Santa Fe Art Auction 2014

SANTA FE ART AUCTION

S AT U R D AY, D E C E M B E R 6 , 2 0 1 4

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1:30PM MST

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S A N TA F E , N E W M E X I C O

LIVE AUCTION Saturday, December 6, 2014 1:30pm – 5:30pm MST

1011 PASE O DE PE RALTA, SAN TA F E

AUCTION PREVIEWS Friday, December 5, 2014 10:00am – 8:00pm MST

Saturday, December 6, 2014 9:00am – 1:00pm MST

1011 PASE O DE PE RALTA, SAN TA F E

ONLINE AUCTION Online bidding available through liveauctioneers.com

SANTA FE ART AUCTION

Saturday, December 6, 2014 | 1:30pm MST

Peters Projects | 1011 Paseo de Peralta, Santa Fe, NM 87501 Tel 505 954-5858 | Fax 505 954-5785 www.santafeartauction.com

© 2014 Santa Fe Art Auction Limited Co. Vice President/Executive Director: Peter L. Riess Auction Coordinator/Editor: Alice Hammond Photographer: Cameron Gay

Graphic Design: Shane Mieske Printing: O’Neil Printing, AZ

Binding: Roswell Book Binding, AZ Front Cover Image: Lot 121, Carl Rungius (1869-1959), Pack Horses on a Trail, ca. 1920, oil on canvas, 30 x 40 inches, $300,000 - $400,000

Back Cover Image: Lot 101, Eanger Irving Couse (1866-1936), Spearing the Fish, ca. 1932, oil on canvas, 20 1/4 x 36 1/4 inches, $150,000 - $250,000

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.

DR. ROBERT R. WHITE (1942 – 2014)

Born and raised in Houston, Robert’s attention often focused on a painting hanging on his grandmother’s wall—E. Martin Hennings’ In the Foothills—that depicted two Indians on horseback riding through sage-brush under a brilliant northern New Mexico sky. It was only when he visited the Land of Enchantment years later that Robert determined that New Mexico skies truly were that bright. Ever curious, he inquired about Hennings while travelling in Santa Fe in 1973, and was directed to Hennings’ widow in Taos. Robert’s interviews with her resulted in his first article, “Taos Founder, E. Martin Hennings” in Southwest Art the next year. After permanently moving to New Mexico in 1974, he gradually abandoned his career as a hydrologist and soon found a way to become an independent scholar, merging his interests in nineteenth and early twentieth century southwestern art and history.

Robert authored or co-authored over fifty books, articles, chapters, and essays in history and the arts. These works included The Taos Society of Artists in 1983 (updated in 1998), his University of New Mexico doctoral dissertation “Artists of Territorial New Mexico, 1846-1912” in 1993, and his co-authored Bert Geer Phillips and the Taos Art Colony in 1994.

He participated in numerous cultural organizations, including the Southwest Art History Council and the Historical Society of New Mexico, the latter of which he served as President from 1991 to 1993. He spoke at art history conferences across the nation, and his expertise was pursued by other researchers, museum curators, and gallery owners—Robert provided essays for two catalogues produced by the Gerald Peters Gallery, E. Martin Hennings: Paintings and Works on Paper from Europe and Taos in 1991, and The New Mexico Painters in 1999. He also extensively collected New Mexican art, prints, and etchings.

1 Gene Kloss (1903-1996) Tres Orejas edition 30/50 etching and drypoint on paper 9 x 15 inches signed lower right: Gene Kloss inscribed lower left: Tres Orejas Provenance: Estate of Dr. Robert White $1,200 - $2,200

2 Gene Kloss (1903-1996) The Rio Grande at Embudo edition 31/75 etching and drypoint on paper 7 1/2 x 9 inches signed lower right: Gene Kloss inscribed lower left: Rio Grand at Embudo Provenance: Estate of Dr. Robert White $1,200 - $2,200

3 Gene Kloss (1903-1996) Penitente Easter, 1979 edition 17/25 etching, drypoint and aquatint on paper 11 x 14 inches signed and inscribed lower right: Gene Kloss NA inscribed lower left: Penitiente Easter ed. 17/25 Provenance: Estate of Dr. Robert White $2,000 - $3,000

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4 Gene Kloss (1903-1996) Taos Valley Winter, 1934 etching and aquatint on paper 10 x 13 1/2 inches signed lower right: Gene Kloss inscribed lower left: artist’s proof Taos Valley Winter Provenance: Estate of Dr. Robert White $4,000 - $6,000

5 Gene Kloss (1903-1996) Along the Roaring Fork, 1973 etching and drypoint on paper 7 1/2 x 9 inches signed lower right: Kloss inscribed lower left: artist’s proof Along the Roaring Fork Provenance: Estate of Dr. Robert White $1,000 - $2,000

6 Gene Kloss (1903-1996) Carding Wool the Old Spanish Way, 1985 edition 15/50 etching and drypoint on paper 6 x 8 1/8 inches signed lower right: Gene Kloss inscribed lower left: Carding the Wool the Old Spanish Way Provenance: Estate of Dr. Robert White $1,000 - $2,000

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7 Gene Kloss (1903-1996) Taos in Winter edition of 35 aquatint on paper 10 3/4 x 14 3/4 inches signed lower right: Gene Kloss [illeg] inscribed lower left: Taos in Winter Ed 35 Provenance: Estate of Dr. Robert White $4,000 - $6,000

8 Gene Kloss (1903-1996) Adobe Dusk etching on paper 4 x 4 3/4 inches signed lower right: Gene Kloss inscribed lower left: Adobe Dusk Provenance: Estate of Dr. Robert White $800 - $1,000 nr

9 Gene Kloss (1903-1996) Far Across the Rio Grande, 1939 etching on paper 10 x 14 inches signed and inscribed lower right: Gene Kloss NA Provenance: Estate of Dr. Robert White $1,500 - $2,500

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10 Gene Kloss (1903-1996) Old Mesilla, 1976 edition of 25 drypoint print on paper 10 x 12 inches signed lower right: Gene Kloss NA inscribed lower left: artist’s proof Old Mesilla For Robert R. White Provenance: Estate of Dr. Robert White $1,500 - $2,500

11 A-C Will Shuster (1893-1969) A. El Sanctuario, 1929 etching on paper 3 7/8 x 3 inches signed lower right: Will Shuster inscribed lower left: “El sanctuario” signed and dated in plate lower left: Will Shuster 29 B. La Noria, 1929 etching on paper 4 x 3 inches signed lower right: Will Schuster signed in plate lower right: Will Shuster inscribed lower left: “La Noria” C. Navajo Shepherdess etching on paper 3 1/2 x 4 1/4 inches signed lower right: Will Shuster inscribed lower left: Navajo Shepherdess Provenance: Estate of Dr. Robert White $2,500 - $3,500 for the set

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12 Fremont Ellis (1897-1985) A Mountain Stream etching on paper 4 x 5 inches signed lower right: Fremont Ellis inscribed lower left: A MOUNTAIN STREAM Provenance: Estate of Dr. Robert White $700 - $900 nr

13 Willard Clark (1910-1992) Untitled (Woman and Dog at Entrance to Adobe) color woodblock print 4 1/4 x 4 1/4 inches signed lower left: W. Clark Provenance: Estate of Dr. Robert White $1,500 - $2,500

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14 Gustave Baumann (1881-1971) Untitled (Brown County, Indiana Scene) carved woodblock 8 1/2 x 8 1/2 x 1 inches signed lower left with artist’s mark Provenance: Estate of Dr. Robert White $400 - $600 nr

15 Gustave Baumann (1881-1971) Summer Rain color woodblock print on paper 9 1/2 x 11 inches signed lower right: Gustave Baumann inscribed lower left: SUMMER RAIN Provenance: Estate of Dr. Robert White $8,000 - $12,000

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16 Carl Redin (1892-1944) Winter in San Antonio, late 1920s oil on canvas 9 3/4 x 13 3/4 inches Provenance: Estate of Dr. Robert White $1,000 - $2,000

17 Ernest L. Blumenschein (1874-1960) A Strange Mixture of Barbarism & Christianity, 1898 engraving on paper 16 x 21 inches Provenance: Estate of Dr. Robert White $2,000 - $3,000

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18 A,B James Abbott McNeill Whistler (1834-1903) A. Billingsgate, 1859 etching and drypoint on paper 5 3/4 x 8 1/2 inches signed and dated lower right: Whistler. 1859.

B. The Punt (aka The Angler), 1861 print on paper 4 3/4 x 6 1/2 inches signed lower left in plate: Whistler Provenance: Estate of Dr. Robert White $1,500 - $2,500 for the pair

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19 Peter Moran (1841-1914) Down the Arroyo to Santa Fe etching on paper 11 1/2 x 17 1/4 inches signed in plate lower left: P. Moran Provenance: Estate of Dr. Robert White $3,000 - $5,000

20 Peter Moran (1841-1914) A Burro Train in New Mexico etching on paper 6 1/2 x 9 1/4 inches Provenance: Estate of Dr. Robert White $1,000 - $2,000

21 Peter Moran (1841-1914) The Harvest at San Juan etching on paper 6 x 12 inches signed in plate lower right: P.M. Provenance: Estate of Dr. Robert White $2,000 - $4,000

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22 A-C Ernest Martin Hennings (1886-1956) A. Study for “Into the Sunset� graphite on paper 4 3/4 x 6 inches B. Untitled (Taos Street Scene) graphite on paper 4 1/2 x 5 1/2 inches C. Untitled (Northern New Mexican Farmer in Field, and Tree) monoprint 8 1/2 x 6 inches Provenance: Estate of Dr. Robert White $2,000 - $3,000 for the set

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23 A,B Ernest Martin Hennings (1886-1956) A. Stringing the Bow, ca. 1924-25 etching on paper 8 x 10 inches B. Woman with Water Jar, 1921 etching on paper 4 5/8 x 3 1/2 inches signed with artist’s initials in plate lower left: EMH Provenance: Estate of Dr. Robert White $600 - $800 for the pair nr

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24 Ernest Martin Hennings (1886-1956) Nude Woman Looking in Mirror, ca. 1910 oil on canvas 35 x 30 inches Provenance: Estate of Dr. Robert White $3,000 - $5,000

25 A,B Ernest Martin Hennings (1886-1956) A. Untitled (Academic Female Nude Figure Study) charcoal on paper 18 1/2 x 12 1/2 inches B. Untitled (Academic Male Nude Figure Study), ca. 1905 charcoal on paper 24 1/2 x 16 inches signed lower left: E. Martin Hennings Provenance: Estate of Dr. Robert White $1,000 - $2,000 for the pair

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26 A,B Ernest Martin Hennings (1886-1956) A. Watching the Ceremony etching on paper 8 x 10 inches B. Woman with Water Jar, 1921 etching on paper 5 x 3 1/2 inches Provenance: Estate of Dr. Robert White $600 - $800 for the pair nr

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27 Ernest Martin Hennings (1886-1956) The Hunters, ca. 1924-25 edition 7/50 lithograph on paper 9 x 10 inches signed lower right: E. M. Hennings inscribed lower right: 7/50 The Hunters Provenance: Estate of Dr. Robert White $4,000 - $6,000

28 Ernest Martin Hennings (1886-1956) Stringing the Bow, ca. 1924-25 etching on paper 8 x 10 inches Provenance: Estate of Dr. Robert White $400 - $600 nr

29 Ernest Martin Hennings (1886-1956) Through Sage and Cedar edition 2/100 lithograph on paper 10 x 10 inches signed lower right: E. M. Hennings inscribed lower left: 2/100 Through Sage and Cedar Provenance: Estate of Dr. Robert White $2,000 - $3,000

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30 Ernest Martin Hennings (1886-1956) Winter in Taos, ca. 1920 oil on board 10 x 10 inches signed lower left: E. M. Hennings Ernest Martin Hennings was born in 1886, the son of German immigrant parents. He studied at the Art Institute of Chicago, and initially pursued a career as a commercial artist. Having grown weary of the commercial art world, however, Hennings resumed his fine art studies at the Royal Academy in Munich in 1912, where, he met Walter Ufer and Victor Higgins, who would also become prominent Taos society artists. The avant-garde modernists working at the Academy at the time influenced Hennings’s style; and, while he never abandoned realism, he began to paint with a more modernist approach.

Forced to leave Germany at the outbreak of World War I, Hennings returned to Chicago, where he formed relationships with two major patrons: Cart Harrison, the former Mayor of Chicago, and Oscar Mayer of the famous meat-packing company.

With their financial support, Hennings traveled to Taos in 1917, where his friends from the Academy, Higgins and Ufer were working. 1 Inspired by the majestic New Mexican landscape, Hennings’ paintings took on a lighter, more whimsical quality.

Accepted into the Taos Artist Society in 1924, he became one of the group’s most prominent and respected artists.

Provenance: Estate of Dr. Robert White $15,000 - $25,000

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Taos and Santa Fe Painters, Ernest Martin Hennings, http://www.emartinhennings.com/

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31 Ernest Martin Hennings (1886-1956) Sopulvado, 1927 oil on canvas mounted on board 14 x 14 inches signed lower right: E. M. Hennings Provenance: Estate of Dr. Robert White $10,000 - $15,000

32 Ernest Martin Hennings (1886-1956) Sails at Chioggia oil on canvas 16 x 20 inches Provenance: Estate of Dr. Robert White $5,000 - $7,000

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33 Ernest Martin Hennings (1886-1956) Arroyo Hondo Ranch, mid 1950s oil on canvas 24 x 29 inches Provenance: Estate of the Artist To Dr. Robert White July 24, 1979 To estate of Dr. Robert White $30,000 - $40,000

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Letter on verso from Helen Hennings certifying the work as that of Ernest Martin Hennings

34 William Herbert (Buck) Dunton (1878-1936) On the Great Plains / Prong Horn Antelope, 1932 edition 60/100 lithograph on paper 11 3/4 x 10 inches signed, dated and inscribed lower right: Dunton of Taos - W. Herbert Dunton 32 - Heart of the West Series.

