Santa Fe Art Auction 2011

SATURDAY, NOVEMBER 12, 2011 | 1:30 PM MST

L I V E AU C T I O N Saturday, November 12th from 1:30pm to 5:30pm MST Santa Fe Convention Center 201 West Marcy Street, Santa Fe

AU C T I O N P R E V I E W S Friday, November 11th from 10am–8pm Saturday, November 12th from 9am–1pm Santa Fe Convention Center 201 West Marcy Street, Santa Fe

O N L I N E AU C T I O N For online bidding visit: www.liveauctioneers.com

P R E S E N T E D B Y G E R A L D P E T E R S G A L L E RY ©

SANTA FE ART AUCTION Saturday, November 12, 2011 | 1:30pm MST Santa Fe Convention Center, Santa Fe, NM SANTA FE ART AUCTION P.O. Box 2437 Santa Fe, NM 87504-2437 Tel 505 954-5858 | Fax 505 954-5785 www.santafeartauction.com © 2011 Santa Fe Art Auction Limited Co. Vice President/Executive Director: Peter L. Riess Registrar: Lindsey Lutz Photographer: Molly Wagoner Biography Editing: John Macker Graphic Design: Shane Mieske Printing and Binding: O’Neil Printing, AZ O’Neil Printing joins the Forest Stewardship Council (FSC) in being an international organization whose mission is to promote responsible management of the world’s forest. The intent of the FSC system is to eliminate the destruction to forest ecosystems that often accompanies logging, as well as unlawful logging in undesignated forests.

Through this system, the forests from which the trees are harvested, the logging companies, the paper mills, the paper vendors and the printers all become a “link” in the “chain of custody” insuring that the rules set forth by the FSC are strictly adhered to. Each “link” must go through the process of being certified, and will be subject to audit at any given time to insure that the “chain of custody” is not broken.

TERMS AND CONDITIONS OF SALE The following Terms and Conditions of Sale are the Santa Fe Art Auction Limited Company’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 assumes no risk, liability or responsibility beyond the limited warranty contained herein. (a) Except as set forth in paragraph 1(b) below, all lots are sold “AS IS.” There are no representations or warranties that extend beyond these Terms and Conditions of Sale. All lots 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 descriptions of lots, including, but not limited to, the physical condition, size, quality, rarity, importance, medium, provenance, dates, exhibitions, literary or historical relevance of any lot 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. There are no representations and warranties, express or implied, as to whether the Buyer acquires any copyrights, including, but not limited to, any reproduction rights in any lot. Contents of this catalogue are subject to change or supplementation before or during the sale, including the sale of any lot. (b) The authenticity of the authorship attributed to the lots as described in this catalogue is guaranteed only to the limited extent as stated in this paragraph 1(b). (i) The authorship attributed to a lot includes name of the artist and any reservations therewith stated, as, for example, “attributed to,” “in the school of ” or “appears to have been signed by.” The Santa Fe Art Auction makes no warranties whatsoever, express or implied, with respect to any material in the catalogue other than the authorship attributed to the lots. (ii) This guarantee is further limited as follows: The benefits of this guarantee are not assignable and shall be available only to the Buyer of record; this guarantee shall remain in force and be effective only if notice of rescission is given to the Santa Fe Art Auction within three (3) years following the date of sale, provided the lot is tendered to the Santa Fe Art Auction in Santa Fe, New Mexico, in the same condition as the lot was found at the time of sale; and that the rescission of a sale and the refund of the total purchase price paid (i.e., the successful bid price, plus the buyer’s premium and applicable tax) is exclusive and in lieu of any other remedy which might otherwise be available, and that the Santa Fe Art Auction and its consignors shall not be liable to the Buyer for any incidental, consequential, special, compensatory or punitive damages. (iii) In remitting payment hereunder, Buyer agrees and acknowledges that the absolute limit of Santa Fe Art Auction’s, its agents’ or consignors’ liability and responsibility shall not exceed the total purchase price.

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 Buyer as part of the total purchase price. If paying by cash or check, the buyer’s premium is 20% of any successful bid price under $50,000, 15% of any successful bid price over $50,000 up to $100,000, and 12% of any successful bid price above $100,000. If paying by credit card or by online bidding, the buyer’s premium is 23% of any successful bid price under $50,000, 18% of any successful bid price over $50,000 up to $100,000, and 15% of any successful bid price above $100,000.

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 SFFA 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 SFAA, 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.

• 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 SFAA is not required to collect sales tax from such re-seller. As sales tax laws vary from state to state, SFAA 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, online bids, telephone bids 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.

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 (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. The Santa Fe Art Auction, or its agents or consignors, may also bid upon other lots listed in this catalogue.

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 Federal Arbitration Act, shall be conducted before a single arbitrator, and shall otherwise be guided by the then extant commercial arbitration rules of the American Arbitration Association. 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 may, in its discretion and at a Buyer’s request, pack and ship items as directed by the Buyer. In such event, Buyer agrees to the following conditions: (a) All such packing, handling and shipping is at the sole risk of the Buyer and the Santa Fe Art Auction shall have no liability for any loss or damage to such items; and (b) Buyer shall pay all related expenses in advance. Buyer should allow four to six weeks for shipping from the date of the auction.

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 SFAA. However, these Terms and Conditions are binding on the buyer’s successors, assigns and representatives.

18. No act, omission or delay by SFAA shall be deemed a waiver of its rights and remedies under these Terms and Conditions.

19. SFAA 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. SFAA 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 SFAA during the sale.

20. SFAA 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. SFAA encourages its buyers to weigh the advantages and limitations of live online bidding when deciding whether to bid in the room or online. SFAA shall not be liable for any errors or omissions made in connection with online bids or the online bidding process. Although SFAA will do everything in its power to assure all online bids are recognized, SFAA has no way of guaranteeing that the internet and the online bidding process will be free from technical malfuctions. 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. SFAA 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 SFAA 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. SFAA does not accept liability for failing to execute an online internet bid or for errors or omissions in connection with this activity.

GUIDE FOR ABSENTEE 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 by mail or fax which authorizes the Santa Fe Art Auction to place bids on your behalf. The Absentee Bid Form appears in the back of this catalogue. Please complete and return to the Santa Fe Art Auction by November 11, 2011.

To place bids, please use the absentee bid form provided in the back of this catalogue. Be sure the lot number and the descriptions are accurate and note the top price you are willing to pay for each lot. No bid will be placed unless you indicate a Top Limit (i.e., the amount that you would bid if you were attending the auction yourself ).

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 Absentee Bid Form by mail or fax which authorizes the Santa Fe Art Auction to place bids on your behalf. The Absentee Bid Form appears in the back of this catalogue. Please check the telephone bid box on the form, complete, and return to the Santa Fe Art Auction by November 11, 2011. Telephone bidders are encouraged to leave back up bids incase of techincal failure.

BUYER’S PREMIUM The Top Limit you indicate on your bid form is the gavel 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.

TO FAX A COMPLETED BID FORM, DIAL (505) 954-5785.

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 over $100,000 $10,000

For more information contact: Santa Fe Art Auction Ltd. Co. P.O. Box 2437 Santa Fe, NM 87504-2437 Tel 505 954-5858 Fax 505 954-5785 WWW.SANTAFEARTAUCTION.COM

1 GENE KLOSS (1903-1996) Chance Encounter, A/P

etching and drypoint on paper 12 x 15 inches editioned and titled lower left: Artist’s Proof Chance Encounter signed lower left: Gene Kloss___N.A. PROVENANCE:

Private Collection, NM $2,000 - $3,000

2 GENE KLOSS (1903-1996) All Souls’ Day Offerings, 18/75

etching and drypoint on paper 14 7/8 x 10 inches editioned and titled lower left: 18/75 All Souls Day Offerings signed lower right: Gene Kloss___Imp PROVENANCE:

Private Collection, NM $2,000 - $3,000

3 GENE KLOSS (1903-1996) Deer Dance, 11/75

etching and drypoint on paper 13 x 18 inches editioned and titled lower left: 11/75 Deer Dance signed lower right: Gene Kloss___Imp. PROVENANCE:

Private Collection, NM $2,000 - $3,000

4 GENE KLOSS (1903-1996) Song of Creation, AP

etching and drypoint on paper 12 x 15 inches editioned and titled lower left: Artist’s Proof Song of Creation signed lower right: Gene Kloss PROVENANCE:

Private Collection, AL $4,000 - $6,000 nr

5a RANDALL DAVEY (1887-1964) Indians Under Portal

watercolor on paper 11 3/4 x 15 1/2 inches signed lower right: R. Davey 5b Hopi Snake Dance etching on paper 5 1/8 x 7 1/4 inches signed lower left in plate: Randall Davey titled lower center in plate: HOPI SNAKE DANCE inscribed lower left: 50 proofs titled lower center: “Hopi Snake Dance” signed lower right: Randall Davey 5c Race Horse pen and ink on paper 4 1/2 x 6 inches signed lower right: Randall Davey PROVENANCE:

Private Collection, TX $2,000 - $4,000 (for the set of three)

6 RANDALL DAVEY (1887-1964) Wild Burros, Taos Mountains

watercolor and pencil 7 x 9 3/4 inches signed lower right: Randall Davey PROVENANCE:

Private Collection, NM $3,000 - $6,000

7 WILLARD NASH (1898-1942)

Female Nude

lithograph on paper 15 x 11 1/2 inches inscribed lower left: 18 prints signed lower right: Willard Nash PROVENANCE:

Private Collection, NJ $1,000 - $1,500

8a WILLARD NASH (1898-1942) Male Figure Kneeling, 1922

woodblock print on paper 6 1/4 x 5 inches signed and dated lower right: Willard Nash 1922 8b Farm, 15/50 etching on paper 5 x 7 inches editioned lower left: # 15 of 50 signed lower right: Willard Nash PROVENANCE:

Private Collection, TX $800 - $1,000 (for the pair) nr

9 CHARLES BERNINGHAUS (1905-1988)

Adobe Garden

oil on board 12 x 16 inches signed lower right: CHARLES BERNINGHAUS PROVENANCE:

Private Collection, FL $1,000 - $2,000 nr

10 CHARLES BERNINGHAUS (1905-1988)

Ranchos Church

oil on board 12 x 16 inches signed lower left: CHARLES BERNINGHAUS PROVENANCE:

Private Collection, NM $3,500 - $5,000

11 ANDREW DASBURG (1887-1979)

House and Trees, 1933

charcoal on paper 24 x 18 inches signed and dated lower left: Dasburg 1933 PROVENANCE:

Private Collection, AL $12,000 - $16,000

12 BROR J.O. NORDFELDT (1878-1955)

Untitled

lithograph on paper 9 3/4 x 12 3/4 inches signed lower right in plate: Nordfeldt signed lower right: Nordfeldt PROVENANCE:

Private Collection, TX $500 - $800 nr

13 BROR J.O. NORDFELDT (1878-1955)

Double Tulips, 1939

oil on masonite board 32 x 22 inches signed and dated lower right: Nordfeldt 39 PROVENANCE:

Private Collection, NM $15,000 - $25,000

14 GUSTAVE BAUMANN (1881-1971) Aspen Thicket, 15/125, 1943

woodblock print on paper 12 x 10 1/2 inches titled lower left: ASPEN THICKET signed lower right: Gustave Baumann editioned lower right: I 15 125 PROVENANCE:

Private Collection, NM $6,000 - $9,000

15 GUSTAVE BAUMANN (1881-1971)

La Loma, Taos, 62/100

woodblock print on paper 10 3/8 x 11 5/8 inches titled lower left: LA LOMA – TAOS signed lower right: Gustave Baumann editioned lower right: 62/100 PROVENANCE:

Private Collection, NM $6,000 - $9,000

16 FRANK APPLEGATE (1881-1931)

Untitled (Horseman)

watercolor on paper 8 x 10 1/2 inches signed lower right: Frank G Applegate PROVENANCE:

Private Collection, NM $1,000 - $2,000

17 FRANK APPLEGATE (1881-1931) Untitled (Mountain View)

watercolor on paper 6 1/2 x 7 1/2 inches PROVENANCE:

Private Collection, NM $1,000 - $2,000

18 WADSLOW (WALTER) MRUK (1883-1942)

Cows, 1927

watercolor on paper 13 1/4 x 18 3/4 inches titled, signed and dated lower left: Cows / WE Mruk / 1927 PROVENANCE:

