate lower center: From Copyright Photograph 1910 by E. S. Curtis inscribed in the plate lower right: Photogravure John Andrew & Son 11 x 15 3/8 in. (27.9 x 39.1 cm.), sheet: 18 x 21 3/4 in. (45.7 x 55.2 cm.) List of Large Plates Supplementing Volume Seven letterpress on Holland Van Gelder 22 x 18 in. (55.9 x 45.7 cm.) Portfolio VII leather, buckram, gilt-impressed number 22 7/8 x 19 1/8 in. (58.1 x 48.6 cm.) Provenance: Private Collection, Aspen, Colorado Literature: (The Rush Gatherer - Kutenai, 1910) The North American Indian (1907-1930), Portfolio 7, pl. 255 $2,000 — $4,000

SANTA FE ART AUCTION

137 Edward S. Curtis (1868–1952) Group of Three: A Piegan Dandy, 1900 + List of Large Plates Supplementing Volume Six + Original Portfolio VI Folio This unique grouping includes the photogravure, A Piegan Dandy, 1900, an original List of Large Plates Supplementing Volume Six, and a vintage Portfolio VI folio that originally housed the prints. A Piegan Dandy, 1900 photogravure on Holland Van Gelder inscribed in the plate upper left: Plate 208 titled in the plate lower left: A PIEGAN DANDY inscribed in the plate lower center: From Copyright Photograph 1900 by E. S. Curtis inscribed in the plate lower right: Photogravure John Andrew & Son 15 3/8 x 11 in. (39.1 x 27.9 cm.) sheet: 21 7/8 x 18 1/8 in. (55.6 x 46 cm.) List of Large Plates Supplementing Volume Seven letterpress on Japanese vellum 22 x 18 in. (55.9 x 45.7 cm.) Portfolio VI leather, buckram, gilt-impressed number 22 7/8 x 19 1/8 in. (58.1 x 48.6 cm.) Provenance: Private Collection, Aspen, Colorado Literature: (A Piegan Dandy, 1900) The North American Indian (1907-1930), Portfolio 6, pl. 208 $2,000 — $4,000

138 Edward S. Curtis (1868–1952) Pair: Yellow Kidney - Piegan, 1910 + Original Portfolio VI Folio This unique pairing includes the photogravure, Yellow Kidney - Piegan, 1910, and a vintage Portfolio VI folio that originally housed the prints. Yellow Kidney - Piegan, 1910 photogravure on Japanese vellum inscribed in the plate upper left: 196 titled in the plate lower left: YELLOW KIDNEY - PIEGAN inscribed in the plate lower center: From Copyright Photograph 1910 by E. S. Curtis inscribed in the plate lower right: Photogravure John Andrew & Son approx.: 15 1/2 x 10 1/2 in. (39.4 x 26.7 cm.), sheet: 22 x 18 in. (55.9 x 45.7 cm.) Portfolio VI leather, buckram, gilt-impressed number 23 x 19 1/2 in. (58.4 x 49.5 cm.) Provenance: Private Collection, Aspen, Colorado Literature: (Yellow Kidney - Piegan, 1910) The North American Indian (1907-1930), Portfolio 6, pl. 196 $1,000 — $2,000

SANTA FE ART AUCTION

139 Edward S. Curtis (1868–1952) Group of Seven: Navajo Masked Ceremonial Images from Volume I, 1904 Gánaskidi - Navajo, 1904 photogravure on Holland Van Gelder titled in the plate lower left: GÅNASKIDI - NAVAHO inscribed in the plate lower center: From Copyright Photograph 1904 by E. S. Curtis 7 3/8 x 5 3/8 in. (18.7 x 13.7 cm.) sheet: 12 1/4 x 9 1/2 in. (31.1 x 24.1 cm.) overmat: 20 x 16 in. (50.8 x 40.6 cm.) Haschógan - Navajo, 1904 photogravure on Holland Van Gelder titled in the plate lower left: HASCHOGAN - NAVAHO inscribed in the plate lower center: From Copyright Photograph 1904 by E. S. Curtis 7 3/8 x 5 3/8 in. (18.7 x 13.7 cm.) sheet: 12 1/4 x 9 1/2 in. (31.1 x 24.1 cm.) overmat: 20 x 16 in. (50.8 x 40.6 cm.) Haschézhini - Navajo, 1904 photogravure on Japanese gampi tissue titled in the plate lower left: HASCHEZHINI - NAVAHO inscribed in the plate lower center: From Copyright Photograph 1904 by E. S. Curtis 7 3/8 x 5 3/8 in. (18.7 x 13.7 cm.) sheet: 12 1/4 x 9 1/2 in. (31.1 x 24.1 cm.) Nayénezgani - Navajo, 1904 photogravure on Holland Van Gelder titled in the plate lower left: NAYENEZGANI - NAVAHO inscribed in the plate lower center: From Copyright Photograph 1904 by E. S. Curtis 7 3/8 x 5 3/8 in. (18.7 x 13.7 cm.) sheet: 12 1/4 x 9 1/2 in. (31.1 x 24.1 cm.) Zahadolzhá - Navajo, 1904 photogravure on Holland Van Gelder titled in the plate lower left: ZAHADOLZHÁ - NAVAHO inscribed in the plate lower center: From Copyright Photograph 1904 by E. S. Curtis 7 3/8 x 5 3/8 in. (18.7 x 13.7 cm.) sheet: 12 3/8 x 9 1/2 in. (31.4 x 24.1 cm.) Haschebaád - Navajo, 1904 photogravure on Japanese gampi tissue titled in the plate lower left: HASCHEBAAD - NAVAHO inscribed in the plate lower center: From Copyright Photograph 1904 by E. S. Curtis 7 3/8 x 5 3/8 in. (18.7 x 13.7 cm.) sheet: 12 1/4 x 9 1/2 in. (31.1 x 24.1 cm.) Tobadzischíni - Navajo, 1904 photogravure on Holland Van Gelder titled in the plate lower left: TOBADZISCHÍNI - NAVAHO inscribed in the plate lower center: From Copyright Photograph 1904 by E. S. Curtis 7 3/8 x 5 3/8 in. (18.7 x 13.7 cm.) sheet: 12 1/4 x 9 1/2 in. (31.1 x 24.1 cm.) Provenance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907 - 1930), Volume 1, facing page 138 The North American Indian (1907 - 1930), Volume 1, facing page 94 The North American Indian (1907 - 1930), Volume 1, facing page 102 The North American Indian (1907 - 1930), Volume 1, facing page X The North American Indian (1907 - 1930), Volume 1, facing page 140 The North American Indian (1907 - 1930), Volume 1, facing page 110 The North American Indian (1907 - 1930), Volume 1, facing page 136 This extremely rare group of ceremonial masked photographs from Volume I of Edward S. Curtis’s The North American Indian depict Diné (Navajo) participants embodying sacred beings associated with healing ceremonies, particularly the Night Chant. The photographs illustrate the importance of sacred narratives and ritual in restoring health and harmony, while their carefully arranged poses and striking forms reflect Curtis’s artistic approach. $3,000 — $5,000

SANTA FE ART AUCTION

140 Edward S. Curtis (1868–1952) Group of Five: Navajo Masked Ceremonial Images from Volume I, 1904 Tónenili - Navajo, 1904 photogravure on Holland Van Gelder titled in the plate lower left: TONENILI - NAVAHO inscribed in the plate lower center: From Copyright Photograph 1904 by E. S. Curtis 7 3/8 x 5 3/8 in. (18.7 x 13.7 cm.) sheet: 12 1/4 x 9 1/2 in. (31.1 x 24.1 cm.) overmat: 20 x 16 in. (50.8 x 40.6 cm.) Zahadolzhá - Navajo, 1904 photogravure on Holland Van Gelder titled in the plate lower left: ZAHADOLZHÁ - NAVAHO inscribed in the plate lower center: From Copyright Photograph 1904 by E. S. Curtis 7 3/8 x 5 3/8 in. (18.7 x 13.7 cm.) sheet: 12 1/4 x 9 1/2 in. (31.1 x 24.1 cm.) overmat: 20 x 16 in. (50.8 x 40.6 cm.) Nayénezgani - Navajo, 1904 photogravure on Holland Van Gelder titled in the plate lower left: NAYENEZGANI - NAVAHO inscribed in the plate lower center: From Copyright Photograph 1904 by E. S. Curtis 7 3/8 x 5 3/8 in. (18.7 x 13.7 cm.) sheet: 12 1/4 x 9 1/2 in. (31.1 x 24.1 cm.) overmat: 20 x 16 in. (50.8 x 40.6 cm.) Tobadzischíni - Navajo, 1904 photogravure on Holland Van Gelder titled in the plate lower left: TOBADZISCHINI - NAVAHO inscribed in the plate lower center: From Copyright Photograph 1904 by E. S. Curtis 7 3/8 x 5 3/8 in. (18.7 x 13.7 cm.) sheet: 12 1/4 x 9 1/2 in. (31.1 x 24.1 cm.) overmat: 20 x 16 in. (50.8 x 40.6 cm.) Haschélti - Navajo, 1904 photogravure on Holland Van Gelder titled in the plate lower left: HASCHELTI - NAVAHO inscribed in the plate lower center: From Copyright Photograph 1904 by E. S. Curtis 7 1/4 x 4 5/8 in. (18.4 x 11.7 cm.) sheet: 12 1/4 x 9 1/2 in. (31.1 x 24.1 cm.) overmat: 20 x 16 in. (50.8 x 40.6 cm.) Provanance: Private Collection, Aspen, Colorado Literature: The North American Indian (1907 - 1930), Volume 1, facing page 106 The North American Indian (1907 - 1930), Volume 1, facing page 108 The North American Indian (1907 - 1930), Volume 1, facing page 98 The North American Indian (1907 - 1930), Volume 1, facing page 100 The North American Indian (1907 - 1930), Volume 1, facing page 92 This extremely rare group of ceremonial masked photographs from Volume I of Edward S. Curtis’s The North American Indian depict Diné (Navajo) participants embodying sacred beings associated with healing ceremonies, particularly the Night Chant. The photographs illustrate the importance of sacred narratives and ritual in restoring health and harmony, while their carefully arranged poses and striking forms reflect Curtis’s artistic approach. $2,000 — $4,000

SANTA FE ART AUCTION

141 Edward S. Curtis (1868–1952) Group of Four Prints: Hamatsa - Koskimo “Feast of the Mummy” (Unpublished), 1914 + The Kwakiutl 1910-1914 Exhibition Catalog gelatin silver inscribed verso: a283X Kwakiutl / AF2152 / 36631 B C NFS inscribed verso: a269X Kwakiutl / AF2151 / 36631 B B NFS inscribed verso: a261X Kwakiutl inscribed verso: a266X Kwakiutl / 18 1/4 x 2 1/4 / AF2149 / #894 each: 8 x 6 in. (20.3 x 15.2 cm.) Edward S. Curtis’s Kwakiutl photographs, made between 1910 and 1914 largely at Fort Rupert in British Columbia, formed part of his preparation for Volume X of The North American Indian. The 1976 exhibition brought together previously unpublished images and variations on published compositions, offering insight into his working methods and editorial choices. In the accompanying essay, Leland Rice explores the ceremonial traditions represented, particularly winter dances and Hamatsa initiations, and the significance of their elaborate masks and regalia. Acknowledging Curtis’s use of reconstructed settings, garments, and reenactments, Rice emphasizes his command of natural light and composition, presenting these photographs as cultural records shaped by a distinctive artistic vision. Provenance: Private Collection, Aspen, Colorado Literature: Edward S. Curtis: The Kwakiutl, 1910–1914, From the Estate of Edward S. Curtis, Collection of Randee and G. Ray Hawkins. Exhibition catalogue, Fine Arts Gallery, University of California, Irvine, 1976 Exhibited: Edward S. Curtis: The Kwakiutl, 1910–1914, Fine Arts Gallery, University of California, Irvine: October 3–30, 1976 Edward S. Curtis: The Kwakiutl, California State University, Chico: November 2–23, 1976 $800 — $1,200

142 Edward S. Curtis (1868–1952) The North American Indian: Volume I, 1907 (Unbound without images) letterpress on Holland Van Gelder Introduction signed and dated: Edward S. Curtis 1907 12 1/2 x 9 1/2 x 1 in. (31.8 x 24.1 x 2.5 cm.) This volume is numbered 142 and is unbound without photogravures, edited by Frederick Webb Hodge, Chief of the Bureau of American Ethnology, field research conducted under the patronage of J. Pierpont Morgan. Over 160 pages of text and transcriptions of language and music. Hand letterpress printed on hand-made paper. Missing pages 29-32 (2 leaves) and 91-92 (1 leave) Provenance: Harrison Gray Otis Estate (original subscriber) Private Collection(s) Private Collection, Aspen, Colorado $800 — $1,200

SANTA FE ART AUCTION

SESSION II

LOTS 143 – 271

Saturday, November 7 9:30am MST

143 Zuni (Kechipawan) Glazeware Jar, ca. 1375–1475 fired clay, lead-based pigments height: 7 x diameter: 9 1/2 in. (17.8 x 24.1 cm.) Provenance: Private Collection, New Mexico $1,500 — $3,000

144 Polacca (Hopi) Polychrome Bowl, ca. 1885

145 attributed to [Nampeyo of Hano] (Hopi-Tewa, 1859–1942) Polychrome Bowl, ca. 1900–1910

fired clay height: 3 1/4 x diameter: 8 1/4 in. (8.3 x 21 cm.)

fired clay height: 3 3/4 x diameter: 10 1/8 in. (9.5 x 25.7 cm.)

Provenance: Collection of Joan and David Wenger

$2,000 — $4,000

$4,000 — $6,000

SANTA FE ART AUCTION

146 Zuni Terraced Polychrome Bowl, ca. 1885

147 Zia Polychrome Jar with Bird Motifs, ca. 1875

fired clay featuring Kolowisi, tadpole and dragonfly designs height: 6 3/4 x diameter: 11 1/4 in. (17.1 x 28.6 cm.)

fired clay height: 9 1/4 x diameter: 10 1/8 in. (23.5 x 25.7 cm.)

Provenance: Collection of Dwight Lanmon Collection of Joan and David Wenger $7,000 — $10,000

Provenance: Collection of Dick Howard Collection of Joan and David Wenger $4,000 — $6,000

148 Polacca (Hopi) Polychrome Jar, ca. 1840–1860 fired clay height: 8 1/2 x diameter: 9 3/4 in. (21.6 x 24.8 cm.) Provenance: Collection of Joan and David Wenger $5,000 — $7,500

SANTA FE ART AUCTION

149 Cochiti Early Bird Jar, ca. 1880

150 Zuni Frog Jar, ca. 1900

fired clay height: 8 x diameter: 9 1/8 in. (20.3 x 23.2 cm.)

fired clay height: 8 1/2 x diameter: 13 in. (21.6 x 33 cm.)

Provenance: Collection of Mark Zaplin Collection of Joan and David Wenger

Provenance: Private Collection, New Mexico

$4,000 — $6,000

151 Zia Polychrome Jar with Parrot Designs, ca. 1875–1885

152 Acoma Polychrome Jar, ca. 1875–1885

fired clay height: 9 1/2 x diameter: 12 1/2 in. (24.1 x 31.8 cm.)

fired clay height: 9 1/2 x diameter: 10 1/8 in. (24.1 x 25.7 cm.)

Provenance: Collection of Bobby Bauer Collection of Joan and David Wenger

Provenance: Collection of Joan and David Wenger

$4,000 — $6,000

SANTA FE ART AUCTION

$4,000 — $6,000

153 Zuni Polychrome Jar, ca. 1875 fired clay height: 9 1/2 x diameter: 13 1/8 in. (24.1 x 33.3 cm.) Provenance: Collection of Joan and David Wenger $5,000 — $7,500

154 Acomita Polychrome Bowl, ca. 1820–1840 fired clay height: 6 5/8 x diameter: 13 1/8 in. (16.8 x 33.3 cm.) Provenance: Collection of Dick Howard Collection of Joan and David Wenger $12,000 — $18,000

SANTA FE ART AUCTION

155 Acomita Polychrome Jar, ca. 1855 fired clay height: 8 1/2 x diameter: 9 in. (21.6 x 22.9 cm.) Provenance: Collection of Joan and David Wenger $15,000 — $25,000

156 Laguna/Acoma Polychrome Pot with Fine Line Black on White Designs, ca. 1890

157 Acoma Polychrome Pot with Black on White Designs, ca. 1890

fired clay height: 12 3/4 x diameter: 12 1/2 in. (32.4 x 31.8 cm.)

fired clay height: 11 1/8 x diameter: 12 in. (28.3 x 30.5 cm.)

Provenance: Private Collection, New Mexico

$6,000 — $9,000

$5,000 — $7,500

SANTA FE ART AUCTION

158 Zuni Polychrome Ram Figurine fired clay 5 1/2 x 3 1/2 x 7 1/2 in. (14 x 8.9 x 19.1 cm.) Provenance: Collection of Joan and David Wenger $1,200 — $1,800

159 Kathleen Wall (Jemez, b. 1973) Full Moon Corn Koshare fired clay, cornhusk, leather 36 7/8 x 24 1/2 x 13 1/4 in. (93.7 x 62.2 x 33.7 cm.) inscribed: Kathleen Wall Provenance: Private Collection, New Mexico $4,000 — $6,000

160 Lisa Holt + Harlan Reano (Cochiti, b. 1980 + Kewa [Santo Domingo], b. 1978) Singing Clown fired clay inscribed: LISA HOLt / Cochiti / HARLAN REANO / SANtO DOMINgo / NM 21 7/8 x 13 1/8 x 6 in. (55.6 x 33.3 x 15.2 cm.) Provenance: Private Collection, New Mexico $2,000 — $4,000

SANTA FE ART AUCTION

161 Lisa Holt + Harlan Reano (Cochiti, b. 1980 + Kewa [Santo Domingo], b. 1978) Polychrome Shouldered Jar with Floral and Butterfly Designs, 2013 fired clay inscribed: LISA HOLt / CoChiti “13” / HARLAN REANO / SaNTO DOMINgO / NM height: 13 1/2 x diameter: 16 1/4 in. (34.3 x 41.3 cm.) Provenance: Private Collection, New Mexico $4,000 — $6,000

162 Lisa Holt + Harlan Reano (Cochiti, b. 1980 + Kewa [Santo Domingo], b. 1978) Polychrome Jar with Rose Motifs, 2010 fired clay inscribed: LISA HOLt / CoChiti “10” / HARLAN REANO / SANTO DOMINgO / NM height: 17 3/4 x diameter: 14 1/2 in. (45.1 x 36.8 cm.) Provenance: Private Collection, New Mexico $4,000 — $6,000

163 Lisa Holt + Harlan Reano (Cochiti, b. 1980 + Kewa [Santo Domingo], b. 1978) Black on White Geometric Jar, 2008 fired clay inscribed: LISA HOLT / Cochiti “08” / HARLAN REANO / SANTO DOMINgo / N.M height: 14 1/8 x diameter: 12 3/8 in. (35.9 x 31.4 cm.) Provenance: Private Collection, New Mexico $3,000 — $5,000

SANTA FE ART AUCTION

164 Thomas Tenorio (Kewa [Santo Domingo], b. 1963) Polychrome Jar, 2013

165 Thomas Tenorio (Kewa [Santo Domingo], b. 1963) Jar with Black on White Designs, 2013

fired clay inscribed: THOMAS / TENORIO / KEWA, NM / 2013 height: 16 1/2 x diameter: 14 5/8 in. (41.9 x 37.1 cm.)

fired clay inscribed: THOMAS / TENORIO / KEWA, NM / 2013 height: 15 3/8 x diameter: 13 5/8 in. (39.1 x 34.6 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

166 Lonnie Vigil (Nambe, b. 1949) Micaceous Jar, 1990

167 Tom Dickerson (1933–2019) Acoma Awakened Ceremonial Faces Storage Jar, 1986

fired micaceous clay inscribed: VIGIL / NAMBE height: 11 3/4 x diameter: 12 3/4 in. (29.8 x 32.4 cm.)

fired clay inscribed: TOM / DICKERSON / 1986 height: 9 1/2 x diameter: 12 1/4 in. (24.1 x 31.1 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

$2,500 — $3,500

SANTA FE ART AUCTION

168 Kawaiisu Figural Basket, ca. 1910

169 Yokuts Polychrome Basket, ca. 1925

natural fibers height: 6 1/2 x diameter: 15 3/8 in. (16.5 x 39.1 cm.)

natural fibers height: 6 3/8 x diameter: 11 3/8 in. (16.2 x 28.9 cm.)

Provenance: Collection of Joan and David Wenger

$6,000 — $9,000

$4,000 — $6,000

170 possibly attributed to [Mary Dick “Mrs. Britches” Topino] (Yokuts/Tulare, ca. 1863-1923) Polychrome Basketry Bowl

171 Mono Basket, ca. 1910

natural fibers height: 4 3/8 x diameter: 9 3/8 in. (11.1 x 23.8 cm.) Provenance: Collection of Joan and David Wenger $4,000 — $6,000

SANTA FE ART AUCTION

natural fibers height: 2 1/2 x diameter: 6 1/2 in. (6.4 x 16.5 cm.) Provenance: Collection of Joan and David Wenger $1,500 — $2,500

172 attributed to [Higinio V. Gonzales] (New Mexico, 1842 – 1921) Tin Frame with Mother and Child Print stamped and painted tin, European print 31 1/4 x 20 3/4 in. (79.4 x 52.7 cm.) Provenance: Private Collection, Arizona $2,000 — $3,000

SANTA FE ART AUCTION

173 Diné (Navajo) Two Grey Hills Rug, ca. 1950 hand-spun wool, natural colors, aniline dyes 123 x 78 in. (312.4 x 198.1 cm.) Provenance: Private Collection, Colorado $4,000 — $8,000

174 Diné (Navajo) Two Grey Hills Rug, ca. 1970 hand-spun wool, natural colors 134 1/2 x 77 1/2 in. (341.6 x 196.9 cm.) Provenance: Private Collection, Colorado $4,000 — $8,000

SANTA FE ART AUCTION

175 Diné (Navajo) Pictorial Rug, ca. 1940

176 Diné (Navajo) Pictorial Rug, ca. 1920

hand-spun wool, natural colors, aniline dyes 59 1/4 x 41 5/8 in. (150.5 x 105.7 cm.)

hand-spun wool, natural colors, aniline dyes 55 1/2 x 32 3/4 in. (141 x 83.2 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

$1,500 — $2,500

177 Hopi Heheya Katsina, ca. 1945 carved and painted wood, cloth, fibers, shell 9 1/2 x 6 x 3 7/8 in. (24.1 x 15.2 x 9.8 cm.) with base: 10 1/4 x 6 x 4 1/4 in. (26 x 15.2 x 10.8 cm.) Provenance: Private Collection, New Mexico $1,000 — $1,500

SANTA FE ART AUCTION

178 attributed Diné (Navajo) Stamped Silver Flatware Set with Three Salad Forks + Three Spoons, ca. 1935–1955 silver gross weight: 415 g. smallest: 7 1/2 x 1 7/8 in. (19.1 x 4.8 cm.) largest: 9 1/4 x 2 1/4 in. (23.5 x 5.7 cm.) Provenance: Private Collection, New Mexico $3,000 — $4,500

179 attributed Diné (Navajo) Bandolier Bag with Yei Button, ca. 1935–1965

180 attributed Diné (Navajo) Bandolier Bag with Stamped Silver Concho, ca. 1945–1955

leather, silver, turquoise featuring strap, ca. 1935 + pouch, ca. 1965 gross weight: 175 g. bag: 7 1/2 x 3 7/8 in. (19.1 x 9.8 cm.) hanging length: 25 in. (63.5 cm.)

leather, silver gross weight: 467 g. bag: 7 x 3 in. (17.8 x 7.6 cm.) hanging length: 29 1/2 in. (74.9 cm.)

