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S AT U R D AY, N O V E M B E R 11 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 NOVEMBER 11, 2017 SATURDAY, NOVEMBER 11, 2017 AT 1:30PM MST 1011 PASEO DE PERALTA, SANTA FE, NEW MEXICO 87501

FOR ADDITIONAL INFORMATION PLEASE CONTACT JENNA KLOEPPEL, ACTING DIRECTOR CALL: 505 954-5858 | EMAIL: CURATOR@SANTAFEARTAUCTION.COM | VISIT: SANTAFEARTAUCTION.COM REGISTER TO BID OR ATTEND THE AUCTION AT SANTAFEARTAUCTION.COM


SANTA FE ART AUCTION Telephone and Absentee bidding arrangements must be made no later than 5:00pm MST on November 10, 2017. 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 santafeartauction.com

Saturday, November 11, 2017 | 1:30pm MST 1011 Paseo de Peralta, Santa Fe, NM 87501

Tel 505 954-5858 | Fax 505 954-5785 Santafeartauction.com | Stay Connected © 2017 Santa Fe Art Auction Limited Co. Acting Director: Jenna Kloeppel Photography: Molly Wagoner, Kristin Schillaci Graphic Design: Shane Mieske Printing: O’Neil Printing, Arizona Binding: Roswell Book Binding, Arizona

FRONT COVER Lot 197: Emil Bisttram (1895-1976) Red Rain, oil on board, 24 x 30 inches, $40,000 - $60,000

FRONTISPIECE A Lot 154: Georgia O’Keeffe (1887-1986) No. 36 - Special (Nicotine Flower), 1920, watercolor on paper 15 ½ x 11 ¼ inches, $300,000 - $500,000

FRONTISPIECE B Lot 140: E. Martin Hennings (1886-1956) In Taos Canyon, oil on canvas, 20 x 24 inches, $30,000 - $50,000

BACK COVER Lot 159: Raymond Jonson (1891-1982) The Night, Chicago, 1921, oil on canvas, 35 ⅜ x 41 inches, $80,000 - $120,000


SCHEDULE OF EVENTS LIVE AUCTION Saturday, November 11, 2017 | 1:30pm MST 1011 Paseo de Peralta, Santa Fe, New Mexico AUCTION PREVIEWS Friday, November 10, 2017 | 10:00am – 8:00pm MST Saturday, November 11, 2017 | 9:00am – 1:00pm MST 1011 Paseo de Peralta, Santa Fe, New Mexico ONLINE AUCTION Online bidding available through


1 GENE KLOSS (1903-1996) Snowy Banks, 1943 etching  7 ⅞ x 9 ⅞ inches titled lower left: Snowy Banks signed lower right: Gene Kloss Provenance: From the Estate of Bob and Martha Cress Literature: A. Eugene Sanchez, Gene Kloss, An American Printmaker: A Raisonne Volume I, Taos: De Teves Publishing Company, 2009, p. 212 $1,500 - $2,500

2 GENE KLOSS (1903-1996) Dancers Will Bring Rain, 1980 etching and drypoint, 19/25 8 ¾ x 11 ¾ inches editioned and titled lower left: 19/25 Dancers Will Bring Rain signed lower right: Gene Kloss Provenance: Private Collection, Arizona Literature: A. Eugene Sanchez, Gene Kloss, An American Printmaker: A Raisonne Volume II, Taos: De Teves Publishing Company, 2009, p. 174 $1,000 - $2,000

3 GENE KLOSS (1903-1996) Wintertime Dance - Cochiti, 1978 etching, AP 11 x 13 ¾ inches editioned and titled lower left: Artist’s Proof Wintertime Dance- Cochiti signed lower right: Gene KLOSS N.A. Provenance: Private Collection, Arizona Literature: A. Eugene Sanchez, Gene Kloss, An American Printmaker: A Raisonne Volume II, Taos: De Teves Publishing Company, 2009, p. 161 $800 - $1,200

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4 GENE KLOSS (1903-1996) Ceremonial Day at Taos, 1953 etching, edition of 50 8 ⅞ x 11 ⅞ inches titled and editioned lower left: Ceremonial Day at Taos Ed 50 signed lower right: Gene Kloss Imp Provenance: From the Estate of Bob and Martha Cress Literature: A. Eugene Sanchez, Gene Kloss, An American Printmaker: A Raisonne Volume II, Taos: De Teves Publishing Company, 2009, p. 18 $1,000 - $2,000

5 GENE KLOSS (1903-1996) Open Range, 1964 etching, 32/50 7 ¼ x 14 ¾ inches editioned and titled lower left: 32/50 Open Range signed lower right: Gene KLOSS Imp Provenance: Private Collection, Arizona Literature: A. Eugene Sanchez, Gene Kloss, An American Printmaker: A Raisonne Volume II, Taos: De Teves Publishing Company, 2009, p. 77 $800 - $1,200

6 GENE KLOSS (1903-1996) Noonday Shadows, 1941 etching  7 x 8 ⅜ inches titled lower left: Noonday Shadows signed lower right: Gene Kloss Provenance: From the Estate of Bob and Martha Cress Literature: A. Eugene Sanchez, Gene Kloss, An American Printmaker: A Raisonne Volume I, Taos: De Teves Publishing Company, 2009, p. 203 $1,000 - $1,500

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7 JOZEF BAKOS (1891-1977) Untitled (Landscape)

8 ALFRED MORANG (1901-1958) Capilla, 1945

watercolor on paper 7 ½ x 9 ¼ inches signed lower right: BAKOS

watercolor on paper 14 x 19 ¼ inches signed and dated lower right: ALFRED MORANG / 1945

Provenance: Private Collection, New Mexico

Provenance: Private Collection, New Mexico

$1,000 - $1,500 nr

$4,000 - $5,000 nr

9 WILLIAM PENHALLOW HENDERSON (1877-1943) Mt. Talaya Pale Noon

10 PETER HURD (1904-1984) El Alamito

pastel on paper 7 ⅛ x 10 ⅛ inches

watercolor on paper 7 x 8 inches

Provenance: From the Estate of Bob and Martha Cress

Provenance: Hurd-La Rinconada Gallery, San Patricio, New Mexico Wyeth Hurd Gallery, Santa Fe, New Mexico Private Collection, Colorado

$3,000 - $5,000

$500 - $700 nr

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11 ABC JAMES SWINNERTON (1875-1974) Three Desert Landscape Sketches A. Desert View, Grand Canyon, O.S. Rim oil on board  16 x 11 ¾ inches titled and signed lower right: DESERT VIEW / GRAND CANYON / O.S. RIM / J. SWINNERTON – inscribed verso: [indecipherable] / darker than Horizon sKy time. inscribed verso: Terrie [?] - pretty near noon-time, / From Desert View / looking accross [sic] Gap / from Cameron Road. / “Little Colorado” flows / into Big - / next big turn goes down to / Mable [sic] Canyon - near Lee’s / Ferry Utah B. Entering Zion Park - Virgin River Following Along Under the Green Trees oil on board  11 ¾ x 16 inches titled lower left: ENTERING ZION / PARK - VIRGIN / RIVER FOLLOWING ALONG - UNDER / THE GREEN TREES signed lower right: J. SWiNNERTON C. Near Hope and Salome, Arizona oil on board  11 ¾ x 16 inches titled and signed lower right: NEAR HOPE & / SALOME - ARIZ / J. SWiNNERTON -  inscribed verso: No 10 - / Working field sketch By / James Swinnerton / Mrs J Swinnerton Provenance: Private Collection, New Mexico $800 - $1,200

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12 GENE KLOSS (1903-1996) Corn Dancers Coming watercolor on paper  21 x 28 ¾ inches signed lower left: Gene Kloss, N.A. Provenance: Carlson-Lowe Galleries, Taos, New Mexico Private Collection, Kansas $8,000 - $12,000

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13 GENE KLOSS (1903-1996) Young Navajo Mother, 1962 etching and drypoint, AP 13 ¾ x 11 inches editioned and titled lower left: Artist’s Proof Young Navajo Mother inscribed verso: In the crowd of visitors - Domingo Pueblo Fiesta Day / Aug. 4th annually Etching + Drypoint (165) signed lower right: Gene KLOSS Provenance: Private Collection, Arizona Literature: A. Eugene Sanchez, Gene Kloss, An American Printmaker: A Raisonne Volume II, Taos: De Teves Publishing Company, 2009, p. 72 $1,000 - $1,500

14 GENE KLOSS (1903-1996) San Felipe Buffalo Dancers, 1962 etching, edition of 50 13 ½ x 11 ¾ inches editioned and titled lower left: Ed 50 San Felipe Buffalo Dancers signed lower right: Gene KLOSS Imp Provenance: Private Collection, Arizona Literature: A. Eugene Sanchez, Gene Kloss, An American Printmaker: A Raisonne Volume II, Taos: De Teves Publishing Company, 2009, p. 70 $600 - $800 nr

