Santa Fe Art Auction 2016

S AT U R D AY, D E C E M B E R 3 R D , 1 : 3 0 P M M S T | S U N D AY, D E C E M B E R 4 T H , 1 : 3 0 P M M S T 1011 PA S E O D E P E R A LTA , S A N TA F E , N E W M E X I C O

LIVE AUCTION DECEMBER 3- 4, 2016 SATURDAY, DECEMBER 3RD, 1:30 PM MST | SUNDAY, DECEMBER 4TH, 1:30 PM MST 1011 PASEO DE PERALTA, SANTA FE, NEW MEXICO 87501

FOR ADDITIONAL INFORMATION PLEASE CONTACT ADAM H. VEIL, EXECUTIVE DIRECTOR CALL: 505 954-5771 | EMAIL: CURATOR@SANTAFEARTAUCTION.COM | VISIT: SANTAFEARTAUCTION.COM REGISTER TO BID OR ATTEND THE AUCTION AT WWW.SANTAFEARTAUCTION.COM

S A N TA F E A R T A U C T I O N Telephone and Absentee bidding arrangements must be made no later than 5:00pm MST on December 2, 2016 for the Saturday, December 3rd session Telephone and Absentee bidding arrangements must be made no later than 5:00pm MST on December 3, 2016 for the Sunday, December 4th session Telephone bidders are encouraged to leave absentee bids in the case of technical difficulties Please direct all inquiries to (505) 954-5858 Register online at www.santafeartauction.com

S A N TA F E A R T A U C T I O N Saturday, December 3, 2016 | 1:30pm MST Sunday, December 4, 2016 | 1:30pm MST Peters Projects | 1011 Paseo de Peralta, Santa Fe, NM 87501 Tel 505 954-5858 | Fax 505 954-5785 www.santafeartauction.com © 2016 Santa Fe Art Auction Limited Co. Executive Director: Adam H. Veil Auction Coordinator: Jenna Kloeppel Photography: Molly Wagoner, Ben Tempchin Graphic Design: Shane Mieske Printing: O’Neil Printing, Arizona Binding: Roswell Book Binding, Arizona FRONT COVER: Lot 345: Frank Tenney Johnson (1874-1939) Mountain Meadows, 1929, oil on canvas, 45 x 56 inches, $750,000 - $1,500,000

FRONTISPIECE A: Lot 334: Catherine Critcher (1868-1964) Indian Drummer, oil on canvas, 18 x 17 inches, $125,000 - $200,000

FRONTISPIECE B: Lot 321: E. Martin Hennings (1886-1956) Pueblo Village, ca. 1935, oil on canvas, 30 x 36 inches, $500,000 - $700,000

BACK COVER: Lot 312: William Gollings (1878-1932) The Camp Crier, oil on canvas, 29 ¼ x 20 inches, $200,000 - $300,000

SCHEDULE OF EVENTS LIVE AUCTION Saturday, December 3, 2016 | 1:30pm MST Sunday, December 4, 2016 | 1:30pm MST 1011 Paseo de Peralta, Santa Fe, New Mexico AUCTION PREVIEWS Friday, December 2, 2016 | 10:00am – 8:00pm MST Saturday Session, December 3, 2016 | 9:00am – 1:00pm MST Sunday Session, December 4, 2016 | 9:00am – 1:00pm MST 1011 Paseo de Peralta, Santa Fe, New Mexico ONLINE AUCTION Online bidding available through

SESSION ONE SATURDAY, DECEMBER 3RD | 1:30 PM MST 1011 PASEO DE PERALTA, SANTA FE, NEW MEXICO

1 GENE KLOSS (1903-1996) Corn Dancers Coming, 1975

2 GENE KLOSS (1903-1996) Laguna Pueblo in 1925, 1983

etching and drypoint 11 x 13 ¾ inches signed lower right: Gene Kloss N.A. editioned and titled lower left: 46/50 Corn Dancers Coming

etching, drypoint and aquatint 10 ⅞ x 13 ⅞ inches signed lower right: Gene Kloss editioned and titled lower left: 48/50 Laguna Pueblo in 1925

Provenance: Private Collection, Washington

Provenance: Private Collection, Washington

Literature: Gene Kloss, An American Printmaker: A Raisonne, 2 vols., Taos: De Teves Publishing, 2009, no. 569

Literature: Gene Kloss, An American Printmaker: A Raisonne, 2 vols., Taos: De Teves Publishing, 2009, no. 616

$1,000 - $1,500 nr

$1,000 - $1,500 nr

3 GENE KLOSS (1903-1996) Midsummer Fiesta, 1972

4 GENE KLOSS (1903-1996) Stormclouds Over Vallecito, 1979

etching and drypoint 11 ¾ x 14 ¾ inches signed lower right: Gene Kloss editioned and titled lower left: Artist’s Proof Midsummer Fiesta

etching, drypoint and aquatint 10 ⅞ x 13 ⅞ inches signed lower right: Gene Kloss editioned and titled lower left: Artist’s Proof Stormclouds over Vallecito

Provenance: Private Collection, Washington

Provenance: Private Collection, Colorado

Literature: Gene Kloss, An American Printmaker: A Raisonne, 2 vols., Taos: De Teves Publishing, 2009, no. 540

Literature: Gene Kloss, An American Printmaker: A Raisonne, 2 vols., Taos: De Teves Publishing, 2009, no. 589

$1,000 - $1,500 nr

$1,000 - $1,500 5

6 GENE KLOSS (1903-1996) Tres Orejas, 1984

5 GENE KLOSS (1903-1996) A Morning in April, 1967 etching and drypoint 11 x 13 ⅞ inches signed lower right: Gene Kloss editioned and titled lower left: Artist’s Proof A Morning in April Provenance: Private Collection, Washington Literature: Gene Kloss, An American Printmaker: A Raisonne, 2 vols., Taos: De Teves Publishing, 2009, no. 512

etching and drypoint 9 x 15 inches signed lower right: Gene Kloss titled and editioned lower left: Tres Orejas 32/50 inscribed verso: “A low-lying mountain just west of Taos Valley is Known as “Dos Orejas’ / Further north Three peaks are / visible so it becomes / “Tres Orejas” / Etching + Drypoint (136) Provenance: Private Collection, Colorado Literature: Gene Kloss, An American Printmaker: A Raisonne, 2 vols., Taos: De Teves Publishing, 2009, no. 622 $1,000 - $1,500 nr

$800 - $1,200 nr

7 GENE KLOSS (1903-1996) A Bygone Day in Santa Fe, 1974

8 GENE KLOSS (1903-1996) Alberto’s Burro, 1975

drypoint 8 ⅞ x 12 inches signed lower right: Gene Kloss N.A. titled lower left: A Bygone Day in Santa Fé editioned lower center: 4/35

etching and drypoint 8 ⅞ x 12 inches signed lower right: Gene Kloss N.A. titled lower left: Alberto’s Burro editioned lower center: 12/50

Provenance: Private Collection, Texas

Provenance: Private Collection, Texas

Literature: Gene Kloss, An American Printmaker: A Raisonne, 2 vols., Taos: De Teves Publishing, 2009, no. 564

Literature: Gene Kloss, An American Printmaker: A Raisonne, 2 vols., Taos: De Teves Publishing, 2009, no. 567

$800 - $1,200 nr

$500 - $1,000 nr

6

9 GENE KLOSS (1903-1996) Taos Valley Winter, 1973 etching 8 ⅞ x 14 ¾ inches signed lower right: Gene Kloss editioned lower left: Artist’s Proof Provenance: Private Collection, Colorado Literature: Gene Kloss, An American Printmaker: A Raisonne, 2 vols., Taos: De Teves Publishing, 2009, no. 548 $800 - $1,200 nr

10 GENE KLOSS (1903-1996) Hunters in the Snow, 1960 etching 10 ⅞ x 13 ⅞ inches signed lower right: Gene Kloss-imp editioned and titled lower left: 24/50 Hunters in the Snow Provenance: Private Collection, New Mexico Literature: Gene Kloss, An American Printmaker: A Raisonne, 2 vols., Taos: De Teves Publishing, 2009, no. 482 $800 - $1,200

11 GENE KLOSS (1903-1996) All Souls’ Day Offerings, 1970

12 GENE KLOSS (1903-1996) Ceremonial Day at Taos, 1953

etching, drypoint and aquatint 14 ⅞ x 10 inches signed lower right: Gene Kloss-imp editioned and titled lower left: 14/75 All Souls’ Day Offerings

drypoint 8 ¾ x 11 ¾ inches signed lower right: Gene Kloss titled lower left: Ceremonial Day at Taos

Provenance: Private Collection, New Mexico

Provenance: Private Collection, New Mexico

Literature: Gene Kloss, An American Printmaker: A Raisonne, 2 vols., Taos: De Teves Publishing, 2009, no. 535

Literature: Gene Kloss, An American Printmaker: A Raisonne, 2 vols., Taos: De Teves Publishing, 2009, no. 447

$800 - $1,200

$1,500 - $2,000 7

13 GENE KLOSS (1903-1996) The Road to Hondo, ca. 1947 watercolor on paper 20 ½ x 27 inches signed lower right: Gene Kloss Provenance: Gallery A, Taos, New Mexico Private Collection, Louisiana $6,000 - $8,000

14 HARRY HUCHINSON SHAW (1897-1989) La Morada de los Penitentes, Taos watercolor on paper 19 ½ x 25 ¼ inches signed lower right: Harry Shaw Provenance: Private Collection, New Mexico $1,000 - $1,500

8

15 THEODORE VAN SOELEN (1890-1964) Untitled oil on canvas 34 x 36 inches signed lower center: VanSoelen Theodore Van Soelen’s earliest training began in his hometown at the St. Paul Institute of Arts and Sciences. He went on to earn a travel-study scholarship to Europe while at the Pennsylvania Academy of Fine Arts, before relocating to Albuquerque in 1916 for health considerations. After four years illustrating and painting, he wanted to observe Indian life more closely, so he moved to a remote trading post. A stay on a Texas ranch offered Van Soelen pointed insights into the life of the working cowboy, a theme he explored both in paint and print throughout his career. Eventually, he settled in Tesuque, just north of Santa Fe, where he recorded the area and its inhabitants, and created works such as Untitled, a hymn to an ordinary autumn day in northern New Mexico.

Provenance: Private Collection, Cleveland, Ohio Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico $40,000 - $60,000

9

16a-b ILA MCAFEE (1897-1995) a. Untitled (Southwestern Landscape) oil on board 2 ½ x 3 ½ inches b. Untitled (Indian Portrait) oil on board 3 ½ x 2 ½ inches signed lower left: Ila McAfee Provenance: Private Collection, New Mexico $2,000 - $4,000 (for the pair)

17 ILA MCAFEE (1897-1995) Resting at Home

18 BLANCHE C. GRANT (1874-1948) Indian Eyes, Taos, 1937

oil on canvas 12 x 16 inches signed lower right: Ila McAfee inscribed on stretcher: “Resting at Home” / Ila McAfee / Taos / N. Mex

oil on masonite 14 x 11 inches signed lower right: Blanche C. Grant / Taos inscribed verso: INDIAN EYES / TAOS / BY / Blanche C. Grant / 1937 / Great-Granddaughter of / General Grant

Provenance: The Artist Private Collection, Colorado (acquired from the above) $1,000 - $2,000 10

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

19 ERNEST L. BLUMENSCHEIN (1874-1960) Old Taos Indian oil on canvas mounted on panel 17 ¼ x 19 ¼ inches signed lower right: E.L. BLUMENSCHEIN / TAOS inscribed verso (presumably in artist’s hand): “Old Taos Indian $225” Provenance: Private Collection, New Mexico Exhibited: Museum of New Mexico Exhibitions, Portales, New Mexico, October 3-17, 1948; Carlsbad, New Mexico, October 13-November 14, 1948; Socorro, New Mexico, January 16-30, 1949; Las Cruces, New Mexico, February 13-27, 1949; Clovis, New Mexico, March 13-27, 1949; Las Vegas, New Mexico, April 17-May 1, 1949 (label affixed to verso) $200,000 - $300,000

11

20 WARREN E. ROLLINS (1861-1962) Pueblo Girl with Shawl oil on canvas mounted on board 15 x 10 inches signed lower left: - W E Rollins Provenance: Private Collection, Washington $5,000 - $7,000

21 WARREN E. ROLLINS (1861-1962) Pueblo at Santa Fe, 1910 oil on canvas 26 x 40 inches signed and dated lower right: W E Rollins - / 1910 Warren E. Rollins achieved his greatest successes on canvas in the years between 1908 and 1928. His sensitivity to his surroundings can largely be attributed to his practice of painting his subjects from within their communities. Rollins’ reputation preceded him when he arrived in Santa Fe in 1910—the year the present work was completed—and, in time, he served as Dean of the Santa Fe School, first president of the Santa Fe Art Club, and as an art instructor at the Palace of the Governors. His landscapes and town views were among the first to be shown at the newly established Museum of New Mexico and, between 1916 and 1977, he was featured in no fewer than twenty-five museum exhibitions in Santa Fe. Provenance: Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico $15,000 - $20,000

12

22 FRANK SAUERWEIN (1871-1910) Pueblo Scene, 1901 oil on board 9 x 12 inches signed and dated lower left: F.P. Sauerwein - / 1901 Provenance: Private Collection, New Mexico $7,000 - $10,000

23 FRANK SAUERWEIN (1871-1910) Back of the Cathedral, Santa Fe, 1900 oil on canvas 12 x 18 inches signed and dated lower left: F.P. Sauerwein 1900 Provenance: Private Collection, New Mexico $10,000 - $15,000

13

24 HOMER BOSS (1882-1956) Empty House Near San Gabriel oil on canvas 20 x 24 inches signed lower left: HOMER BOSS Massachusetts-born Homer Boss was a silent party to some of the twentieth century’s loudest art revolutions. His early style was influenced by his teachers, from William Merritt Chase to Thomas Anschutz to Robert Henri. He would participate in the 1910 Exhibition of Independent Artists exhibition and the landmark International Exhibition of Modern Art, or Armory Show, in 1913. After teaching at the Independent School, Art Students League, and Parsons School of Design in New York, Boss visited New Mexico in 1925, before settling permanently in Santa Cruz, a small community north of Santa Fe, in 1933. Boss’s modernist-leaning landscapes, such as Empty House Near San Gabriel, speak volumes about his training and, indeed, about his affections for the Southwest.

Provenance: Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico $20,000 - $30,000

14

25 FRANK APPLEGATE (1881-1931) Across the Rio Grande watercolor on paper 8 ¼ x 11 ½ inches signed lower right: Frank G. Applegate Provenance: Estate of the Artist Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico Literature: Daria Labinsky and Stan Hieronymous, Frank Applegate of Santa Fe: Artist & Preservationist, Albuquerque: LPD Enterprises, 2001, p. 162 $2,000 - $4,000

26 FRANK APPLEGATE (1881-1931) Untitled (Landscape) watercolor on paper 8 ½ x 11 ½ inches Provenance: Estate of the Artist Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico $2,000 - $4,000

15

27 FRANK APPLEGATE (1881-1931) Spring at Chimayo, N.M. watercolor on paper 11 ½ x 17 ¼ inches signed lower right: Frank G. Applegate Provenance: Estate of the Artist Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico $3,000 - $5,000

28 FRANK APPLEGATE (1881-1931) Navajo Country, N.M. watercolor on paper 8 ½ x 11 ½ inches signed lower left: Frank G. Applegate Provenance: Estate of the Artist Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico Literature: Daria Labinsky and Stan Hieronymous, Frank Applegate of Santa Fe: Artist & Preservationist, Albuquerque: LPD Enterprises, 2001, p. 163 $2,000 - $4,000

16

29 TERRENCE HICK (b. 1950) For the People, By the People, 1983

30 LEON LOUGHRIDGE (b. 1952) Llano Chapel, 2009

oil on canvas 24 x 30 inches signed lower right: Hick © inscribed verso: FOR THE PEOPLE, BY THE PEOPLE 24 X 30 JULY 83 / .0439 ©

woodblock print 11 ¾ x 12 inches signed lower right LOUGHRIDGE editioned lower left: 6/19 titled lower center: LLANO CHAPEL

Provenance: El Prado Gallery of Art, Sedona, Arizona Private Collection, Minnesota

Provenance: The Artist {Gerald Peters Gallery, Santa Fe, New Mexico} Private Collection, New Mexico

$500 - $1,000 nr

$400 - $600 nr

31 PAUL STRISIK (1918-1998) Church at Apache Canyon, 1980 oil on linen 16 x 20 inches signed and dated lower right: P. STRISIK / © ‘80 Provenance: American Legacy Gallery, Kansas City, Missouri Private Collection, Colorado $3,000 - $5,000

17

32 LAVERNE NELSON BLACK (1887-1938) Taos Winter Morning oil on paper laid on board 14 ½ x 18 inches signed lower left: LaVerne Nelson Black / Taos LaVerne Nelson Black was born in 1887 in Viola, Wisconsin, a small trading post in the Kickapoo Valley. As a child, he taught himself to draw and would paint pictures of the Indians and their horses that would come through the trading post. Around 1900, Black moved with his family to Chicago and, in 1906, enrolled in art classes at the Art Institute of Chicago, where he studied until 1908 while also working as a newspaper illustrator. Due to declining health, Black relocated to the arid climate of Taos in the 1920s. While there, Black produced numerous paintings of the Indians of the region, either on horseback or engaged in everyday activities. Painted in an impressionistic style with bold swaths of color, works like Taos Winter Morning are some of the most celebrated of the artist’s career.

Provenance: Private Collection, Santa Fe, New Mexico {Gerald Peters Gallery, Santa Fe, New Mexico, 1985} Collection of Rollin W. King, Dallas, Texas, 1985 Estate of Rollin W. King, 2014 Private Collection, New Mexico $75,000 - $125,000

18

33 HELMUTH NAUMER (1907-1989) Church Near Cerrillos pastel on paper 20 x 24 inches signed lower right: NAUMER / (artist’s cipher) Provenance: Private Collection, New Mexico $3,000 - $5,000

34 FREMONT ELLIS (1897-1985) Las Lomas Encantadas oil on board 22 x 32 inches signed lower left: FREMONT F. ELLIS Provenance: Private Collection, Missouri $20,000 - $30,000 19

35 CARL VON HASSLER (1887-1969) Sage and Snow, Sunset, 1935 oil on canvas 18 ¼ x 22 ¼ inches signed and dated lower left: von Hassler - 35 Provenance: Private Collection, Utah $4,000 - $6,000

36 CARL REDIN (1892-1944) Winter Landscape oil on board 18 ¼ x 16 inches signed lower left: Carl Redin Provenance: Private Collection, Texas $5,000 - $7,000

20

37 LINDA TIPPETTS (b. 1944) Glacier’s East Side oil on canvas 21 ½ x 27 ½ inches signed lower left: LINDA / TIPPETTS inscribed verso: “GLACIER’S EAST SIDE” / Linda Tippetts Provenance: Private Collection, Alaska $2,000 - $4,000

38 LINDA TIPPETTS (b. 1944) Winter’s River oil on canvas 24 x 30 inches signed lower right: LINDA / TIPPETTS inscribed verso: “WINTER’S RIVER” / Linda Tippetts Provenance: Private Collection, Alaska $2,000 - $4,000

21

39 ROBERT MOORE (b. 1957) January Praise oil on canvas 39 x 29 inches signed lower right: R. MOORE Provenance: Private Collection, Alabama $5,000 - $7,000

40 LEN CHMIEL (b. 1942) The Neighborhood, 2005 oil on board 12 x 16 inches signed lower left: L. Chmiel inscribed verso: LKC 1397 / THE NEIGHBORHOOD / 12 x 16 / OIL / I-05 / © 2005 Provenance: Private Collection, New Mexico $1,500 - $2,500

41 WAYNE E. WOLFE (b. 1944) Aspens, 1988 oil on board 8 x 12 inches signed and dated lower left: © WAYNE WOLFE / 1988 NAWA Provenance: Private Collection, New Mexico Exhibited: American Art in Miniature, The Thomas Gilcrease Museum, Tulsa, Oklahoma, January 8-February 7, 1988 $500 - $1,000 nr

22

42 THOMAS DEDECKER (b. 1951) Pond Serenity, 2016 oil on canvas 24 x 30 inches signed lower right: THOMAS deDECKER inscribed verso: “Pond Serenity” by Thomas deDecker Provenance: The Artist $2,000 - $3,000

43 FRANCIS DONALD (b. 1947) October on the Rio Chiquito oil on canvas 26 ½ x 30 ½ inches signed lower right: Francis Donald inscribed verso: F. Donald / © / “October on the Rio Chiquito” / #271 Provenance: Private Collection, Alaska $2,000 - $3,000

44 HELMUTH NAUMER (1907-1989) Aspen Thicket oil on board 19 x 25 inches signed lower right: NAUMER / (artist’s cipher) Provenance: Private Collection, New Mexico $3,000 - $5,000

23

45 SHELDON PARSONS (1866-1943) Summer at Alcalde N.M., 1932 oil on panel 24 x 36 inches signed lower left: Sheldon PARSONS inscribed verso: Summer at Alcalde N.M. / Sheldon PARSONS / SANTA FE N.M. / 1932 Provenance: Private Collection, New York $8,000 - $12,000

46 SHELDON PARSONS (1866-1943) Chamisa, Santa Fe, 1943 oil on panel 24 x 36 inches signed lower right: -Sheldon PARSONSinscribed verso: THE FAVALE COLLECTION / 1943 - WASHINGTON D.C. / CHAMISA, SANTA FE / -Sheldon PARSONSProvenance: Private Collection, New Mexico $15,000 - $20,000

24

47 SHELDON PARSONS (1866-1943) Autumn Afternoon, Velarde, NM oil on board 16 x 20 inches signed lower left: Sheldon PARSONS Sheldon Parsons’ talent for portraiture, the genre for which he was best known early in his career, emerged while he was still a student at the National Academy of Design. Following his wife’s untimely death in 1913, Parsons and his daughter, Sara, sold their possessions and traveled to Denver, Colorado, before settling permanently in Santa Fe. Parsons was welcomed warmly by Santa Feans and, captivated by the color and light of his new home, he recorded the town, nearby Indian Pueblos, and natural beauty of the New Mexico desert and surrounding mountains.

Parsons became an accomplished landscape artist, ultimately adapting his early Barbizon and Impressionist training to the sun-soaked scenery of the Southwest. Serving for a time as an administrator at the Museum of New Mexico, he fostered many later arrivals to the thriving artistic community in Santa Fe. Provenance: Private Collection, New Mexico $8,000 - $12,000

25

48 BEN TURNER (1912-1966) September Color oil on canvas 26 x 36 inches signed lower left: BEN TURNER Provenance: Private Collection, New Mexico $3,500 - $5,500 nr

49 BEN TURNER (1912-1966) Untitled oil on canvas 32 x 38 ½ inches signed lower right: BEN TURNER Provenance: Private Collection, Florida $2,500 - $3,500

26

50 SHELDON PARSONS (1866-1943) Adobes in Snow oil on board 8 ½ x 11 ½ inches signed lower left: -SheldoN PARSONSProvenance: Private Collection, Utah $5,000 - $7,000

27

51 GUSTAVE BAUMANN (1881-1971) Procession, 1930 woodblock print 13 x 12 â…ž inches signed lower right: Gustave Baumann titled lower left: PROCESSION editioned lower right: 97 III 120 Provenance: Private Collection, Texas $15,000 - $25,000

28

52 GUSTAVE BAUMANN (1881-1971) The Loma, Taos, 1919 woodblock print 9 ¼ x 11 inches signed lower right: Gustave Baumann titled lower left: The Loma TAOS Provenance: Private Collection, New Mexico $7,000 - $9,000

53 GUSTAVE BAUMANN (1881-1971) Malapai, 1930 woodblock print 9 ⅛ x 11 inches signed lower right: Gustave Baumann titled lower left: Malapai Provenance: Private Collection, New Mexico $7,000 - $9,000

29

54 GUSTAVE BAUMANN (1881-1971) Processional, 1956 woodblock print 13 x 12 ⅞ inches signed, dated and editioned lower right: Gustave Baumann 56 / III 98 125 titled lower left: PROCESSIONAL Provenance: Private Collection, Colorado $10,000 - $15,000

55 GUSTAVE BAUMANN (1881-1971) Three Pines, 1925 woodblock print 10 ⅞ x 9 ½ inches signed lower right: Gustave Baumann titled lower left: Three Pines editioned lower center: NO 43 OF 100 Provenance: Private Collection, Texas $8,000 - $10,000 nr

30

56 GUSTAVE BAUMANN (1881-1971) Piñon-Grand Cañon, 1921 woodblock print 12 ¾ x 12 ¾ inches signed lower right: Gustave Baumann titled lower left: Piñon Grand Cañon stamp-editioned lower center: 74 Provenance: Private Collection, California $10,000 - $15,000

31

57 WARREN E. ROLLINS (1861-1962) View from Studio, Grand Canyon, ca. 1910 oil on board 9 Âź x 12 inches signed lower right: - W - E Rollins Provenance: Private Collection, Maryland Note: The present lot features a rare view by the artist, believed to have been executed from the lookout of his studio, which was built for him by the Santa Fe Railroad on the rim of the Grand Canyon. $2,500 - $3,500

58 LAURENCE SISSON (1928-2015) Last Snow, South Rim oil on canvas 44 x 44 inches signed lower left: L. Sisson Provenance: Wadle Galleries, Ltd., Santa Fe, New Mexico Private Collection, California $6,000 - $8,000

32

59 WILLIAM S. JENNINGS (b. 1952) Sunset Light oil on canvas 47 ½ x 59 ½ inches signed lower right: Jennings OPA Provenance: Private Collection, California $5,000 - $7,000 nr

33

60 FREMONT ELLIS (1897-1985) Canyon de Chelly watercolor on paper 21 ½ x 27 Ÿ inches signed lower left: FREMONT F. ELLIS inscribed on label affixed to verso: Canyon de Chelly - National Monument / in the northeast corner of Arizona / in heart of the Navajo Indian Reservation. / This canyon contains several hundred / prehistoric Indian ruins, was in times / [indecipherable] ...a stronghold of the Navajos from / [indecipherable] raids against the peaceful / [indecipherable] Spanish settlements were carried / out often becoming part of the United / States, Colonel Kit Carson commanded a successful / [indecipherable] against this Indian...