Provenance: Private Collection, New Mexico $2,000 — $4,000

SANTA FE ART AUCTION

Provenance: Private Collection, New Mexico $1,200 — $1,800

181 attributed Diné (Navajo) Silver Ketoh with Turquoise Cabochon, ca. 1925–1935

182 attributed Diné (Navajo) Silver Ketoh with Turquoise Cabochon, ca. 1930

silver, turquoise, leather gross weight: 97 g. internal circumference: 5 1/4 in. (13.3 cm.) width: 2 1/2 in. (6.4 cm.)

silver, turquoise, leather gross weight: 132 g. internal circumference: 6 3/4 in. (17.1 cm.) width: 2 3/4 in. (7 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

183 attributed Diné (Navajo) Silver Bracelet with Turquoise Cabochons, ca. 1900

184 Three Hogans Silver Pill Box with Turquoise Cabochon, ca. 1950–1969

coin silver, turquoise inner circumference: 4 3/4 in. (12.1 cm.) width: 1/2 in. (1.3 cm.) gap: 1 in. (2.5 cm.)

silver, turquoise stamped: 3H 1 3/8 x 3 1/8 x 2 1/4 in. (3.5 x 7.9 x 5.7 cm.)

Provenance: Morning Star Gallery, Santa Fe, New Mexico, 1995 Private Collection, New Mexico

Provenance: Private Collection, New Mexico $1,000 — $2,000

$2,500 — $4,500

SANTA FE ART AUCTION

185

185 attributed Diné (Navajo) Silver Butterfly Concho Belt, ca. 1930 silver, leather belt: 39 x 5/8 in. (99.1 x 1.6 cm.) buckle: 3 3/4 x 4 1/2 in. (9.5 x 11.4 cm.) each concho: 3 3/4 x 4 1/2 in. (9.5 x 11.4 cm.) each butterfly: 3 1/8 x 1 3/8 in. (7.9 x 3.5 cm.) Provenance: Private Collection, New Mexico $3,000 — $5,000

186 Kirk Smith (Diné [Navajo] 1957–2012) Sterling Silver Butterfly Concho Belt with Mixed Stone Cabochons sterling silver, leather, turquoise, spiny oyster, jasper, shell, tigers eye, malachite, jet, gaspeite, agate stamped: Kirk Smith / Sterling belt: 46 1/4 x 7/8 in. (117.5 x 2.2 cm.) buckle: 2 3/4 x 3 5/8 in. (7 x 9.2 cm.) each concho: 2 1/2 x 2 7/8 in. (6.4 x 7.3 cm.) each butterfly: 2 5/8 x 1 5/8 in. (6.7 x 4.1 cm.) Provenance: Private Collection, New Mexico $1,500 — $2,500

186

SANTA FE ART AUCTION

188

187 Kirk Smith (Diné [Navajo] 1957–2012) Sterling Silver Butterfly Concho Belt with Turquoise Cabochons sterling silver, turquoise, leather stamped: Kirk Smith / Sterling belt: 47 5/8 x 7/8 in. (121 x 2.2 cm.) buckle: 2 3/4 x 3 1/2 in. (7 x 8.9 cm.) each concho: 2 5/8 x 3 in. (6.7 x 7.6 cm.) each butterfly: 2 5/8 x 1 3/4 in. (6.7 x 4.4 cm.) Provenance: Private Collection, New Mexico $1,500 — $2,500

188 Don Lucas (20th/21st Century) Sterling Silver Butterfly Concho Belt with Mixed Stone Cabochons, 2010 sterling silver, leather, spiny oyster, turquoise, coral, serpentine stamped: STERLING © / Don Lucas / 2010 belt: 41 5/8 x 7/8 in. (105.7 x 2.2 cm.) buckle: 2 1/4 x 3 in. (5.7 x 7.6 cm.) each concho: 1 3/4 x 2 1/8 in. (4.4 x 5.4 cm.) each butterfly: 1 1/2 x 1 in. (3.8 x 2.5 cm.) Provenance: Private Collection, New Mexico $1,500 — $2,500

187

SANTA FE ART AUCTION

189 Denise Wallace (Chugach-Aleut b. 1957) Five-Piece Transformation Belt, 1992 sterling silver, 14k gold, leather, fossilized bone, red coral, chrysocolla, chrysoprase, edition 4 of 5 each figure stamped: dw / ©1992 / STERLING / FOSSIL IVORY / 14K Central Figure inscribed: 5 pc Transformation / Belt / Limited / Edition / #4 of 5 / 5-26-923 3/8 x 2 5/8 x 1/2 in. (8.6 x 6.7 x 1.3 cm.) Shaman Figures inscribed: Shaman / 5-26-92 / chrysoprase inscribed: Walrus Shaman / 5-26-92 / Red Coral / Chrysocolla 3 x 1 1/2 x 1/2 in. (7.6 x 3.8 x 1.3 cm.) Reclining Transformation Figures each inscribed: Reclining / Transformation / Figure / 5-26-92 3 1/8 x 2 x 1/2 in. (7.9 x 5.1 x 1.3 cm.) belt: 40 3/4 x 1 in. (103.5 x 2.5 cm.) Provenance: Private Collection, New Mexico Denise Wallace is an Alaska Native jewelry artist of Chugach Sugpiaq (Alutiiq) heritage, celebrated for intricate, sculptural pieces inspired by her ancestors’ stories and traditions. Born in Seattle, she studied at the Institute of American Indian Arts in Santa Fe and collaborated for decades with her late husband, lapidary artist Samuel Wallace. Combining silver, gold, semiprecious stones, and fossilized bone, she creates elaborate belts, pendants, and earrings depicting people, animals, and spiritual imagery. Her signature hinged doors, movable parts, and hidden figures express themes of transformation and the connections between humans and nature. Her work was featured in the traveling exhibition Arctic Transformations and has been shown at the Smithsonian’s National Museum of the American Indian. $55,000 — $75,000

SANTA FE ART AUCTION

190 Dawn Wallace (Chugach-Aleut b. 1983) Polar Bear Inlay Necklace, 2018 14k gold, sterling silver, fossilized bone inscribed: 2018 stamped: Dawn / Wallace / STERLING / 14k hanging length: 7 3/8 in. (18.7 cm.) pendant: 2 x 1 1/2 in. (5.1 x 3.8 cm.) Provenance: Private Collection, New Mexico $4,000 — $6,000

191 Denise Wallace (Chugach-Aleut b. 1957) Sterling Silver Jewelry Set with Carved Face Designs: Earrings, 1995 + Ring sterling silver, fossilized bone each earring stamped: DENISE / WALLACE / ©1995 / STERLING ring stamped: DENISE / STERLING / © ring size: 5 earrings: 1 x 7/8 in. (2.5 x 2.2 cm.) Provenance: Private Collection, New Mexico $4,000 — $6,000

192 Denise Wallace (Chugach-Aleut b. 1957) Woman in Moon Pin/Pendant, 1988 sterling silver, fossilized bone inscribed: Woman in Moon / STerling / dw / ©1988 1 1/2 x 1 1/8 in. (3.8 x 2.9 cm.) Provenance: Private Collection, New Mexico $2,000 — $4,000

SANTA FE ART AUCTION

193 Charles Loloma (Hopi 1921–1991) Coral and 14k Gold Inlay Earrings 14k gold, coral each stamped: loloma each: 3/8 x 3/8 in. (1 x 1 cm.) Provenance: Private Collection, New Mexico $2,000 — $4,000

194 Carl + Irene Clark (Diné [Navajo] b. 1952 + 20th/21st Century) Mixed Stone Inlay Yei Jewelry Set: Necklace + Ring + Bracelet sterling silver, turquoise, jet, lapis, spiny oyster each stamped: [artists’ hallmark] / STERLING Yei Pendant Necklace with Mixed Stone Inlay hanging length: 14 in. (35.6 cm.) pendant: 2 1/2 x 3/4 in. (6.4 x 1.9 cm.) Yei Inlay Ring with Turquoise Cabochon ring size: 9 3/4 Yei Chain Bracelet with Mixed Stone Inlay circumference: 8 1/4 in. (21 cm.) width: 5/8 in. (1.6 cm.) Provenance: Private Collection, New York $2,500 — $5,000

195 Alvin Yellowhorse (Diné [Navajo] b. 1968) Mixed Stone Inlay Cuff

196 Silver Arrow Design Pill Box with Turquoise Cabochon, ca. 1940–1955

silver, turquoise, spiny oyster, sugilite, gaspeite, jet stamped verso: [artist’s hallmark] Alvin / Yellowhorse inner circumference: 5 1/2 in. (14 cm.) gap: 1 1/8 in. (2.9 cm.), width: 1 1/2 in. (3.8 cm.)

silver, turquoise 7/8 x 2 3/4 x 2 1/2 in. (2.2 x 7 x 6.4 cm.)

Provenance: Private Collection, New Mexico

Provenance: Private Collection, New Mexico $1,000 — $2,000

$1,000 — $2,000 197 Calvin Begay (Diné [Navajo] b. 1965) Set of Three Mixed Stone Inlay Jewelry Items: Necklace + Cuff + Earrings sterling silver, jasper, opal, jet Sterling Silver Necklace with Mixed Stone Inlay stamped: Calvin / Begay / STERLING © hanging length: 7 3/8 in. (18.7 cm.) Sterling Silver Cuff with Mixed Stone Inlay stamped: Calvin / Begay / © Sterling inner circumference: 5 3/8 in. (13.7 cm.) width: 3/8 in. (1 cm.) gap: 1 in. (2.5 cm.) Sterling Silver Earrings with Mixed Stone Inlay stamped: Calvin / Begay / STERLING / © each: 1 1/4 x 3/8 in. (3.2 x 1 cm.) Provenance: Private Collection, New Mexico $800 — $1,200

SANTA FE ART AUCTION

194

195

193

197

196

SANTA FE ART AUCTION

198 Veronica Poblano (Zuni b. 1952) Mickey Mouse Necklace with Mixed Stone Inlay, 1977 silver, turquoise, shell, coral, jet inscribed: Veronica Poblano / Zuni “77 / #1 hanging length: 7 1/2 in. (19.1 cm.) inner circumference: 15 1/2 in. (39.4 cm.) pendant: 2 3/8 x 2 1/8 in. (6 x 5.4 cm.) Provenance: Private Collection, New Mexico $1,500 — $2,500

199 Veronica Poblano + Amelio Nastacio (Zuni b. 1952 + 20th Century) Mickey Mouse Cuff with Mixed Stone Inlay, 1975 silver, turquoise, shell, coral, jet inscribed: Amelio / Veronica / Nastacio / Zuni 75 inner circumference: 5 1/8 in. (13 cm.) gap: 1 1/8 in. (2.9 cm.), width: 2 1/2 in. (6.4 cm.) Provenance: Private Collection, New Mexico $2,000 — $3,000

200 Veronica Poblano (Zuni b. 1952) Mickey Mouse Pin with Mixed Stone Inlay silver, jet, turquoise, shell, coral inscribed: Veronica N. / Zuni 2 1/2 x 2 in. (6.4 x 5.1 cm.) Provenance: Private Collection, New Mexico $1,500 — $2,500

201 Veronica Poblano (Zuni b. 1952) Mickey and Minnie Mouse Inlay Set: Ring, 1979 + Drop Earrings, ca. 1974 silver, coral, jet, turquoise, shell Mickey Mouse Ring with Mixed Stone Inlay, 1979 inscribed: Veronica / Nastacio / Zuni / 79” ring size: 8 1/4

silver, jet, turquoise, shell, coral inscribed: Veronica / Nastacio / Zuni / “76 hanging length: 10 7/8 in. (27.6 cm.) pendant: 3 x 1 1/2 in. (7.6 x 3.8 cm.)

Mickey Mouse Earring with Mixed Stone Inlay, ca. 1974 stamped: Veronica 1 3/8 x 1 in. (3.5 x 2.5 cm.)

Provenance: Private Collection, New Mexico

Minnie Mouse Earring with Mixed Stone Inlay, 1974 inscribed: Veronica / Nastacio / Zuni / 74” 1 3/4 x 1 in. (4.4 x 2.5 cm.) Provenance: Private Collection, New Mexico $1,200 — $1,800

SANTA FE ART AUCTION

202 Veronica Poblano (Zuni b. 1952) Silver Beaded Necklace with Mickey Mouse Inlay Pendant, 1976

$2,000 — $3,000

203 Veronica Poblano (Zuni b. 1952) Mickey Mouse Mixed Stone Inlay Set, ca. 1975: Ring + Pendant

204 Veronica Poblano (Zuni b. 1952) Mickey Mouse Mixed Stone Inlay Set: Ring, 1973 + Pendant, ca. 1975

silver, coral, shell, jet, turquoise, horn each stamped: Veronica ring size: 7 pendant: 2 x 1 in. (5.1 x 2.5 cm.)

silver, coral, jet, turquoise, shell

Provenance: Private Collection, New Mexico $1,500 — $2,500

Mickey Mouse Ring with Mixed Stone Inlay, 1973 inscribed: Zuni / 73” / #2 / Veronica / Nastacio / Zuni ring size: 6 1/2 Mickey Mouse Pendant with Mixed Stone Inlay, ca. 1975 inscribed: Zuni / Veronica / P. / Nastacio 1 x 1 in. (2.5 x 2.5 cm.) Provenance: Private Collection, New Mexico $1,000 — $1,500

205 Veronica Poblano (Zuni b. 1952) Minnie Mouse Ring with Mixed Stone Inlay, ca. 1975 silver, shell, jet, turquoise, coral stamped: Veronica ring size: 9 1/2 2 1/8 x 1 in. (5.4 x 2.5 cm.) Provenance: Private Collection, New Mexico $1,000 — $1,500

206 Veronica Poblano (Zuni b. 1952) Suite of Three Raggedy Ann Jewelry Items with Mixed Stone Inlay Two Rings + Cuff, ca. 1975 silver, coral, shell, jet, turquoise each stamped: Veronica Raggedy Ann Ring with Mixed Stone Inlay, ca. 1975 ring size: 7 2 1/4 x 1 1/4 in. (5.7 x 3.2 cm.) Raggedy Ann Ring with Mixed Stone Inlay, ca. 1975 ring size: 9 3/4 x 2 1/8 x 1 in. (5.4 x 2.5 cm.) Raggedy Ann Cuff with Mixed Stone Inlay, ca. 1975 inner circumference: 4 5/8 in. (11.7 cm.) gap: 7/8 in. (2.2 cm.) width: 1 3/8 in. (3.5 cm.) Provenance: Private Collection, New Mexico $1,500 — $2,500

SANTA FE ART AUCTION

207 Hermés Vintage ‘Kachinas’ Carré Scarf, ca. 1992–1997 silk printed lower center: HERMÉS – PARIS designed by Kermit Oliver 34 1/2 x 34 1/2 in. (87.6 x 87.6 cm.) Provenance: Private Collection, New Mexico $1,000 — $2,000

208 R. C. Gorman (Diné [Navajo] 1931–2005) Untitled (Seated Woman in Pink), 1980 pastel on paper signed and dated lower right: R C Gorman 1980 / © 22 1/2 x 28 1/2 in. (57.2 x 72.4 cm.) frame: 31 1/8 x 37 x 1 7/8 in. (79.1 x 94 x 4.8 cm.) Provenance: Maxwell Alexander Gallery, Pasadena, California Private Collection, California $2,000 — $4,000

SANTA FE ART AUCTION

209 Gene Kloss (1903–1996) Ceremonial Banner watercolor on paper signed lower left: Gene Kloss, N.A. inscribed verso: Gene Kloss / “Ceremonial Banner” / Watercolor 28 1/2 x 20 1/2 in. (72.4 x 52.1 cm.) frame: 37 1/2 x 28 1/2 x 3/4 in. (95.3 x 72.4 x 1.9 cm.) Provenance: The Artist’s Estate Private Collection, Oregon (by descent) Gene Kloss was an American artist whose oil paintings and watercolors reveal a deep connection to the landscapes and people of the Southwest. Born in Oakland, California, she studied art at the University of California, Berkeley, and other Bay Area schools before first visiting New Mexico in 1925. The region became a lifelong inspiration, particularly its mountains, changing light, and Pueblo communities. Her paintings combine strong composition with sensitive contrasts of light and shadow, capturing both the grandeur and quiet atmosphere of the land. While known as a brilliant printmaker, works such as Ceremonial Banner demonstrate her expressive abilities as a painter and her belief in direct experience of nature as essential to art. $8,000 — $12,000

SANTA FE ART AUCTION

210 Pablita [Tse Tsan] Velarde (Santa Clara 1918–2006) Koshare Dancers, 2001

211 Helen [Tsa-Sah-Wee-Eh] Hardin (Santa Clara 1943–1984) Mimbres Warrior, 1970

acrylic on board signed lower right: TsA-sAh-wEE-Eh [artist’s cipher] inscribed verso: To Joyce Wilson / Merry Christmas 1970 / HElEn Hardin / (Mimbres Warrior) / TsA-sAh-wEE-Eh [artist’s cipher] / From Nancy [ ] 6 x 4 in. (15.2 x 10.2 cm.) frame: 8 1/4 x 6 1/4 x 3/4 in. (21 x 15.9 x 1.9 cm.)

Provenance: Private Collection, New Mexico $1,500 — $2,500

Provenance: The Artist, 1970 Private Collection, New Mexico $2,000 — $4,000

212 Helen [Tsa-Sah-Wee-Eh] Hardin (Santa Clara 1943–1984) Pair: Untitled (Birds) acrylic on board each signed lower right: TSA-SAh-WEE-Eh [artist’s cipher] each: 3 x 4 in. (7.6 x 10.2 cm.) each frame: 6 x 7 1/8 x 1 3/8 in. (15.2 x 18.1 x 3.5 cm.) Provenance: Private Collection, New Mexico Exhibited: New Mexico Arts and Crafts Show, Albuquerque, New Mexico $1,200 — $1,800

100

SANTA FE ART AUCTION

213 Don Perceval (1908–1979) Navajo Gathering

214 Quincy Tahoma (Diné [Navajo] 1920–1956) Untitled (Buffalo Hunt), 1951

watercolor on paper signed lower right: DON PERCEVAL10 1/2 x 12 1/2 in. (26.7 x 31.8 cm.) frame: 19 5/8 x 21 3/8 x 3/4 in. (49.8 x 54.3 x 1.9 cm.)

gouache on paper signed and dated lower right: [artist’s cipher] / TAHOMA ‘51 18 1/2 x 23 7/8 in. (47 x 60.6 cm.) frame: 30 3/8 x 35 3/4 x 1 1/4 in. (77.2 x 90.8 x 3.2 cm.)

Provenance: Private Collection, Arizona

Provenance: Private Collection, New Jersey

Exhibited: Don Louis Perceval: His Vision of the West, Santa Barbara Historical Museum, Santa Barbara, California, May 1 - August 17, 2025

$5,000 — $7,000

$1,500 — $2,500

215 Woody Crumbo (Potawatomi 1912–1989) Spirit Horse

216 Narciso Platero [Ha-So-De] Abeyta (Diné [Navajo] 1918–1998) The Race, 1983

gouache on paper signed right of lower center: Crumbo 12 3/4 x 18 7/8 in. (32.4 x 47.9 cm.) frame: 21 1/8 x 26 3/4 x 3/4 in. (53.7 x 67.9 x 1.9 cm.)

gouache on board signed lower right: HA-SO-DE inscribed on verso: 06/23/83 Ph# (505) 863-4697 / Headed Home to Canyoncito after long walk to Bosque Redondo / Painting by Narciso P Abeyta (HA-SO-DE) “Ascending” / 102 Vero Circle, Galup New Mexico 87301 / Painting especially for J. Highwater 19 x 30 3/4 in. (48.3 x 78.1 cm.) frame: 26 3/4 x 38 1/2 x 1 1/8 in. (67.9 x 97.8 x 2.9 cm.)

Provenance: Collection of Buck Saunders, ca. 1985 Private Collection, New Mexico $4,000 — $6,000

Provenance: Private Collection, Arizona $5,000 — $7,000

SANTA FE ART AUCTION

101

217 Emil James Bisttram (1895–1976) Pueblo Spirit Bird

218 Henry Francois Farny (1847–1916) Untitled (Native Portrait), 1886

egg tempera on paper signed lower right: [artist’s cipher] / BISTTRAM 13 x 17 7/8 in. (33 x 45.4 cm.) frame: 21 1/2 x 26 x 1 1/4 in. (54.6 x 66 x 3.2 cm.)

watercolor, gouache on paper signed and dated lower left: FARNY. 1886 / © 9 x 6 1/4 in. (22.9 x 15.9 cm.) frame: 18 x 15 1/2 x 1 in. (45.7 x 39.4 x 2.5 cm.)

Provenance: Fenn Galleries, Santa Fe, New Mexico Private Collection, Arizona

Provenance: Private Collection, Montana $3,000 — $5,000

$4,000 — $8,000

219 John Nieto (1936–2018) Plains Warrior

220 George Arthur Carlson (b. 1940) Matachines Dancer at Choguita, 1977

ink on paper signed lower left: nieto titled lower center: PLAINS WARRIOR 11 1/2 x 8 1/2 in. (29.2 x 21.6 cm.) frame: 16 5/8 x 13 5/8 x 1 1/8 in. (42.2 x 34.6 x 2.9 cm.)

pastel on paper signed and dated lower right: CARLSON, 77 11 1/2 x 12 1/2 in. (29.2 x 31.8 cm.) frame: 22 1/2 x 23 x 1 in. (57.2 x 58.4 x 2.5 cm.)

Provenance: Private Collection, New Mexico

Provenance: Gerald Peters Gallery, Santa Fe, New Mexico The Castle Collection, Oklahoma

$1,000 — $2,000

102

SANTA FE ART AUCTION

221 Pablita [Tse Tsan] Velarde (Santa Clara 1918–2006) Untitled (Galloping Horses), 2001

222 Ila Mae McAfee (1897–1995) Pueblo Peak, ca. 1940

watercolor on rag paper titled lower left: pueblo peak signed lower right: Ila McAfee 12 3/8 x 17 3/4 in. (31.4 x 45.1 cm.) frame: 19 1/4 x 24 3/4 x 1 1/8 in. (48.9 x 62.9 x 2.9 cm.)

Provenance: Private Collection, New Mexico $2,000 — $4,000

223 Ila Mae McAfee (1897–1995) Untitled (Three Horses)

224 Arnold Rönnebeck (1885–1947) Eagle Dance (San Ildefonso), 1925

watercolor on paper signed lower left: Ila McAfee 16 1/2 x 22 1/2 in. (41.9 x 57.2 cm.) frame: 25 x 31 x 1 1/2 in. (63.5 x 78.7 x 3.8 cm.)

graphite on paper initialed and dated lower right: AR / 1925 9 3/8 x 13 7/8 in. (23.8 x 35.2 cm.) frame: 18 1/8 x 22 3/4 x 1 in. (46 x 57.8 x 2.5 cm.)