15 GENE KLOSS (1903-1996) Corn Dance Maiden, 1973 etching, AP 5 ¾ x 4 ¼ inches editioned and titled lower left: AP Corn Dance Maiden signed lower right: Gene KLOSS Provenance: Pendleton’s American Fine Art, Marshfield, Missouri America’s Artifacts, Springfield, Missouri Private Collection, Arizona Literature: A. Eugene Sanchez, Gene Kloss, An American Printmaker: A Raisonne Volume II, Taos: De Teves Publishing Company, 2009, p. 138 $400 - $600 nr

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16 GENE KLOSS (1903-1996) Apaches A-Visiting, 1967

17 GENE KLOSS (1903-1996) Pine and Peak, 1981

etching 13 ¾ x 11 inches titled lower left: Apaches A-Visiting signed lower right: Gene KLOSS N.A.

etching, 36/75 15 x 9 inches editioned and titled lower left: 36/75 Pine and Peak signed lower right: Gene KLOSS

Provenance: Private Collection, Arizona

Provenance: Private Collection, Colorado

Literature: A. Eugene Sanchez, Gene Kloss, An American Printmaker: A Raisonne Volume II, Taos: De Teves Publishing Company, 2009, p. 85

Literature: A. Eugene Sanchez, Gene Kloss, An American Printmaker: A Raisonne Volume II, Taos: De Teves Publishing Company, 2009, p. 182

$800 - $1,000

$1,000 - $1,500

18 GENE KLOSS (1903-1996) Old Pinon Tree, 1981 etching, 23/50 8 ⅞ x 6 inches editioned and titled lower left: 23/50 Old Pinon Tree signed lower right: Gene KLOSS Provenance: Private Collection, Colorado Literature: A. Eugene Sanchez, Gene Kloss, An American Printmaker: A Raisonne Volume II, Taos: De Teves Publishing Company, 2009, p. 188 $800 - $1,200 10

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19 HOWARD COOK (1901-1980) Taos Pueblo, 1927 woodblock  8 x 8 inches inscribed lower left: For LEE SIMPSON TAOS PUEBLO signed and dated lower right: Howard Cook imp / 1927 Provenance: From the Estate of Bob and Martha Cress $1,000 - $1,500

20 GUSTAVE BAUMANN (1881-1971) The Ridge Road, 1915-1916 woodblock print, 51/100 11 x 9 ¾ inches titled lower left: The Ridge Road editioned lower center: NO 51/100 signed lower right: Gustave Baumann A master of the color woodcut, Gustave Baumann was born in Magdeburg, Germany, but grew up in Chicago from the age of ten. After study at the Art Institute of Chicago and work as a commercial artist, he returned to Germany in 1905 to study the art of color woodcut for a year. He again supported himself as a commercial artist, but upon winning the Gold Medal for printmaking at the Panama Pacific International Exposition in San Francisco, Baumann was asked to organize the first exhibition of American woodcut prints at the Art Institute of Chicago. After spending time at artist colonies in Brown County, Indiana, and Provincetown, Massachusetts, he moved to Taos in 1918 and then settled in Santa Fe, where he was an active participant in the art community and was also the regional coordinator for the Public Works of Art Project of the WPA in 1934. Among his many accomplishments, Baumann became a fellow of the School of American Research (now the School of Advanced Research) in 1952. Provenance: Private Collection, North Carolina Literature: David Acton, Hand of a Craftsman: The Woodcut Technique of Gustave Baumann, Santa Fe: Museum of New Mexico Press, 1996, p. 91 $4,000 - $6,000

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21 MARTIN SHAFFER (1913-1987) Fall Landscape, Taos oil on panel  24 x 30 inches Provenance: Estate of the Artist $3,000 - $5,000

New Mexico native Martin F. Shaffer was born in 1913 in Mountainair, New Mexico, and arrived in Taos in 1932 to study at the Summer Field School of the University of New Mexico. He was subsequently trained as a painter at the University of New Mexico; at the Art Students League, New York; and at the Chicago Art Institute. During his artistic career, he also proved to be a prolific photographer, with his photographic works, spanning multiple generations of life in Taos, continuing to be of historic interest to local museums, institutions, and scholars of New Mexico history.

22 MARTIN SHAFFER (1913- 1987) Taos Mountain Landscape oil on canvas  24 x 36 inches signed lower left: Martin Shaffer - Taos Provenance: Estate of the Artist $4,000 - $6,000

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23 ILA MCAFEE (1897-1995) Dinner oil on canvas  25 x 36 inches signed lower left: Ila McAfee Provenance: Private Collection, New Mexico $6,000 - $8,000

24 THOMAS BERGER JOHNSON (1890-1968) Untitled (Water Scene), 1925 oil on canvas  14 ¼ x 9 ¼ inches signed lower left: TB Johnson inscribed verso: T.B.J. 25 Provenance: From the Estate of Bob and Martha Cress $1,500 - $2,500

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25 SHELDON PARSONS (1866-1943) Taos Road oil on panel  28 x 24 inches signed lower right: Sheldon PARSONS inscribed verso: Property of / Daniel F McLister Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico Schenck Southwest, Santa Fe, New Mexico Private Collection, New Mexico Exhibited: Serenading the Light: Desert Painters of the Southwest, The West Valley Art Museum, Peoria, Arizona, January 5 - April 1, 2004 The Booth Western Art Museum, Cartersville, Georgia, August 2 - November 12, 2006 $12,000 - $18,000

26 SHELDON PARSONS (1866-1943) Adobe with Poplars, 1913 oil on board  8 x 10 inches signed lower left: Sheldon Parsons inscribed verso: Monroe WY / May 6 1913 Provenance: Private Collection, Texas $4,000 - $6,000

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27 SHELDON PARSONS (1866-1943) Camino del Rio, Santa Fe oil on canvas  30 x 24 inches signed lower right: 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, and a successful New York career seemed imminent. These plans changed when, following his wife’s death in 1913, Parsons and his young daughter Sara sold their possessions and traveled to Denver, Colorado, where Parsons suffered a relapse of tuberculosis and was advised by doctors to seek New Mexico's dry, arid climate. Parsons was given a warm welcome by Santa Fe citizens eager to trade the necessities of life for his paintings. As the artist recovered his health, he began painting landscapes, which had previously been a longstanding interest of his. Absorbed with the color and light of his new environment, he recorded the town, nearby Indian Pueblos, and the imposing New Mexico desert and mountains. Parsons eventually became a well-known landscape artist, accommodating his early Barbizon and Impressionist training to the light-drenched scenery of the Southwest. Also serving as an early administrator at the Museum of New Mexico, he aided many later arrivals to the artistic community of Santa Fe. Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, Colorado $15,000 - $20,000 S A N TA F E A R T AU C T I O N

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28 EMIL BISTTRAM (1895-1976) The Morning After the Blizzard, 1969 oil on canvas  30 x 36 inches signed and dated lower right: [artist’s cipher] / BISTTRAM 69 inscribed verso on frame: The morning after the blizzard 1200.00 Emil J. Bisttram Provenance: Private Collection, Arizona $20,000 - $30,000

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29 OLIVE RUSH (1873-1966) November Snow, 1959 oil on board  23 ¾ x 17 ¾ inches signed lower right: Olive Rush inscribed verso: November Snow / 1959 / Olive Rush / 630 Canyon - Santa Fe - N.M. Provenance: From the Estate of Bob and Martha Cress $1,500 - $2,500

30 B.J.O. NORDFELDT (1878-1955) Brook in Winter gouache on paper  20 ¼ x 28 inches Provenance: Private Collection, New Mexico $4,000 - $6,000

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31 ALBERT SCHMIDT (1883-1957) Pastel Mountains pastel on paper  17 x 22 inches Provenance: Estate of the Artist $5,000 - $7,000

32 ALBERT KREHBIEL (1873-1945) Wagon Inspection, 1922 oil on canvas  17 ¾ x 20 ¾ inches inscribed verso: ALBERT H. KREHBIEL / R.F. KREHBIEL COLLECTION / # / SF018210SF / WAGON INSPECTION / 1922 Provenance: Estate of the Artist $7,000 - $10,000

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33 FREMONT ELLIS (1897-1985) Breath of Spring oil on canvas  16 x 20 inches signed lower right: FREMONT ELLIS inscribed verso: “BREATH OF SPRING”  stamped verso: Rights to reproduce or copy restricted / to the Artist FREMONT F. ELLIS  Born in the mining town of Virginia City, Montana, Fremont Ellis traveled regularly with his parents during his early years. A childhood visit to the Metropolitan Museum, where he was struck especially by Albert Bierstadt's work, convinced Ellis that he wanted to pursue art as a career. However, the seeming practicality of the medical profession prevailed initially, and Ellis studied optometry as a young man. His only formal art training came with a brief term at the Art Students League. During a 1919 visit to Santa Fe, Ellis, aged twenty-one, decided to trade security for the uncertainties of a career spent interpreting Southwest landscapes with a brush and paint. Once in Santa Fe, he and four friends founded Los Cinco Pintores, and for sixty-five subsequent years Ellis recorded the landscapes and people of New Mexico in rhythmic, light-charged canvases, of which Breath of Spring is an excellent example. Provenance: Private Collection, New Mexico $8,000 - $12,000