Private Collection, NM $3,000 - $7,000

19 E.A. BURBANK (1858-1949) Chief Antonio, Pima

graphite on paper 13 1/4 x 9 5/8 inches titled upper left: CHIEF ANTONIO, PIMA signed lower left: E.A. BURBANK PROVENANCE:

Private Collection, CO $1,000 - $2,000

20 E.A. BURBANK (1858-1949) O-Qui, Tesuque, 1909

red conte crayon on paper 14 5/8 x 9 5/8 inches titled and dated upper right: O-QUĂ? / TESUQUE. / 1909 signed lower right: E.A. BURBANK. / TESUQUE / N.M. PROVENANCE:

Private Collection, CO $1,000 - $2,000

21 E.A. BURBANK (1858-1949) Chief Pretty Eagle, Crow

oil on canvas mounted on board 12 3/8 x 8 3/8 inches titled upper left: CHIEF PRETTY / EAGLE. / CROW. signed lower right: E.A. BURBANK PROVENANCE:

Private Collection, CO $6,000 - $8,000

22a E.A. BURBANK (1858-1949) Pima Indian Home, Sacaton, Arizona

oil on artist’s board 4 x 6 inches signed and titled verso: Pima Indians home / Sacaton / Arizona / E.A. Burbank 22b Ramona’s Home Near Oceanside, California oil on artist’s board 4 x 6 inches signed and titled verso: Ramonas home near / Oceanside Calif / E.A. Burbank PROVENANCE:

Private Collection, CO $300 - $500 (for the pair)

23 DAVE MCGARY (b.1958) Rain in the Face, 35/50, 1992

bronze 23 x 11 x 8 inches inscribed with artist’s thumbprint: DAVE McGARY- / 1992 / 35/50 PROVENANCE:

Private Collection, NY $4,000 - $6,000

24 RAY SWANSON (1937-2004) Riding Home, 1976

oil on board 13 1/4 x 19 1/4 inches signed lower left: Ray Swanson / © titled, signed and dated: RIDING HOME / Ray Swanson 76 PROVENANCE:

Private Collection, TX $8,000 - $10,000

25 HARLAND YOUNG (b. 1924)

Redman

oil on canvas 11 x 14 inches signed lower left: Harland Young PROVENANCE:

Private Collection, AZ $2,000 - $3,000 nr

26 TOM MURRAY (b. 1953) Cathedral Rock, 1992

oil on canvas 13 5/8 x 17 5/8 inches signed and dated lower left: © / Tom Murray / 1992 PROVENANCE:

Private Collection, TX $1,500 - $2,500 nr

27 CHRIS JÖRGENSEN (1860-1935)

Grand Canyon

watercolor on paper 16 x 11 3/8 inches signed lower right: chris Jörgensen.

PROVENANCE:

Private Collection, TX $2,000 - $3,000 nr

28 TOM LOCKHART (b. 1952) A Sunny Cool Day, 2009

oil on board 16 x 24 inches signed lower right: TOM LOCKHART titled, dated and signed verso: “A SUNNY COOL DAY” / TAOS PUEBLO / © 2009 Tom Lockhart PROVENANCE:

Private Collection, CO $2,000 - $3,000

29 EDWARD BOREIN (1872-1945)

Sitting Pretty, No. 1

etching and drypoint on paper 6 1/8 x 5 1/8 inches signed lower right: Edward Borein PROVENANCE:

Private Collection, NM $2,500 - $3,500

30 EDWARD BOREIN (1872-1945) Running Wild Horses

etching and drypoint on paper 6 5/8 x 10 3/4 inches signed lower right: Edward Borein.

PROVENANCE:

Private Collection, CO $1,000 - $2,000 nr

31 EDWARD BOREIN (1872-1945)

Parting Cattle

etching and drypoint on paper 3 5/8 x 8 5/8 inches signed lower right: Edward Borein PROVENANCE:

Private Collection, CO $1,500 - $2,500 nr

32 EDWARD BOREIN (1872-1945)

Reps

etching and drypoint on paper 5 5/8 x 8 1/2 inches signed lower left in plate: EDWARD BOREI signed lower right: Edward Borein PROVENANCE:

Private Collection, CO $2,000 - $3,000

33 GERARD C. DELANO (1890-1972)

On the Reservation

watercolor on paper 13 5/ x 19 1/2 inches signed lower right: © DElano PROVENANCE:

Private Collection, NM $15,000 - $20,000

34 JOE DE YONG (1849-1975) Glacier Park Moose, 1921

oil on canvas 15 1/8 x 20 1/8 inches signed and dated lower right: Joe De Yong / 1921 PROVENANCE:

Private Collection, CA $3,000 - $6,000 nr

35 JOHN HAUSER (1859-1913) Indian Hunter, 1911

oil on board 9 1/4 x 13 1/2 inches signed and dated lower right: John Hauser 1911 PROVENANCE:

Private Collection, CA $3,000 - $5,000

36 CHARLES M. RUSSELL (1864-1926) Nobelman of the Plains, 1957

bronze 6 1/2 x 4 5/8 x 3 1/2 inches (with base) inscribed: CM Russell (with artist’s ciper) stamped: ROMAN BRONZE WORKS INC NY, PROVENANCE:

Private Collection, CA $3,000 - $5,000

37 CHARLIE DYE (1906-1972) Wet Days Branding

oil on paper laid on board 7 3/8 x 10 7/8 inches initialed lower right: C / D PROVENANCE:

Private Collection, CO $12,000 - $16,000

38 BOB SCRIVER (1914-1999) Piegan Brave, 15/35, 1974

bronze 11 3/4 x 11 x 6 inches (with base) inscribed: PIEGAN BRAVE inscribed: © / BOB SCRIVER / 1974 / 15/35 inscribed: JHM CLASSIC BRONZE PROVENANCE:

Private Collection, CA $3,000 - $5,000

39 DONNA HOWELL-SICKLES (b. 1949)

Untitled, 1993

oil on canvas 70 x 58 inches signed and dated lower right: Donna Howell-Sickles © 93 PROVENANCE:

Private Collection, WY $10,000 - $15,000

40 K. DOUGLAS WIGGINS (b. 1960)

Evening Walk, 2010

oil on board 8 x 10 inches signed lower right: Kim Wiggins signed and dated verso: K. Douglas Wiggins / SANTA FE, NM / 2010 PROVENANCE:

Private Collection, TX $1,500 - $3,500

41 Z. S. LIANG (b. 1953) Pueblo Man, 2008

oil on canvas 16 x 20 inches signed lower right: Z. S. LIANG initialed verso: Z.S.L. PROVENANCE:

Private Collection, TX $8,000 - $12,000

42 CYRUS AFSARY (b. 1940)

Geyser in Spring

oil on canvas 11 1/4 x 15 1/4 inches signed lower left: CYRUS AFSARY NAWA PROVENANCE:

Private Collection, TN $4,000 - $6,000

43 HOWARD ROGERS (b. 1932) A Visit to God’s Country

oil on canvas 40 x 30 inches signed lower right: H Rogers © PROVENANCE:

Private Collection, WY $18,000 - $24,000

44 JAMES AYERS (b. 1969) Grandeur, 2005

oil on canvas 36 x 30 inches signed and dated lower right: James Ayers / 2005 titled and signed verso: “Grandeur” / James Ayers PROVENANCE:

Private Collection, CO $15,000 - $20,000

45 JASON RICH (b. 1970) The Horseman, 2008

oil on canvas 24 x 30 inches signed lower right: J. RicH titled, dated and signed verso: “The Horseman” / 2008 / J. Rich PROVENANCE:

Private Collection, TX $8,000 - $12,000

46 MARTIN GRELLE (b. 1954) Apsaalooka Horse Hunters, 2008

oil on canvas 48 x 66 inches signed and dated lower right: + MARTiN GRELLE / C / © / 2008 PROVENANCE:

Private Collection, CO $200,000 - $300,000

47 BILL ANTON (b. 1957) In Cattle Country, 2009

oil on board 16 x 20 inches signed lower left: Bill Anton titled, signed and dated verso: “IN CATTLE COUNTRY” / 16 x 20 OIL / Bill Anton © 09 PROVENANCE:

Private Collection, TX $6,000 - $10,000

48 WILLIAM ACHEFF (b. 1947) A Mother’s Child, 2008

oil on canvas 12 x 10 inches signed and dated lower right: © Wm. Acheff 2008 PROVENANCE:

Private Collection, TX $9,500 - $15,000

49 HUIHAN LIU (b. 1952)

Roses

oil on canvas 13 1/2 x 17 1/2 inches signed lower right: Huihan PROVENANCE:

Private Collection, TN $3,000 - $5,000

50 CYRUS AFSARY (b. 1940)

Untitled

oil on canvas 35 3/8 x 47 3/8 inches signed lower right: CYRUS.AFSARY PROVENANCE:

Private Collection, CA $30,000 - $50,000

51 MARTIN GRELLE (b. 1954) Morning Water, 2010

oil on linen 20 x 16 inches signed and dated lower right: MARTiN GRELLE / © / 2010 CA titled verso: “MORNING WATER” / 20 X 16 OIL ON LINEN signed verso: MARTiN GRELLE / CA PROVENANCE:

Private Collection, CO $18,000 - $25,000

52 CRAIG TENNANT (b. 1946) Dark River Shadows, 1996

oil on canvas 26 x 40 inches signed and dated lower left: Craig Tennant © 96 PROVENANCE:

Private Collection, TX $8,000 - $12,000

53 PAUL ABRAM, JR. (1933-2005)

The Fur Trader

gouache on paper 10 3/8 x 14 3/8 inches signed lower right: PAUL ABRAM JR. PROVENANCE:

Private Collection, CA $1,000 - $2,000 nr

54 JIE WEI ZHOU (b. 1962)

Newspaper Boy

oil on canvas 36 x 30 inches signed lower right: Jie wei zhou PROVENANCE:

Private Collection, WY $15,000 - $20,000

55 CLARK HULINGS (1922-2011)

Aix Fountain, 1985

oil on canvas 27 x 44 inches signed and dated lower left: Hulings / Š 1985 A well-known painter of Mexican and Southwestern genre scenes, Clark Hulings spent much of his childhood in Spain, a time that inspired his work in later life. In New Jersey, he began private lessons at the age of fourteen and, after high school, he attended the Art Students League in New York and studied physics at Haverford College. Spending much time in the galleries of the Metropolitan Museum of Art, Hulings soaked up the realist and Impressionist paintings. Preferring easel painting to commercial illustration, he eventually left the field to become a full-time painter. Hulings won the National Academy of Western Art’s Prix de West award in 1973; however, most of his work is of a non-Western nature and dominated by the villages, market places, and rustic settings of Europe, New Mexico and Mexico.