Provenance: Private Collection, New Mexico $10,000 - $20,000

61 FREMONT ELLIS (1897-1985) Comanche Canyon, New Mexico, 1926 oil on canvas 26 x 36 inches signed and dated lower left: FREMONT F. ELLIS 26 inscribed on stretcher: COMANCHE CANYON NEW MEXICO / FREMONT F ELLIS Provenance: Private Collection, Oklahoma $25,000 - $35,000

34

62 JAMES SWINNERTON (1875-1974) Ruins of Hopi Trading Post oil on linen 29 ½ x 39 ½ inches signed lower right: SWiNNERTON Provenance: Private Collection, California $20,000 - $30,000 nr

63 JAMES SWINNERTON (1875-1974) Desert Cactus oil on linen 30 x 40 inches signed lower right: SWiNNERTON Provenance: Private Collection, New Mexico $15,000 - $25,000

35

64 ARTHUR EARL HADDOCK (1895-1980) Canyon de Chelly oil on board 14 x 10 inches inscribed verso: A.E. HADDOCK / Mar. 5. Painter of The West Provenance: Private Collection, Colorado $1,500 - $2,500

65 ALBERT SCHMIDT (1885-1957) Woman and Horse oil on canvas 31 ½ x 34 inches Provenance: Estate of the Artist Private Collection, New Mexico Private Collection, Mexico $8,000 - $12,000

36

66 JOZEF BAKOS (1891-1977) Foothills Farm (Early Spring) oil on board 17 ½ x 23 ½ inches signed lower left: BAKOS Provenance: Private Collection, New Mexico $5,000 - $7,000

67 DOROTHY BRETT (1883-1976) Red Willow Country, 1940 oil on board 9 ½ x 11 ½ inches signed and dated lower right: DEBRETT / 1940 Provenance: Private Collection, New Mexico $2,000 - $3,000

37

68 JOSEPH AMADEUS FLECK (1892-1977) Taos Mesa oil on masonite 20 x 24 inches signed lower left: J. Fleck Provenance: Private Collection, New Mexico $8,000 - $12,000

38

69 JOSEPH AMADEUS FLECK (1892-1977) Indian Bride, 1935 oil on canvas 31 ¼ x 44 ¾ inches signed and dated lower right: Fleck 35 Provenance: Private Collection, New Mexico Exhibited: Museum of Fine Arts, Santa Fe, New Mexico (label affixed to verso) $40,000 - $60,000

39

70 WALTER UFER (1876-1936) The White Pack oil on canvas 12 ¼ x 16 ¼ inches signed lower right: wufer inscribed on stretcher: The White Pack by W Ufer One of Walter Ufer’s many contributions as a member of the Taos Society was an honest, tactile representation of Pueblo life and culture – the result of his German heritage and training, his affinity to contemporary American Realism, and his sensitivity to the tension inherent in the gradual absorption of one culture by another. Ufer was both a humanitarian and political radical whose belief in labor rights and security extended to artists. Less romanticized than those of Couse or Phillips, Ufer’s Taos pictures often contain subtle social commentary that may, in part, be explained by his egalitarian views.

Born in Lexington, Kentucky in 1876, Ufer’s father was a German emigrant who apprenticed his son to a local lithographer after recognizing his nascent talent for drawing. Ufer left Lexington for Germany in 1893, where he studied in Hamburg and at the Royal Academy of Fine Arts in Dresden. Although he was to make several more excursions to Germany over the next twenty years, Ufer settled in Chicago in 1900, the cosmopolitan outlet of the Midwest. There he earned a living by working in advertising and teaching art at the J. Francis Smith School. In 1911, Ufer returned to Germany for two years of additional study at the Royal Academy in Munich, where he worked alongside Victor Higgins and E. Martin Hennings, both fellow artists from Chicago.

Returning to Chicago in 1913, Ufer initially struggled to make his way as a professional artist. Fortunately, his work attracted the attention of Carter H. Harrison, who was then serving his fifth term as the city’s mayor. Harrison bought two works at Ufer’s first one-man show, and encouraged him to visit New Mexico. Towards the end of the summer of 1914, Ufer left for Taos, where he encountered Buck Dunton, Bert Phillips, and Joseph Henry Sharp.

When he returned to Chicago later that year, he was full of enthusiasm for Taos, and initiated a correspondence with his future associates in New Mexico. During this visit Ufer also acquired the patronage of Oscar Mayer and Charles Herrmann, both of whom would become important collectors of his work. The following summer he brought his wife, Mary, with him and, as his summers in New Mexico lengthened, his association with the Taos Society of Artists deepened. In August 1916, he was invited to show with the Society in a Santa Fe exhibition and, at its annual meeting on July 15, 1917, he was elected a member alongside Victor Higgins. An active member until the Society’s dissolution in 1927, Ufer painted southwestern subjects almost exclusively after 1919.

The effect New Mexico had upon Ufer is discernable in his light-filled palette and strong use of shadow. His Taos scenes reflect a genuine interest in the predicament facing Pueblo culture as it hurtled towards a crossroads.

Often shown in western dress, Ufer’s Indian subjects are depicted as succumbing to the forces of modernization without enjoying the benefits – an element of social realism forged from the artist's political agenda and unbridled commitment to recording the deleterious effects of an uneasy transition.

Provenance: Private Collection, Chicago, Illinois {Gerald Peters Gallery, Santa Fe, New Mexico} Private Collection, Denver, Colorado Private Collection, New Mexico Literature: Laura M. Bickerstaff, Pioneer Artists of Taos, Denver: Sage Books, 1955, pp. 113-117 $150,000 - $250,000

40

41

71 JOHN MODESITT (b. 1955) Evening Mesa oil on canvas 27 ½ x 29 ½ inches signed lower left: Modesitt Provenance: The Artist $4,000 - $6,000

72 JOHN MODESITT (b. 1955) Late Summer, Taos oil on canvas 23 ½ x 29 ½ inches signed lower left: Modesitt Provenance: The Artist $5,000 - $7,000

42

73 JERRY JORDAN (b. 1944) Time is Endless oil on canvas 30 x 36 inches signed lower left: Jerry Jordan / © T.A.O.S. inscribed verso: “TIME IS ENDLESS” / 30 x 36 inches / #11 / 31908 8 4140-11 / © Jerry Jordan Provenance: Private Collection, New Mexico $8,000 - $12,000

43

74 CARLOS HALL (1928-1997) Taos Pueblo Rider oil on canvas 48 x 48 inches signed lower left: CARLOS HALL / TAOS inscribed verso: CARLOS HALL “TAOS RIDER” 48 X 48 - OIL Provenance: Private Collection, New Mexico $7,000 - $9,000

75 KIM MACKEY (b. 1953) Winter Farewell oil on canvas 23 x 29 inches signed lower left: MACKEY O.P.A. / © Provenance: Private Collection, Colorado $3,000 - $5,000

44

76 PAUL PLETKA (b. 1946) Untitled acrylic on canvas 64 x 102 inches signed lower right: Pletka Provenance: The Artist Private Collection, New Mexico (commissioned from the above) $75,000 - $125,000

45

77 PAUL PLETKA (b. 1946) Zuni Man oil on masonite 24 x 30 inches signed lower right: Paul Pletka Provenance: Private Collection, Texas $6,000 - $8,000

78 PAUL PLETKA (b. 1946) New Year’s Day Processional acrylic on canvas 48 x 60 inches signed lower left: Pletka Provenance: Private Collection, New Mexico $30,000 - $50,000 46

79 ALLAN HOUSER (1914-1994) Iza, 1985 bronze 8/15 16 ½ x 8 x 7 inches (with base) inscribed: ALLAN HOUSER © 85 / 8/15 Provenance: Glenn Green Galleries, Santa Fe, New Mexico Private Collection, California $7,000 - $9,000

80 ALLAN HOUSER (1914-1994) I Want to Dance with Him, 1990 bronze 1/12 23 x 12 x 10 inches (with base) inscribed: © 90 ALLAN HOUSER 1/12 (with artist's cipher) Provenance: Glenn Green Galleries, Santa Fe, New Mexico Private Collection, California Literature: Allan Houser: An American Master (Chiricahua Apache, 19141994), New York: Harry N. Abrams, 2004, p. 236 $10,000 - $15,000

47

81 ALLAN HOUSER (1914-1994) Night Guard, 1985 bronze 9/12 23 x 10 ½ x 6 ½ inches (with base) inscribed: ALLAN HOUSER / © 85 / 9/12 / AF Provenance: Glenn Green Galleries, Santa Fe, New Mexico Private Collection, California Literature: Allan Houser: An American Master (Chiricahua Apache, 1914-1994), New York: Harry N. Abrams, 2004, p. 24 $7,000 - $9,000

82 ALLAN HOUSER (1914-1994) Chiricahua Medicine Man, 1982 bronze 17/20 10 x 9 x 7 ¾ inches (with base) inscribed: © 82 ALLAN HOUSER 17/20 Provenance: Private Collection, California $5,000 - $7,000

48

83 ALLAN HOUSER (1914-1994) Silent Prayer, 1980 bronze 6/20 11 x 5 x 9 ½ inches (with base) inscribed: ALLAN HOUSER 6/20 Provenance: Glenn Green Galleries, Santa Fe, New Mexico Private Collection, California $6,000 - $8,000

84 ALLAN HOUSER (1914-1994) Tulapai, 1983 bronze 16/20 7 ¾ x 6 ¼ x 6 ¼ inches (with base) inscribed: ALLAN HOUSER / © 83 16/20 Provenance: Private Collection, California $4,000 - $6,000

49

85 WILLIAM R. LEIGH (1866-1955) Blind Hopi Girl Returning from a Desert Watering Hole, 1915 oil on canvas 11 x 15 ½ inches signed lower left: W.R. LEIGH inscribed verso: First Mesa Arizona / Sept 1915 / W.R. Leigh / A blind hopi girl returning from a desert watering hoal [sic] / The original sketch, from which a picture has been painted William Robinson Leigh was born in Berkeley County, West Virginia in 1866. He began sketching at an early age and, at 12, was paid $100 for a drawing by W.W. Corcoran, founder of the Corcoran Gallery of Art. After three years of study at the Maryland Institute of Art in Baltimore, he departed for Europe, where he would spend twelve years at the Royal Academy in Munich. In 1897, after returning to New York, Leigh cemented his reputation as one of the day’s foremost illustrators through his work for leading national publications.

Leigh fulfilled a childhood dream of going west when Scribner’s sent him to North Dakota on assignment in 1897. During the next 29 years, Leigh returned to the West often, sometimes on assignment and other times independently. Some of his favorite subjects were the lands of the Hopi and Navajo. In his paintings from this period, he adopted a palette of soft pinks, purples, reds, and yellows as a means of faithfully representing the landscape. So vivid were his colors that critics who had not witnessed the desert southwest firsthand railed against their unnatural brilliance.

In the late 1920s, Leigh spent two years in Africa; the sketches he made on this trip were used for later illustrations. In subsequent years, he executed a series of historical dioramas for the Museum of Natural History in New York. All the while he continued to paint western subjects, relying on earlier compositions for inspiration. Leigh’s enormous talent enabled him to document the rapidly fading West, from its impressive landscapes to the daily routines of its native inhabitants, as in Blind Hopi Girl Returning from a Desert Watering Hole.

Provenance: The Artist Dr. H.G. Tonkin, Williamsport, Maryland (received as a gift from the above) Boarman Arts Center, Martinsburg, West Virginia, 1999 Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico $75,000 - $125,000

50

86 WILLIAM R. LEIGH (1866-1955) Keams Canyon, AZ (Indian Portrait), 1915

87 WILLIAM R. LEIGH (1866-1955) The Water Girl at Walpi

oil on board 16 ¾ x 13 ¼ inches signed and dated lower left: W.R. LEIGH / 1915 inscribed verso: W.R. Leigh. / Aug. 1915. / Keams Cañon. / Arizona.

watercolor on paper 7 ¾ x 3 ½ inches signed lower left: WR LEIGH

Provenance: Private Collection, New Mexico

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

$20,000 - $30,000

88 WILLIAM R. LEIGH (1866-1955) Quick Sunset Study, 1926 oil on canvas mounted on board 12 x 16 inches typewritten on label affixed to verso: No. 41 / Quick Sunset Study Provenance: {Gerald Peters Gallery, Santa Fe, New Mexico} Private Collection, Illinois $8,000 - $12,000 51

89 ELBRIDGE BURBANK (1858-1949) Pima Indian Home in Ruins, Sacaton, Arizona oil on board 6 x 8 inches inscribed on label affixed to verso: PIMA / INDIAN HOME / IN - RUINS / LARGE - PIMA / BASKET - TO / STORE. GRAIN - IN / SACATON. ARIZONA Provenance: Private Collection, New Mexico $1,000 - $2,000

90 GASPARD DE LATOIX (1858-1918) Apache Scout oil on canvas 16 ¼ x 18 ¾ inches signed lower right: Gaspard de Latoix Provenance: Kennedy Galleries, Inc., New York, New York Private Collection, New Mexico $10,000 - $20,000

52

91 GERARD CURTIS DELANO (1890-1972) Dust of the Desert oil on canvas 32 x 40 inches signed lower left: © Delano Provenance: Private Collection, Wyoming $200,000 - $300,000

53

92 FRANK TENNEY JOHNSON (1874-1939) Apaches at Moonrise (Eventide), ca. 1927-29 oil on canvas stretched over board 16 x 20 inches signed and dated lower left: F. T. Johnson / 192[7 or 9] inscribed verso: Eventide. / Eventide / by F. Tenney Johnson / 22 Champion Place, / Alhambra, Calif.

Provenance: Private Collection, Colorado Private Collection, Denver, Colorado $50,000 - $100,000

93 ROBERT W. AMICK (1879-1969) Untitled oil on board 8 ½ x 12 ½ inches Provenance: Private Collection, Colorado $1,500 - $2,500 nr

54

94 HARRY JACKSON (1924-2011) The Marshall, modeled 1980, cast 1981 polychromed bronze 55 x 63 x 25 inches inscribed in ink: © Harry Jackson 1981 inscribed: © Harry Jackson 1980 / THE MARSHALL numbered: MAF 8P Provenance: Private Collection, California $40,000 - $50,000

95 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 Provenance: Private Collection, California $40,000 - $50,000

55

96 DALE FORD (b. 1934) Butterfield Overland Stage hardwood, steel and leather 21 x 48 x 17 inches inscribed: DALE FORD 78 / SCOTTSDALE. AZ. Provenance: Private Collection, Kentucky $8,000 - $12,000

56

97 ROBERT LINDNEUX (1871-1970) Roundup, 1939 oil on canvas 30 x 42 inches signed and dated lower right: Robt.

Lindneux / 1939 © Provenance: Private Collection, California $3,000 - $5,000 nr

98 CHRISTINE PICAVET (1951-2016) The Rustlers, 2004 oil on board 46 ½ x 72 ½ inches signed and dated lower left: © Christine Picavet 2004 Provenance: Private Collection, California $4,000 - $6,000 nr

57

99 OLAF WIEGHORST (1899-1988) The Dude Wrangler oil on canvas 24 x 20 inches signed lower left: O. Wieghorst Provenance: Private Collection, Minnesota $20,000 - $30,000

100 OLAF WIEGHORST (1899-1988) Nighthawk, 1942 oil on canvas mounted on board 9 x 12 inches signed lower left: O. Wieghorst inscribed verso: To John Jordan / with best / wishes / Olaf Wieghorst, / Madison / Square Garden / 1942 Provenance: Private Collection, Minnesota $10,000 - $15,000

58

101 OLAF WIEGHORST (1899-1988) Horse Wrangler oil on canvas mounted on panel 20 x 24 inches signed lower left: O-Wieghorst Provenance: Private Collection, Minnesota $20,000 - $30,000

59

102 MARTIN GRELLE (b. 1954) Checkin’ the Bottoms, 1982 acrylic on linen 24 x 36 inches signed and dated lower left: MARTIN GRELLE AICA / 1982 inscribed verso: ACRYLIC ON LINEN - / ALL REPRODUCTION RIGHTS HELD BY ARTIST / MARTIN GRELLE AICA / 1982 Provenance: Private Collection, Texas $20,000 - $30,000

103 TERRI KELLY MOYERS (b. 1953) Through the Shadows oil on canvas 40 x 50 inches signed lower right: Terri Kelly Moyers / © Provenance: Private Collection, New Mexico $8,000 - $10,000

60

104 MELVIN C. WARREN (1920-1995) Coming Home, 1978 oil on canvas 36 x 60 inches signed and dated lower right: Š Melvin C. Warren / CA 1978 Provenance: Private Collection, Texas $60,000 - $90,000

61

105 MICHAEL CASSIDY (b. 1958) The Day Herder oil on canvas 33 ½ x 53 inches monogrammed and signed lower right: M / CASSIDY inscribed lower left: Day Herder / Three Block Ranch / Lincoln County / New Mexico Provenance: The Artist $10,000 - $15,000

62

106 MICHAEL CASSIDY (b. 1958) Sangre de Cristo, Taos Pueblo oil on canvas 13 ½ x 17 ½ inches monogrammed upper right: M inscribed upper left: Sangre de Cristo / Taos Mountain / Taos Pueblo / New Mexico Provenance: The Artist $2,500 - $4,000

107 MICHAEL CASSIDY (b. 1958) Absaroka Nocturne oil on canvas 13 ½ x 17 ½ inches monogrammed and signed lower right: M / CASSIDY inscribed middle left: Absaroka Nocturne / Clark Fork / Wyoming / Territory Provenance: The Artist $8,000 - $12,000

63

108 JOSEPH HENRY SHARP (1859-1953) Wife of Chief Little Wolf, Cheyenne oil on canvas 18 x 12 inches signed lower right: J.H. Sharp inscribed verso: WIFE OF / CHIEF LITTLE WOLF / CHEYENNE Provenance: The Artist The Butler Institute of American Art, Youngstown, Ohio, 1913 (acquired from the above) {Gerald Peters Gallery, Santa Fe, New Mexico, 2007} Private Collection, New Mexico Literature: Sixty Years of Collecting American Art: An Index to the Permanent Collection, Youngstown, Ohio: The Butler Institute of American Art, 1979, p. 33 Irene S. Sweetkind, ed., The Butler Institute of American Art: Index of the Permanent Collection, Youngstown, Ohio: The Butler Institute of American Art, 1997, p. 155 $20,000 - $30,000

64

109 JOSEPH HENRY SHARP (1859-1953) Chiz-Chile, ca. 1905 oil on canvas 18 x 12 inches signed lower right: J.H. Sharp inscribed verso: CHIZ-CHILE. / NAVAHO BOY. Provenance: The Artist The Butler Institute of American Art, Youngstown, Ohio, 1913 (acquired from the above) {Gerald Peters Gallery, Santa Fe, New Mexico, 2007} Private Collection, New Mexico Literature: Sixty Years of Collecting American Art: An Index to the Permanent Collection, Youngstown, Ohio: The Butler Institute of American Art, 1979, p. 33 Irene S. Sweetkind, ed., The Butler Institute of American Art: Index of the Permanent Collection, Youngstown, Ohio: The Butler Institute of American Art, 1997, p. 155 $30,000 - $50,000

65

110 CHARLES SCHREYVOGEL (1861-1912) Sioux Indian (Kills Enemy) oil on board 9 ½ x 7 ½ inches signed lower right: Chas. Schreyvogel Provenance: Private Collection, Wyoming $20,000 - $30,000

111 CHARLES SCHREYVOGEL (1861-1912) Profile Portrait of a Native American oil on board 10 x 8 inches signed lower right (recto): Chas. Schreyvogel signed lower right (verso): Chas. Schreyvogel From an early age, Charles Schreyvogel dreamed about the West and was long fascinated by frontier conflicts between Indians and the United States Army. He made his first trip west in 1893, when he traveled to the Ute Reservation in the southwest corner of Colorado. He subsequently traveled to Arizona, where he sketched cowboys and photographed the native populations. It was here that he learned sign language and became fluent in Dakota Sioux, a skill that enabled him to communicate with the Indians and arrange for portrait sessions. During his travels, Schreyvogel visited with several different tribes, including the Utes, Apaches, Bloods, Blackfoot, Crow, Sioux, and Ponca, throughout the Dakotas, Montana, Arizona and Colorado.

Provenance: Private Collection, Wyoming $8,000 - $10,000

66

112 CHARLES SCHREYVOGEL (1861-1912) Blackfoot Reservation oil on board 5 x 8 inches signed lower right: Chas. Schreyvogel Provenance: Private Collection, Wyoming $5,000 - $10,000

113 ALEXANDER STIRLING CALDER (1870-1945) Kill an Enemy bronze 13 ½ x 10 x 4 ½ inches (with base) inscribed: Calder Provenance: Private Collection, Wyoming $10,000 - $20,000

67

114 WILLARD METCALF (1858-1925) The Ancient Mines in the Valley of the Pines gouache on paper 11 ½ x 15 inches signed lower right (image): W.L. Metcalf titled lower right (margin): “The Ancient Mines” Provenance: M.R. Schweitzer Gallery, New York, New York Spanierman Gallery, LLC, New York, New York Private Collection, New York, New York $3,000 - $5,000

115 OLAF WIEGHORST (1899-1988) Chief Bill Casper oil on canvasboard 12 x 9 inches signed lower left: O-Wieghorst (with artist’s cipher) Provenance: Private Collection, Minnesota $3,000 - $5,000

68

116 RUDOLPH KURZ (1818-1871) Three Indians with Horse watercolor on paper 15 ¾ x 13 ¼ inches signed lower right: [indecipherable] Kurz Provenance: Private Collection, New Mexico $8,000 - $10,000 nr

117 KARL BODMER (1809-1893) Deer Beside a River graphite on paper 10 x 16 inches signed lower left: KBodmer Provenance: Private Collection, New Mexico $3,000 - $5,000 nr

69

118 G.D. SMITH (19th century) Portrait of an Indian Woman, 1888 oil on panel 28 ¾ x 20 ¾ inches signed and dated lower right: G.D. Smith 88 Provenance: Estate of Joseph Mason, Lexington, Massachusetts Robert L. Lyon, Marco Island, Florida, 1977 (acquired from the above) The Crane Collection, Boston, Massachusetts Private Collection, Colorado Private Collection, Wyoming $6,000 - $8,000

119 GEORGE DE FOREST BRUSH (1855-1941) Indian and Swan oil on canvas mounted on panel 10 x 11 ½ inches signed lower right: Geo De Forest Brush Provenance: Private Collection, New Mexico $3,000 - $5,000 nr

70

120 ASTLEY COOPER (1856-1924) Hunting in the Redwood Forest, 1910 oil on canvas 71 ½ x 96 ½ inches signed and dated lower left: A.D.M. Cooper. 1910 Provenance: Private Collection, California $8,000 - $12,000 nr

121 KAREN VANCE (b. 1951) From the North Shore of Lake Yellowstone oil on canvas 47 ½ x 26 ½ inches signed lower left: K VANCE Provenance: Private Collection, California $8,000 - $12,000 nr

71

122 THOMAS MORAN (1837-1926) Castle Butte, Green River charcoal and watercolor on paper 10 ½ x 14 ½ inches monogrammed lower left: TM Provenance: Private Collection, Wyoming $50,000 - $75,000

72

123 THOMAS MORAN (1837-1926) From the Top of the Great Fall, Yellowstone, 1871 watercolor, gouache and pencil on paper 10 x 8 inches titled, dated and initialed upper left: from the top of the Great Fall. / Yellowstone 1871 TM. Provenance: {Butterfields, San Francisco, California, December 10, 1997, lot 3094} Private Collection {Gerald Peters Gallery, Santa Fe, New Mexico} The Judson C. Ball and Nancy Sue Ball Fine Art Collection Private Collection, Wyoming $75,000 - $125,000

73

124 RAPHAEL LILLYWHITE (1891-1958) Mount Moran, Teton Range oil on canvas 34 ¾ x 40 ¾ inches signed lower right: Raphael / Lillywhite Provenance: Private Collection, Oregon $8,000 - $10,000

125 JIM WILCOX (b. 1941) Mountain Lake, Teton Range, 1988 oil on board 12 x 12 inches signed and dated lower right: JIM WILCOX NAWA / © 88 Provenance: Private Collection, New Mexico $1,000 - $2,000 nr

74

126 CHARLES PARTRIDGE ADAMS (1858-1942) The Grand Teton from Jenny Lake oil on canvas 24 x 20 inches signed lower left: Charles. Partridge. Adams. inscribed on stretcher: The Grand Teton. / From Jenny Lake Provenance: Private Collection, Wyoming $15,000 - $20,000

75

127 CHARLES PARTRIDGE ADAMS (1858-1942) The Spanish Peaks, Southern Colorado watercolor and gouache on paper 7 ¾ x 11 ¾ inches (sight) signed lower left: Chas. Partridge. Adams.

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

128 CHARLES PARTRIDGE ADAMS (1858-1942) Mt. Sneffels, San Juan Mountains watercolor on paper 11 x 14 inches signed lower left: Charles. Partridge. Adams Provenance: Private Collection, Colorado $1,500 - $2,500

76

129 CLYDE ASPEVIG (b. 1951) Glacier Bay oil on canvas 20 x 36 inches signed lower left: C. ASPEVIG Provenance: Private Collection, Alaska $15,000 - $25,000

77

130 CLYDE ASPEVIG (b. 1951) Above Sitka oil on canvas mounted on cardboard 11 x 14 inches signed lower left: C. Aspevig Provenance: Private Collection, Alaska $3,000 - $4,000

131 CLYDE ASPEVIG (b. 1951) Sitka Bay oil on canvas 20 x 24 inches signed lower right: C. ASPEVIG Provenance: Private Collection, Alaska $10,000 - $15,000

78

132 ERNEST ROBERTSON (b. 1939) Mount Denali, 1994 oil on canvas 29 ¾ x 47 ½ inches signed and dated lower left: ERNEST Robertson © ‘94 Provenance: Private Collection, Alaska $4,000 - $6,000

133 THOMAS KINKADE (1958-2012) Pleasant Island oil on masonite 6 x 15 inches inscribed verso: PAINTED ABOARD MV SEA COMBER / BY THOMAS KINKADE / FOR DR. BOB WHITE Provenance: The Artist Private Collection, Alaska (acquired from the above) $3,000 - $5,000

79

134 ARTURO CHAVEZ (b. 1949) Western Plains oil on board 48 x 96 inches signed lower right: © Arturo Chavez (with artist's cipher) Provenance: Private Collection, California $10,000 - $15,000 nr

135 ARTURO CHAVEZ (b. 1949) Where the Buffalo Roam oil on board 49 ½ x 118 inches signed lower left: © Arturo Chavez (with artist's cipher) Provenance: Private Collection, California $10,000 - $15,000 nr

80

136 DALHART WINDBERG (b. 1933) Ageless Monarch, 1988 oil on canvas 19 ¼ x 35 ½ inches signed and dated lower left: Windberg © 1988 Provenance: Private Collection, New Mexico $10,000 - $15,000

137 DON RODELL (1932-2003) Autumn’s Splendor, 1981 oil on masonite 24 x 20 inches signed lower right: don rodell / © inscribed verso: “AUTUMN’S SPLENDOR” / ARTIST COPYRIGHTS & / RESERVES ALL REPRODUCTION / RIGHTS. 1981 / dr.