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34 WILLARD NASH (1898-1942) Adobe House, 1925-1932 oil on canvas  17 ½ x 23 ½ inches Provenance: Estate of the Artist Literature: Van Deren Coke, Willard Nash: An American Cézanne, Santa Fe: Gerald Peters Gallery, 1997, unpaginated, color plate 6 Exhibition: Willard Nash: An American Cezanne, Gerald Peters Gallery, Santa Fe, New Mexico, April 25 - May 25, 1997 Willard Nash, Roswell Museum and Art Center, Roswell, New Mexico, December 17 - January 21, 1979 $60,000 - $80,000

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35 WILLARD NASH (1898-1942) Self Portrait with Pipe oil on canvas  31 ½ x 25 ⅜ inches signed lower left: Nash inscribed verso: Willard Nash / Camino del Monte SoL / SanTa Fe. N.M. / “Self Portrait” Provenance: Estate of the Artist Literature: Van Deren Coke, Willard Nash: An American Cézanne, Santa Fe: Gerald Peters Gallery, 1997, unpaginated, color plate 7 Cézanne and American Modernism, Montclair: Montclair Art Museum, 2009, pp. 252, color plate 74 Self Portrait with Pipe was featured on the cover of El Palacio (Santa Fe, New Mexico) in September 1928, and again in the November 5, 1930 issue Exhibited: Willard Nash: An American Cézanne, Gerald Peters Gallery, Santa Fe, New Mexico, April 25 - May 25, 1997 Cézanne and American Modernism, Montclair Art Museum, Montclair, New Jersey, September 12, 2009 - January 8, 2010 (Also traveled to The Baltimore Museum of Art, Baltimore, MD, February 14 - May 23, 2010 and the Phoenix Art Museum, Phoenix, AZ, June 26 - September 26, 2010) $25,000 - $35,000

36 MARJORIE EATON (1901-1986) Man in Cloak, 1930 oil on board  19 ½ x 15 ⅜ inches signed verso: Marjorie Eaton 30 titled verso: “Man in Cloak II” Provenance: Estate of the Artist  Note: Man in Cloak II artwork verso $6,000 - $10,000 verso

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37 HELMUTH NAUMER (1907-1989) Evening pastel on board  20 x 26 inches signed lower right: NAUMER / [artist’s cipher] inscribed verso: Evening  Provenance: Private Collection, Massachusetts $3,000 - $4,000

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38 HELMUTH NAUMER (1907-1989) Adobe and Chamisa, Mountains pastel on paper  15 ½ x 19 ½ inches signed lower right: NAUMER / [artist’s cipher] Provenance: Private Collection, Switzerland $1,500 - $2,500 nr

39 HELMUTH NAUMER (1907-1989) New Mexico Landscape watercolor on paper  20 ½ x 26 ½ inches signed lower right: Helmuth / NAUMER - / [artist’s cipher] Provenance: Private Collection, Massachusetts $2,500 - $3,500 S A N TA F E A R T AU C T I O N

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40 ALFRED MORANG (1901-1958) Bridge Street, Las Vegas watercolor on paper  11 x 15 inches Provenance: Private Collection, New Mexico Exhibited: Alfred Morang: A Retrospective Exhibition, Museum of the Southwest, Midland, Texas, February 19 - April 8, 1984 Note: Authentication letter from Dorothy Morang Emmett affixed to verso. $3,000 - $4,000 nr

41 JOZEF BAKOS (1891-1977) Artist Sketching in Santa Fe, 1960 watercolor and graphite on paper  13 ½ x 19 ½ inches signed and dated lower right: Bakos ‘60 Provenance: Estate of the Artist $10,000 - $15,000

42 MIKI HAYAKAWA (1899-1953) Roof Tops, 1946 oil on canvas board  16 x 20 inches signed and dated lower left: Miki Hayakawa / 1946 inscribed verso: Roof Tops / Miki Hayakawa  Provenance: Private Collection, Oregon $8,000 - $12,000

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43 ANDREW DASBURG (1887-1979) Valley Fields from Llano Quemado, 1974 pastel on paper  16 x 23 inches signed and dated lower left: Dasburg 74 Provenance: The Owings Gallery, Santa Fe, New Mexico Acosta Strong Fine Art, Santa Fe, New Mexico Private Collection, New Mexico $12,000 - $18,000

44 AB ANDREW DASBURG (1887-1979) Two Lithographs lithograph  17 x 22 ¾ inches (each) inscribed lower left (each): [tamarind chop mark] initialed lower right (each): A.D. Provenance: Private Collection, Oregon $1,000 - $2,000

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45 RICHARD KURMAN (b. 1927) Endgame Purple oil on panel  35 ¾ x 25 inches Provenance: The Artist Note: Accompanied by a certificate of participation in the 2007 Biennale Internazionale Dell’Arte Contemporanea (Florence, Italy). $5,000 - $7,000

46 RICHARD KURMAN (b. 1927) El Nevado del Toluca oil on canvas  20 ½ x 30 ¼ inches Provenance: The Artist $4,000 - $6,000

47 DOEL REED (1895-1985) Cottonwoods and Morada aquatint, 10/30 12 x 17 ½ inches editioned lower left: 10/30 Final State signed lower right: Doel Reed, n.a. Provenance: Fenn Galleries, Santa Fe, New Mexico  Private Collection, New Mexico Literature: Harry B. Cohen and Ann L. Rogers, Doel Reed: The Graphic Works, Columbia: Harco Gallery, 1998, p. 59 $2,000 - $4,000 nr

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48 RAYMOND JONSON (1891-1982) Untitled (New Mexico Vista), 1925 oil on canvas  25 ¼ x 30 inches signed and dated lower right: Jonson 25 Provenance: Private Collection, Pennsylvania  $60,000 - $100,000

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49 MICHAEL CASSIDY (b. 1958) Taos Pueblo oil on canvas  12 x 16 inches inscribed upper left: Taos Pueblo / Sangre de Cristo Range / New Mexico signed lower right: M / CASSIDY Provenance: The Artist $5,000 - $7,000

Michael Cassidy paints in alla prima or wet on wet technique, with no preparatory drawing on the canvas beforehand. This technique emphasizes fluid brushwork once used by early 20th century painters but rarely seen today. Throughout his fine art career, Cassidy has been an illustrator for various major corporations, and now lives in Bend, Oregon, where he paints artworks inspired by the history of the American Southwest.

50 MICHAEL CASSIDY (b. 1958) El Vaquero oil on canvas  39 x 47 ½ inches signed lower left: M / CASSIDY inscribed lower left: El Vaquero / Sierra Madre / Sonora Mexico Provenance: The Artist $10,000 - $15,000

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51 PAUL PLETKA (b. 1946) Ghost Dancer, Arapahoe acrylic on canvas  48 x 39 ½ inches signed lower right: Pletka inscribed verso: PLETKA “GHOST DANCER ACRYLIC 48” H X 40 / (ARAPAHOE) Provenance: Private Collection, Colorado $15,000 - $25,000

52 FRITZ SCHOLDER (1937-2005) Indian Dancer lithograph, Bon a Tirer 22 ¼ x 15 inches signed lower left: Scholder editioned lower right: Bon a Tirer Provenance: From the Estate of Bob and Martha Cress $1,000 - $2,000

53 FRITZ SCHOLDER (1937-2005) Native Man in Profile acrylic on canvas  30 x 20 inches signed upper right: Scholder Provenance: Private Collection, Colorado  $12,000 - $18,000

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54 ALLAN HOUSER (1914-1994) Taos Observance, 1985 bronze, 13/20 10 ¼ x 6 ½ x 4 inches (with base) inscribed: ALLAN HOUSER © / 13/20 / 85 Provenance: Private Collection, Colorado $7,000 - $9,000

55 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 $12,000 - $18,000

56 ALLAN HOUSER (1914-1994) Abstract Family, 1992 fabricated steel  12 ¼ x 8 x 5 inches inscribed on base: ALLAN HOUSER / © 92 HAOZOUS Provenance: Private Collection, New Mexico $3,000 - $5,000

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57 MICHAEL CASSIDY (b. 1958) The Drummer oil on canvas  53 x 30 ½ inches signed lower right: M / Cassidy Provenance: The Artist $8,000 - $12,000