Provenance: Estate of Dr. Robert White $1,500 - $2,500

35 William Herbert (Buck) Dunton (1878-1936) Taos Pueblo Indian Girl (Corn Weeds), 1931 lithograph on paper 16 x 10 3/4 inches signed and inscribed in the plate lower left: Dunton of Taos Provenance: Estate of Dr. Robert White $800 - $1,000 nr

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36 James Kramer (b. 1927) St. Francis Cathedral, 1995 watercolor on paper 6 x 9 inches signed lower right: James Kramer signed, dated and inscribed on verso: St. Francis Cathedral / Santa Fe / James Kramer / 1995 Provenance: Estate of Robert White $800 - $1,200 nr

37 James Kramer (b. 1927) Old Town, Albuquerque, 1993 watercolor on paper 5 x 7 1/2 inches signed, dated and inscribed lower right: to Dr. Robert White 5/93 James Kramer Provenance: Estate of Dr. Robert White $800 - $1,200 nr

38 Curtis Fort (b. 1949) The Lure of Taos, 1998 bronze 8 x 6 1/2 x 5 inches (each) inscribed: Curtis Fort Provenance: Estate of Dr. Robert White $1,000 - $2,000 nr

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39 Vincente Colyer (1825-1888) San Jose, New Mexico, 1869 watercolor on paper 4 1/2 x 8 inches inscribed and dated lower left: SAN JOSE N.M. May 19-69 signed, dated and inscribed on verso: V. Colyer May 19, 1869 Town of San Hosa [sic] New Mexico Provenance: Estate of Dr. Robert White $800 - $1,200 nr

40 Woody Wilson Crumbo (1912-1989) Rainbow Horse, 1989 etching on paper 4 x 5 1/2 inches signed lower right: Woody Crumbo Provenance: Estate of Dr. Robert White $200 - $300 nr

41 George Bell (1889-1932) Untitled (Peaches on Branch), 1916 watercolor and gouache on paper 22 x 14 inches signed and dated lower right: Geo. E. Bell / 1916 Provenance: Estate of Dr. Robert White $200 - $400 nr

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42 Martin Grelle (b. 1954) Haying Time Again, 1994 oil on linen 30 x 40 inches signed lower right: Martin Grelle / Š Provenance: Private Collection, Arizona $20,000 - $30,000

43 Robert Pummill (b. 1936) Rainy Day on the Chisholm, 1994 oil on canvas 20 x 30 inches signed, dated and inscribed lower right: Pummill / CA Š 94 Provenance: Private Collection, Arizona $5,000 - $7,000

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44 Michael Workman (b. 1962) Sunset at Thistle Creek oil on board 21 x 29 1/2 inches signed lower right: M. Workman signed and inscribed verso: #321 Sunset at Thistle Creek / Š / M. Workman Provenance: Private Collection, Arizona $12,000 - $16,000

45 Michael Workman (b. 1962) Cattle at Dawn oil on board 12 x 17 inches signed upper right: M. Workman Provenance: Private Collection, Arizona $6,000 - $8,000

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46 Ray Swanson (1937-2004) Market Scene oil on canvas 40 1/4 x 50 inches signed and inscribed lower right: Ray Swanson / CA © Provenance: Private Collection, Arizona $30,000 - $45,000

47 Ray Swanson (1937-2004) What’s Up!, 1992 oil on board 24 x 30 inches signed and inscribed lower right: Ray Swanson © CA signed, dated and inscribed verso: 1129 “What’s UP” / Ray Swanson / 92 / All Rights Reserved by the Artist Provenance: Private Collection, Arizona $15,000 - $25,000

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48 Miguel Martinez (b. 1951) Untitled (Portrait of a Woman), 1996 pastel on paper 30 x 39 1/2 inches signed and dated lower right: M Martinez 96 Provenance: Private Collection, Arizona $3,000 - $5,000

49 Harry Fonseca (1946-2006) Rose on the Half-Shell II, 1988

50 Harry Fonseca (1946-2006) A White Sportcoat and a Pink Carnation, 1988

acrylic on canvas 27 1/2 x 21 1/2 inches signed and dated lower right: Fonseca 88 inscribed on verso: Rose on the Halfshell [sic] II

acrylic on canvas 30 x 24 inches signed with artist’s monogrammed initials lower right: HF dated and inscribed on verso: A white sportcoat and a pink carnation 1988

Provenance: Private Collection, Arizona $2,000 - $3,000

Provenance: Private Collection, Arizona $2,000 - $3,000 S A N TA F E A R T A U C T I O N

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51 Olive Rush (1873-1966) Arrival for Ceremonial oil on board 16 1/4 x 15 3/4 inches signed lower right: Olive Rush Provenance: Private Collection, New Hampshire $2,000 - $3,000 nr

52 Olive Rush (1873-1966) Two Seated Women watercolor and graphite on paper 18 1/4 x 22 1/8 inches signed lower right: Olive Rush Provenance: Private Collection, New Hampshire $2,000 - $3,000 nr

53 Olive Rush (1873-1966) Deer in a Landscape watercolor on paper 21 x 16 1/2 inches signed lower center: Olive Rush Provenance: Private Collection, New Hampshire $2,000 - $3,000 nr

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54 Frank Reed Whiteside (1866-1929) Zuni Ceremony oil on board 12 x 14 1/4 inches Exhibited: Phoenix Art Museum, Whitside: Painter of the Zuni, January 20 - March 14, 1971 Provenance: Private Collection, Colorado $3,000 - $5,000

55 Frank Reed Whiteside (1866-1929) Hopi Snake Dance - Walpi watercolor on paper 15 x 21 inches signed lower right: Frank Reed Whiteside Exhibited: Phoenix Art Museum, Whiteside: Painter of the Zuni, January 20, 1971 - March 14, 1971 Phoenix Art Museum, Visitors to Arizona: 1846 to 1980, September 6 - October 12, 1980, Tuscon Museum of Art, October 19 - November 30, 1980 No. 36 Provenance: Private Collection, Colorado $3,000 - $5,000

56 George Catlin (1796-1872) Buffalo Hunt, ca. 1844-45 hand-colored lithograph 12 7/8 x 17 1/2 inches inscribed lower center: No. 7. / BUFFALO HUNT, CHASE. / (Catlin’s N.A. Indian Collection.)

Provenance: Private Collection, New Mexico $2,000 - $3,000

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57 Frank P. Sauerwein (1871-1910) Hopi Girl, 1900 oil on canvas 9 1/2 x 6 inches signed and dated lower left: F.P. Sauerwein 1900 Provenance: Private Collection, Colorado $3,000 - $5,000

58 A,B Warren E. Rollins (1861-1962) A. The Ruins colored pencil and charcoal on paper 10 x 14 inches signed lower left: --W. E. Rollins-B. The Chaco colored pencil and charcoal on paper 10 x 12 3/4 inches signed and inscribed lower left: --W.E. Rollins -- The Chaco -Provenance: Private Collection, California $2,000 - $3,000 nr

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59 Lloyd Moylan (1893-1963) Mud Ceremony, Navajo watercolor on rag paper 14 x 19 inches signed lower left: Moylan Provenance: Private Collection, Colorado $3,000 - $4,000

60 Lloyd Moylan (1893-1963) Zuni Creation Myth watercolor on paper 19 x 26 inches signed lower right: Lloyd Moylan inscribed lower left: Zuni Creation Myth Provenance: Private Collection, Colorado $3,000 - $4,000

Along with many of New Mexico’s most prominent artists, including Peter Hurd, Gene Kloss, Gerald Cassidy, Will Schuster and others, Lloyd Moylan received a number of important commissions from the Works Progress Administrations (WPA), during Depression years. He created large-scale murals for Highland University in Las Vegas, the county courthouse in Gallup, New Mexico, and in an administration building in Eastern New Mexico University in Portales. 1 These murals depict scenes of New Mexico’s cultural history in the social realist, modernist style of the WPA period.

1

Collector’s Guide: New Deal Art in New Mexico. www.collectorsguide.com/fa/fa068.shtml

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61 Fremont Ellis (1897-1985) Spring - Ranchos de Taos, 1930s oil on canvasboard 24 7/8 x 30 inches signed lower left: Fremont Ellis Provenance: Private Collection, New Mexico $30,000 - $40,000

62 Fremont Ellis (1897-1985) Puertones del Sanctuaria oil on canvas 15 1/2 x 19 1/2 inches signed lower right: Fremont F Ellis Provenance: Private Collection, Tennessee $10,000 - $15,000

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63 Bert Greer Phillips (1868-1956) Corn Husking, 1933 oil on board 8 3/4 x 11 inches signed lower right: Phillips signed, dated and inscribed on verso: Corn Husking / Taos Pueblo / 1933 / By Bert Greer Phillips Provenance: Private Collection, Tennessee $20,000 - $30,000

64 Fremont Ellis (1897-1985) Sycamores at Atascadero acrylic on canvas 16 x 20 inches inscribed on verso: Sycamores at Atrascadero [sic] / Medium - Liquitex Provenance: Private Collection, New Mexico $8,000 - $10,000

65 Fremont Ellis (1897-1985) Untitled oil on canvas 19 x 24 1/2 inches signed lower right: Fremont Ellis Provenance: Private Collection, New Jersey $8,000 - $10,000 S A N TA F E A R T A U C T I O N

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66 Willard Nash (1898-1942) Santa Fe Landscape, ca. 1930 oil on canvas 19 1/2 x 23 1/2 inches signed lower left: Willard Nash signed and inscribed on verso: Willard Nash / Santa Fe - N.M. / “Santa Fe Landscape” Exhibited: National Museum of American Art, Smithsonian Institution Washington D.C., Art in New Mexico, 1900–1945: Paths to Taos and Santa Fe, March 7- June 15, 1986, cat no. 160.

Provenance: Private Collection, New Mexico $60,000 - $100,000

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67 Birger Sandzén (1871-1954) Mountain Stream, 1940 oil on board 20 x 24 inches signed lower right: Birger Sandzén signed, dated and inscribed on verso: Mountain Stream / Boulder. Colo. / 1940 / Birger Sandzén / Lindsborg, Kansas Provenance: Private Collection, Kansas $45,000 - $55,000

68 Joseph Fleck (1892-1977) Field, Plain, Hill oil on canvas 30 1/4 x 35 inches signed lower left: Joe Fleck. signed and inscribed on verso: Field. Plain.

Hill / Joseph Fleck / Taos Provenance: Private Collection, Texas $20,000 - $25,000

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69 Jozef G. Bakos (1891-1977) Garden

70 Jozef G. Bakos (1891-1977) Big Tree with Yellow Flowers

watercolor on paper 24 x 21 inches signed lower right: Bakos

watercolor on paper 15 1/4 x 21 inches signed lower left: Bakos

Provenance: Private Collection, New York

Provenance: Private Collection, New York

$8,000 - $12,000

$5,000 - $8,000

71 Andrew Dasburg (1887-1979) Llano Autumn Valley, 1965 pastel on paper 16 3/4 x 22 3/4 inches signed and dated lower right: Dasburg ’65 Provenance: Private Collection, New Mexico $15,000 - $20,000

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72 Carl Von Hassler (1887-1969) Sangre de Cristo Color oil on canvas 48 x 60 inches signed lower left: Von Hassler Provenance: Private Collection, New Mexico $4,000 - $6,000 nr

73 Theodore Van Soelen (1890-1964) New Mexico Landscape, 1918 oil on board 10 1/2 x 10 7/8 inches signed and dated lower left: Van Soelen ’18 Provenance: Private Collection, New Mexico $8,000 - $12,000

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74 Gerald Cassidy (1869-1934) Street Scene, ca. 1930 watercolor on paper 12 x 7 7/8 inches signed lower left: Gerald Cassidy Provenance: Private Collection, New Mexico $1,000 - $2,000

75 Helmuth Naumer (1907-1989) San Miguel Mission pastel on paper 24 x 28 inches signed lower left with artist’s mark: Helmuth Naumer Provenance: Private Collection, New Mexico $5,000 - $8,000 nr

76 Helmuth Naumer (1907-1989) Chamisa pastel on paper 19 x 25 inches signed lower right with artist’s mark: Naumer Provenance: Private Collection, New Mexico $5,000 - $8,000 nr

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77 Cady Wells (1904-1954) Near Otawi, New Mexico, 1936 watercolor on paper 10 3/4 x 16 3/4 inches signed and dated lower right: Cady Wells ’36 Provenance: Private Collection, New Mexico $10,000 - $15,000 nr

78 Cady Wells (1904-1954) New Mexico Landscape mixed media on paper 10 x 14 5/8 inches signed lower right: Cady Wells Provenance: Private Collection, New Mexico $4,000 - $6,000

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79 Frank Paul Saurwein (1871-1910) Bryce Canyon, 1901 oil on canvas 22 x 24 inches signed and dated lower left: FP Saurwein -/ 1901 Provenance: Brigham Young University Private Collection, New Mexico $10,000 - $15,000 nr

80 Bert Greer Phillips (1868-1956) Ranchos Church oil on board 10 x 8 inches signed lower right: Phillips Provenance: Private Collection, New Mexico $12,000 - $16,000 nr

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81 William Robinson Leigh (1866-1955) Cooking Pu-Vu-Lu oil on canvas mounted to board 7 3/4 x 9 1/2 inches signed lower left: WR Leigh Provenance: Private Collection, New Mexico $20,000 - $30,000 nr

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82 Ernest L. Blumenschein (1874-1960) Juniper and Cottonwood oil on board 12 1/4 x 16 inches signed lower left: ELBlumenschein signed and inscribed on verso: Juniper & Cottonwood / Ernest Blumenschein Taos NM Provenance: Private Collection, Texas $20,000 - $35,000

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83 Ernest L. Blumenschein (1874-1960) Eagle Nest Lake, New Mexico oil on board 12 x 15 3/4 inches signed with the artist’s initials lower right: E.L.B inscribed on verso: Eagle Nest Lake New Mexico Provenance: Private Collection, Texas $35,000 - $45,000

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84 Ernest L. Blumenschein (1874-1960) Portrait of Sheldon Parsons oil on canvas 20 x 16 inches signed and inscribed lower left: Sheldon Parsons / by / EL Blumenschein Ernest Blumenschein arrived in Taos under un-planned, and somewhat inconvenient circumstances in 1898. He and his companion, the painter Bert Greer Phillips, had been traveling on a journey from Colorado to Mexico when the wheel on their wagon broke 20 miles north of Taos. Blumenschein then carried the broken wheel on horseback to Taos to have it repaired. Despite the difficult journey, he became immediately enamored of the landscape, and he and Phillips resolved to remain in Taos rather than continuing on to Mexico as planned. 1 Of his first impressions of the New Mexico landscape during his horseback ride to Taos, Blumenschein wrote: Never shall I forget the first powerful impressions; my own impressions direct from a new land through my own eyes. Not another man’s picture this, not another’s adventure. The great naked anatomy of a majestic landscape once tortured now calm; the fitness of adobe houses to their tawny surroundings; the vastness and overwhelming beauty of the skies; terrible drama of storms; peace of night – all in beauty of color, vigorous form, everchanging [sic] light. 2 The two artists remained in Taos, painting for three months. While Phillips enjoyed some relative financial stability that allowed him to stay in Taos permanently, Blumenschein felt anxious to get back to New York and secure some illustration commissions, which would not only provide valuable income, but also help to further develop his career and standing as a commercial artist. He was also eager to return to the Académie Julien in Paris, where he had trained for two years prior to his arrival in Taos, to complete his education. Blumenschein returned to France in 1899, and in 1905 married Mary Shepherd Greene, a classmate at the Académie and accomplished painter herself. 3 The Blumenscheins returned to New York in 1906, where they both worked as illustrators and teachers. Although Blumenschein enjoyed a fair amount of success as an illustrator, working with prominent writers of the day such as Jack London and Willa Cather, he continued to think about Taos, and hoped to one day return and work there as a fine artist, free from the constraints of the commercial world. By 1910, he was splitting his time between Taos and New York, spending the summer months in Taos, and, in 1919, he moved to Taos permanently. 4 During his time away from Taos, Blumenschein had also encouraged fellow painters to visit: E.I. Couse, Joseph Henry Sharp (who had visited Taos once in 1893 and again in 1897), who had been classmates at the Academie and Herbert “Buck” Dunton who had been a student of Blumenschein at the Art Students League, all made trips to Taos between 1899 and 1910. These artists, like Blumenschein and Phillips were so taken with the beauty of the landscape, as well as the opportunity to be near American Indians and their culture, that they also quickly became residents of the pueblo. With Sharp, Couse, Dunton, and Oscar Berninghaus, whom Phillips had met in Taos in 1899, Phillips and Blumenschein founded the Taos Society of Artists in 1915, 5 appointing Eanger Irving Couse the first President of the group.