LITERATURE:

Peggy & Harold Samuels, Contemporary Western Artists, Southwest Art Publishing, 1982 PROVENANCE:

Private Collection, CA $200,000 - $300,000

56 CARL RUNGIUS (1869-1959)

Near Long Lake

etching and drypoint on paper 7 7/8 x 10 7/8 inches signed lower right: C. Rungius PROVENANCE:

Private Collection, TX $4,000 - $8,000

57 CARL RUNGIUS (1869-1959)

Mates

etching and drypoint on paper 7 3/4 x 10 3/4 inches titled lower left: Mates signed lower right: C. Rungius PROVENANCE:

Private Collection, Ontario, CAN $5,000 - $7,000

58 CARL RUNGIUS (1869-1959)

Above Timberline

etching and drypoint on paper 7 7/8 x 10 7/8 inches signed lower right: C. Rungius PROVENANCE:

Private Collection, TX $4,000 - $6,000

59a CLAY MCGAUGHY (20th Century)

Deer

watercolor on paper 8 3/4 x 11 1/4 inches signed lower left: McGaughy 59b Quail watercolor on paper 10 1/4 x 12 3/8 inches signed lower right: McGaughy 59c Deer Crossing Stream watercolor on paper 21 7/8 x 29 1/8 inches signed lower left: McGaughy PROVENANCE:

Private Collection, TX $1,000 - $2,000 (for the set of three) nr

60 TONY ANGELL (b. 1940)

Fox Pups, 2004

marble 5 x 11 x 8 1/2 inches inscribed: ANgEll PROVENANCE:

Private Collection, NM $4,000 - $6,000

61 LUKE FRAZIER (b. 1970) Hillside Hunters, 2007

oil on board 12 x 18 inches signed lower left: L. Frazier PROVENANCE:

Private Collection, TX $5,000 - $10,000

62 TUCKER SMITH (b. 1940) Bison at Slit Rock, 1991

oil on canvas 10 x 20 inches signed and dated lower right: Tucker Smith / 91 PROVENANCE:

Private Collection, TX $14,000 - $18,000

63 KYLE SIMS (b. 1980) Love Games, 2006

oil on canvas 12 x 16 inches signed lower right: k. sims titled, signed and dated verso: “Love Games” © Kyle Sims 2006 PROVENANCE:

Private Collection, TX $3,000 - $6,000

64 KYLE SIMS (b. 1980) Sage Lovers, 2007

oil on canvas 12 x 16 inches signed lower left: k. sims titled, signed and dated verso: “Sage Lovers” © Kyle Sims 2007 PROVENANCE:

Private Collection, TX $3,000 - $6,000

65 BOB KUHN (1920-2009) Morning Call

acrylic on board 11 1/2 x 14 inches signed lower left: Kuhn PROVENANCE:

Private Collection, TX $45,000 - $55,000

66 ROBERT BATEMAN (b. 1930) Upon the Crag - Golden Eagle, 2007

acrylic on board 36 1/4 x 26 inches signed and dated lower right: Robert Bateman 2007 © PROVENANCE:

Private Collection, NM $45,000 - $50,000

67 MATT SMITH (b. 1960) Tonto Forest Vista, 2004

oil on board 12 x 20 inches signed lower right: Matt Smith signed, dated and titled verso: Matt Smith 2004 © / OIL 12” x 20” / “TONTO FOREST VISTA” PROVENANCE:

Private Collection, CO $3,000 - $5,000

68 MARK WEBER

North Rim Sunrise oil on board 17 1/2 x 23 1/2 inches signed lower right: © Weber signed verso: © Weber PROVENANCE:

Private Collection, TX $800 - $1,000

69 LINDA ST. CLAIR (b. 1952) Tangles Up in Blue, 2010

oil on canvas 36 x 48 inches signed lower right: St CLAIR dated and signed verso: © 2010 / Linda St Clair PROVENANCE:

Private Collection, NM $6,000 - $9,000

70 THOMAS DE DECKER (b. 1951)

Lilies and Flowers

oil on board 24 x 30 inches signed lower right: THOMAS deDECKER titled and signed verso: “Lilies and Flowers” by Thomas deDecker PROVENANCE:

The Artist

$2,500 - $4,000

71 TROY DENTON

Untitled

oil on canvas 36 x 48 inches signed lower left: TROY DENTON PROVENANCE:

Private Collection, UK $2,000 - $3,000 nr

72 HOWARD ROGERS (b. 1932) Bringin’ Them in on the Run

oil on canvas 20 x 36 inches signed lower right: H Rogers © PROVENANCE:

Private Collection, WY $10,000 - $15,000

73 CLARK HULINGS (1922-2011) Afternoon Light, 2007

oil on canvas 20 x 31 3/4 inches signed and dated lower left: Hulings © ‘07 PROVENANCE:

Private Collection, NM $70,000 - $80,000

74 MIAN SITU (b. 1953) Beef, Beans and Biscuts

oil on canvas 32 x 40 inches signed lower left: Mian Situ titled and signed verso: Beef, Beans & Biscuts / by Mian Situ PROVENANCE:

Private Collection, CO $70,000 - $80,000

75 JIM NORTON (b. 1953) Fall on the Spanish Fork, 2003

oil on canvas 30 x 40 inches signed lower left: Jim C. Norton / CA titled, signed and dated verso: “FAll ON THE SpANISh FORK” / Jim C. Norton / #0329 / © 2003 PROVENANCE:

Private Collection, CO $60,000 - $70,000

76 ERNEST L. BLUMENSCHEIN (1874-1960)

Studio Fireplace

oil on linen 30 x 25 inches signed lower left: E.L. BLUMENSCHEIN.TAOS. titled and signed verso: Studio Fireplace Ernest Blumenschein In 1919, Blumenschein and his wife Mary purchased four rooms on Ledoux Street in Taos from fellow Taos Society of Artists member W. Herbert “Buck” Dunton, making their permanent home in Taos. The well-lit room depicted here was built in 1797 and had been Dunton’s studio, and Blumenschein continued the tradition, taking advantage of the large window on the side wall, which allowed the pristine sunlight to enter unimpeded. Between 1919 and 1931, the Blumenscheins acquired additional rooms and remodeled the house into what is its present state. The fireplace in the studio can be glimpsed in the background of insightful and well-known portraits by the artist, including The Plasterer and Portrait of Jim Romero, both completed in 1921. It remains very much intact today, as visitors to what is now the E. L. Blumenschein House & Museum can attest.

EXHIBITION:

Paintings of American Indians and Their Country by Ernest L. Blumenschein.

Cincinnati, Ohio: Cincinnati Art Museum, February 1928, no. 42.

Blumenschein: A Retrospective (1902-1958). New Mexico College of Agricultural and Mechanical Arts, 14 December 1958 - 4 January 1959 (as Fireplace).

LITERATURE:

“The Artist Colony Corner,” Taos Valley News (January 7, 1928).

“Museum Events,” El Palacio 25.6-7 (August 11-28, 1928): 96.

PROVENANCE:

The Aritst Private Collection, NM $450,000 - $650,000

77 GEORGIA O’KEEFFE (1887-1986) Georgia O’Keeffe Drawings, copyright 1968 Atlantis Editions, New York

10 lithographs on paper 25 x 19 inches editioned and signed: 6 Georgia O’Keeffe 250 published of which 230 are numbered and signed.

This is copy 6. Introduction by Lloyd Goodrich PLATE I: BLUE LINES, 1916 PLATE II: DRAWING NUMBER 13, 1915 PLATE III: ABSTRACTION IX, 1916 PLATE IV: DRAWING NUMBER 8, 1916 PLATE V: DRAWING NUMBER 9, 1915 PLATE VI: DRAWING NUMBER 15, 1916 PLATE VII: DRAWING NUMBER 12, 1917 PLATE VIII: BANANA FLOWER, 1933 PLATE IX: DRAWING NUMBER 40, 1934 PLATE X: RAM’S HORN, CA. 1949 PROVENANCE:

Private Collection, WA $6,000 - $8,000

PLATE I

PLATE II

PLATE IV

PLATE V

PLATE VII

PLATE VIII

PLATE X

PLATE III

PLATE VI

PLATE IX

78 GEORGE CATLIN (1796-1872) Osceola, of Florida, 1838

hand colored lithograph on paper 26 x 19 1/4 inches Catlin was inspired to create Ojibwa Spearfishing Salmon

by Torchlight in 1835 when observing an individual from the Ojibwa tribe hunting on a lake in the region around present day Minnesota, Wisconsin, and southern Canada. The artist originally captured the moment with a sketch and eventually used it ten years later to create the oil (Halpin, 19). Most likely, Ojibwa Spearfishing Salmon by Torchlight was painted from the original sketch of 1835, while in Europe, and was included in the 1848 updated version of “Catlin’s Indian Gallery.” According to William Truettner’s book, The Natural Man Observed; A Study of Catlin’s Indian Gallery, there are two versions of this painting. This painting is considered the ‘Joslyn Art Museum’ version; the painting was on loan to the museum from Northern Natural Gas Company when Truettner’s book was published in 1979. Also, according to Truettner, this version was exhibited in London in 1859 and belonged to H. Williams, New York.

LITERATURE: A.T. Baker, “Chronicler of a Dying Race,” Time, August 17, 1981.

Marjorie Halpin, Catlin’s Indian Gallery. Washington, D.C., Smithsonian Institution, 1965, Catlin number 575.

William Truettner, The Natural Man Observed; A Study of Catlin’s Indian Gallery. Washington, D.C: Smithsonian Institution Press, 1979, illus. p.305, no. 576.

PROVENANCE: Private Collection M. Knoedler & Co., Inc., New York Northern Natural Gas Co., Omaha (loaned to) Joslyn Art Museum, Omaha Gene Autry Western Heritage Museum, Los Angeles {Alexander Gallery, New York} Private Collection, New York Private Collection, NM

$30,000 - $50,000

79 GEORGE DE FOREST BRUSH (1855-1941)

Dance Scene, ca.1882-1883

oil on canvas 7 1/4 x 14 1/2 inches signed lower right: Geo De Forest Brush PROVENANCE:

Private Collection, NM $50,000 - $100,000

80 JOZEF G. BAKOS (1891-1977) Self Portrait with Dog, 1930

oil on board 20 x 23 inches signed lower right: J G Bakos PROVENANCE:

Private Collection, NM $15,000 - $25,000

81 LEON GASPARD (1882-1964) Berne in Winter, 1914

oil on board 7 1/4 x 19 1/8 inches signed and dated lower left: Leon Gaspard Russia 1914 Leon Gaspard’s glittering paintings of the American Southwest and its indigenous inhabitants are reflective of his fascination with regional colors, costumes, and rituals, subjects which formed the bulk of his work in his native Russia. Gaspard’s use of color and suggestive rather than definitive brushwork reflect an interest in Impressionism, yet he remained too devoted to representation to ever fully abstract the figure. Although Gaspard was advised by John Marin to “go modern,” he chose instead to emphasize the traditional values of his old world subjects. When combined with his lively palatte, vibrant brushstroke, and exotic settings, this trait often lends Gaspard’s work a fairy tale quality.

Born on March 2, 1882, in Vitebsk, a small village west of Moscow, Leon Gaspard’s artistic inclinations were nurtured from early childhood by his cultured family. His father was a retired Army officer and trader in furs and fine rugs, while his mother, an accomplished pianist, kept their home filled with music. At the age of fifteen, his father enrolled him in a local art class, where he studied alongside a young Marc Chagall. Eager for more formal instruction, Gaspard soon moved to Paris, and enrolled in the Académie Julian. In Paris, Gaspard became acquainted with the work of Modigliani, Matisse, and the sculptor Rodin, whose expressive use of line impressed him particularly. He also met and married Evelyn Adell, the daughter of a wealthy American family. After honeymooning in Russia, the couple returned to Paris where Gaspard began to show in acclaimed exhibitions such as the annual Salon and the Salon d’Automne, as well as in international shows throughout Europe.

When France entered World War I in the summer of 1914, Gaspard enlisted in the French Aviation Corps, and Evelyn became a Red Cross nurse.

He was seriously wounded during a plane crash, and spent two years convalescing in a French hospital, during which time Evelyn went home to America. Despite a bleak prognosis, Gaspard left France in 1916 to be with her. Upon his arrival in New York he quickly assimilated himself into the art scene, exhibiting at prestigious venues including the National Academy of Design and the Vanderbilt Gallery. That summer he and his wife traveled to Santa Fe to visit Sheldon Parsons, but quickly moved to Taos. Impressed by the Taos Pueblo, which reminded Gaspard of Mongolian architecture, he and his wife settled there permanently in 1918.

Unlike his fellow Russian - born artist Nicolai Fechin, Gaspard was an active member of Taos’ thriving art community, and became close friends with the author D.H. Lawrence. A passage from Lawrence’s Etruscan Places seems to be based on a Gaspard painting, and evokes the imaginative, fantastic aspect of Gaspard’s work: “It must have been a wonderful world, that old world where everything appeared alive and shining in the dusk of contact with all things.”

PROVENANCE:

Private Collection, UT $80,000 - $100,000

82 LEON GASPARD (1882-1964)

Tuareg Girl, 1926

oil on canvas on board 14 7/8 x 12 1/4 inches signed and dated lower left: Leon Gaspard / Morocco / 1926 PROVENANCE:

Private Collection, MO $60,000 - $80,000

83 RANDALL DAVEY (1887-1964) Still Life (Peonies in Vase), ca. 1935

oil on canvas 30 x 20 inches signed lower left: Randall Davey PROVENANCE:

Private Collection, NM $15,000 - $20,000

84 ERNEST L. BLUMENSCHEIN

(1874-1960) Juniper and Cottonwood oil on board 12 x 16 inches signed lower left: E L BLUMENSCHEIN

titled and signed verso: Juniper and Cottonwood / Ernest L Blumenschein PROVENANCE: The Artist

Private Collection, TX $60,000 - $80,000

85 ERNEST L. BLUMENSCHEIN

(1874-1960) Eagle Nest Lake

oil on board 12 x 16 inches initialed lower right: E-L-Btitled verso: Eagle Nest Lake New Mexico PROVENANCE: The Artist

Private Collection, TX $60,000 - $80,000

86 E. MARTIN HENNINGS (1886-1956)

Untitled (Taos Pueblo)

oil on canvas 30 x 30 inches signed lower left: E. Martin Hennings The member of the Taos Society upon whom the region had the most noticeable impact was most likely Martin Hennings. The surfaces of Hennings’ bright, sun-drenched landscapes, rendered with a thick yet meticulous brushstroke, have a tactile quality not unlike those of Victor Higgins. Yet his commitment to details and the use of dramatic shadows effect a degree of hyperrealism. Frozen in the moment, Hennings’ Indians and cowboys, even his own children, seem like fixed inhabitants of a timeless world.