58 AB ANNA KATHERINE SKEELE (1896-1963) Untitled (Two Pueblo Figures) watercolor and charcoal on paper  19 x 14 inches (each) signed lower left (each): KATHERINE SKEELE DANN signed verso (each): KATHERINE SKEELE DANN Provenance: Private Collection, California $1,000 - $2,000 nr S A N TA F E A R T AU C T I O N

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59 HELEN CORDERO (1915-1994) Storyteller polychrome ceramic  9 x 9 x 5 ½ inches inscribed underside: HELEN CORDERO / COCHITI. N MEX. Cochiti Pueblo artist Helen Cordero created the first storyteller figure in 1964 as a tribute to her grandfather, who had been a storyteller at the Pueblo years earlier. The subsequent iconic storyteller figures have grown in popularity across the southwest since Cordero’s initial creation rose to prominence. The ceramic sculptures typically feature a seated adult figure, which is portrayed in the midst of an animated narrative, as evidenced by a wide-open mouth. Children alternately climb on limbs, cling to the back, or nestle peacefully in the storyteller’s lap, lulled either into dreamy repose or excited into action by the storyteller’s oration. Cordero’s ceramic figures left a lasting impact on ceramic arts, not only in her Pueblo of Cochiti, but throughout the Pueblos of the Rio Grande Valley and beyond. These intricately sculpted artworks have become some of the most sought-after Native American art objects of the latter half of the 20th century. Cordero proved to be the matron in a long line of Cochiti artists; today, her children and grandchildren continue the tradition of creating these treasured figures. Provenance: Private Collection, California $6,000 - $9,000

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60 BERT GEER PHILLIPS (1868-1956) Corn Dance, Santo Domingo, NM (triptych), ca. 1920s oil on board  4 x 6 inches (each) signed (each): PHILLIPS label affixed verso: Salmagundi Club / Thumb-box Exhibition / Artist: BERT G. PHILLIPS / CORN DANCE: SANTO DOMINGO / Group of 3, $300.00 A Taos Art Colony founder, New York-born Bert Geer Phillips excelled at portraying Native American subjects in nature, with figures appearing grounded organically within a recognizable Taos-area landscape. While many of his most recognizable artworks portray exactly this scene— a lone Native figure crouched beside a majestic lake or wandering through a forest of golden aspens— in Corn Dance, Santo Domingo Pueblo, NM, Phillips also proves himself adept at capturing the immense detail, complexity, and nuance of a major Pueblo ceremonial. Astonishingly, this intricate scene is captured in miniature format. Tiny figures adorned in ceremonial attire buzz in the organized chaos of this annual feast day dance, which still takes place every summer at Santo Domingo Pueblo, New Mexico. Bert Phillips would have been one of many visitors to the dance, which, along with other Pueblo ceremonials during this time, drew large crowds of artists, newly-arrived New Mexico residents, and tourists with the promotion of the Atchison, Topeka, and Santa Fe Railway. This artistic rendering of Santo Domingo’s annual feast day was exhibited in the New York-based Salagmundi Art Club’s annual fundraiser Thumb-box exhibition. According to club archives, Phillips joined in 1911, and exhibited at the club from 1915-1933, which dates this artwork within that timeframe. Provenance: Private Collection, Texas Exhibited: Salmagundi Club Thumb-box Exhibition, New York, New York (label verso)  $30,000 - $50,000

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61 DOUG HYDE (b. 1946) Quiet Moment bronze with yellow patina, 10/30 13 ½ x 4 ½ x 5 inches Provenance: Private Collection, Louisiana $1,500 - $2,500 nr

62 RALPH DOUGLASS (1895-1971) Portrait of Tony Mirabal, 1939 oil on canvas  24 x 18 inches signed and dated lower left: Douglass / 1939 Provenance: Private Collection, Oregon Exhibited: First Annual Art Exhibition, Grand Rapids Art Gallery, Grand Rapids, MI (label verso) $2,000 - $3,000

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63 HENRY RASCHEN (1854-1937) Hunter’s Yarn oil on canvas  16 x 22 inches signed lower right: H RASCHEN Provenance: Estate of Edan Hughes Private Collection, Ohio $8,000 - $12,000

64 RALPH MEYERS (1885-1948) Indian Scouting Plains, 1918 oil on canvas  12 x 16 inches signed and dated lower right: R. MEYERS 1918. Provenance: Private Collection, Colorado  $12,000 - $18,000 S A N TA F E A R T AU C T I O N

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65 HOWARD TERPNING (b. 1927) Eyes of Winter, 1992 oil on board  12 x 9 inches signed and dated lower left: © / Terpning CA / 1992 inscribed verso: “EYES OF WINTER” 9 X 12 / ALL REPRODUCTION RIGHTS / TO THIS PAINTING ARE / RETAINED BY THE ARTIST / HOWARD TERPNING / H TERPNING  Provenance: Private Collection, Arizona Exhibited: Cowboy Artists of America Exhibition, Phoenix Art Museum, Phoenix, Arizona, 1992 $75,000 - $100,000

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66 R. TOM GILLEON (b. 1942) Red Horses oil on masonite  24 x 24 inches signed lower left: Tom Gilleon inscribed verso: T08-10-52- 24 x 24 / RED HORSES Tom Gilleon © Provenance: Private Collection, New Mexico $10,000 - $20,000

67 JIM CARSON (b. 1942) Sioux Splendor, 2003 oil on canvas  48 x 68 inches signed and dated lower right: © Carson 2003 inscribed verso: TO STEVE 3/14/03 / THANKS FOR YOUR INTEREST IN MY WORK.  ENJOY THE PAINTING. ALL THE BEST, JIM CARSON Provenance: Private Collection, Illinois  $15,000 - $25,000

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68 JUD HARTMANN (b. 1948) Ongue-Onwhe, 1991 bronze, edition of 10 22 x 23 x 13 ½ inches (with base) inscribed: HARTMANN / © 1991 [indecipherable] Provenance: Private Collection, New Mexico $4,000 - $6,000

69 JUD HARTMANN (b. 1948) Akwesasne, 1986 bronze, edition of 8 26 ½ x 16 x 10 inches (with base) inscribed: HARTMANN [indecipherable] Provenance: Private Collection, New Mexico $4,000 - $6,000

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70 WILLIAM MOYERS (1916-2010) One of the Rough String oil on canvas  24 x 36 inches signed lower left: WM-MOYERS CA / © Provenance: Private Collection, Arizona Exhibited: Cowboy Artists of America Exhibition, Phoenix Art Museum, Phoenix, Arizona, 1992 $4,000 - $6,000

71 ROBERT PUMMILL (b. 1936) Longhorns North, 1992 oil on canvas  24 x 30 inches signed and dated lower right: Pummill CA / ‘92 Provenance: Private Collection, Arizona Exhibited: Cowboy Artists of America Exhibition, Phoenix Art Museum, Phoenix, Arizona, 1992 $5,000 - $7,000

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72 GEORGE PALIOTTO (b. 1954) River Crossing oil on masonite  18 x 24 inches signed lower left: Paliotto Provenance: The Artist $2,500 - $3,500

73 BILL OWEN (1942-2013) Spring Green, 1992 oil on board  7 x 5 inches signed and dated lower right: © BILL OWEN CA / 1992  Provenance: Private Collection, Arizona Exhibited: Cowboy Artists of America Exhibition, Phoenix Art Museum, Phoenix, Arizona, 1992 $1,500 - $2,500

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74 CHARLIE DYE (1906-1972) The Rustler oil on canvas  24 x 36 inches signed lower right: Charlie / Dye / © Provenance: Private Collection, Arizona $30,000 - $50,000

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75 NELSON BOREN (b. 1952) Cowboy, 1988 watercolor on paper  30 x 22 ¼ inches signed and dated lower right: N. Boren / 88 Provenance: Private Collection, Minnesota $2,000 - $3,000 nr

76 NELSON BOREN (b. 1952) Untitled watercolor on paper  17 ½ x 44 ½ inches signed lower right: NELSON BOREN Provenance: Private Collection, New Mexico $2,500 - $4,500

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77 OLAF WIEGHORST (1899-1988) Ranch Horse in Corral oil on canvas  24 x 30 ¼ inches signed and dated lower left: O-Wieghorst / [artist’s cipher] Provenance: Private Collection, Minnesota $5,000 - $7,000

78 GEORGE PALIOTTO (b. 1954) Noble Creatures oil on canvas  24 x 36 inches signed lower left: Paliotto label affixed verso: “Noble Creatures” / 24” x 36” / Oil on Linen / Artist: George Paliotto “In my painting Noble Creatures, I was able to capture a close up of several horses in the herd grazing. When a horse drops his head, it signifies he is relaxed and at ease; this scene thus conveys a strong sense of peace and calm, and for that reason represents a somewhat different perspective than the typical action shots of horses. I also was impressed by the nobility of these animals. They are strong and powerful and these two in particular seemed to have a depth of character to them.” – George Paliotto Provenance: The Artist $5,000 - $7,000