Provenance: Private Collection, New Mexico

$1,000 — $2,000

$2,000 — $3,000

SANTA FE ART AUCTION

103

225 Gene Kloss (1903–1996) Winter Peace watercolor on paper signed lower left: Gene Kloss N.A. signed lower right: Gene Kloss N.A. 20 3/4 x 28 1/2 in. (52.7 x 72.4 cm.) frame: 29 x 36 3/8 x 1 1/2 in. (73.7 x 92.4 x 3.8 cm.) Provenance: Gallery A, Taos, New Mexico Private Collection, Arizona $9,000 — $12,000

226 Raymond Jonson (1891–1982) House & Mesa, New Mexico, 1936 lithographic crayon on paper signed and dated lower right: Jonson 1936 inscribed verso: Other side is Coated with Acrylic / HOUSE & MESA / 1936 / LITHO CRAYON / NEW MEXICO / RAYMOND JONSON 19 3/8 x 23 in. (49.2 x 58.4 cm.) frame: 24 7/8 x 28 3/8 x 3/4 in. (63.2 x 72.1 x 1.9 cm.) Provenance: Private Collection, New Mexico $3,000 — $5,000

104

SANTA FE ART AUCTION

227 Andrew Dasburg (1887–1979) Windmill at Talpa watercolor on paper signed lower right: Dasburg inscribed verso: This woRk “Windmill At TAlpA”, by / AndrEw DAsburg WAs viewed by Lifelong Friend / and Artist - Alexandre Hogue - on 12-11-92 in Tulsa, OK. Following its Exhibition with the Pennsylvania / Academy of Fine Arts. Mr. Hogue one of the last living / giants of American Regionalism - worked and painted with / Dasburg from the 1920’s thru the 1940’s on yearly visits to / New Mexico. It was his opinion that this work would have / been done by Dasburg during the late 30’s due to its / complicatied nature and handling. “Among his best - along the same / line as some of my more abstract work.” / K. Douglas Wiggins 12-12-92 14 1/2 x 21 1/4 in. (36.8 x 54 cm.) frame: 24 1/4 x 31 1/4 x 1 1/4 in. (61.6 x 79.4 x 3.2 cm.)

228 Frank G. Applegate (1881–1931) Fields at Santa Fe, ca. 1925 watercolor on paper 9 7/8 x 15 7/8 in. (25.1 x 40.3 cm.) frame: 17 3/4 x 23 1/4 x 1 1/8 in. (45.1 x 59.1 x 2.9 cm.) Provenance: Private Collection, New Mexico $4,000 — $6,000

Provenance: Cline Gallery Fine Art, Santa Fe, New Mexico Private Collection, New Mexico Exhibited: US Artists, Native to Neon: Exposition of American Art, Pennsylvania Academy of Fine Arts, December 3 - 6, 1992 $6,000 — $9,000

229 Jozef Bakós (1891–1977) Adobe House, 1928

230 Leon Shulman Gaspard (1882–1964) Study (Forest Village)

watercolor on paper signed upper left: BAKOS signed and titled lower right: BAKOS / adobe house 14 3/8 x 19 1/2 in. (36.5 x 49.5 cm.) frame: 26 1/2 x 31 1/4 x 1 1/8 in. (67.3 x 79.4 x 2.9 cm.)

watercolor on paper signed lower right: Leon Gaspard featuring additional drawing verso 4 x 5 3/8 in. (10.2 x 13.7 cm.) frame: 7 1/8 x 8 1/2 x 1 in. (18.1 x 21.6 x 2.5 cm.)

Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, Arizona

Provenance: Private Collection, Texas

$3,000 — $5,000

$1,500 — $2,500

SANTA FE ART AUCTION

105

231 Jennifer Losch Bartlett (1941–2022) December - January, Sun Valley #10, 1996–1997 pastel on paper inscribed verso: JB 1395 / 10 Dec - Ja. Sun Valley 1996-7 J. Bartlett 30 x 30 in. (76.2 x 76.2 cm.) frame: 37 x 37 x 1 3/4 in. (94 x 94 x 4.4 cm.) Provenance: Baldwin Gallery, Aspen, Colorado Private Collection, Colorado $5,000 — $8,000

232 Jennifer Losch Bartlett (1941–2022) December - January, Sun Valley #3, 1996–1997 pastel on paper inscribed verso: [artist’s signature] 96/97 29 1/2 x 29 1/2 in. (74.9 x 74.9 cm.) frame: 37 x 37 x 2 in. (94 x 94 x 5.1 cm.) Provenance: Baldwin Gallery, Aspen, Colorado Private Collection, Colorado $5,000 — $8,000

106

SANTA FE ART AUCTION

233 Emil James Bisttram (1895–1976) Taos Church watercolor on paper signed lower right: Emil Bisttram 9 1/4 x 13 1/4 in. (23.5 x 33.7 cm.) frame: 20 1/4 x 26 1/8 x 2 in. (51.4 x 66.4 x 5.1 cm.) Provenance: Robert M. Copeland & Frank Croft Vintage American Art, Santa Fe, New Mexico Private Collection, New Mexico $2,000 — $4,000

234 Fremont F. Ellis (1897–1985) Cristo Rey Church, ca. 1969 watercolor on paper signed lower left: FREMONT F ELLIS 11 x 14 1/2 in. (27.9 x 36.8 cm.) frame: 18 3/8 x 22 x 1 1/4 in. (46.7 x 55.9 x 3.2 cm.) Provenance: The Jamison Galleries, Santa Fe, New Mexico, 1969 Private Collection, Texas $2,000 — $4,000

SANTA FE ART AUCTION

107

235 Gene Kloss (1903–1996) Untitled (Mountain Village)

236 Gene Kloss (1903–1996) Valley Farm, ca. 1935

watercolor on paper signed lower right: GeNe Kloss 10 3/8 x 13 1/8 in. (26.4 x 33.3 cm.) frame: 16 7/8 x 19 x 1 in. (42.9 x 48.3 x 2.5 cm.)

watercolor on paper signed lower left: Gene Kloss inscribed verso: 1930’s- Valley Farm by Gene Kloss 10 1/2 x 13 3/4 in. (26.7 x 34.9 cm.) frame: 17 x 23 x 3/4 in. (43.2 x 58.4 x 1.9 cm.)

Provenance: The Artist’s Estate Private Collection, Oregon (by descent) $4,000 — $6,000

237 Gene Kloss (1903–1996) Untitled (Village Scene)

238 Gene Kloss (1903–1996) Untitled (Seascape)

watercolor on paper signed lower left: Alice G. Kloss 8 3/4 x 11 1/4 in. (22.2 x 28.6 cm.) frame: 15 1/8 x 17 1/2 x 5/8 in. (38.4 x 44.5 x 1.6 cm.)

watercolor on paper signed lower left: Gene Kloss A.N.A. 19 1/2 x 27 in. (49.5 x 68.6 cm.) frame: 24 7/8 x 32 x 3/4 in. (63.2 x 81.3 x 1.9 cm.)

Provenance: The Artist’s Estate Private Collection, Oregon (by descent)

$2,000 — $4,000

108

SANTA FE ART AUCTION

239 Peter Hurd (1904–1984) Near Hondo watercolor on paper signed lower left: Peter Hurd 5 1/2 x 7 1/4 in. (14 x 18.4 cm.) frame: 11 3/4 x 13 5/8 x 3/4 in. (29.8 x 34.6 x 1.9 cm.) Provenance: Altermann Galleries, Santa Fe, New Mexico Private Collection, Colorado $2,000 — $3,000

240 Charles Barrows (1903–1988) Santa Fe Landscape watercolor on paper signed lower left: Charles Barrows 13 1/4 x 10 1/2 in. (33.7 x 26.7 cm.) frame: 20 7/8 x 17 1/2 x 1 1/4 in. (53 x 44.5 x 3.2 cm.) Provenance: Owings-Dewey Fine Art, Santa Fe, New Mexico Private Collection, New Mexico $1,500 — $2,500

241 Louie Ewing (1908–1983) Two Works: My Neighbors, 1945 + Neighbors, ca. 1950 My Neighbors, 1945 casein on paper signed right of lower center: Louie Ewing 10 1/2 x 14 1/2 in. (26.7 x 36.8 cm.) frame: 17 1/4 x 21 1/4 x 7/8 in. (43.8 x 54 x 2.2 cm.) accompanied by: Neighbors, ca. 1950 serigraph, edition 54/100 editioned and titled lower left: 54/100 Neighbors signed lower right: Louie Ewing 11 x 14 5/8 in. (27.9 x 37.1 cm.) frame: 17 1/4 x 21 1/4 x 7/8 in. (43.8 x 54 x 2.2 cm.) Provenance: Private Collection, New Mexico $1,800 — $2,400

242 Thomas Moran (1837–1926) On the Way to the Farm watercolor on paper signed lower left: T. Moran letter from curator of Thomas Moran Catalogue Raisonné Project affixed verso 6 5/8 x 12 1/2 in. (16.8 x 31.8 cm.) frame: 11 5/8 x 17 3/8 x 5/8 in. (29.5 x 44.1 x 1.6 cm.) Provenance: Private Collection, Colorado $3,000 — $5,000

SANTA FE ART AUCTION

109

243 John Wade Hampton (1918–2000) The Spoils of War, 1991 watercolor on paper signed and dated lower left: jwHAMPTON [artist’s cipher] [Cowboy Artists of America insignia] / © 1991 19 1/2 x 29 1/4 in. (49.5 x 74.3 cm.) frame: 29 x 39 1/8 x 1 7/8 in. (73.7 x 99.4 x 4.8 cm.) Provenance: Altermann Galleries, Santa Fe, New Mexico Private Collection, Indiana $2,000 — $4,000

244 Nick Eggenhofer (1897–1985) Stagecoach gouache, watercolor on paper signed lower right: N. EGGENHOFER 10 1/2 x 21 1/4 in. (26.7 x 54 cm.) frame: 19 1/2 x 30 1/4 x 3/4 in. (49.5 x 76.8 x 1.9 cm.) Provenance: Private Collection, Colorado $1,000 — $2,000

245 W. Herbert Dunton (1879–1936) Cowboy, 1905 pen and ink on paper signed and dated lower left: W. Herbert Dunton ‘05 7 1/2 x 10 3/4 in. (19.1 x 27.3 cm.) frame: 13 1/4 x 16 1/4 x 5/8 in. (33.7 x 41.3 x 1.6 cm.) Provenance: Private Collection, Colorado $2,000 — $4,000

110

SANTA FE ART AUCTION

246 Leonard Howard Reedy (1899–1956) The Sandstorm

247 Leonard Howard Reedy (1899–1956) The Pioneers

watercolor on paper signed lower left: LEONARD H. REEDY inscribed verso: “The Sandstorm” 8 x 11 in. (20.3 x 27.9 cm.) frame: 15 x 18 x 3/4 in. (38.1 x 45.7 x 1.9 cm.)

watercolor on paper signed lower left: LEONARD H. REEDY 8 x 11 1/2 in. (20.3 x 29.2 cm.) frame: 14 3/4 x 17 1/2 x 3/4 in. (37.5 x 44.5 x 1.9 cm.)

Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, New Jersey

Provenance: J. W. Young Paintings, Etchings & Antiques, Chicago, Illinois Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, New Jersey

$1,000 — $2,000

248 Gary Carter (b. 1939) For Pete’s Sake, 1973

249 Russ Vickers (1923–1997) Top Sergeant, 1975

watercolor on paper signed and dated lower right: ©GARY CARTER [artist’s cipher] ‘73 inscribed verso: GC 2373 / “FOR PETE’S SAKE” 11 1/8 x 21 1/4 in. (28.3 x 54 cm.) frame: 17 1/8 x 27 x 1 in. (43.5 x 68.6 x 2.5 cm.)

oil on canvas signed lower right: Russ Vickers inscribed verso: TOP SERGEANT / Russ Vickers / 3-75 15 1/2 x 11 1/2 in. (39.4 x 29.2 cm.) frame: 22 1/4 x 18 1/4 x 1 in. (56.5 x 46.4 x 2.5 cm.)

Provenance: The Jamison Galleries West, Tucson, Arizona Private Collection, Colorado

Provenance: Private Collection, Michigan

$1,000 — $2,000

SANTA FE ART AUCTION

111

250 Bud Helbig (1919–2002) Branding Time, 1971

251 Bud Helbig (1919–2002) Round Up, 1977

oil on canvas signed and dated lower right: Bud Helbig 71 20 x 36 in. (50.8 x 91.4 cm.) frame: 28 1/4 x 44 1/4 x 1 1/4 in. (71.8 x 112.4 x 3.2 cm.)

oil on board signed and dated lower right: Bud Helbig 77 / [Cowboy Artists of America insignia] 15 1/2 x 19 1/2 in. (39.4 x 49.5 cm.) frame: 22 x 25 3/4 x 1 3/8 in. (55.9 x 65.4 x 3.5 cm.)

Provenance: Private Collection, Colorado

$1,500 — $2,500

$800 — $1,200

252 Gordon E. Snidow (b. 1936) Yah-Tay, 2003

253 Gary Niblett (b. 1943) Prairie Cowboy, 1978

gouache on panel signed and dated lower right: Snidow / 2003 © 10 x 12 1/2 in. (25.4 x 31.8 cm.) frame: 17 1/8 x 19 5/8 x 2 1/8 in. (43.5 x 49.8 x 5.4 cm.)

oil on masonite signed and dated lower right: © / GARY NIBLEtt ‘78 [Cowboy Artists of America insignia] inscribed verso: “Prairie Cowboy” 11 x 14 in. (27.9 x 35.6 cm.) frame: 19 1/4 x 22 1/4 x 1 1/2 in. (48.9 x 56.5 x 3.8 cm.)

Provenance: East Coast Art, Limerick, Pennsylvania Private Collection, Pennsylvania Exhibited: Prix de West Invitational, National Cowboy & Western Heritage Museum $1,500 — $2,500

112

SANTA FE ART AUCTION

Provenance: Private Collection, New Mexico $1,500 — $2,500

254 Curt Walters (b. 1950) Galisteo River, 2010 oil on canvas board signed lower left: Curt Walters inscribed verso: “GALISTEO RIVER” artist’s copyright stamps verso 10 x 19 7/8 in. (25.4 x 50.5 cm.) frame: 15 3/8 x 25 1/4 x 2 in. (39.1 x 64.1 x 5.1 cm.) Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, New Mexico $1,500 — $2,500

255 William Haskell (b. 1963) Dusk drybrush watercolor on board initialed lower right: WSH inscribed verso: “DUSK” William Haskell 29 1/2 x 21 5/8 in. (74.9 x 54.9 cm.) frame: 39 x 31 x 1 1/4 in. (99.1 x 78.7 x 3.2 cm.) Provenance: Manitou Galleries, Santa Fe, New Mexico Private Collection, Indiana $1,500 — $2,500

256 Buck Saunders (1907–1988) Santuario of Chimayo

257 Scott Christensen (b. 1962) Winter

watercolor on paper signed lower right: BUCK SAUNDERS inscribed verso: Chimayo Church / Chimayo, New Mexico / NOT FOR SALE 12 3/4 x 20 3/8 in. (32.4 x 51.8 cm.) frame: 20 7/8 x 28 1/4 x 1 3/4 in. (53 x 71.8 x 4.4 cm.)

oil on canvas over board signed lower left: CHRISTENSEN © 10 x 11 7/8 in. (25.4 x 30.2 cm.) frame: 16 x 18 x 1 1/4 in. (40.6 x 45.7 x 3.2 cm.)

Provenance: The Artist, ca. 1985 Private Collection, New Mexico

Provenance: Private Collection, Michigan $1,500 — $2,500

$1,500 — $3,000

SANTA FE ART AUCTION

113

258 Ben Turner (1912–1966) Untitled (Mountain Stream with Aspens)

259 Amery Bohling (20th/21st Century) View of Unkar, 2025

oil on canvas signed lower right: BEN TURNER 20 x 30 in. (50.8 x 76.2 cm.) frame: 29 x 39 x 2 1/2 in. (73.7 x 99.1 x 6.4 cm.)

oil on panel signed lower right: -AMERYinscribed verso: View of Unkar / 10x12 / Amery Bohling 10 x 12 in. (25.4 x 30.5 cm.) frame: 13 1/4 x 15 1/4 x 2 in. (33.7 x 38.7 x 5.1 cm.)

Provenance: Private Collection, Texas $1,500 — $2,500

Provenance: Parsons Gallery of the West, Taos, New Mexico Private Collection, Norway $1,500 — $2,500

260 Jurgen Wilms (b. 1951) Cloudy Skies North of Abiquiu

261 Jurgen Wilms (b. 1951) Road to Chama

oil on masonite signed lower right: J. Wilms 23 7/8 x 36 in. (60.6 x 91.4 cm.) frame: 33 1/2 x 45 1/2 x 2 in. (85.1 x 115.6 x 5.1 cm.)

oil on masonite signed lower right: J. Wilms 20 x 24 in. (50.8 x 61 cm.) frame: 31 3/4 x 35 3/4 x 2 1/8 in. (80.6 x 90.8 x 5.4 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

$1,500 — $2,500

114

SANTA FE ART AUCTION

262 Fremont F. Ellis (1897–1985) Sheepherder - Santa Fe oil on board signed lower left: FREMONT F. ELLIS 4 1/2 x 5 1/2 in. (11.4 x 14 cm.) frame: 14 1/2 x 16 3/8 in. (36.8 x 41.6 cm.) Provenance: Owings-Dewey Fine Art, Santa Fe, New Mexico Private Collection, Texas $1,000 — $2,000

263 Thomas Silvestre Macaione (1907–1992) Untitled (Spring Landscape in Santa Fe), 1982 oil on canvas inscribed verso: By Tom S. / Macaione / -198214 x 17 7/8 in. (35.6 x 45.4 cm.) Provenance: Private Collection, New Mexico $2,000 — $4,000

264 Thomas Silvestre Macaione (1907–1992) Untitled (Canyon Road in Winter), 1982

265 William Judson Dickerson (1904–1972) New Mexico Afternoon

oil on canvas inscribed verso: By Tom.S. / © Macaione / 1982 10 7/8 x 13 7/8 in. (27.6 x 35.2 cm.)

oil on linen signed lower right: Wm Dickerson inscribed verso: WILLIAM DICKERSON / WICHITA, KANSAS / NEW MEXICO AFTERNOON / OIL additional painting verso 19 7/8 x 25 3/4 in. (50.5 x 65.4 cm.) frame: 26 1/2 x 32 1/2 x 1 3/4 in. (67.3 x 82.6 x 4.4 cm.)

Provenance: Private Collection, New Mexico $1,500 — $2,500

Provenance: Private Collection, New Mexico $1,800 — $2,400

SANTA FE ART AUCTION

115

266 Laurence Philip Sisson (1928–2015) Tesuque Afternoon oil on masonite signed lower right: LSISSON 24 x 36 in. (61 x 91.4 cm.) frame: 33 x 45 x 2 1/4 in. (83.8 x 114.3 x 5.7 cm.) Provenance: Private Collection, New Jersey $2,000 — $3,000

267 Laurence Philip Sisson (1928–2015) Vespers in the Valley oil on canvas signed lower left: LSISSON 20 1/4 x 30 in. (51.4 x 76.2 cm.) frame: 28 5/8 x 38 5/8 x 1 1/2 in. (72.7 x 98.1 x 3.8 cm.) Provenance: Private Collection, New Jersey $1,500 — $2,500

268 Hermann Dudley Murphy (1867–1945) On the Beach oil on board signed lower left: [artist’s cipher] / H. Dudley Murphy inscribed verso: On the Beach / H. Dudley Murphy / [artist’s cipher] / PROPERTY OF RICHARD & FRANK GERTH 8 x 10 in. (20.3 x 25.4 cm.) frame: 10 3/8 x 12 1/4 x 1 1/8 in. (26.4 x 31.1 x 2.9 cm.) Provenance: Collection of Richard and Frank Gerth Private Collection, New Mexico $1,500 — $2,500

116

SANTA FE ART AUCTION

269 Linda Kyser Smith (b. 1949) Sweet Nothings

270 Linda Kyser Smith (b. 1949) First Balcony

oil on board signed lower right: LINDA KYSER SMITH inscribed verso: SWEET NOTHINGS / LINDA KYSER SMITH 25 1/2 x 23 1/2 in. (64.8 x 59.7 cm.) frame: 33 x 31 1/4 x 1 3/4 in. (83.8 x 79.4 x 4.4 cm.)

oil on board signed upper right: LINDA KYSER SMITH inscribed verso: FIRST BALCONY / SMITH 22 x 17 in. (55.9 x 43.2 cm.) frame: 30 1/2 x 25 3/8 x 1 1/2 in. (77.5 x 64.5 x 3.8 cm.)

Provenance: Private Collection, Colorado

$1,000 — $2,000

271 Robert Spooner (b. 1956) Untitled (Chef in the Kitchen) oil on panel signed lower left: R Spooner inscribed verso: 20x20 / © / Robert Spooner 20 1/8 x 20 1/4 in. (51.1 x 51.4 cm.) frame: 29 x 29 1/4 x 1 1/2 in. (73.7 x 74.3 x 3.8 cm.) Provenance: Private Collection, New Mexico $1,500 — $2,500

SANTA FE ART AUCTION

117

SESSION III

LOTS 272 – 464

Saturday, November 7 1:00pm MST

272 Gerald Cassidy (1869–1934) Canyon Road in Santa Fe

273 Aaron Garlick (b. 1988) Chile Season, 2026

watercolor on paper signed in image lower center: Gerald Cassidy inscribed verso: Canyon Road in Santa Fe 11 7/8 x 7 in. (30.2 x 17.8 cm.) frame: 17 3/4 x 12 5/8 x 1/2 in. (45.1 x 32.1 x 1.3 cm.)

oil on board signed lower left: Garlick [artist’s cipher] inscribed verso: [artist’s cipher] / “Chile Season” / Aaron Garlick / 2026 18 1/2 x 16 1/2 in. (47 x 41.9 cm.) frame: 24 3/8 x 22 3/8 x 2 in. (61.9 x 56.8 x 5.1 cm.)

Provenance: Private Collection, New Mexico

Provenance: The Artist

$1,500 — $3,000

274 Chuck Volz (1942–2020) Winter Magic - Upper Acequia Madre, Santa Fe

275 Kimbal Warren (b. 1952) Taos Valley Ranch

oil on panel signed lower left: Volz inscribed verso: WINTER MAGIC / UPPER ACEQUIA MADRE / SANTA FE 12 x 15 3/4 in. (30.5 x 40 cm.) frame: 19 1/2 x 23 1/2 x 1 1/4 in. (49.5 x 59.7 x 3.2 cm.)

oil on linen signed lower right: Kimbal Warren inscribed verso: #92.38 / Taos Valley Ranch / Kimbal Warren 30 1/4 x 48 in. (76.8 x 121.9 cm.) frame: 39 1/4 x 56 3/4 x 3 3/4 in. (99.7 x 144.1 x 9.5 cm.)

Provenance: Private Collection, New Mexico

Provenance: Wadle Galleries, Santa Fe, New Mexico Private Collection, New Jersey

$1,000 — $2,000

$2,000 — $4,000

120

SANTA FE ART AUCTION

276 William Cather Hook (b. 1948) Fall in Forest, 2018

277 William Cather Hook (b. 1948) Valley Road

acrylic on canvas signed lower right: W. C. Hook. inscribed verso: © W. C. Hook. / 2018 FALL IN FOREST / #4018 36 1/8 x 23 7/8 in. (91.8 x 60.6 cm.) frame: 41 1/2 x 29 1/2 x 1 1/8 in. (105.4 x 74.9 x 2.9 cm.)

acrylic on canvas signed lower left: W. C. Hook. inscribed verso: Valley Road / 24x30 / acrylic / 797 24 x 30 in. (61 x 76.2 cm.) frame: 32 5/8 x 38 3/8 x 1 7/8 in. (82.9 x 97.5 x 4.8 cm.)