Provenance: Private Collection, Minnesota $1,000 - $2,000 nr

81

138 RICHARD BISHOP (1887-1975) Thru the Clearing oil on board 11 ¼ x 15 ¼ inches signed lower left: Bishop © Provenance: Private Collection, Nevada $3,000 - $4,000

139 GREG BEECHAM (b. 1954) Chilkat Eagles, 1998 oil on canvas 20 x 43 ½ inches signed and dated lower right: G. BEECHAM (with artist’s cipher) / © 98 Provenance: Private Collection, Alaska $20,000 - $30,000

82

140 GARY SWANSON (1941-2010) One Last Look, 1980 oil on canvas 23 ½ x 31 ½ inches signed and dated lower right: GARY R. SWANSON / © ‘80 Provenance: Private Collection, New Mexico $4,000 - $6,000

141 JOHN BANOVICH (b. 1964) Dappled Moonlight, 2008 oil on canvas 10 ¾ x 13 ½ inches signed and dated lower right: BANOVICH / © 2008 Provenance: Private Collection, Nevada $4,500 - $6,500

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142 THOMAS QUINN (b. 1938) Procession, 2012 gouache on paper 24 ½ x 38 ¼ inches signed and dated upper left: Thomas Quinn / 2012 © Provenance: Private Collection, Wyoming $15,000 - $25,000

143 THOMAS QUINN (b. 1938) Tundra Swan, 1987 acrylic and gouache on board 17 x 35 inches signed and dated lower right: Thomas Quinn / 1987 © Provenance: Private Collection, Wyoming $4,000 - $8,000

84

144 RON KINGSWOOD (b. 1959) In the Dogwoods, 2014 oil on canvas 56 x 60 inches signed and dated lower right: Kingswood 2014 Provenance: The Artist $12,000 - $15,000

85

145 DON COEN (b. 1935) Untitled oil stick on paper 19 ½ x 32 inches signed lower right: D W Coen Provenance: Private Collection, Colorado $2,000 - $3,000

146 THOMAS HART BENTON (1889-1975) The High Plains oil on panel 4 ½ x 6 ½ inches signed lower left: Benton Note: The High Plains is a focused study for a larger 1954 work titled The Plains, a tempera on board measuring 19 x 26 1/2 inches, which was sold at Christie’s, New York, in November 2014 for $725,000.

Provenance: Private Collection, St. Louis, Missouri Private Collection, New Mexico $100,000 - $200,000 86

147 ALBERT SCHMIDT (1885-1957) Harvesting the Hay oil on canvas 16 x 40 Âź inches In 1921, when Albert Schmidt and his family were on their way to California, they stopped in Santa Fe, fell in love with the area, and decided to stay. Schmidt was struck by the expanse of the northern New Mexico landscape and devoted his entire life to painting those scenes. He relied on the European academic traditions he learned at the Art Institute of Chicago, in addition to the more modern techniques he absorbed by way of his travels: the patchwork color of the Impressionists, the serpentine lines of Art Nouveau, the blocky masses of the Cubists, and the bright colors of the Expressionists.

Schmidt’s love for the land encouraged a special interest in light and color effects, design, and tonal harmonies, as well as in the rhythms and routines of farm life, as evidenced by Harvesting the Hay. He discovered in New Mexico a place where he could feel at peace with himself, and a place where human scale was not diminished by buildings but, rather, complemented by mountains, trees, and panoramic vistas. His career-long experiments in color, composition, and medium fostered a distinct body of work: still life, landscapes, figure studies, and genre scenes that run the gamut from tender to dynamic.

Provenance: Estate of the Artist $10,000 - $15,000

87

148 GARY ERNEST SMITH (b. 1942) Glenda oil on canvas 48 x 48 inches signed lower right: GARY ERNEST SMITH © Provenance: Private Collection, Colorado $10,000 - $15,000

149 GARY ERNEST SMITH (b. 1942) Morning Irrigation, 1983 oil on canvas 24 x 30 inches signed and dated lower right: GARY E SMITH / 1983 © Provenance: Private Collection, Colorado $4,000 - $6,000

88

150 GARY ERNEST SMITH (b. 1942) Farm Hand with Hay Hook oil on canvas 32 x 26 inches signed lower right: GARY E SMITH Provenance: Private Collection, Colorado $8,000 - $12,000

151 GARY ERNEST SMITH (b. 1942) Man with Potato Shovel oil on canvas 36 x 24 inches signed lower right: GARY E SMITH Provenance: Private Collection, Colorado $8,000 - $12,000

89

152 CLARENCE MCGRATH (1938-2007) Working the Land oil on board 24 x 48 inches signed lower left: McGrath Provenance: Private Collection, Minnesota $4,000 - $6,000

153 ROBERT HAGAN (b. 1947) Breakin’ Loose oil on canvas 24 x 30 signed lower left: R HAGAN inscribed verso: BREAKIN LOOSE Provenance: Private Collection, Minnesota $2,000 - $3,000

90

154 GUY COHELEACH (b. 1933) Untitled (Race Day) oil on canvas 16 x 20 inches signed lower right: Coheleach / © inscribed verso: all rights reserved / Guy Coheleach / © Provenance: Private Collection, Minnesota $1,000 - $2,000 nr

155 OLEG STAVROWSKY (b. 1927) Tick and Jobie oil on canvas 20 x 24 inches signed lower left: Oleg Stavrowsky Provenance: Private Collection, Texas $2,500 - $3,500

156 GEORGE B. MARKS (1923-1983) Along Tanner Creek oil on canvas 23 x 28 inches signed lower left: GB MARKS / © CA inscribed verso: ALL REPRODUCTION AND COMMERCIAL / RIGHTS RESERVED BY THE ARTIST Provenance: Private Collection, Kentucky $2,000 - $3,000

91

157 JIM REY (b. 1939) Pack Trail, 1980 oil on canvas 20 x 16 inches signed lower left: Jim Rey / [indecipherable] inscribed verso: PAINTED FOR RON HOUGHTAILING / AT THE REQUEST OF SON, RICK... / CHRISTMAS ‘80 / Jim Rey / © Provenance: Private Collection, Colorado $1,000 - $2,000 nr

158 FRED LUCAS (1946-2011) After the Storm oil on canvas 18 x 24 inches signed lower right: FRED / LUCAS © Provenance: Private Collection, Kentucky $1,000 - $3,000 nr

92

159 FRED LUCAS (1946-2011) Gila Escort oil on canvas 18 x 24 inches signed lower left: Fred Lucas / © Provenance: Private Collection, Kentucky $2,000 - $4,000

160 WILLIAM S. JENNINGS (b. 1952) Final Glory oil on canvas 18 x 24 inches signed lower right: JENNINGS © inscribed verso: “FINAL GLORY” © / ALL RIGHTS RESERVED / Wm. S. Jennings Provenance: Private Collection, Nevada $1,000 - $2,000

93

161 ALFREDO RODRIGUEZ (b. 1954) On the Road to Shiprock oil on canvas 30 x 40 inches signed lower right: A Rodriguez © inscribed verso: All Copyrights are reserved / by the artist Alfredo Rodriguez / © Provenance: Private Collection, Kentucky $4,000 - $6,000

162 RAY SWANSON (1937-2004) Young Friends oil on canvas mounted on panel 26 x 20 inches signed lower right: Ray Swanson CA / © Provenance: The Artist Private Collection, Michigan (acquired from the above) $4,000 - $6,000

163 ALFREDO RODRIGUEZ (b. 1954) Sister’s New Friend, 1981 oil on canvas 30 x 40 inches signed and dated lower right: A. Rodriguez / © 81 Provenance: Private Collection, Texas $3,000 - $5,000

94

164 ROY LEE WARD (1941-2015) Early Warning, 1976 oil on board 24 x 36 inches signed and dated lower right: Roy Lee Ward / © 1976 inscribed verso: “EARLY WARNING” / By Roy Lee Ward / © 1976 Provenance: Private Collection, Kentucky $1,000 - $2,000 nr

165 PETER VAN DUSEN (b. 1929) No Time for Portage oil on canvas 36 x 24 inches signed lower right: Peter Van Dusen Provenance: Private Collection, Minnesota $2,000 - $3,000 nr

95

166 PAUL MANN (b. 1955) Indian on Horseback, 1985 oil on board 13 ¾ x 18 inches signed and dated lower right: © Paul Mann -85Provenance: Private Collection, New Mexico $1,500 - $2,500 nr

167 ROGER WILLIAMS (b. 1954) Canyon Riders at Twilight oil on linen mounted on board 16 x 12 inches signed lower left: Roger Williams inscribed verso: “Canon Riders at Twilight” study / 16 x 12 oil on mounted linen / Roger Williams Provenance: Private Collection, Utah $1,500 - $2,500

168 NED JACOB (b. 1938) UTE charcoal on paper 20 ¾ x 13 ½ inches signed and titled lower right: Ned Jacob / UTE Provenance: Private Collection, New Mexico $1,000 - $1,500

96

169 OLAF WIEGHORST (1899-1988) Untitled (Indian Head) ink and gouache on paper 12 x 12 inches (sight) signed lower right: O-Wieghorst / (artist’s cipher) Provenance: Private Collection, Minnesota $1,200 - $1,800

170 OLAF WIEGHORST (1899-1988) Untitled (Indian with Bonnet) pencil on paper 6 x 4 ½ inches (sight) signed lower center: O-Wieghorst Provenance: Private Collection, Minnesota $500 - $700 nr

97

171 OLAF WIEGHORST (1899-1988) Untitled (Indian Chief) ink on paper 13 ½ x 13 ½ inches (sight) signed lower left: O-Wieghorst (with artist’s cipher) Provenance: Private Collection, Minnesota $2,000 - $3,000

172 OLAF WIEGHORST (1899-1988) Untitled (End of the Trail) ink on paper 11 ½ x 13 ½ inches (sight) signed lower left: O-Wieghorst (with artist’s cipher) © Provenance: Private Collection, Minnesota $2,000 - $3,000

173 OLAF WIEGHORST (1899-1988) Untitled (Cowboy on Horseback) ink on paper 11 ½ x 13 ½ inches (sight) signed lower left: O-Wieghorst (with artist’s cipher) © Provenance: Private Collection, Minnesota $2,000 - $3,000

98

174 OLAF WIEGHORST (1899-1988) Untitled (Keeping Warm)

175 OLAF WIEGHORST (1899-1988) Untitled (Herding)

ink on paper 11 ½ x 13 ½ inches (sight) signed lower left: O-Wieghorst (with artist’s cipher)

ink on paper 11 ½ x 17 ½ inches (sight) signed lower left: O-Wieghorst (with artist’s cipher) ©

Provenance: Private Collection, Minnesota

Provenance: Private Collection, Minnesota

$2,000 - $3,000

$2,000 - $3,000

176 OLAF WIEGHORST (1899-1988) Untitled (Day’s End) ink on paper 6 x 7 ½ inches (sight) initialed and inscribed lower left: O-W / (artist’s cipher) / From my Sketchbook Provenance: Private Collection, Minnesota $500 - $1,000 nr

177 OLAF WIEGHORST (1899-1988) Cavalry Man watercolor on paper 11 x 9 ½ inches (sight) signed lower left: O-Wieghorst / (artist’s cipher) Provenance: Private Collection, Minnesota $4,000 - $6,000 99

178 THEODORE VAN SOELEN (1890-1964) Spring Work lithograph 13 ¾ x 19 ¼ inches signed lower right: Van Soelen N.A. © titled lower center: Spring Work editioned lower left: 12/115 Provenance: Private Collection, New Mexico $1,000 - $1,500 nr

179 WILLIAM R. LEIGH (1866-1955) Foul Rope etching 14 ¾ x 11 ¾ inches signed lower right: W.R. Leigh Provenance: Private Collection, New Mexico $2,500 - $3,500 nr

180ab WILLIAM R. LEIGH (1866-1955) a. Dust Storm etching 5 x 6 inches signed lower right: W.R. Leigh b. Three Donkeys etching 7 ¾ x 10 ¼ inches signed lower right: W.R. Leigh Provenance: Private Collection, New Mexico $1,500 - $2,500 (for the pair) nr

100

181 BILLY SCHENCK (b. 1947) Down to the Valley, 1992 color serigraph 25 x 29 inches (image) signed and dated lower right: Schenck Dec 92 titled and editioned lower left: Down to the Valley A.P. Provenance: Private Collection, New Mexico $500 - $700 nr

182 GARY ERNEST SMITH (b. 1942) Billy the Kid bronze 21 ½ x 9 ½ x 7 ¼ inches (with base) inscribed: HENRY McCARTY / HENRY ANTRIM / WILLIAM H BONNEY / “BILLY THE KID” / © GARY ERNEST SMITH Provenance: Private Collection, Minnesota $3,000 - $5,000

183 HAROLD H. BETTS (1881-1951) Peña Blanca Tienda, New Mexico oil on canvas 27 ¼ x 36 ¼ inches initialed lower left: H.H.B Provenance: Private Collection, New Mexico $3,000 - $4,000

101

184 GEORGE CARLSON (b. 1940) Tarahumara Mother, 1974 bronze 13/21 9 ½ x 6 ½ x 9 inches inscribed: CARLSON / 1974 © 13-21 Provenance: Private Collection, New Mexico $2,000 - $3,000

185 GEORGE CARLSON (b. 1940) Patriarch of Norogachic, 1975 bronze 4/21 7 ½ x 6 x 5 inches inscribed: CARLSON / 1975 © 4-21 Provenance: Private Collection, New Mexico $1,500 - $2,500

102

186 HOWARD COOK (1901-1980) Oaxaca Girl oil on board 24 x 20 inches signed lower right: Howard Cook inscribed verso: OAXACA GIRL / Howard Cook Provenance: Private Collection, New York $2,000 - $3,000

187 DAN NAMINGHA (b. 1950) Sacred Shield oil on canvas 60 x 50 inches signed lower left: Namingha inscribed on label affixed to verso: Sacred Shield Provenance: Private Collection, California $4,000 - $6,000 nr

103

188 DORIS BRUNENKANT (b. 1933) Apache Beads oil on board 18 ½ x 10 ½ inches signed lower left: Brunenkant / © Provenance: Private Collection, New Mexico $500 - $700 nr

189 ROSE ANN DAY (b. 1949) Sunlight and Flowers oil on canvas 19 ½ x 29 ½ inches signed lower left: R.A. Day / © Provenance: Private Collection, New Mexico $1,000 - $1,500 nr

190 JOE ANNA ARNETT (b. 1950) Pumpkins oil on canvas 23 ½ x 19 ½ inches signed lower right: j a arnett Provenance: Private Collection, Alaska $800 - $1,200 nr

104

191 MARGARETTA CAESAR (b. 1952) Gully Wash oil on canvas 18 x 24 inches signed lower right: Caesar inscribed verso: M Caesar Provenance: Arts at Denver Gallery, Denver, Colorado Private Collection, Nevada (acquired from the above) $2,000 - $3,000

192 DON BRACKETT (b. 1932) Sunset Mesas oil on canvas 9 x 12 inches signed lower right: D. Brackett Provenance: Private Collection, New Mexico $500 - $1,000 nr

193 MIKE LYNCH (b. 1950) Autumn Display, 2006 oil on linen 16 x 20 inches signed lower left: M. Lynch inscribed verso: “AUTUMN DISPLAY” / OIL/LINEN / 16” X 20” / M. Lynch © 2006 Provenance: The Artist Private Collection, New Mexico (acquired from the above) $2,000 - $3,000

105

194 GUSTAVE CIMIOTTI (1875-1969) Talpa on the Hill, New Mexico oil on board 12 x 16 inches signed lower right: CIMIOTTI inscribed verso: TALPA ON THE HILL / NEW MEXICO / GUSTAVE CIMIOTTI / 51 WEST 10 ST / N.Y. CITY Provenance: Private Collection, New Jersey Exhibited: Montclair Art Museum, Montclair, New Jersey (label affixed to verso) $600 - $800 nr

195 HANS RESSDORF (1918-2011) New Mexico Homestead oil on canvas 23 ½ x 35 ½ inches signed lower left: H Ressdorf Provenance: Private Collection, New Mexico $1,000 - $2,000 nr

106

196 DOUGLAS ATWILL (b. 1933) Galisteo Landscape acrylic on linen 58 x 54 inches inscribed verso: 62.92 GALISTEO NO. 26 58 x 54 Acrylic on Linen Douglas E. Atwill © 1992 All Rights Reserved Provenance: Private Collection, New Mexico $2,000 - $3,000

197 FORREST MOSES (b. 1934) San Cristobal, New Mexico oil on canvas 36 x 36 inches inscribed verso: Moses / #7627 “SAN Cristobal, NM Forrest Moses / Moses Provenance: Private Collection, Texas $2,000 - $3,000 nr

107

198 HENRY SALLOCH (1908-1985) Untitled (Southwestern Landscape)

199 HENRY SALLOCH (1908-1985) Untitled (Adobe Church)

pastel on velvet 19 x 24 ½ inches inscribed lower right: H59

pastel on velvet 16 ¾ x 18 ¾ inches inscribed lower right: H62

Provenance: Private Collection, France

Provenance: Private Collection, France

$1,500 - $2,500 nr

$1,500 - $2,500 nr

200 HENRY SALLOCH (1908-1985) Chico Court No. 1, Taos pastel on velvet 20 x 23 ¾ inches titled lower left: CHICO COURT NO 1 TAOS Provenance: Private Collection, France Exhibited: Eloquent Objects: Georgia O’Keeffe and Still-Life Art in New Mexico, Indianapolis Museum of Art, Indianapolis, Indiana; Tacoma Art Museum, Tacoma, Washington; Colorado Springs Fine Arts Center, Colorado Springs, Colorado; Art Museum of South Texas, Corpus Christi, Texas, 2015 $2,000 - $3,000 nr

108

201 DOROTHY BRETT (1883-1976) Untitled, 1969 oil on board 19 ½ x 23 ¼ inches signed and dated lower left: DEBRETT / 1969 Provenance: Private Collection, California $3,000 - $5,000

202 BEATRICE MANDELMAN (1912-1998) Abstract Still Life oil on board 19 ¾ x 23 ¾ inches signed lower right: Mandelman Provenance: Private Collection, New York $1,500 - $2,500

109

203 JAMES SURLS (b. 1943) Riding the Prisms, 1985

204 JAMES SURLS (b. 1943) Wind, 1981

graphite on paper 32 x 40 inches titled, signed and dated lower left: Riding the Prisms / James Surls / Sept 18, 85

graphite on paper 18 x 23 ž inches titled, signed and dated lower left: Wind / James Surls / Oct 1, 81

Provenance: Private Collection, New York

Provenance: Private Collection, New York

$4,000 - $6,000

$2,500 - $3,500

205 JAMES SURLS (b. 1943) Eat, 1985

206 JAMES SURLS (b. 1943) Look for the Door, 1978

graphite on paper 32 x 40 inches signed and dated lower right: James Surls / June 2, 85 titled lower left: EAT

graphite on paper 13 Âź x 20 inches dated and signed lower right: Oct 3, 78 / James Surls titled lower left: Look for the Door

Provenance: Private Collection, New York

Provenance: Private Collection, New York

$4,000 - $6,000

$2,000 - $3,000

110

207 WOLF KAHN (b. 1927) Untitled, 1992 pastel on paper 11 x 14 inches signed and dated lower right: W Kahn ‘92 Provenance: Private Collection, Colorado $1,500 - $2,500 nr

208 TOM PERKINSON (b. 1940) Child of the Sun oil on canvas 50 x 40 inches signed lower right: © PERKINSON inscribed verso: CHILD OF THE SUN - PERKINSON Provenance: Private Collection, Colorado $3,000 - $5,000

111

209 CLIFFORD BECK, JR. (1946-1995) The Turquoise Ring oil on canvas 48 x 40 inches signed lower right: C Beck Provenance: Private Collection, California $2,500 - $4,500

210 GENE AND REBECCA TOBEY (b. 1945/48) Untitled ceramic 13 x 21 x 8 inches inscribed: Tobey © Provenance: Private Collection, New Jersey $800 - $1,200 nr

112

SESSION TWO SUNDAY, DECEMBER 4TH | 1:30 PM MST 1011 PASEO DE PERALTA, SANTA FE, NEW MEXICO

113

211 EDWARD BOREIN (1872-1945) Cowboys

212 EDWARD BOREIN (1872-1945) Sitting Pretty, No. 1

etching 8 11/16 x 11 13/16 inches

etching and drypoint 6 15/16 x 4 15/16 inches signed lower right: Edward Borein

Provenance: Private Collection, Wyoming Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 34 $1,500 - $2,500

Provenance: Arlington Gallery, Santa Barbara, California Private Collection, Wyoming Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 65 Note: Accompanied by letter of authentication from Harold G. Davidson, Santa Barbara, California, October 4, 1988. $2,000 - $2,500

213 EDWARD BOREIN (1872-1945) Point Riders etching and drypoint 7 3/16 x 11 â…? inches signed lower right: Edward Borein Provenance: Private Collection, Wyoming Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 92 Note: Accompanied by letter of authentication from Harold G. Davidson, Santa Barbara, California, February 2, 1996. $2,000 - $2,500

214 EDWARD BOREIN (1872-1945) End of the Race etching and drypoint 7 9/16 x 11 â…ž inches signed lower right: Edward Borein Provenance: Private Collection, Wyoming Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 131 $1,500 - $2,500

114

215 EDWARD BOREIN (1872-1945) Navajos

216 EDWARD BOREIN (1872-1945) Hopi Boys

etching and drypoint 9 ¼ x 12 ⅛ inches signed lower right: Edward Borein

etching and drypoint 5 ½ x 6 ⅞ inches signed lower right: Edward Borein

Provenance: Private Collection, Virginia

Provenance: Private Collection, Wyoming

Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 183

Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 187

$1,500 - $2,500

$1,500 - $2,500

217 EDWARD BOREIN (1872-1945) Crow Horse Guard etching and drypoint 6 11/16 x 10 ⅞ inches signed lower right: Edward Borein.

218 EDWARD BOREIN (1872-1945) After the Buffalo Hunt

Provenance: Private Collection, Virginia

etching and drypoint 7 15/16 x 11 ¾ inches signed lower right: Edward Borein

Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 163 $1,500 - $2,500

Provenance: Private Collection, Virginia Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 180 $3,000 - $4,000 115

219 EDWARD BOREIN (1872-1945) Taos from the Stream etching and drypoint 9 3/16 x 11 5/16 inches signed lower right: Edward Borein.

Provenance: Private Collection, Wyoming Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 232 Exhibited: Edward Borein: Artist of the West, Palm Springs Desert Museum, Palm Springs, California, February 8-April 28, 1991 (label affixed to verso) $2,500 - $3,500

220 EDWARD BOREIN (1872-1945) A Street in Taos etching and drypoint 8 ½ x 11 ⅞ inches signed lower right: Edward Borein Provenance: Private Collection, Virginia Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 231 $2,500 - $3,500

116

221 EDWARD BOREIN (1872-1945) House at Laguna etching and drypoint 7 ⅜ x 10 ½ inches signed lower right: Edward Borein Provenance: Private Collection, Wyoming Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 229 $2,000 - $2,500

222 EDWARD BOREIN (1872-1945) Mission Dolores, No. 2 etching and drypoint 8 ⅝ x 16 ⅜ inches signed lower right: Edward Borein Provenance: Private Collection, Virginia Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 261 $2,500 - $3,500

117

223 DOUG HYDE (b. 1946) Sisters bronze 14/15 13 ½ x 8 ¾ x 5 inches inscribed: D. HYDE (with artist’s cipher) © 14/15 Provenance: Private Collection, Louisiana $1,500 - $2,500 nr

224 DOUG HYDE (b. 1946) Pueblo Harvest bronze AP 15 ¼ x 7 ¼ x 2 ¾ inches inscribed: D. HYDE © / AP Provenance: Private Collection, Louisiana $2,000 - $3,000 nr

118

225 GLENNA GOODACRE (b. 1939) Waterbearers, 1986 bronze standing: 88 1/2 x 30 x 24 1/2 inches standing/holding pot: 83 x 33 1/2 x 30 inches kneeling/holding pot: 47 1/2 x 40 x 44 1/2 inches inscribed: G. Goodacre Provenance: Private Collection, New Mexico $150,000 - $225,000

119

226 HUBERT SHUPTRINE (1936-2006) Festival Dancer watercolor on paper 29 ½ x 22 ¼ inches (sight) signed lower right: Hubert Shuptrine Provenance: Private Collection, New Mexico $15,000 - $25,000

227 FRANK APPLEGATE (1881-1931) Untitled (Pueblo Dance) watercolor on paper 8 ½ x 5 ¾ inches Provenance: Estate of the Artist Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico Literature: Daria Labinsky and Stan Hieronymous, Frank Applegate of Santa Fe: Artist & Preservationist, Albuquerque: LPD Enterprises, 2001, p. 140 $1,000 - $3,000

120

228 FRANK APPLEGATE (1881-1931) Untitled (Indian Village), ca. 1925 oil on canvas 24 x 27 inches signed lower right: F.G. Applegate inscribed verso: Frank G. Applegate / Santa Fe / N.M. Frank Applegate and his family arrived in Santa Fe in September 1921. By the second week of the month, the family had purchased land on Camino del Monte Sol where Los Cinco Pintores, a group of five young painters, would also build their homes. Although trained as a ceramicist, Applegate soon turned towards painting. In 1923, the New Mexico Painters, an avant-garde group of artists, was established. The group included Applegate, Jozef Bakos, Ernest Blumenschein, William P. Henderson, Gustave Baumann, Victor Higgins, Walter Ufer, and B.J.O. Nordfeldt. Their first exhibition was held in October 1923 at the Montross Gallery in New York. The following year, five more artists—including John Sloan, Andrew Dasburg, and Theodore Van Soelen—joined the group.

By the mid-1920s, Applegate began working almost exclusively in watercolor.