Blumenschein now had the freedom to paint what he liked, and took full advantage, using his eye for design and color to create paintings that exuded the majesty of the New Mexican vistas, and his admiration for the pueblo people and their culture. As a teacher, he had always encouraged his students to be sure that they were giving their paintings “something that is your own.” 6 In Taos, and surrounded by the Taoseños, he became even more convinced of the value of authenticity and of creating art that not only depicts nature, but also conveys personal expression. He observed of the pueblo Indians’ art: The Art of the Indian is not only beautiful, but it is unique. Originality is the priceless donation of all human endeavor and the aboriginal American has actually contributed more to the arts than two-hundred years of ‘civilized’ occupation of North America has produced. 7 Accordingly, he infused his own Taos paintings with his exuberance for the Northern New Mexican landscape, using a more vibrant palette than he had in the past and creating rhythmic compositions of land, trees and sky, as in his work, Juniper and Cottonwood (Lot 82). Likewise, Blumenschein’s paintings of Eagle Nest Lake, such as the present work (Lot 83), employ a stylized, linear composition, reflecting his interest in modernist painting and ability to manipulate the natural contours of the landscape to create an engaging, unique scene. Even his portrait of fellow artist Sheldon Parsons, though adhering to academic principles of proportion, employs a light palette, and shows the other man in a somewhat more relaxed manner, with a few hairs askew on his forehead, even as he looks seriously toward the viewer. Thus, even as Blumenschein proved an excellent academic draftsman and commercial illustrator, it was ultimately his years spent in Taos that provided the freedom and inspiration to develop his true artistic identity, and best works.

Provenance: Private Collection, New Mexico $100,000 - $200,000

Patricia Janis Broder, Taos: A Painter’s Dream (New York: Little Brown and Company, 1980), 68, 69.

Broder, 70 3 Broder, 70, 71 4 Broder, 71-73 5 Dean A. Porter, Teresa Hayes Ebie and Suzan Campbell, Taos Artists and Their Patrons: 1898-1950 (South Bend, Indiana: Snite Museum of Art, University of Notre Dame, 1999), 21, 37.

6 Broder, 72 7 Broder 75 1 2

4 6

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85 Russell Vernon Hunter (1900-1955) The Windmill oil on board 17 x 20 3/4 inches signed lower right: Russell Vernon Hunter Provenance: Private Collection, New York $5,000 - $8,000

86 Peter Hurd (1904-1984) Irrigated Farm, ca. 1960 watercolor on paper 21 1/2 x 27 5/8 inches signed lower left: Peter Hurd Provenance: Private Collection, New Mexico $10,000 - $15,000

87 Peter Hurd (1904-1984) Ascension Island, 1950s watercolor on paper 9 x 12 1/4 inches signed lower right: Peter Hurd Provenance: Private Collection, New Mexico $1,500 - $2,500

4 8

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88 Peter Hurd (1904-1984) The Fence Builders, 1954 egg tempera on gesso on panel 28 3/4 x 47 3/4 inches signed lower left: PETER HURD, N.A. signed, dated and inscribed on verso: The Fence Builders / Painted by Peter Hurd, N.A. / at San Patricio N. Mexico in / The Spring of 1954 According to Paul Horgan, Peter Hurd’s life-long friend who chronicled Hurd’s artistic career in Peter Hurd: A Portrait Sketch from Life, Hurd first began to experiment with tempera on gesso in 1929. He was intrigued by the luminous qualities the technique created, and studied Renaissance texts to understand how to mix minerals with egg yolks to make vivid tempera pigments. 1 In the mid-1930s, Hurd and his wife Henriette (who had been Henriette Wyeth, before her marriage and was the daughter of N.C. Wyeth), moved to San Patricio, near Roswell, New Mexico, where Hurd had spent his childhood. There, Hurd delighted in riding his horse over his land, and painting sweeping scenes of the landscape and aspects of ranch life, often in tempera on gesso, which became one of his preferred mediums. 2 The Fence Builders, demonstrates the full maturation of his artistic style, and mastery of the tempera and gesso medium.

Literature: Paul Horgan, Peter Hurd: A Portrait Sketch from Life, (Austin: University of Texas Press, for the Amon Cart Museum of Wester Art, For Worth, 1964, illus, 60.

Provenance: California Brewing Company, San Francisco City of Los Angeles Municipal Art Department Private Collection, Arizona $65,000 - $75,000

1 2

Paul Horgan, Peter Hurd: A Portrait Sketch from Life, (Austin: University of Texas Press, for the Amon Cart Museum of Wester Art, For Worth, 1964, 35, 37.

Horgan, 40.

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89 Carl Redin (1892-1944) Fall Colors, New Mexico oil on canvas 28 x 24 inches signed lower left: Carl Redin Provenance: Private Collection, New Mexico $10,000 - $15,000 nr

90 Carl Von Hassler (1886-1965) Autumn Sunset, New Mexico, 1942 oil on canvas 22 1/4 x 28 1/4 inches signed lower left: Von Hassler Provenance: Private Collection, New Mexico $4,000 - $6,000 nr

5 0

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91 B.J.O. Nordfeldt (1878-1955) Still Life with White Urn, 1945 oil on canvas 16 x 20 inches signed lower right: Nordfeldt signed and dated lower right: Nordfeldt 1945 Provenance: Private Collection, New Mexico $15,000 - $20,000

92 Theodore Van Soelen (1890-1964) Untitled (House Beneath Willow) oil on canvas 36 1/8 x 40 inches signed and inscribed lower left: Van Soelen NA Provenance: Private Collection, New Mexico $60,000 - $70,000

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93 Wood Woolsey (1899-1970) Three Men oil on canvas 36 x 30 inches signed lower right: Wood Woolsey Wood Woolsey was born in Danville, Illinois in 1899. He and his brothers, Carl and Jean were all artistically inclined, though Wood was the only one of the three who underwent any formal artistic instruction, studying for a short time at the John Herron Institute in Indiana. He then worked briefly as a commercial artist. In 1928, he joined his brothers in Taos. There, Wood and his brother Carl painted and showed their works at the Hoosier Salon and at the National Academy in New York and enjoyed some commercial success, as their father managed their career. Whereas Carl painted primarily landscape pictures, Wood was much more interested in figure painting. Although he had only drawn from a live model in a limited capacity during his time at the Herron School, he nevertheless proved a good draftsman. Wood developed a distinct painting style in Taos; often employing a strong juxtaposition of elements in his works to convey polarities inherent to the human experience. 1 The present work displays one such juxtaposition, with the figure in the foreground shown in with open eyes and a illuminated face, while the two figures in the background stand in the shadows. It is works like these that display Wood Woolsey’s talent as an accomplished painter and thought-provoking artist.

Provenance: Stefan Bernath Collection Private Collection, New Mexico $8,000 - $10,000 nr

James E. May, “Hoosiers in Taos: The Woolsey Brothers,” American Art Review, 10, vol 5 (1998) , 184-185.

1

94 Blanche Grant (1874-1948) Faith, 1943 oil on canvas 25 1/4 x 33 inches signed lower left: Blanche Grant signed and inscribed on verso: Faith B. C. / Grant Taos dated on verso: 1943 Provenance: Private Collection, New Mexico $6,000 - $8,000 nr

5 2

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95 Leon Gaspard (1882-1965) Russian Man oil on board 6 3/4 x 9 3/4 inches signed lower left: Leon Gaspard Provenance: Private Collection, New Mexico $10,000 - $15,000 nr

96 Nicolai Fechin (1881-1955) Small Pilgrim edition 9/21 bronze 20 1/2 x 5 1/2 x 7 inches Provenance: Private Collection, New Mexico

97 Nicolai Fechin (1881-1955) Large Pilgrim

$2,000 - $4,000

edition 9/21 bronze 26 1/2 x 9 x 7 1/2 inches Provenance: Private Collection, New Mexico $3,000 - $5,000

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98 Joseph Henry Sharp (1859-1953) Summer Cloud, Taos Valley oil on canvas 16 1/4 x 24 1/4 inches signed lower right: JH Sharp signed and inscribed on verso: Summer Cloud, Taos Valley / Looking toward Las Vegas / JH Sharp Of the Taos Society Artists, Joseph Henry Sharp was the first to visit Taos, in 1893. Inspired by his experience there, the Indians and the beauty of Northern New Mexico, Sharp spoke of Taos to his classmates at the Académie Julien: E.I. Couse, Ernest Blumenschein and Bert Greer Phillips, who would all eventually become founders of the Taos Society of Artists. 1 After his return from the Académie to the United States, Sharp spent several years painting and teaching in Cincinnati; and made journeys to Montana, where he painted Plains Indians and views of the mountain landscape. During this time, Sharp attracted some important patrons, including President Theodore Roosevelt and Phoebe Apperson Hearst, the mother of William Randolph Hearst. 2 These patrons’ support allowed Sharp to take up residence and begin painting in Taos permanently in 1912. In Taos, Sharp developed deep, intimate relationships with the Taoseños and native people, and they allowed him a view of their customs and culture that they did not afford many out-siders. Sharp was, in turn, very concerned with depicting these people faithfully and accurately. As a result, Sharp’s works have often been referenced as anthropological sources.

Provenance: Private Collection, New Mexico $10,000 - $15,000

1

2

Dean A. Porter, Teresa Hayes Ebie and Suzan Campbell, Taos Artists and Their Patrons: 1898-1950 (South Bend, Indiana: Snite Museum of Art, University of Notre Dame, 1999), 21.

Taos and Santa Fe Artists, Joseph Henry Sharp, www.jhsharp.com

99 Joseph Henry Sharp (1859-1953) Angela Sun Goes Slow oil on cigar box lid 8 x 6 inches signed lower right: J.H.SHARP inscribed on verso: Angela Sun Goes Slow / Crow Provenance: Private Collection, Ohio $15,000 - $20,000

5 4

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100 Oscar E. Berninghaus (1874-1952) Untitled, ca. 1930 oil on panel 16 x 19 7/8 inches signed lower right: O.E. BERNINGHAUS Of the six founding members of the Taos Society of Artist, or the “Taos six,” Oscar Berninghaus was the only one who did not undergo formal artistic training in New York or Europe. Born in St. Louis in 1874, and the son of a lithograph salesman, Berninghaus admired the lithographs his father sold and tried his hand at sketching, drawing and painting, later attending a few night school art classes. In 1899 he visited Taos for the first time and met Bert Greer Phillips. Taos and the Northern New Mexican landscape turned out to be exactly what the painter needed to develop the full depth of his artistic abilities. 1 Berninghaus was enchanted with the New Mexican scenery and its people and painted sweeping scenes of land, sky and clouds. Unlike some of his contemporaries, he was not interested in painting pictures that depicted only the authentically New Mexican or “Old West” concept, often painting tourists with backpacks into the edge of his scenes, exactly how they appeared. 2 Berninghaus began to split his time between St. Louis and New Mexico, shortly after his first visit, and became a founding member of the Taos Art Society. He was also an advocate for the idea of creating a uniquely American painting style, and felt proud that Taos Colony was leading the movement. 3 Provenance: Private Collection, New Mexico $80,000 - $100,000

1 2 3

Patricia Janis Broder, Taos: A Painter’s Dream (New York: Little Brown and Company, 1980), 114, 117, 119 Broder, 114 Broder, 122

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101 Eanger Irving Couse (1866-1936) Spearing the Fish, ca. 1932 oil on canvas 20 1/4 x 36 1/4 inches signed lower left: EI Couse inscribed on stretcher bar (not in the artist’s hand): “Spearing the Fish” painted by E. Irving Couse NA C. 1932 for Amer. Litho Calendar Eanger Irving Couse first encountered American Indians as a child in Saginaw, Michigan, where he became fascinated with the Chippewa tribe. He drew and painted the Chippewa at every opportunity, and while he later trained at the Art Institute of Chicago, the National Academy of Design in New York, and, in 1886, the venerable Académie Julien in Paris, he never lost this interest in American Indian culture. Indeed, Couse’s mentor at the Académie, the painter William Adolphe Bouguereau, encouraged a strict adherence to classical painting, based upon Renaissance techniques and Christian subject matter. Though Couse never entirely abandoned the technical, academic approach to painting that he learned from Bouguereau, he often thought about the American West throughout his studies in France.

In 1891, Couse and his wife, Virginia, traveled to the Pacific Northwest so that he could paint American Indians. He then submitted a painting of indians, The Captive to the 1892 Paris salon, which garnered admiration. At the suggestion of Joseph Henry Sharp,1 whom he had known at the Académie, Couse visited Taos for the first time in 1902. Couse was immediately impressed with the dramatic beauty of the New Mexico landscape, and, perhaps most important, he found that the pueblo Indians in Taos were often pleased to model for his paintings; whereas the Indians he had encountered along the Northwest coast had not been as willing. Couse had become convinced, moreover, that painting American Indians was essential to establish a national aesthetic identity and idiom for American Figure painters, and determined to be a leader in this endeavor. In 1903, Couse and his wife spent the summer in Taos, and would return increasingly often over the subsequent summers, spending their winters in New York. 2 During his early years in Taos, Couse began to integrate photography into his painting process, creating photo studies in the field for scenes he would later create in his studio. He then referenced these photographs in his studio, often simultaneously employing a model to help him compose his works. Between 1902 and 1929, Couse amassed an enormous collection of these photographs, which he referenced throughout the rest of his life. 3 It is likely that the present work, Spearing the Fish, is inspired by one such photo study.