Provenance: Meyer Gallery, Santa Fe, New Mexico Private Collection, New Mexico

Provenance: Acosta Strong Fine Art, Santa Fe, New Mexico Private Collection, Texas

$3,000 — $5,000

$2,000 — $4,000

278 Paul Strisik (1918–1998) Arroyo Seco, 1971

279 Irby Graves Brown (1928–2016) Untitled (East Side of Santa Fe)

oil on canvas signed lower right: P. STRISIK 20 x 30 in. (50.8 x 76.2 cm.) frame: 29 1/4 x 39 1/4 x 2 3/4 in. (74.3 x 99.7 x 7 cm.)

oil on board signed lower left: Irby BroWN 25 x 31 in. (63.5 x 78.7 cm.) frame: 33 3/4 x 39 3/4 x 2 in. (85.7 x 101 x 5.1 cm.)

Provenance: Private Collection, Texas

Provenance: Private Collection, New Mexico

$1,500 — $2,500

$2,000 — $4,000

SANTA FE ART AUCTION

121

280 John Moyers (b. 1958) Chamisa Trail, 2014

281 Curt Walters (b. 1950) Windswept

oil on board signed lower left: JOHN MOYERS inscribed verso: 18X18 / “CHAMISA TRAIL” / JOHN MOYERS © / 2014 / -ALL REPRODUCTION RIGHTS / RESERVED BY ARTIST’S / FAMILY 18 x 18 in. (45.7 x 45.7 cm.) frame: 24 3/4 x 24 5/8 x 1 1/8 in. (62.9 x 62.5 x 2.9 cm.)

oil on linen signed lower right: CuRt WAltERS inscribed verso: WINDSWEPT 12 x 16 in. (30.5 x 40.6 cm.) frame: 17 3/4 x 21 3/4 x 3 in. (45.1 x 55.2 x 7.6 cm.)

Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, Colorado $2,500 — $4,500

Provenance: Trailside Galleries, Jackson, Wyoming + Scottsdale, Arizona, 1989 Private Collection, Oklahoma $2,000 — $4,000

282 Curt Walters (b. 1950) Tortuous

283 Thomas Silvestre Macaione (1907–1992) Santa Fe, 1955

oil on linen signed lower left: CuRt WAltERS inscribed verso: “TORTUOUS” 18 x 18 in. (45.7 x 45.7 cm.) frame: 23 1/2 x 23 1/2 x 2 3/4 in. (59.7 x 59.7 x 7 cm.)

oil on panel signed and dated lower right: © TOM.S.MACAIONE 55 20 1/2 x 39 1/2 in. (52.1 x 100.3 cm.) frame: 26 3/8 x 45 1/2 x 1 1/4 in. (67 x 115.6 x 3.2 cm.)

Provenance: Trailside Galleries, Jackson, Wyoming + Scottsdale, Arizona, 1989 Private Collection, Oklahoma $3,000 — $5,000

122

SANTA FE ART AUCTION

Provenance: William Vincent Fine Art, Santa Fe, New Mexico Private Collection, Arizona $4,000 — $6,000

284 Bert Geer Phillips (1868–1956) Spring Landscape oil on canvas 13 3/8 x 17 1/2 in. (34 x 44.5 cm.) frame: 22 1/4 x 26 1/4 x 1 1/2 in. (56.5 x 66.7 x 3.8 cm.) Provenance: Santa Fe Art Foundation, Santa Fe, New Mexico Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico $2,000 — $4,000

285 Fremont F. Ellis (1897–1985) Arroyo, 1955 oil on canvas over board signed lower left: FREMONT F ELLIS inscribed verso: ARRoyo / Fremont / Ellis / E85 9 x 12 in. (22.9 x 30.5 cm.) frame: 12 3/4 x 15 5/8 x 1 in. (32.4 x 39.7 x 2.5 cm.) Provenance: Private Collection, New Mexico $3,000 — $5,000

286 Fremont F. Ellis (1897–1985) September - Wagon Wheel Gap, 1970 oil on canvas signed lower left: FREMONT F ELLIS inscribed verso: “SEPTEMBER - WAGON / WHEEL GAP” / OIL / DO NOT OIL OR VARNISH artist’s copyright stamp verso 10 5/8 x 13 3/4 in. (27 x 34.9 cm.) frame: 17 3/8 x 20 3/8 x 1 3/4 in. (44.1 x 51.8 x 4.4 cm.) Provenance: The Artist Private Collection, Texas $3,000 — $5,000

SANTA FE ART AUCTION

123

287 Carl Redin (1892–1944) Saguaros and Mountains oil on canvas over board signed lower right: Carl Redin 11 1/4 x 14 7/8 in. (28.6 x 37.8 cm.) frame: 17 3/4 x 21 1/2 x 1 1/2 in. (45.1 x 54.6 x 3.8 cm.) Provenance: Altermann Galleries, Santa Fe, New Mexico Private Collection, Arizona $3,000 — $5,000

288 Burt Procter (1901–1980) Untitled (Pueblo Scene) oil on panel signed lower right: Burt Procter 17 1/4 x 35 1/4 in. (43.8 x 89.5 cm.) frame: 28 7/8 x 43 7/8 x 1 3/8 in. (73.3 x 111.4 x 3.5 cm.) Provenance: Private Collection, Texas $2,000 — $4,000

289 David Jonason (20th/21st Century) Abiquiu Hills, 2010 oil on canvas signed and dated lower left: JONASON ‘10 30 x 30 in. (76.2 x 76.2 cm.) frame: 35 3/4 x 35 3/4 x 1 3/4 in. (90.8 x 90.8 x 4.4 cm.) Provenance: Meyer East Gallery, Santa Fe, New Mexico Private Collection, New Mexico $3,000 — $5,000

124

SANTA FE ART AUCTION

290 Harvey T. Dunn (1884–1952) Red Mesa

291 Harvey T. Dunn (1884–1952) Looking Toward “Great Rock”

oil on panel signed lower left: HARVEY / DUNN 11 1/2 x 15 1/2 in. (29.2 x 39.4 cm.) frame: 18 3/8 x 22 3/8 x 1 3/8 in. (46.7 x 56.8 x 3.5 cm.)

oil on panel signed lower left: HARVY / DUNN 11 1/2 x 15 1/2 in. (29.2 x 39.4 cm.) frame: 18 3/8 x 22 1/2 x 1 1/4 in. (46.7 x 57.2 x 3.2 cm.)

Provenance: Owings-Dewey Fine Art, Santa Fe, New Mexico Private Collection, Arizona

$3,000 — $6,000

292 Laurence Philip Sisson (1928–2015) Nambe Snow Tapestry oil on masonite signed lower right: L. SissoN 44 x 72 in. (111.8 x 182.9 cm.) frame: 51 1/2 x 79 1/2 x 1 1/2 in. (130.8 x 201.9 x 3.8 cm.) Provenance: Private Collection, Texas $4,000 — $6,000

SANTA FE ART AUCTION

125

293 Arturo Antonio Chávez (b. 1949) Chinle Wash, 2001 oil on linen signed lower left: Arturo 40 x 50 x 1 3/8 in. (101.6 x 127 x 3.5 cm.) Provenance: Private Collection, New Mexico $4,000 — $8,000

294 Arturo Antonio Chávez (b. 1949) Luz De Los Barrancas, 1997 oil on linen signed lower right: Arturo Chavez inscribed verso: 2710 28 x 36 Oil/LiNen / Chavez © 1997 28 1/8 x 36 1/8 in. (71.4 x 91.8 cm.) frame: 36 1/2 x 44 3/8 x 3 1/8 in. (92.7 x 112.7 x 7.9 cm.) Provenance: Private Collection, New Mexico $2,000 — $4,000

295 Forrest Moses (1934–2021) Winter Cornfields oil on canvas inscribed verso: #9403 36x50 WINTER CORNFIELDS MOSES 36 x 50 in. (91.4 x 127 cm.) frame: 37 1/2 x 51 3/4 x 2 in. (95.3 x 131.4 x 5.1 cm.) Provenance: Private Collection, Colorado $6,000 — $9,000

126

SANTA FE ART AUCTION

296 Carl Von Hassler (1887–1969) Winter in San Antonio, New Mexico, ca. 1940

297 Carl Von Hassler (1887–1969) Early Snow, 1937

oil on masonite signed lower left: Von Hassler inscribed verso: Winter in San Antonio N.M. / by Von Hassler -40 20 1/2 x 25 1/2 in. (52.1 x 64.8 cm.) frame: 25 3/4 x 30 3/4 x 1 3/4 in. (65.4 x 78.1 x 4.4 cm.)

gouache on paper signed and dated lower right: Von Hassler.37 12 x 16 in. (30.5 x 40.6 cm.) frame: 20 1/2 x 25 x 1 in. (52.1 x 63.5 x 2.5 cm.)

Provenance: Estate of Monroe Wingate Private Collection, Colorado

Provenance: Private Collection, New Mexico $3,000 — $6,000

$4,000 — $6,000

298 Carl Von Hassler (1887–1969) Church (Peralta), 1936

299 Carl Schmidt (1885–1969) Navajo Goatherders

oil on board signed lower left: Von Hassler inscribed verso: Von Hassler ‘36 / Church (Peralta) 14 x 20 in. (35.6 x 50.8 cm.) frame: 16 1/2 x 22 1/2 x 1 1/2 in. (41.9 x 57.2 x 3.8 cm.)

oil on canvas signed lower right: Carl Schmidt inscribed verso: Navajo GoaT Herders / No 18 features original Newcomb Macklin frame 30 x 32 in. (76.2 x 81.3 cm.) frame: 38 1/8 x 40 1/8 x 2 1/2 in. (96.8 x 101.9 x 6.4 cm.)

Provenance: Private Collection, Texas $3,000 — $5,000

Provenance: Mitchell Brown Fine Art, Scottsdale, Arizona Private Collection, Arizona $3,000 — $5,000

SANTA FE ART AUCTION

127

300 Ross Stefan (1934–1999) Autumn, 1964

301 George Dee Smith (b. 1944) Life’s Eternal Beauty, 2007

oil on linen signed lower right: Ross Stefan inscribed verso: by Ross Stefan 1964 “AUTUMN” 22 1/8 x 30 in. (56.2 x 76.2 cm.) frame: 31 5/8 x 40 x 1 1/2 in. (80.3 x 101.6 x 3.8 cm.)

oil on panel signed lower left: George D. Smith inscribed verso: “LIFES ETERNAL BEAUTY” 18x24 OIL ON PANEL / [indecipherable] WYO / PAINTED 2007 in WAPITI, WYO USA / George D. Smith 18 x 24 in. (45.7 x 61 cm.) frame: 26 x 31 7/8 x 1 1/2 in. (66 x 81 x 3.8 cm.)

Provenance: Private Collection, Colorado $2,000 — $4,000

Provenance: Private Collection, Indiana $2,000 — $4,000

302 Denis Milhomme (b. 1954) Zion’s Beauty, 2016

303 Gary Lynn Roberts (b. 1953) Bad Decision

oil on board signed and dated lower left: Milhomme © ‘16 15 3/8 x 15 3/8 in. (39.1 x 39.1 cm.) frame: 23 1/4 x 23 1/4 x 2 3/4 in. (59.1 x 59.1 x 7 cm.)

oil on linen signed lower right: Gary Lynn Roberts [artist’s cipher] / © 20 x 16 in. (50.8 x 40.6 cm.) frame: 29 1/4 x 25 1/4 x 2 3/4 in. (74.3 x 64.1 x 7 cm.)

Provenance: Private Collection, Indiana

$2,000 — $4,000

128

SANTA FE ART AUCTION

304 John Moyers (b. 1958) Taos Drummer oil on board signed lower left: JOHN MOYERSinscribed verso: “TAOS DRUMMER” / JOHN MOYERS 16 x 12 in. (40.6 x 30.5 cm.) frame: 21 5/8 x 17 5/8 x 1 1/4 in. (54.9 x 44.8 x 3.2 cm.) Provenance: Private Collection, New Mexico $2,000 — $4,000

305 Zhiwei Tu (b. 1951) Leader of the Sioux oil on canvas signed upper left: Zhiwei Tu / OPA accompanied by Certificate of Authenticity 20 x 24 in. (50.8 x 61 cm.) frame: 26 5/8 x 30 5/8 x 1 1/2 in. (67.6 x 77.8 x 3.8 cm.) Provenance: Henington Gallery, Santa Fe, New Mexico Altermann Galleries, Santa Fe, New Mexico Private Collection, Indiana $2,000 — $4,000

306 D. Edward Kucera (b. 1961) Soulful Belongings, 1997 oil on linen signed and dated lower left: DEKUCERA ©1997 inscribed verso: “SOULFUL BELONGINGS” / by D.E. KUCERA / © 1997 36 1/8 x 48 1/4 in. (91.8 x 122.6 cm.) frame: 46 1/2 x 58 3/8 x 1 3/4 in. (118.1 x 148.3 x 4.4 cm.) Provenance: Altermann Galleries, Santa Fe, New Mexico Private Collection, Indiana $6,000 — $9,000

SANTA FE ART AUCTION

129

307 John DeMott (b. 1954) Encampment of the Blackfeet, 1990

308 Dan Mieduch (b. 1947) Her Majesty’s Constabulary, 1997

oil on canvas signed and dated lower right: © DEMOTT 1990 inscribed verso: All Reproduction Rights Reserved by Artist 40 1/8 x 30 1/8 in. (101.9 x 76.5 cm.) frame: 50 1/2 x 40 1/4 x 2 in. (128.3 x 102.2 x 5.1 cm.)

oil on panel signed and dated lower right: DAN MIEDUCH © / 1997 24 x 36 in. (61 x 91.4 cm.) frame: 35 1/2 x 47 5/8 x 2 3/4 in. (90.2 x 121 x 7 cm.)

Provenance: Altermann Galleries, Santa Fe, New Mexico Private Collection, Indiana $6,000 — $9,000

309 Michael Coleman (b. 1951) Winter Hunter oil on board signed lower right: MICHAEL COLEMAN- / © 14 x 20 in. (35.6 x 50.8 cm.) frame: 22 1/4 x 28 1/8 x 3 in. (56.5 x 71.4 x 7.6 cm.) Provenance: Altermann Galleries, Santa Fe, New Mexico Private Collection, Indiana $2,000 — $4,000

130

SANTA FE ART AUCTION

310 James Ayers (b. 1969) Gaze of Authority, 2012 oil on canvas signed and dated lower left: James Ayers / 2012 inscribed verso: Gaze of Authority / James Ayers / CROW 10 x 8 in. (25.4 x 20.3 cm.) frame: 16 7/8 x 14 7/8 x 1 1/2 in. (42.9 x 37.8 x 3.8 cm.) Provenance: Private Collection, Indiana $1,000 — $2,000

311 Mark Rohrig (b. 1955) Untitled (Portrait of a Chief with Shield), 1983 acrylic on canvas signed and dated lower left: Mark Rohrig 83 © 49 5/8 x 46 in. (126 x 116.8 cm.) frame: 56 1/4 x 52 3/8 x 2 1/2 in. (142.9 x 133 x 6.4 cm.) Provenance: Private Collection, Colorado $4,000 — $6,000

312 Mark Rohrig (b. 1955) Sunrise

313 Gerald Cassidy (1869–1934) Weini

acrylic on canvas signed lower left: Mark Rohrig © 23 1/4 x 29 1/8 in. (59.1 x 74 cm.) frame: 30 3/8 x 36 1/8 x 3 3/4 in. (77.2 x 91.8 x 9.5 cm.)

oil on canvas signed right of lower center: Gerald [artist’s cipher] Cassidy 16 1/4 x 14 1/8 in. (41.3 x 35.9 cm.) frame: 23 1/4 x 21 x 1 1/2 in. (59.1 x 53.3 x 3.8 cm.)

Provenance: Private Collection, Colorado

Provenance: Fenn Galleries, Santa Fe, New Mexico Lockwood’s Midwestern Gallery, Cincinnati, Ohio Matthew Chase Ltd., Santa Fe, New Mexico Private Collection, New Mexico

$1,500 — $2,500

$5,000 — $7,000

SANTA FE ART AUCTION

131

314 Cyrus Afsary (1940–2025) Plains Chief with Feathers

315 R. Brownell McGrew (1916–1994) Chischille

oil on linen signed lower right: CYRUS AFSARY 24 x 20 in. (61 x 50.8 cm.) frame: 32 3/8 x 28 1/4 x 3 3/8 in. (82.2 x 71.8 x 8.6 cm.)

oil on board signed lower left: R. Brownell McGrew 19 3/4 x 15 3/4 in. (50.2 x 40 cm.) frame: 28 3/4 x 24 1/2 x 2 3/8 in. (73 x 62.2 x 6 cm.)

Provenance: Altermann Galleries, Santa Fe, New Mexico Private Collection, Colorado

Provenance: Private Collection, Indiana

$7,000 — $9,000

$5,000 — $7,000

316 Edgar Samuel Paxson (1852–1919) Portrait of a Young Warrior, 1911 oil on board signed and dated lower right: E S Paxson / -191118 1/4 x 12 in. (46.4 x 30.5 cm.) frame: 24 7/8 x 18 5/8 x 1 3/4 in. (63.2 x 47.3 x 4.4 cm.) Provenance: The Lenz Gallery, Milwaukee, Wisconsin Collection of Robert S. Scott Private Collection, Colorado $4,000 — $6,000

132

SANTA FE ART AUCTION

317 Esquipula Romero de Romero (1889–1975) Adoration (Esther Romero), ca. 1930 oil on canvas signed lower right: E Romero / de Romero accompanied by New Mexico Magazine, July, 1933, where this work is featured on the cover accompanied by artist's grid photo used as study for the final painting 26 x 20 in. (66 x 50.8 cm.) frame: 30 1/2 x 24 1/2 x 1 1/2 in. (77.5 x 62.2 x 3.8 cm.) Provenance: Private Collection, New Mexico Literature: New Mexico Magazine, July, 1933, cover $12,000 — $18,000

318 Walter Ufer (1876–1936) Indian Mother, Isleta, ca. 1915 oil on canvas signed and inscribed lower left: W. Ufer / Isleta, N.M. 30 x 25 in. (76.2 x 63.5 cm.) frame: 42 1/2 x 37 1/2 x 3 in. (108 x 95.3 x 7.6 cm.) Provenance: Collection of Oscar Mayer, 1915 Collection of Frieda Collins (by descent) Collection of Marianna Collins (by descent) Collection of Marianna Beck (by descent) $50,000 — $70,000

SANTA FE ART AUCTION

133

319 Kathryn Woodman Leighton (1875–1952) Juan, A Tewa Indian from San Ildefonso, New Mexico oil on canvas signed lower right: Kathryn W. Leighton inscribed verso: Juan, A Tewa Indian / from San Ildefonso New Mexico. 36 x 28 in. (91.4 x 71.1 cm.) frame: 40 3/4 x 32 3/4 x 1 3/4 in. (103.5 x 83.2 x 4.4 cm.) Provenance: Private Collection, New Mexico $10,000 — $20,000

320 Dorothy Eugénie Brett (1883–1977) Tired War Dancer, 1964 oil on canvas signed and dated lower right: DEBREtt / 1964 38 x 34 in. (96.5 x 86.4 cm.) frame: 46 1/2 x 42 1/2 x 2 3/4 in. (118.1 x 108 x 7 cm.) Provenance: Owings-Dewey Fine Art, Santa Fe, New Mexico Biltmore Galleries, Scottsdale, Arizona Private Collection, New Mexico $15,000 — $30,000

134

SANTA FE ART AUCTION

321 Blanche Chloe Grant (1874–1948) Lazy Juan, 1921 oil on canvas signed upper right: Blanche C. Grant inscribed verso: Lazy Juan / Taos N. M. / By / Blanche C. Grant / 1921 14 1/8 x 11 1/8 in. (35.9 x 28.3 cm.) frame: 18 1/2 x 15 1/2 x 1 5/8 in. (47 x 39.4 x 4.1 cm.) Provenance: Collection of Ellen Wikoff, 1995 Private Collection, New Mexico $10,000 — $15,000

322 Blanche Dugan Cole (1869–1956) Isleta Indian Maiden, ca. 1907 oil on canvas signed lower left: Blanche Dugan Cole 20 x 15 in. (50.8 x 38.1 cm.) frame: 25 1/8 x 20 x 2 1/2 in. (63.8 x 50.8 x 6.4 cm.) Provenance: Santa Fe Railway Collection of Southwestern Art, 1999 Private Collection, New Mexico Exhibited: Santa Fe Railway: Women of the West, Scottsdale Center for the Arts, Scottsdale, Arizona, January 13 - March 12, 1995 $9,000 — $15,000

323 Blanche Dugan Cole (1869–1956) Southwestern Scene, 1907 oil on canvas over board 9 1/8 x 13 1/4 in. (23.2 x 33.7 cm.) frame: 12 1/8 x 16 1/4 x 1 in. (30.8 x 41.3 x 2.5 cm.) Provenance: Santa Fe Railway Collection of Southwestern Art, 1999 Private Collection, New Mexico $8,000 — $12,000

SANTA FE ART AUCTION

135

324 Kate Thompson Cory (1861–1958) Moonlight Frolic, 1914 oil on canvas 15 3/8 x 20 3/8 in. (39.1 x 51.8 cm.) frame: 18 5/8 x 23 1/4 x 2 in. (47.3 x 59.1 x 5.1 cm.) Provenance: Santa Fe Railway Collection of Southwestern Art, 1999 Private Collection, New Mexico Exhibited: Santa Fe Railway: Women of the West, Scottsdale Center for the Arts, Scottsdale, Arizona, January 13 - March 12, 1995 $8,000 — $12,000

325 Nellie Shepherd (1877–1920) Mexican Cigarette Maker oil on canvas signed lower right: Nellie Shepherd 17 3/4 x 25 in. (45.1 x 63.5 cm.) frame: 23 x 30 x 2 1/4 in. (58.4 x 76.2 x 5.7 cm.) Provenance: Santa Fe Railway Collection of Southwestern Art, 1999 Private Collection, New Mexico Exhibited: Santa Fe Railway: Women of the West, Scottsdale Center for the Arts, Scottsdale, Arizona, January 13 - March 12, 1995 $9,000 — $15,000

326 Nellie Shepherd (1877–1920) Papago Indian Hut, Arizona oil on canvas signed lower right: Nellie Shepherd. 16 x 20 1/8 in. (40.6 x 51.1 cm.) frame: 18 1/2 x 22 1/2 x 2 1/2 in. (47 x 57.2 x 6.4 cm.) Provenance: Santa Fe Railway Collection of Southwestern Art, 1999 Private Collection, New Mexico $9,000 — $15,000

136

SANTA FE ART AUCTION

327 Virginia B. Woolley (1884–1971) Taos Street, 1928 oil on canvas signed and dated lower right: ViRGiNiA Woolley / 1928 28 x 24 1/4 in. (71.1 x 61.6 cm.) frame: 33 3/4 x 29 3/4 x 1 1/2 in. (85.7 x 75.6 x 3.8 cm.) Provenance: Collection of Harold Rowe, 2001 Private Collection, New Mexico $8,000 — $12,000