He focused on landscapes, town and street scenes, Indian ceremonies, and rural villages. After 1927, several members of the New Mexico Painters, including Applegate, regrouped as the Santa Fe Society of Artists. He continued to exhibit in major shows at the Art Institute of Chicago and Corcoran Gallery of Art in Washington, DC, with the Denver Art Museum awarding Applegate a one-man exhibition in November 1927.

developed an interest in Indian and Colonial Hispanic Arts, which he avidly collected. His visual records of pueblo life in New Mexico, such as Untitled (Indian Village), are enduring testaments to a region and culture he deeply admired. Applegate was a founding member of the Old Santa Fe Association and was an influential force in developing and establishing the historic preservation movement in Santa Fe. Provenance: Estate of the Artist Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico, 1987 Literature: Southwestern Allure: The Art of the Santa Fe Art Colony, Boca Raton Museum of Art, Boca Raton, Florida, 2013, exh. cat., p. 24, p. 76 Daria Labinsky and Stan Hieronymous, Frank Applegate of Santa Fe: Artist & Preservationist, Albuquerque: LPD Enterprises, 2001, p. 138 Exhibited: Southwestern Allure: The Art of the Santa Fe Art Colony, Boca Raton Museum of Art, Boca Raton, Florida, October 8-December 29, 2013; The Mennello Museum of American Art, Orlando, Florida, January 20-April 7, 2014; New Mexico Museum of Art, Santa Fe, New Mexico, April 25-July 27, 2014 $75,000 - $125,000

Applegate filled his homes with woodcarvings and handmade furniture, as well as with ceramic sculpture and pots. Alongside his passion for painting, Applegate 121

229 JULIUS ROLSHOVEN (1858-1930) Indian Dancer oil on panel 27 x 15 inches signed and inscribed lower left: NEW MEXICO / J. Rolshoven Provenance: Collection of Richard Wagner, Sewickley, Pennsylvania {Maxwell Galleries, San Francisco, California} Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico Exhibited: Wild Life in Art, Brooklyn Institute of Arts and Sciences (Brooklyn Museum), Brooklyn, New York, n.d. (label affixed to verso) Masters of the Taos Tradition, National Museum of Wildlife Art, Jackson, Wyoming, May-November 1995 The Taos Society of Artists, The Mennello Museum of Art, Orlando, Florida, September 22, 2014-January 16, 2015 $75,000 - $125,000

230 JULIUS ROLSHOVEN (1858-1930) Two Indians on Horseback pastel on paper 14 Âź x 11 inches Provenance: Fenn Galleries, Ltd., Santa Fe, New Mexico Private Collection, New Mexico $20,000 - $25,000 122

231 JULIUS ROLSHOVEN (1858-1930) Taos Warriors oil on canvas 34 x 43 inches signed lower left: J. Rolshoven / TAOS - N.M. In 1916, after several years living and exhibiting abroad, Julius Rolshoven visited Taos. He remained in northern New Mexico for the next four to five years, was elected an associate member of the Taos Society of Artists in 1917, and became an active member the following year. Rolshoven was fascinated with pueblo culture, and admired deeply the way the Taos Indians coexisted peacefully with their natural surroundings. His style was rooted in the late nineteenth-century artistic principles of allegory and classicism, and his romantic paintings of Taos won critical favor within more traditional circles. Although his time in northern New Mexico was productive—as evidenced by Taos Warriors, a dynamic 34 x 43-inch canvas—Rolshoven returned to Europe in 1919.

Provenance: Private Collection, Santa Fe, New Mexico Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico, 2007 $150,000 - $250,000

123

232 OSCAR E. BERNINGHAUS (1874-1952) A Corner in Taos, 1908 gouache on paper 5 ½ x 9 inches signed and dated lower left: O.E. BERNINGHAUS / - 08 Provenance: Private Collection, New Mexico $25,000 - $35,000

124

233 JOSEPH HENRY SHARP (1859-1953) Taos Moonlight oil on canvas 16 x 24 ¼ inches signed lower right: J.H. SHARP Provenance: {Mitchell Brown Fine Arts, Inc., Santa Fe, New Mexico} Collection of Reynolds Price, Durham, North Carolina, 1998 Private Collection, New Mexico $100,000 - $150,000

125

234 ERNEST BLUMENSCHEIN (1874-1960) Geese oil on board 4 x 6 ½ inches initialed lower center: B inscribed verso: Ernest L. Blumenschein / Taos N.M. Provenance: Private Collection, New Mexico $5,000 - $7,000

235 JIM WAGNER (b. 1940) Untitled (Taos Goose) oil on board 37 ¼ x 37 ¼ inches signed upper right: Wagner Provenance: Private Collection, New Mexico $3,000 - $5,000

236 WARD LOCKWOOD (1894-1963) Three Greenheads oil on masonite 25 x 30 inches signed lower right: LOCKWOOD inscribed verso: WARD LOCKWOOD / “THREE GREENHEADS” / 25” X 30” OIL Provenance: Private Collection, New Mexico $5,000 - $8,000

126

237 LEON GASPARD (1882-1964) Eagle and Pigeons oil on board 23 ¾ x 24 inches signed lower left: Leon Gaspard Provenance: Kennedy Galleries, Inc., New York, New York Maxwell Galleries, San Francisco, California Fenn Galleries, Ltd., Santa Fe, New Mexico Santa Fe East Gallery, Santa Fe, New Mexico Private Collection, New Mexico $10,000 - $15,000

238 LEON GASPARD (1882-1964) Fiesta oil on canvas 6 ½ x 4 ¾ inches signed lower left: Leon Gaspard Gaspard’s paintings of the American Southwest and its indigenous inhabitants reflect the artist’s fascination with regional colors and rituals – subjects that formed the bulk of his work in his native Russia. Gaspard’s application of color and suggestive rather than definitive brushwork indicate an interest in Impressionism, yet he remained too devoted to representation to ever fully embrace abstraction. Although Gaspard was advised by artist John Marin to “go modern,” he elected instead to emphasize the values—and the customs, costumes, and traditions—of his pueblo subjects.1 Provenance: Fenn Galleries Ltd., Santa Fe, New Mexico (label affixed to verso) From a Private Collection $10,000 - $20,000

1

Frank Waters, Leon Gaspard, Fenn Galleries, Ltd., Santa Fe, New Mexico, 1981

127

239 GUSTAVE BAUMANN (1881-1971) San Geronimo - Taos, 1924 woodblock print 78/125 7 ⅛ x 6 inches signed lower right: Gustave Baumann titled lower left: SAN GERONIMO - TAOS editioned lower right: 78/125 Provenance: Private Collection, Texas $10,000 - $15,000 nr

240 GUSTAVE BAUMANN (1881-1971) Night of the Fiesta - Taos, 1924 woodblock print 38/125 5 ⅞ x 7 ¼ inches signed lower right: Gustave Baumann titled lower left: NIGHT OF THE FIESTA - TAOS editioned lower right: 38/125 Provenance: Private Collection, New Mexico $6,000 - $8,000

128

241 GUSTAVE BAUMANN (1881-1971) Corn Dance - Santa Clara, 1920 woodblock print 73/125 5 ⅞ x 7 ½ inches signed lower right: Gustave Baumann titled lower left: CORN DANCE - SANTA CLARA editioned lower right: 73/125 Provenance: Private Collection, Texas $8,000 - $12,000 nr

242 GUSTAVE BAUMANN (1881-1971) San Domingo Pueblo, 1920

243 GUSTAVE BAUMANN (1881-1971) El Santo, 1919

woodblock print 95/125 7 ½ x 6 ⅛ inches signed lower right: Gustave Baumann titled lower left: SAN DOMINGO PUEBLO editioned lower right: 95/125

woodblock print 19/100 9 ⅝ x 11 ⅛ inches signed lower right: Gustave Baumann titled lower left: El Santo editioned lower left: 19/100

Provenance: Private Collection, Texas

Provenance: Private Collection, New Mexico

$5,000 - $7,000 nr

$7,000 - $9,000 129

244 ANDREW DASBURG (1887-1979) Ranchos Valley, 1959 pastel on paper 17 ½ x 22 ½ inches signed and dated lower left: Dasburg ‘59 Provenance: {Salander O’Reilly Galleries, New York, New York} Collection of Mr. and Mrs. Stephen R. Jacobson, Minneapolis, Minnesota {Gerald Peters Gallery, Santa Fe, New Mexico, 2003} Private Collection, New Mexico Literature: Sheldon Reich, Andrew Dasburg: His Life and Art, Cranbury, New Jersey: Associated University Presses, Inc., 1989, plate 12 $20,000 - $30,000

245 DOEL REED (1895-1985) Storm at Noon, 1966 oil on canvas 28 ½ x 48 inches signed and dated lower right: Doel Reed / 1966 Provenance: Private Collection, Denver, Colorado $8,000 - $12,000

130

246 RAYMOND JONSON (1891-1982) Santa Fe Placita, 1925 oil on canvas 20 x 24 inches signed and dated lower right: Jonson / ‘25 Raymond Jonson was born in Iowa in 1891. After saving up enough money he went to Chicago where he studied under B.J.O. Nordfeldt at the Chicago Academy of Fine Arts and, later, at the Art Institute of Chicago. Following the completion of his education, Jonson spent several years working for the Chicago Little Theater as graphic arts director. Seeking a break from the city and longing to visit his friend, the poet John Curtis Underwood, Jonson made his first trip to Santa Fe in 1922. Immediately enamored of the landscape and region’s vast open spaces, Jonson settled in Santa Fe in 1924, staying until 1949. Once in Santa Fe, he established himself with the modernist painters in the area and, eventually, co-founded the Transcendental Painters Group. Jonson spent his first several years in Santa Fe experimenting with the gradual abstraction of natural forms, which maintained some roots in naturalistic representation, but ultimately transitioned to complete abstraction by around 1927.

Santa Fe Placita was executed in 1925, a year after Jonson settled permanently in Santa Fe. The cool tones of the undulating landscape and the forms of traditional adobe architecture are clearly presented; however, Jonson’s interest in abstraction is evident, particularly in his treatment of the foreground and clouds and mountains on the horizon.

Provenance: Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico $75,000 - $150,000

131

247 WILLARD NASH (1898-1942) Santa Fe Street Scene watercolor on paper 14 ½ x 19 ½ inches signed lower right: Willard Nash Provenance: Private Collection, Wyoming $8,000 - $12,000

248 WILLARD NASH (1898-1942) Modernist Landscape, ca. 1925-30 oil on canvas 12 x 18 inches verso: notarized certification affixed to stretcher, “THIS painting IS CERTIFIED TO BE THE WORK / OF WILLARD NASH, DONE IN 1925-1930, AND IS / FROM THE COLLECTION OF DIMI NASH HANBELL / SIGNATURE CERTIFIED IN SAN FRANCISCO, CA. / ON 1/19, 1975 / James W. McClary Provenance: Estate of the Artist Private Collection, New Mexico $20,000 - $40,000

132

249 WILLARD NASH (1898-1942) Santa Fe Landscape, ca. 1925-30 oil on canvas 12 x 18 inches signed lower left: Nash verso: notarized certification affixed to stretcher, “THIS painting IS CERTIFIED TO BE THE WORK / OF WILLARD NASH, DONE IN 1925-1930, AND IS / FROM THE COLLECTION OF DIMI NASH HANBELL / SIGNATURE CERTIFIED IN SAN FRANCISCO, CA. / ON 1/19, 1975 /James W. McClary Willard Nash was one of the earliest and most sophisticated artists of the Santa Fe Art Colony and a founding member of the artists’ group known as Los Cinco Pintores, or “The Five Painters.” This group, comprised of Willard Nash, Jozef Bakos, Will Shuster, Fremont Ellis, and Walter Mruk, believed in experimenting freely with modernist painting methods. They were united in their desire to experiment in the then avant-garde methods of Cubism, Fauvism and Expressionism. Under the tutelage of Andrew Dasburg, Nash, more so than the other members of Los Cinco Pintores, explored the structural principals of fragmented form made famous by Paul Cézanne.

After moving to Santa Fe from Detroit in 1921, Nash’s work became increasingly infused with an abstract simplicity and Cubist spirit, and he became known to journalists and art critics of the 1930s and 1940s as the “American Cézanne.” Mexican muralist, Diego Rivera, further solidified Nash’s reputation in the early 1930s by calling him “one of the six greatest living American artists,” whose paintings proved there was “still personality in American art.” A Cubist sensibility—flattened space, bold color juxtapositions, and a semblance of nature and architecture—and, arguably, a great deal of personality, underscore Nash’s Santa Fe Landscape.

Provenance: Estate of the Artist Private Collection, New Mexico $20,000 - $40,000

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250 GEORGE BELLOWS (1882-1925) Santa Fe Canyon, 1917 oil on canvas 18 x 22 inches signed lower left (by artist’s wife): Geo. Bellows / ESB George Bellows was one of the most highly acclaimed American realist painters of the twentieth century. Known primarily for his depictions of New York, prize fighters and tenement children, Bellows was instrumental in the shift of American art into the modern era. Bellows arrived in New York in 1904, and immediately began studying with Robert Henri, who would remain influential to Bellows throughout his career, at the New York School of Art. In 1909, Bellows was the youngest artist to receive the honor of being elected an Associate member of the National Academy of Design, following his receipt of a prize in their annual exhibition the preceding year. Additionally, Bellows was one of twenty-five members of the Association of American Painters & Sculptors involved in organizing the groundbreaking Armory Show of 1913, which forever changed the course of American art.

From 1912-1919, at the suggestion of his mentor Henri, Bellows would spend his summers in Maine and paint landscapes up and down the coast, with the exception of 1917, when he went to Carmel, California for four months to work on a portrait commission. On his way back east, he traveled through Santa Fe to visit friends Leon Kroll and Henri. Santa Fe Canyon was completed during Bellows’ brief stay in Santa Fe in 1917. A beautiful, richly colored landscape of the river flowing at the bottom of the Santa Fe canyon, the present work is a fine example of Bellows’ skill with color and composition.

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Known for his use of very expressive color, Bellows was often viewed as a spontaneous painter, but in reality was very thoughtful and planned not only his compositions but also the palette of his paintings quite meticulously.1 Bellows died suddenly in 1915, at the age of 42, from appendicitis, while still at the height of his talent.

Provenance: Estate of the Artist Emma S. Bellows, the artist’s wife Estate of Emma S. Bellows, 1959 H.V. Allison & Co., New York, New York Collection of John Hill, Nashville, Tennessee {Gerald Peters Gallery, Santa Fe, New Mexico, 1987} Collection of Rollin W. King, Dallas, Texas, 1987 Estate of Rollin W. King, 2014 Private Collection, New Mexico Exhibited: Museum of New Mexico, Santa Fe, New Mexico, 1917 $150,000 - $250,000

Michael Quick, “Technique and Theory: The Evolution of George Bellows’ Painting Style,” in The Paintings of George Bellows, Amon Carter, LACMA, Harry Abrams, 1992, pp. 9, 63 1

251 WALT GONSKE (b. 1942) Morning Light oil on canvas 38 x 36 inches signed lower right: gonske inscribed verso: gonske / “MORNING LIGHT” / #2027 (F) Provenance: Private Collection, Colorado $8,000 - $12,000

252 ROBERT DAUGHTERS (1929-2013) Taos Mountain Hollyhocks oil on canvas 14 x 18 inches signed lower left: R. Daughters inscribed verso: TAOS MOUNTAIN HOLLYHOCKS Provenance: Private Collection, Texas $2,500 - $3,500

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253 LOUISA MCELWAIN (1953-2013) Winter Moonrise oil on canvas 17 ½ x 23 ½ inches signed lower right: MCELWAIN Provenance: Private Collection, Arizona $1,500 - $2,500

254 LOUISA MCELWAIN (1953-2013) Home in the Canyon oil on canvas 17 ½ x 28 ½ inches signed lower left: MCELWAIN Provenance: Private Collection, Arizona $4,000 - $6,000

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255 G. RUSSELL CASE (b. 1966) Vermilion Mountains, 2009 oil on canvas 30 x 40 inches signed lower right: G. Russell Case inscribed verso: Vermilion Mountains / G. Russell Case / 2009 18 AM Provenance: Private Collection, Illinois $8,000 - $12,000

256 ALLAN HOUSER (1914-1994) Wind on the Mesa, 1991 bronze 1/6 75 ½ x 23 x 17 ½ inches (with base) inscribed: ALLAN HOUSER / © 91 1/6 (with artist’s cipher) Provenance: Private Collection, New Mexico Literature: Allan Houser: An American Master (Chiricahua Apache, 1914-1994), New York: Harry N. Abrams, 2004, p. 174 $40,000 - $60,000

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257 ALLAN HOUSER (1914-1994) Mountain Spirit Dancer, 1993 bronze 25/25 26 x 10 x 6 inches (with base) inscribed: ALLAN HOUSER / HAOZOUS / © 93 25/25 / AHI Provenance: Private Collection, New Mexico $12,000 - $18,000

258 ALLAN HOUSER (1914-1994) Quiet, 1989 bronze 14/15 25 ¾ x 10 ½ x 9 inches (with base) inscribed: ALLAN HOUSER / © 89 14/15 / AHI Provenance: Private Collection, New Mexico $15,000 - $25,000

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259 EMIL BISTTRAM (1895-1976) Homeward Bound, 1968 oil on masonite 27 x 36 inches signed and dated lower right: BISTTRAM 68 / (artist’s cipher) Hungarian-born Emil Bisttram received his artistic training in New York at the National Academy of Design, Cooper Union, and Art Students League. In 1930, he abandoned the economic turmoil of New York in order to spend three months in Taos. The following year, Bisttram settled permanently in northern New Mexico and established the Taos School of Art. Throughout his career, Bisttram worked in a variety of styles—from realism to abstraction—and was a founder, alongside Raymond Jonson, of the New Mexico Transcendental Artists Group. Later in life, in addition to executing some of the largest and most vibrant works of his career, including Homeward Bound, he served as president of the Taos Art Association and was appointed a member of the New Mexico Arts Commission.

Provenance: Private Collection, Nevada $50,000 - $70,000

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260 ALLAN HOUSER (1914-1994) My Children, 1982 bronze 29 x 26 ½ x 26 inches inscribed: ALLAN HOUSER / © 82 1-8 / SF G Provenance: Lucille and Marshall Miller Collection of Native American Art, Scottsdale, Arizona and Bloomfield Hills, Michigan Private Collection, Michigan $20,000 - $30,000

261 ALLAN HOUSER (1914-1994) Inspiration, 1990 bronze 4/8 48 ½ x 14 x 9 ½ inches inscribed: ALLAN HOUSER / © 90 4/8 AHI Provenance: Private Collection, New Mexico $25,000 - $45,000

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262 ALBERT SCHMIDT (1885-1957) Farm Worker oil on board 18 x 24 inches Provenance: Estate of the Artist $8,000 - $12,000

263 ALBERT SCHMIDT (1885-1957) Picking Cotton oil on canvas 28 x 36 inches Provenance: Estate of the Artist $12,000 - $15,000

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264 E. MARTIN HENNINGS (1886-1956) Irrigation oil on canvas 36 x 40 inches signed lower right: E. Martin Hennings Provenance: The Artist Harwood Foundation, Taos, New Mexico (gift from Mrs. E. Martin Hennings), 1961 Private Collection, New Mexico Literature: E. Martin Hennings: Paintings and Works on Paper from Europe and Taos, Santa Fe: Gerald Peters Gallery, 1991 $200,000 - $300,000

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265 E. MARTIN HENNINGS (1886-1956) The Storyteller monotype 8 x 9 inches signed lower right: E. Martin Hennings Provenance: Zaplin-Lampert Gallery, Santa Fe, New Mexico Private Collection, New Mexico $10,000 - $20,000

266 E. MARTIN HENNINGS (1886-1956) Indians of the Prairie monotype 8 â…ž x 10 inches signed lower right: E. Martin Hennings Provenance: The Artist Henry McGown, Forth Worth, Texas David Dike Fine Art, Dallas, Texas Private Collection, New Mexico Note: Accompanied by letter from the artist to Mr. Henry McGown (Forth Worth, Texas), the original purchaser of Indians of the Prairie, dated August 2, 1930. $10,000 - $20,000

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267 E. MARTIN HENNINGS (1886-1956) Aspen Grove

268 E. MARTIN HENNINGS (1886-1956) Amongst the Aspen

monotype 9 ½ x 10 ¼ inches signed lower right: E. Martin Hennings titled lower left: “Aspen Grove”

monotype 9 ⅞ x 10 inches signed lower right: E. Martin Hennings titled lower left: “Amongst the Aspen”

Provenance: Private Collection, New Mexico

Provenance: Private Collection, New Mexico

$10,000 - $20,000

$10,000 - $20,000

269 E. MARTIN HENNINGS (1886-1956) Deer, 1909 charcoal on paper 24 x 24 inches signed and dated lower right: E.M. Hennings / ‘09 Provenance: Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico $25,000 - $45,000 144

270 THOMAS MORAN (1837-1926) A Deer in a Mountain Landscape watercolor and pencil on paper mounted on board 10 x 14 inches monogrammed lower left: TM Thomas Moran was one of the foremost artists responsible for introducing America to its western frontier. Born in England, Moran immigrated to the United States with his family in 1844. At the age of 16, he commenced a three-year apprenticeship in a wood engraving firm in Philadelphia, his only formal training. He was painting independently at this time, and participated in his first public show around 1856, exhibiting six watercolors at the Philadelphia Academy of Design.

In 1862, Moran traveled to England with his brother, marine painter Edward Moran. While Edward studied at the Royal Academy, Thomas copied the paintings of J.M.W. Turner at the South Kensington Museum (now the Victoria & Albert Museum). Long familiar with, and deeply appreciative of, Turner’s work through engraved reproductions, Moran was even more impressed upon viewing the paintings in person. He was particularly taken with the paintings’ luminosity, which he attempted to recreate in his copies, and which he later emulated in his own work.

In 1870, Scribner’s Magazine commissioned Moran to produce a series of etchings of Yellowstone. The artist made his inaugural trip to Yellowstone a year later, accompanying the geological survey led by Dr. Ferdinand Hayden. The sketches and watercolors from this trip appeared in Scribner’s while, at the same time, serving as models for the artist’s fully-fledged oil paintings. When, in 1872, Congress purchased one of Moran’s paintings of the Grand Canyon of the Yellowstone to hang in the Capitol, he emerged as one of the nation’s most celebrated painters of the West.

In the course of his career, Moran traveled extensively throughout the western United States—to the Rocky Mountains, the Grand Canyon, Yosemite, and the Tetons—and, in time, recorded the splendor of all eight of the newly established national parks. Moran did not produce topographically accurate images but, rather, composed large-scale paintings in his studio, combining various elements from the detailed field sketches he executed. Rather than record a specific sight faithfully, he sought to capture the essence of a place. From Castle Butte to Lake Tahoe, as well as destinations in between, Moran extolled the virtue—and the beauty and majesty—of the landscape of the West.

Provenance: Private Collection, Pennsylvania Private Collection, Santa Fe, New Mexico, 1997 Exhibited: R.W. Norton Gallery, Shreveport, Louisiana, 2003 $300,000 - $400,000

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271 W. HERBERT “BUCK” DUNTON (1878-1936) Autumn (Mule Deer) oil on canvas 16 x 20 inches signed lower left: Dunton inscribed verso: Autumn / (Mule Deer) / by / W. Herbert Dunton / $950.00 Prior to his first visit to Taos in 1912, W. Herbert “Buck” Dunton traveled extensively throughout the West. His illustrative material for national periodicals centered on the open range, cowboys, and on the customs and traditions of native peoples.

After returning to the East, Dunton enrolled in a course at the Arts Students League taught by Ernest L. Blumenschein, who, in 1914, encouraged Dunton to relocate to Taos. Once there, Dunton gave up illustration for painting and, a few years later, emerged as one of the founding members of the Taos Society of Artists.

Dunton was raised as a keen outdoorsman from the earliest days of his Maine childhood, and hunting and fishing were to remain the centerpiece of his adult life in Taos. In younger years he worked as a cowboy in Montana—in the great tradition of Charles M. Russell—and became fast friends with a noted grizzly hunter, with whom he explored the mountains, filling sketchbooks all the while. Despite years in Boston and New York, rough and rugged outdoor life was Dunton’s preferred mode of living. Paintings like Autumn (Mule Deer) reflect the artist’s career-long love affair with the natural world and its inhabitants.

Provenance: Private Collection, Largo, Florida {Gerald Peters Gallery, Santa Fe, New Mexico} Private Collection, Sun Valley, Idaho, 1981 Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico Literature: Masters of the Taos Tradition, C.M. Russell Museum, Great Falls, Montana, 1993, exh. cat., p. 18 Exhibited: Masters of the Taos Tradition, C.M. Russell Museum, Great Falls, Montana; Colorado Springs Fine Arts Center, Colorado Springs, Colorado; Palm Springs Desert Museum, Palm Springs, California; National Museum of Wildlife Art, Jackson, Wyoming, April 1993-November 1995 The Taos Society of Artists, The Mennello Museum of American Art, Orlando, Florida, September 22, 2014-January 16, 2015 $500,000 - $700,000

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272 JULIUS HOLM (1855-1930) The American Bison at Jackson Hole, Yellowstone, 1906 oil on canvas 30 x 46 inches signed and dated lower right: JULIUS HOLM / 1906 Provenance: Private Collection, Wyoming $20,000 - $40,000

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273 SOLON HANNIBAL BORGLUM (1868-1922) Sioux Indian Buffalo Dancer, 1904, cast ca. 1982 bronze 28 ½ x 42 x 23 inches inscribed: Solon H Borglum Provenance: Carl R. Buckland (the Borglum Family attorney), Santa Fe, New Mexico Note: The first of a limited number of castings authorized by the Borglum family after the artist’s iconic, four-part sculptural composition, The Sioux Indian Buffalo Dance. Borglum’s work was originally executed for, and displayed prominently at, the 1904 Louisiana Purchase Exposition (St. Louis, Missouri) and, subsequently, at the 1905 Lewis and Clark Centennial Exposition in Portland, Oregon and 1915 Panama-Pacific World’s Exposition in San Francisco. $20,000 - $30,000

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274 CHARLES M. RUSSELL (1864-1926) Buffalo on the Move, 1904 watercolor, gouache and pencil on paper 10 x 15 inches signed and dated lower left: CMRussell / (artist’s cipher) 1904 Born into an affluent St. Louis family, Russell went to Montana at the age of fifteen, first working on a sheep ranch and then working as a cowboy for several outfits. It was an outdoor life – a life that gave him enormous knowledge of and love for the landscape, dress, people, and customs of the West. In 1892, he moved to Great Falls, Montana and from then on he was determined to work as a professional, fulltime artist. With an unparalleled ability to depict a place and way of life that was rapidly disappearing, his work has been likened to “a great window opening on the past.”

By the time Russell had settled in Montana, the Indian settlements there (Blackfoot, Arapaho, Kootenai, and Crow tribes) were receding due to the growing ranches and cattle business. Russell spent time with one tribe—the Bloods—both for friendship and with an artistic motivation. His reverence for the Indians, whom he described as “the only real American,” translated into his art.

Russell had a number of favorite subjects, variations on which he would depict many times over, in bronze, on canvas, and on paper. The one he seemingly enjoyed more than any other was groups of Indians hunting buffalo, or buffalo herds on the Plains. In these works, Russell pays homage to the beauty, majesty and, for the Indian tribes he encountered, the cultural significance of the animal.