While these photographs provided a valuable reference for Couse, however, it is important to note that he used them more as springboards for his works, and less as one might use a preliminary oil field sketch. 4 The photographs helped Couse to see how his figure would naturally pose in a given scene, but he would then infuse his paintings with a personal, somewhat romanticized view. Couse then painted his concept of the landscape and surroundings and his perception of the Indian. Couse paintings are not, therefore, ethnographic representations of his Indian subjects, as some of his contemporary audience may have assumed. 5 Rather, they are modernist representations of how Couse interpreted the American West and its people; and communicate a certain mystique about the West that resonates even today.

Provenance: Private Collection, Colorado $150,000 - $250,000

1 2 3 4

5 6

Virginia Couse Leavitt, Eanger Irving Couse: Image Maker for America, (Albuquerque: The Albuquerque Museum, 1991, Revised 2006, second edition), 12-17.

Leavitt, 17-22.

Ibid Ibid

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102 Joellyn Duesberry (b. 1944) Gorge at La Veta, Colorado, 1998 oil on canvas 34 1/8 x 76 inches signed, dated and inscribed on verso: Joellyn Duesberry / Gorge at La Veta / 6.98 Provenance: Private Collection, Colorado $6,000 - $8,000

103 Joe Andoe (b. 1955) Untitled (Horses Grazing), 1997 oil on canvas 24 x 84 inches signed upper left: Joe Andoe Provenance: Private Collection, California $2,000 - $3,000

104 Charles John Fritz (b. 1955) Alberta, Bow River, 1988 oil on canvas 12 x 16 inches signed lower left: C. Fritz Provenance: The Artist to Private Collection, 1988 $3,000 - $5,000

5 8

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105 Oleg Stavrowsky (b. 1927) Tuning the Mules oil on canvas 36 x 78 inches signed lower left: Oleg Stavrowsky signed and inscribed on verso: Tuning the Mules Copyright Oleg Stavrowsky Provenance: Private Collection, New York $4,000 - $6,000

106 Harry Jackson (1924-2011) Pony Express III, modeled 1977, cast 1978 polychromed bronze 9 3/4 x 10 x 3 7/8 inches inscribed on base: Š Harry Jackson 1977 PE III 62P signed and dated in ink: Š Harry Jackson 1978 stamped: WFF / ITALIA Provenance: Private Collection, Massachusetts $4,000 - $6,000

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107 A-J Arthur Haddock (1895-1980) A. July 1,1977, 1977 watercolor on paper 8 1/2 x 11 1/2 inches signed with the artist’s mark, dated and inscribed lower right: #1241 / July 1, 1977 B. Mount Carmel, Utah watercolor on paper 8 1/2 x 11 1/2 inches signed and inscribed lower left: Haddock Mount Carmel, Utah

A

F

B

G

C

H

D

I

E

J

C. August 20th watercolor on paper 4 3/4 x 6 3/4 inches inscribed lower left: August 20th [illeg] 8 D. Window Rock, Arizona watercolor on paper 9 x 11 3/4 inches signed and inscribed lower left with artist’s mark: Haddock Window Rock Arizona E. Untitled, 1938 watercolor on paper 14 1/2 x 16 3/4 inches signed and dated lower left: AE Haddock -38 F. Untitled, 1992 watercolor on paper 12 1/2 x 17 1/2 inches signed and dated lower left with artist’s mark: Arthur Haddock - 92 G. Nature watercolor on paper 10 3/4 x 16 3/4 inches inscribed lower left: Nature H. Virginia City , Nevada, Oct. 8 watercolor on paper 4 3/4 x 6 3/4 inches inscribed lower left: Virginia City. Nev. Oct 8 I. Untitled watercolor on paper 10 1/2 x 14 3/8 inches J. Carson City, Nevada, 1938 watercolor 4 3/4 x 6 1/2 inches dated and inscribed lower left: Carson City Nevada October 22, 1938 Provenance: Private Collection, New York $3,000 - $5,000 for the set nr

6 0

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108 Hans Kleiber (1887-1967) High Mountain Scene oil on board 23 x 21 1/2 inches signed lower right: Hans Kleiber Provenance: Private Collection, Nevada $4,000 - $6,000

109 Hans Kleiber (1887-1967) Winter Does in Aspen watercolor on paper 22 3/4 x 20 1/4 inches signed lower right: Hans Kleiber Illustrated: Hans Kleiber (1887-1967): Wyoming Printmaker and Artist Marylee M. Moreland and Gary L. Temple Published by The Meadowlark Gallery, Billings, MT (2004), Cover Image.

Provenance: The Artist Private Collection, Connecticut Private Collection, Canada Private Collection, Nevada $6,000 - $8,000

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110 Kent Ullberg (b. 1945) Cougar by Stream edition 14/20 bronze 19 x 22 x 8 1/2 inches inscribed: Š Ullberg numbered: 14/20 stamped: ARI Casting, Colorado Provenance: Private Collection, Colorado $2,000 - $3,000 nr

111 George Browne (1918-1958) Geese in Field and Flight oil on board 20 1/2 x 26 1/2 inches signed lower right: George Browne Provenance: Private Collection, Nevada $10,000 - $15,000

6 2

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112 Thomas Aquinas Daly (b. 1937) Elk on a River oil on board 18 x 27 inches signed lower right: TA Daly signed and inscribed on verso: Elk on a River / 18 x 27 / Oil on board / Thomas Aquinas Daly Provenance: Private Collection, Nevada $12,000 - $16,000

113 Morten Edward Solberg (b. 1935) Elk on the Yellowstone watercolor on paper 19 1/4 x 26 1/2 inches signed lower right: Morten E Solberg Š Provenance: Private Collection, Nevada $4,000 - $6,000

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114 Edward Borein (1872-1945) Let ‘Er Buck etching and drypoint on paper 4 7/8 x 4 inches signed lower right: Edward Borein Provenance: Private Collection, Colorado $1,500 - $2,200

115 Edward Borein (1872-1945) The Cheyenne Raid etching on paper 7 7/8 x 11 5/8 inches signed lower right: Edward Borein Provenance: Private Collection, New Mexico $4,000 - $6,000

116 Edward Borein (1872-1945) The Edge of the Painted Desert, ca. 1920 etching on paper 5 7/8 x 9 2/5 inches signed lower right: Edward Borein Provenance: Private Collection, New Mexico $1,200 - $1,800

117 Edward Borein (1872-1945) Untitled ink on paper 8 x 10 3/4 inches Provenance: Private Collection, New Mexico $800 - $1,000 6 4

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118 Edward Borein (1872-1945) Tonto Apaches

119 Edward Borein (1872-1945) The Dance Plaza, Walpi, 1915

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

etching on paper 9 7/8 x 11 7/8 inches signed lower right: Edward Borein

Provenance: Private Collection, New Mexico

Provenance: Private Collection, New Mexico

$2,500 - $3,500

$4,000 - $6,000

120 William J. Schaldach Carl Rungius: Big Game Painter, 50 Years with Brush and Rifle special edition 110/160 signed by Carl Rungius and William Schaldach, first page: Carl Rungius / William J. Schaldach $4,000 - $6,000

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121 Carl Rungius (1869-1959) Pack Horses on a Trail, ca. 1920 oil on canvas 30 x 40 inches signed lower right: C. Rungius Carl Rungius was born in Berlin in 1869, and from a very early age, he showed a precocious interest in the two passions that would characterize his life and career: hunting and painting animals. As the son of a pastor, he was expected to become a member of the clergy, which did not at all suit the young man. He managed to convince his father to let him instead pursue art, and enrolled in the Berlin Art Academy in 1888. Like many of his classmates, he often visited the zoo to sketch animals. However, he found the zoo animals somewhat unsatisfactory models, as he could not often closely study their muscular and skeletal structure. In search of another way to study animal anatomy, he began to work in glue factories, sketching from cadavers, a clear indication of his desire to fully understand the animals he wanted to paint. 1 Rungius first travelled to the American West in 1894, arriving in Cora, Wyoming and was immediately enchanted by breadth of the plains and the height of the mountains. The landscape was unlike anything he had experienced in Germany, and he felt both challenged and exhilarated by its vast expanses. In Wyoming, he hunted elk, antelope, and grizzly bears, and painted them during the winter, in New York where he eventually established a studio. 2 In 1910, Rungius made his first trip to Banf, Alberta at the invitation of an English-born trail guide named Justin James McCartney ( Jimmy) Simpson. Simpson and Rungius embarked upon long, difficult climbs in the Canadian Rockies to get above the treeline, so that Rungius could paint and hunt Rocky mountain goats and Bighorn sheep. As a result, it was here that Rungius first began to paint above the treeline, and took a broader interest in the landscape surrounding his animal subjects. 3 Before the outbreak of the First World War, Rungius and his wife, Louise, had made regular trips to Germany. Departing Germany during the summer of 1914, the two then spent the war years in Wyoming and Banff, with winters in New York. It was during this time that Rungius began to take an interest in painting scenes of life on the range, depicting cowboys, horses and packhorses. Having become a member of the National Academy of Design in 1913, Rungius began to submit these paintings for exhibition at the Academy in 1917. In 1919 he showed a painting of packhorses in the Canadian Rockies at the Fort Worth Art Association, and submitted several more paintings of similar subject matter to the National Academy during the next two years. 4 The present work was therefore probably painted around this time, during one of Rungius’ and Jimmy Simpson’s treks through the Canadian Rockies.

While Rungius had enjoyed some loyal patronage in the past, these paintings of range life and “the trail,” earned him important critical recognition and acceptance into the fine art establishment. Unlike some of his contemporary artists’ romanticized visions of the West, which at the time were viewed as somewhat passé, these works were more frank representations of range life, and the awesome majesty of the mountains where Rungius loved to hunt and work. Moreover, the artist had developed such a deft ability to paint horses and saddles by this time, that, while he employed a somewhat loose handling of the brush, his packhorses seem to move gracefully though the mountain terrain of his high tundra works. 5 The works of this period thus demonstrate the full maturation of his artistic abilities.

Provenance: Private Collection, Colorado $300,000 - $400,000

1 2 3 4 5

6 6

Jon Whyte and E.J. Hart, Carl Rungius: Painter of the Western Wilderness (Salem, New Hampshire: Salem House, in association with the Glenbow-Alberta Institute, 1985), 5-11.

National Museum of Wildlife Art of the United States website: www.wildlifeart.org/collection/artists/artist-carl-rungius-262 Whyte and Hart, 79-88 Whyte and Hart, 103-104 Hart and Whyte, 104-112

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122 Olaf Wieghorst (1899-1988) Keams Canyon Navajo pen and ink with colored pencil on paper 9 1/2 x 6 1/2 inches signed lower left with artist’s initials and mark: O-W Provenance: Private Collection, Colorado $800 - $1,000 nr

123 Olaf Wieghorst (1899-1988) Outrider (Mounted Cowboy), 1981 watercolor and ink on paper 10 x 8 inches signed and dated lower left with the artist’s monogrammed signature: O-Wieghorst © 81 Provenance: Private Collection, Colorado $3,000 - $5,000

124 Nick Eggenhofer (1897-1985) Reata Law ink on paper 7 1/4 x 9 1/2 inches signed and inscribed lower left: --EGGEN / -HOFER / Reata Law p. 5 inscribed on verso: Reata Law p. 5 Provenance: Private Collection, Colorado $800 - $1,000 nr

6 8

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125 Frederic Remington (1861-1909) A: Plains Indian on Horseback chromolithograph on paper 18 5/8 x 14 1/4 inches B: Old Ramon chromolithograph on paper 18 1/4 x 13 7/8 inches C: A Breed chromolithograph on paper 16 1/2 x 14 1/8 inches

A

B

C

D: An Arizona Cowboy chromolithograph on paper 16 1/8 x 13 7/8 inches E: A Calvary Officer chromolithograph on paper 18 1/4 x 14 1/2 inches Each copyrighted 1901 by Robert Howard Russell, NY Provenance: Private Collection, New Mexico $5,000 - $8,000 for the set

D

E

126 Frederic Remington (1861-1909) Portfolio: Six paintings in Colors The Belle Mare, The Emmigrants, The Gathering of the Trappers, An Argument with the Town Marshall, The Buffalo Runners, Pony Tracks in the Buffalo Trail (pictured) chromolithograph on paper 18 x 24 inches Provenance: Private Collection, Maine $2,000 - $3,000

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127 Frederic Remington (1861-1909) Untitled (St. Lawrence River), ca. 1908 oil on board 9 1/4 x 12 1/4 inches signed lower left: To John Amory / from Frederic Remington Comparative Literature: Peter Hassrick and Melissa Webster, Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors and Drawings, Cody, WY: Buffalo Bill Historical Center, 1996, Vol. II, no. 2848 and no. 3013, p. 820 According to Peter Hassrick, the present oil would most likely have been painted in 1908 when the artist and his wife Eva spent the summer on his Chippewa Bay island, Ingleneuk, in the St. Lawrence River.

In describing Chippewa Bay – another larger oil of 1908- Hassrick writes, “Increasingly interested in painting small landscapes, Remington recorded in his diary the process of making this painting: July 14: “I explored Chippewa Bay- Oak Island & Grenidian for a subject sketch of Chippewa Bay- picked Forester’s place” July 16: “Went over to Forrester’s with Peter and sketched Chippewa Bay- which was very blue with the wind turning the water up to the clear sky. The wind nearly blew Pete and I away. It was more like a Greco Roman combat than summer sketching.”

The 1908 Knoedler exhibition was Remington’s first time to exhibit some of the small landscapes in that he had been working on. One reviewer wrote, “A number of the pictures in the present collection are Eastern scenes, wood interiors and views of river and bay that are rendered with a frankness and simplicity in striking contrast with the note of strangeness in the pictures of the West” ( New York Times ( December 2, 1908). “ 1 John Amory, to whom this work is inscribed, was an acquaintance of Remington’s. Both men had attended Yale, lived in Westchester, NY and were associated with the same New York clubs and organizations. The Remington Art Memorial owns a sketchbook by the artist which includes a cartoon sketch of JM Armory from September 1899- which was then inscribed and dated by JM Amory: ”The artist has done the best he could with the subject. You can’t make a silk purse out of a sow’s ear.”