328 Ila Mae McAfee (1897–1995) Talpa, ca. 1932 oil on board signed lower left: Ila McAfee inscribed verso: Early 1930’s / Talpa additional painting verso 11 3/8 x 13 in. (28.9 x 33 cm.) frame: 14 3/4 x 16 3/4 in. (37.5 x 42.5 cm.) Provenance: Collection of Mac Connelly, Colorado Private Collection, New Mexico $3,000 — $5,000

SANTA FE ART AUCTION

137

329 Susan Hertel (1930–1993) Whitemore Red Barn Door acrylic on canvas signed right center: Susan Hertel 50 x 100 in. (127 x 254 cm.) Provenance: Elaine Horwitch Galleries Private Collection, Colorado $20,000 — $40,000

330 Susan Hertel (1930–1993) Sunset with Two Horses (Triptych) acrylic on canvas signed on right panel, lower left: Susan HErtEl left panel: 43 3/4 x 23 3/4 in. (111.1 x 60.3 cm.) center panel: 43 3/4 x 59 in. (111.1 x 149.9 cm.) right panel: 43 3/4 x 23 3/4 in. (111.1 x 60.3 cm.) Provenance: Private Collection, Colorado $20,000 — $40,000

138

SANTA FE ART AUCTION

331 Susan Hertel (1930–1993) Two Horses oil on canvas signed lower left: Susan Hertel inscribed verso: AS88-25 50 3/4 x 68 7/8 in. (128.9 x 174.9 cm.) frame: 51 3/4 x 70 x 2 in. (131.4 x 177.8 x 5.1 cm.) Provenance: Private Collection, Colorado $15,000 — $25,000

SANTA FE ART AUCTION

139

332 Fatima Ronquillo (b. 1976) Feeding the Enemy, 2015 oil on canvas signed lower right: Fatima Ronquillo 32 x 30 in. (81.3 x 76.2 cm.) frame: 39 1/4 x 37 1/4 x 2 7/8 in. (99.7 x 94.6 x 7.3 cm.) Provenance: Private Collection, Virginia $15,000 — $25,000

140

SANTA FE ART AUCTION

333 Gene Kloss (1903–1996) #12 Road into Hillsborough oil on panel inscribed verso: #12 Road into Hillsborough in original frame 15 5/8 x 11 3/4 in. (39.7 x 29.8 cm.) frame: 18 1/2 x 14 1/2 x 3/4 in. (47 x 36.8 x 1.9 cm.) Provenance: The Artist’s Estate Private Collection, Oregon (by descent) $3,000 — $5,000

334 Virginia True (1900–1989) Untitled (Desert Landscape) watercolor, gouache on paper signed lower left: Virginia TRUE 11 7/8 x 18 3/8 in. (30.2 x 46.7 cm.) frame: 21 x 27 1/2 x 1 1/4 in. (53.3 x 69.9 x 3.2 cm.) Provenance: Private Collection, California $1,500 — $2,500

335 Dorothy Eugénie Brett (1883–1977) Rider in the Arroyo oil on board signed lower right: DEBREtt 5 1/2 x 5 1/2 in. (14 x 14 cm.) frame: 14 3/8 x 16 1/4 in. (36.5 x 41.3 cm.) Provenance: Owings-Dewey Fine Art, Santa Fe, New Mexico Private Collection, Texas $1,200 — $1,800

SANTA FE ART AUCTION

141

336 Louisa McElwain (1953–2013) Badlands and Blue Mountains, 1992

337 Louisa McElwain (1953–2013) White House, Midafternoon

oil on canvas signed lower right: McELWAIN inscribed verso: “BADLANDS and BLUE MOUNTAINS” LOUiSA McELWAIN .1992 (30”X40”) / To MOLLY and MIKE, / with great pleasure, Louisa McElwain [map inscription] 29 5/8 x 39 5/8 in. (75.2 x 100.6 cm.) frame: 39 x 49 1/8 x 1 7/8 in. (99.1 x 124.8 x 4.8 cm.)

oil on linen signed lower left: McELWAIN inscribed verso: “WHITE HOUSE, MIDAFTERNOON” LOUISA McELWAIN P02046 / 18x24 17 1/2 x 23 1/2 in. (44.5 x 59.7 cm.) frame: 27 1/2 x 33 1/2 x 1 3/8 in. (69.9 x 85.1 x 3.5 cm.)

Provenance: The Artist Private Collection, New Mexico $15,000 — $25,000

Provenance: Mark Sublette Medicine Man Gallery, Tucson, Arizona Private Collection, New Mexico $12,000 — $18,000

338 Louisa McElwain (1953–2013) Summer Morning

339 Louisa McElwain (1953–2013) Primavera, ca. 2003

oil on canvas signed lower left: MCELWAIN 9 1/2 x 13 1/2 in. (24.1 x 34.3 cm.) frame: 17 1/4 x 21 5/8 x 2 in. (43.8 x 54.9 x 5.1 cm.)

oil on canvas signed lower right: MCELWAIN inscribed verso: LOUISA MCELWAIN Ca. 2003 8 x 16 in. (20.3 x 40.6 cm.) frame: 17 1/2 x 25 1/2 x 1 1/2 in. (44.5 x 64.8 x 3.8 cm.)

Provenance: Contemporary Southwest Gallery Private Collection, New Mexico $5,000 — $7,000

142

SANTA FE ART AUCTION

Provenance: Private Collection, New Mexico $2,000 — $4,000

340 Joellyn T. Duesberry (1944–2016) Burnt Wetlands, New Mexico, 1996 oil on linen initialed and dated lower right: JTD 3-96 30 1/8 x 54 in. (76.5 x 137.2 cm.) frame: 31 3/4 x 56 x 2 in. (80.6 x 142.2 x 5.1 cm.) Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, Colorado $4,000 — $6,000

341 Joellyn T. Duesberry (1944–2016) Untitled (Reflection), 1983 oil on linen signed and dated lower left: Joellyn Duesberry August, 1983 24 x 50 in. (61 x 127 cm.) frame: 30 x 55 1/2 x 1 1/2 in. (76.2 x 141 x 3.8 cm.) Provenance: Private Collection, Colorado $3,000 — $6,000

342 Joellyn T. Duesberry (1944–2016) Pedernal and Sheep Pasture III, 1989 oil on linen initialed and dated lower right: JTD 1-89 inscribed verso: Pedernal / Pedernal and Sheep Pasture III / January ‘89 24 x 30 in. (61 x 76.2 cm.) frame: 29 3/4 x 35 3/4 x 1 1/2 in. (75.6 x 90.8 x 3.8 cm.) Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, Colorado $2,000 — $4,000

SANTA FE ART AUCTION

143

343 Fran Larsen (b. 1937) Mesas Beyond the Lake, Abiquiu, 1998 watercolor on board in hand-carved + painted polychrome frame signed lower right: LARSEN inscribed verso: Mesas Beyond the Lake, / Abiquiu / 9811-009 / 32” x 42” 19 5/8 x 29 5/8 in. (49.8 x 75.2 cm.) frame: 31 7/8 x 41 7/8 x 2 in. (81 x 106.4 x 5.1 cm.) Provenance: Contemporary Southwest Galleries Private Collection, New Mexico $2,500 — $4,500

344 Fran Larsen (b. 1937) Ravens on a Summer Breeze, 2000 watercolor on board in hand-carved + painted polychrome frame signed lower left: LARSEN inscribed verso: Ravens on a Summer Breeze / 0006-012 / 28” x 32” 19 1/2 x 15 1/2 in. (49.5 x 39.4 cm.) frame: 31 1/2 x 27 1/2 x 2 in. (80 x 69.9 x 5.1 cm.) Provenance: Private Collection, Pennsylvania $3,000 — $5,000

345 Fran Larsen (b. 1937) Sun Struck Valley, 1994 watercolor on board in hand-carved + painted polychrome frame signed lower right: LARSEN inscribed verso: Sun Struck Valley / 9412-001- / 16x18 / MIKE & MOLLY - / THE NEW MEXICO LIGHT IS / MY PASSION - I’M GLAD / YOU LIKE THIS PIECE. / FRAN LARSEN / 1994 7 5/8 x 9 5/8 in. (19.4 x 24.4 cm.) frame: 16 1/4 x 18 1/4 x 1 3/4 in. (41.3 x 46.4 x 4.4 cm.) Provenance: Private Collection, New Mexico $1,500 — $2,500

144

SANTA FE ART AUCTION

346 Sushe Felix (20th/21st Century) Summer Storm, 2012

347 Sushe Felix (20th/21st Century) Valley Sunset, 2012

acrylic on panel signed and dated lower right: SUSHE FELiX / 2012 inscribed verso: SuSHE FELiX / “SUMMER STORM” / ACRYLIC ON PANEL / 2012 25 x 25 in. (63.5 x 63.5 cm.) frame: 30 x 30 x 3/4 in. (76.2 x 76.2 x 1.9 cm.)

acrylic on panel signed and dated lower right: SUSHE FELiX / 2012 inscribed verso: SuSHE FELiX / “VALLEY SUNSET” / ACRYLIC ON PANEL / 2012 13 x 24 in. (33 x 61 cm.) frame: 16 x 27 x 3/4 in. (40.6 x 68.6 x 1.9 cm.)

Provenance: Meyer East Gallery, Santa Fe, New Mexico Private Collection, New Mexico $1,500 — $2,500

Provenance: Meyer East Gallery, Santa Fe, New Mexico Private Collection, New Mexico $1,000 — $2,000

348 Alyce Frank (1932–2024) Taos Blue Lake

349 Alyce Frank (1932–2024) Untitled (Flowering Trees)

oil on canvas signed lower right: Alyce Frank inscribed verso: Alyce Frank / Taos Blue Lake 23 1/4 x 29 5/8 in. (59.1 x 75.2 cm.) frame: 26 1/4 x 32 5/8 x 3/4 in. (66.7 x 82.9 x 1.9 cm.)

oil on linen inscribed verso: Alyce 15 3/8 x 19 1/2 in. (39.1 x 49.5 cm.) frame: 23 3/8 x 27 3/8 x 1 in. (59.4 x 69.5 x 2.5 cm.)

Provenance: Private Collection, New Mexico

Provenance: The Artist, ca. 1985 Private Collection, New Mexico

$3,000 — $5,000

$2,000 — $4,000

SANTA FE ART AUCTION

145

350 Beulah Stevenson (1890–1965) Big Hill (Cerro Gordo) in Santa Fe, 1954 oil on canvas board signed lower left: Beulah Stevenson inscribed verso: for / Dorothy Morang- / Big hill in Santa Fe- / oil by Beulah Stevenson / Santa Fe oil by Beulah Stevenson 15 3/8 x 19 1/2 in. (39.1 x 49.5 cm.) frame: 17 1/2 x 21 1/2 x 1 1/2 in. (44.5 x 54.6 x 3.8 cm.) Provenance: Collection of Dorothy Morang Private Collection, New Mexico Exhibited: Forty-Sixth Fiesta Show, Museum of New Mexico Art Gallery, Santa Fe, New Mexico, 1959 $3,000 — $5,000

351 Vivian Springford (1913–2003) Untitled, 1971 acrylic on canvas 38 1/2 x 51 in. (97.8 x 129.5 cm.) frame: 40 x 52 3/4 x 2 in. (101.6 x 134 x 5.1 cm.) Provenance: The Artist’s Estate Gary Snyder Fine Art, New York, New York Peyton Wright Gallery, Santa Fe, New Mexico Private Collection, New Mexico Exhibited: Vivian Springford: A Retrospective, Peyton Wright Gallery, August 2014 Vivian Springford was a New York–based painter whose distinctive approach to abstraction developed out of the artistic ferment of the postwar period. Initially trained as a portraitist, Springford increasingly embraced abstraction during the 1950s and 1960s. Her friendship and decade-long studio association with artist Walasse Ting brought her into contact with figures including Sam Francis, Pierre Alechinsky, and Karel Appel. Working with poured and stained pigments, Springford developed a highly individual visual language in which translucent layers of color radiate and dissolve across the surface, creating compositions characterized by movement, luminosity, and an almost atmospheric sense of space. $30,000 — $50,000

146

SANTA FE ART AUCTION

352 Rebecca Salsbury James (1891–1968) White Roses at Twilight, 1941 reverse-painted oil on glass inscribed verso: White Roses at Twilight / A gift to the Blumenschein memorial / foundation / by / Rebecca James - in 1968 - January / TAOS / N.M / For Bill James. / 68.2.6 / IO/31 / Rebecca Salsbury James / TAOS / N.M 194119 5/8 x 15 3/4 in. (49.8 x 40 cm.) frame: 21 1/8 x 17 1/8 x 1 1/4 in. (53.7 x 43.5 x 3.2 cm.) Provenance: The Artist, 1968 Blumenschein Memorial Foundation (Taos Historic Museums), Taos, New Mexico Exhibited: Rebecca Salsbury James: Paintings and Colchas, Harwood Museum of Art, Taos, New Mexico, 2010 Rebecca Salsbury James was a pioneering, self-taught Taos artist of the early-to-mid-twentieth century and a master of the meticulous, historic art of reversepainted glass. Her practice also encompassed colcha embroidery and reflected a longstanding fascination with traditional folk and regional art forms. Mabel Dodge Luhan described her works as “perhaps the most exquisite productions of any Taos artist”, noting that they were “reproduced with a most poignant sensitivity to color and meaning.” Often overshadowed during her lifetime, Salsbury James worked in media frequently categorized as “craft” and belonged to a circle of celebrated artists that included Georgia O’Keeffe and Alfred Stieglitz. Her work has attracted renewed attention in recent years, marked by a 2022 acquisition by the Georgia O’Keeffe Museum, inclusion in exhibitions at the Whitney Museum of American Art and SITE Santa Fe International, and a growing body of recent scholarship. Salsbury James was born in 1891 to American parents in London, England. Her father, Nathan Salsbury, was the co-founder of Buffalo Bill’s Wild West Show, and she spent much of her early childhood backstage while the show was touring Europe. She moved to New York in 1902, later marrying the modernist photographer, Paul Strand. Through Strand, she entered Alfred Stieglitz’s avant-garde circle and formed a close, lifelong friendship with Georgia O’Keeffe. After an extended trip through the Southwest and an important visit to New Mexico with O’Keeffe in 1929, Salsbury James settled permanently in Taos in the 1930s. Recently divorced from Paul Strand, she was deeply moved by New Mexico’s light, landscape, and material culture. She maintained a close personal and artistic relationship with O’Keeffe and remained an integral part of the New Mexico Modernist scene for the rest of her life. In its first appearance on the public market this November, White Roses at Twilight, 1941 comes with a distinguished provenance tracing directly from the artist to Taos Historic Museums in 1968. James was known for dedicating many of her paintings to specific friends and family members, and an inscription on the verso records this work's dedication to her late husband, Bill James. This painting offers collectors a rare opportunity to acquire a refined example of Rebecca Salsbury James’s reverse-painted glass at a moment of renewed appreciation for her contribution to American modernism. $200,000 — $300,000

SANTA FE ART AUCTION

147

353 Bror Julius Olsson Nordfeldt (1878–1955) Double Tulips, 1939 oil on masonite signed and dated lower right: Nordfeldt 39 inscribed verso: Double Tulips 32 x 22 in. (81.3 x 55.9 cm.) frame: 41 1/2 x 31 1/2 x 2 1/2 in. (105.4 x 80 x 6.4 cm.) Provenance: Private Collection, New Mexico $30,000 — $40,000

354 Ward Lockwood (1894–1963) Zinnias oil on canvas signed lower right: J. WARD LOCKWOOD 30 x 25 in. (76.2 x 63.5 cm.) frame: 34 1/2 x 29 1/2 x 1 3/4 in. (87.6 x 74.9 x 4.4 cm.) Provenance: Collection of Robert Catron, 1986 Private Collection, New Mexico $8,000 — $12,000

148

SANTA FE ART AUCTION

355 Joseph Henry Sharp (1859–1953) California Chrysanthemums, 1940 oil on canvas signed lower right: JHSHARP inscribed verso: Calif Chrysanthemums / painted nov. 1940 J.H.Sharp 20 x 24 in. (50.8 x 61 cm.) frame: 29 3/4 x 34 x 1 5/8 in. (75.6 x 86.4 x 4.1 cm.) Provenance: Private Collection, New Mexico $12,000 — $18,000

356 Joseph Henry Sharp (1859–1953) Hollyhocks oil on linen signed lower right: J.H.SHARP 24 x 20 in. (61 x 50.8 cm.) frame: 32 x 27 3/4 x 3 in. (81.3 x 70.5 x 7.6 cm.) Provenance: Private Collection, New Mexico $20,000 — $40,000

SANTA FE ART AUCTION

149

357 Oscar Edmund Berninghaus (1874–1952) Morning of the Fiesta - Taos Pueblo oil on canvas signed lower left: O. E. BerningHaus 20 x 24 in. (50.8 x 61 cm.) frame: 25 3/8 x 29 1/4 x 1 3/8 in. (64.5 x 74.3 x 3.5 cm.) Provenance: The Artist, 1949 Private Collection, New Mexico (by descent in the family) $120,000 — $180,000

150

SANTA FE ART AUCTION

358 Ernest Martin Hennings (1886–1956) Amongst the Aspen oil on canvas over board signed lower right: E.M.HEnnings inscribed verso: “Amongst thE AspEn” / by / E. Martin Hennings / MTW / Received as / gift from HTW 13 1/2 x 13 1/2 in. (34.3 x 34.3 cm.) frame: 18 1/4 x 18 1/4 x 1 3/4 in. (46.4 x 46.4 x 4.4 cm.) Provenance: Collection of William and Helen White Private Collection, Colorado (by descent in the family) $70,000 — $100,000

359 Peter McIntyre (1910–1995) Redwoods No. 21, ca. 1970 watercolor, ink on board signed lower right: PETER MCINTYRE inscribed verso: No. 21 / REDWOODS / 21 21 1/2 x 27 3/4 in. (54.6 x 70.5 cm.) frame: 31 1/2 x 37 1/2 x 2 in. (80 x 95.3 x 5.1 cm.) Provenance: Private Collection, California Literature: Lane Magazine and Book Company, Peter McIntyre’s West, Sunset, Menlo Park, California, 1970, pl. 21 $10,000 — $20,000

SANTA FE ART AUCTION

151

360 Ed Mell (1942–2024) View from Ward Terrace, 1997 oil on canvas signed lower right: Ed Mell set into a custom, signature frame, inscribed lower right: Ed Mell 28 1/4 x 56 in. (71.8 x 142.2 cm.) frame: 33 x 60 3/4 x 2 in. (83.8 x 154.3 x 5.1 cm.) Provenance: Suzanne Brown Galleries, Scottsdale, Arizona, 1998 Collection of Kyle and Jeffrey Ferrell, 2016 Collection of Grant and Rebecca Ferrell (by descent) $60,000 — $90,000

152

SANTA FE ART AUCTION

361 Elmer Wachtel (1864–1929) Grand Canyon oil on canvas 30 x 22 in. (76.2 x 55.9 cm.) frame: 35.15 x 27 3/4 x 2 in. (89.3 x 70.5 x 5.1 cm.) Provenance: Santa Fe Railway Collection of Southwestern Art, 1999 Private Collection, New Mexico $20,000 — $30,000

362 Worthington Whittredge (1820–1910) Indian Encampment oil on canvas signed lower left: W. Whittredge 18 x 28 in. (45.7 x 71.1 cm.) frame: 25 3/4 x 35 7/8 x 2 7/8 in. (65.4 x 91.1 x 7.3 cm.) Provenance: Private Collection, Arizona $20,000 — $30,000

SANTA FE ART AUCTION

153

363 Fremont F. Ellis (1897–1985) In High Mountains oil on linen signed lower right: FREMONT F. ELLIS inscribed verso: IN HIGH MOUNTAINS / FREMONT F. ELLIS SANTA FE N.M. 19 1/2 x 24 1/2 in. (49.5 x 62.2 cm.) frame: 27 x 32 x 1 1/2 in. (68.6 x 81.3 x 3.8 cm.) Provenance: Private Collection, Montana $8,000 — $12,000

364 Fremont F. Ellis (1897–1985) In the Mountains oil on canvas board signed lower left: FREMONT F. ELLIS inscribed verso: IN THE MOUNTAINS 18 x 23 7/8 in. (45.7 x 60.6 cm.) frame: 28 1/2 x 34 3/8 x 1 3/4 in. (72.4 x 87.3 x 4.4 cm.) Provenance: Private Collection, New Mexico $6,000 — $9,000

365 Frank Tenney Johnson (1874–1939) Banks of the Little Colorado, 1933 oil on board signed, inscribed, and dated lower left: F TENNEY JOhnSOn A.N.A. / 1933 letter of authenticity from artist’s wife affixed verso 11 1/2 x 15 3/8 in. (29.2 x 39.1 cm.) frame: 20 1/2 x 24 1/2 x 1 7/8 in. (52.1 x 62.2 x 4.8 cm.) Provenance: Private Collection, Arizona As evidenced by the “A.N.A.” inscription lower left, this work was completed while Johnson was an Associate National Academician. He was elected an ANA in 1929, and became a full member of the National Academy of Design in 1937. $6,000 — $9,000

154

SANTA FE ART AUCTION

366 Conrad Buff (1886–1975) Late Afternoon, Agathla oil on panel signed lower right: CONRAD BUFF artist’s estate stamp verso 17 3/8 x 23 1/4 in. (44.1 x 59.1 cm.) frame: 24 3/8 x 30 1/8 x 1 3/4 in. (61.9 x 76.5 x 4.4 cm.)

367 James Guilford Swinnerton (1875–1974) Desert Cactus oil on linen signed lower right: SWINNERTON 30 x 40.15 in. (76.2 x 102 cm.) frame: 38 1/4 x 48 1/2 x 1 3/4 in. (97.2 x 123.2 x 4.4 cm.)

Provenance: George Stern Fine Arts, West Hollywood, California Private Collection, Arizona

Provenance: Estate of Dr. Otey Johnson, 1999 Private Collection, New Mexico

$3,000 — $5,000

$8,000 — $12,000

368 James Guilford Swinnerton (1875–1974) Smoke Tree in Desert and Mountains

369 Charles Partridge Adams (1858–1942) Mt. Silverheels After Rain

oil on linen signed lower right: SWINNERTON inscribed verso: SWINNERTON / 1052 30 x 25 in. (76.2 x 63.5 cm.) frame: 38 3/4 x 33 1/2 x 4 in. (98.4 x 85.1 x 10.2 cm.)

oil on canvas signed lower left: Charles Partridge Adams inscribed verso: Mt. Silverheels - Near Alma Colorado / after rain 7 1/2 x 13 1/2 in. (19.1 x 34.3 cm.) frame: 11 1/2 x 17 1/2 x 1 1/2 in. (29.2 x 44.5 x 3.8 cm.)