Throughout his career, Russell’s depiction of the buffalo assumed many forms, from rapid pencil sketches to deliberately executed oil paintings. For Russell, as for many other western artists, the extinction of the buffalo in the late nineteenth century came to symbolize the poignant passing of the Old West and a treasured way of life. In much the same way that many of his compositions show compassion for the plight of the American Indian, Buffalo on the Move is indicative of the artist’s sympathy for these animals that once dominated the Plains.

Perhaps Peter Hassrick best described Russell’s commiseration with the plight of the buffalo: In any event, once the herds vanished, they, like the pre-reservation Indian, claimed a warm place in Russell’s heart. In his day he garnered the reputation as the best painter of the buffalo. His quiet, reserved portrayals…proved his skill as an animal painter while revealing the reverence he felt for these monarchs of the prairie. With such sympathy for and pride in these beasts, it is little wonder that the artist chose the buffalo skull as part of his monogram.

Provenance: James Graham & Sons, New York, New York Private Collection, Wyoming Literature: B. Byron Price, ed., and Anne Morand, Charles M. Russell: A Catalogue Raisonné, Norman: University of Oklahoma Press, 2007 Frederic G. Renner, Charles M. Russell: Paintings, Drawings, and Sculpture in the Amon G. Carter Collection, Fort Worth: The Amon Carter Museum of Western Art, 1966 Peter H. Hassrick, Charles M. Russell, New York: Harry N. Abrams, Inc., 1989 John Taliaferro, Charles M. Russell: The Life and Legends of America’s Cowboy Artist, Canada: Little, Brown & Co., 1996 Larry Len Peterson, Charles M. Russell, Legacy: Printed and Published Works of Montana’s Cowboy Artist, Helena: Falcon Publishers, Inc., in cooperation with the Charles M. Russell Museum, Great Falls, Montana, 1999 Note: Buffalo on the Move is numbered CR.NE.282 in the online catalogue raisonné of Russell’s work at www.russellraisonne.com. $200,000 - $300,000

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275 CARL RUNGIUS (1869-1959) Prairie Wolf oil on canvas 30 x 40 inches signed lower right: C. Rungius.

Carl Clemens Mortiz Rungius was born near Berlin, Germany, on August 18, 1869. He was the first son of the Reverend Heinrich and Magdalene Rungius. His childhood home was located on the outskirts of the German capital, and despite the Industrial Revolution that was sweeping Europe, still retained a farm-country atmosphere. Open fields, meandering streams, and patches of woodland became Rungius' playground.

His father and grandfather were Lutheran ministers, their calling divided between the church and an active interest in natural history. Each had his sphere of expertise. Carl’s father, in today’s parlance, could be considered an amateur ornithologist and conservationist. His extensive plantings about the home attracted a wide variety of indigenous birdlife, which he observed and catalogued. Grandfather Rungius was a fine animal draftsman, who also dabbled in taxidermy. It is no surprise that such an environment formed the boy’s fascination with all things wild.

His art education began at the Berlin Kunstschule (Art School) in preparation for the Kunstakademie (Academy of Art), which he attended for three winters. Though he completed the necessary work, he spent most of his free time at the Berlin Zoo where, drawing and sketching, he afforded special attention to the big cats, lions and lionesses, and tigers. His drawings highlighted all aspects of the animals’ physiognomy: legs, paws, musculature, and heads. Despite finding success as a draftsman, Rungius had few prospects for a comfortable income and soon accepted his uncle’s invitation to visit America.

A principle commercial outlet for artists of the 1890s was the myriad of New York-based publishers of books and periodicals. Artists of the rank of Abbey, Remington, Pyle, Frost, Kemble, and Gibson graced the pages of weekly and monthly magazines. Rungius’ drawings and paintings found a ready admirer in George Bird Grinnell, conservationist-editor of Forest and Stream Weekly. For ten years, from the winter of 1894 through 1904, illustrations signed “C. Rungius” appeared in a diverse array of publications. Indeed, nearly every species of North American game was depicted in periodicals such as Forest and Stream, Everybody’s Recreation, and Outing.

In heart, spirit, and temperament, Rungius was a painter, not an illustrator. After hunting and painting trips to New Brunswick from 19011910, and the Yukon in 1904, his fascination with North American game deepened. In time, Rungius shed his reputation as an illustrator and achieved critical acclaim on the merits of his painting alone. Trained in the school of German Romantic Realism, his early works reveal the influence of animal painter, Richard Friese, in style, composition and color. However, it was Rungius’ grounding in the German tradition that truly distinguished his pictures, whether of bull moose, bighorn sheep, or the Prairie Wolf, an uncommon subject within his oeuvre. Seamlessly comingling technical skill and anatomical accuracy with a passion for wildlife and the outdoors, Rungius remains the pre-eminent portrayer of North American animals and their habitats.

Provenance: New York Zoological Society, New York, New York Tessler Family Foundation, Wilson, Wyoming {Gerald Peters Gallery, Santa Fe, New Mexico} Private Collection, Wyoming Exhibited: Recapturing the Real West: Collection of William I. Koch, The Society of the Four Arts, Palm Beach, Florida, February 4-April 15, 2012 $200,000 - $300,000

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276 GREG BEECHAM (b. 1954) Wolves Running, 1990

277 GREG BEECHAM (b. 1954) Fishing the Falls, 1993

oil on canvas 23 ½ x 29 ½ inches signed and dated lower right: G. BEECHAM © 90 (with artist’s cipher)

oil on canvas 18 x 24 inches signed lower left: G. BEECHAM (with artist’s cipher) / © ‘93 inscribed verso: ALL REPRODUCTION / RIGHTS RESERVED / BY ARTIST / Greg Beecham

Provenance: Private Collection, Alaska $8,000 - $10,000

Provenance: Private Collection, Alaska $7,000 - $9,000

278 MICHAEL COLEMAN (b. 1946) Ruffing the Velvet, 1984

279 GREG BEECHAM (b. 1954) Press On, 1995

oil on board 24 x 30 inches signed and dated lower right: © MICHAEL COLEMAN / 1.9.8.4. inscribed on label affixed to verso: “Ruffing the Velvet” / Oil / 24 x 30 / 53 / Oct. 1984

oil on canvas 15 ½ x 20 ½ inches signed and dated lower left: G. BEECHAM (with artist cipher) / © ‘95

Provenance: Private Collection, Alaska $5,000 - $7,000

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Provenance: Private Collection, Alaska $4,000 - $6,000

280 BOB KUHN (1920-2007) Shore Patrol, 1986 oil on board 20 x 32 inches initialed middle right: K inscribed verso: ALL REPRODUCTION RIGHTS ARE / RESERVED BY THE ARTIST / -BOB KUHN 1986 Provenance: The Artist Private Collection, Alaska (acquired from the above) $80,000 - $120,000

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281 CARL RUNGIUS (1869-1959) Collection of 43 Etchings The Challenge, 1925, etching and drypoint, 6 1/4 x 8 1/2 inches, signed lower right (page 91, plate 1) Lord of the Canyon, 1925, etching and drypoint, 6 1/4 x 8 1/2 inches, signed lower right (page 93, plate 2) An Old Fighter, 1925, etching and drypoint, 6 1/4 x 8 1/2 inches, signed lower right (page 95, plate 3) The Answer from the Baron, 1925, etching and drypoint, 6 1/4 x 8 1/2 inches, signed lower right (page 97, plate 4) Friends Again, 1925, etching and drypoint, 6 1/4 x 8 1/2 inches, signed lower right (page 99, plate 5) Alarmed, 1925, etching and drypoint, 6 1/4 x 8 1/2 inches, signed lower right (page 101, plate 6) Rams, 1925, etching and drypoint, 6 1/4 x 8 1/2 inches, signed lower right (page 103, plate 7) Stampede, 1925, etching and drypoint, 6 1/4 x 8 1/2 inches, signed lower right (page 105, plate 8) An Old Prospector, 1925, etching and drypoint, 6 1/4 x 8 1/2 inches, signed lower right (page 107, plate 9) Osborne’s Caribou, 1925, etching and drypoint, 6 1/4 x 8 1/2 inches, signed lower right (page 109, plate 10) The Rivals, 1925, etching and drypoint, 6 1/4 x 8 1/2 inches, signed lower right (page 111, plate 11) Morning Mist, 1925, etching and drypoint, 6 1/4 x 8 1/2 inches, signed lower right (page 113, plate 12) Goats, 1926, etching and drypoint, 8 x 11 inches, signed lower right (page 115, plate 13) The Stranger, 1926, etching and drypoint, 8 x 11 inches, signed lower right (page 117, plate 14) Old Bull, 1926, etching and drypoint, 11 x 9 inches, signed lower right (page 119, plate 15) Young Bull, 1926, etching and drypoint, 11 x 9 inches, signed lower right (page 121, plate 16) Near Long Lake, 1926, etching and drypoint, 8 x 11 inches, signed lower right (page 123, plate 17) Antelope, 1926, etching and drypoint, 6 1/4 x 8 1/2 inches, signed lower right (page 125, plate 18) A Woodland Stag, 1926, etching and drypoint, 6 1/4 x 8 1/2 inches, signed lower right (page 127, plate 19) Mule Deer, 1927, etching and drypoint, 8 x 11 inches, signed lower right (page 129, plate 20) Dall Sheep, 1928, etching and drypoint, 8 x 11 inches, signed lower right (page 131, plate 21) Cliff Dwellers, 1928, etching and drypoint, 8 x 11 inches, signed lower right (page 133, plate 22) White Flag, 1928, etching and drypoint, 8 x 11 inches, signed lower right (page 135, plate 23) Three Old Gentlemen, 1928, etching and drypoint, 8 x 11 inches, signed lower right (page 137, plate 24) Silvertip, 1928, etching and drypoint, 8 x 11 inches, signed lower right (page 139, plate 25) Alaskan Wilderness, 1928, etching and drypoint, 8 x 11 inches, signed lower right (page 141, plate 26) Siesta, 1931, etching and drypoint, 8 x 11 inches, signed lower right (page 143, plate 27) Face to Face, 1931, etching and drypoint, 8 x 11 inches, signed lower right (page 145, plate 28) Mountain Caribou, 1931, etching and drypoint, 8 x 11 inches, signed lower right (page 147, plate 29) The Traveler, 1931, etching and drypoint, 8 x 11 inches, signed lower right (page 149, plate 30) Ivan, 1931, etching and drypoint, 8 x 11 inches, signed lower right (page 151, plate 31) Among the Crags, 1935, etching and drypoint, 8 x 11 inches, signed lower right (page 155, plate 33) Old Baldface, 1935, etching and drypoint, 8 x 11 inches, signed lower right (page 157, plate 34) The Wanderer, 1935, etching and drypoint, 8 x 11 inches, signed lower right (page 159, plate 35) On the Skyline, 1937, etching and drypoint, 8 x 11 inches, signed lower right (page 161, plate 36) Challenged, 1937, etching and drypoint, 8 x 11 inches, signed lower right (page 163, plate 37) The Family, 1937, etching and drypoint, 8 x 11 inches, signed lower right (page 165, plate 38) Out of the Canyon, 1937, etching and drypoint, 8 x 11 inches, signed lower right (page 167, plate 39) Above Timberline, 1937, etching and drypoint, 8 x 11 inches, signed lower right (page 169, plate 40) Mates, 1937, etching and drypoint, 8 x 11 inches, signed lower right (page 171, plate 41) Coming to the Call, 1937, etching and drypoint, 8 x 11 inches, signed lower right (page 173, plate 42) Browsing, 1938, etching and drypoint, 8 x 11 inches, signed lower right (page 177, plate 44) Alaskan Moose, 1945, etching and drypoint, 10 x 8 inches, signed lower right (page 179, plate 45) Provenance: Private Collection, Utah Literature: Donald E. Crouch, Carl Rungius: The Complete Prints, Missoula: Mountain Press Publishing, 1989 $200,000 - $300,000

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Three Old Gentlemen

Among the Crags

Browsing

Face to Face

Mates

Mule Deer

The Family

Woodland Stag 157

282 PAUL WYLAND BARTLETT (1865-1925) Preparedness, 1915-16 bronze 12 ½ x 4 ½ x 4 ¼ inches inscribed: copy-righted. By P.W. Bartlett / 1916 / Cast by Griffoul. Newark. N.J. Provenance: Private Collection, New York Literature: Thayer Tolles, ed., American Sculpture in the Metropolitan Museum of Art Volume II: A Catalogue of Works by Artists Born Between 1865 and 1885, New York: Metropolitan Museum of Art, p. 461, no. 203, another example illustrated $5,000 - $7,000

283 PAUL WYLAND BARTLETT (1865-1925) Reclining Lion, modeled ca. 1892-93, cast cafter 1900 bronze 5 ½ x 11 ½ x 4 ½ inches inscribed: Bartlett / P.W. / J. Arthur Limerick Co. Founders Baltimore Provenance: Private Collection, Cooperstown, New York Private Collection, Wyoming $5,000 - $7,000

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284 CHARLES R. KNIGHT (1874-1953) Leaping Tiger, modeled in 1914, cast in 1915 bronze 25 x 29 ½ x 10 ½ inches inscribed: CHAS. R. KNIGHT 1914 / THE HENRY-BONNARD BRONZE CO / MT. VERNON. N.Y. 1915 Provenance: Private Collection, New Jersey Private Collection, Wyoming Literature: Cast and Carved: American Sculpture, 18501950, New York: Gerald Peters Gallery, 2004, exh. cat., p. 86 Exhibited: Cast and Carved: American Sculpture, 18501950, Gerald Peters Gallery, New York, New York, November 8-December 17, 2004 $20,000 - $30,000

285 KEN BUNN (b. 1938) Lioness Chasing Gazelles bronze AP/7 20 ½ x 31 x 19 inches inscribed: © BUNN AP/7 Provenance: Private Collection, Nevada $6,000 - $8,000

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286 DAVID SHEPHERD (b. 1931) Kicking Up Dust, 1974 oil on canvas 28 x 66 inches signed and dated lower right: -David Shepherd- ‘74 inscribed verso: © 1974 DAVID SHEPHERD David Shepherd, CBE, was born in London in 1931. When he was 8 years old, he won first prize in a painting competition for the magazine, Nursery World, before matriculating into the Stowe School in Buckinghamshire. Upon the completion of his education, Shepherd traveled to Nairobi, Kenya with the intent of becoming a game warden. Unable to find work, he returned home to London and, upon the advice of his father, applied for admission to The Slade School of Fine Art. Rejected from the school, although committed to a career as a professional artist, Shepherd entered the studio of Robin Goodwin, a painter of portraits and marine life, with whom he studied for three years.

In 1960, Shepherd sold his first wildlife painting—a depiction of an African rhinoceros, painted from life in Kenya—to the British Royal Airforce for £25.

From this point forward, Shepherd’s career has been underscored by an intensive exploration of, and appreciation for, African game. Although equally celebrated for landscapes, portraits, and paintings of aircraft and steam locomotives, his wildlife pictures—and those of elephants above all—have earned him international acclaim. A committed conservationist and outspoken anti-poaching activist, Shepherd is founder of the David Shepherd Wildlife Foundation, an organization committed to saving endangered mammals in the wild.

According to David Gower, art critic for The Times, “there is a sense of the atmosphere of the African bush that emanates from all [of Shepherd’s] work.”1 In Kicking Up Dust, Shepherd presents a frieze-like composition of eleven elephants, bathed in sunlight and advancing towards the viewer. The brush and dry grass of the savanna are only faintly described, offering a counterpoint to the more carefully delineated elephants that occupy the middleground of the canvas.

Shepherd accentuates the beauty, power, and majesty of the animals, while sharing a conservationist’s familiarity with the elephants’ anatomy. One of the larger depictions of African elephants to be presented at auction, and certainly one of the more engaging, Kicking Up Dust is an impressive example of one of Shepherd’s most collectible subjects.

Provenance: Private Collection, Nevada $100,000 - $150,000

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David Gower, “What’s not to like?,” The Times, September 20, 2003

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287 KEN BUNN (b. 1938) Lioness and Impala bronze 18/21 23 ½ x 26 x 16 inches inscribed: © / BUNN / 18/21 Provenance: Private Collection, Nevada $4,000 - $6,000

288 ARTHUR PUTNAM (1873-1930) Indian and Slain Puma, 1903 bronze AP 16 x 8 ¼ x 9 ¼ inches inscribed: AP / ‘03 ALEXIS RUDIER / fondeur Paris Provenance: Private Collection, Wyoming $10,000 - $15,000

289 GILBERT GAUL (1855-1919) Smokin’ the Calumet (Pipe) oil on canvas 27 x 44 inches signed lower right: Gilbert Gaul Provenance: Mongerson Galleries, Chicago, Illinois Private Collection, New Mexico $40,000 - $60,000

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290 HARVEY T. DUNN (1884-1952) Strong Medicine oil on canvas 29 x 38 ½ inches monogrammed lower left: HD / [indecipherable] Provenance: Private Collection, Wyoming Exhibited: Harvey Dunn, Brandywine River Museum, Chadds Ford, Pennsylvania, September 6-November 24, 1974 Collectors of the West Celebrate 50 Years, Desert Caballeros Western Museum, Wickenburg, Arizona, January 23-March 14, 2010 $75,000 - $125,000

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291 WINOLD REISS (1886-1953) Falling Over the Bank, 1928 oil on canvas 48 x 36 inches signed lower right: Winold / Reiss Fritz Winold Reiss, better known as Winold Reiss, was born in Karlsruhe, Germany. He was raised in the Black Forest, where he studied under his father, who painted landscapes. Reiss also studied with Franz von Stuck at the Royal Academy in Munich and with Wilhelm von Diez at the Art School in Munich. Reiss came to the United States in 1913, and, inspired by the novels of James Fenimore Cooper, he planned to paint the American Indian.

He was surprised, however, upon his arrival in New York, to learn that, in fact, there were not many Indians in the Northeastern United states at that point. He had been under the impression, from the historical novels he had read, that one could find Indians in America simply by venturing a few miles from any major city, so discovering that he would have to travel much further west to see any Indians frustrated him as an artist. Having no funds to make such a journey at the time, he remained in New York, establishing an art school in Woodstock and otherwise supporting himself and his family in any way he could.

His intention to travel to the American West was further delayed by the outbreak the First World War, when prejudices against Germans in America made it difficult for him to both earn a living and to travel. Therefore, it was Robert Henri, who did not have these obstructions, who became the first artist to paint formal Indian portraits with a modern perspective. However, it was Winold Reiss who painted the Native Americans in their own settings rather than “importing” them to a studio, as was Henri’s practice in both New Mexico and California. It was this interaction with the native people in their territories, villages and homes that allowed Reiss to truly capture the nuances of each sitter–from the different physiognomies to the details of their outfits and possessions.

In 1927, the Great Northern Railroad commissioned Reiss to paint portraits of the Blackfeet Indians in Glacier Park, Montana, to promote westward travel through posters, calendars and general décor in the trains and stations. Reiss was immediately enamored of Glacier and of the Blackfoot people, and returned for many years afterward, often inviting his art students in New York to accompany him, and ultimately establishing a summer art school.

The first summer, 1927, was quite lucrative for Reiss, as the Great Northern Railroad was very pleased with his work and purchased 51 paintings at the end of the season.

During this first summer, Reiss became intimate with the Blackfeet, and they with him. Reiss’ son, Tjark Reiss, who accompanied him on his western summer trips, recalled that his father preferred to paint his Indian subjects while others watched, and remarked upon his work: When my father was painting, there were always a few Indians sitting around watching him, telling stories to each other and commenting on the pictures. My father worked best with the constant murmur going on in the background.

The intimate setting of the present work and its candid quality reflects this strong relationship and empathy with the Blackfeet people, and the degree to which Reiss became accustomed with their daily activities and habits. The subject of this work, Falling Over the Bank, was a Blackfoot Indian from the Blood clan, with whom Reiss associated during his summers in Montana. This work strongly conveys Reiss’ interest in design, reflected in his attention to the various patterns that appear in the background and on the man’s clothing. However, it also reflects Reiss’ commitment to portraying his Indian subjects in a dignified manner. Rather than asking his sitters to pose in what Reiss considered “gimmicky” or demeaning postures, astride a horse or pretending to dance, for example, as other artists of the time did, Reiss only painted his Indian sitters in poses they would assume naturally, as part of daily life, and more often, he simply focused on their faces.

Accordingly, Reiss painted Falling Over the Bank smoking a stone-carved pipe, probably a pose the subject chose. He also included the tobacco “chopping and mixing board,” seen in the foreground, and the Indian’s tobacco pouch. The Indian is sitting in a tipi decorated with typical Blackfoot designs, with a backrest behind him. Reiss did not often paint such detailed backgrounds in his portraits, often choosing a solid color or sold pattern as background, so this attention to detail reflects the extra work, and special interest he bestowed on this work and in his Indian sitter.

Although Falling Over the Bank is part of Reiss’ remarkable series of work depicting Native Americans, it is also a unique work for this artist. As his presentation painting at the National Academy, the portrait is significant in that it is a complete rendering of the subject’s figure–unlike many of Reiss’ other portraits which show only the head and shoulders of his subjects. Moreover, the artist painted Falling Over the Bank in oil, a more permanent and “important” medium, and on a much larger scale, signifying Reiss’ awareness that this is one of his masterworks.

Provenance: {Judy Goffman Fine Art, Blue Bell, Pennsylvania} Private Collection, Delaware, ca. 1970 From a Private Collection Exhibited: 104th Annual Exhibition, National Academy of Design, New York, New York, March 20–April 7, 1929, no. 140 Literature: Jeffrey C. Stewart, Winold Reiss: An Illustrated Checklist of his Portraits, Washington, DC: Smithsonian Institution Press, 1990, p. 69 Note: Accompanied by letter from Tjark Reiss, the artist’s son, who identifies the sitter and dates the wok to 1928. $750,000 - $1,200,000

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292 GILBERT GAUL (1855-1919) Indians in Firelight oil on canvas 39 x 29 inches signed lower left: Gilbert Gaul Born in Jersey City, New Jersey, Gilbert Gaul quickly emerged as a painter of highly realistic western scenes. He attended classes in Newark and at the Claverack Military Academy, but ill health prevented him from pursuing a naval career. In the 1870s, he enrolled in the National Academy of Design and at the Art Students League, where, respectively, he studied under Lemuel Wilmarth and J.G. Brown. In 1882, he was elected a member of the National Academy of Design.

Gaul spent four years in Van Buren, Tennessee, painting Civil War scenes and rural genre, in addition to working as an illustrator for Harper’s Monthly. In the late 1870s, he made numerous trips out West, during which time he lived on Army posts and with Indian tribes. Throughout his travels, he both photographed and sketched the people and places he visited. From his studios in New York City and Nashville, he executed fully-fledged oil paintings based on these preliminary studies.

In the 1880s, he was among a group of eleven artists—including Peter Moran, Julian Scott, and Walter Shirlaw—commissioned by the Federal Government to illustrate the Eleventh Census of 1890.

The result was one of the most comprehensive sources of American Indian life ever created.

Provenance: Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico $50,000 - $75,000

293 FRANK SAUERWEIN (1871-1910) Indian Lovesong, 1890 oil on canvas 20 x 30 ¼ inches signed and dated lower left: F.P. Sauerwein / 1890 Provenance: Private Collection, New Mexico $20,000 - $30,000

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294 ALEXANDER HARMER (1856-1925) Watching the Signal Fires at Sunset, ca. 1890 oil on canvas 29 x 49 inches signed lower right: ALEX F. HARMER Provenance: Private Collection, Santa Barbara, California {Gerald Peters Gallery, Santa Fe, New Mexico} Private Collection, Wyoming Literature: Alexander F. Harmer: 1856-1925, Santa Barbara: James M. Hansen Gallery, 1982, exh. cat., plate 18 Exhibited: Alexander F. Harmer: 1856-1925, James M. Hansen Gallery, Santa Barbara, California, September 27-October 16, 1982 $100,000 - $200,000

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295 CHARLES H. HUMPHRISS (1867-1964) Indian Chief in Eagle Feathered Headdress, 1906 bronze 24 ½ x 23 ½ x 17 inches inscribed: C.H. Humphriss 1906 / ROMAN BRONZE WORKS N.Y. Although highly regarded today for his sensitive representations of Native Americans and anatomical studies of animals, little is known of Humphriss’ life and career. Born in England, Humpriss studied sculpture in Warwick with Thomas H. Kendall, who also employed Humphriss’ father, a sculptor and woodcarver. Humphriss immigrated to New York City in the late 1880s or early 1890s where, eventually, he would make his reputation as a sculptor. A member of the National Sculpture Society and the Society of Independent Artists, Humphriss exhibited bronzes at the National Academy of Design and at the Pennsylvania Academy of Fine Arts. By 1902, he was employed at the Art Students League in New York as a sculpture instructor. The American West provided the inspiration for Humphriss’ many depictions of Native Americans and their traditions, while works like Indian Chief in Eagle Feathered Headdress reveal the sculptor’s abiding interest in native costumes and his thoughtful approach to physiognomy.

Provenance: {James Graham & Sons Gallery, New York, New York} Geraldine Rockefeller Dodge {Sotheby’s, New York, 1975} Masco Corporation, Michigan (acquired from the above sale) Private Collection, Wyoming $40,000 - $60,000

296 JOHN MASSEY RHIND (1860-1932) The Scout, 1919 bronze 25 ½ x 12 x 12 ½ inches (with base) inscribed: MASSEY RHIND SC- / 1919 Provenance: Private Collection, Denver, Colorado Private Collection, Wyoming $5,000 - $10,000

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297 CHARLES H. HUMPHRISS (1867-1964) Indian Chief bronze 25 x 23 x 8 ¼ inches inscribed: Chas. H Humphriss / ROMAN BRONZE WORKS N-YProvenance: {Thomas Nygard Gallery, Bozeman, Montana, 2006} Private Collection, Wyoming $30,000 - $50,000

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298 CHARLES SCHREYVOGEL (1861-1912) The Scalp, 1912 oil on canvas 20 x 16 inches signed and dated lower left: Chas Schreyvogel / Copyright / 1912 Provenance: Jim Eberstadt, by 1959 W.J. Holliday, Indianapolis, Indiana Harrison Eiteljorg, Indianapolis, Indiana, 1965 (acquired from the above) Collection of the Indianapolis Museum of Art, 1973 (received as a gift from the above) Private Collection, Wyoming $125,000 - $250,000

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299 FREDERIC REMINGTON (1861-1909) Painting the Robe, 1891 ink and wash on paper 14 x 21 ¼ inches (sight) signed and dated lower left: Frederic Remington. / 1891.