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79 SUZANNE BAKER (b. 1939) Karen’s Colt, 2001 oil on canvas  24 x 18 inches signed lower right: S. Baker © Provenance: Private Collection, New Jersey $2,500 - $3,500

80 EDWARD BOREIN (1872-1945) Horse Studies pen and ink on paper  8 x 10 ¼ inches Provenance: Private Collection, Arizona $1,500 - $2,500

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81 A-D LEONARD REEDY (1899-1956) Four Watercolors watercolor on paper  8 x 11 inches (each) signed (each): LEONARD H. REEDY Provenance: Private Collection, Indiana $2,000 - $4,000 nr

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82 CARL OSCAR BORG (1879-1947) Navajo Herding Wild Horses, 1945 oil on canvas  26 x 30 inches signed and dated lower left: CARL OSCAR BORG. A.N.A. 1945. Provenance: {Lot 133, Christie’s American Art Sale, June 21, 1978} Private Collection, California Literature: A Weiden, Carl Oscar Borg ett Konstnarsode, Stockholm: Nordisk Rotogravyr, 1953, p. 155 $100,000 - $150,000

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83 WILLIAM R. LEIGH (1866-1955) Untitled (Pastoral Drawing) graphite on artist board  19 x 29 inches signed lower right: W.R. LEIGH. Provenance: Private Collection, Connecticut $5,000 - $10,000

84 RAPHAEL LILLYWHITE (1891-1958) Untitled (Grazing), 1929 oil on canvas  23 ¼ x 39 ½ inches signed and dated lower left: Raphael / Lillywhite / 1929 Provenance: Private Collection, New Mexico $10,000 - $15,000

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85 WILLIAM MOYERS (1916-2010) Cow Country oil on masonite  28 x 36 inches signed lower left: WM MOYERS [artist’s cipher] / © inscribed verso: [indecipherable] Provenance: Private Collection, California $3,000 - $5,000

86 HOWARD ROGERS (B. 1932) The Advance Party oil on canvas  30 x 40 inches signed lower left: HRogers © Provenance: Private Collection, Arizona Exhibited: Cowboy Artists of America Exhibition, Phoenix Art Museum, Phoenix, Arizona, 1992 $6,000 - $9,000

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87 DALE FORD (1934-2015) Butterfield Overland Stage, 1978 hardwood, steel, and leather  21 x 48 x 17 inches inscribed: DALE FORD 78 / SCOTTSDALE. AZ. Provenance: Private Collection, Tennessee $5,000 - $7,000

88 ERIC MICHAELS (B. 1949) Wagons West oil on board  12 x 24 inches signed lower right: Eric Michaels Provenance: Private Collection, New Mexico $4,000 - $6,000

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89 WILLIAM MOYERS (1916-2010) At Little Bighorn, 1976 bronze, 14/30 27 x 15 ½ x 13 inches (with base) inscribed: © 1976 / WM MOYERS  stamped: A&S U.S.A editioned: 14/30 Provenance: Private Collection, California $2,000 - $4,000

90 WILLIAM MOYERS (1916-2010) Reckless Breed, 1975 bronze, 14/30 26 x 19 x 11 ½ (with base) inscribed: WM MOYERS / © / 1975 stamped: A&S / U.S.A. editioned: 14/30 Provenance: Private Collection, California $2,000 - $4,000

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91 ROSA CURTIS (1894-1960) Navajos oil on panel  15 ¾ x 19 ¾ inches signed lower right: ROSA M Curtis Provenance: Private Collection, Switzerland $1,000 - $2,000 nr

92 GEORGE CARLSON (b. 1940) Old Navajo bronze, 2/8 14 x 7 x 5 inches (with base) inscribed: CARLSON 2-8 Provenance: Private Collection, Colorado $1,000 - $2,000 nr

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93 FRANK MCCARTHY (1924-2002) Cheyenne, 1992 oil on canvas  32 x 40 inches signed and dated lower left: McCarthy / CA © 1992 Provenance: Private Collection, Arizona Exhibited: Cowboy Artists of America Exhibition, Phoenix Art Museum, Phoenix, Arizona, 1992 $50,000 - $70,000


94 GARY NIBLETT (b. 1943) Enemy Encampment gouache on paper  17 ½ x 24 ½ inches signed lower left: GARY NIBLETT CA inscribed verso: “Enemy Encampment” / Gary NIblett CA Provenance: Private Collection, Arizona Exhibited: Cowboy Artists of America Exhibition, Phoenix Art Museum, Phoenix, Arizona, 1992 $2,000 - $4,000

95 HERB MIGNERY (b. 1937) Deep Catch, 1989 bronze  21 x 23 x 24 inches inscribed: HERB MIGNERY CA 1989 Provenance: Private Collection, Arizona Exhibited: Cowboy Artists of America Exhibition, Phoenix Art Museum, Phoenix, Arizona, 1992 $5,000 - $7,000

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96 EDWARD BOREIN (1872-1945) Preparing to Charge etching  6 ¼ x 9 ⅞ inches signed lower right: Edward Borein Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 310 $2,000 - $3,000

97 EDWARD BOREIN (1872-1945) Tonto Apaches etching  5 ½ x 6 ¾ inches signed lower right: EDWARD BOREIN Provenance: Private Collection, Arizona Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 172 $1,000 - $1,500

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98 EDWARD BOREIN (1872-1945) The Antelope Kiva etching  7 ¼ x 12 ¼ inches signed lower right: Edward Borein Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 220 $1,200 - $1,800

99 EDWARD BOREIN (1872-1945) Hopi Boys etching  5 ¾ x 6 ⅞ inches signed lower right: Edward Borein Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 187 $2,000 - $3,000

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100 FRANK SAUERWEIN (1871-1910) Mesa III Oraibi, 1904 watercolor and gouache on paper  9 x 13 ⅜ inches signed and dated lower left: F.P Sauerwein / 1904Provenance: Private Collection, Colorado $7,000 - $9,000

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101 FRANK SAUERWEIN (1871-1910) Hopi Mesa I watercolor and gouache on paper  11 ½ x 8 inches signed lower left: F.P. Sauerwein Provenance: Private Collection, Arizona $6,000 - $8,000

102 FRANK SAUERWEIN (1871-1910) Hopi Mesa III, Snake Dance, Oraibi watercolor and gouache on paper  8 ¾ x 11 ⅝ inches signed lower left: F.P. Sauerwein Provenance: Private Collection, Arizona $6,000 - $8,000

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103 EDWARD BOREIN (1872-1945) Black Mesa, New Mexico etching and drypoint  6 ¼ x 12 ¼ inches signed lower right: Edward Borein Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 205 $1,500 - $2,000

104 EDWARD BOREIN (1872-1945) Robes and Meat etching and drypoint  6 ⅛ x 9 ¼ inches signed lower right: Edward Borein. Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 178 $2,000 - $3,000

105 EDWARD BOREIN (1872-1945) Cutting Out a Bull, No 1 etching and drypoint  6 x 10 ¾ inches signed lower right: Edward Borein        Provenance: Private Collection, Arizona Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 116 $2,000 - $3,000

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106 HAROLD HOLDEN (b. 1940) Ranger, 2007 bronze, 5/25 26 ½ x 22 x 11 inches (with base) inscribed: [artist’s cipher] HAROLD T HOLDEN / © 2007 5/25 Provenance: Private Collection, Florida $5,000 - $7,000

107 EDWARD BOREIN (1872-1945) Roping a Steer etching  7 ¼ x 11 ¾ inches inscribed lower left: [artist’s cipher] signed lower right: Edward Borein Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico $1,500 - $2,000

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108 EDWARD BOREIN (1872-1945) Pals etching  4 ⅜ x 7 ½ inches signed lower right: Edward Borein Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico Literature: John R. Galvin, The Etchings of Edward Borein, San Francisco: J. Howell Books, 1971, no. 15 $2,000 - $3,000

109 THEODORE VAN SOELEN (1890-1964) Heeled lithograph  11 ½ x 15 inches initialed lower left in plate: V.S.  titled lower center: Heeled signed lower right: VAN SOELEN N.A. Provenance: From the Estate of Bob and Martha Cress $1,000 - $2,000

110 THEODORE VAN SOELEN (1890-1964) Branding lithograph  11 x 15 ¼ inches titled lower center: Branding initialed lower right in plate: VS signed lower right: VAN SOELEN N.A. Provenance: From the Estate of Bob and Martha Cress $1,000 - $2,000

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111 THEODORE VAN SOELEN (1890-1964) Morning lithograph, 48/110 12 ½ x 19 ¾ inches editioned and titled lower left: 48/110 Morning signed lower right: VAN SOELEN initialed in plate: V.S. Provenance: From the Estate of Bob and Martha Cress $1,000 - $1,500