Provenance: Estate of Dr. Otey Johnson, 1999 Private Collection, New Mexico

Provenance: Private Collection, Arizona

Exhibited: Painters of the Desert: The Arid West, Wildling Art Museum, Los Olivos, California, January 14 - March 25, 2007

$2,000 — $4,000

$6,000 — $9,000

SANTA FE ART AUCTION

155

370 William Howard Shuster Jr. (1893–1969) The Barranca oil on canvas board signed upper right: Will Shuster inscribed verso: The Barranca / by / Will Shuster 11 3/4 x 16 in. (29.8 x 40.6 cm.) frame: 17 1/2 x 21 x 1 3/4 in. (44.5 x 53.3 x 4.4 cm.) Provenance: Private Collection, New Mexico $6,000 — $9,000

371 Wilson Hurley (1924–2008) Acoma with Katzimo (Enchanted Mesa), 1974 oil on canvas signed lower right: Wilson Hurley inscribed verso: #10 ACOMA, with Katzimo (Enchanted Mesa) in background 30 x 36 in. (76.2 x 91.4 cm.) frame: 37 5/8 x 43 5/8 x 3 in. (95.6 x 110.8 x 7.6 cm.) Provenance: Private Collection, Colorado $6,000 — $9,000

156

SANTA FE ART AUCTION

372 Raphael Lillywhite (1891–1958) At the Stream oil on canvas panel signed lower left: Raphael / Lillywhite 23 3/4 x 29 7/8 in. (60.3 x 75.9 cm.) frame: 29 1/4 x 35 1/4 x 1 3/4 in. (74.3 x 89.5 x 4.4 cm.) Provenance: Private Collection, Colorado $2,000 — $4,000

373 Raphael Lillywhite (1891–1958) Mountain Landscape, 1945 oil on canvas panel signed and dated lower left: Raphael / Lillywhite / 1945 23 1/2 x 29 1/2 in. (59.7 x 74.9 cm.) frame: 29 3/4 x 36 1/4 x 1 3/4 in. (75.6 x 92.1 x 4.4 cm.) Provenance: Private Collection, Colorado $2,000 — $4,000

374 Raphael Lillywhite (1891–1958) Lone Rider oil on canvas panel signed lower left: Raphael / Lillywhite 23 1/4 x 35 3/4 in. (59.1 x 90.8 cm.) frame: 33 x 45 1/2 x 3 in. (83.8 x 115.6 x 7.6 cm.) Provenance: Private Collection, Colorado $2,000 — $4,000

SANTA FE ART AUCTION

157

375 Earl Biss (Apsáalooke [Crow], 1947–1998) A Ride in the Sweet Grass oil on canvas signed upper right: Biss 50 1/8 x 80 1/8 in. (127.3 x 203.5 cm.) frame: 57 1/8 x 87 1/8 x 1 1/4 in. (145.1 x 221.3 x 3.2 cm.) Provenance: Private Collection, Colorado $30,000 — $60,000

376 Earl Biss (Apsáalooke [Crow], 1947–1998) The Shadow of the Red Cloud, 1985 oil on canvas signed upper right: Biss inscribed verso: “The Shadow of the / Red Cloud” / oil on Canvas / Biss 85 / © 12 x 16 in. (30.5 x 40.6 cm.) frame: 15 1/4 x 19 1/4 x 2 3/4 in. (38.7 x 48.9 x 7 cm.) Provenance: Private Collection, New Mexico $7,000 — $10,000

158

SANTA FE ART AUCTION

377 Kevin Red Star (Apsáalooke [Crow], b. 1943) Apsalooka War Party, 2012 acrylic on canvas signed upper right: Kevin Red Star inscribed verso: ‘APSALOOKA WAR PARTY’ / -smAll WAR party - noRthErn plAins Indians- / KEViN RED StAR / 2012 © / MOnTANA Studio / Acrylic o/ CANVAS 48 x 60 in. (121.9 x 152.4 cm.) frame: 53 x 65 1/4 in. (134.6 x 165.7 cm.) Provenance: Private Collection, New Mexico $15,000 — $20,000

378 John Nieto (1936–2018) American Horse, 1989 acrylic on canvas signed lower right: nieto inscribed verso: “American Horse” © nieto 1989 / “American-Horse” Sioux Chief 60 1/4 x 48 in. (153 x 121.9 cm.) frame: 61 5/8 x 49 5/8 x 1 1/2 in. (156.5 x 126 x 3.8 cm.) Provenance: Private Collection, Florida $20,000 — $40,000

379 John Nieto (1936–2018) Strong Medicine, 2012 acrylic on canvas signed lower left: nieto inscribed verso: “Strong Medicine” © nieto 2012 40 x 30 in. (101.6 x 76.2 cm.) frame: 41 1/2 x 31 1/2 x 1 1/2 in. (105.4 x 80 x 3.8 cm.) Provenance: Private Collection, New Mexico $15,000 — $25,000

SANTA FE ART AUCTION

159

380 Malcolm Furlow (Choctaw, 1946–2023) Indian at the Table

381 Malcolm Furlow (Choctaw, 1946–2023) Arapaho War Chief

acrylic on canvas signed upper right: FURlOW inscribed verso: 40x30 / #863 / “INDIAN AT / The TABlE” / © FuRlow 30 x 40 in. (76.2 x 101.6 cm.)

acrylic on canvas signed right center: FURlOW inscribed verso: #01H03 / 48X60 / ACRylic / ©FURLOW / “ARAPAHO / WAR CHIEF” / ©F[ ] 60 x 48 x 1 3/8 in. (152.4 x 121.9 x 3.5 cm.)

Provenance: Private Collection, California $8,000 — $12,000

Provenance: Private Collection, Colorado $10,000 — $15,000

382 Malcolm Furlow (Choctaw, 1946–2023) Indian with Intruder (after Scholder) arcylic on canvas signed upper right: FURlOW inscribed verso: #859 / “INDiAN WiTH INTRUDER” / (AfTeR SCHOLDeR) / © FURlow 54 x 50 in. (137.2 x 127 cm.) frame: 56 x 52 x 2 1/4 in. (142.2 x 132.1 x 5.7 cm.) Provenance: Private Collection, California $10,000 — $15,000

160

SANTA FE ART AUCTION

383 Paul Pletka (b. 1946) Untitled (Native Portrait)

384 Walt Wooten (b. 1939) Visit to the Louvre LXII, Deianira Abducted by Centaur Nessus, 2004

pastel on board signed upper right: Pletka 37 5/8 x 30 in. (95.6 x 76.2 cm.) frame: 49 x 41 x 1 7/8 in. (124.5 x 104.1 x 4.8 cm.)

oil on linen signed lower right: Wooten inscribed verso: Visit to the Louvre LXII, Deianira Abducted by Centaur Nessus / © Wooten 48 x 38 in. (121.9 x 96.5 cm.) frame: 53 1/2 x 43 1/2 x 2 in. (135.9 x 110.5 x 5.1 cm.)

Provenance: Private Collection, Colorado $3,000 — $5,000

Provenance: The Artist In the mid-1840s, American painter George Catlin brought a troupe of eleven Ojibwa people to Paris, where they captivated audiences, met King Louis-Philippe, and inspired Eugène Delacroix, who admired their dignity and sketched them. This history inspired Walt Wooten’s “Visit to the Louvre” series, imagining how these visitors might have experienced the museum’s monumental paintings through their own spiritual and cultural traditions. By placing the Ojibwa visitors alongside European depictions of nudes, gods, and mythical creatures, Wooten invites viewers to consider what might have astonished them, and what they might have found familiar. $4,000 — $6,000

385 Walt Wooten (b. 1939) A Young Sioux Chief oil on canvas signed lower left: Wooten inscribed verso: A Young Sioux Chief / © Walt Wooten 28 x 22 in. (71.1 x 55.9 cm.) frame: 34 x 28 x 1 1/2 in. (86.4 x 71.1 x 3.8 cm.) Provenance: The Artist $2,000 — $4,000

SANTA FE ART AUCTION

161

386 Steven Yazzie (Diné [Navajo] /Laguna, b. 1970) Desert Life, 2012 oil on canvas inscribed verso: yazzie / 2012 / “Desert Life” 47 3/8 x 47 1/8 x 2 in. (120.3 x 119.7 x 5.1 cm.) Provenance: Private Collection, New Mexico $3,000 — $5,000

387 Darren Vigil Gray (Jicarilla Apache, b. 1959) Variation on an Abiquiu Landscape #2, 1994 acrylic on canvas signed lower left: Darren Vigil Gray inscribed verso: Variations on an Abiquiu Landscape / #2 / Acrylic/Canvas / 42x48 / Darren Vigil Gray 1994 42 x 48 in. (106.7 x 121.9 cm.) frame: 43 3/4 x 49 5/8 x 2 1/4 in. (111.1 x 126 x 5.7 cm.) Provenance: Private Collection, New Mexico $3,000 — $5,000

162

SANTA FE ART AUCTION

388 Tony Abeyta (Diné [Navajo], b. 1965) Gift, ca. 2005 oil on canvas signed lower right: Tony Abeyta 20 1/8 x 16 in. (51.1 x 40.6 cm.) frame: 21 1/2 x 17 3/8 x 2 5/8 in. (54.6 x 44.1 x 6.7 cm.) Provenance: The Owings Gallery, Santa Fe, New Mexico, 2016 Private Collection, Massachusetts $8,000 — $12,000

389 Tony Abeyta (Diné [Navajo], b. 1965) The Gathering mixed media on canvas signed upper right: Tony Abeyta inscribed verso: “THE GATHERING” 40 x 30 in. (101.6 x 76.2 cm.) frame: 41 5/8 x 31 3/4 x 2 in. (105.7 x 80.6 x 5.1 cm.) Provenance: Private Collection, New Mexico $6,000 — $9,000

390 Tony Abeyta (Diné [Navajo], b. 1965) Four Directional Figures mixed media on canvas signed lower right: Tony Abeyta © 60 x 48 in. (152.4 x 121.9 cm.) frame: 65 3/4 x 53 1/2 in. (167 x 135.9 cm.) Provenance: Lanning Gallery, Sedona, Arizona, 2014 Private Collection, Arizona Exhibited: Tony Abeyta: Convergence - Tradition & Transition, Museum of Northern Arizona, June 18 - September 4, 2017 $7,000 — $10,000

SANTA FE ART AUCTION

163

391 David P. Bradley (Chippewa, b. 1954) Ghost Dance Revelations, 2004 mixed media on panel dated and signed lower right: ‘04 © DAVID BRADLEY inscribed verso: Ghost Dance Revelations 2004 / ©04 David Bradley / PO Box 5692 / Santa Fe, NM 87502 / 40x30 / Mixed Media 40 x 30 x 1 1/2 in. (101.6 x 76.2 x 3.8 cm.) Provenance: Private Collection, New Mexico This mixed media work combines acrylic, fabrics, photo-collage and adornments into a layered, story-field narrative that is emblematic of Bradley’s Ghost Dance series of works. The stacked structure lets Bradley push multiple timeframes at once: history, memory, political critique, and present-day Native experience. Bradley is best known for narrative paintings, mixed-media works, and bronze sculpture that confront Native history and contemporary life, often using humor, irony, and pop-culture references to challenge stereotypes, cultural appropriation, and social injustice. He has lived and worked in Santa Fe, New Mexico for decades and received a New Mexico Governor’s Award for Excellence in the Arts in 2016. $6,000 — $9,000

392 David P. Bradley (Chippewa, b. 1954) American Gothic, The Farmer’s Daughter

393 David P. Bradley (Chippewa, b. 1954) The Wish, 1982

acrylic on canvas signed lower right: DAVID BRADLEY © inscribed verso: “AmeRican Gothic, the Farmer’s Daughter” David Bradley © / 30”x24” 30 x 24 x 1 1/2 in. (76.2 x 61 x 3.8 cm.)

oil on canvas signed and dated left center: DAVID P. BRADLEY © ‘82 inscribed verso: “THE WISH” / DAVID P. BRADLEY © 82 14 x 11 in. (35.6 x 27.9 cm.) frame: 15 1/4 x 12 1/8 x 2 1/4 in. (38.7 x 30.8 x 5.7 cm.)

Provenance: Private Collection, Pennsylvania

Provenance: Private Collection, New Mexico

$4,000 — $6,000

164

SANTA FE ART AUCTION

394 Jaune Quick-to-See Smith (French-Cree / Shoshone / Salish, 1940–2025) Group of Three Works: Summer Encampment I - III, 1978 (from the Prairie Series) pastel, watercolor on paper each signed and dated lower right: Jaune Q-T-S S. 78 and J. Q-T-S S. 78 each: 22 3/8 x 15 1/8 in. (56.8 x 38.4 cm.) Provenance: Clarke-Benton Gallery, Santa Fe, New Mexico Private Collection, New Mexico Exhibited: American Indian Art Now, The Wheelwright Museum, Santa Fe, New Mexico Jaune Quick-to-See Smith’s late-1970s Prairie Series combines abstract landscape with memories of Indigenous life and movement across the land. Beginning with a geometric grid, Smith simplified its outline to suggest a travois, a framework used to transport belongings, then filled it with symbols of tipis, dolls, children’s games, and summer encampments. Subdued grays and smoke-colored tones evoke remembered places, while the imagery brings together her formal art training, Abstract Expressionist influences, and Native cultural experience. These works present the prairie as a landscape filled with personal and cultural meaning. $15,000 — $25,000

SANTA FE ART AUCTION

165

395 Helen [Tsa-Sah-Wee-Eh] Hardin (Santa Clara, 1943–1984) Untitled oil on board signed lower right: TsA-sAh-wEE-Eh [artist’s cipher] 11 7/8 x 23 7/8 in. (30.2 x 60.6 cm.) frame: 21 1/2 x 33 5/8 x 1 in. (54.6 x 85.4 x 2.5 cm.) Provenance: Private Collection, New Mexico $8,000 — $12,000

396 Jaune Quick-to-See Smith (French-Cree / Shoshone / Salish, 1940–2025) Spring, Weather, Garden, Plastics, 1991 watercolor, pastel, collage on paper signed and dated lower right: Jqts Smith 91 15 x 15 in. (38.1 x 38.1 cm.) frame: 23 1/2 x 23 1/2 x 1 in. (59.7 x 59.7 x 2.5 cm.) Provenance: Private Collection, New Mexico $6,000 — $9,000

166

SANTA FE ART AUCTION

397 Hiroyuki Doi (Japanese, b. 1946) Untitled ink on paper signed lower right: HiRoyuki Doi 18 1/8 x 15 1/2 in. (46 x 39.4 cm.) frame: 25 1/4 x 22 3/8 x 3/4 in. (64.1 x 56.8 x 1.9 cm.) Provenance: Private Collection, New Mexico Hiroyuki Doi is a self-taught Japanese artist, born in 1946 in Nagoya, best known for intricate ink drawings composed of thousands of tiny circles. He originally trained as a chef in Tokyo, becoming a master of French, Italian, and Spanish cuisine while working at top restaurants and traveling in Europe to study art and cuisine. His career shifted dramatically in 1980 after the death of his younger brother from a brain tumor, a loss that redirected his energies toward visual art, and what began as a therapeutic response has since evolved into an ongoing, self-renewing practice of abstract mapping. Working with a Pilot drawing pen on washi paper, Doi builds meticulous compositions from tiny circles that evoke forms ranging from molecular organisms to the cosmos. Though he drew privately for two decades, his work was first shown in the West in 2001 at the Phyllis Kind Gallery in New York, after which he attracted considerable critical attention, going on to exhibit internationally, including at the Thomas Williams Gallery in London, The Museum of Everything, and a major retrospective at the Pilot Pen Station Museum in Tokyo. $9,000 — $12,000

SANTA FE ART AUCTION

167

398 Dan Namingha (Hopi, b. 1950) Dream State Image #14, 1998 acrylic on canvas signed lower right: Namingha. inscribed verso: Dream State Image #14 / © 1998 Dan Namingha 38 1/8 x 34 x 1 1/4 in. (96.8 x 86.4 x 3.2 cm.) Provenance: Private Collection, Colorado $4,000 — $6,000

399 Bruce Carlton Nowlin (b. 1949) Summer, Corrales, New Mexico, 2020 oil on canvas signed lower left: [artist’s cipher] / B. C NowliN inscribed verso: 53.CAN.6.V.48.36.20 / Summer, / Corrales, NM / 2020 / C [artist’s cipher] / BC / Nowlin / [artist’s cipher] 48 x 36 x 1 1/2 in. (121.9 x 91.4 x 3.8 cm.) Provenance: Private Collection, New Mexico $4,000 — $6,000

168

SANTA FE ART AUCTION

400 Ira Moskowitz (1912–2001) Taos Indian Deer Dance, 1982 oil on linen signed and dated lower right: Ira Moskowitz / ‘82 40 x 50 1/4 in. (101.6 x 127.6 cm.) frame: 47 1/2 x 57 1/2 x 2 1/8 in. (120.7 x 146.1 x 5.4 cm.) Provenance: J. N. Bartfield Galleries, New York, New York Owings-Dewey Fine Art, Santa Fe, New Mexico Altermann Galleries, 2003 Private Collection, New Mexico $10,000 — $15,000

401 Richard Ernesti (1856–1946) San Ildefonso (Start of Dance), 1901 oil on canvas titled, dated, and signed lower left: San Ilde.Fonso. N.M. / 1901 / Start of Dance / R. ERNESTi. 36 x 24 in. (91.4 x 61 cm.) frame: 43 1/4 x 31 3/8 x 1 1/2 in. (109.9 x 79.7 x 3.8 cm.) Provenance: Private Collection, Colorado $2,000 — $4,000

SANTA FE ART AUCTION

169

402 Homer Dean Boss (1882–1956) Nina oil on linen signed lower right: HOMER BOSS Inscribed on verso: “NIÑA” / HOMER BOSS 32 1/8 x 26 1/8 in. (81.6 x 66.4 cm.) frame: 37 5/8 x 31 5/8 x 1 1/4 in. (95.6 x 80.3 x 3.2 cm.) Provenance: Collection of Zigmund Kosicki, Santa Fe, New Mexico, 1998 Private Collection, New Mexico $25,000 — $35,000

404 Gisella Lacher Loeffler (1903–1977) Untitled (Pueblo Singers) gouache on paper with hand-made tin frame signed and inscribed lower margin: GISELLA LOEFFLER - TAOS N. MEXICO 11 5/8 x 10 5/8 in. (29.5 x 27 cm.) frame: 13 3/4 x 12 1/2 in. (34.9 x 31.8 cm.) Provenance: Private Collection, New Mexico $2,000 — $3,000

403 Gisella Lacher Loeffler (1903–1977) Taos Pueblo gouache on board inscribed left of lower center: TAOS NEW MEXICO signed lower right: GISELLA LOEFFLER 30 1/2 x 17 1/2 in. (77.5 x 44.5 cm.) frame: 32 x 19 1/8 x 1/2 in. (81.3 x 48.6 x 1.3 cm.) Provenance: Mitchell Brown Fine Art, Scottsdale, Arizona, 2000 Private Collection, New Mexico $8,000 — $12,000

170

SANTA FE ART AUCTION

405 Logan Maxwell Hagege (b. 1980) Tihu Shadows, 2012 oil on linen over board initialed upper right: LMH inscribed verso: “Tihu Shadows” / oil / linen 10x10 / LOGAN MAXWELL HAGEGE / 2012 10 x 10 in. (25.4 x 25.4 cm.) frame: 14 7/8 x 15 in. (37.8 x 38.1 cm.) Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, Texas $10,000 — $12,000

406 Roy DeForest (1930–2007) Night Dogs, 2000 mixed media on board inscribed verso: ROY DE FOREST / 2000 / “NiGHT DOGS” / ACYLiC+ViNYL 27 x 23 in. (68.6 x 58.4 cm.) frame: 29 1/4 x 24 5/8 x 2 3/8 in. (74.3 x 62.5 x 6 cm.) Provenance: Private Collection, New Mexico $8,000 — $12,000

407 Peter Rogers (1933–2018) The Three Muses, 1980 oil on canvas initialed and dated lower left: PR80 80 1/2 x 68 1/4 in. (204.5 x 173.4 cm.) frame: 81 1/2 x 69 3/4 x 1 3/4 in. (207 x 177.2 x 4.4 cm.) Provenance: Private Collection, New Mexico $3,000 — $5,000

SANTA FE ART AUCTION

171

408 Alfred Gwynne Morang (1901–1958) The Women at Claude’s

409 Alfred Gwynne Morang (1901–1958) Deserted on the Dance Floor, 1951

oil on canvas board signed left of lower center: Alfred / Morang 19 3/8 x 15 3/8 in. (49.2 x 39.1 cm.) frame: 26 1/8 x 22 1/8 in. (66.4 x 56.2 cm.)

ink, watercolor on board dated and signed lower right: 51 / Alfred Morang 13 1/2 x 16 5/8 in. (34.3 x 42.2 cm.) frame: 18 7/8 x 22 in. (47.9 x 55.9 cm.)

Provenance: Matthews Gallery, Santa Fe, New Mexico Private Collection, Texas

$4,000 — $6,000

$1,500 — $2,500

410 Alfred Gwynne Morang (1901–1958) Untitled (Bar Scene), 1954

411 Howard Behling Schleeter (1903–1976) Horse, 1970

mixed media on paper dated and signed lower right: 54 / Alfred Morang 19 1/2 x 14 1/2 in. (49.5 x 36.8 cm.) frame: 30 1/4 x 25 1/4 in. (76.8 x 64.1 cm.)

mixed media, oil on composition board dated and signed lower right: 70 / HBSCHLEETER inscribed verso: 452 / OIL SERIES / “HORSE” / HOWARD B SCHlEETER. / ALBUQUERQUE NEW MEXICO / JANUARY 21 1970 / 20”-28” / MIXED MEDIA / 70 / 2 20 x 28 in. (50.8 x 71.1 cm.) frame: 25 1/2 x 33 1/2 x 1 1/2 in. (64.8 x 85.1 x 3.8 cm.)

Provenance: Private Collection, Texas $1,500 — $2,500

Provenance: Private Collection, Ohio $3,000 — $5,000

172

SANTA FE ART AUCTION

412 Kim Douglas Wiggins (b. 1960) Lost Arroyo, 1990 oil on canvas signed and dated lower left: KD WiggiNs 90 30 x 40 in. (76.2 x 101.6 cm.) frame: 39 1/2 x 49 x 2 in. (100.3 x 124.5 x 5.1 cm.) Provenance: Private Collection, Colorado $18,000 — $24,000

413 Robert A. Daughters (1929–2013) Chamisa Moon oil on canvas signed lower right: R. Daughters. inscribed verso: CHAMISA MOON / R. Daughters. 30 x 30 in. (76.2 x 76.2 cm.) frame: 38 x 37 5/8 x 1 in. (96.5 x 95.6 x 2.5 cm.) Provenance: Private Collection, New Mexico $15,000 — $25,000

SANTA FE ART AUCTION

173

414 Robert A. Daughters (1929–2013) Puye Winter

415 Robert A. Daughters (1929–2013) Untitled (Chamisa and Sunflowers)

oil on canvas signed lower right: R. Daughters. inscribed verso: PUYE WINTER 30 x 30 in. (76.2 x 76.2 cm.) frame: 37 1/2 x 37 1/2 x 1 1/2 in. (95.3 x 95.3 x 3.8 cm.)

oil on canvas signed lower left: R. Daughters. 20 x 20 in. (50.8 x 50.8 cm.) frame: 27 1/2 x 27 1/2 x 1 1/2 in. (69.9 x 69.9 x 3.8 cm.)

Provenance: The Artist, 2022 Private Collection, New Mexico

Provenance: Private Collection, New Mexico $8,000 — $12,000

$10,000 — $15,000

416 Robert A. Daughters (1929–2013) Winding Road

417 Robert A. Daughters (1929–2013) Untitled (Landscape with Chamisa)

oil on board signed lower left: R. Daughters. 19 1/8 x 14 1/2 in. (48.6 x 36.8 cm.) frame: 22 3/4 x 17 5/8 x 1 1/8 in. (57.8 x 44.8 x 2.9 cm.)

oil on canvas signed lower right: R. Daughters 21 1/2 x 27 1/2 in. (54.6 x 69.9 cm.) frame: 31 1/2 x 37 1/8 x 1 1/2 in. (80 x 94.3 x 3.8 cm.)