Hennings was born to German immigrants in Penns Grove, New Jersey, in 1886. When he was two, his family moved to Chicago, which then served as the primary metropolitan link between the East and West Coasts.

Hennings was drawn towards Chicago’s bustling art community, which was centered around the Chicago Art Institute (Chicago was host to the World’s Colombian Exposition in 1893, and was the only other American venue besides New York for the breakthrough Armory show of 1913). After his first visit to the Art Institute as a teenager, Hennings knew his life had been changed profoundly, boldly stating: “I know what I’m going to do; I’m going to be an artist.”1 Upon finishing high school, Hennings enrolled in the Art Institute, graduating with honors in 1904. He continued studying there until 1906, and returned briefly in 1912, disillusioned by his experiences in the commercial art world and interested in more formal study. Although he failed to win a European scholarship in the prestigious Prix de Rome competition (he finished second), he traveled to Germany and entered the Munich Academy. In Munich he kept company with fellow Americans Walter Ufer and Victor Higgins, both of whom he had known from his Art Institute days. In 1915 Hennings returned to Chicago, forced out of Germany by World War I. As Hennings’ reputation as an artist grew, he attracted the patronage of some of Chicago’s most respected citizens, including former Mayor Carter Harrison and Oscar Mayer, the meat-packing mogul. In 1917 Harrison suggested Hennings work in Taos for a season, with the guarantee that the resulting paintings would be purchased by himself and Mayer. Despite the profound impression that Taos had made on Hennings, he did not settle in there immediately; he returned to Chicago that winter, where he worked for several more years. After careful consideration of several different artists’ colonies on the east coast, Hennings made Taos his permanent home in 1923. Already well acquainted with Ufer and Higgins, Hennings was invited to join the Taos Society of Artists later that year. A peaceable man with a need for intellectual stimulation, Hennings remained an active member until the Society disbanded in 1927, refusing to take sides during the controversy following the 1923 resignation of Blumenschein, whom Hennings greatly admired.

(Endnotes) 1 Cited in Laura Bickerstaff, Pioneer Artists of Taos, p. 195 PROVENANCE:

Private Collection, LA $500,000 - $700,000

87 E. IRVING COUSE (1866-1936)

The Eagle Dance

oil on canvas 24 x 29 inches signed lower left: E-I-COUSEBorn in 1866 in Saginaw, Michigan, Eanger Irving Couse became familiar with Indian daily life and rituals from an early age, earning a reputation (even as a boy) as a faithful artist of the local Chippewa tribe. After raising tuition by painting houses in his home town, Couse enrolled in the Art Institute in Chicago in 1884.

The following year he moved to New York, where he became a member of the National Academy of Design.

By 1887 the twenty-one year old Couse was lured to Paris, the cosmopolitan art center of the western world.

In Paris Couse immediately enrolled himself in the Académie Julian, which attracted numerous Americans due to its reputation for tolerance when it came to experimentation. At Julian’s (as it was known to its American contingent), Couse was profoundly influenced by his professor William Adolphe Bouguereau, who preached a classical doctrine based on Renaissance techniques and Christian values. Bouguereau, who enjoyed an international reputation as a figure painter, was immediately attracted to Couse’s strong sense of modeling and proportion. Couse would never relinquish the principles he learned in Paris, and continued to use French academic methods including tight, pyramidal compositions and modeling throughout his career. Within a year of his arrival in Paris, Couse had one of his pictures accepted into the prestigious Salon of 1888, an honor that helped to establish his name and career as an artist. That year he also married Virginia Walker, a fellow American art student in Bouguereau’s atelier for women. Despite their new found happiness, the Couses had to keep their marriage a secret from Bouguereau, who did not approve of his male and female students consorting (although Bouguereau himself later married Elizabeth Gardner, an American student under his instruction).

After his return from Paris in 1890 Couse moved briefly to Oregon with his new wife, but soon returned to Normandy where he lived for ten years. In 1902 Couse made his first visit to Taos on the advice of Henry Sharp and Ernest L. Blumenschein, whom he had met in Paris. By 1906 Couse had established a residence and studio in Taos, where he painted primarily during the summers, returning to New York in the winter. Although inspired by Taos, no doubt many of Couse’s paintings of Indian subject matter were finished in his New York Studio, in keeping with the French academic method.

By 1928, Couse had attained widespread recognition as a professional artist, and that year, he moved permanently to Taos, where he devoted himself entirely to painting the traditions, culture, and daily lives of the Pueblo Indians. Couse’s distinctive style and unique paintings of Indian subjects, often dramatically lit by twilight or set in the shadows of firelight, earned him an international reputation. Commissioned for many years to supply pictures for the yearly calendars of the Atchinson, Topeka and Santa Fe Railway Company calendars, his work was instantly recognizable to many.

EXHIBITION HISTORY:

“Paintings of the Southwest from the Santa Fe Art Collection: Wichita Art Association Museum, Kansas, 5 January - 25 February 1987.

Saginaw Art Museum, Michigan, The American Indian: E. I. Couse, 1 - 30 November, 1980.

Museum of Fine Arts, Santa Fe, New Mexico, Visions & Visionaries, 3 August - 8 December 1991.

PROVENANCE:

The Artist to the Santa Fe Railroad Collection, June 1921 Private Collection, NM $250,000 - $450,000

88 GEORGE GARDNER SYMONS (1863-1930)

Grand Canyon Sunrise

oil on linen 11 x 14 inches signed lower left: G. Symons estate stamped verso: ESTATE OF / GARDNER SYMONDS / LOUIS BETTS PROVENANCE:

Private Collection, CA $3,000 - $5,000

89 KARL THOMAS (b. 1948) Grand Canyon Evening

oil on canvas 36 x 54 inches signed lower right: Karl Thomas PROVENANCE:

Private Collection, TX $8,000 - $12,000

90 CARL OSCAR BORG (1879-1947)

Untitled

ink and pencil on paper 7 7/8 x 8 7/8 inches signed upper left: CARL OSCAR BORG. PROVENANCE:

Private Collection, CA $2,000 - $3,000

91 MARK KEATHLEY (b. 1963) Silent Search, ca. 1993

oil on canvas 17 1/2 x 23 1/2 inches signed lower right: KEATHLEY PROVENANCE:

Private Collection, TX $2,000 - $3,000 nr

92 FREMONT ELLIS (1897-1985) Santa Fe River Canyon

oil on board 10 x 14 inches signed lower left: FREMONT F. ELLIS PROVENANCE:

The Artist Ellis Family by descent, Santa Fe, NM $6,000 - $8,000

93 FREMONT ELLIS (1897-1985) Old Dock, Bayfield, 1961

oil on board 20 x 16 inches signed lower left: FREMONT F ELLIS dated verso: PAINTED NEAR MORO BAY CALIFORNIA / 1961 PROVENANCE:

The Artist Ellis Family by descent, Santa Fe, NM $8,000 - $10,000

94 RICHARD SCHMID (b. 1934)

Laguna Coast

oil on board 7 7/8 x 15 7/8 inches signed lower right: Schmid PROVENANCE:

Private Collection, TX $12,000 - $16,000

95 OSCAR E. BERNINGHAUS (1874-1952)

Irrigation Ditch, 1949

oil on canvas board 12 x 16 inches signed and dated lower right: O.E. BERNINGHAUS / -49 PROVENANCE:

Private Collection, NM $40,000 - $60,000

96 BERT G. PHILLIPS (1868-1956)

Indian Portrait

oil on canvas 18 x 14 inches signed lower left: Bert Phillips / Taos N.M. PROVENANCE:

Private Collection, NM $30,000 - $50,000

97 MAYNARD DIXON (1875-1946) Oncoming Storm, 1941

oil on canvas 36 x 40 inches signed and dated lower right: MAYNARD DIXON / ARIZ. 1941 Lafayette Maynard Dixon was born in 1875 in Fresno, California, among gold rush 49ers, mountain men, and vaqueros.

Sketching from the time he was seven, Dixon sent Frederic Remington two sketchbooks, and from the positive remarks received from Remington, Dixon decided to become an artist. He attended the San Francisco School of Design briefly in 1893, where he learned the fundamentals of art, but left to study from nature and learn on his own.

He traveled to the Colorado Plateau of New Mexico, Arizona and Utah, where he worked as a wrangler and observed life on the cattle ranch, the wonders of desert living, and studied the Indians, to whose plight he was sympathetic for the rest of his life. Dixon had his first exhibition in 1895 and began his career as an illustrator that same year. In 1898, he traveled around the Monterey and the Big Sur area, the Mother Lode country of Nevada, and the Lake Tahoe region. During this trip, he studied the North Paiute (Digger) Indians and broadened his repertoire.

After two years of illustrating for the Morning Call, Dixon went to work for the San Francisco Examiner in 1899 where he met, among others, writers Jack London and Ambrose Bierce. His reputation as an illustrator grew and soon he was working as a free lance artist for Harper’s Weekly. In 1907, he went to New York and worked for Century, Scribner’s, Collier’s, and McClure’s. While here, Dixon reached his maturity as an artist and gained assurance, competing with some of America’s best illustrators.

Dixon’s return to the West in 1912 was prompted by a desire to portray the realistic West he knew rather than the mythic West the New York illustrators made him portray; it was then that Dixon gave up illustration. From 1912 on, Dixon was recognized as a painter. Known for his portrayals of Indians and for his landscapes, he received several commissions throughout his lifetime. Always sympathetic to the Indians and living among various tribes, Dixon published works in 1923 that were based on his experiences with them. His landscapes reflect his unique style; Cubist Realism with forthright composition, and simple strong lines are his trademark.

EXHIBITED:

Temple of Music and Art, Tucson, AZ, Paintings and Drawings by Maynard Dixon, January 6 – February 3, 1941; Cowie Galleries, Los Angeles, CA, 1942; Biltmore Art Galleries, los Angeles, CA, 1943; Dewey Galleries, Ltd., Santa Fe, NM, Images of the Southwest, Past and Present, July 5 – 24, 1985.

ILLUSTRATED:

Wesley M. Burnside, Maynard Dixon: Artist of the West, Provo: Brigham Young University, 1974, pps. 32, 33, 183, 184; Donald J. Hagerty, Desert Dreams: The Art and Life of Maynard Dixon, Layton, UT: Gibbs Smith, Publisher, 1993, revised edition, 1998, p. 240, 243, illustrated in full color on page 242 (no. 211); Donald J. Hagerty, The Art of Maynard Dixon, Layton, UT: Gibbs Smith, 2010, pg. 231, illustrated in full color pg. 230 (no. 194).