112 ILA MCAFEE (1897-1995) The Passing Parade lithograph  6 ⅛ x 13 ½ inches titled lower left: The Passing Parade signed lower right: Ila mcAfee initialed lower right in plate: M Provenance: From the Estate of Bob and Martha Cress $600 - $800 nr

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113 ILA MCAFEE (1897-1995) Evening at Taos Pueblo oil on canvas  20 x 16 inches signed lower right: Ila McAfee inscribed verso: Evening at Taos Pueblo / ILA McAFEE Taos Provenance: Private Collection, Indiana $2,000 - $3,000 nr

114 ILA MCAFEE (1897-1995) Ready to Ride oil on canvas  22 x 29 inches signed lower right: Ila McAfee inscribed verso: “Ready to Ride” / by Ila McAfee / of Taos - N. Mex Provenance: Private Collection, New Mexico $3,000 - $5,000 nr

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115 DOROTHY BRETT (1883-1976) The Deer Hunters, 1954 oil on masonite  20 x 39 ½ inches signed and dated lower right: DBRETT / 1954 “The American Indian has fascinated me since I first saw Buffalo Bill and his troupe when I was only 5. The Taos Indians have been my close friends in the years here and yet to paint them and their ceremonials has required my learning an entirely new method of painting, differing greatly from my formalized art training. Now many of my paintings of the great ceremonials are in museums and scattered parts of the world. Yet it is as exciting today to paint these beautiful people as it was when I started. Painting has been my life so long I don’t believe I could live without it.”1 1

Dorothy Brett, “Art and Artists of New Mexico,” New Mexico Magazine 47, no. 11-12 (November-December 1969), 170.

Provenance: Private Collection, New Mexico $15,000 - $25,000

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116 OLAF WIEGHORST (1899-1988) Untitled (Indian on Horseback) oil on canvas  18 ½ x 24 ¼ inches signed lower left: O-WIEGHORST Provenance: Private Collection, Tennessee $20,000 - $25,000

117 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 $6,000 - $10,000

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118 ARNOLD FRIBERG (1913-2010) Silver and Gold oil on canvas  32 ⅛ x 25 inches signed lower right: © / A. FRIBERG / RSA Provenance: Private Collection, Tennessee $50,000 - $70,000

119 AB FREDERIC REMINGTON (1861-1909) Two Chromolithographs, 1903-1905 A: The Bell Mare chromolithograph  19 x 12 ¾ inches signed and dated lower right in plate: Frederic Remington / copyright 1903 by Frederic Remington B: An Argument with the Town Marshall chromolithograph  12 ¼ x 18 ⅜ inches inscribed lower left in plate: Frederic Remington Provenance: Private Collection, Tennessee $600 - $800 nr

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120 JULIUS HOLM (1855-1930) Horses in Pasture, 1894 oil on canvas  24 x 38 inches signed and dated lower right: JULIUS HOLM / 1894 Emigrating to the U.S. from Norway in 1880, artist Julius Holm eventually settled in Minneapolis, Minnesota, where he pursued various vocations. Working alternately as a house painter, a painter for the Milwaukee Road Railroad, and as a photographer, Holm went on to establish the eponymous portrait photography studio Snesrud and Holm Photography. Best known for his 1894 painting, Tornado Over St. Paul, which now resides at the Minneapolis Institute of Art, Holm was an artist with little or no artistic training who, though not prolific, painted scenes of regional significance. These artworks are of interest to collectors both because of their rarity, and also because of their simplistic, folk-like aesthetics. Santa Fe Art Auction holds the one previous auction record for the artist, with The American Bison at Jackson Hole, Yellowstone featured in our 2016 sale. Provenance: Private Collection, Wisconsin $12,000 - $18,000

121 GERALD CASSIDY (1879-1934) Study for Dawn of the West (pair) oil on canvas mounted on board  31 ¾ x 6 ⅛ inches (each) Provenance: Private Collection, New Mexico $8,000 - $10,000 66

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122 JOSEPH HENRY SHARP (1859-1953) Lorenzo Martinez - Taos (“Bull Breath”) oil on canvas  18 x 12 inches signed lower right: J.H. SHARP inscribed verso: LORENZO MARTINEZ - TAOS / (“BULL BREATH”) / One of four brothers - all were / Governors of the Pueblo Few American artists have ever approached the success or mastery with which Joseph Henry Sharp chronicled the native people and ways of the American Southwest. Although Sharp painted in many parts of the world, including Europe, Hawaii and Asia, it is the work that he did among the Native populations of New Mexico and Montana for which he is especially known and honored. His portraits and paintings of Native Americans are not only appreciated for their extraordinary artistry, but also have long been used as a source for anthropological insight into various facets of the lives of their subjects. Sharp was born in Bridgeport, Ohio, in 1859. Like many young men who grew up in the years after the Civil War, he developed an interest in Native communities of the American Southwest. Sharp made his first visit to southeastern Montana in 1899. The artistic fruits of this journey were exhibited to great acclaim at the Paris Exposition of 1900. In 1901 President Theodore Roosevelt, an admirer of Sharp's work, directed his Indian Commission to build the artist a studio at the Crow Indian Agency on the site of the Custer battlefield. Sharp is the only artist ever to have been honored in this way by the United States government, and paintings from this commission hold a special place in the collections of the Smithsonian Institution in Washington, D.C. Sharp first visited the small village of Taos, New Mexico in 1893. Not long after, while in Paris, he extolled the virtues of this small town to the young artists Ernest Blumenschein and Bert Phillips, setting into motion events that would lead to the founding of the Taos Art Colony. As a result, Sharp is generally considered to be the founder of this group; he subsequently built a permanent home and studio in Taos during the early years of the twentieth century. Provenance: The Artist Private Collection, Arizona by descent $50,000 - $70,000

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123 EMIL BISTTRAM (1895-1976) Ranchos Chruch mixed media on paper  13 ¼ x 16 ½ inches signed lower right: Emil Bisttram Provenance: Private Collection, New Mexico $4,000 - $6,000

124 JOSEPH IMHOFF (1871-1955) Taos, NM oil on board  11 ¾ x 15 inches inscribed verso: Joseph A Imhoff / Taos NM Provenance: Private Collection, Washington, D.C. $2,000 - $3,000 nr

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125 B.J.O. NORDFELDT (1878-1955) Four Trees, 1937 oil on canvas  26 x 34 inches signed and dated lower right: Nordfeldt / 37 inscribed verso: BJO Nordfeldt / “Four Trees” / 1937 (Santa Fe) / #203 / 26 x 34  Provenance: Gerald Peters Gallery, Santa Fe, New Mexico From the Estate of Bob and Martha Cress $10,000 - $15,000

126 HENRY BALINK (1882-1963) Hyde Park, N.M., 1966 oil on canvas  12 x 10 inches signed lower left: H. BALINK inscribed verso: © HENRY B. BALINK 1966 / SANTA FE, N.M Provenance: Mitchell Brown Fine Arts Inc., Scottsdale, Arizona Matthew Chase Ltd., Santa Fe, New Mexico Private Collection, Colorado Note: Copy of notarized letter of authenticity affixed verso. $3,000 - $5,000 nr

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127 B.J.O. NORDFELDT (1878-1955) Double Tulips, 1939 oil on masonite  31 ¼ x 21 ⅜ inches signed and dated lower right: Nordfeldt 39 Provenance: Private Collection, New Mexico $50,000 - $80,000

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128 JOHN SLOAN (1871-1951) East at Sunset, Camino Monte Sol, 1939 tempera and oil on panel  23 ¾ x 28 ¼ inches signed and dated lower right: John Sloan ‘39 Provenance: Trust of John Sloan Private Collection, New Mexico Literature: Art Digest, 1 October 1939 Rowland Elzea, John Sloan’s Oil Paintings: A Catalogue Raisonné, Newark: University of Delaware Press, 1991, illustrated Vol. II, pg. 383, no. 1083 John Sloan’s Santa Fe, Santa Fe: Gerald Peters Gallery, 2007, pg. 7 Exhibited: 26th Annual Exhibition of Painters and Sculptors of the Southwest, Museum of New Mexico, Santa Fe, New Mexico, Summer 1939 John Sloan: Santa Fe Sojourn, Gerald Peters Gallery, Santa Fe, New Mexico, August 25 - October 7, 2017 $80,000 - $120,000