Provenance: Kennedy Galleries, Inc., New York, New York Private Collection, Nevada Exhibited: Whitney Gallery of Western Art, Cody, Wyoming, 1974 Literature: Harper’s New Monthly Magazine, volume 0084, issue 501 (February 1892), p. 382 $40,000 - $60,000

300 FREDERIC REMINGTON (1861-1909) The Sergeant bronze 48 10 ¼ x 5 ½ x 5 inches inscribed: copyright by / Frederic Remington inscribed: ROMAN BRONZE WORKS N-Y stamped underside: No 48 Provenance: Private Collection, Kentucky $20,000 - $30,000

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301 FREDERIC REMINGTON (1861-1909) Untitled (St. Lawrence), 1908 oil on board 9 ¼ x 12 ¼ inches inscribed lower left: To John Amory / from Frederic Remington.

Provenance: Kennedy Galleries, Inc., New York, New York Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico Literature: Peter Hassrick and Melissa Webster, Frederic Remington: A Catalogue Raisonne of Paintings, Watercolors and Drawings, Vol. I & II, Cody: Buffalo Bill Historical Center, 1996, no. 2848, p. 820 $50,000 - $75,000

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302 FREDERIC REMINGTON (1861-1909) Study of Bellini, A Trotter, 1900 oil on canvas 32 x 40 inches signed, dated and inscribed lower right: Frederic Remington - / 1900 - / - “A Study” Provenance: The Artist Mr. Watson Dickerman, New York, New York (commissioned from the above) Mr. John Gary (acquired from the above) Mrs. Alice Knobloch (by descent) {Sotheby’s Park Bernet, New York, American Paintings, October 17, 1980, Lot 42} Private Collection {Troy’s Western Heritage Gallery, Scottsdale, Arizona} Sam Wyly, Dallas, Texas Private Collection, New York Literature: Peter Hassrick and Melissa Webster, Frederic Remington: A Catalogue Raisonne of Paintings, Watercolors and Drawings, Vol. I & II, Cody: The Buffalo Bill Historical Center, 1996, cat. 02478 (online) Elliott Yeary Gallery, 18th, 19th & 20th Century American Masters, Aspen: Elliott Yeary Gallery, p. 14 Exhibited: Midwest Museum of Art, Elkhart, Indiana, 1987 Remington Park, Oklahoma City, Oklahoma, 1988 The Lamb Foundation Collection, 1989 Sheldon Swope Art Museum, Terre Haute, Indiana, 1992-1993 (label affixed to verso) $800,000 - $1,200,000 173

303 CHARLES SCHREYVOGEL (1861-1912) The Last Drop #5, 1903, cast 1904 bronze 5 11 ¾ x 18 ¾ x 5 inches inscribed: Copyrighted 1903 by Chas. Schreyvogel / Roman Bronze Works N.Y. stamped: 5 Charles Schreyvogel was born in New York City and became famous for his scenes of western military life through his paintings, illustrations, lithographs, and sculpture. He grew up on the Lower East Side of Manhattan and as a child sold newspapers and worked as an office boy while attending public school. He later earned a living in a variety of ways, including working as a pipe carver, an engraver, and a diesinker, before apprenticing to a lithographer in 1877. Within three years he was working as an independent lithographic artist, supplementing his income by teaching drawing. Generous patronage financed his study in Munich under Carl Marr and Frank Kirchbach, with whom he spent three years from 1887-1890. After sketching the performers of Buffalo Bill’s Wild West show in New York, Schreyvogel spent the duration of 1893 in the West. For five months he sketched at the Ute Reservation in Colorado before traveling to Arizona to observe and record the life of cowboys.

The Last Drop, Schreyvogel’s second sculpture, was conceived as a model for the artist’s painting of the same name, a portrayal of the close relationship between a soldier and his horse. The artist utilized both Roman Bronze Works (for the initial castings and subsequent estate casts) and Cellini Foundry.

Provenance: Private Collection, Wyoming Literature: Thayer Tolles and Thomas Brent Smith, The American West in Bronze, 1850-1925, New York: Metropolitan Museum of Art, 2013, cat. no. 70, p. 173; illustrated p. 116 and 122, p. 120 and 164 Exhibited: The American West in Bronze, 1850-1925, The Metropolitan Museum of Art, New York, New York, December 18, 2013-April 13, 2014; Denver Art Museum, Denver, Colorado, May 9-August 31, 2014; Nanjing Museum, China, September 29, 2014-January 18, 2016 $200,000 - $300,000

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304 RICHARD LORENZ (1858-1915) The Plainsman oil on canvas 20 x 30 inches signed lower right: R. Lorenz Provenance: Private Collection, Wyoming Exhibited: Collectors of the West Celebrate 50 Years, Desert Caballeros Western Museum, Wickenburg, Arizona, January 23-March 14, 2010 $30,000 - $50,000

305 HENRY RASCHEN (1854-1937) On the Trail oil on canvas 30 x 60 inches signed lower right: H Raschen Provenance: Kennedy Galleries, Inc., New York, New York From a Private Collection $20,000 - $30,000 175

306 ALBERT BIERSTADT (1830-1902) Western Sunset, ca. 1863-73 oil on panel 8 x 10 inches monogrammed lower left: AB Some of Albert Bierstadt’s most exquisite works are his small landscapes, and the painting, Western Sunset, is a prime example of this genre. Because the artwork is not inscribed, it is not possible to identify the scene with certainty, but it compares most closely to the landscape views that Bierstadt did of Lake Tahoe, California.

He visited the area several times between 1863 and 1873, recording the lake at different seasons and varying times of day and night.

Western Sunset depicts a small cove along a lake’s shore. As are many of Bierstadt’s paintings, it is a sophisticated composition with a complex design of light and shadow that the artist uses to draw the viewer into the picture and to guide the eye around the whole of the painting. The eye is first drawn to the brightest spot on the canvas, the white reflection of the setting sun. Attracted to the bright light, the eye follows the reflection to the sun itself. Following the light emanating from the setting sun, the viewer is guided diagonally up and right, across the expanse of the sunlit clouds to the dark clump of trees which lead ultimately back to the lowly lit foreground and the curving line of the bank, which leads left across the front of the picture past a crane that stands on the shore to the rocks and trees on the far left that catch the last of the sun’s light.

The painting is a wonderful yet subtle arrangement of contrasts. In addition to light versus dark, there is drama versus calm as seen in the dramatic sky that contrasts with the quiet foreground and the still lake. Just left of center, the crane waits patiently for his evening meal. The artist also juxtaposes detail with simplicity: the foreground is strewn with wildflowers, grasses and rocks whereas the horizon line is indistinct: an intervening atmospheric haze has obscured the distant mountains successfully creating a sense of depth to the scene. Hallmarks of many of Bierstadt’s western landscapes and particularly his Tahoe scenes include the presence of both deciduous and conifer trees, wildflowers dotting the foreground and boulders artfully placed to balance the composition.

While we cannot be certain that Western Sunset depicts Lake Tahoe, assuredly it catches the magic of a setting sun in the scenic West and exhibits many of the stylistic elements that characterize the artist at his best.

Provenance: Private Collection, Santa Fe, New Mexico $150,000 - $250,000

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307 THOMAS MORAN (1837-1926) Lake Tahoe watercolor on paper 11 ¼ x 14 ½ inches inscribed, dated and signed lower left: Tahoe Aug 9th, ‘79 / TMoran.

Provenance: J.N. Bartfield Galleries, New York, New York Private Collection, Houston, Texas Private Collection, New York {Gerald Peters Gallery, Santa Fe, New Mexico} Private Collection, New Mexico Exhibited: Tahoe: A Visual History, Nevada Museum of Art, Reno, Nevada, August 22-January 10, 2016 $200,000 - $250,000

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308 FREDERICK W. MACMONNIES (1863-1937) Kit Carson, modeled 1910, cast ca. 1935 bronze 13 24 ¾ x 17 x 10 inches inscribed: F. MACMONNIES / ROMAN BRONZE WORKS N.Y. stamped underside: RB No 13 Frederick William MacMonnies was born September 28, 1863, in Brooklyn Heights, New York. He began his art studies in 1878 at a school in Lower Manhattan, and soon came to the attention of America’s premier sculptor, Augustus Saint-Gaudens. Saint-Gaudens employed MacMonnies as a studio assistant for two years before allowing him to become a formal apprentice. MacMonnies studied at the Art Students League, the National Academy of Design, and Cooper Union before leaving New York for Paris in 1884. He attended the Académie Colarossi and was accepted for the Ecole des Beaux-Arts. There, he gained recognition when, in two successive years, he won the highest prize available to foreigners, the Prix d’Atelier, which was second only to the Prix de Rome.

As an expatriate in Paris from 1884-1914, MacMonnies absorbed the principles of the Beaux-Arts style. With a strong preference for working in bronze, he followed the lead of his master, Saint-Gaudens, and the contemporary French sculptors with whom he studied in Paris. MacMonnies enjoyed great professional success as the recipient of many important public commissions. Moreover, he was well received by the critics and was one of the most commercially successful artists of his time.

One of his last public sculptural groups, and his only work based on a western theme, is Pioneer Monument to Kit Carson, which was commissioned in 1906 and completed

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by 1911 for the city of Denver. On the base of the large monument are figures representing a pioneer mother and her child, a prospector, and Kit Carson. These figures are surmounted by a heroic representation of Kit Carson on his horse, with the pioneer-explorer gesturing toward the West. Several reduced versions of the monumental portrait were cast by the sculptor’s two favored foundries: the Jaboeuf & Rouard Foundry in Paris and Roman Bronze Works in New York.

Stylistically, Kit Carson integrates the principles of the Beaux-Arts style with a naturalistic approach. It exhibits the lively surface modeling and fluid sense of movement through which MacMonnies secured his place as one of the leading innovators in the Gilded Age of American sculpture. Casts exist in the Birmingham Museum, the Norton (Shreveport), and the Denver Art Museum.

Provenance: Private Collection, New York Literature: M. Smart and E. Adina Gordon, A Flight with Fame: The Life and Art of Frederick MacMonnies, Madison: Sound View Press, 1996, pp. 219-21 and pp. 305-6 E. Adina Gordon, The Sculpture of Frederick William MacMonnies: A Critical Catalogue, Ph.D. dissertation, New York University, 1998, Vol. I and Vol. II, no. 84 $125,000 - $175,000

309 FERNAND HARVEY LUNGREN (1857-1932) Cowboy Roping watercolor and gouache on paper 15 ½ x 12 inches signed lower right: Lungren Provenance: Kennedy Galleries, Inc., New York, New York Private Collection, Wyoming $5,000 - $7,000

310 HUNT DIEDERICH (1884-1953) Bronco Buster, 1908 bronze 9 ½ x 6 x 5 ¼ inches inscribed: Hunt Diederich Provenance: Private Collection, Wyoming Literature: Janis Conner and Joel Rosenkranz, Rediscoveries in American Sculpture: Studio Works, 1893-1939, Austin: University of Texas Press, 1989, p. 20 $5,000 - $10,000

311 BURT PROCTER (1901-1980) Open Spaces (Self-Portrait) oil on board 16 x 20 inches signed lower left: Burt Procter inscribed on stretcher: OPEN SPACES Provenance: Private Collection, New Mexico $5,000 - $7,000

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312 WILLIAM GOLLINGS (1878-1932) The Camp Crier oil on canvas 29 ¼ x 20 inches signed and dated lower right: Gollings / (artist’s cipher) / 1925 inscribed verso: The Camp Crier Like Charles M. Russell, William Gollings was a cowboy artist who painted the way of life that he had come to know in the West. Gollings spent nearly all his life in the Sheridan area of north-central Wyoming. He knew his country “by creeks and divides,” to use his own words, and he painted the hills and fence corners that he worked on horseback.

Born in the Territory of Idaho, Gollings was sent by his family to Chicago for schooling. In 1896, determined to work his way back west, the young Gollings traveled to Rapid City, South Dakota, where he signed on as a cowhand for an outfit heading for the Slim Buttes country. After a winter spent herding cattle, Gollings made his way to his brother’s ranch in Montana, on Rosebud Creek near the Yellowstone River. “I realized the cowboy days were about over,” he recalled in his autobiography. “The older men in the game told me as much, and I longed to be a part of at least the last of it.” He worked as an occasional hand over the next five years, gaining much experience, and began to make drawings of what he saw, particularly after becoming aware of Frederic Remington’s work. His fellow cowboys nicknamed him “Paint Bill,” and his efforts were reviewed in the Chicago press as being “filled with the breeziness of the plains, with spirited delineations of horses and men.”

In 1909, Gollings built a small studio with a skylight in Sheridan and settled down to work. He met several other artists, most notably Edward Borein, W.H.D. Koerner, Joseph Henry Sharp, and Charles M. Russell.

Gollings was in awe of Russell’s art and established a lifelong association with the Montana artist. Gollings’ own art, however, was more directly influenced by Sharp, who assisted him with his technique. “Every time I go out into the hills I get more and more convinced that there is no more West,” Gollings wrote to a friend in 1926. The West that Gollings mourned was preserved in his paintings, which remain valuable visual records of the early history of Wyoming.

Provenance: Private Collection, Sheridan, Wyoming Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico Literature: James T. Forrest, Bill Gollings: The Man and His Art, Flagstaff: Northland Press, 1979 $200,000 - $300,000

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313 MAYNARD DIXON (1875-1946) Southern Utah Cowboy, 1941 watercolor and gouache on paper 9 x 12 inches initialed and dated lower left: M.D. / -41 inscribed verso: Maynard Dixon / Mt. Carmel / Utah / Tucson, / Ariz Provenance: Private Collection, New Mexico $20,000 - $30,000

314 PHILLIP H. BARKDULL (1888-1968) Desert Sunset, 1933 oil on canvas 23 ¾ x 29 ¾ inches signed and dated lower left: P.H. Barkdull - 1933 inscribed verso: “Desert Sunset” / by P.H. Barkdull / Arizona Sept. 1933 Provenance: Private Collection, Utah $15,000 - $20,000

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315 WILLIAM GOLLINGS (1878-1932) Night Hawk, 1921 oil on canvas 24 x 34 inches signed and dated lower left: Gollings (with artist’s cipher) / 1921 Provenance: Private Collection, Sheridan, Wyoming Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico $250,000 - $350,000

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316 BIRGER SANDZÉN (1871-1954) Pine and Aspen, Rocky Mountain National Park, Colorado oil on panel 30 x 40 inches signed lower right: Birger Sandzén Around 1910, Birger Sandzén developed a style of paint application and brilliant colors that made his work unique amongst his peers. He used powerful brushstrokes, strong outlines, and balanced forms to give his views of nature a vibrant impact uncommon in two dimensions, as seen in Pine and Aspen, Rocky Mountain National Park, Colorado. His rapid brushwork and thick, painterly application recall the influence of the Post-Impressionists, particularly Van Gogh.

As an artist, Sandzén was concerned with the overall flow and rhythm of a landscape. Color was extremely important to him, and his rich palette included many colors, some of which can be seen in the present work, including cadmium yellow, emerald green, ultramarine blue, and cobalt violet.

He also took into consideration, and tried to account for, the visual effects of the reflection and refraction of light on the natural forms he painted, according to the specific time of day and prevailing atmospheric conditions.

Sandzén also discovered and appreciated the variety and divergent beauty of the western regions of the country. Beginning in 1926, he summered in Estes Park, Colorado and Logan, Utah. He visited Bryce and Zion Canyons while in Utah and traveled to the Grand Canyon in Arizona. According to Ron Michael, Director of the Birger Sandzén Memorial Gallery, “Pine and Aspen is quite a strong work from later in [the artist’s] career. The painting was originally purchased by writer and publisher, E. Haldeman-Julius, best known for printing the Little Blue Books [pamphlet series]. In 1945, Sandzén held an exhibition at Pittsburg State University and Haldeman-Julius purchased the entire exhibition, including Pine and Aspen. The sale is documented in Sandzén’s records and, though it was eventually sold, it remained in Haldeman-Julius’ family for many years."

Provenance: The Artist Collection of E. Haldeman-Julius, Kansas Private Collection, Utah $75,000 - $100,000

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317 BIRGER SANDZÉN (1871-1954) Autumn (Smoky Hill River, Kansas), 1946 oil on panel 20 x 24 inches signed lower right: Birger Sandzén inscribed verso: Autumn / (Smoky Hill River, Kansas) / Birger Sandzén / Lindsborg, Kansas / 1946 / To Barbara Provenance: Private Collection, Texas $30,000 - $50,000

318 JOHN MOYERS (b. 1958) When the Chamisa Blooms, 1990 oil on canvas 30 x 40 inches signed lower right: - John - Moyers - / © CA inscribed on stretcher: WHEN THE CHAMISA BLOOMS - JOHN MOYERS CA © 1990 - ALL RIGHTS RESERVED Provenance: Private Collection, California $25,000 - $35,000

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319 OSCAR E. BERNINGHAUS (1874-1952) Apache Indians at Boulder gouache on paper 15 ¾ x 19 ¾ inches signed lower left: O.E. BERNINGHAUS Provenance: The Artist Anne Tandy (owner of 6666 Ranch, Texas) By descent from the above Private Collection, New Mexico, 1990 Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico Literature: Masters of the Taos Tradition, C.M. Russell Museum, Great Falls: C.M. Russell Museum, 1993, p. 7 Exhibited: Masters of the Taos Tradition, C.M. Russell Museum, Great Falls, Montana; Colorado Springs Fine Arts Center, Colorado Springs, Colorado; Palm Springs Desert Museum, Palm Springs, California; National Museum of Wildlife Art, Jackson, Wyoming, April 1993-November 1995 $100,000 - $150,000

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320 EANGER IRVING COUSE (1866-1936) The Lesson, 1902 oil on canvas 26 x 32 inches signed lower right: E-I-COUSEBorn in 1866 in Saginaw, Michigan, Eanger Irving Couse became familiar with Indian daily life and rituals from an early age, earning a reputation (even as a boy) as a faithful artist of the local Chippewa tribe. After raising tuition by painting houses in his hometown, Couse enrolled in the Art Institute in Chicago in 1884.

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

By 1887, the twenty-one year old Couse was lured to Paris, the cosmopolitan art center of the western world. In Paris, Couse immediately enrolled himself in the Académie Julian, which attracted numerous Americans due to its reputation for liberal attitudes towards experimentation. At Julian’s (as it was known to its American contingent), Couse was profoundly influenced by his professor William-Adolphe Bouguereau, who preached a classical doctrine based on Renaissance techniques and Christian values. Bouguereau, who enjoyed international acclaim as a figure painter, was immediately attracted to Couse’s strong sense of modeling and proportion.

In 1902, on the advice of Joseph Henry Sharp and Ernest L. Blumenschein, Couse made his first visit to Taos. It was during this first year that he painted The Lesson. By 1906, Couse had established a residence and studio in Taos, where he lived during the summers. Although inspired by Taos, many of Couse’s paintings of Indian life were completed in his New York Studio, in keeping with the French

academic tradition. In 1928, Couse moved to Taos permanently, devoting himself entirely to painting the traditions, culture, and daily routines of the Pueblo Indians. Couse’s distinctive style and unique paintings of Indian subjects—often dramatically staged in the shadows of firelight or in varying degrees of natural light—earned him an international reputation.

Provenance: {Fenn Galleries, Ltd., Santa Fe, New Mexico, 1977} Dr. Martin L. Dalton, Jr., Jackson, Mississippi, 1977 {Nedra Matteucci Galleries, Santa Fe, New Mexico, 2002} R. Michael Kammerer, Jr., Santa Fe, New Mexico {Gerald Peters Gallery, Santa Fe, New Mexico} Private Collection, New Mexico Literature: Beth Roessner, "Go West for Adventure: Art Exhibit Depicts Lives of Cowboys, Native Americans and Early Settlers," The Desert Sun, September 27, 2014 Exhibited: Collectors of the West Celebrate 50 Years, The Desert Caballeros Western Museum, Wickenburg, Arizona, January 23-March 14, 2010 A Grand Adventure: American Art of the West, Palm Springs Art Museum, Palm Springs, California, August 22, 2014-January 31, 2015 $150,000 - $250,000 187

321 E. MARTIN HENNINGS (1886-1956) Pueblo Village, ca. 1935 oil on canvas 30 x 36 inches signed lower right: E. Martin / Hennings.

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

Hennings was born to German immigrants in Penns Grove, New Jersey in 1886. When he was two, his family moved to Chicago, which then served as the primary metropolitan link between the East and West Coasts. Hennings was drawn towards Chicago’s bustling art community, which was then centered around the Chicago Art Institute. After his first visit to the Art Institute as a teenager, Hennings knew his life had been profoundly changed, boldly proclaiming: “I know what I’m going to do; I’m going to be an artist.”1 Upon finishing high school, Hennings enrolled in the Art Institute, graduating with honors in 1904. He continued studying there until 1906, and returned briefly in 1912, disillusioned by his experiences in the commercial art world and longing for more intensive study. Although he failed to win a European scholarship in the prestigious Prix de Rome competition (he finished second), he traveled to Germany and entered the Munich Academy. In Munich, he kept company with fellow Americans, Walter Ufer and Victor Higgins, both of whom he had known from his Art Institute days. In 1915 Hennings returned to Chicago, forced to leave Germany on account of World War I. As Hennings’ reputation as an artist grew, he attracted the patronage of some of Chicago’s most respected citizens, including former Mayor Carter Harrison and Oscar Mayer, the meat-packing mogul. In 1917, Harrison suggested that Hennings work in Taos for a season, with the guarantee that any paintings executed would be purchased. Despite the profound impression that Taos had on Hennings, he did not settle in the town immediately; that winter he returned to Chicago, where he continued to work for several more years.

After careful consideration of several different artists’ colonies on the East Coast, Hennings made Taos his permanent home in 1923. Already well acquainted with Ufer and Higgins, Hennings was invited to join the Taos Society of Artists later that year. A peaceable man with an appetite for intellectual stimulation, Hennings remained an active member of the Society until it disbanded in 1927.

Provenance: Private Collection Private Collection, Santa Fe, New Mexico, 1993 Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico Literature: Masters of the Taos Tradition, C.M. Russell Museum, Great Falls, Montana, exh. cat., 1993, p. 22 Exhibited: Masters of the Taos Tradition, C.M. Russell Museum, Great Falls, Montana, May-September 1993; Colorado Springs Fine Arts Center, Colorado Springs, Colorado, May-September 1994; Palm Springs Desert Museum, Palm Springs, California, January-April 1995; National Museum of Wildlife Art, Jackson, Wyoming, May-November 1995 Taos Artists and Their Patrons, The Albuquerque Museum, Albuquerque, New Mexico, April 16-August 6, 2000 $500,000 - $700,000

1

Laura M. Bickerstaff, Pioneer Artists of Taos, Denver, Sage Books, 1955, p. 195

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322 RALPH MEYERS (1885-1948) The Plains Across, ca. 1919 oil on board 18 ½ x 16 ½ inches inscribed verso: The Plains Across / by Ralph Meyers / No 280.

For such a small village, remote from historical centers of wealth and patronage, Taos, New Mexico harbors a breathtakingly complex and vigorous tradition of artistic expression.1 Enriched by the thousand-year-old culture of the Taos Pueblo, centuries of Spanish Colonial expression including Moorish influences from the Middle East, and decades of wondrous discovery by Anglo and European artists, the stillness of Taos is belied by its myriad currents of creativity. At the center of this cultural mix, in what may have been its most vibrant phase—the ‘teens and ‘twenties of the Twentieth Century—Indians, Spanish, Anglos and Europeans alike found Ralph Meyers.

Although Meyers was out of necessity a businessman and a connoisseur of local and regional crafts, underlying all these endeavors was his dream to make a living as a painter. His first visits to Taos were on the heels of artists Bert Geer Phillips and Ernest L. Blumenschein who decided to explore the area in 1898 upon the suggestion of Cincinnati artist Joseph H. Sharp. Soon artists from around the world were summering in Taos, capturing the American Indians in traditional garb, and distilling the light and the landscape of the wide-open West in their imagery.

Although few made it their permanent home, Meyers settled in for the long haul.

While only some of Meyers’ paintings are dated, the chronological progression in his style, technique, and composition are perceptible. One thing that is consistent is the small size of his paintings. Meyers was forever roaming the Southwest for work and adventure and would carry with him portable canvas boards and his oils, stopping to paint where and whenever he could. His early work offers a novitiate study of the architecture of Taos Pueblo, adobe buildings, and mountain landscapes. One can sense Meyers’ feelings while he traveled the beautifully desolate territory…natives working in the field, the Spanish Peaks on the horizon en route from Denver to Northern New Mexico and tipis set against the intense colors of sunrises and sunsets that swathe the vast plains.

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Between 1910 and 1930, Meyers was fairly prolific with the brush and canvas and heavily influenced by the Taos Society of Artists that coalesced in 1915.