PROVENANCE:

The Artist Charles Matzinger, Salt Lake City, UT Private Collection, AZ, 1987 Private Collection, WY, 2007 Private Collection, NM $400,000 - $600,000

“This painting is a prominent example of Maynard Dixon’s ability to create a universal image of the Southwest landscape. Although it depicts Arizona’s ‘Agua Fria Valley,’ people who know desert country might swear they have seen the scene elsewhere. It reveals the convergence of Dixon’s deep power of observation and his mature style. With a feel for the structure of the landscape, spacing drawn from his study of cubist realism, and vibrant color, Dixon has constructed a riveting and unforgettable picture.” – Donald J. Hagerty

98 EDGAR ALWIN PAYNE (1883-1947)

Sierra Landscape

oil on canvas 29 1/4 x 29 1/4 inches signed lower left: EDGAR PAYNE PROVENANCE:

Private Collection, NM $80,000 - $100,000

99 MAYNARD DIXON (1875-1946) Willows at Carmel, 1925

oil on canvas 16 x 20 inches signed, initialed and dated lower right: Maynard Dixon / M.D. / 1925 PROVENANCE:

Private Collection, UT $60,000 - $80,000

100 GILBERT GAUL

(1855-1919) Smokin’ the Calumet (Pipe) oil on canvas 27 x 44 inches signed lower right: Gilbert Gaul PROVENANCE:

Private Collection, NM $75,000 - $125,000

101 JOSEPH A. FLECK (1892-1977)

Indian Bride, 1935

oil on canvas 31 x 44 inches signed and dated lower right: Fleck 35 PROVENANCE:

Private Collection, NM $50,000 - $70,000

102 EDWARD BOREIN (1872-1945) Arizona Cowpunchers

etching and drypoint on paper 4 5/8 x 8 7/8 inches signed lower right: Edward Borein PROVENANCE:

Private Collection, CO $2,000 - $3,000

103 EDWARD BOREIN (1872-1945)

Trail Boss

etching and drypoint on paper 7 7/8 x 8 5/8 inches signed lower right in plate: EDWARD BOREIN signed lower right: Edward Borein PROVENANCE:

Private Collection, CO $1,200 - $1,500 nr

104 EDWARD BOREIN (1872-1945)

Arizona Cowboy

india ink on paper 9 x 6 7/8 inches signed lower right: To BETTY GANE / From the man who made it / Edward Borein PROVENANCE:

Private Collection, NM $4,000 - $6,000

105 OLAF WIEGHORST (1899-1988)

Bareback Bronk

etching on paper 7 3/4 x 5 3/4 inches titled lower left: Bareback Bronk initialed lower left in plate: OW (O circling W) signed lower right: O Wieghorst PROVENANCE:

Private Collection, CO $800 - $1,000 nr

106 FRED FELLOWS (b. 1934) Bags Under My Eyes, October 20, 1966

pen, ink and watercolor on paper 4 1/8 x 9 3/8 inches envelope, 11 x 8 1/2 inches each letter dated upper right on first page: OCT 20th 66 titled upper right on first page: “BAGS UNDER MY EYES” signed lower right on last page: Fred PROVENANCE:

The Artist Private Collection, MT $1,500 - $2,500

107 LEONARD H. REEDY (1899-1956)

Coyote

watercolor on paper 11 x 7 7/8 inches signed lower left: LEONARD H. REEDY PROVENANCE:

Private Collection, NM $1,000 - $2,000

108 LEONARD H. REEDY (1899-1956)

Sioux Squaw

watercolor on paper 8 x 11 inches signed lower left: LEONARD H. REEDY PROVENANCE:

Private Collection, IN $1,000 - $2,000

109 LEON GASPARD (1882-1964) Cossack Officer, Siberia, 1948

oil on panel 13 1/2 x 9 1/2 inches signed and dated lower left: Leon Gaspard / 1948 PROVENANCE:

Private Collection, NM $30,000 - $50,000

110 GUNNAR WIDFORSS (1879-1934)

Clouds, Taos

watercolor on board 8 3/4 x 13 3/4 inches signed lower right: Widforss PROVENANCE:

Private Collection, NM $8,000 - $12,000

111 RANDALL DAVEY (1887-1964)

Guanajuato

watercolor on paper 19 7/8 x 13 3/8 inches signed lower right: Randall Davey PROVENANCE:

Private Collection, NJ $2,000 - $3,000

112 KENNETH M. ADAMS (1897-1966) Yellow Zinnias and Shasta Daisies

oil on board 23 7/8 x 19 7/8 inches signed lower right: Kenneth M Adams PROVENANCE:

Private Collection, NM $12,000 - $15,000

113 ROBERT HENRI (1865-1929)

Goat Herders

watercolor 8 1/2 x 11 inches signed lower left: Robert Henri PROVENANCE:

Private Collection, NM $15,000 - $20,000

114 OSCAR E. BERNINGHAUS (1874-1952)

Haystacks

oil on board 9 1/2 x 11 3/8 inches signed lower right: O.E. BERNINGHAUS A.N.A. / TAOS.N.M. PROVENANCE:

Private Collection, NM $20,000 - $25,000

115 ERNEST L. BLUMENSCHEIN (1874-1960) Untitled (Portrait of a Native American)

oil on canvas board 9 x 14 1/2 inches signed lower left: E.L. BLUMENSCHEIN PROVENANCE:

The Artist Private Collection, NM $125,000 - $175,000

116 ERNEST L. BLUMENSCHEIN (1874-1960)

Indians at Pueblo

oil on canvas 13 1/2 x 15 1/2 inches initialed lower left: B PROVENANCE:

Private Collection, NM $125,000 - $150,000

117 WALTER UFER (1876-1936)

The White Pack

oil on canvas 12 1/4 x 16 1/4 inches signed lower right: Ufer signed and titled verso: The White Pack by W. Ufer The first man to win a landmark victory for the Taos Society of Artists was Walter Ufer, who captured the coveted prize at the Carnegie Institute International Exhibition in 1920, for his painting Suzanna and Her Sisters. Formally trained at academies in Dresden and Munich, Ufer worked as a commercial illustrator and lithographer in Chicago before coming to Taos in 1914 under the patronage of Carter Harrison, a former mayor of Chicago. The myriad colors, fantastic forms, lucid ethereal light, and picturesque inhabitants of this remote desert country touched Ufer’s sensibilities and prompted him to become a painter.

His change from the dark Munich-school tonalities to a lighter palette and more vigorous brushwork was undoubtedly inspired by the unique qualities of his new environment.

Like other Taos artists, Ufer realized that the traditions of the American Indian were fast disappearing under the pressure of “Americanization.”

Because of his active social conscience and his interest in the human condition, Ufer chose to paint the Indian as he saw him: “In the garden digging--in the field working--riding among the sage--meeting his woman in the desert--or in meditation.” In so doing, he brought into focus the final transition of the Indian society, the alterations and alienation from a white man’s world.

LITERATURE:

Laura M. Bickerstaff, Pioneer Artists of Taos, Denver, CO: Old West Publishing Company, 1955; pp. 113-117.

PROVENANCE:

Private Collection, Chicago, Illinois Private Collection, Denver, Colorado Private Collection, New Mexico $150,000 - $250,000

118 E. IRVING COUSE (1866-1936)

Beaded Bag

oil on board 6 3/8 x 8 3/8 inches signed lower left: E-I-COUSE - N-Asigned and titled verso: E-I-COUSE/ BEADED BAGPROVENANCE:

Private Collection, NM $20,000 - $30,000

119 JOSEPH H. SHARP (1859-1953)

Aspens at Twining

oil on canvas 25 x 30 inches signed lower right: JHSHARP PROVENANCE:

Private Collection, NM $50,000 - $100,000

120 BERT G. PHILLIPS (1868-1956)

Winter in Taos

oil on canvas 34 1/4 x 40 1/4 inches signed lower left: PHILLIPS, TAOS, N.M. PROVENANCE:

Private Collection, NM $55,000 - $75,000

121 VICTOR HIGGINS (1884-1949)

White Horse

oil on canvas 16 x 20 inches signed lower right: VICTOR HIGGINS Born in Shelbyville, Indiana, on June 28, 1884, Victor Higgins grew up on a small midwestern farm. His interest in art was sparked by a traveling sign painter who informed the young Higgins of the newly opened Chicago Art Institute. At the age of fifteen he left home for Chicago, where he studied for the next ten years at the Art Institute and the Chicago Academy of Fine Art. After a brief trip to California, Higgins traveled to New York in 1911 where he met Robert Henri and George Bellows, members of the “Ashcan School” which advocated painting from experience for an honest representation of everyday American life. That same year, Higgins left for Europe, spending time in England and Paris, as well as Munich, where he worked with Martin Hennings and Walter Ufer. He returned to Chicago in 1913, in time to view the breakthrough Armory show which had traveled from New York in a reduced format. As it traced the development of modernism from Manet to Picasso, the Armory show introduced Higgins to the work of leading European and American modernists, including John Marin, who was applying cubist principles to his paintings of the American landscape.

Prompted by Chicago Mayor and art patron Carter Harrison, Higgins made his first visit to Taos in 1914, and established permanent residency the same year. In 1915 Higgins received his first one-man show at the Old Palace in Santa Fe, and in 1917, he was invited to join the Taos Society along with Walter Ufer. Although Higgins attended most meetings between his induction in 1917 and the time the Society disbanded in 1926, there is no evidence to suggest he was a particularly involved or enthusiastic participant. By 1920, rather, Higgins had begun a slow separation from the Taos Society of Artists, spending more time with the progressive Andrew Dasburg and his student Kenneth Adams.

After the Taos Society disbanded, Higgins increased his forays into cubist idioms. When John Marin, a member of Alfred Stieglitz’s avant-garde circle in New York, arrived in Taos in 1929, Higgins began to concentrate more fully on pattern and working primarily in watercolors. While the extent of Marin’s influence on Higgins remains unclear, the increasingly abstract nature of his work in the late 1920s and 30s suggests a significant encounter with something new in American art, as well as a logical continuation of his natural tendency towards experimentation.

PROVENANCE:

Private Collection, MO Private Collection, UT $200,000 - $300,000

122 MARTIN GRELLE (b. 1954) The Long Winter, 2006

oil on canvas 12 x 9 inches signed and dated lower left: + MARTIN GRELLE / © ‘06 CA PROVENANCE:

Private Collection, TX $10,000 - $15,000

123 JIM WILCOX (b. 1941) View at the Top

oil on board 24 x 36 inches signed lower right: JIM WILCOX_© titled verso: “VIEW AT THE TOP” / OIL / “ALL REPRODUCTION RIGHTS / RESERVED BY ARTIST PROVENANCE:

Private Collection, AZ $8,000 - $10,000

124 RICHARD GREEVES (b. 1935) Study for “Unknown” Monument, #12, 1984

bronze 18 3/4 x 14 1/2 x 13 inches inscribed: R. GREEVES / © 1984 #12 titled: STUDY FOR UNKNOWN MONUMENT PROVENANCE:

Private Collection, NM $3,000 - $5,000

125 SUSAN TERPNING (b. 1953) Winds of Change, 1996

oil on canvas 26 x 28 inches signed and dated lower right: S. Terpning / © 1996 PROVENANCE:

Private Collection, TX $5,500 - $7,500

126 MELVIN C. WARREN (1920-1995)

Untitled, 1973

oil on canvas 24 x 36 inches signed and dated lower left: © Melvin C. Warren CA 1973 PROVENANCE:

Private Collection, TX $20,000 - $30,000

127 JOHN MOYERS (b. 1958)

Horse Thief

oil on board 24 x 30 inches signed lower right: John Moyers / © PROVENANCE:

Private Collection, NM $4,000 - $6,000

128 TIM SOLLIDAY (b. 1952) Monument Valley in February

oil on canvas 24 x 30 inches signed lower right: Tim SolliDAY titled verso: “Monument Valley / in February” PROVENANCE:

Private Collection, WY $2,000 - $3,000

129 BRYANT BAKER (1881-1971) The Pioneer Woman (Roman Bronze Works, NY), 1927

bronze 9 x 4 x 4 1/2 inches inscribed and dated: Bryant Baker / 1927 inscribed: Roman Bronze W’K’s/NY PROVENANCE:

Private Collection, NY $4,000 - $5,000

130 DOROTHY BALLARD

Dusty Trail

oil on canvas 24 x 30 inches signed lower right: D. Ballard PROVENANCE:

Private Collection, NM $1,000 - $2,000

131 GEORGE BELLOWS (1882-1925) Introducing Georges Carpentier

lithograph on paper 14 1/2 x 20 7/8 inches initialed lower left in plate: G B titled lower center: Introducing Georges Carpentier signed lower right: Geo Bellows PROVENANCE:

Private Collection, NY $15,000 - $20,000

132 GUY WIGGINS (1883-1962) Winter, Central Park South, N.Y., ca. 1940

oil on canvas 20 1/8 x 24 1/4 inches signed lower left: Guy Wiggins N.A. Born in Brooklyn, Guy Wiggins studied at the National Academy of Design with his father, the noted landscape painter Carleton Wiggins. He later studied with William Merritt Chase and Robert Henri. He began his career at the famous artists’ colony of Old Lyme, Connecticut, where he painted landscapes. It was the success of a small exhibition of paintings of New York in winter, however, which determined the course of his career. As William Gerdts has written in his book American Impressionism, “Wiggins’s combination of the bright colors of urban life with flickering snowfall and the city’s massive architecture (aided by his own early architectural training) proved tremendously successful.”

Wiggins’s works are found in the Metropolitan Museum of Art, the Brooklyn Museum, and many other public collections.