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129 ALBERT BIERSTADT (1830-1902) Source of the Snake River oil on paper mounted on canvas  14 x 19 inches signed lower right: ABierstadt inscribed verso: Source of the Snake River Idaho Albert Bierstadt embarked on his first trip west in early 1859, when he was elected a civilian artist on a government expedition which set out to improve the wagon roads of the South Pass from Fort Kearny, Nebraska, to the eastern border of California. By the middle of the year, Bierstadt was following the same steps taken by Alfred Jacob Miller twenty two years earlier, traversing the Oregon Trail. Along the way, he met and sketched thousands of discouraged gold seekers and immigrants. In late summer, he returned east and began turning his sketches into large-scale canvases. Included among some of these earlier scenes were Chimney Rock, Fort Laramie and Laramie Park. Bierstadt's second trip, this time to the far west, took place in 1863. He traveled with his friend Fitz Ludlow, whose wife, Rosalie, later became Bierstadt's wife. They spent several weeks in Yosemite Valley beyond the Sierra Nevada, eventually traveling up into Oregon. By 1864, scarcely five years after painting his first Rocky Mountain picture, Bierstadt was the most highly acclaimed American painter, rivaling Frederick Church. Bierstadt was known to have composed pictures from sketches. Adopting a style that was not literal in its presentation of the terrain, yet retained a conceptual integrity of form, Bierstadt incorporated both the real and the ideal into his artworks. He fused the metaphysical and the physical into a luminous realism, as is evidenced in Source of the Snake River, which stands out as a fine example of one of Bierstadt’s exquisite smaller landscapes. Provenance: Private Collection, Missouri, ca. 1935 Private Collection, New York $350,000 - $550,000

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130 BERT GEER PHILLIPS (1868-1956) Meadow with Trees oil on board  20 ½ x 20 ½ inches signed lower left: Phillips Provenance: Private Collection, California $8,000 - $12,000

131 SHELDON PARSONS (1866-1943) Untitled (New Mexico Landscape), 1914 oil on board  8 ¾ x 11 ½ inches signed and dated lower left: Sheldon Parsons 1914 Provenance: From the Estate of Bob and Martha Cress $5,000 - $7,000

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132 SHELDON PARSONS (1866-1943) Springtime, Santa Fe oil on board  9 x 12 inches signed lower left: Sheldon PARSONS inscribed verso: Springtime, Santa Fe. / Sheldon PARSONS Provenance: Private Collection, New Mexico $4,000 - $6,000

133 SHELDON PARSONS (1866-1943) Indian Spring oil on canvas  14 x 16 inches signed lower right: Sheldon Parsons Provenance: Mitchell Brown Fine Arts Inc., Scottsdale, Arizona Matthew Chase Ltd., Santa Fe, New Mexico Private Collection, Colorado $5,000 - $7,000

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134 BARBARA DIANE SCHMIDT (1944-2015) April Run Off oil on canvas  22 x 28 inches signed lower right: B. Di’ANNE © inscribed verso: “APRIL RUN OFF” BD-270 22 x 28” B. DI’ANNE Provenance: Private Collection, Oregon $3,000 - $5,000

135 BARBARA DIANE SCHMIDT (1944-2015) Morning Strut oil on canvas  18 x 24 inches signed lower left: B. Di’ANNE ©  inscribed verso: MORNING STRUT 18 x 24 Provenance: Private Collection, Oregon $2,000 - $4,000

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136 ALBERT SCHMIDT (1885-1957) Pojoaque Mill - Autumn

verso

oil on canvas 20 x 30 inches signed lower left: A.H Schmidt inscribed verso: “Yellow Daisies” Provenance: Estate of the Artist Note: Yellow Daisies artwork verso $8,000 - $12,000

137 MARIQUITA GILL (1861-1915) Pueblo oil on canvas  18 x 24 inches signed lower right: Mariquita Gill. Provenance: Private Collection, New Mexico $6,000 - $8,000

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138 JOZEF BAKOS (1891-1977) (Southwest) Gloria oil and tempera on wood  24 ½ x 33 ⅜ inches signed lower right: BAKOS Provenance: Estate of the Artist $20,000 - $30,000

139 BERT GEER PHILLIPS (1868-1956) October Aspens - Twining, 1951 oil on board  14 x 10 inches signed lower right: PHiLLiPS inscribed verso: OCTOBER, ASPENS, / NEAR TAOS, N.M. BY BERT PHiLiPS / 1951 Provenance: Private Collection, New Mexico $15,000 - $20,000

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140 E. MARTIN HENNINGS (1886-1956) In Taos Canyon oil on canvas  20 x 24 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. At the age of 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. While in Munich, he kept company

with fellow Americans Walter Ufer and Victor Higgins, both of whom he had known from his Art Institute days. Forced to leave Germany on account of World War I, Hennings returned to Chicago in 1915. 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 acquired. 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. 1

Laura M. Bickerstaff, Pioneer Artists of Taos (Denver: Sage Books, 1955), 195.

Provenance: Private Collection, Iowa Goodwill of the Heartland, Iowa City, Iowa Note: This artwork is being sold to benefit Goodwill of the Heartland in Iowa City, Iowa. $30,000 - $50,000 S A N TA F E A R T AU C T I O N

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141 CARL VON HASSLER (1887-1969) Tesuque oil on board  20 x 22 inches signed lower left: Von Hassler Provenance: Mitchell Brown Fine Arts Inc., Scottsdale, Arizona Matthew Chase Ltd., Santa Fe, New Mexico Private Collection, Colorado $5,000 - $7,000

142 FREMONT ELLIS (1897-1985) The Pink Roof oil on canvas board  11 x 9 inches signed lower right: FREMONT ELLIS inscribed verso: “THE PINK ROOF” / OIL PLUS MAGNA  Provenance: Fenn Galleries, Santa Fe, New Mexico Private Collection, New Mexico $3,000 - $5,000

143 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 80

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144 CYRUS BALDRIDGE (1899-1977) Adobe in Snow oil on panel  26 x 24 inches signed lower right: Baldridge Provenance: Private Collection, Massachusetts $1,500 - $2,500

145 CARLOS HALL (1928-1997) Untitled oil on canvas  30 x 20 inches signed lower right: CARLOS hAll © TAOS Provenance: Private Collection, Switzerland $2,500 - $3,500 S A N TA F E A R T AU C T I O N

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146 LUCILLE LEGGETT (1896-1966) Bosque Farms Barn oil on canvas board  12 x 16 inches signed lower right: L. Leggett Provenance: Matthew Chase Ltd., Santa Fe, New Mexico Private Collection, Colorado $2,000 - $3,000 nr

147 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 $10,000 - $15,000

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148 ERIC SLOANE (1905-1985) Adobe Pueblo Morning oil on board  11 x 16 inches signed lower right: Eric SLOANE N.A. Provenance: Quail Hollow Galleries, Oklahoma City, Oklahoma Private Collection, New Mexico $4,000 - $6,000

149 ERIC SLOANE (1905-1985) Pueblo Church

150 UNKNOWN  San Antonio de Padua

oil on board 11 x 11 inches signed lower left: Eric SLOANE

polychrome wood and mirror 22 x 8 x 7 ½ inches

Provenance: Private Collection, New Mexico $3,500 - $5,000

Provenance: Private Collection, New Mexico $1,000 - $2,000 nr

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151 HORACIO VALDEZ (1929-1992) La Muerte Death Cart polychrome carved wood  53 x 50 x 32 inches initialed: HV inscribed front: HERMANIDAD / DE / NUESTRO PADRE JESUS Renowned folk artist Horacio Valdez is best known for his expertly carved Santos—figures that embody the artistic expression of faith in his home state of New Mexico. After a nearly fatal injury in the mid-1970s that crushed his right hand, Valdez transitioned from his first career— carpentry— to wood carving, noting, “I couldn’t hold a hammer…but I could whittle.”1 The artist’s expert and nuanced handling of wood carving are evident in this, and various other Penitente death carts, some of which are held in major museum collections in both the U.S. and abroad. This particular death cart was exhibited in the U.S. and Europe between October 5, 1986 and May 29, 1988 in an exhibition entitled Beyond Tradition: Contemporary American Folk Art, organized by the Katonah Gallery (now the Katonah Museum of Art) in Katonah, New York. The death cart is traditionally used in acts of penance performed by the Penitente Brotherhoods of northern New Mexico and southern Colorado. An important and sacred object used in the Good Friday performative rituals of the Brotherhood, the cart contains La Muerte, a commanding figure reminding viewers of the ever-present specter of death. The arrow she holds aligns her

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with the iconography of Saint Sebastian, and she is known alternately as Nuestra comadre Sebastiana or Our good friend Sebastiana.2 Author Jim Sagel asserts, “Horacio’s women of death, for all their realistic horrific details, are not hideous. In fact, their fleshless features somehow verge on the sublime. There is something here that’s also apparent in the soft face of the Guadalupana.”3 Valdez’s stark aesthetic indeed jolts viewers into a contemplation of mortality and harkens to one of the most prominent religious groups indigenous to the American Southwest both historically, and in the modern era. ¹ Museum of American Folk Art, Folk Art Magazine 17, no. 4 (Winter 1992/93): 30. 2 Miguel de Baca, “Death Cart (La Muerte en su Carreta),” Object Narrative, Conversations: An Online Journal of the Center for the Study of Material and Visual Cultures of Religion, 2014. 3 Jim Sagel, “Horacio Valdez,” published in conjunction with Feria Artesana: August 21-22, 1982, Tiguex Park, Old Town, Albuquerque, New Mexico.