His landscapes, such as The Plains Across, appropriate a low horizon line, distant mountains, and large skies, akin to TSA artist Oscar E. Berninghaus and his paint handling similar in style to that of Walter Ufer.2 Although Meyers had no art education per se, he drew upon the remarkable skills of the artists around him in Taos. His oils model paintings and compositions of many of the TSA artists, especially those of friends Joseph Sharp, E.I. Couse, and Buck Dunton, and in his more mature work, the explosive brush strokes and dazzling palette of Leon Gaspard. Though Meyers came under the critical eyes of the TSA members, in his untutored manner he captured the wide-open skies and fecund landscapes of Taos in an unparalleled manner. His abilities were possibly best summed up in the book D.H. Lawrence in Taos: “He’s perhaps the only one here who can paint what can’t be seen.”3 Provenance: Private Collection, Taos, New Mexico Literature: A Taos Original: Ralph Meyers, Taos Art Museum at Fechin House, Taos, New Mexico, 2015, exh. cat., p. 18 Exhibited: A Taos Original: Ralph Meyers, Taos Art Museum at Fechin House, Taos, New Mexico, May 22-October 4, 2015 $8,000 - $12,000

Essay excerpted from Julie Anderies, “Awe and Wonder—Ralph Meyers in Taos,” Denver Fortnightly, April 19, 2106, pp. 1, 5-7 2 David Clemmer, Serenading the Light: Painters of the Desert Southwest, Santa Fe: Schenck Southwest Pub., p. 138 3 Joseph Foster, D.H. Lawrence in Taos, Albuquerque: University of New Mexico Press, 1972 1

323 RALPH MEYERS (1885-1948) Adobe and Summer Sky oil on board 9 ¾ x 13 ½ inches signed lower right: Ralph Meyers Provenance: Private Collection, Taos, New Mexico Literature: A Taos Original: Ralph Meyers, Taos Art Museum at Fechin House, Taos, New Mexico, 2015, exh. cat., p. 22 Exhibited: A Taos Original: Ralph Meyers, Taos Art Museum at Fechin House, Taos, New Mexico, May 22-October 4, 2015 $5,000 - $7,000

324 EANGER IRVING COUSE (1866-1936) Taos Pueblo, Moonlight, ca. 1935 oil on panel 8 ¾ x 11 ¾ inches signed lower right: E-I-COUSE-N.A. inscribed verso: TAOS PUEBLO MOONLIGHT / Painted by E. Irving Couse / about 1935 / Kibbey W Couse / Taos. New Mexico Provenance: Kibbey W. Couse, Taos, New Mexico Fenn Galleries, Ltd., Santa Fe, New Mexico (stamped and label affixed to verso) Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico Exhibited: Masters of the Taos Tradition, C.M. Russell Museum, Great Falls, Montana, May-September, 1993; Colorado Springs Fine Arts Center, Colorado Springs, Colorado; Palm Springs Desert Museum, Palm Springs, California; National Museum of Wildlife Art, Jackson, Wyoming, May-November 1994 $60,000 - $90,000 191

325 LEON GASPARD (1882-1964) In Cairo, 1959-60 oil with mixed media on board 40 x 30 inches signed lower left: Leon Gaspard Provenance: Estate of the Artist/Dora Gaspard Kennedy Galleries, Inc., New York, New York Maxwell Galleries, San Francisco, California Biltmore Galleries, Scottsdale, Arizona Fenn Galleries Ltd., Santa Fe, New Mexico Private Collection, Phoenix, Arizona Private Collection, Santa Fe, New Mexico $300,000 - $500,000 192

326 LEON GASPARD (1882-1964) Cossack Officer, Siberia, 1948 oil on panel 13 ½ x 9 ½ inches signed, inscribed and dated lower left: Leon Gaspard / [indecipherable] / 1948 Provenance: Private Collection, New Mexico $20,000 - $30,000

327 LEON GASPARD (1882-1964) Young Betrothed (Mrs. Leon Gaspard), 1959 pastel on paper 16 x 12 inches signed, inscribed and dated lower left: Leon Gaspard / Moscow 1959 Provenance: Fenn Galleries Ltd., Santa Fe, New Mexico (label affixed to verso) From a Private Collection $20,000 - $30,000

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328 VICTOR HIGGINS (1884-1949) Mountains & Sky oil on board 6 x 7 inches signed lower right: VICTOR HIGGINS. Provenance: Estate of the Artist Wally Sargent, Santa Fe, New Mexico Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico $50,000 - $100,000

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329 ERNEST L. BLUMENSCHEIN (1874-1960) Adobe Village, Winter, 1929 oil on board 6 x 9 inches signed lower left: E L BLUMENSCHEIN Provenance: Private Collection Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico, 1996 Literature: Peter H. Hassrick and Elizabeth J. Cunningham, In Contemporary Rhythm: The Art of Ernest L. Blumenschein, Norman: University of Oklahoma Press, 2008, p. 191 Walter Ufer: Rise, Fall, Resurrection, National Cowboy and Western Heritage Museum, Oklahoma City, Oklahoma, 2014, exh. cat., p. 31, no. 20 Exhibited: In Contemporary Rhythm: The Art of Ernest Blumenschein, The Albuquerque Museum, Albuquerque, New Mexico; Denver Art Museum, Denver, Colorado; Phoenix Art Museum, Phoenix, Arizona, June 8, 2008-June 14, 2009 (label affixed to verso) Walter Ufer: Rise, Fall, Resurrection, National Cowboy and Western Heritage Museum, Oklahoma City, Oklahoma, February 7-May 11, 2014 The Taos Society of Artists, The Mennello Museum of American Art, Orlando, Florida, September 22, 2014-January 16, 2015 $75,000 - $150,000

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330 LEON GASPARD (1882-1964) Russian Peasants, Mountains and Snow, 1935-45 oil on canvas 54 x 42 inches signed lower left: Leon Gaspard In Vitebsk, Russia, Leon Gaspard was a student of Julius Penn and Marc Chagall. He studied in Odessa and Moscow then, at age seventeen, traveled to Paris to study under Édouard Toudouze and William-Adolphe Bouguereau at the Académie Julian. His first one-person show in Paris sold out. In 1908, he married an American and took a two-year honeymoon in Siberia. The paintings from that trip were also well received in Paris.

An aviator for France in World War I, Gaspard was shot down and went to New York to recover from his injuries. Urged to seek out a drier climate, Gaspard and his wife, Evelyn, first visited Taos in 1916, and settled permanently there in 1918. Gaspard’s circle of friends in Taos included notables such as Mabel Dodge Luhan, D.H. Lawrence, John Marin, Buck Dunton, and Gaspard’s countryman, Nicolai Fechin. An inveterate traveler, Gaspard left Taos regularly to undertake extensive sojourns in China, Mongolia, Tibet, North Africa, and Russia. His travels are reflected in his oeuvre—as evidenced by Russian Peasants, Mountains and Snow and In Cairo—along with vibrant New Mexico landscapes and portraits of the people of Taos Pueblo.

Provenance: Private Collection, Los Angeles, California Private Collection, Minneapolis, Minnesota Private Collection, Santa Fe, New Mexico $400,000 - $600,000

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331 LEON GASPARD (1882-1964) The Musicians pastel on paper mounted on board 21 x 46 inches signed lower left: Leon Gaspard Provenance: {Gerald Peters Gallery, Santa Fe, New Mexico} From a Private Collection $150,000 - $250,000

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332 OSCAR E. BERNINGHAUS (1874-1952) County Fair gouache on illustration board 9 ½ x 20 ½ inches Provenance: Private Collection, Virginia $15,000 - $25,000

333 HENRY BALINK (1882-1963) Portrait of an Indian Chief oil on canvas 24 x 20 inches signed upper left: HENRY C. BALINK / TAOS N.M. Provenance: Private Collection, New Mexico $20,000 - $30,000

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334 CATHERINE CRITCHER (1868-1964) Indian Drummer oil on canvas 18 x 17 inches signed lower right: C.C. Critcher When Catherine Critcher first visited Taos in 1922, she was immediately attracted to the expressive potential of the Pueblo’s Indians. While she did occasionally produce landscape scenes featuring Indians posed or on horseback, she remains best known for her portraits of the people of Taos. Although Critcher never settled permanently there, she spent summers in Taos throughout the 1920s, returning to Washington, DC in the winters to sell and exhibit her work. In 1924, alongside E. Martin Hennings, she was unanimously elected the first and only female member of the Taos Society of Artists. While the exact nature of her role within the Society remains somewhat unclear, she did participate in the Society’s exhibition circuit and remained an active member until the group disbanded in 1927.

Indian Drummer, likely executed in the mid-1920s, betrays many of the hallmarks of Critcher’s Taos portraits: a spare interior space, diverse studio props—from the hanging textiles to the titular drum—and, most notably, a sitter caught (presumably) amid a contemplative moment.

Provenance: Collection of Harrison Eiteljorg, Indianapolis, Indiana Private Collection, St. Petersburg, Florida Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico, 1999 Literature: Women Portray the West (1890-1940), Wildling Art Museum, Los Olivos, California, 2004, exh. cat., p. 7 Exhibited: Women Portray the West (1890-1940), Wildling Art Museum, Los Olivos, California, March 14-May 30, 2004 The Taos Society of Artists, The Mennello Museum of American Art, Orlando, Florida, September 22, 2014-January 16, 2015 $125,000 - $200,000

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335 OSCAR E. BERNINGHAUS (1874-1952) Harvest Season, ca. 1925 oil on canvas 25 x 30 ¼ inches signed lower left: O.E. BERNINGHAUS / TAOS. Of the six founding members of the Taos Society of Artists, or the “Taos Six,” Oscar E. Berninghaus was the only one who did not undergo formal artistic training in New York or Europe. Born in St. Louis in 1874, the son of a lithograph salesman, Berninghaus admired the works his father sold and tried his hand at sketching, drawing, and painting, ultimately attending art school classes to refine his talent. In 1899, he visited Taos for the first time and met Bert Geer Phillips. Taos and the northern New Mexico landscape turned out to be exactly what the painter needed to develop the full depth of his artistic sensibilities.1 Berninghaus was enchanted with New Mexican scenery and the people of the region, painting sweeping vistas of land, sky, clouds, and everyday life. His style was one of short, quick brushstrokes, lending his work a unique texture. He depicted Indians in a naturalistic, unromanticized manner, going about their lives and routines. In Harvest Season, Berninghaus presents an intimate look at an important autumn ritual.

Provenance: Private Collection, Springfield, Illinois {Gerald Peters Gallery, Santa Fe, New Mexico} Private Collection, New Mexico $200,000 - $400,000

1

Patricia Jan Broder, Taos: A Painter’s Dream, New York: Little Brown and Company, 1980, p. 114, 117, 119

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336 CATHERINE CRITCHER (1868-1964) Artist’s Studio in Taos, New Mexico, ca. 1925 oil on canvas 17 x 18 inches inscribed on cardboard affixed to verso: ARTIST: / CATHERINE CARTER CRITCHER / (HER STUDIO IN TAOS, NEW MEXICO) Provenance: Private Collection, New Mexico $100,000 - $150,000

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337 VICTOR HIGGINS (1884-1949) Field Before Dotted Hills watercolor on paper 12 ¾ x 22 ¾ inches signed lower left: VICTOR HIGGINS Victor Higgins was born in Shelbyville, Indiana and, at 15, moved to Chicago after learning about the newly opened Art Institute of Chicago from a traveling sign painter. Following ten years of study in Chicago, Higgins went to New York in 1911, where he studied with Robert Henri, before leaving for additional training in London, Paris, and Munich. In 1913, Higgins returned to Chicago and was able to view the reduced-format Armory Show, which introduced the young artist to modernist painting. In 1914, at the behest of his patron, Mayor Carter Harrison, Higgins made his first trip to Taos. He immediately established residency there, painting the unchanged lifestyle of the area’s Pueblo Indians. In 1917, Higgins was invited to join the Taos Society of Artists, and remained with the group until they disbanded in 1927; however, he was not one of the most active participants and, by 1920, was spending more and more time with progressive artists, Andrew Dasburg and Kenneth Adams. Following the dissolution of the Taos Society, Higgins turned his focus almost entirely to the depiction of Cubist forms and to the patterns apparent in the surrounding landscape.

In Field Before Dotted Hills, Higgins explores these Cubist tendencies through an emphasis on abstract forms, broad planes of color, and the rhythmic undulations of the northern New Mexico landscape.

Provenance: Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico Exhibited: Artists in the American Desert, Sierra Nevada Museum of Art, Reno, Nevada, November 29, 1980-January 11, 1981 $50,000 - $75,000

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338 JOHN MARIN (1870-1953) Region of Taos, NM, 1930 watercolor on paper 15 ¼ x 20 ¾ inches signed and dated lower right: Marin 30 inscribed verso: Region of Taos, NM John Marin was born and raised in Rutherford, New Jersey. After a brief stint studying to become a mechanical engineer, Marin spent several years working as a draftsman for architectural firms. At the age of twenty-eight, he chose to pursue his art education and enrolled in the Pennsylvania Academy of Fine Arts, followed by a tenure at the Art Students League in New York. In 1905, Marin left for Paris to study abroad for five years. While in Paris, Marin was introduced to Alfred Stieglitz, who began showing his work at his New York gallery 291. The annual one-man exhibitions that Stieglitz staged of Marin’s work effectively launched his career, making him one of the most successful artists in America.

In 1929, Marin embarked on his first of two trips to New Mexico and was fortunate to be there at the same time as Georgia O’Keeffe, Andrew Dasburg, and Marsden Hartley. Marin visited New Mexico again in 1930 and, during this pair of trips, created over 100 watercolors of the region. Region of Taos, NM is a superlative example of the artist’s output while in New Mexico for his second visit.

With simple, confident brushwork, Marin’s modernist aesthetic complements the beauty of the region’s unique natural forms.

Provenance: The Downtown Gallery, New York, New York (label affixed to verso) Private Collection, New York, New York Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico Exhibited: Masters of the Taos Tradition, National Museum of Wildlife Art, Jackson, Wyoming, May 1995-November 1995 John Marin in New Mexico, The Albuquerque Museum, Albuquerque, New Mexico; The McNay Museum, San Antonio, Texas, May 1999-January 2000 $250,000 - $400,000

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339 JOSEPH HENRY SHARP (1859-1953) Marine Near Honolulu oil on canvas 25 ½ x 30 inches signed lower right: JH SHARP Provenance: Private Collection, Texas $7,000 - $12,000

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340 ERIC SLOANE (1905-1985) Sea and Sky oil on masonite 24 x 30 inches signed lower right: SLOANE titled lower left: SEA and SKY Provenance: Private Collection, Texas $3,000 - $5,000

341 THOMAS AQUINAS DALY (b. 1937) Tailwaters watercolor on paper 11 ¾ x 18 inches signed lower right: t A daly Provenance: Private Collection, Nevada $3,000 - $5,000

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342 R.S. RIDDICK (b. 1952) Good As It Gets, 2015 oil on canvas 40 x 48 inches signed lower left: R.S. Riddick CA / © 2015 Provenance: The Artist $40,000 - $60,000

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343 WILLIAM MATTHEWS (b. 1949) Firehole Pastoral watercolor on paper 13 ¾ x 19 ½ inches signed lower right: William Matthews / (artist’s cipher) Provenance: Private Collection, New Mexico $1,500 - $2,500

344 WILLIAM MATTHEWS (b. 1949) High Country Highlight watercolor on paper 18 ¼ x 18 ¼ inches signed lower right: William Matthews / (artist’s cipher and estate stamp) Provenance: Private Collection, New Mexico $2,000 - $3,000

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345 FRANK TENNEY JOHNSON (1874-1939) Mountain Meadows, 1929 oil on canvas 45 x 56 inches signed and dated lower left: F Tenney Johnson / 1929 inscribed on stretcher: Mountain Meadows. / by F. Tenney Johnson / 22 Champion Place Alhambra, Calif. / RETURN TO BILTMORE SALON Frank Tenney Johnson’s Mountain Meadows was an important painting for the artist. He painted it for the National Academy of Design’s 1929 winter exhibition. Earlier that year, on March 18, 1929, he was elected an associate member of the prestigious artist organization. It was the first step to becoming a full member, a status all artists sought, and the ultimate recognition as a fine artist. Johnson was honored with a full National Academy membership six years later, in 1937.

The inspiration for Mountain Meadows came in the summer of 1928 when Johnson made a road trip to northwestern Colorado. He had been invited by Los Angeles oilman and real estate developer Alfonzo Bell to visit his ranch, the Bar Bell, just outside of Meeker, Colorado. Bell had commissioned Johnson to paint equestrian portraits of Bell and his wife. While visiting the ranch, Johnson explored the nearby White River National Forest. It was there, high in the backcountry near Trappers Lake, that Johnson found an idyllic spot for a painting. In a letter regarding the composition, Johnson wrote that the figure is a ranger and that “A thunderstorm was approaching from the right which casts the shadow over the foreground.” In the background is a mountain of the red metamorphic rock that typifies the area. The ranger and his mount, rest calmly as the storm approaches.

It must have been a particularly favorite composition for the artist because he made three versions of it, all dated 1929. Colorado Forest Ranger, in the Figge Art Museum, the smallest of the three, is probably a study for Mountain Meadows. Measuring 45 x 56 inches, Mountain Meadows is a large painting for Johnson. The third version, The Forest Ranger, measures 24 x 30 inches and is signed “A.N.A.” and so was painted after Johnson was chosen to be an associate member of the National Academy of Design, and therefore the last of the three compositions to be painted.

Northern Colorado held a special place in Frank Tenney Johnson’s heart. It was the region he explored when he first came west in 1904 to work on a ranch and experience life in the West. And it was this experience that set Johnson on his life’s mission to record on canvas life in the West, old and new, in a realistic but original style.

Provenance: The Huntington Library, San Marino, California Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico Literature: Frank Tenney Johnson and the American West, Santa Fe: Gerald Peters Gallery, 2000, exh. cat., pp. 76-77, plate 20 Exhibited: National Academy of Design, New York, New York, 1929 Frank Tenney Johnson, Fort Worth Museum of Art, Fort Worth, Texas, March 1930 (traveled to Highland Park Society of the Arts, Dallas, Texas) Buffalo Bill Historical Center, Cody, Wyoming (extended loan from 1997-2007) Frank Tenney Johnson and the American West, Gerald Peters Gallery, Santa Fe, New Mexico, October 6-November 17, 2000 $750,000 - $1,500,000

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346 OLAF WIEGHORST (1899-1988) The Dugout oil on canvas 28 ½ x 35 ¼ inches signed lower right: O-Wieghorst- (with artist’s cipher) inscribed verso: DUGOUT / [dated indecipherably] Provenance: Private Collection, Nevada $15,000 - $25,000

347 OLAF WIEGHORST (1899-1988) Ranch Horse in Corral oil on canvas 24 x 30 ¼ inches signed lower left: O-Wieghorst / (artist’s cipher) Provenance: Private Collection, Minnesota $8,000 - $12,000

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348 OLAF WIEGHORST (1899-1988) The Vermilion oil on canvas 30 x 36 inches signed lower left: O-WIEGHORST Provenance: Private Collection, Utah $40,000 - $60,000

349 GERARD CURTIS DELANO (1890-1972) Pals, 1942 watercolor on paper 13 ½ x 17 ½ inches (sight) signed lower right: Delano inscribed verso: Title - Pals / by / Gerard Curtis Delano / 31 E. 18th Ave. / Denver, / Colo. / Winner of First Prize for Watercolor / at Gunnison in 1942 Provenance: Private Collection, Wyoming $6,000 - $8,000

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350 GERARD CURTIS DELANO (1890-1972) Land of the Dineh oil on canvas 20 x 24 inches signed lower left: Š Delano Gerard Curtis Delano was born in Massachusetts; his family traced its ancestry in North America to the early 17th century. As a young boy, Delano demonstrated talent for depicting cowboys, Indians, horses, and storybook adventures. He began his formal training in New Bedford, Massachusetts and, by 1910, was studying under George Bridgman at the Art Students League in New York. Delano also studied with Dean Cornwell, Harvey Dunn, and N.C. Wyeth at the Grand Central School of Art. In 1919, shortly after his separation from service in the United States Navy, Delano accepted a job at a ranch in Colorado. It was only after his return to New York City in 1923 that he sold his first western cover to Ace-High Magazine. This led to work with other publications, including Western Story, Adventure, Cowboy Stories, Ranch Romances, and Colliers. Despite enjoying initial success, with the onset of the Great Depression his career as a commercial artist faltered.

Persevering through an economic downturn, Delano continued to work as a commercial illustrator, and by 1940 had staked his future on producing paintings rather than illustrations. Delano visited Arizona and the Navajo Reservation in 1943, and was instantly enamored of the region’s native people and natural beauty.

Betraying Delano’s deep admiration for the Navajo, works like Land of the Dineh capitalize on the themes that surfaced, and resurfaced, throughout his career.

Provenance: From a Private Collection $50,000 - $80,000

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351 EDWARD BOREIN (1872-1945) Indian Warriors, 1914 ink on paper 21 x 19 ½ inches signed and dated lower right: Edward Borein / ‘14.

Provenance: Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico $30,000 - $40,000

352 EDWARD BOREIN (1872-1945) Bronc Rider ink on paper 6 ½ x 5 ½ inches (sight) Provenance: Jamison Galleries, Benton Harbor, Michigan Gallery West, Inc., Denver, Colorado Private Collection, Wyoming $1,000 - $1,500

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353 EDWARD BOREIN (1872-1945) Cowboy on the Range, Riding Herd watercolor on paper 6 ¾ x 11 ¼ inches (sight) Provenance: Private Collection, Wyoming $8,000 - $12,000

354 EDWARD BOREIN (1872-1945) Navajos at the Watering Hole, 1911 pen and ink on paper 22 ¾ x 18 ½ inches signed lower right: Edward Borein / 11 Provenance: Collection of Kathleen and Gerald Peters, Santa Fe, New Mexico $40,000 - $60,000

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355 EDWARD BOREIN (1872-1945) Two Caballeros watercolor on paper 9 x 11 inches (sight) Provenance: Fenn Galleries, Ltd. (stamped on cardboard backing), Santa Fe, New Mexico Private Collection, Wyoming Note: Authenticated by Warren R. Howell, San Francisco, California (label affixed to verso). $10,000 - $15,000

356 EDWARD BOREIN (1872-1945) Riding Herd ink and graphite on paper 8 ž x 17 inches (sheet) Provenance: Private Collection, Wyoming $3,000 - $5,000

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357 DEBORAH BUTTERFIELD (b. 1949) Horse Bowing, 1982 fused aluminum on steel armature 72 x 108 x 30 inches Provenance: Private Collection, Missouri $150,000 - $250,000

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358 KEVIN RED STAR (b. 1943) War Party, 1979 oil on canvas 33 ½ x 44 ¼ inches signed lower left: Kevin Red Star inscribed verso: “WAR PARTY” / Kevin Red Star / 1979 Provenance: Private Collection, California $3,000 - $5,000

359 B.C. NOWLIN (b. 1949) In Truth oil on canvas 48 x 52 inches signed upper left: nowlin titled right edge: in truth inscribed verso: BC / nowlin (with artist’s handprint) Provenance: Private Collection, New Mexico $4,000 - $6,000

360 B.C. NOWLIN (b. 1949) Stay oil on canvas 52 x 46 inches signed lower left: nowlin (with artist’s handprint) Provenance: Private Collection, New Mexico $5,000 - $7,000

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361 JACKSON POLLOCK (1912-1956) Untitled, ca. 1938-41 gouache on cardboard 11 ¼ x 19 ¾ inches Pollock’s output prior to his first generally recognized masterpiece—the 1943 painting Pasiphaë—offer a valuable glimpse into the creative evolution of one of the twentieth century’s greatest artists. Untitled reveals five separate, yet related, rectangular compositional drawings executed on a single sheet of gray cardboard. Together, the studies suggest diverse sources of inspiration, from Pollock’s friend and mentor, Thomas Hart Benton, to renowned Mexican muralist, Jose Clemente Orozco.

Although vaguely suggestive of recognizable subject matter, Untitled, executed ca. 1938-41, prefigures the artist’s forthcoming experiments in non-representation.

Provenance: Estate of the Artist Lee Krasner Pollock, East Hampton, New York {Jason McCoy Gallery, New York, New York} Private Collection, New York, New York, 1988 Literature: Parker Tyler, "Hopper/Pollock," Art News Annual 26 (1957), p. 96 Francis Valentine O’Connor and Eugene Victor Thaw, eds., Jackson Pollock: A Catalogue Raisonné of Paintings, Drawings and Other Works, New Haven: Yale University Press, 1978, vol. 4, p. 29, no. 947 William Lieberman, Jackson Pollock: The Early Years, Santa Fe: Gerald Peters Gallery, 1988, no. 17 Jackson Pollock et le Chaminisme, Pinacothéque De Paris, Paris, France, 2008, exh. cat., p. 156 Exhibited: Jackson Pollock: The Early Years, Gerald Peters Gallery, Santa Fe, New Mexico, November 12-December 22, 1988 Jackson Pollock et le Chaminisme, Pinacothéque de Paris, Paris, France, October 15, 2008-February 15, 2009 $150,000 - $250,000

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362 AGNES SIMS (1910-1990) Untitled oil on canvas 28 x 35 inches signed lower left: Agnes Sims Provenance: Private Collection, Illinois $1,000 - $1,500 nr

363 GUSTAVE BAUMANN (1881-1971) Frijoles Canyon Pictographs woodblock print 5 ½ x 26 ½ inches signed lower right: Gustave Baumann Provenance: Private Collection, Colorado $2,000 - $3,000

364 E. MARTIN HENNINGS (1886-1956) Courtyard with Three Figures pencil on paper 9 ½ x 11 inches signed lower right: E.M. Hennings Provenance: Private Collection, New Mexico $500 - $1,000 nr

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365 CRAIG VARJABEDIAN (b. 1957) Moonrise Over Morada, Dusk, Late Autumn, 1991 gelatin silver print 78/200 18 ¾ x 23 ½ inches (image) signed lower right: Craig / Varjabedian editioned lower left: 78/200 Provenance: Private Collection, New Mexico $1,000 - $1,500

366 CRAIG VARJABEDIAN (b. 1957) Cottonwood Trees No. 5 Near La Cienega, NM, 1998 gelatin silver print 04/200 16 ½ x 23 ½ inches (image) signed lower right: Craig / Varjabedian editioned lower left: 04/200 Provenance: Private Collection, New Mexico $1,000 - $1,500

367 CRAIG VARJABEDIAN (b. 1957) Cruciform Morada and Family Chapel on Hill, Late Afternoon, Autumn, 1990 gelatin silver print 17/200 18 ½ x 23 ½ inches (image) signed lower right: Craig / Varjabedian editioned lower left: 17/200 Provenance: Private Collection, New Mexico $1,000 - $1,500

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368 GREGORY LOMAYESVA (b. 1971) Kachinas polychromed wood and feathers 21 x 9 x 5 ½ inches (largest) inscribed: Gregory Lomayesva Provenance: Private Collection, New Mexico $1,000 - $2,000

369 JOSE ROYBAL (1922-1978) Kiva Dancer #2 watercolor on paper 11 ½ x 18 ½ inches signed lower right: J.D. ROYBAL Provenance: Private Collection, New Mexico $2,500 - $3,500

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370 ELIAS RIVERA (b. 1937) Untitled oil on canvas 60 x 50 inches signed upper right: RIVERA Provenance: The Artist Private Collection, New Mexico (commissioned from the above) $20,000 - $30,000

226

371 ANNA K. SKEELE (1896-1963) Three Poses oil on canvas 29 ½ x 24 inches signed lower right: A K SKEELE Provenance: Private Collection, Arizona $10,000 - $15,000

372 ANNA K. SKEELE (1896-1963) Spirit Dancers watercolor and gouache on paper 19 ¾ x 27 ½ inches signed lower right: A K SKEELE Provenance: Private Collection, Arizona $3,000 - $5,000

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373 ELIAS RIVERA (b. 1937) Untitled oil on canvas 64 x 80 inches signed lower right: RIVERA Provenance: The Artist Private Collection, New Mexico (commissioned from the above) $40,000 - $60,000

228

374 B.J.O. NORDFELDT (1878-1955) Still Life with White Urn (recto) / Asleep (verso), 1945 oil on panel 20 x 16 inches signed lower right (recto): Nordfeldt signed and dated lower right (verso): Nordfeldt 1945 Provenance: Private Collection, New Mexico $10,000 - $20,000

375 RAYMOND JONSON (1891-1982) Apples, 1926 oil on canvas 20 x 18 inches signed and dated lower left: Jonson / ‘26 Provenance: Private Collection, New Mexico $10,000 - $15,000

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376 WILLARD NASH (1898-1942) Still Life with Guitar oil on canvas 31 x 22 ½ inches signed lower right: Nash Provenance: Estate of the Artist Private Collection, New Mexico $25,000 - $45,000

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377 WILLARD NASH (1898-1942) Penitentes lithograph 10 ¼ x 14 inches signed lower right: Willard Nash imp. editioned lower left: 15 prints.