PROVENANCE:

Long and Company, Houston, TX Galleries Maurice Sternberg, IL Private Collection, Scarsdale, NY Private Collection, NY $20,000 - $30,000

133 THOMAS MORAN (1837-1926) Down to the Sea, 1880

etching on paper 9 1/4 x 12 1/4 inches signed lower left: T.Moran. initialed and dated lower right: TM / 1880 PROVENANCE:

Private Collection, NM $1,000 - $2,000

134 THOMAS MORAN (1837-1926)

The Gate of Venice

etching on parchment 20 x 33 inches signed lower left: TMoran.

PROVENANCE:

Private Collection, NM $2,000 - $3,000

135 WILLIAM HOLBROOK BEARD (1825-1900)

The Fallen Landmark, 1872

oil on canvas 47 1/4 x 36 1/4 inches signed and dated lower left: WH Beard / 1872 PROVENANCE:

Private Collection By descent in the family Private Collection, NY Private Collection, NM $60,000 - $80,000

136 JAHN JOHANSEN (1876-1964)

Young Girl

oil on canvas 21 x 16 inches signed upper left: Jahn L. Johansen PROVENANCE:

Private Collection, NM $1,000 - $2,000

137 JOHN S. CURRY (1897-1946) Rainbow After Storm, ca. 1937

oil on gessoed board 17 3/4 x 25 inches inscribed verso: JSC #/66 PROVENANCE:

Private Collection, NM $50,000 - $60,000

138 JOHN S. CURRY (1897-1946) The Badlands, 1930

oil on canvas laid down on board 20 x 26 inches signed and dated lower right: JOHN STEUART CURRY / 30 PROVENANCE:

Private Collection, NM $20,000 - $30,000

139 TOM LOVELL (1909-1997) Apache Trail Sign

pastel on paper 7 1/8 x 9 1/2 inches signed lower left: TOM / LOVELL PROVENANCE:

Private Collection, CO $11,000 - $14,000

140 DONALD WALLACE MUTH

Apache Raiding Party, 1981

oil on canvas 23 x 36 inches signed and dated lower left: DONALD / WALLACE / MUTH / © 81 titled and signed verso: 23 X 36” / APACHE RAIDING PARTY / BY / DONALD W. MUTH PROVENANCE:

Private Collection, CO $2,500 - $3,500

141 JOE BEELER (b. 1931) Lord of the Southern Plains, 23/25

bronze 35 x 18 1/2 x 19 inches (with base) inscribed: JOE BEElER CA PROVENANCE:

Private Collection, CO $20,000 - $30,000

142 JOE BEELER (b. 1931) Lord of the Plains

watercolor on paper 9 3/8 x 7 3/8 inches signed lower right: JOE BEELER CA PROVENANCE:

Private Collection, CO $2,000 - $3,000

143 HARVEY DAY, A.K.A. MARJORIE JANE REED (1915-1996)

Wild Horses

oil on canvas 24 x 36 inches signed lower left: HARVEY DAYPROVENANCE:

Private Collection, CO $6,000 - $10,000

144 EDWARD BOREIN (1872-1945)

Emigrant Train

etching and drypoint on paper 5 7/8 x 14 inches signed lower right: Edward Borein PROVENANCE:

Private Collection, CO $2,500 - $3,500

145 EDWARD BOREIN (1872-1945)

Charging Hawk

etching and drypoint on paper 4 3/8 x 5 3/8 inches signed lower right: Edward Borein PROVENANCE:

Private Collection, CO $1,000 - $2,000 nr

146 JOHN W. HAMPTON (1918-1999)

The Chase, 1971

watercolor on paper 13 1/4 x 20 1/8 inches signed and dated lower left: J HAMPTON / artist cipher / © / 1971 / CA PROVENANCE:

Private Collection, CO $4,000 - $6,000

147 DAVE MCGARY (b.1958) American Horse, 19/50, 1993

bronze 25 1/4 x 12 x 7 1/4 inches inscribed with artist’s thumbprint: DAVE McGARY- / 1993 / 19/50 PROVENANCE:

Private Collection, NY $4,000 - $6,000

148 JOE BEELER (b. 1931) Mission Raiders

oil on canvas 16 x 28 inches signed lower left: JOE BEElER CA PROVENANCE:

Private Collection, MD $14,000 - $18,000

149 BROR A. WIKSTROM (1854-1909) Big Lake D...Looking South

watercolor on paper 5 1/2 x 8 3/4 inches PROVENANCE:

Private Collection, NM $1,000 - $2,000

150 FRANK C. MCCARTHY (1924-2002) Sentinel of the Superstitions, 1984

oil on board 12 x 8 inches signed and dated lower left: McCarthy / CA © 1984 titled, dated and signed verso: “Sentinel of the Superstitions” / all rights reserved © 1984 / by Frank C. McCarthy PROVENANCE:

Private Collection, TX $8,000 - $15,000

151 HARLEY BROWN (b. 1939)

Frank Sky, 1970

pastel on paper 22 1/8 x 16 3/8 inches signed and dated lower left: HARLEY BROWN ‘ 70 titled verso: “FRANK SKY” / HOPI PROVENANCE:

Private Collection, WY $2,000 - $3,000

152 MELVIN C. WARREN (1920-1995)

Edge of Talpa, 1969

oil on canvas 18 x 24 inches signed and dated lower left: CA Melvin C. Warren 1969 titled, signed and dated verso: “EDGE OF TALPA” / CA / BY: Melvin C. Warren / 1969 PROVENANCE:

Private Collection, TX $25,000 - $35,000

153 JAMES BUTLER (b.1925) Bartering Under the Sante Fe Portale

oil on canvas 23 1/2 x 35 1/2 inches signed lower left: Butler PROVENANCE:

Private Collection, AZ $4,000 - $6,000

154 DAVE MCGARY (b.1958) Strikes with Thunder, 78/100, 1989

bronze 12 3/4 x 11 x 8 1/2 inches inscribed with artist’s thumbprint: DAVE McGARY- / © / 1989 78/100 PROVENANCE:

Private Collection, NY $2,000 - $3,000

155 RAPHAEL LILLYWHITE (1891-1958)

Untitled (Pueblo Scene)

oil on masonite 24 x 30 inches signed lower left: Raphael / Lillywhite PROVENANCE:

Private Collection, NM $4,000 - $6,000

156 OLAF WIEGHORST (1899-1988)

Indian Chief

ink and watercolor on paper 4 3/8 x 4 3/8 inches initialed lower left: O-W PROVENANCE:

Private Collection, CO $1,000 - $1,500 nr

157 OLAF WIEGHORST (1899-1988)

Navajo Indian, 1920

gouache on paper 6 3/8 x 4 7/8 inches initialed and dated lower center: O.W / 20 PROVENANCE:

Private Collection, CA $1,000 - $2,000 nr

158 NICK EGGENHOFER

(1897-1985) Meeting of the Two Tribes gouache and pencil on board 14 3/4 x 25 3/4 inches signed lower right: N. EGGENHOFER PROVENANCE:

Private Collection, NM $8,000 - $12,000

159 LLOYD HARTING (1901-1974)

Untitled

watercolor on paper 14 1/2 x 21 1/2 inches signed lower right: LLOYD HARTING PROVENANCE:

Private Collection, WY $1,500 - $2,500

160a ACE POWELL (1912-1978) The Beautiful Maiden, 25/100

etching on paper 6 7/8 x 5 inches signed lower left: Ace L. Powell editioned lower right: 25/100 160b DAVE POWELL (b. 1954) Untitled (Smoke and Peace), AP, 1978

graphite and etching on paper 5 5/8 x 8 3/4 inches inscribed, signed and dated lower left: TO / ANiTA WiTH / My LOVE / DAVID. / 1978 signed lower center: DAVE POWELL editioned lower right: ARTIST PROOF PROVENANCE:

Private Collection, MT $400 - $600 (for the pair) nr

161 HAROLD VON SCHMIDT (1893-1982)

The Fight, 1930

oil on canvas 29 1/2 x 49 1/2 inches signed and dated upper left: HAROLD / VON / SCHMIDT / 1930 PROVENANCE:

Private Collection, MT $1,500 - $2,500

162 HAROLD VON SCHMIDT (1893-1982) Two Riders and Saguaro, 1930

ink on paper 16 5/8 x 14 1/2 inches signed lower right: VON / -30 PROVENANCE:

Private Collection, MT $1,000 - $2,000

163 HAROLD VON SCHMIDT (1893-1982)

You Got One of These?

oil on canvas 23 x 44 inches initialed lower right: H.V.S titled verso: “YOU GOT ONE OF THESE?” HE ASKED, / BRINGING OUT A HUSKY THICK-SET AUTOMATIC / PISTOL. signed verso: HAROLD von SCHMIDT PROVENANCE:

Private Collection, MT $1,500 - $2,500

164 TOM LOVELL (1909-1997) Viking Traders on the Volga

graphite on paper 20 1/2 x 33 inches signed lower right: TOM / LOVELL This is the first drawing for a commissioned oil painting on canvas which was for a feature article about Vikings in the National Geographic magazine. The original oil is now part of the National Geographic Collection.

PROVENANCE:

Private Collection, MT $4,000 - $6,000

165 WALTER WHITEHEAD (1874-1956)

Woolly Chaps, 1914

oil on canvas 39 1/2 x 29 1/2 inches signed and dated lower right: Walter / Whitehead / 1914 PROVENANCE:

Private Collection, CT $6,000 - $8,000

166a WILLIAM R. LEIGH (1866-1955) Rocks and Stream, 1926

oil on artist’s board 12 x 16 inches titled verso: Rocks & Stream 166b Mountains and Low Hanging Clouds, 1926 oil on artist’s board 12 x 16 inches titled verso: #59 Mountains and Low / Hanging Clouds PROVENANCE:

Private Collection, NM $8,000 - $12,000 (for the pair)

167 MARK WEBER

Grand Canyon with Clouds oil on board 27 1/2 x 21 1/2 inches signed lower left: © Weber PROVENANCE:

Private Collection, TX $1,500 - $2,500 nr

168 CHARLES PARTRIDGE ADAMS (1858-1942)

Scene in Utah

oil on canvas 23 5/8 x 35 5/8 inches signed lower left: Charles Partridge Adams PROVENANCE:

Private Collection, FL $8,000 - $12,000

169 ALBERT SCHMIDT (1895-1957)

Woman and Horse

oil on canvas 31 1/2 x 34 inches PROVENANCE:

Private Collection, NM $12,000 - $15,000

170 JACK LEYTIVE

Untitled

oil on canvas 30 x 40 inches signed lower right: JACK LEYTIVE PROVENANCE:

Private Collection, UK $2,000 - $3,000 nr

171 JOSEPH STAHLEY (1894-1969) Homeward Bound, Snow Storm

watercolor on paper 4 1/8 x 5 7/8 inches signed lower left: Stahley PROVENANCE:

Private Collection, NM $500 - $600 nr

172 GLENNA GOODACRE (b. 1939)

The Gift, 3/21

bronze 32 3/4 x 15 3/4 x 11 1/8 inches inscribed verso: G. Goodacre / 3/21 PROVENANCE:

Private Collection, WA $10,000 - $15,000

173 RALPH LOVE (1907-1992)

Untitled

oil on masonite 8 x 10 inches signed lower left: LOVE PROVENANCE:

Private Collection, NM $1,000 - $2,000

174 RALPH LOVE (1907-1992) Song of the Centuries

oil on canvas 20 x 30 inches signed lower left: Love PROVENANCE:

Private Collection, NM $2,000 - $3,000

175 HELEN G. MUSGRAVE

Canal Venice

watercolor on paper 9 1/2 x 13 1/4 inches signed lower right: Helen G. musgrave PROVENANCE:

Private Collection, NM $1,000 - $2,000

176 EMIL BISTTRAM (1895-1976) The Young Moon, 1928

watercolor on paper 12 3/4 x 18 inches signed and dated lower right: E.J. Bisttram / 28 PROVENANCE:

Private Collection, NM $15,000 - $20,000

177 EMIL BISTTRAM (1895-1976) Embracing Couple (Consolation), 1931

pastel on paper 21 x 21 inches signed and dated lower right: BISTTRAM 31 PROVENANCE:

Private Collection, NM $15,000 - $25,000

178 HOWARD COOK (1901-1980)

Untitled, 1928

oil on canvas 27 x 22 inches dated and signed lower left: 28 / H COOK PROVENANCE:

Private Collection, CO $5,000 - $8,000 nr

179 HOWARD SCHLEETER (1903-1976) Moon ‘Lit Children, May 28, 1951

oil on board 17 x 22 inches signed and dated lower right: 51 / H B Schleeter titled, signed and dated verso: “MOON ‘LIT CHILDREN” OIL by: / Howard B. Schleeter. / ALBUQUERQUE NEW MEXICO. / DATE: MAY 28, 1951.