Provenance: Private Collection, New Mexico $80,000 - $100,000

1

70

Peter Hassrick and Melissa Webster, Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors and Drawings, Vol. II, no. 2848, p. 820

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71

128 Frederic Remington (1861-1909) The Cheyenne, modeled 1901, cast 1910 bronze 19 1/2 x 23 x 7 inches inscribed: copyright by Frederic Remington stamped: ROMAN BRONZE WORKS N-Ystamped bottom of base: N-22Literature: Michael Greenbaum, Icons of the West: Frederic Remington’s Sculpture, Ogdensburg, New York: Frederic Remington Art Museum, 1996, p. 185.

Related Literature: Michael Shapiro, Cast and Recast: The Sculpture of Frederic Remington, Washington, D.C.: Smithsonian Institution Press, 1981, pp. 73-77, illustrations of related examples, pp. 100-102, checklist.

“In his copyright description Remington described The Cheyenne as an Indian pony galloping with all four feet off the ground. Indian grasps spear in left hand and has war shield hung on his back.’ . . . Remington’s desire to capture the essence of the nineteenth-century frontier is reflected in the attention to historically authentic detailing. Among the early castings, the buffalo robe on which he deftly balanced horse and rider was correct in size and appearance. The horse’s rear fetlocks depict anatomically correct bends.” (Greenbaum, p. 89) In 1908- for cast 21- Remington re-worked the model and straightened both of the horse’s rear fetlocks, having earlier made the base simpler and the shield lower on the rider’s back.

Provenance: Frew Family, Pittsburgh, Pennsylvania

By Descent Private Collection, Jackson Hole, Wyoming $150,000 - $200,000

72

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129 Dorothy Brett (1883-1976) Untitled oil on board 19 5/8 x 23 1/4 inches signed and dated lower left: DBrett / 1969 Provenance: Private Collection, California $8,000 - $10,000

130 Clyde Forsythe (1885-1962) Gunfight at the O.K. Corral, 1952 watercolor and gouache on paper 14 1/2 x 20 1/4 inches signed and dated lower left: Clyde Forsythe - 52 Provenance: Private Collection, Colorado $4,000 - $6,000

131 Dan Bodelson (b. 1949) Zapata meets Villa, ca. 1976 oil on linen 20 x 30 inches signed lower left: D Bodelson / Š signed on verso: Dan Bodelson Provenance: Private Collection, Oregon $5,000 - $8,000

74

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132 Attributed to Frank Tenney Johnson (1874-1939) Pursuit of a Cattle Thief, 1932 oil on board 14 1/2 x 17 1/2 inches Provenance: Private Collection, Texas $20,000 - $30,000

133 Hollis Williford (1940-2007) Wolf Medicine edition 5/5 bronze 9 1/2 x 6 1/2 x 1/2 inches inscribed: 5/5 Hollis Williford Provenance: Private Collection, Colorado $1,500 - $2,500 nr

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134 Florencio Molina Campos (1891-1959) Noche de Luna, 1959 watercolor and gouache on paper 7 3/16 x 10 1/4 inches signed upper left: F. Molina / Campos signed, dated and inscribed on verso: Noche de luna / F. Molina / Campos / 1959 Provenance: Private Collection, Texas $6,000 - $8,000

135 Florencio Molina Campos (1891-1959) Serenidad, 1959 watercolor and gouache on paper 6 1/2 x 9 3/4 inches signed upper left: F. Molina / Campos signed, dated and inscribed on verso: Serenidad / F. Molina / Campos / 1959 Provenance: Private Collection, Texas $3,000 - $5,000

76

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136 Harvey T. Dunn (1884-1952) Prairie Wife oil on canvas 14 1/8 x 36 1/4 inches signed with the artist’s initials lower left: HD Provenance: Private Collection, New Mexico $30,000 - $50,000

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137 William Robinson Leigh (1866-1955) Three Riders Resting, 1949 oil on canvas 12 3/4 x 18 5/8 inches signed and dated lower left: © / W.R. LEIGH. 1949 William Robinson Leigh was born in 1866 in Virginia, into a somewhat aristocratic southern family. His childhood in Virginia was not easy, his father was extraordinarily hard on the young man, often losing his temper and administering harsh punishments. Further, the Leighs had fallen on hard economic times which not only worsened steadily during Leigh’s childhood, but also intensified family tensions. Nevertheless, Leigh loved to draw and sketch during his spare time and his mother, recognizing his talent, managed to secure him a position at the Maryland Academy of Art. Leigh then left America for Germany in 1883, and trained at the Royal Academy in Munich, the most well respected and established art school at the time. 1 As a child, Leigh had loved to play Cowboys and Indians with his siblings, and this fascination with the West endured throughout his life. 2 While working in Munich at age 26, his teacher discovered him painting a Western scene, a depiction of a bar brawl in a Western-looking saloon. His teacher declared that if the West and America were where his passions truly lay, Leigh should return to America and paint the West. 3 Leigh left Germany in 1896, and settled in New York where he worked as an illustrator. He also attempted, during this time, to find a wealthy patron in New York, who would provide funds for him to travel to the West and paint, but was unsuccessful.

By 1906, Leigh had grown worried that if he did not get to the West soon, he would never get there. He managed to secure a commission with the Santa Fe Railway to paint the Laguna and Zuni Pueblos, and thus set out for New Mexico. 4 While the Indians were initially quite hesitant to let Leigh paint them, they eventually became comfortable with Leigh, and allowed him to observe and paint every detail of their lives, as in the work Cooking Pu-Vu-Lu (Lot 81), in which a Hopi woman sits near a cooking fire, stirring. Leigh had a great empathy and respect for the Indians, and their trust was therefore very important to him.

Though Leigh struggled with poverty until he found dealer representation in New York during the 1910s, he got enough commissions from the Santa Fe Rail way to enable him to continue painting and traveling in the West. In 1910, he began what became a life-long friendship with the taxidermist and artist Will Richard 5, and the two travelled through Wyoming. Here, Leigh painted his first scenes of big-game hunting. He was transfixed with the Wyoming mountains and with the lives of cowboys living on the range.

Leigh became known for his great ability to paint scenes that conveyed “the moment of utmost intensity,” 6 depicting horses at a full run, their riders straining to look behind at a pursuer, pistols drawn. However, he also became respected for his ability to paint scenes of utter calm and almost romantic, poetic beauty. Three Riders Resting is one such scene. Here, three horses stand calmly in the shade, while their riders luxuriate in in the sun on the nearby hillside. The land is bathed in a golden light that communicates the peacefulness of an afternoon nap after a long ride.

After Leigh’s passing, in 1955, Grand Central Galleries, which had become Leigh’s dealer in New York, wrote that: “Probably no other artist has painted the Old West more faithfully and magnificently than William R. Leigh… He not only lived among Cowboys and Indians but did a great deal of research on their equipment and their methods of fighting and hunting. There was a romatic grandeur to all his paintings. When looking at a fine marine painting by Frederick Waugh, he said ‘It will be a thousand years before we have another Waugh.’ And I say, it will a thousand years before we have another Leigh.” 7 Though Leigh struggled early in life for artistic recognition, he was ultimately recognized not only as a truly original painter of the American West, but as a truly original painter in the history of American art.

Provenance: Private Collection, New Mexico $125,000 - $175,000

1 2 3 4 5 6 7

7 8

June DeBois, W.R. Leigh: The Definitive Illustrated Biography, (Kansas City: The Lowell Press, 1977) 2-19.

Dubois, 6.

Dubois 38.

Dubois, 41, 45, 51.

Dubois 70.

DuBois 114.

DuBois 175.

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138 Raphael Lillywhite (1891-1958) Untitled (Resting Sheep) oil on canvas 19 1/2 x 24 1/2 inches Provenance: Private Collection, New Mexico $10,000 - $15,000

139 Raphael Lillywhite (1891-1958) Untitled ( Journey Home) oil on masonite 25 1/4 x 31 1/4 inches signed lower left: Raphael / Lillywhite Provenance: Private Collection, New Mexico $20,000 - $30,000

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140 Raphael Lillywhite (1891-1958) Untitled (Desert Rider), 1919 oil on masonite 17 3/4 x 24 3/4 inches signed and dated lower left: Raphael / Lillywhite 1919 Provenance: Private Collection, New Mexico $15,000 - $20,000

141 Raphael Lillywhite (1891-1958) Peace and Cuteness, 1936 oil on masonite 17 1/2 x 21 inches signed lower left: Raphael Lillywhite Provenance: Private Collection, New Mexico $15,000 - $20,000

S A N TA F E A R T A U C T I O N

81

142 Gerard C. Delano (1890-1972) The Waterhole watercolor on paper 17 5/8 x 21 1/8 inches signed lower right: Š Delano.

Provenance: Private Collection, Colorado $15,000 - $20,000

143 Gerard C. Delano (1890-1972) Navajo Camp watercolor on paper mounted on board 16 x 22 1/4 inches signed lower left: Š Delano Provenance: Private Collection, New Mexico $10,000 - $15,000 nr

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144 Harry Jackson (1924-2011) The Pony Express, modeled 1983, cast 1984 polychromed bronze 60 x 53 x 30 inches inscribed: © Harry Jackson 1983 numbered: REF LP signed in ink and dated: © Harry Jackson 1984 stamped with Italy Foundry Mark and Artist’s thumbprint Provenance: Private Collection, New Mexico $45,000 - $55,000

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145 Harry Jackson (1924-2011) The Marshall, modeled 1980, cast 1981 polychromed bronze 55 inches inscribed: © Harry Jackson 1980 / THE MARSHALL numbered: MAF 8P signed in ink: © Harry Jackson 1981 stamped with Italy Foundry Mark and artist’s thumbprint Provenance: Private Collection, New York $40,000 - $50,000

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146 Curt Walters (b. 1950) Clouds of Change oil on canvas 40 x 40 inches Provenance: The Artist Private Collection, Pennsylvania $20,000 - $40,000

147 Curt Walters (b. 1950) Summer Storm oil on canvas 29 1/4 x 23 1/4 inches signed lower right: Curt Walters Provenance: Private Collection, New York $4,000 - $6,000

148 William E. Sharer (b. 1934) Navajo Sheep Herder oil on panel 10 7/8 x 23 7/8 inches signed lower left: Sharer Provenance: Private Collection, New Mexico $8,000 - $12,000

S A N TA F E A R T A U C T I O N

85

149 Tony Foster (b. 1946) From the West End of Horseshoe Mesa Looking West, 2007 watercolor and mixed media on paper 11 1/2 x 26 inches signed on mat, lower right: Tony Foster dated lower left: October 11, 2007 various inscriptions throughout image inscribed on matt: From the West End of Horseshoe Mesa Looking West. Wednesday 10 October 2007. Carrying 3 days food + water we descend the remorseless Grandview Trail. a miracle of primitive engineering. Make camp and hike to the tip of the West arm. draw + paint view West. hike back at dusk, a warm pleasant + starry night. a brown and black tarantula in the food bag? deadly brown recluse. October 11, TW hikes to Page Spring for water. I return to my site and work all day. hike back in glorious sunset. 12 October walk until mid-morning. pack. inspect the mine debris. slog to the rim at 2:30.

Provenance: Private Collection, New Mexico $10,000 - $15,000

150 Walt Gonske (b. 1942) El Prado oil on canvas 14 x 24 inches signed lower right: Gonske signed and inscribed on verso: Gonske / © / “El Prado” N.M. Provenance: Private Collection, Wisconsin $3,000 - $5,000

8 6

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151 Robert W. Wood (1889-1979) Texas Bluebonnets oil on canvas 16 1/4 x 22 1/4 inches signed lower right: R Wood Provenance: Private Collection, Texas $5,000 - $7,000

152 Robert W. Wood (1889-1979) Yosemite Falls, ca. 1935 oil on canvas 36 x 26 inches signed lower left: Robert W. Wood Provenance: Private Collection, New Mexico $15,000 - $20,000

153 Louis Michel Eilshemius (1864-1941) Yosemite, before 1921 graphite on paper 10 1/8 x 7 3/8 inches signed lower center: Eilshemius Provenance: Private Collection, New Mexico $250 - $350 S A N TA F E A R T A U C T I O N

87

154 Emil Armin (1883-1972) The Old Neighborhood watercolor on paper 12 x 8 inches signed and inscribed on verso: The Old Neighborhood / Emil Armin Provenance: Private Collection, New Mexico $1,000 - $1,200 nr

155 John Falter (1910-1982) Untitled watercolor on paper 12 1/8 x 23 1/2 inches signed lower left with artist’s mark: John Falter Provenance: Private Collection, Arizona $800 - $1,000

156 Eliot Candee Clark (1883-1980) Monument Valley, Arizona oil on canvas 26 x 40 inches signed lower right: Eliot Clark N.A. inscribed on stretcher bar: Monument Valley, Arizona Provenance: Private Collection, New Mexico $4,000 - $6,000 nr

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157 Carl G. Bray (1917-2011) Orange Desert oil on board 20 x 24 inches signed lower left: CARL G. BRAY Provenance: Private Collection, New Mexico $3,000 - $5,000

158 Carl G. Bray (1917-2011) Desert Sun on Mountains oil on panel 24 x 30 inches signed lower left: CARL G. BRAY Provenance: Private Collection, New Mexico $3,000 - $5,000

159 Conrad Buff (1886-1975) Untitled oil on board 16 x 24 inches signed lower right: Conrad Buff Provenance: Private Collection, South Africa $4,000 - $6,000

S A N TA F E A R T A U C T I O N

89

160 William Acheff (b. 1947) Young Santo Domingo, 1990 oil on canvas 32 x 22 inches signed and dated lower right: Š Wm. Acheff 1990 Provenance: Private Collection, Connecticut $35,000 - $45,000

161 Joe Beeler (1931-2006) Buckaroo edition 2/40 bronze 15 1/4 x 5 1/2 x 4 1/2 inches inscribed: JOE BEELER CA stamped: 2/40 Provenance: Private Collection, Connecticut $4,000 - $6,000

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162 Bill Nebeker (b. 1942) Reflected Splendor, 1993 bronze 10 1/2 x 7 x 7 inches dated and inscribed: Š BILL / NEBEKER / 1993 / 6/30 CA Provenance: Private Collection, Connecticut $2,000 - $3,000

163 R. Brownell McGrew (1916-1994) Tsosie Ahzonie oil on board 24 x 20 inches signed upper left: R. Brownell McGrew Provenance: Private Collection, Connecticut $15,000 - $20,000

164 Jim Wilcox (b. 1941) View at the Top oil on board 24 x 36 inches signed lower right: Jim Wilcox inscribed on verso: VIEW AT THE TOP / OIL / ALL REPRODUCTION RIGHTS RESERVED