Provenance: Estate of the Artist Private Collection, New Mexico $500 - $1,000

378 WILLARD NASH (1898-1942) Family Portrait, ca. 1925-30 oil on canvas 20 x 24 inches signed lower left: NASH verso: notarized certification affixed to stretcher, “THIS painting IS CERTIFIED TO BE THE WORK / OF WILLARD NASH, DONE IN 1925-1930, AND IS / FROM THE COLLECTION OF DIMI NASH HANBELL / SIGNATURE CERTIFIED IN SAN FRANCISCO, CA. / ON 1/19, 1975 / James W. McClary Provenance: Estate of the Artist Private Collection, New Mexico $20,000 - $40,000 231

379 WILLIAM WHITAKER (b. 1943) Flying Color

380 WILLIAM WHITAKER (b. 1943) Wendy at the Window

oil on panel 36 x 24 inches signed lower right: W. Whitaker.

oil on panel 11 ž x 14 inches signed lower right: W. Whitaker.

Provenance: Private Collection, Minnesota

Provenance: Private Collection, Minnesota

$4,000 - $6,000

$1,500 - $2,500 nr

381 WILLIAM WHITAKER (b. 1943) Colorado June oil on canvas 36 x 48 inches signed lower right: W. Whitaker. inscribed verso and on stretcher: 24701 / Colorado June / by / William Whitaker Š Provenance: Private Collection, Minnesota $4,000 - $6,000

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382 MARJORIE EATON (1901-1986) Woman in Fancy Costume oil on canvas 29 x 23 inches Provenance: Estate of the Artist Private Collection, New Mexico $1,500 - $2,500

383 MARJORIE EATON (1901-1986) Nude with Black Border, 1924 oil on canvas mounted on cardboard 19 ½ x 16 ½ inches signed and dated lower right: Marjorie Lee Eaton / 1924 Provenance: Estate of the Artist Private Collection, New Mexico $2,000 - $3,000

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384 GEORGE B. LUKS (1867-1933) Portrait of Josephine DeGrange Sullivan Kenney and Her Cousin Mildred Maria Lagan DeGrange in New York City oil on canvas 36 x 30 inches signed lower right: George Luks Provenance: Private Collection, Oklahoma $5,000 - $10,000

385 RANDALL DAVEY (1887-1964) Still Life (Peonies in Vase) oil on canvas 30 x 20 inches signed lower left: Randall Davey inscribed verso: Still Life / by / Randall Davey Provenance: Private Collection, New Mexico $15,000 - $20,000

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386 ROD GOEBEL (1946-1993) Untitled (Still Life with Tea Service) oil on canvas 31 x 33 inches signed lower right: Rod Goebel Provenance: Private Collection, New Mexico $2,000 - $4,000 nr

387 WILLIAM ACHEFF (b. 1947) Littles Greens, 2003 oil on canvas 6 x 8 inches signed and dated lower right: © Wm. Acheff 2003 inscribed verso: Wm. Acheff “Littles Greens” / 2003 Provenance: Private Collection, Illinois $3,000 - $5,000

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388 BEN RABE (20th century) Nearby oil on linen 14 x 18 inches signed lower right: Rabe Provenance: Private Collection, New Mexico $500 - $1,000

389 RALPH LOVE (1907-1992) Song of the Centuries oil on canvas 20 x 30 inches signed lower left: LOVE Provenance: Private Collection, New Mexico $2,000 - $4,000

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390 MERRILL MAHAFFEY (b. 1937) Hard Rock watercolor on paper 40 x 59 ¾ inches signed lower right: MERRILL MAHAFFEY Provenance: Private Collection, California $1,000 - $2,000 nr

391 MERRILL MAHAFFEY (b. 1937) Once is Gneiss watercolor on paper 40 x 59 ¾ inches signed lower left: MERRILL MAHAFFEY Provenance: Private Collection, California $1,000 - $2,000 nr

392 MERRILL MAHAFFEY (b. 1937) Cubist Wall watercolor on paper 40 x 59 ¾ inches signed lower right: MERRILL MAHAFFEY Provenance: Private Collection, California $1,000 - $2,000 nr

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393 DON MCMICHAEL (b. 1938) Whales in Glacier Bay, 1994 oil on canvas 23 ½ x 47 ½ inches signed and dated lower left: McMICHAEL A.S.M.A. 94 Provenance: Private Collection, Alaska $2,000 - $3,000 nr

394 STEVE KESTREL (b. 1947) Black Orbis bronze 3/7 inscribed: S. Kestrel 3/7 20 ½ x 20 ½ x 5 ¼ inches Provenance: Private Collection, New Jersey $2,000 - $3,000

395 TOM PALMORE (b. 1945) Mountain Monkey acrylic on canvas 36 x 48 inches Provenance: David David Gallery, Philadelphia, Pennsylvania (label affixed to verso) {Gerald Peters Gallery, Santa Fe, New Mexico} Private Collection, Pennsylvania $7,000 - $9,000

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SEEKING QUALITY CONSIGNMENTS FOR THE SPRING 2017 ONLINE AUCTION

FOR ADDITIONAL INFORMATION PLEASE CONTACT ADAM H. VEIL, EXECUTIVE DIRECTOR CALL: 505 954-5771 | EMAIL: CURATOR@SANTAFEARTAUCTION.COM WWW. SANTAFEARTAUCTION.COM

Santa Fe Artifacts & Antiquities Auction SEEKING QUALITY CONSIGNMENTS FOR THE AUGUST 2017 AUCTION BISHOP’S LODGE, SANTA FE, NEW MEXICO FOR ADDITIONAL INFORMATION PLEASE CONTACT ADAM H. VEIL, EXECUTIVE DIRECTOR CALL: 505 954-5771 | EMAIL: CURATOR@SANTAFEARTAUCTION.COM WWW. SANTAFEARTAUCTION.COM

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INDEX ADAMS, CHARLES PARTRIDGE The Grand Teton from Jenny Lake, 126 The Spanish Peaks, Southern Colorado, 127 Mt. Sneffels, San Juan Mountains, 128 AMICK, ROBERT W. Untitled, 93 APPLEGATE, FRANK Across the Rio Grande, 25 Untitled (Landscape), 26 Spring at Chimayo, N.M., 27 Navajo Country, N.M., 28 Untitled (Pueblo Dance), 227 Untitled (Indian Village), 228 ARNETT, JOE ANNA Pumpkins, 190 ASPEVIG, CLYDE Glacier Bay, 129 Above Sitka, 130 Sitka Bay, 131 ATWILL, DOUGLAS Galisteo Landscape, 196 BAKOS, JOZEF Foothills Farm (Early Spring), 66 BALINK, HENRY Portrait of an Indian Chief, 333 BANOVICH, JOHN Dappled Moonlight, 141 BARKDULL, PHILLIP H. Desert Sunset, 314 BARTLETT, PAUL WYLAND Preparedness, 282 Reclining Lion, 283 BAUMANN, GUSTAVE Procession, 51 The Loma, Taos, 52 Malapai, 53 Processional, 54 Three Pines, 55 Piñon-Grand Cañon, 56 San Geronimo - Taos, 239 Night of the Fiesta - Taos, 240 Corn Dance - Santa Clara, 241 San Domingo Pueblo, 242 El Santo, 243 Frijoles Canyon Pictographs, 363 BECK, JR., CLIFFORD The Turquoise Ring, 209 BEECHAM, GREG Chilkat Eagles, 139 Wolves Running, 276 Fishing the Falls, 277 Press On, 279 BELLOWS, GEORGE Santa Fe Canyon, 250 BENTON, THOMAS HART The High Plains, 146 BERNINGHAUS, OSCAR E. A Corner in Taos, 232 Apache Indians at Boulder, 319 County Fair, 332 Harvest Season, 335 BETTS, HAROLD H. Peña Blanca Tienda, New Mexico, 183 BIERSTADT, ALBERT Western Sunset, 306 BISHOP, RICHARD Thru the Clearing, 138

BISTTRAM, EMIL Homeward Bound, 259 BLACK, LAVERNE NELSON Taos Winter Morning, 32 BLUMENSCHEIN, ERNEST L. Old Taos Indian, 19 Geese, 234 Adobe Village, Winter, 329 BODMER, KARL Deer Beside a River, 117 BOREIN, EDWARD Cowboys, 211 Sitting Pretty, No. 1, 212 Point Riders, 213 End of the Race, 214 Navajos, 215 Hopi Boys, 216 Crow Horse Guard, 217 After the Buffalo Hunt, 218 Taos from the Stream, 219 A Street in Taos, 220 House at Laguna, 221 Mission Dolores, No. 2, 222 Indian Warriors, 351 Bronc Rider, 352 Cowboy on the Range, Riding Herd, 353 Navajos at the Watering Hole, 354 Two Caballeros, 355 Riding Herd, 356 BORGLUM, SOLON HANNIBAL Sioux Indian Buffalo Dancer, 273 BOSS, HOMER Empty House Near San Gabriel, 24 BRACKETT, DON Sunset Mesas, 192 BRETT, DOROTHY Red Willow Country, 67 Untitled, 201 BRUNENKANT, DORIS Apache Beads, 188 BUNN, KEN Lioness Chasing Gazelles, 285 Lioness and Impala, 287 BURBANK, ELBRIDGE Pima Indian Home in Ruins, Sacaton, Arizona, 89 BUTTERFIELD, DEBORAH Horse Bowing, 357 CAESAR, MARGARETTA Gully Wash, 191 CALDER, ALEXANDER STIRLING Kill an Enemy, 113 CARLSON, GEORGE Tarahumara Mother, 184 Patriarch of Norogachic, 185 CASE, G. RUSSELL Vermilion Mountains, 255 CASSIDY, MICHAEL The Day Herder, 105 Sangre de Cristo, Taos Pueblo, 106 Absaroka Nocturne, 107 CHAVEZ, ARTURO Western Plains, 134 Where the Buffalo Roam, 135 CHMIEL, LEN The Neighborhood, 40 CIMIOTTI, GUSTAVE Talpa on the Hill, New Mexico, 194

COEN, DON Untitled, 145 COHELEACH, GUY Untitled (Race Day), 154 COLEMAN, MICHAEL Ruffing the Velvet, 278 COOK, HOWARD Oaxaca Girl, 186 COOPER, ASTLEY Hunting in the Redwood Forest, 120 COUSE, EANGER IRVING The Lesson, 320 Taos Pueblo, Moonlight, 324 CRITCHER, CATHERINE Indian Drummer, 334 Artist’s Studio in Taos, New Mexico, 336 DALY, THOMAS AQUINAS Tailwaters, 341 DASBURG, ANDREW Ranchos Valley, 244 DAUGHTERS, ROBERT Taos Mountain Hollyhocks, 252 DAVEY, RANDALL Still Life (Peonies in Vase), 385 DAY, ROSE ANN Sunlight and Flowers, 189 DE FOREST BRUSH, GEORGE Indian and Swan, 119 DEDECKER, THOMAS Pond Serenity, 42 DELANO, GERARD CURTIS Dust of the Desert, 91 Pals, 349 Land of the Dineh, 350 DIEDERICH, HUNT Bronco Buster, 310 DIXON, MAYNARD Southern Utah Cowboy, 313 DONALD, FRANCIS October on the Rio Chiquito, 43 DUNN, HARVEY T. Strong Medicine, 290 DUNTON, W. HERBERT “BUCK” Autumn (Mule Deer), 271 EATON, MARJORIE Woman in Fancy Costume, 382 Nude with Black Border, 383 ELLIS, FREMONT Las Lomas Encantadas, 34 Canyon de Chelly, 60 Comanche Canyon, New Mexico, 61 FLECK, JOSEPH AMADEUS Taos Mesa, 68 Indian Bride, 69 FORD, DALE Butterfield Overland Stage, 96 GASPARD, LEON Eagle and Pigeons, 237 Fiesta, 238 In Cairo, 325 Cossack Officer, Siberia, 326 Young Betrothed (Mrs. Leon Gaspard), 327 Russian Peasants, Mountains and Snow, 330 The Musicians, 331 GAUL, GILBERT Smokin’ the Calumet (Pipe), 289 Indians in Firelight, 292

INDEX GOEBEL, ROD Untitled (Still Life with Tea Service), 386 GOLLINGS, WILLIAM The Camp Crier, 312 Night Hawk, 315 GONSKE, WALT Morning Light, 251 GOODACRE, GLENNA Waterbearers, 225 GRANT, BLANCHE C. Indian Eyes, Taos, 18 GRELLE, MARTIN Checkin’ the Bottoms, 102 HADDOCK, ARTHUR EARL Canyon de Chelly, 64 HAGAN, ROBERT Breakin’ Loose, 153 HALL, CARLOS Taos Pueblo Rider, 74 HARMER, ALEXANDER Watching the Signal Fires at Sunset, 294 HENNINGS, E. MARTIN Irrigation, 264 The Storyteller, 265 Indians of the Prairie, 266 Aspen Grove, 267 Amongst the Aspen, 268 Deer, 269 Pueblo Village, 321 Courtyard with Three Figures, 364 HICK, TERRENCE For the People, By the People, 29 HIGGINS, VICTOR Mountains & Sky, 328 Field Before Dotted Hills, 337 HOLM, JULIUS The American Bison at Jackson Hole, Yellowstone, 272 HOUSER, ALLAN Iza, 79 I Want to Dance with Him, 80 Night Guard, 81 Chiricahua Medicine Man, 82 Silent Prayer, 83 Tulapai, 84 Wind on the Mesa, 256 Mountain Spirit Dancer, 257 Quiet, 258 My Children, 260 Inspiration, 261 HUMPHRISS, CHARLES H. Indian Chief in Eagle Feathered Headdress, 295 Indian Chief, 297 HYDE, DOUG Sisters, 223 Pueblo Harvest, 224 JACKSON, HARRY The Marshall, 94 The Pony Express, 95 JACOB, NED UTE, 168 JENNINGS, WILLIAM S. Sunset Light, 59 Final Glory, 160 JOHNSON, FRANK TENNEY Apaches at Moonrise (Eventide), 92 Mountain Meadows, 345 JONSON, RAYMOND Santa Fe Placita, 246 Apples, 375

JORDAN, JERRY Time is Endless, 73 KAHN, WOLF Untitled, 207 KESTREL, STEVE Black Orbis, 394 KINGSWOOD, RON In the Dogwoods, 144 KINKADE, THOMAS Pleasant Island, 133 KLOSS, GENE Corn Dancers Coming, 1 Laguna Pueblo in 1925, 2 Midsummer Fiesta, 3 Stormclouds Over Vallecito, 4 A Morning in April, 5 Tres Orejas, 6 A Bygone Day in Santa Fe, 7 Alberto’s Burro, 8 Taos Valley Winter, 9 Hunters in the Snow, 10 All Souls’ Day Offerings, 11 Ceremonial Day at Taos, 12 The Road to Hondo, 13 KNIGHT, CHARLES R. Leaping Tiger, 284 KUHN, BOB Shore Patrol, 280 KURZ, RUDOLPH Three Indians with Horse, 116 LATOIX, GASPARD DE Apache Scout, 90 LEIGH, WILLIAM R. Blind Hopi Girl Returning from a Desert Watering Hole, 85 Keams Canyon, AZ (Indian Portrait), 86 The Water Girl at Walpi, 87 Quick Sunset Study, 88 Foul Rope, 179 Dust Storm, 180a Three Donkeys, 180b LILLYWHITE, RAPHAEL Mount Moran, Teton Range, 124 LINDNEUX, ROBERT Roundup, 97 LOCKWOOD, WARD Three Greenheads, 236 LOMAYESVA, GREGORY Kachinas, 368 LORENZ, RICHARD The Plainsman, 304 LOUGHRIDGE, LEON Llano Chapel, 30 LOVE, RALPH Song of the Centuries, 389 LUCAS, FRED After the Storm, 158 Gila Escort, 159 LUKS, GEORGE B. Portrait of Josephine DeGrange Sullivan Kenney and Her Cousin Mildred Maria Lagan DeGrange in New York City, 384 LUNGREN, FERNAND HARVEY Cowboy Roping, 309 LYNCH, MIKE Autumn Display, 193 MACKEY, KIM Winter Farewell, 75

MACMONNIES, FREDERICK W. Kit Carson, 308 MAHAFFEY, MERRILL Hard Rock, 390 Once is Gneiss, 391 Cubist Wall, 392 MANDELMAN, BEATRICE Abstract Still Life, 202 MANN, PAUL Indian on Horseback, 166 MARIN, JOHN Region of Taos, NM, 338 MARKS, GEORGE B. Along Tanner Creek, 156 MATTHEWS, WILLIAM Firehole Pastoral, 343 High Country Highlight, 344 MCAFEE, ILA Untitled (Southwestern Landscape), 16a Untitled (Indian Portrait), 16b Resting at Home, 17 MCELWAIN, LOUISA Winter Moonrise, 253 Home in the Canyon, 254 MCGRATH, CLARENCE Working the Land, 152 MCMICHAEL, DON Whales in Glacier Bay, 393 METCALF, WILLARD The Ancient Mines in the Valley of the Pines, 114 MEYERS, RALPH The Plains Across, 322 Adobe and Summer Sky, 323 MODESITT, JOHN Evening Mesa, 71 Late Summer, Taos, 72 MOORE, ROBERT January Praise, 39 MORAN, THOMAS Castle Butte, Green River, 122 From the Top of the Great Fall, Yellowstone, 123 A Deer in a Mountain Landscape, 270 Lake Tahoe, 307 MOSES, FORREST San Cristobal, New Mexico, 197 MOYERS, JOHN When the Chamisa Blooms, 318 MOYERS, TERRI KELLY Through the Shadows, 103 NAMINGHA, DAN Sacred Shield, 187 NASH, WILLARD Santa Fe Street Scene, 247 Modernist Landscape, 248 Santa Fe Landscape, 249 Still Life with Guitar, 376 Penitentes, 377 Family Portrait, 378 NAUMER, HELMUTH Church Near Cerrillos, 33 Aspen Thicket, 44 NORDFELDT, B.J.O. Still Life with White Urn, 374 NOWLIN, B.C. In Truth, 359 Stay, 360 PALMORE, TOM Mountain Monkey, 395

INDEX PARSONS, SHELDON Summer at Alcalde, NM, 45 Chamisa, Santa Fe, 46 Autumn Afternoon, Velarde, NM, 47 Adobes in Snow, 50 PERKINSON, TOM Child of the Sun, 208 PICAVET, CHRISTINE The Rustlers, 98 PLETKA, PAUL Untitled, 76 Zuni Man, 77 New Year’s Day Processional, 78 POLLOCK, JACKSON Untitled, 361 PROCTER, BURT Open Spaces (Self-Portrait), 311 PUTNAM, ARTHUR Indian and Slain Puma, 288 QUINN, THOMAS Procession, 142 Tundra Swan, 143 RABE, BEN Nearby, 388 RASCHEN, HENRY On the Trail, 305 RED STAR, KEVIN War Party, 358 REDIN, CARL Winter Landscape, 36 REED, DOEL Storm at Noon, 245 REISS, WINOLD Falling Over the Bank, 291 REMINGTON, FREDERIC Painting the Robe, 299 The Sergeant, 300 Untitled (St. Lawrence), 301 Study of Bellini, A Trotter, 302 RESSDORF, HANS New Mexico Homestead, 195 REY, JIM Pack Trail, 157 RHIND, JOHN MASSEY The Scout, 296 RIDDICK, R.S. Good As It Gets, 342 RIVERA, ELIAS Untitled, 370 Untitled, 373 ROBERTSON, ERNEST Mount Denali, 132 RODELL, DON Autumn’s Splendor, 137 RODRIGUEZ, ALFREDO On the Road to Shiprock, 161 Sister’s New Friend, 163 ROLLINS, WARREN E. Pueblo Girl with Shawl, 20 Pueblo at Santa Fe, 21 View from Studio, Grand Canyon, 57 ROLSHOVEN, JULIUS Indian Dancer, 229 Two Indians on Horseback, 230 Taos Warriors, 231 ROYBAL, JOSE Kiva Dancer #2, 369

RUNGIUS, CARL Prairie Wolf, 275 Collection of 43 Etchings, 281 RUSSELL, CHARLES M. Buffalo on the Move, 274 SALLOCH, HENRY Untitled (Southwestern Landscape), 198 Untitled (Adobe Church), 199 Chico Court No. 1, Taos, 200 SANDZÉN, BIRGER Pine and Aspen, Rocky Mountain National Park, Colorado, 316 Autumn (Smoky Hill River, Kansas), 317 SAUERWEIN, FRANK Pueblo Scene, 22 Back of the Cathedral, Santa Fe, 23 Indian Lovesong, 293 SCHENCK, BILLY Down to the Valley, 181 SCHMIDT, ALBERT Woman and Horse, 65 Harvesting the Hay, 147 Farm Worker, 262 Picking Cotton, 263 SCHREYVOGEL, CHARLES Sioux Indian (Kills Enemy), 110 Profile Portrait of a Native American, 111 Blackfoot Reservation, 112 The Scalp, 298 The Last Drop #5, 303 SHARP, JOSEPH HENRY Wife of Chief Little Wolf, Cheyenne, 108 Chiz-Chile, 109 Taos Moonlight, 233 Marine Near Honolulu, 339 SHAW, HARRY HUCHINSON La Morada de los Penitentes, Taos, 14 SHEPHERD, DAVID Kicking Up Dust, 286 SHUPTRINE, HUBERT Festival Dancer, 226 SIMS, AGNES Untitled, 362 SISSON, LAURENCE Last Snow, South Rim, 58 SKEELE, ANNA K. Three Poses, 371 Spirit Dancers, 372 SLOANE, ERIC Sea and Sky, 340 SMITH, G.D. Portrait of an Indian Woman, 118 SMITH, GARY ERNEST Glenda, 148 Morning Irrigation, 149 Farm Hand with Hay Hook, 150 Man with Potato Shovel, 151 Billy the Kid, 182 STAVROWSKY, OLEG Tick and Jobie, 155 STRISIK, PAUL Church at Apache Canyon, 31 SURLS, JAMES Riding the Prisms, 203 Wind, 204 Eat, 205 Look for the Door, 206

SWANSON, GARY One Last Look, 140 Young Friends, 162 SWINNERTON, JAMES Ruins of Hopi Trading Post, 62 Desert Cactus, 63 TIPPETTS, LINDA Glacier’s East Side, 37 Winter’s River, 38 TOBEY, GENE AND REBECCA Untitled, 210 TURNER, BEN September Color, 48 Untitled, 49 UFER, WALTER The White Pack, 70 VAN DUSEN, PETER No Time for Portage, 165 VAN SOELEN, THEODORE Untitled, 15 Spring Work, 178 VANCE, KAREN From the North Shore of Lake Yellowstone, 121 VARJABEDIAN, CRAIG Moonrise Over Morada, Dusk, Late Autumn, 365 Cottonwood Trees No. 5 Near La Cienega, NM, 366 Cruciform Morada and Family Chapel on Hill, Late Afternoon, Autumn, 367 VON HASSLER, CARL Sage and Snow, Sunset, 35 WAGNER, JIM Untitled (Taos Goose), 235 WARD, ROY LEE Early Warning, 164 WARREN, MELVIN C. Coming Home, 104 WHITAKER, WILLIAM Flying Color, 379 Wendy at the Window, 380 Colorado June, 381 WIEGHORST, OLAF The Dude Wrangler, 99 Nighthawk, 100 Horse Wrangler, 101 Chief Bill Casper, 115 Untitled (Indian Head), 169 Untitled (Indian with Bonnet), 170 Untitled (Indian Chief ), 171 Untitled (End of the Trail), 172 Untitled (Cowboy on Horseback), 173 Untitled (Keeping Warm), 174 Untitled (Herding), 175 Untitled (Day’s End), 176 Cavalry Man, 177 The Dugout, 346 Ranch Horse in Corral, 347 The Vermilion, 348 WILCOX, JIM Mountain Lake, Teton Range, 125 WILLIAMS, ROGER Canyon Riders at Twilight, 167 WINDBERG, DALHART Ageless Monarch, 136 WOLFE, WAYNE E. Aspens, 41

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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 catalogue.

7. The Santa Fe Art Auction reserves the right to reject any bid. The highest bidder acknowledged by the auctioneer will be the Buyer, subject to reserves. In the event of any dispute between bidders, or in the event of doubt as to the validity of any bid, the auctioneer will have the final discretion to determine the successful bidder, cancel the sale, or reoffer and resell the lot in dispute. If any dispute arises after the sale, the Santa Fe Art Auction’s sale record shall be final and conclusive. The Santa Fe Art Auction, in its 244

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.

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, catalogue subscribers, absentee and phone bidders, and other registered bidders.

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

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

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

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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 catalogueue. Please complete and return to the Santa Fe Art Auction by December 2, 2016 for session one and December 3, 2016 for session two.

To place bids, please use the Absentee Bid Form provided in the back of this catalogue. Be sure the lot number and the descriptions are accurate and note the top price you are willing to pay for each lot.

Any alternative bids should be indicated by using the word “OR” between lot numbers. Then if your bid on an early lot is successful, we will not continue to bid on other lots for you. Or, if your early bids are unsuccessful, we will continue to execute bids for alternative lots until a bid is successful. Bids must be placed in the same order as the lot numbers appear in this catalogue.

Please place your bids as early as possible. In the event of identical bids, the earliest bid received will take precedence.

TELEPHONE BIDS Telephone bids are accepted only if you have returned a signed telephone bid form by mail or fax which authorizes the Santa Fe Art Auction to place bids on your behalf. The Telephone Bid Form appears in the back of this catalogue. Please check the telephone bid box on the form, complete, and return to the Santa Fe Art Auction by December 2, 2016 for session one and December 3, 2016 for session two. Telephone bidders are encouraged to leave back up bids in case of techincal difficulties. A Top Limit bid need not be specified.

BUYER’S PREMIUM The top limit you indicate on your bid form is the hammer price exclusively. Please keep in mind that a buyer’s premium, as stated in paragraph 3 of the terms and conditions of sale, will be added to the successful bid price of each lot you buy and is payable by you together with the applicable sales tax which is applied to the total cost of the purchase.

SUCCESSFUL BIDS Successful absentee bidders will be notified and invoiced within a few days of the sale. Successful absentee bidders shall arrange to make payment via cash, check, credit card or wire transfer upon receipt of notification of purchase.

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

BIDDING INCREMENTS Bidding increments are as follows, but may vary at the sole discretion of the auctioneer: Estimate Increment Under $2,000 $100 $2,000 – $5,000 $250 $5,000 – $10,000 $500 $10,000 – $20,000 $1,000 $20,000 – $50,000 $2,500 $50,000 – $100,000 $5,000 OVER $100,000 $10,000 246

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