Provenance: Private Collection, Texas

Provenance: Private Collection, Colorado

$6,000 — $9,000

$8,000 — $12,000

174

SANTA FE ART AUCTION

418 Jerry Jordan (b. 1944) Late Fall oil on masonite signed lower left: Jerry Jordan / T.a.o.s. inscribed verso: 854 / Late Fall / 12x10 / © Jerry Jordan 12 x 10 in. (30.5 x 25.4 cm.) frame: 18 3/4 x 16 3/4 x 1 in. (47.6 x 42.5 x 2.5 cm.) Provenance: Private Collection, New Mexico $5,000 — $7,000

419 Bert Geer Phillips (1868–1956) Above Taos Pueblo oil on canvas over board signed lower right: PHillips. 15 3/8 x 11 1/2 in. (39.1 x 29.2 cm.) frame: 23 7/8 x 19 3/4 x 1 1/8 in. (60.6 x 50.2 x 2.9 cm.) Provenance: Private Collection, Texas $5,000 — $7,000

SANTA FE ART AUCTION

175

420 Clyde Aspevig (b. 1951) The Two Medicine in June, 1989

421 Clyde Aspevig (b. 1951) The River Bank, 1988

oil on linen signed lower left: C. ASPEVIG inscribed verso: “THE TWO MEDICINE IN JUNE” (as seen from looking glass ridge) / Glacier Nat’l Park, Montana / Winton Gloss Varnish 9/89 / C. ASPEVIG 40 x 50 in. (101.6 x 127 cm.) frame: 49 3/4 x 59 3/4 x 2 in. (126.4 x 151.8 x 5.1 cm.)

oil on canvas signed lower left: C. ASPEVIG inscribed verso: “THE RIVER BANK” / 20x32 OIL / Varnished 11/88 Winton Gloss / C. ASPEVIG 30 x 32 in. (76.2 x 81.3 cm.) frame: 38 x 39 7/8 x 1 1/2 in. (96.5 x 101.3 x 3.8 cm.)

Provenance: Trailside Galleries, Jackson, Wyoming + Scottsdale, Arizona, 1990 Private Collection, Oklahoma $15,000 — $25,000

Provenance: Trailside Galleries, Jackson, Wyoming + Scottsdale, Arizona, 1989 Private Collection, Oklahoma $10,000 — $20,000

422 Clyde Aspevig (b. 1951) The Fall River, 1988 oil on canvas signed lower right: C. ASPEVIG inscribed verso: “THE FALL RIVER” RMC / © C. ASPEVIG 1988 16 x 18 in. (40.6 x 45.7 cm.) frame: 20 1/2 x 22 3/8 x 2 1/4 in. (52.1 x 56.8 x 5.7 cm.) Provenance: Trailside Galleries, Jackson, Wyoming + Scottsdale, Arizona, 1989 Private Collection, Oklahoma $3,000 — $5,000

423 Emil James Bisttram (1895–1976) Untitled (Waterfall), 1963 oil on canvas signed and dated lower right: [artist’s cipher] / BISTTRAM / 63 40 x 25 in. (101.6 x 63.5 cm.) frame: 41 1/2 x 27 x 2 1/4 in. (105.4 x 68.6 x 5.7 cm.) Provenance: Private Collection, New Mexico, ca. 1982 Private Collection, New Mexico (by descent) $6,000 — $9,000

176

SANTA FE ART AUCTION

424 Sheldon Parsons (1866–1943) Ojo Looking Towards Jemez

425 Sheldon Parsons (1866–1943) Spring Landscape

oil on board signed lower left: -SheldoN PARSONS23 1/2 x 35 1/2 in. (59.7 x 90.2 cm.) frame: 29 x 41 1/4 x 1 3/4 in. (73.7 x 104.8 x 4.4 cm.)

oil on board signed lower right: -SheldoN PARSONSinscribed verso: #52 15 7/8 x 20 in. (40.3 x 50.8 cm.) frame: 21 x 25 x 1 5/8 in. (53.3 x 63.5 x 4.1 cm.)

Provenance: Peyton Wright, Santa Fe, New Mexico Zaplin Lampert, Santa Fe, New Mexico Private Collection, Arizona $8,000 — $12,000

Provenance: Private Collection, New Mexico $6,000 — $9,000

426 Raymond Jonson (1891–1982) Summer - Santa Fe, 1922

427 Otis Dozier (1904–1987) Countryside, 1969

watercolor on paper dated lower right: 19 (c) 22 inscribed verso: SUMMER / SANTA FE 1922 / WATERCOLOR / JONSON 10 3/8 x 14 7/8 in. (26.4 x 37.8 cm.) frame: 15 1/2 x 19 3/4 x 5/8 in. (39.4 x 50.2 x 1.6 cm.)

oil on linen signed and dated lower right: Otis Dozier ‘69 inscribed verso: ApRil 1969 23 5/8 x 51 1/2 in. (60 x 130.8 cm.) frame: 25 x 53 x 1 1/2 in. (63.5 x 134.6 x 3.8 cm.)

Provenance: Private Collection, New Mexico

Provenance: Private Collection, Colorado

$5,000 — $7,500

$4,000 — $8,000

SANTA FE ART AUCTION

177

428 Logan Maxwell Hagege (b. 1980) Teaching Rock oil on board signed upper left: L HAGEGE 8 3/4 x 11 7/8 in. (22.2 x 30.2 cm.) frame: 16 3/8 x 19 1/2 in. (41.6 x 49.5 cm.) Provenance: Private Collection, Texas $6,000 — $9,000

429 Forrest Moses (1934–2021) Aspen Fall (Triptych) oil on canvas left panel inscribed verso: MOSES #1 of 3 / #2001/01 53 x 18 center panel inscribed verso: “ASPEN FALL” / #2001/01 53x31 1/2 #2 of 3 MOSES right panel inscribed verso: #2001/01 53 x 18 #3 of 3 MOSES left panel: 53 1/2 x 18 in. (135.9 x 45.7 cm.) center panel: 53 1/2 x 31 1/2 in. (135.9 x 80 cm.) right panel: 53 1/2 x 18 in. (135.9 x 45.7 cm.) Provenance: Private Collection, Colorado $8,000 — $12,000

178

SANTA FE ART AUCTION

430 Nathaniel Volckening (b. 1988) Hope Rising, 2026 oil on linen initialed lower left: N / V inscribed verso: HOPE RISING / MMXXVI / NATHANIEL VOLCKENING 40 x 30 in. (101.6 x 76.2 cm.) frame: 45 1/2 x 35 1/2 x 1 3/4 in. (115.6 x 90.2 x 4.4 cm.) $10,000 — $12,000

431 Peter Hurd (1904–1984) Untitled (Southern New Mexico Ranch) watercolor on paper signed lower left: Peter Hurd n.a. 16 1/8 x 22 1/4 in. (41 x 56.5 cm.) frame: 25 1/4 x 31 1/4 x 1 3/4 in. (64.1 x 79.4 x 4.4 cm.) Provenance: Private Collection, New Mexico $7,000 — $10,000

SANTA FE ART AUCTION

179

432 Clark Hulings (1922–2011) Patience, 1973 oil on masonite signed and dated lower right: Hulings 1973 inscribed verso: [personalized inscription] 20 x 30 in. (50.8 x 76.2 cm.) frame: 28 x 37 7/8 x 1 5/8 in. (71.1 x 96.2 x 4.1 cm.) Provenance: Collection of Joe Beeler Private Collection, New Mexico $10,000 — $20,000

433 Bill Anton (b. 1957) A New Day Dawns, 2013 oil on panel signed lower right: Bill Anton inscribed verso: “A New Day Dawns” / 30 x 28 OIL / Bill Anton © 2013 30 x 28 in. (76.2 x 71.1 cm.) frame: 39 1/4 x 37 1/4 x 2 in. (99.7 x 94.6 x 5.1 cm.) Provenance: Private Collection, New Mexico $12,000 — $18,000

180

SANTA FE ART AUCTION

434 Tim Cox (b. 1957) Through Dawn’s Dusty Light, 2014 oil on board dated and signed lower left: 2014 A.T.COX / © [Cowboy Artists of America insignia] 18 x 24 in. (45.7 x 61 cm.) frame: 27 x 33 1/2 x 2 5/8 in. (68.6 x 85.1 x 6.7 cm.) Provenance: Private Collection, New Mexico $8,000 — $12,000

435 C. Michael Dudash (b. 1952) Skillful Hands, Watchful Eyes oil on linen signed lower left: C M DUDASH [artist’s cipher] / [Cowboy Artists of America insignia] inscribed verso: “SKILLFUL HANDS, WATCHFUL EYES / OIL ON LINEN 36” x 40” / © C. M. DUDASH / C. M. Dudash 36 x 40 in. (91.4 x 101.6 cm.) frame: 47 x 51 x 2 1/2 in. (119.4 x 129.5 x 6.4 cm.) Provenance: Private Collection, Indiana $15,000 — $25,000

436 C. Michael Dudash (b. 1952) Kickin’ Up Some Dust, 2016 oil on linen signed lower left: CM DUDASH [artist’s cipher] inscribed verso: “KICKIN’ UP SOME DUST” / OIL ON LINEN 16” x 20” / © C.M. DUDASH 7/12/16 / CM. Dudash 16 x 20 in. (40.6 x 50.8 cm.) frame: 22 3/4 x 26 7/8 x 3 in. (57.8 x 68.3 x 7.6 cm.) Provenance: Private Collection, Indiana $5,000 — $7,000

SANTA FE ART AUCTION

181

437 Andrew Peters (b. 1954) Awaiting Spring, 2013

438 Joseph Piccillo (b. 1941) #17, 1996

oil on canvas signed lower left: ANDREW PETERS 30 x 36 in. (76.2 x 91.4 cm.) frame: 37 x 43 x 2 3/4 in. (94 x 109.2 x 7 cm.)

graphite on canvas 60 x 48 in. (152.4 x 121.9 cm.) frame: 61 7/8 x 49 3/4 x 2 1/8 in. (157.2 x 126.4 x 5.4 cm.) Provenance: The Artist Gallery Camino Real, Boca Raton, Florida Private Collection, Florida Private Collection, Georgia (by descent)

Provenance: Private Collection, New Mexico Exhibited: Prix de West Invitational, National Cowboy & Western Heritage Museum, Oklahoma City, Oklahoma

$3,000 — $6,000

$6,000 — $9,000

439 Tom Browning (b. 1949) Ridin’ Drag

440 Dan Bodelson (b. 1949) The Holy Tree, 2009

oil on canvas signed lower right: Tom Browning [Cowboy Artists of America insignia] inscribed verso: RIDIN’ DRAG 16x20 Tom Browning 20 x 16 in. (50.8 x 40.6 cm.) frame: 29 3/4 x 25 3/4 x 3 in. (75.6 x 65.4 x 7.6 cm.)

oil on canvas signed lower left: © Bodelson inscribed verso: THIS PAINTING IS DEDICATED TO / BILL BYRFORD / HE MADE ME A BETTER ARTIST. / Dan / 2/2009 36 1/8 x 48 5/8 in. (91.8 x 123.5 cm.) frame: 46 3/8 x 58 3/8 x 3 3/4 in. (117.8 x 148.3 x 9.5 cm.)

Provenance: Private Collection, New Mexico $4,000 — $6,000

182

SANTA FE ART AUCTION

Provenance: Private Collection, Indiana $4,000 — $6,000

441 Steven Lang (b. 1960) Warriors in the Wind

442 Steven Lang (b. 1960) Takes the Pipe, Speaks the Truth, 2005

oil on canvas signed lower left: © LanG. / OPAM 30 x 40 in. (76.2 x 101.6 cm.) frame: 38 5/8 x 48 5/8 x 2 in. (98.1 x 123.5 x 5.1 cm.)

oil on canvas signed lower right: © LanG. / OPAM 40 x 30 in. (101.6 x 76.2 cm.) frame: 49 1/2 x 39 1/2 x 3 in. (125.7 x 100.3 x 7.6 cm.)

Provenance: Altermann Galleries, Santa Fe, New Mexico Private Collection, Indiana

Provenance: Altermann Galleries, Santa Fe, New Mexico Private Collection, New Mexico

$4,000 — $6,000

443 Harvey William Johnson (1921–2005) The Great Procession of 1836, 1992 oil on canvas over board signed and dated lower left: hw johnson [Cowboy Artists of America insignia] / ‘92 24 x 48 in. (61 x 121.9 cm.) frame: 34 3/4 x 58 3/4 x 2 1/2 in. (88.3 x 149.2 x 6.4 cm.) Provenance: Altermann Galleries, Santa Fe, New Mexico Private Collection, Indiana $5,000 — $7,000

444 Gordon Brown (b. 1962) Changing Light, 1996 oil on board signed and dated lower left: Gordon Brown / 1996 inscribed verso: HC 209 23 3/8 x 59 5/8 in. (59.4 x 151.4 cm.) frame: 33 3/8 x 69 3/8 x 2 in. (84.8 x 176.2 x 5.1 cm.) Provenance: Private Collection, Colorado $5,000 — $7,000

SANTA FE ART AUCTION

183

445 Ronnie Hedge (1954–2010) Untitled (Grand Canyon View), 1996 oil on canvas signed and dated lower right: Ronnie Hedge / © 96 19 x 23 in. (48.3 x 58.4 cm.) frame: 26 x 30 3/8 x 1 5/8 in. (66 x 77.2 x 4.1 cm.) Provenance: Private Collection, New Mexico $2,000 — $3,000

446 William A. Slaughter (1923–2003) Untitled (Bluebonnet Sunset), ca. 1991 oil on canvas signed lower right: W. A. Slaughter inscribed verso: [personalized inscription] / W. A. Slaughter / 6/23/1991 15 1/4 x 19 3/4 in. (38.7 x 50.2 cm.) frame: 26 1/8 x 30 x 2 1/8 in. (66.4 x 76.2 x 5.4 cm.) Provenance: The Artist Southwest Gallery, Dallas, Texas Private Collection, New Mexico $3,000 — $5,000

447 William A. Slaughter (1923–2003) Untitled (Field of Bluebonnets), ca. 1991 oil on canvas signed lower left: W. A. Slaughter inscribed verso: #W276 PNXX-II / [personalized inscription] / W. A. Slaughter / Dallas, Texas / 6/23/91 16 x 19 7/8 in. (40.6 x 50.5 cm.) frame: 28 7/8 x 30 1/8 x 2 1/2 in. (73.3 x 76.5 x 6.4 cm.) Provenance: The Artist Private Collection, New Mexico $3,000 — $5,000

184

SANTA FE ART AUCTION

448 Alan Wolton (b. 1934) Arizona Light, 1987

449 Gary Ernest Smith (b. 1942) Golden Fields

oil on linen signed and dated lower right: ALAN WOLTON / 87 39 7/8 x 48 x 1 1/8 in. (101.3 x 121.9 x 2.9 cm.)

oil on canvas signed lower right: GARY ERNEST SMITH © 30 x 40 in. (76.2 x 101.6 cm.) frame: 39 1/4 x 49 1/4 x 2 1/8 in. (99.7 x 125.1 x 5.4 cm.)

Provenance: Private Collection, New Mexico $3,000 — $5,000

Provenance: Overland Trails Galleries, 1989 Private Collection, Oklahoma $4,000 — $6,000

450 Gary Ernest Smith (b. 1942) Tying Potato Sacks, 1993

451 David Yorke (b. 1949) The Florida Wrangler

oil on canvas signed lower right: GARY ERNEST SMITH © inscribed verso: tIEING POTATO SACKS / 24 x 18 OIL ON CANVAS / GARY ERNEST SMITH / ©CopyRIGHT RESERVED 24 x 18 in. (61 x 45.7 cm.) frame: 29 1/2 x 23 1/2 x 5/8 in. (74.9 x 59.7 x 1.6 cm.)

oil on linen signed lower right: David Yorke © 39 3/4 x 24 1/8 in. (101 x 61.3 cm.) frame: 46 1/4 x 30 1/2 x 3/4 in. (117.5 x 77.5 x 1.9 cm.)

Provenance: Winston Gallery of Fine Art, Telluride, Colorado Private Collection, Colorado

Provenance: Private Collection, Colorado $2,000 — $4,000

$3,000 — $5,000

SANTA FE ART AUCTION

185

452 Scott Fraser (b. 1957) Catenary Curve

453 John Gibson (b. 1958) 4 Colored Balls, 1986

oil on panel signed lower right: Scott Fraser 59 x 71 1/2 in. (149.9 x 181.6 cm.) frame: 63 x 76 1/2 x 2 in. (160 x 194.3 x 5.1 cm.)

oil on linen inscribed verso: John Gibson / 23 1/2 x 33 / 11/86 / “4 colored / Balls” 32 3/4 x 23 5/8 in. (83.2 x 60 cm.) frame: 34 1/2 x 25 1/4 x 2 in. (87.6 x 64.1 x 5.1 cm.)

Provenance: Private Collection, Colorado

$8,000 — $12,000

$6,000 — $9,000

454 Daniel Sprick (b. 1953) Object Project #1, 2006

455 William Acheff (b. 1947) Untitled (Three Pots)

oil on panel 35 1/2 x 29 1/2 in. (90.2 x 74.9 cm.) frame: 49 1/2 x 43 3/4 x 2 1/4 in. (125.7 x 111.1 x 5.7 cm.)

oil on canvas board signed lower right: Wm. Acheff 9 1/2 x 21 1/2 in. (24.1 x 54.6 cm.) frame: 14 1/2 x 26 1/2 x 2 1/4 in. (36.8 x 67.3 x 5.7 cm.)

Provenance: Private Collection, Colorado $4,000 — $6,000

186

SANTA FE ART AUCTION

Provenance: Private Collection, Texas $5,000 — $7,000

456 Rod Goebel (1946–1993) Still Life

457 Edmund Daniel Kinzinger (German, 1888–1963) Still Life, 1928

oil on canvas signed lower right: Rod GOEBEL / NAWA 23 1/4 x 29 1/4 in. (59.1 x 74.3 cm.) frame: 30 1/4 x 36 5/8 x 2 in. (76.8 x 93 x 5.1 cm.)

oil on linen initialed and dated lower left: EDK28 18 1/4 x 22 1/8 in. (46.4 x 56.2 cm.) frame: 22 x 25 3/4 x 1 1/4 in. (55.9 x 65.4 x 3.2 cm.)

Provenance: Private Collection, Texas

$2,000 — $3,000

$3,000 — $5,000

458 Chuck Sabatino (b. 1935) The Chest

459 Sue Krzyston (b. 1948) Bridging Cultures, 2010

acrylic on canvas signed lower right: SAbATiNO © inscribed verso: #286 SAN JUAN DOUGH BOWL / SANTO DOMINGO BOWL, + MIMBRES BOWL / “THE CHEST” 23 5/8 x 29 1/8 in. (60 x 74 cm.) frame: 34 3/4 x 40 3/4 x 2 in. (88.3 x 103.5 x 5.1 cm.)

acrylic on canvas signed and dated lower right: S. Krzyston © ‘10 inscribed verso: “Bridging Cultures” / © S. Krzyston / 2010 30 x 48 in. (76.2 x 121.9 cm.) frame: 40 x 58 x 3 3/4 in. (101.6 x 147.3 x 9.5 cm.)

Provenance: Private Collection, Colorado

Provenance: Sage Creek Gallery, Santa Fe, New Mexico Private Collection, New Mexico

$2,000 — $4,000

SANTA FE ART AUCTION

187

460 Robert A. Daughters (1929–2013) 1 Poppy oil on canvas signed lower right: R. Daughters. inscribed verso: 1 POPPY R. Daughters 8 x 9 3/4 in. (20.3 x 24.8 cm.) frame: 16 x 18 x 2 in. (40.6 x 45.7 x 5.1 cm.) Provenance: Private Collection, New Mexico Exhibited: Albuquerque Museum Miniature Show, Albuquerque, New Mexico $2,000 — $4,000

461 Ila Mae McAfee (1897–1995) Oriental Poppy oil on board signed lower right: Ila McAfee 20 x 15 3/4 in. (50.8 x 40 cm.) frame: 23 1/4 x 18 3/4 x 1 1/2 in. (59.1 x 47.6 x 3.8 cm.) Provenance: Private Collection, Texas $1,000 — $2,000

188

SANTA FE ART AUCTION

462 Roger Hayden Johnson (20th/21th Century) Chapel Back, La Puente oil on canvas signed lower left: RHJohnson inscribed verso: RHJohnson / Oil 30” x 30” / Chapel Back, La Puente 30 1/4 x 30 1/4 in. (76.8 x 76.8 cm.) frame: 38 5/8 x 38 5/8 x 2 5/8 in. (98.1 x 98.1 x 6.7 cm.) Provenance: Private Collection, New Mexico $3,000 — $6,000

463 Roger Hayden Johnson (20th/21st Century) Illumination, San Jose oil on canvas signed lower left: RHJohnson inscribed verso: RHJohnson / Oil 24” x 40” / Illumination, San Jose 24 x 40 in. (61 x 101.6 cm.) frame: 32 1/2 x 48 1/2 x 2 3/4 in. (82.6 x 123.2 x 7 cm.) Provenance: Private Collection, Pennsylvania $4,000 — $6,000

464 Bradley Schmehl (b. 1962) Blue Hour oil on canvas signed lower right: Schmehl inscribed verso: “BLUE HOUR” / © BRADLEY SCHMEHL / ALL RIGHTS RESERVED 12 x 24 in. (30.5 x 61 cm.) frame: 15 3/4 x 27 3/4 x 1 3/8 in. (40 x 70.5 x 3.5 cm.) Provenance: Altermann Galleries, Santa Fe, New Mexico Private Collection, New Mexico $2,000 — $4,000

SANTA FE ART AUCTION

189

INVITING FINE CONSIGNMENTS The Southwest’s leading auction house, providing expert guidance + innovative strategies for individual artworks to major single-owner collections.

2027 AUCTION CALENDAR + CONSIGNMENT DEADLINES February Native Art Submission Deadline: January 1 March Prints, Multiples + Works on Paper Submission Deadline: February 1 May Art of the West Submission Deadline: April 1 July New Mexico Now Submission Deadline: June 1 August Native Market Submission Deadline: July 1 September Contemporary Art, Design + Photography Submission Deadline: August 1 November Signature Annual Live Sale Submission Deadline: September 1

WELCOMING QUALITY CONSIGNMENTS YEAR-ROUND

COURTESY EVALUATION Contact us to request a confidential, no-obligation estimate or to discuss the dispersal of your collection. visit: santafeartauction.com/sell call: 505.954.5858 email: consign@santafeartauction.com 932 Railfan Road, Santa Fe, NM 87505

INDEX (by Artist + Lot Number) Abeyta, Narciso Platero [Ha-So-De]

216

Dozier, Otis

427

Abeyta, Tony

38, 388–390

Dudash, C. Michael

435, 436

Acheff, William

455

Duesberry, Joellyn T.

340–342

Acoma

152, 157

Dunn, Harvey T.

290, 291

Acomita

154, 155

Dunton, W. Herbert

245

Adams, Charles Partridge

369

Eggenhofer, Nick

244

Afsary, Cyrus

314

Ellis, Fremont F.