BY THE ARTIST

Provenance: Private Collection, Massachusetts $6,000 - $8,000

S A N TA F E A R T A U C T I O N

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165 Bud Helbig (b. 1915) Untitled (Man) charcoal and graphite on paper 10 1/4 x 13 5/8 inches signed lower left: Bud Helbig Provenance: Private Collection, Arizona $800 - $1,000 nr

166 Vladan Stiha (1908-1992) Untitled, 1966 mixed media on paper 22 1/2 x 18 1/2 inches signed and dated lower right: V. Stiha 1966 Provenance: Private Collection, Arizona $800 - $1,000 nr

167 John Wade Hampton (1918-1999) The Scout, 1999 pen and watercolor on paper 12 3/4 x 17 3/4 inches signed and dated lower left with artist’s monogram: JWHampton / Š 99 Provenance: Private Collection, Arizona $3,000 - $5,000

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168 Ramon Kelley (b. 1939) Taos Sunset, 1977 oil on panel 11 x 14 inches signed lower right: Ramon K signed, dated and inscribed on verso: A Taos Sunset / Taos, New Mexico / oil painting on panel / Ramon Kelley 77 Provenance: Private Collection, New Mexico $1,200 - $1,600 nr

169 Ramon Kelley (b. 1939) Maria de Santa Fe, 1970 oil on canvas 16 x 12 inches signed and dated lower right: Ramon Kelley 70 signed, dated and inscribed on verso: Maria de Santa Fe / oil / Ramon Kelley 70 Provenance: Private Collection, New York $2,000 - $3,000

170 William (Bill) Moyers (1916-2010) Book Illustration watercolor and pencil on paper 11 1/2 x 8 inches signed upper left: Bill Moyers Provenance: Private Collection, New Mexico $800 - $1,000 nr

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93

171 Johnson Whitman Untitled, ca. 2000 oil on paper 7 5/8 x 9 7/8 inches signed with the artist’s initials lower left: WJ Provenance: Private Collection, New Mexico $600 - $900 nr

172 Gene Kloss (1903-1996) Blue Cottage, ca. 1950 watercolor on paper 13 5/8 x 20 1/2 inches signed lower right: Gene Kloss, N.A. Provenance: Private Collection, New Mexico $3,000 - $5,000

173 Adeline Meyer Aspens, 1982 oil on canvas 20 x 16 inches signed and dated lower left: Adeline Meyer 82 Provenance: Private Collection, New Mexico $1,000 - $2,000 nr

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174 Gina Knee (1898-1982) Snow Crystals, 1944 mixed media on paper 15 3/4 x 12 1/8 inches signed and dated lower right: Gina Knee 44 Provenance: Private Collection, New Mexico $3,000 - $5,000

175 Gina Knee (1898-1982) Winter Valentine, 1939 watercolor on paper 26 7/8 x 20 3/4 inches signed and dated lower right: GINA KNEE / 39 Provenance: Private Collection, New Mexico $3,500 - $4,500

176 Gina Knee (1898-1982) Emergence of a Butterfly, 1942 watercolor on paper 17 1/8 x 14 7/8 inches signed and dated lower right: Gina Knee / 42 Provenance: Private Collection, New Mexico $3,000 - $5,000 S A N TA F E A R T A U C T I O N

95

177 Albert Herman Schmidt (1885-1957) Hillside Overlooking Plowed Field pastel on paperboard 15 x 20 inches Provenance: Estate of the Artist $8,000 - $12,000

178 Albert Herman Schmidt (1885-1957) Tesuque Garden, Summer oil on canvas 18 x 21 3/4 inches Provenance: Estate of the Artist $10,000 - $12,000

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179 Albert Herman Schmidt (1885-1957) Velarde Easter Morning oil on panel 20 x 24 inches signed lower right: A.H. Schmidt Provenance: Estate of the Artist $15,000 - $20,000

S A N TA F E A R T A U C T I O N

97

180 Scott Rodgers (b. 1961) Chiricahua, 1995 edition 6/8 bronze 70 x 51 x 50 inches inscribed on base: Scott / Rogers / Chiricahua / Š 1995 / 6/8 Provenance: Private Collection, Florida $35,000 - $50,000

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181 Ben Quintana (1923-1944) Untitled, Late 1930s gouache and casein on paper 12 3/4 x 10 1/8 inches signed lower right: Ben Provenance: Private Collection, New Mexico $800 - $1,500 nr

182 A,B

Emile Gallois (1882-1965)

A. Two Gaiters worn by American Indians from Michigan watercolor on paper 16 3/8 x 13 1/8 inches signed lower right: E. Gallois B. Two Pipe Bags used by American Indians watercolor on paper 16 1/4 x 13 inches signed and inscribed lower right: E. Gallois / Planche 22 inscribed lower center: Etats Unis Provenance: Private Collection, California $2,000 - $3,000 for the pair S A N TA F E A R T A U C T I O N

99

183 Ramon Kelley (b. 1939) Sioux Girl, 1982 oil on canvas 12 x 9 inches signed lower right and dated: Ramon Kelley 82 signed, dated and inscribed on verso: Sioux Girl / Nude / oil / Ramon Kelly 82 Provenance: Private Collection, New Mexico $1,000 - $1,500 nr

184 Ramon Kelley (b. 1939) Banco de Ostnas, Mazatlan, Mexico pastel on paper 14 x 18 inches signed lower left: Ramon Kelley inscribed on verso: Banco de Ostnas / Mazatlan, Mexico / Pastel painting Provenance: Private Collection, New Mexico $1,800 - $2,200 nr

185 Ramon Kelley (b. 1939) Composition in White and Gold, 1984 pastel on paper 16 3/8 x 20 3/8 inches signed and dated lower right: Ramon Kelley / 1984 inscribed on verso: Composition in White and Gold / Pastel on paper Provenance: Private Collection, New Mexico $1,800 - $2,200 nr

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186 Ramon Kelley (b. 1939) The Brahman oil on canvas 8 x 10 inches signed lower right: Ramon Kelley Provenance: Private Collection, New Mexico $800 - $1,000 nr

187 Ramon Kelley (b. 1939) Sheep Herder oil on canvas 9 x 12 inches signed lower right: Ramon Kelley Provenance: Private Collection, New Mexico $800 - $1,000 nr

188 Ramon Kelley (b. 1939) El Zapotec Indio, 1981 pastel on paper 24 x 18 inches signed and dated lower right: Ramon Kelley / 1981 signed and dated on verso: Ramon Kelley / 81 Provenance: Private Collection, New Mexico $2,000 - $3,000 nr

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101

189 Will Shuster (1893-1969) Group of Etchings A. Pueblo etching on paper 6 1/4 x 5 1/4 inches signed lower right in pencil: Will Shuster signed in plate: Will Shuster [illeg] B. Puye etching on paper 7 1/2 x 5 1/4 inches signed lower right: Will Shuster signed, dated and inscribed upper left: Puye/ Will Shuster/ 1927 / Santa Fe, NM C. Untitled etching on paper 5 3/4 x 6 3/8 inches signed lower right: Will Shuster

A

B

Provenance: Private Collection, Wyoming $500 - $600 for the set

C

190 Eleanor Kissell (1891-1966) Taos Pueblo, 1930s

191 Randall Vernon Davey (1887-1964) Before a Race, Colorado, ca. 1940

etching on paper 7 1/8 x 8 3/4 inches signed lower right: Eleanor Kissell

etching on paper 7 3/8 x 8 1/2 inches inscribed in plate lower left: 50 Proofs / To Carrington - from Belle & Davey inscribed lower center: Before a Race - Colorado signed lower right: Randall Davey

Provenance: Private Collection, New Mexico $200 - $500 nr

Provenance: Private Collection, New Mexico $250 - $350 nr

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192 A-D John Sloan (1871-1951) A. Boys Sledding, 1920 etching on paper 5 1/8 x 6 7/8 inches signed lower right: John Sloan inscribed lower left: Boys Sledding signed and dated in plate lower left: John Sloan / NY 1920 B. Easter Eve, 1926 etching on paper 9 3/4 x 7 3/4 inches signed and dated in plate lower right: John Sloan 1926 inscribed lower left: 100 proofs signed lower right: John Sloan inscribed lower center: Easter Eve

A

B

C. McSorley’s Back Room, 1916 etching on paper 4 7/8 x 6 7/8 inches signed lower right: John Sloan inscribed lower center: McSorley’s Back Room signed, dated and inscribed in plate, lower left: John Sloan - 16 / McSorley’s Back room D. Washington Arch, 1925 etching on paper 7 3/4 x 4 5/8 inches signed and dated in the plate lower left: John Sloan 1925 signed lower right: John Sloan inscribed lower left: Washington Arch inscribed lower center: To Mr. and Mrs. Billy Rose / Santa Fe. - July 26 - 1927 / John and Dolly Sloan Provenance: Private Collection, New Mexico

C

D

$1,200 - $2,500 for the set

193 Gene Kloss (1903-1996) Penitente Morada etching on paper 14 7/8 x 8 7/8 inches signed lower right: Gene Kloss inscribed lower left: Penitente Morada Provenance: Private Collection, New Mexico $1,200 - $2,500

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T

he Santa Fe Art Auction is pleased to offer a selection of works (lots 194 through 207) from the Ernest and Edith Schwartz collection. Living in

Santa Fe for 17 years, the Schwartzes were passionate about local artists. They amassed a large collection of Southwest art, which they donated to the New Mexico Museum of Art. Many of these works are now in the permanent collection of the museum. Proceeds from the sale of the present group of works will benefit the museum’s acquisition fund.

T

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he Santa Fe Art Auction will donate 10% of its portion of sale proceeds from this collection to the New Mexico Museum of Art’s acquisition fund.

S A N TA F E A R T A U C T I O N

A

B

C

194 A-E A. Paul Pletka (b. 1946) Untitled (Birds) edition 20/65 lithograph on paper 22 x 30 inches signed lower right: Pletka inscribed lower left: 20/65 B. James Pinkney Harvard (b. 1937) Mimbres, New Mexico History Page, 1990 edition 20/65 lithograph on paper 30 x 22 inches signed and dated lower right: Harvard 90 inscribed lower center: New Mexico History page inscribed lower left: 20/65

E

D

C. Tom Palmore (b. 1945) Nate, 1990 edition 20/65 lithograph on paper 22 x 30 inches signed and dated lower right: Palmore 90 inscribed lower center: Nate inscribed lower left: 20/65 D. John H Fincher (b. 1941) Untitled (Trees), 1990 edition 20/65 lithograph on paper 30 x 22 inches signed and dated lower right: Fincher 90 inscribed lower left: 20/65 E. Bill Shepherd (b. 1943) Untitled, 1990 edition 20/65 lithograph on paper 30 x 22 inches signed lower right: Bill Shepherd inscribed lower left: 20/65 $2,000 - $3,000 for the set nr

195 Frank Schively American Woman, 1989 acrylic on canvas 42 x 48 inches signed and dated lower left: Schively ’89 Š inscribed on verso: American Woman / Like a Fire in the Night / 42 x 48 / Acrylic $2,000 - $3,000 nr S A N TA F E A R T A U C T I O N

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196 Ray Vinella (b. 1933) Man from Ireland

197 Miguel Martinez (b. 1951) Female Portrait

oil on canvas 10 x 8 inches signed lower left: R.Vinella

edition 19/25 lithograph 30 x 22 inches signed lower left: M Martinez

$400 - $600 nr

$800 - $1,000 nr

198 John H Fincher (b. 1941) Hondo Valley Poplars oil on canvas 84 x 60 inches signed lower right: John Fincher $8,000 - $10,000 nr

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199 William Churchill (b. 1943) Untitled, 2002 laminated mahogany 38 1/4 x 14 1/2 x 1 1/2 inches inscribed: Bill Churchill / 2002 $3,000 - $5,000 nr

200 Greg Skol (b. 1961) Passage, 1996 oil on panel 5 x 5 inches signed with artist’s mark lower right signed and dated on verso: Greg Skol ’96 $800 - $1,000 nr

201 Kevin Red Star (b. 1943) Moon Rider acrylic on canvas 56 x 50 inches signed upper right: Kevin Red Star $3,000 - $5,000 nr

S A N TA F E A R T A U C T I O N

107

202 Glenna Goodacre (b. 1939) Water Carriers, 1992 edition 2/99 bronze 13 x 6 x 5 inches inscribed and dated: GGoodacre / 1992 Š / 2/99 $1,500 - $2,500 nr

203 Tomas Lasansky (b. 1957) Scout acrylic on canvas 51 x 50 inches $4,000 - $6,000 nr

204 Tom Palmore (b. 1945) Camille, 1989 oil and acrylic on canvas 36 x 48 inches signed and dated lower right: Palmore 89 $3,000 - $5,000

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S A N TA F E A R T A U C T I O N

205 Geoffrey Laurence Ghost Dancer, 1998 acrylic on canvas 48 x 36 inches $4,000 - $6,000 nr

206 Naida Seibel Site #9, 1993 mixed media on canvas 58 x 42 inches signed on verso: Naida / B [illeg] / Seibel $800 - $1,000 nr

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207 Elias Rivera (b. 1937) The Laughter of Youth oil on canvas 24 x 20 inches signed lower left: Rivera $5,000 - $7,000 nr

208 J.D. Challenger (b. 1951) Two Worlds Collide, 2000 acrylic on canvas 48 x 36 inches signed, dated and inscribed lower right: challenger/ © 2000 signed, dated and inscribed on verso: 30 x 48/ “Two Worlds” / JDC1 13001008/ JD Challenger TM/ © 2000/ All rights reserved/ Challenger Provenance: Private Collection, New York $5,000 - $7,000

110

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209 G. H. Rothe (1935-2007) Glass Rose

210 G.H. Rothe (1935-2007) Transparent Tulips

edition 3/15 mezzotint 25 1/2 x 23 31/2 inches signed lower right: G.H. Rothe

edition 43/60 mezzotint 35 x 25 3/4 inches signed lower right: G. H. Rothe

Provenance: Private Collection, New York

Provenance: Private Collection, New York

$1,000 - $2,000

$1,000 - $2,000

211 Spanish Colonial Mirrors tin, glass, wood 17 x 12 x 2 inches 39 1/2 x 19 x 3 inches 17 x 12 x 2 inches $200 - $600 for the set

S A N TA F E A R T A U C T I O N

111

212 William Aiken Walker (1838-1921) A Pair of Untitled Works, ca. 1880 oil on board 7 1/4 x 3 1/4 inches (each) each signed lower left: WWalker Provenance: Private Collection, New Mexico $8,000 - $10,000 for the pair