PROVENANCE:

Private Collection, TX $4,000 - $6,000 nr

180 BROR J.O. NORDFELDT (1878-1955)

Still Life with Fruit

oil on board 19 x 16 inches signed lower right: Nordfeldt PROVENANCE:

Private Collection, CA $10,000 - $15,000

a

b

c

e

f

d

g

181a ALFRED MORANG (1901-1958)

Santa Fe Landscape, 1935 watercolor on paper 10 7/8 x 15 1/8 inches dated and signed lower right: 35 / Alfred Morang 181b Interior Studio, 1955 watercolor on paper 8 3/4 x 11 3/8 inches signed and dated lower center: Alfred / Morang / 1955 181c Santa Fe Landscape, 1955 watercolor on paper 8 3/4 x 12 3/8 inches signed and dated lower right: Alfred Morang 55

h

i

181d Center Forno, 2/15 etching on paper 3 7/8 x 5 inches initialed lower left in plate: A.M. signed lower left: Alfred Morang titled lower center: Center Forno editioned lower right: 2/15 181e Abstract Still Life Sketch, 1951 watercolor, pen and ink on paper 7 1/4 x 10 inches signed and dated lower right: Alfred Morang 51 181f House Sketch, 1955 watercolor, pen and ink on paper 3 7/8 x 5 3/4 inches signed and dated lower center: 55 / Alfred Morang

181g Hills with Adobe Sketch, 1955 watercolor, pen and ink on paper 3 7/8 x 5 7/8 inches signed and dated lower right: Alfred Morang 55 181h Hill Sketch, 1956 watercolor and pen on paper 5 x 5 3/8 inches signed and dated lower right: A. Morang 56 181i Woman in Chair Sketch, 1955 ink on paper 8 1/2 x 5 1/4 inches signed and dated lower left: 55 / Alfred Morang PROVENANCE:

Private Collection, TX $3,000 - $5,000 (for the group) nr

182 CARL VON HASSLER (1887-1969)

Looking Towards Jemez

oil on canvas 27 x 36 inches signed lower left: Von Hassler PROVENANCE:

Private Collection, NM $6,000 - $8,000

183a DOROTHY BRETT (1883-1976)

Untitled, 1968

oil on board 5 5/8 x 7 5/8 inches signed and dated lower right: BRETT / 1968 183b Indians in a Circle, 1967 oil on board 4 3/4 x 6 3/4 inches signed and dated lower left: BRETT / 1967 PROVENANCE:

Private Collection, AZ $1,500 - $2,500 (for the pair)

184a ERNEST KNEE (b. 1907) Sena, N.M., 1940

photograph 7 3/8 x 9 inches titled lower left: Sena-N.M. signed and dated lower right: Ernest Knee 1940 184b Untitled photograph 7 1/2 x 9 3/8 inches PROVENANCE:

Private Collection, NM $1,000 - $2,000

185 POLIA PILLIN (1909-1992) Untitled (New Mexico Landscape), 1939

watercolor on paper 10 1/4 x 14 1/8 inches signed and dated lower right: Polia / Pillin / 1939 PROVENANCE:

Private Collection, AL $5,000 - $6,000 nr

186 HELMUTH NAUMER (1907 - 1989)

La Puebla

watercolor on paper 21 1/4 x 27 1/4 inches signed lower right: NAUMER. PROVENANCE:

Private Collection, NM $3,000 - $6,000

187 JOZEF G. BAKOS (1891-1977)

Untited Landscape

oil on canvasboard 12 x 16 inches signed lower right: BAKOS PROVENANCE:

Private Collection, TX $8,000 - $12,000

188 LOUIE EWING (1908-1983)

The Corral

serigraph and gouache on paper study 11 1/4 x 14 3/4 inches (serigraph) 12 7/8 x 15 7/8 inches (gouache) titled and editioned lower left: -The Corral- 43/120 signed lower right: Louie Ewing PROVENANCE:

Private Collection, AL $600 - $800 nr

189 ARTHUR W. HALL (1889-1981)

New Mexico Aspens

watercolor on paper 14 3/8 x 20 1/2 inches signed lower right: Arthur W. Hall PROVENANCE:

Private Collection, AL $2,000 - $3,000 nr

190 GASPARD DE LATOIX (1858-1918)

My Wealth

pastel on paper 13 1/8 x 11 1/8 inches signed lower right: Gaspard de Latoix PROVENANCE:

Private Collection, CA $1,000 - $2,000 nr

191 BETTINA STEINKE (1913-1999)

Tonita

oil on canvas 9 7/8 x 7 7/8 inches signed lower right: BETTiNA / STEiNKE PROVENANCE:

Private Collection, IN $1,000 - $2,000

192 BOB SCRIVER (1914-1999) To Ride a Bronc, 62/100, 1984

bronze 22 x 14 x 11 3/4 inches (with base) inscribed: 62/100 / © BOB SCRIVER / 1984 / BRONZE inscribed: “TO RIDE A BRONC” PROVENANCE:

Private Collection, CA $2,500 - $3,500

193 ROBERT LOUGHEED (1910-1981) Untitled (Sheep Herding)

oil on board 9 3/4 x 16 1/8 inches signed lower left: R. E. LOUGHEED PROVENANCE:

Private Collection, ME $4,000 - $6,000

194 RAPHAEL LILLYWHITE (1891-1958) Untitled (Horse and Rider)

oil on canvas 32 x 38 inches signed lower left: Raphael / Lillywhite PROVENANCE:

Private Collection, NM $15,000 - $25,000

195 LLOYD HARTING (1901-1974)

Buffalo Hunt

watercolor on paper 14 x 21 inches signed lower right: LLOYD HARTING signed and dated pen and ink sketch verso PROVENANCE:

Private Collection, OK $3,000 - $5,000

196a PAPAJO (TOHONO O’ODHAM)

Native American Basket, ca. 1945

shallow coiled formed basket using yucca, beargrass and devil’s claw 1 3/8 x 6 7/8 inches 196b Native American Basket, ca. 1945 coiled formed tray using yucca, beargrass and devil’s claw 4 1/2 11 1/4 inches PROVENANCE:

Private Collection, NM $300 - $500 (for the pair) nr

197a PAPAJO (TOHONO O’ODHAM)

Native American Basket, ca. 1945

coiled formed basket using yucca, beargrass and devil’s claw 5 x 7 5/8 inches 197b Native American Basket, ca. 1945 coiled formed basket using yucca, beargrass and devil’s claw 7 1/8 x 11 5/8 inches PROVENANCE:

Private Collection, NM $300 - $500 (for the pair) nr

198 MARIA AND POPOVI

Maria and Popovi Plate ceramic, black on black design 7/8 x 6 1/8 inches signed on bottom: Maria / Popovi PROVENANCE:

Private Collection, OR $4,000 - $6,000 nr

199 MARIA AND SANTANA

Maria and Santana Bowl ceramic, black on black design 3 1/2 x 7 inches signed on bottom: Maria / Santana PROVENANCE:

Private Collection, OR $2,000 - $3,000 nr

200 ALLAN HOUSER (1914-1994) Intimate Conversations, 19/20, 1987

bronze 11 x 7 1/2 x 5 inches (with base) inscribed: ALLAN HOUSER / © 87 19/20 PROVENANCE:

Private Collection, CA $8,000 - $12,000

201 ALLAN HOUSER (1914-1994) Apache Crown Dancers, 1952

silk screen 13 7/8 x 19 1/4 inches signed and dated lower right: © ALLAN HOUSER / 52 PROVENANCE:

Private Collection, NM $500 - $800

202 TERRANCE GUARDIPEE (b. 1968)

Untitled

pen and ink on ledger paper 17 1/4 x 19 1/4 inches signed lower left: Terrance G...© PROVENANCE:

Private Collection, NM $800 - $1,000

203 GEORGE FLETT

Spokane Rider

pen and colored pencil on paper 13 3/4 x 19 inches signed lower right: George Flett / SPOKANE PROVENANCE:

Private Collection, NM $1,000 - $2,000

204 NORMA ANDROUD

Hopi Maiden, 39/80

serigraph on paper 23 7/8 x 18 7/8 inches editioned lower left: 39/80 signed lower right: Norma Androud PROVENANCE:

Private Collection, AL $200 - $500 nr

205 J. D. CHALLENGER (b. 1951)

Night Shoots

acrylic on canvas 34 x 34 inches titled and signed verso: Night ShooTs / J D Challenger PROVENANCE:

Private Collection, MT $4,000 - $6,000 nr

206 DAN NAMINGHA (b.1950) Pueblo Imagery, 1990

acrylic on canvas 60 x 60 inches signed and dated lower right: Namingha / © 1990 titled, dated and signed verso: “Pueblo Imagery” / © 1990 Dan Namingha PROVENANCE:

Private Collection, WY $8,000 - $10,000

207 DAN NAMINGHA (b.1950) Crow Mother Kachina, 1989

acrylic on canvas 40 x 38 inches signed lower left: Namingha titled, dated and signed verso: “Crow Mother Kachina” / © 1989 Dan Namingha PROVENANCE:

Private Collection, NY $5,000 - $7,000

208 HAROLD J. WALDRUM (1934-2003) Las Sombras Atr贸s de la Iglesia de Nuestra Sen贸ra de Dolores en Can贸n, 21/54

aquatint on paper 11 3/4 x 11 5/8 inches editioned lower left: 21/54 signed lower right: H Waldrum PROVENANCE:

Private Collection, NM $3,000 - $4,000

209 HAROLD J. WALDRUM (1934-2003) La Sombra Hacia el Este del Vestuario de la Iglesia de Santo T贸mas Apostel en Oje Sarco, 28/54

aquatint on paper 11 5/8 x 11 3/4 inches editioned lower left: 28/54 signed lower right: H Waldrum PROVENANCE:

Private Collection, NM $3,000 - $4,000

210 AGNES SIMS (1910-1990) Petroglyphs Abstract

watercolor on paper 29 1/2 x 22 inches signed lower left: Agnes Sims PROVENANCE:

Private Collection, TX $500 - $800

211 GEORGE FISCHER (b. 1956)

Down-Pour

oil on canvas 60 x 60 inches signed lower right: G. Fischer PROVENANCE:

Private Collection, NM $8,000 - $12,000

212 CAROL ANTHONY (b. 1943)

Friend’s Underwear

monoprint on paper 22 1/4 x 15 inches titled lower left: Friend’s Underwear. signed lower right: Carol Anthony PROVENANCE:

Private Collection, NM $800 - $1,000

213 CAROL ANTHONY (b. 1943) Postcard Memories, 1995

monoprint on paper 24 x 22 1/4 inches titled, signed and dated lower center: Postcard Memories.

Carol Anthony / .1995 New Mexcio.

PROVENANCE:

Private Collection, NM $1,000 - $2,000

214 JANET MONAFO (b. 1940)

Short Stack, 2003

pastel 16 1/2 x 9 1/2 inches signed and dated upper right: S MONAFO / ‘03 signed and dated verso: JANET MONAFO- PASTEL 03 PROVENANCE:

Private Collection, NM $2,000 - $3,000

215 GEORGIA ENGELHARD (1906-1986) Jack in the Pulpit, ca. 1927

oil on canvas 42 x 20 inches PROVENANCE:

Private Collection, NM $40,000 - $60,000

216 JOHN GIBSON (b. 1958) Wabash, 20/35, 2002

7 color lithograph on paper 31 1/2 x 31 3/4 inches signed and dated lower right: John Gibson ‘02 editioned lower left: 20/35 PROVENANCE:

Private Collection, NM $2,000 - $3,000

217 KELLOGG JOHNSON (b. 1952)

Snow, 2007

raku ceramic and bronze 16 x 5 x 5 inches inscribed: Kellogg Johnson / 2007 PROVENANCE:

Private Collection, NM $1,000 - $2,000

218 RON ADAMS (b. 1934)

Mr. Blue

etching on paper 3 1/8 x 3 1/8 inches inscribed lower left: HGI titled lower center: Mr. Blue signed lower right: R. Adams PROVENANCE:

Private Collection, NM $800 - $1,000

219 TOM JOYCE (b. 1956) Memorial Sculpture, September 11, 2001

cast iron alloy made from World Trade Center ash, soil from the Santuario de Chimayo, NM, and sand from a Tibetan Buddhist mandala 5 7/8 x 8 5/8 x 7 5/8 inches PROVENANCE:

Private Collection, NM $8,000 - $16,000

220 CAROL MOTHNER (b.1943) Transformations: Anger

graphite on rag board 12 7/8 x 11 3/8 inches PROVENANCE:

Private Collection, NM $8,000 - $12,000

221 DEVIN PETERS (b. 1983) Triptic Flowers, 1/1, 2011

monoprint on paper 22 x 15 inches titled and dated lower left: Triptic Flowers 2011 signed lower center: De Peters monoprint 1/1 PROVENANCE:

The Artist

$500 - $800 nr

222 DEVIN PETERS (b. 1983) Diptic Flowers, 1/1

monoprint on paper 22 x 15 inches signed and titled lower left: De Peters diptic Flowers inscribed lower center: mono print 1/1 PROVENANCE:

The Artist

$500 - $800 nr

INDEX

Abram, Jr., Paul

The Fur Trader, 53 Acheff, William

A Mother’s Child, 48 Adams, Charles Partridge

Scene in Utah, 168 Adams, Kenneth M.