234, 262, 285, 286, 363, 364

Anton, Bill

433

Ernesti, Richard

401

Applegate, Frank G.

228

Ewing, Louie

241

Aspevig, Clyde

420–422

Farny, Henry Francois

218

Ayers, James

310

Felix, Sushe

346, 347

Bakós, Jozef

229

Fillerup, Peter M.

Balciar, Gerald George

Frank, Alyce

348, 349

Barrows, Charles

240

Fraser, Scott

452

Bartlett, Jennifer Losch

231, 232

Furlow, Malcolm

380–382

Baumann, Gustave

24–34

Garlick, Aaron

273

Beeler, Joe Neil

84, 87

Gaspard, Leon Shulman

230

Begay, Calvin

197

Gibson, John

453

Benton, Thomas Hart

21–23

Goebel, Rod

456

Berninghaus, Oscar Edmund

357

Goodnight, Veryl

Biss, Earl

375, 376

Gorman, R. C.

208

Bisttram, Emil James

217, 233, 423

Goseyun, Craig Dan

Bodelson, Dan

440

Grant, Blanche Chloe

321

Bohling, Amery

259

Gray, Darren Vigil

387

Borein, Edward

17, 18

Hagege, Logan Maxwell

405, 428

Boss, Homer Dean

402

Hampton, John Wade

243

Bradley, David P.

391–393

Haozous, Bob

Brett, Dorothy Eugénie

320, 335

Hardin, Helen [Tsa-Sah-Wee-Eh]

211, 212, 395

Brown, Irby Graves

279

Harvey, G. (Gerald Harvey Jones)

Brown, Gordon

444

Haskell, William

255

Browning, Tom

439

Hedge, Ronnie

445

Buff, Conrad

366

Helbig, Bud

250, 251

Cannon, T. C.

Hennings, Ernest Martin

12, 13, 358

Carlson, George Arthur

220

Hermés

207

Carter, Gary

248

Hertel, Susan

329–331

Cassidy, Gerald

272, 313

Hook, William Cather

276, 277

Catlin, George

Holt, Lisa + Harlan Reano

160–163

Chávez, Arturo Antonio

293, 294

Hopi

177

Christensen, Scott

257

Hopkins, Edna Boies

Clark, Carl + Irene

194

Houser (Haouzous), Allan Capron

55–57

Cochiti

149

Hulings, Clark

432

Cole, Blanche Dugan

322, 323

Hurd, Peter

239, 431

Coleman, John

Hurley, Wilson

371

Coleman, Michael

309

Jackson, Harry Andrew

Cory, Kate Thompson

324

James, Rebecca Salsbury

352

Cox, Tim

434

Jiménez, Luis

52, 53

Crumbo, Woody

215

Johnson, Frank Tenney

365

Curry, John Steuart

Johnson, Harvey William

443

Curtis, Edward S.

90–142

Johnson, Roger Hayden

462, 463

Dallin, Cyrus Edwin

Jonason, David

289

Dasburg, Andrew

227

Jonson, Raymond

226, 426

Daughters, Robert A.

413–417, 460

Jordan, Jerry

418

David, Jose Maria

Kawaiisu

168

de Romero, Esquipula Romero

317

Kinzinger, Edmund Daniel

457

DeForest, Roy

406

Kloss, Gene

1-11, 209, 225, 235–238, 333

DeMott, John

307

Krzyston, Sue

459

Dickerson, Tom

167

Kucera, D. Edward

306

Dickerson, William Judson

265

Laguna/Acoma

156

Diné (Navajo)

173–176, 178–183, 185

Lang, Steven

441, 442

Doi, Hiroyuki

397

Larsen, Fran

343–345

192

SANTA FE ART AUCTION

INDEX (by Artist + Lot Number) Lawrence, Brent

Schleeter, Howard Behling

411

Leighton, Kathryn Woodman

319

Schmehl, Bradley

464

Lillywhite, Raphael

372–374

Schmidt, Carl

299

Lockwood, Ward

354

Scholder, Fritz

47–50

Loeffler, Gisella Lacher

403, 404

Sharp, Joseph Henry

14, 355, 356

Loloma, Charles

193

Shepherd, Nellie

325, 326

Lucas, Don

188

Shuster Jr., William Howard

370

Macaione, Thomas Silvestre

263, 264, 283

Singleton, Gib

78–80

Mary Dick Topino, attributed to

170

Sisson, Laurence Philip

266, 267, 292

McAfee, Ila Mae

222, 223, 328, 461

Slaughter, William A.

446, 447

McElwain, Louisa

336–339

Smith, Jaune Quick-to-See

41–44, 394, 396

McGary, Dave

72–75

Smith, Kirk

186, 187

McGrew, R. Brownell

315

Smith, Linda Kyser

269, 270

McIntyre, Peter

359

Smith, George Dee

301

Mell, Ed

36, 37, 360

Smith, Gary Ernest

449, 450

Mieduch, Dan

308

Snidow, Gordon E.

252

Milhomme, Denis

302

Spooner, Robert

271

Mono

171

Sprick, Daniel

454

Moran, Thomas

242

Springford, Vivian

351

Morang, Alfred Gwynne

408–410

Stefan, Ross

300

Moses, Forrest

295, 429

Stevenson, Beulah

350

Moskowitz, Ira

400

Strisik, Paul

278

Moyers, John

280, 304

Swentzell, Roxanne

59, 60

Murphy, Hermann Dudley

268

Swinnerton, James Guilford

367, 368

Namingha, Dan

398

Tahoma, Quincy

214

Nampeyo of Hano, attributed to

145

Tenorio, Thomas

164, 165

Nastacio, Veronica Poblano + Amelio

199

Three Hogans

184

New Mexico

172

True, Virginia

334

Niblett, Gary

253

Tu, Zhiwei

305

Nieto, John

40, 219, 378, 379

Turner, Ben

258

Nordfeldt, Bror Julius Olsson

353

Ufer, Walter

318

Nowlin, Bruce Carlton

399

Velarde, Pablita [Tse Tsan]

210, 221

Obrzut, Kim Seyesnem

Vickers, Russ

249

Ostermiller, Dan

Vigil, Lonnie

166

Parsons, Sheldon

424, 425

Volckening, Nathaniel

430

Paxson, Edgar Samuel

316

Volz, Chuck

274

Payne, Vic

Von Hassler, Carl

296–298

Perceval, Don

213

Wachtel, Elmer

361

Peters, Andrew

437

Wall, Kathleen

159

Phillips, Bert Geer

284, 419

Wallace, Dawn

190

Piccillo, Joseph

438

Wallace, Denise

189, 191, 192

Pletka, Paul

383

Walters, Curt

254, 281, 282

Poblano, Veronica

198, 200–206

Warren, Kimbal

275

Polacca (Hopi)

144, 148

Whittredge, Worthington

362

Procter, Burt

288

Wiggins, Kim Douglas

412

Rancinan, Gérard

Wilms, Jurgen

260, 261

Reano, Lisa Holt + Harlan

160–163

Wolton, Alan

448

Red Star, Kevin

377

Wood, Grant

Redin, Carl

287

Wood, Myron

Reedy, Leonard Howard

246, 247

Woolley, Virginia B.

327

Remington, Frederic Sackrider

Wooten, Walt

384, 385

Roberts, Gary Lynn

303

Yazzie, Steven

386

Rogers, Peter

407

Yellowhorse, Alvin

195

Rohrig, Mark

311, 312

Yokuts

169

Rönnebeck, Arnold

67, 224

York, Star Liana

61–63

Ronquillo, Fatima

332

Yorke, David

451

Russell, Charles Marion

81, 82

Zia

147, 151

Sabatino, Chuck

458

Zuni

143, 146, 150, 153, 158

Sander, Sherry Salari

65, 66

Zúñiga, Francisco

Saunders, Buck

256

SANTA FE ART AUCTION

193

TERMS + CONDITIONS OF SALE The following Terms and Conditions of Sale are the Santa Fe Art Auction Limited Co.’s (“Santa Fe Art Auction”) and its agents’ and consignors’ entire agreement with the prospective bidders, bidders and buyers relative to the lots listed in this catalogue. The lots will be offered by the Santa Fe Art Auction as agent for the consignors, unless the catalogue indicates otherwise. 1. The Santa Fe Art Auction operates as an agent of the seller only. It is not responsible in the event any buyer or seller at the auction fails to live up to their respective agreements, including failure of the seller to deliver any property to buyers. The Santa Fe Art Auction assumes no risk, liability, or responsibility beyond the limited warranty contained herein. (a) All property is sold “AS IS.” There are no representations or warranties that extend beyond these Terms and Conditions of Sale. All works shall be available for examination prior to the sale. The Santa Fe Art Auction, and its agents and consignors, make no representations or warranties as to merchantability, fitness for a particular purpose, correctness of the catalogue or description, including, but not limited to, the authenticity, the physical condition, size, quality, rarity, importance, medium, provenance, dates, exhibitions, literary or historical relevance of any property, and, no statement anywhere, whether oral or written, whether made in the catalogue, an advertisement, a bill of sale, a salesroom posting or announcement, or elsewhere shall be deemed such a warranty, representation or assumption of liability. Nor are there any representations and warranties, express or implied, as to whether the purchaser acquires any copyrights, including, but not limited to, any reproduction rights in any property. Contents of this catalogue are subject to change or supplementation before or during the sale, including the sale of any lot. 2. Prospective bidders should inspect the lots before bidding to determine condition, size and whether or not the lot has been repaired or restored and to investigate all other matters relating to the lot that is of material importance to the prospective bidder. 3. A buyer’s premium will be added to the successful bid price and is payable by the purchaser as part of the total purchase price. If paying by cash or check, the purchase price will be the sum of the final bid price plus a buyer’s premium of 23% of the final bid price of each lot up to and including $1,000,000 and 18% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges. Note: All artwork is soft-wrapped and a $10 fee for will be added to your invoice. — The buyer’s premium is calculated separately for each lot. — Successful online bidders on third party platforms (Invaluable + Live Auctioneers) will be subject to a surcharge by those platforms, currently 5%. — Credit card payments are subject to a 4% processing fee and are accepted as a convenience to our buyers. — We accept Visa, Mastercard, and American Express; we do not accept debit cards. 4. Unless exempted by law, the Buyer will be required to pay all applicable state and local sales, gross receipts, and compensation tax. Proof of exemption in the form of a current Non-Taxable Transaction Certificate must be provided at registration. In the event of deliveries outside the state, it is the Purchaser’s responsibility to pay any applicable compensating use tax of another state on the total purchase price. • Why Santa Fe Art Auction Collects Sales Tax: New Mexico requires a seller of goods to register with the New Mexico Department of Taxation and Revenue and collect and remit sales tax if the seller maintains a presence within the state. More specifically, tax laws require an auction house, like Santa Fe Art Auction, with a presence in New Mexico, to register as a sales tax collector, and remit sales tax collected to the state. Unless exempted, New Mexico sales tax is charged on the hammer price, buyer’s premium and any other applicable charges on any property picked up or delivered in New Mexico, regardless of the state or country in which the purchaser resides or does business. • Since the 2018 South Dakota v. Wayfair, Inc. ruling, most US states have implemented legislation requiring remote sellers to collect sales tax when the total dollar value of purchases sent to that state exceeds a set threshold, known as an economic nexus. Each state sets its own threshold or nexus. Like all other remote sellers, Santa Fe Art Auction is now required to collect Sales/Use Tax from buyers in any state when the total dollar value of purchases sent to that state creates a nexus. When this occurs, you will see sales tax included on your invoice. The sales tax rate is determined by the state, county, and city where purchases are shipped. However, any purchases made in person and/or picked up in person, are subject to applicable New Mexico sales tax instead. • The following states do not currently have sales tax and/or applicable economic nexus laws, and as a result the Santa Fe Art Auction is not required to collect sales tax from Alaska, Delaware, Montana, New Hampshire, or Oregon. • Certain Exemptions: New Mexico allows for specified exemptions to its sales tax. For example, a registered re-seller such as a registered art dealer may purchase without incurring a tax liability, and Santa Fe Art Auction is not required to collect sales tax from such re-seller. As sales tax laws vary from state to state, Santa Fe Art Auction recommends that clients with questions regarding the application of sales or use taxes to property purchased at auction seek tax advice from their local tax advisors. 5. The Santa Fe Art Auction reserves the right to withdraw any lot before or during the sale and shall have no liability whatsoever for such withdrawal. 6. Except as may be announced by the auctioneer, all bids are per lot, as numbered in the catalogue. 7. The Santa Fe Art Auction reserves the right to reject any bid. The highest bidder acknowledged by the auctioneer will be the Buyer, subject to reserves. In the event of any dispute between bidders, or in the event of doubt as to the validity of any bid, the auctioneer will have the final discretion to determine the successful bidder, cancel the sale, or reoffer and resell the lot in dispute. If any dispute arises after the sale, the Santa Fe Art Auction’s sale record shall be final and conclusive. The Santa Fe Art Auction, in its discretion, may execute orders or absentee bids as a convenience to clients who are not present at the auction; however, the Santa Fe Art Auction is not responsible for any errors or omissions in connection therewith. 8. If the auctioneer, in his or her discretion, determines that any bid is below the reserve of the lot, he or she may reject the same and withdraw the lot from sale, and, if having acknowledged an opening or other bid, the auctioneer decides that any advance thereafter is insufficient, he or she may reject the advance.

194

SANTA FE ART AUCTION

9. On the fall of the auctioneer’s gavel, the highest bidder acknowledged by the auctioneer assumes full risk and responsibility for the offered lot, subject to all of the Terms and Conditions of Sale set forth herein, and is immediately obligated to pay the full purchase price. All sales are final and there shall be no exchanges or returns. Payment shall be made by cash, check or wire transfer. As set forth in paragraph 3, above, for an additional percentage Santa Fe Art Auction will also accept credit cards as a form of payment. (Visa and MasterCard only). In addition to other remedies available to Santa Fe Art Auction by law, we reserve the right to impose, from the date of sale, a late charge of 1.5% per month (18% per annum) of the total purchase price, if payment is not made in accordance with the conditions set forth herein. (a) All lots must be removed by the Buyer at his or her expense not later than ten (10) business days following the sale, and, if it is not so removed, (i) a handling charge of 1% of the total purchase price per month, or a portion thereof from the tenth day after the sale (until its removal) will be payable to us by the Buyer, with a minimum of 5% of the total purchase price due for any lot not so removed within 60 days after the sale, and (ii) Santa Fe Art Auction may send the purchased lot to a public warehouse for the account of and at the risk and expense of the Buyer. (b) If any applicable conditions herein are not complied with by the Buyer, the Buyer will be in default, and in addition to any and all other remedies available to the Santa Fe Art Auction and its agents and consignors by law, including, without limitation, the right to hold the Buyer liable for the total purchase price, together with all fees, charges and expenses set forth in these Terms and Conditions of Sale, the Santa Fe Art Auction, at its sole option, may (i) cancel the sale of that, or any other lot or lots sold to the defaulting Buyer, or (ii) resell the purchased lot or lots, whether at auction or by private sale, or (iii) effect any combination thereof. The Buyer will be liable for any deficiency, any and all costs, handling charges, late charges, expenses and commissions of both sales, legal fees and expenses, collection fees and incidental damages. The Santa Fe Art Auction and its agents and consignors shall have all of the rights accorded to a secured party under the New Mexico Uniform Commercial Code. The Buyer of each lot agrees that each lot is unique and that Santa Fe Art Auction, in its sole discretion, shall not be required to sell or otherwise seek to mitigate damages should such Buyer fail to pay the total purchase price. Payment will not be deemed to have been made in full until the Santa Fe Art Auction shall have collected good funds. The Santa Fe Art Auction reserves the right to hold all purchases pending collection of the total purchase price, together with all additional fees, charges and expenses incurred pursuant to these Terms and Conditions of Sale. 10. All lots (unless otherwise indicated by the letters “nr”) are subject to a reserve, which is the confidential minimum price acceptable to the consignor. The Santa Fe Art Auction, or its agents or consignors, may implement such reserve by opening the bidding or they or either of them may bid up to the amount of the reserve by placing successive or consecutive bids for a lot or may bid in response to other bidders. In instances where the Santa Fe Art Auction has an interest in the lot, it may bid up to the reserve to protect such interest. 11. Santa Fe Art Auction is the owner of images of each lot offered for sale and may use such images for its own archival purposes, as well as for advertising and publicity in connection with this or future sales by the Santa Fe Art Auction. 12. These Terms and Conditions of Sale, together with the parties’ respective rights and obligations hereunder, shall be governed and construed and enforced in accordance with the laws of the State of New Mexico, without regard to New Mexico’s rules concerning conflicts of laws. 13. Prospective bidders, bidders and Buyers agree that, in the event of any controversy or claim arising out of or relating to a sale of any lot, the party asserting such controversy or claim shall provide written notice thereof to the other party; that any such controversy or claim not settled within fourteen (14) days of delivery of notice by the other party, including, without limitation, any controversy or claim arising from, or relating to, the sale of any lot or any of these Terms and Conditions of Sale, including the terms of this paragraph, the sole and exclusive means for resolving the dispute shall be by binding arbitration in Santa Fe, New Mexico. Said arbitration shall be confidential and shall be pursuant to the New Mexico Uniform Arbitration Act, shall be conducted before a single arbitrator, and shall otherwise be guided by the then extant New Mexico Rules of Arbitration. This Agreement is deemed made in Santa Fe, New Mexico, and is subject to the internal substantive law of the State of New Mexico without regard to conflicts of laws. The award of the arbitrator shall be final, and may be entered into any court having jurisdiction thereof. Each party shall bear that party’s own costs of arbitration and attorney’s fees. 14. The Santa Fe Art Auction is pleased to present to art purchasers shipping options which are explained in the shipping form enclosed in this catalogue. If you misplace this form, call or send an email and another form will be provided. 15. Results are posted on the Santa Fe Art Auction web site and, upon request, may be sent to Buyers, catalogue subscribers, absentee and phone bidders, and other registered bidders. 16. If any part of these Terms and Conditions is held invalid or unenforceable for any reason, the remaining provisions shall continue to be valid and enforceable to the fullest extent permitted by law. 17. These Terms and Conditions are not assignable by any buyer without the prior written consent of the Santa Fe Art Auction. However, these Terms and Conditions are binding on the buyer’s successors, assigns and representatives. 18. No act, omission or delay by the Santa Fe Art Auction shall be deemed a waiver of its rights and remedies under these Terms and Conditions. 19. The Santa Fe Art Auction shall use reasonable efforts to contact prospective buyers who have made prior arrangements to place telephone bids in order for these buyers to participate in the auction. The Santa Fe Art Auction shall not be liable for its failure to contact said bidders or for any errors or omissions made in connection with telephone bids since telephone bids are offered as a free service that is undertaken subject to the other commitments of Santa Fe Art Auction during the sale.

SANTA FE ART AUCTION

195

20. Santa Fe Art Auction shall use reasonable efforts to execute online bids in order for online buyers to participate in the auction. Online bidding is provided as an alternative bidding service and should not be considered a replacement for bidding in the room. Santa Fe Art Auction encourages its buyers to weigh the advantages and limitations of live online bidding when deciding whether to bid in the room or online. Santa Fe Art Auction shall not be liable for any errors or omissions made in connection with online bids or the online bidding process. Although Santa Fe Art Auction will do everything in its power to assure all online bids are recognized, Santa Fe Art Auction has no way of guaranteeing that the internet and the online bidding process will be free from technical malfunctions. In the event of a tie between an online bid and a “room” bid, the “room” bid generally will take precedence. “Room” bids include those bids taken from the live auction room(s), telephones, absentee bidders, or bids made by the auctioneer to protect the reserve. Santa Fe Art Auction will not be responsible for errors or failures to execute bids placed on the internet, including, without limitation, errors or failures caused by (i) a loss of connection on Santa Fe Art Auction’s or on the Buyer’s end, (ii) a breakdown or problems with the online bidding software, and/or (iii) a breakdown or problems with a Buyer’s internet connection, computer or system. Santa Fe Art Auction does not accept liability for failing to execute an online internet bid or for errors or omissions in connection with this activity.

GUIDE FOR BIDDING ABSENTEE BIDS If you are unable to attend the auction in person, and wish to place bids, you may give the Santa Fe Art Auction Bid Department instructions to bid on your behalf. Our representatives will then try to purchase the lot or lots of your choice for the lowest price possible, and never for more than the top amount you indicate. The Santa Fe Art Auction offers this service as a convenience to clients who are unable to attend the auction. However, the Santa Fe Art Auction will not be responsible for failure to execute bids, or any errors in executing bids. PLACING ABSENTEE BIDS Absentee bids are accepted only if you have returned a signed Absentee Bid Form which authorizes the Santa Fe Art Auction to place bids on your behalf. To place bids, please use the Bidding Form provided on our website at www.santafeartauction.com/buy. Please complete and submit to Santa Fe Art Auction one day prior to sale. Be sure the lot number and the descriptions are accurate and note the top price you are willing to pay for each lot. Any alternative bids should be indicated by using the word “OR” between lot numbers. Then if your bid on an early lot is successful, we will not continue to bid on other lots for you. Or, if your early bids are unsuccessful, we will continue to execute bids for alternative lots until a bid is successful. Bids must be placed in the same order as the lot numbers appear in this catalogue. Please place your bids as early as possible. In the event of identical bids, the earliest bid received will take precedence. TELEPHONE BIDS Telephone bids are accepted only if you have returned a signed telephone bid form which authorizes the Santa Fe Art Auction to place bids on your behalf. To place bids, please use the Bidding Form provided on our website at www.santafeartauction.com/buy. Please complete and submit to Santa Fe Art Auction one day prior to sale. Telephone bidders are encouraged to leave back up bids in case of technical difficulties. A Top Limit bid need not be specified. BUYER’S PREMIUM The top limit you indicate on your bid form is the hammer price exclusively. Please keep in mind that a buyer’s premium, as stated in paragraph 3 of the terms and conditions of sale, will be added to the successful bid price of each lot you buy and is payable by you together with the applicable sales tax which is applied to the total cost of the purchase. SUCCESSFUL BIDS Successful absentee bidders will be notified and invoiced within a few days of the sale. Successful absentee bidders shall arrange to make payment via cash, check, credit card or wire transfer upon receipt of notification of purchase. BIDDING INCREMENTS Bidding increments are as follows, but may vary at the sole discretion of the auctioneer: Estimate Increment Under $2,000 $100 $2,000 – $5,000 $250 $5,000 – $10,000 $500 $10,000 – $20,000 $1,000 $20,000 – $50,000 $2,500 $50,000 – $100,000 $5,000 $100,000 – $300,000 $10,000 Over $300,000 $20,000

196

SANTA FE ART AUCTION

932 Railfan Road

SANTA FE ART AUCTION

197

SANTA FE ART AUCTION STAFF Peter Bernardy Gideon Buchleiter Carrie Edwards Robert Gallegos Shane Mieske Harvey Morgan Jonah Payne Olivia Sherman Jesse Swiers Jesse Thompson Spencer Toll Molly Wagoner Janda Wetherington Nina Wright

Specialist, Photography + Works on Paper Art Handler Accountant Head of Native American + New Mexican Arts Marketing + Design Director Senior Art Handler Specialist, Western Art + Sculpture Research Associate + Catalogue Editor Assistant Registrar Registrar Art Handler Photography Director Specialist, Western Art + Contemporary Photography Associate

Gillian A. Blitch

President + CEO