213 Ron Barsano (b. 1945) Monday Morning, Taos, 1976

214 Carol Mothner (b. 1943) Man with a Pipe

oil on linen 14 x 18 inches signed, dated and inscribed with the artist’s monogrammed signature: Ron Barsano / Taos / 76 signed, dated and inscirbed on verso: “Monday Morning” #183 14 x 18 oil / Ron Barsano / Taos / 1976

charcoal on paper 8 x 6 inches signed upper left: C Mothner

Provenance: Private Collection, Arizona

$300 - $500 nr

$500 - $1,000 nr 112

S A N TA F E A R T A U C T I O N

Provenance: Private Collection, New Mexico

215 A,B Janet Lippincott (1918-2007) A. Nude, 1975 pen on paper 13 1/2 x 10 1/2 inches signed and dated lower right: Lippincott 1975 B. Memories of Manila, 1989 chine-colle (print) 31 1/2 x 25 3/4 inches signed and dated lower right: Lippincott ‘89 inscribed lower left: Memories of Manila Provenance: Private Collection, New Mexico $800 - $1,000 for the pair nr

216 Ford Ruthling (b. 1933) Nude, 1966

217 Randall Vernon Davey (1887-1964) Women Undressing

watercolor and pen on paper 9 1/2 x 14 1/2 inches signed and dated lower right: Ford Ruthling 1966

print on paper 17 1/8 x 12 5/8 inches signed and inscribed bottom edge: Extra Print - Women Undressing..Randall Davey

Provenance: Private Collection, New Mexico $300 - $500 nr

Provenance: Private Collection, New Mexico $300 - $500 nr

S A N TA F E A R T A U C T I O N

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218 Leal Mack (1892-1962) Cowboys in Landscape watercolor and gouache on paper 10 3/4 x 15 inches signed lower right: Leal Mack Provenance: Private Collection, New York $1,000 - $1,800

219 Frank Metz (b. 1925) Gray Cove, 1984 oil on canvas 31 3/4 x 49 3/4 inches signed lower right: F. Metz Provenance: Private Collection, New York $1,200 - $1,500

220 Thomas deDecker (b. 1951) Pond Lilies, 2014 oil on canvas 40 x 30 inches signed lower right: Thomas deDecker signed, dated and inscribed on verso: Thomas Dedecker Pond Lilies 2014 Provenance: The Artist $4,000 - $6,000

114

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221 Billy Schenk (b. 1947) Two Guys, 1979 silkscreen print 22 1/2 x 22 1/4 inches Provenance: Private Collection, New York $1,000 - $2,000

222 J. E. “Jim� Knauf (b. 1948) Pueblos, 2000 oil on board 39 3/4 x 35 3/4 inches signed lower left: J.E. Knauf signed, dated and inscribed on verso: Pueblos / copyright J.E. Knauf 2000 Provenance: Private Collection, New York $2,000 - $3,000

S A N TA F E A R T A U C T I O N

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223 Miguel Martinez (b. 1951) Los Mujeres pastel on paper 14 x 22 1/2 inches signed lower right: M. Martinez signed and inscribed on verso: “los Mujeres” / M. Martinez Provenance: Private Collection, New York $3,000 - $5,000

224 Rudolph Carl “R.C.” Gorman (1932-2005) Seated Indian, 1981 print on paper 24 x 31 inches signed and dated lower left: RC Gorman 1981 inscribed lower right: color trial print Provenance: Private Collection, New Mexico $500 - $1,000 nr

225 Signe Holcheck Untitled (Indian Portrait) watercolor on paper 23 1/2 x 19 1/2 inches signed on verso: Signe Holchek Provenance: Private Collection, New Mexico $300 - $500 nr

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226 William Joseph Rakocy (b. 1924) Fiesta of Guadalupe, 1984 mixed media 40 x 30 inches signed, dated and inscribed on verso: Scaring Away the Bad spirits/ Bill Rakocy February 21 copyright 1984 / December 12 Fiesta de Guadalupe / Jaurez chic / Mexico Provenance: Private Collection, New York $800 - $1,000 nr

227 Fritz Scholder (1937-2005) Untitled edition 28/50 print on paper 22 x 30 inches signed lower right: Scholder Provenance: Private Collection, New Mexico $300 - $500 nr

228 Tully Petty Untitled (Woman and Horse), 1981 watercolor and ink on paper 11 x 13 3/4 inches signed and dated lower right with artist’s monogrammed signature: Tully Petty ’81 Provenance: Private Collection, New Mexico $800 - $1,000 nr

S A N TA F E A R T A U C T I O N

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229 B.J.O. Nordfeldt (1878-1955) Desert Tree, New Mexico oil on canvas 24 x 30 inches signed lower right: Nordfeldt inscribed and signed on verso: Desert Tree, N.M. / Nordfeldt Provenance: Private Collection, California $4,000 - $6,000

230 Buck McCain (b. 1943) When Seconds Count oil on canvas 20 x 24 inches signed lower right: McCAIN signed and inscribed on verso: WHEN SECONDS COUNT / BY BUCK McCAIN Provenance: Private Collection, New Mexico $6,000 - $8,000

118

S A N TA F E A R T A U C T I O N

231 Mick B. Harrison Pit Stop, 2007 oil on linen 20 x 36 inches signed lower left: Copyright Mick / B / Harrison signed and dated on verso: copyright 2007 Mick B. Harrison Provenance: Private Collection, New Mexico $2,000 - $4,000

232 Mick B. Harrison The New Colt, 2007 oil on board 28 1/5 x 25 inches signed lower left: copyright / Mick / B. / Harrison signed, dated and inscribed on verso: “ The New Colt� / copyright Mick B. Harrison / 2007 Provenance: Private Collection, New Mexico $2,000 - $4,000

S A N TA F E A R T A U C T I O N

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233 A-C James Rizzi (1950-2011) A. Ski Weekend, 1986 edition 52/150 mixed media print 19 x 27 inches signed lower left: James Rizzi inscribed lower center: “Ski Weekend” dated and numbered lower right: 52/150 1986 B. Gone Fishin’, 1986 edition 125/175 mixed media print 5 3/4 x 2 3/4 inches signed, dated and inscribed lower left: Rizzi “Gone Fishin” 125/175 86 C. Party Time, 1984 edition 96/150 mixed media print 5 3/8 x 3 7/16 inches signed, dated and inscribed lower edge: RIZZI / “PARTY TIME” 96/150 84 Provenance: Private Collection, New Mexico $3,000 - $5,000 for the set

234 Fran Dodd Windy Hills acrylic on canvas 16 x 20 inches signed lower left: Fran Dodd Provenance: Private Collection, New York $300 - $600 nr

235 Mark Spencer (b. 1949) Orchid Shipwreck edition 10/50 21 7/8 x 12 3/4 inches print on paper signed lower right: Mark Spencer inscribed lower center: Orchid Shipwreck inscribed lower left: 10/50 Provenance: Private Collection, California $1,000 - $2,000

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S A N TA F E A R T A U C T I O N

235 Christopher Gerlach (b. 1952) Market Scene

236 Christopher Gerlach (b. 1952) Lilies, 1981

oil on canvas 68 x 60 inches signed lower right: Gerlach

oil on canvas 28 x 36 inches signed and dated lower left: Gerlach 81

Provenance: Private Collection, New Mexico

Provenance: Private Collection, New Mexico

$1,200 - $1,800

$1,000 - $1,500

237 Jackson Morey Hensley (b. 1940) Aspens oil on canvas 40 x 72 inches signed lower right: Hensley $10,000 - $12,000

S A N TA F E A R T A U C T I O N

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S A N TA F E A R T A U C T I O N

INDEX Andoe, Joe Untitled (Horses Grazing), 103 Armin, Emil The Old Neighborhood, 154 Bakos, Jozef G. Garden, 69 Big Tree with Yellow Flowers, 70 Barsano, Ron Monday Morning, Taos, 213 Baumann, Gustave Untitled (Brown County, Indiana Scene), 14 Summer Rain, 15 Beeler, Joe Buckaroo, 161 Bell, George Untitled (Peaches on Branch), 41 Berninghaus, Oscar E. Untitled, 100 Blumenschein, Ernest L. A Strange Mixture of Barbarism & Christianity, 17 Eagle Nest Lake, New Mexico, 83 Juniper and Cottonwood, 82 Portrait of Sheldon Parsons, 84 Bodelson, Dan Zapata meets Villa, 131 Borein, Edward Let ‘Er Buck, 114 The Cheyenne Raid, 115 The Edge of the Painted Desert, 116 Untitled, 117 Tonto Apaches, 118 The Dance Plaza, Walpi, 119 Bray, Carl Orange Desert, 157 Desert Sun on Mountains, 158 Brett, Dorothy Untitled, 129 Browne, George Geese in Field and Flight, 111 Buff, Conrad Untitled, 159 Campos, Florencio Molina Noche de Luna, 134 Serenidad, 135 Cassidy, Gerald Street Scene, 74 Catlin, George Buffalo Hunt, 56 Challenger, J.D. Two Worlds Collide, 208 Churchill, William Mahogany, 199 Clark, Eliot Candee Monument Valley, Arizona, 156 Clark, Willard Untitled (Woman, and Dog at Entrance to Adobe), 13 Colyer, Vincente San Jose, New Mexico, 39 Couse, Eanger Irving Spearing the Fish, 101 Crumbo, Woody Wilson Rainbow Horse, 40 Daly, Thomas Aquinas Elk on a River, 112 Dasburg, Andrew Llano Autumn Valley, 71 Davey, Randall Vernon Before a Race, Colorado, 191 Women Undressing, 217

deDecker, Thomas Pond Lilies, 220 Delano, Gerard C. The Waterhole, 142 Navajo Camp, 143 Dodd, Fran Windy Hills, 234 Duesberry, Joellyn Gorge at La Veta, Colorado, 102 Dunn, Harvey T. Prairie Wife, 136 Dunton, William Herbert (Buck) On the Great Plains / Prong Horn Antelope, 34 Taos Pueblo Indian Girl (Corn Weeds), 35 Eggenhofer, Nick Reata Law, 124 Eilshemius, Louis Michel Yosemite, 153 Ellis, Fremont A Mountain Stream, 12 Puertones del Sanctuaria, 62 Spring - Ranchos de Taos, 61 Sycamores at Atascadero, 64 Untitled, 65 Falter, John Untitled, 155 Fechin, Nicolai Small Pilgrim, 96 Large Pilgrim, 97 Fincher, John H. Untitled (Trees), 194d Hondo Valley Poplars, 198 Fleck, Joseph Field, Plain, Hill, 68 Fonseca, Harry Rose on the Half-Shell II, 49 A White Sportcoat and a Pink Carnation, 50 Forsythe, Clyde Gunfight at the O.K. Corral, 130 Fort, Curtis The Lure of Taos, 38 Foster, Tony From the West End of Horseshoe Mesa Looking West, 149 Fritz, Charles John Alberta, Bow River, 104 Gallois, Emile Two Gaiters worn by American Indians from Michigan, 182a Two Pipe Bags used by American Indians, 182b Gaspard, Leon Russian Man, 95 Gerlach, Christopher Market Scene, 236 Lilies, 237 Gonske, Walt El Prado, 150 Goodacre, Glenna Water Carriers, 202 Gorman, Rudolph Carl Seated Indian, 224 Grant, Blanche Faith, 94 Grelle, Martin Haying Time Again, 42 Haddock, Arthur July 1, 1977, 107a Mount Carmel, Utah, 107b August 20th, 107c

Window Rock, Arizona, 107d Untitled, 107e Untitled, 107f Nature, 107g Virginia City, Nevada, Oct. 8, 107h Untitled, 107i Carson City, Nevada, 107j Hampton, John Wade The Scout, 167 Harrison, Mick B. Pit Stop, 231 The New Colt, 232 Harvard, James Pinkney Mimbres, New Mexico History Page, 194b Helbig, Bud Untitled (Man), 165 Hennings, Ernest Martin Arroyo Hondo Ranch, 33 Nude Woman Looking in Mirror, 24 Sails at Chioggia, 32 Sopulvado, 31 Stringing the Bow, 23b Stringing the Bow, 28 Study for: Into the Sunset, 22a The Hunters, 27 Through Sage and Cedar, 29 Watching the Ceremony, 26a Winter in Taos, 30 Woman with Water Jar, 26b Woman with Water Jar, 23a Untitled (Academic Female Nude Figure Study), 25a Untitled (Academic Male Nude Figure Study), 25b Untitled (Northern New Mexican Farmer in Field, and Tree), 22c Untitled (Taos Street Scene), 22b Hensley, Jackson Morey Aspens, 238 Holcheck, Signe (Untitled) Indian Portrait, 225 Hunter, Russell Vernon The Windmill, 85 Hurd, Peter Irrigated Farm, 86 Ascension Island, 87 The Fence Builders, 88 Jackson, Harry Pony Express III, 106 The Pony Express, 144 The Marshall, 145 Johnson, Frank Tenney Pursuit of a Cattle Thief, 132 Kelley, Ramon Taos Sunset, 168 Maria de Santa Fe, 169 Sioux Girl, 183 Banco de Ostnas, Mazatlan, Mexico, 184 Composition in White and Gold, 185 The Brahman, 186 Sheep Herder, 187 El Zapotec Indio, 188 Kissell, Eleanor Taos Pueblo, 190 Kleiber, Hans High Mountain Scene, 108 Winter Does in Aspen, 109 Kloss, Gene Tres Orejas, 1 The Rio Grande at Embudo, 2 Penitente Easter, 3 S A N TA F E A R T A U C T I O N

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INDEX Taos Valley Winter, 4 Along the Roaring Fork, 5 Carding Wool the Old Spanish Way, 6 Taos in Winter, 7 Adobe Dusk, 8 Far Across the Rio Grande, 9 Old Mesilla, 10 Blue Cottage, 172 Penitente Morada, 193 Knauf, J. E. “Jim” Pueblos, 222 Knee, Gina Snow Crystals, 174 Winter Valentine, 175 Emergence of a Butterfly, 176 Kramer, James St. Francis Cathedral, 36 Old Town, Albuquerque, 37 Lasansky, Tomas Scout, 203 Laurence, Geoffrey Ghost Dancer, 205 Leigh, William Robinson Cooking Pu-Vu-Lu, 81 Three Riders Resting, 137 Lillywhite, Raphael Untitled (Resting Sheep), 138 Untitled ( Journey Home), 139 Untitled (Desert Rider), 140 Peace and Cuteness, 141 Lippincott, Janet Nude, 215a Memories of Manila, 215b Mack, Leal Cowboys in Landscape, 218 Martinez, Miguel Untitled (Portrait of a Woman), 48 Female Portrait, 197 Los Mujeres, 223 McCain, Buck When Seconds Count, 230 McGrew, R. Brownell Tsosie Ahzonie, 163 Metz, Frank Gray Cove, 219 Meyer, Adeline Aspens, 173 Moran, Peter Down the Arroyo to Santa Fe, 19 A Burro Train in New Mexico, 20 The Harvest at San Juan, 21 Mothner, Carol Man with a Pipe, 214 Moyers, William (Bill) Book Illustration, 170 Moylan, Lloyd Mud Ceremony, Navajo, 59 Zuni Creation Myth, 60 Nash, Willard Santa Fe Landscape, 66 Naumer, Helmuth San Miguel Mission, 75 Chamisa, 76 Nebeker, Bill Reflected Splendor, 162 Nordfeldt, B.J.O. Desert Tree, NM, 229 Still Life with White Urn, 91 Palmore, Tom Nate, 194c 124