Yellow Zinnias and Shasta Daisies, 112 Adams, Ron

Mr. Blue, 218 Afsary, Cyrus

Geyser in Spring, 42

Untitled, 50 Androud, Norma

Hopi Maiden, 39/80, 204 Angell, Tony

Fox Pups, 60 Anthony, Carol

Friend’s Underwear, 213

Postcard Memories, 215 Anton, Bill

In Cattle Country, 47 Applegate, Frank

Untitled (Horseman), 16 Applegate, Frank

Untitled (Mountain View), 17 Ayers, James

Grandeur, 44 Baker, Bryant

The Pioneer Woman (Roman Bronze

Works, NY), 129 Bakos, Jozef G.

Self Portrait with Dog, 80

Untitled Landscape, 187 Ballard, Dorothy

Dusty Trail, 130 Bateman, Robert

Upon the Crag - Golden Eagle, 66 Baumann, Gustave

Aspen Thicket, 15/125, 14

La Loma, Taos, 62/100, 15 Beard, William Holbrook

The Fallen Landmark, 135 Beeler, Joe

Lord of the Southern Plains, 23/25, 141

Lord of the Plains, 142

Mission Raiders, 148 Bellows, George

Introducing Georges Carpentier, 131 Berninghaus, Charles

Adobe Garden,

Ranchos Church, 10

Irrigation Ditch, 95

Haystacks, 114 Bisttram, Emil

The Young Moon, 176

Embracing Couple (Consolation), 177 Blumenschein, Ernest L.

Studio Fireplace, 76

Juniper and Cottonwood, 84

Eagle Nest Lake, 85

Untitled (Portrait of a Native American), 115

Indians at Pueblo, 116 Borein, Edward

Sitting Pretty, No. 1, 29

Running Wild Horses, 30

Parting Cattle, 31

Reps, 32

Arizona Cowpunchers, 102

Trail Boss, 103

Arizona Cowboy, 104

Emigrant Train, 144

Charging Hawk, 145 Borg, Carl Oscar

Untitled, 90 Brett, Dorothy

Untitled, 183a

Indians in a Circle, 183b Brown, Harley

Frank Sky, 151 Brush, George de Forest

Dance Scene, 79 Burbank, E.A.

Chief Antonio, Pima, 19

O-Qui, Tesuque, 20

Chief Pretty Eagle, Crow, 21

Pima Indian Home, Sacaton, Arizona, 22a

Ramona’s Home Near Oceanside, California, 22b Butler, James

Bartering Under the Sante Fe Portale, 153 Catlin, George

Osceola of Florida, 78 Challenger, J. D.

Night Shoots, 205 Cook, Howard

Untitled, 178 Couse, E. Irving

The Eagle Dance, 87

Beaded Bag, 118 Curry, John S.

Rainbow after Storm, 137

The Badlands, 138 Dasburg, Andrew

House and Trees, 11

INDEX

Davey, Randall

Indians Under Portal, 5a

Hopi Snake Dance, 5b

Race Horse, 5c

Wild Burros, Taos Mountains, 6

Still Life (Peonies in Vase), 83

Guanajuato, 111 Day, a.k.a. Marjorie Jane Reed, Harvey

Wild Horses, 143 de Latoix, Gaspard

My Wealth, 190 De Yong, Joe

Glacier Park Moose, 34 deDecker, Thomas

Lilies and Flowers, 70 Delano, Gerard C.

On the Reservation, 33 Denton, Troy

Untitled, 71 Dixon, Maynard

Oncoming Storm, 97

Willows at Carmel, 9 Dye, Charlie

Wet Days Branding, 37 Eggenhofer, Nick

Meeting of the Two Tribes, 158 Ellis, Fremont

Santa Fe River Canyon, 92

Old Dock, Bayfield, 93 Engelhard, Georgia

Jack in the Pulpit, 214 Ewing, Louie

The Corral, 188 Fellows, Fred

Bags Under My Eyes, 106 Fischer, George

Down-Pour, 211 Fleck, Joseph A.

Indian Bride, 101 Flett, George

Spokane Rider, 203 Frazier, Luke

Hillside Hunters, 61 Gaspard, Leon

Berne in Winter, 81

Tuareg Girl, 82

Cossack Officer, Siberia, 109 Gaul, Gilbert

Smokin’ the Calumet (Pipe), 100 Gibson, John

Wabash, 20/35, 216

Goodacre, Glenna

The Gift, 3/21, 172 Greeves, Richard

Study for Unknown Monument, #12, 124 Grelle, Martin

Apsaalooka Horse Hunters, 46

Morning Water, 51

The Long Winter, 122 Guardipee, Terrance

Untitled, 202 Hall, Arthur W.

New Mexico Aspens, 189 Hampton, John W.

The Chase, 146 Harting, Lloyd

Untitled, 159 Harting, Lloyd

Buffalo Hunt, 195 Hauser, John

Indian Hunter, 35 Hennings, E. Martin

Untitled (Taos Pueblo), 86 Henri, Robert

Goat Herders, 113 Higgins, Victor

White Horse, 121 Houser, Allan

Intimate Conversations, 19/20, 200

Apache Crown Dancers, 201 Howell-Sickles, Donna

Untitled, 39 Hulings, Clark

Aix Fountain, 55

Afternoon Light, 73 Johansen, Jahn

Young Girl, 136 Johnson, Kellogg

Snow, 217 Jörgensen, Chris

Grand Canyon, 27 Joyce, Tom

Memorial Sculpture, September 11, 2001, 219 Keathley, Mark

Silent Search, 91 Kloss, Gene

Chance Encounter, A/P, 1

All Souls’ Day Offerings, 18/75, 2

Deer Dance, 11/75, 3

Song of Creation, AP, 4 Knee, Ernest

Sena, N.M., 184a

Untitled, 184b

INDEX

Kuhn, Bob

Morning Call, 65 Leigh, William R.

Rocks and Stream, 166a

Mountains and Low Hanging Clouds, 166b Leytive, Jack

Untitled, 170 Liang, Z. S.

Pueblo Man, 41 Lillywhite, Raphael

Untitled (Pueblo Scene), 155

Untitled (Horse and Rider), 194 Liu, Huihan

Roses, 49 Lockhart, Tom

A Sunny Cool Day, 28 Lougheed, Robert

Untitled (Sheep Herding), 193 Love, Ralph

Untitled #1315, 173

Song of the Centuries, 174 Lovell, Tom

Apache Trail Sign, 139

Viking Traders on the Volga, 164 Maria and Popovi

Maria and Popovi Plate, 198 Maria and Santana,

Maria and Santana Bowl, 199 McCarthy, Frank C.

Sentinel of the Superstitions, 150 McGary, Dave

Rain in the Face, 35/50, 23

American Horse, 19/50, 147

Strikes with Thunder, 78/100, 154 McGaughy, Clay

Deer, 59a

Quail, 59b

Deer Crossing Stream, 59c Monafo, Janet

Short Stack, 212

Down to the Sea, 133

The Gate of Venice, 134 Morang, Alfred

Santa Fe Landscape, 181a

Interior Studio, 181b

Santa Fe Landscape, 181c

Center Forno, 2/15, 181d

Abstract Still Life Sketch, 181e

House Sketch, 181f

Hills with Adobe Sketch, 181g

Hill Sketch, 181h

Woman in Chair Sketch, 181i

Mothner, Carol

Transformations: Anger, 220 Moyers, John

Horse Thief, 127 Mruk, Wadslow (Walter)

Cows, 18 Murray, Tom

Cathedral Rock, 26 Musgrave, Helen G.

Canal Venice, 175 Muth, Donald Wallace

Apache Raiding Party, 140 Namingha, Dan

Pueblo Imagery, 206 Namingha, Dan

Crow Mother Kachina, 207 Nash, Willard

Female Nude, 7

Male Figure Kneeling, 8a

Farm, 15/50, 8b Nordfeldt, Bror J.O.

Untitled, 12

Double Tulips, 13

Still Life with Fruit, 180 Norton, Jim

Fall on the Spanish Fork, 75 O’Keeffe, Georgia

Georgia O’Keeffe Drawings, 77 Papajo (Tohono O’odham)

Native American Basket, 196a

Native American Basket, 196b

Native American Basket, 197a

Native American Basket, 197b Payne, Edgar Alwin

Sierra Landscape, 98 Peters, Devin

Triptic Flowers, 1/1, 221

Diptic Flowers, 1/1, 222 Phillips, Bert

Indian Portrait, 96

Winter in Taos, 120 Pillin, Polia

Untitled (New Mexico Landscape), 185 Powell, Ace

The Beautiful Maiden, 25/100, 160a Powell, Dave

Untitled (Smoke and Peace), AP, 160b Reedy, Leonard H.

Sioux Squaw, 108

Coyote, 107 Rich, Jason

The Horseman, 45

INDEX

Rogers, Howard

Bringin’ Them In On the Run, 72

A Visit to God’s Country, 43 Rungius, Carl

Near Long Lake, 56

Mates, 57

Above Timberline, 58 Russell, Charles M.

Nobelman of the Plains, 36 Schleeter, Howard

Moon ‘Lit Children, 179 Schmid, Richard

Laguna Coast, 94 Schmidt, Albert

Woman and Horse, 169 Scriver, Bob

Piegan Brave, 15/35, 38

To Ride a Bronc, 62/100, 192 Sharp, Joseph H.

Aspens at Twining, 119 Sims, Agnes

Petroglyphs Abstract, 210 Sims, Kyle

Love Games, 63

Sage Lovers, 64 Situ, Mian

Beef, Beans and Biscuts, 74 Smith, Matt

Tonto Forest Vista, 67 Smith, Tucker

Bison at Slit Rock, 62 Solliday, Tim

Monument Valley in February, 128 St. Clair, Linda

Tangles Up in Blue, 69 Stahley, Joseph

Homeward Bound, Snow Storm, 171 Steinke, Bettina

Tonita, 191 Swanson, Ray

Riding Home, 24 Symons, George Gardner

Grand Canyon Sunrise, 88 Tennant, Craig

Dark River Shadows, 52 Terpning, Susan

Winds of Change, 125 Thomas, Karl

Grand Canyon Evening, 89 Ufer, Walter

The White Pack, 117

Von Hassler, Carl

Looking Towards Jemez, 182 Von Schmidt, Harold

The Fight, 161

Two Riders and Saguaro, 162

You Got One of These?, 163 Waldrum, Harold J.

Las Sombras Atrós… 21/54, 208

La Sombra Hacia … 28/54, 209 Walker, John G.

La Puebla, 186 Warren, Melvin C.

Untitled, 126

Edge of Talpa, 152 Weber, Mark

North Rim Sunrise, 68

Grand Canyon with Clouds, 167 Whitehead, Walter

Woolly Chaps, 165 Widforss, Gunnar

Clouds, Taos, 110 Wieghorst, Olaf

Bareback Bronk, 105

Indian Chief, 156

Navajo Indian, 157 Wiggins, Guy

Winter, Central Park South, N.Y., 132 Wiggins, K. Douglas

Evening Walk, 40 Wikstrom, Bror A.

Big Lake D...Looking South, 149 Wilcox, Jim

View at the Top, 123 Young, Harland

Redman, 25 Zhou, Jie Wei

Newspaper Boy, 54

NOTES

NOTES

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