S A N TA F E A R T A U C T I O N

Camille, 204 Petty, Tully (Untitled) Woman and Horse, 228 Phillips, Bert Greer Corn Husking, 63 Ranchos Church, 80 Pletka, Paul Untitled (Birds), 194a Pummill, Robert Rainy Day on the Chisholm, 43 Quintana, Ben Untitled, 181 Rakocy, William Joseph Fiesta of Guadalupe, 226 Red Star, Kevin Moon Rider, 201 Redin, Carl Winter in San Antonio, 16 Fall Colors, New Mexico, 89 Remington, Frederic Five Chromolithographs, 125 Portfolio: Six paintings in Colors, 126 Untitled (St. Lawrence), 127 The Cheyenne, 128 Rivera, Elias The Laughter of Youth, 207 Rizzi, James Ski Weekend, 233a Gone Fishin’, 233b Party Time, 233c Rodgers, Scott Chiricahua, 180 Rollins, Warren E. The Ruins, 58a The Chaco, 58b Rothe, G. H. Glass Rose, 209 Transparent Tulips, 210 Rungius, Carl Pack Horses on a Trail, 121 Rush, Olive Arrival for Ceremonial, 51 Two Seated Women, 52 Deer in a Landscape, 53 Ruthling, Ford Nude, 216 Sandzén, Birger Mountain Stream, 67 Sauerwein, Frank Paul Hopi Girl, 57 Bryce Canyon, 79 Schaldach, William J. Carl Rungius: Big Game Painter, 50 Years With Paint and Brush, 120 Schenk, Billy Two Guys, 221 Schively, Frank American Woman, 195 Schmidt, Albert Herman Hillside Overlooking Plowed Field, 177 Tesuque Garden, Summer, 178 Velarde Easter Morning, 179 Scholder, Fritz Untitled, 227 Seibel, Naida Site #9, 206 Sharer, William E. Navajo Sheep Herder, 148 Sharp, Joseph Henry Summer Cloud, Taos Valley, 98

Angela Sun Goes Slow, 99 Shepherd, Bill Untitled, 194e Shuster, Will El Sanctuario, 11a La Noria, 11b Navajo Shepherdess, 11c Group of Etchings, 189 Skol, Greg Passage, 200 Sloan, John Boys Sledding, 192a Easter Eve, 192b McSorley’s Back Room, 192c Washington Arch, 192d Solberg, Morten Edward Elk on the Yellowstone, 113 Spanish Colonia Mirrors 211 Spencer, Mark Shipwreck Orchid, 235 Stavrowsky, Oleg Tuning the Mules, 105 Stiha, Vladan Untitled, 166 Swanson, Ray Market Scene, 46 What’s Up!, 47 Ullberg, Kent Cougar by Stream, 110 Van Soelen, Theodore New Mexico Landscape, 73 Untitled (House beneath Willow), 92 Vinella, Ray Man from Ireland, 196 Von Hassler, Carl Sangre de Cristo Color, 72 Autumn Sunset, New Mexico, 90 Walker, William Aiken A Pair of Untitled Works, 212a Walters, Curt Clouds of Change, 146 Summer Storm, 147 Wells, Cady Near Otawi, New Mexico, 77 New Mexico Landscape, 78 Whistler, James Abbott McNeil Billingsgate, 18a The Punt (aka The Angler), 18b Whiteside, Frank Reed Zuni Ceremony, 54 Hopi Snake Dance - Walpi, 55 Whitman, Johnson Untitled, 171 Wieghorst, Olaf Keams Canyon Navajo, 122 Outrider (Mounted Cowboy), 123 Wilcox, Jim View at the Top, 164 Williford, Hollis Wolf Medicine, 133 Wood, Robert Texas Bluebonnets, 151 Yosemite Falls, 152 Woolsey, Wood Three Men, 93 Workman, Michael Sunset at Thistle Creek, 44 Cattle at Dawn, 45

TERMS & CONDITIONS OF SALE

The following Terms and Conditions of Sale are the Santa Fe Art Auction Limited Co.’s (“Santa Fe Art Auction”) and its agents’ and consignors’ entire agreement with the prospective bidders, bidders and buyers relative to the lots listed in this catalog. The lots will be offered by the Santa Fe Art Auction as agent for the consignors, unless the catalog indicates otherwise.

1. The Santa Fe Art Auction operates as an agent of the seller only. It is not responsible in the event any buyer or seller at the auction fails to live up to their respective agreements, including failure of the seller to deliver any property to buyers. The Santa Fe Art Auction assumes no risk, liability, or responsibility beyond the limited warranty contained herein.

(a) 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 catalog 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 catalog, 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 catalog 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 catalog 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 catalog 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 purchaser as part of the total purchase price. If paying by cash or check, the purchase price will be the sum of the final bid price plus a buyer’s premium of 17% of the final bid price of each lot up to and including $500,000, 15% of the excess of the final bid price above $500,000, and 12% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges. The buyer’s premium is calculated separately for each lot. If paying by credit card, the purchase price will be the sum of the final bid price plus a buyer’s premium of 20% of the final bid price for each lot up to and including $500,000, 18% of the excess of the final bid price above $500,000, and 15% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges.

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. If a buyer requests that artwork be shipped to an address in New York State, we must collect New York sales tax due to an affiliated business located in New York City under recent legislation (Part P-1 of Chapter 57 of the Laws of 2009).

• Why Santa Fe Art Auction Collects Sales Tax: New Mexico requires a seller of goods to register with the New Mexico Department of Taxation and Revenue and collect and remit sales tax if the seller maintains a presence within the state. More specifically, tax laws require an auction house, like Santa Fe Art Auction, with a presence in New Mexico, to register as a sales tax collector, and remit sales tax collected to the state. Unless exempted, New Mexico sales tax is charged on the hammer price, buyer’s premium and any other applicable charges on any property picked up or delivered in New Mexico, regardless of the state or country in which the purchaser resides or does business.

• Certain Exemptions: New Mexico allows for specified exemptions to its sales tax. For example, a registered re-seller such as a registered art dealer may purchase without incurring a tax liability, and Santa Fe Art Auction is not required to collect sales tax from such re-seller. As sales tax laws vary from state to state, Santa Fe Art Auction recommends that clients with questions regarding the application of sales or use taxes to property purchased at auction seek tax advice from their local tax advisors.

5. The Santa Fe Art Auction reserves the right to withdraw any lot before or during the sale and shall have no liability whatsoever for such withdrawal.

6. Except as may be announced by the auctioneer, all bids are per lot, as numbered in the catalog.

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 S A N TA F E A R T A U C T I O N

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bidder, cancel the sale, or reoffer and resell the lot in dispute. If any dispute arises after the sale, the Santa Fe Art Auction’s sale record shall be final and conclusive.

The Santa Fe Art Auction, in its discretion, may execute orders or absentee bids as a convenience to clients who are not present at the auction; however, the Santa Fe Art Auction is not responsible for any errors or omissions in connection therewith.

8. If the auctioneer, in his or her discretion, determines that any bid is below the reserve of the lot, he or she may reject the same and withdraw the lot from sale, and, if having acknowledged an opening or other bid, the auctioneer decides that any advance thereafter is insufficient, he or she may reject the advance.

9. On the fall of the auctioneer’s gavel, the highest bidder acknowledged by the auctioneer assumes full risk and responsibility for the offered lot, subject to all of the Terms and Conditions of Sale set forth herein, and is immediately obligated to pay the full purchase price. All sales are final and there shall be no exchanges or returns. Payment shall be made by cash, check or wire transfer. As set forth in paragraph 3, above, for an additional percentage Santa Fe Art Auction will also accept credit cards as a form of payment. (Visa and MasterCard only).

In addition to other remedies available to Santa Fe Art Auction by law, we reserve the right to impose, from the date of sale, a late charge of 1.5% per month (18% per annum) of the total purchase price, if payment is not made in accordance with the conditions set forth herein.

(a) All lots must be removed by the Buyer at his or her expense not later than ten (10) business days following the sale, and, if it is not so removed, (i) a handling charge of 1% of the total purchase price per month, or a portion thereof from the tenth day after the sale (until its removal) will be payable to us by the Buyer, with a minimum of 5% of the total purchase price due for any lot not so removed within 60 days after the sale, and (ii) Santa Fe Art Auction may send the purchased lot to a public warehouse for the account of and at the risk and expense of the Buyer.

(b) If any applicable conditions herein are not complied with by the Buyer, the Buyer will be in default, and in addition to any and all other remedies available to the Santa Fe Art Auction and its agents and consignors by law, including, without limitation, the right to hold the Buyer liable for the total purchase price, together with all fees, charges and expenses set forth in these Terms and Conditions of Sale, the Santa Fe Art Auction, at its sole option, may (i) cancel the sale of that, or any other lot or lots sold to the defaulting Buyer, or (ii) resell the purchased lot or lots, whether at auction or by private sale, or (iii) effect any combination thereof. The Buyer will be liable for any deficiency, any and all costs, handling charges, late charges, expenses and commissions of both sales, legal fees and expenses, collection fees and incidental damages. The Santa Fe Art Auction and its agents and consignors shall have all of the rights accorded to a secured party under the New Mexico Uniform Commercial Code. The Buyer of each lot agrees that each lot is unique and that Santa Fe Art Auction, in its sole discretion, shall not be required to sell or otherwise seek to mitigate damages should such Buyer fail to pay the total purchase price. Payment will not be deemed to have been made in full until the Santa Fe Art Auction shall have collected good funds. The Santa Fe Art Auction reserves the right to hold all purchases pending collection of the total purchase price, together with all additional fees, charges and expenses incurred pursuant to these Terms and Conditions of Sale.

10. All lots (unless otherwise indicated by the letters “nr”) are subject to a reserve, which is the confidential minimum price acceptable to the consignor. The Santa Fe Art Auction, or its agents or consignors, may implement such reserve by opening the bidding or they or either of them may bid up to the amount of the reserve by placing successive or consecutive bids for a lot or may bid in response to other bidders. In instances where the Santa Fe Art Auction has an interest in the lot, it may bid up to the reserve to protect such interest. The Santa Fe Art Auction, or its agents or consignors, may also bid upon other lots listed in this catalog.

11. Santa Fe Art Auction is the owner of images of each lot offered for sale and may use such images for its own archival purposes, as well as for advertising and publicity in connection with this or future sales by the Santa Fe Art Auction.

12. These Terms and Conditions of Sale, together with the parties’ respective rights and obligations hereunder, shall be governed and construed and enforced in accordance with the laws of the State of New Mexico, without regard to New Mexico’s rules concerning conflicts of laws.

13. Prospective bidders, bidders and Buyers agree that, in the event of any controversy or claim arising out of or relating to a sale of any lot, the party asserting such controversy or claim shall provide written notice thereof to the other party; that any such controversy or claim not settled within fourteen (14) days of delivery of notice by the other party, including, without limitation, any controversy or claim arising from, or relating to, the sale of any lot or any of these Terms and Conditions of Sale, including the terms of this paragraph, the sole and exclusive means for resolving the dispute shall be by binding arbitration in Santa Fe, New Mexico. Said arbitration shall be confidential and shall be pursuant to the New Mexico Uniform Arbitration Act, shall be conducted before a single arbitrator, and shall otherwise be guided by the then extant New Mexico Rules of Arbitration. This Agreement is deemed made in Santa Fe, New Mexico, and is subject to the internal substantive law of the State of New Mexico without regard to conflicts of laws. The award of the arbitrator shall be final, and may be entered into any court having jurisdiction thereof. Each party shall bear that party’s own costs of arbitration and attorney’s fees.

14. The Santa Fe Art Auction 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, catalog subscribers, absentee and phone bidders, and other registered bidders.

16. If any part of these Terms and Conditions is held invalid or unenforceable for any reason, the remaining provisions shall continue to be valid and enforceable to the fullest extent permitted by law.

17. These Terms and Conditions are not assignable by any buyer without the prior written consent of the Santa Fe Art Auction. However, these Terms and Conditions are binding on the buyer’s successors, assigns and representatives.

18. No act, omission or delay by the Santa Fe Art Auction shall be deemed a waiver of its rights and remedies under these Terms and Conditions.

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19. The Santa Fe Art Auction shall use reasonable efforts to contact prospective buyers who have made prior arrangements to place telephone bids in order for these buyers to participate in the auction. The Santa Fe Art Auction shall not be liable for its failure to contact said bidders or for any errors or omissions made in connection with telephone bids since telephone bids are offered as a free service that is undertaken subject to the other commitments of Santa Fe Art Auction during the sale.

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

GUIDE FOR BIDDING

ABSENTEE BIDS If you are unable to attend the auction in person, and wish to place bids, you may give the Santa Fe Art Auction Bid Department instructions to bid on your behalf. Our representatives will then try to purchase the lot or lots of your choice for the lowest price possible, and never for more than the top amount you indicate. The Santa Fe Art Auction offers this service as a convenience to clients who are unable to attend the auction. However, the Santa Fe Art Auction will not be responsible for failure to execute bids, or any errors in executing bids.

PLACING ABSENTEE BIDS Absentee bids are accepted only if you have returned a signed Absentee Bid Form 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 catalog. Please complete and return to the Santa Fe Art Auction by December 5, 2014.

To place bids, please use the absentee bid form provided in the back of this catalog. 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 catalog.

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 catalog. Please check the telephone bid box on the form, complete, and return to the Santa Fe Art Auction by December 5, 2014.

Telephone bidders are encouraged to leave back up bids in case 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 Under $2,000 $2,000 – $5,000 $5,000 – $10,000 $10,000 – $20,000 $20,000 – $50,000 $50,000 – $100,000 OVER $100,000

Increment $100 $250 $500 $1,000 $2,500 $5,000 $10,000 S A N TA F E A R T A U C T I O N

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