Provenance: The Artist Laurie Ahner, Galerie Bonheur, St. Louis, Missouri, and Santa Fe, New Mexico Exhibited: Beyond Tradition: Contemporary American Folk Art, Katonah Museum of Art, Katonah, New York, October 5, 1986 - May 29, 1988 $15,000 - $20,000


152 CADY WELLS (1904-1954) Fragments and Landscape mixed media on paper  8 x 10 ¾ inches inscribed verso: CADY WELLS / FRAGMENTS & LANDSCAPES / 8 ¾ X 11 ¼ / unsigned / MW Inventory #15 / 153 Provenance: Private Collection, New Mexico $1,000 - $2,000

153 CADY WELLS (1904-1954) New Mexico Landscape, 1951 mixed media on paper  10 x 14 ½ inches signed lower right: Cady Wells. Provenance: Owings Dewey Fine Art, Santa Fe, New Mexico Private Collection, New Mexico $1,500 - $2,500

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154 GEORGIA O’KEEFFE (1887-1986) No. 36 - Special (Nicotine Flower), 1920 watercolor on paper  15 ½ x 11 ¼ inches Among Georgia O’Keeffe’s earliest flower paintings are a delicate series of watercolors of red cannas dating to 1918-1920. Lyrical and loose, these red flowers float, unanchored against white backgrounds and appear inspired by Japanese painting or calligraphy. They precede O’Keeffe’s more literal and naturalistic flower and seaweed studies in watercolor of 1920 to which No. 36 – Special (The Nicotine Flower) belongs. The influence of her mentor, Arthur Wesley Dow (1857-1922), a radical educator and theorist who advocated eastern design principles, is marked in all of these early flower paintings. Simultaneously during this period, O’Keeffe experimented in abstraction, making advances into non-objective imagery and assigning nonreferential titles to her works such as Series I, No. 7 or No. 17 – Special. In almost all of these works of this early period, natural objects found in the environments she explored around Lake George, New York or York Beach, Maine were used as her primary jumping off points. She seemed to almost delight in the notion of abstracting nature – both visually in her imagery and verbally in her titles – all the while training her eye and hand to dig deeper into the often overlooked and nonverbal qualities of nature. No. 36 – Special, alternately identified as The Nicotine Flower, was executed very early on in the artist’s career – 1920. Its placement in the center of the paper is reminiscent of O’Keeffe’s earliest watercolor paintings of red cannas which are decidedly looser. Intensely scrutinized as a naturalist might illustrate, the leaves and flowers emerge from the center of the composition as if growing out of the paper in graceful billows and curves, thereby losing their natural context. The attention to detail and O’Keeffe’s emphasis upon the naturally occurring design elements reflect the lessons of Dow as well as the lasting influence of Art Nouveau upon O’Keeffe’s ubiquitous floral production, which was quite marked at this early juncture. Another indirect influence on O’Keeffe's botanical studies may have been her connection and friendship with Charles Demuth, an auxiliary member of the Stiegltiz circle who became known for his elegant and refined botanical studies in watercolor executed throughout the 1920s. Interestingly however, Demuth’s watercolors of plants and fruit left O’Keeffe somewhat cool and she found them dispassionate.1 Paradoxically, while O’Keeffe’s botanical study against white is indeed formidable, it has a marked delicacy and intimacy that many contemporary critics might have problematically described as “feminine.” Coming out of the Museum of Fine Arts, Boston’s collection of fine prints and drawings, No. 36 – Special, The Nicotine Flower is an early gem by O’Keeffe that is a decisive step in her development as America’s most famous flower painter. 1 Wanda M. Corn, The Great American Thing: Modern Art and National Identity, 1915-1935 (Berkeley, Los Angeles, London: University of California Press, 1999), 197.

Provenance: {The Downtown Gallery, New York, NY} Mr. and Mrs. William H. Lane, Leominister, Massachusetts, 1954 Museum of Fine Arts, Boston, MA (gift from above, 1989) Gerald Peters Gallery, Santa Fe, New Mexico Literature: Barbara Buhler Lynes, Georgia O’Keeffe: Catalogue Raisonné, New Haven: Yale University Press; Washington, DC: National Gallery of Art Abiquiu: The Georgia O’Keeffe Foundation, 1999, v. I, no. 322, p. 174 (image is inverted in catalogue) Exhibited: Illumination: The Paintings of Georgia O’Keeffe, Agnes Pelton, Agnes Martin, and Florence Miller Pierce, Orange County Museum of Art, Newport, CA, May 3 - September 6, 2009 Georgia O’Keeffe: Place & Influence, Loveland Museum Gallery, Loveland, CO, September 27 - December 31, 2014 O’Keeffe in Process, New Mexico Museum of Art, Santa Fe, NM, September 11, 2015 - January 17, 2016 O’Keeffe, Stettheimer, Torr, Zorach: Women Modernists in New York, Norton Museum of Art, West Palm Beach, FL, February 18, 2016 - May 15, 2016, Portland Museum of Art, Portland, ME, June 23, 2016 - September 18, 2016 $300,000 - $500,000

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155 KENNETH ADAMS (1897-1966) Canyon Bridge watercolor on paper  13 ⅛ x 20 ¼ inches signed lower left: Kenneth M. Adams -  Provenance: Private Collection, New Mexico $6,000 - $8,000

156 IDA FISCHER (1883-1956) Santa Fe, New Mexico, 1942 watercolor on paper  20 x 20 ½ inches titled, signed, and dated lower left: Santa Fe, New Mexico / Ida Fischer 1942 Provenance: Private Collection, New Mexico $5,000 - $7,000 88

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157 WILLIAM LUMPKINS (1908-2000) Untitled (Blue Sphere), 1958 watercolor on paper  17 ¾ x 23 ½ inches signed and dated lower right: Lumpkins / WL 58 Provenance: Private Collection, California $2,000 - $3,000

158 WILLIAM LUMPKINS (1908-2000) Untitled watercolor on paper  17 ½ x 23 ¼ inches signed lower right: LUMPKINS. / [indecipherable] Provenance: Private Collection, California $2,000 - $3,000 S A N TA F E A R T AU C T I O N

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159 RAYMOND JONSON (1891-1982) The Night, Chicago, 1921 oil on canvas  35 ⅜ x 41 inches inscribed verso: THE NIGHT CHICAGO / Raymond Jonson OIL 35 x 41 / 1921 Born in Iowa in 1891, Raymond Jonson is widely considered to be a master of 20th century abstract American art. Accordingly, Jonson is perhaps best known for abstract subjects, many of which he painted whilst associated with the Transcendental Painters Group, co-founded by Jonson and Emil Bisttram. Jonson spent a number of his young adult years in Chicago, gaining formal training with B.J.O. Nordfeldt at The Chicago Academy of Fine Arts, and later at The Art Institute of Chicago. Jonson worked for some time in Chicago— most notably as a set and lighting designer— prior to moving to New Mexico in 1924. Enjoying artistic success in his adopted home town of Santa Fe, Jonson embarked in 1934 on a hugely influential tenure as a professor of art at the University of New Mexico, where he remained until 1954. While much of the artist’s renown came from his abstract subjects, Jonson did paint representational works as well. These representational works generally display a geometricized style that aligns them with a decidedly modern aesthetic, as evidenced in The Night, Chicago. The artist’s mastery of color and composition is apparent in a number of the artwork’s formal attributes. Foremost —the juxtaposition of light, smoke, and shadow providing the visual layers that comprise the cityscape; the flattened versus shaded blocks of bright color, invoking notions of space and distance; and the evocative hues of Art Deco-era Chicago, so vividly captured in this artwork —make The Night, Chicago a truly standout artwork in the artist’s oeuvre. Provenance: From the Estate of Bob and Martha Cress Exhibited: Thinking Modern, Mary and Leigh Block Gallery, Northwestern University, Evanston, Illinois, January 18 - April 5, 1992 (label verso) $80,000 - $120,000

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160 RAYMOND JONSON (1891-1982) Oil and Tempera No. 2, 1941 tempera and oil on panel  22 ¼ x 18 inches signed and dated lower right: Jonson ‘41 inscribed verso: OIL AND TEMPERA NO. 2- 1941/ RAYMOND JONSON / 2 / 9/30-41 Provenance: Philip Bareiss Fine Arts, Taos, New Mexico Private Collection, New Mexico $6,000 - $8,000

161 RAYMOND JONSON (1891-1982) Watercolor No. 36 Improvisation, 1943 watercolor on paperboard  26 x 19 ¾ inches signed and dated lower right: Jonson / ‘43 inscribed verso: WATERCOLOR NO. 36-1943 / IMPROVISATION / RAYMOND JONSON / 12/29 ‘43 Provenance: Private Collection, New Mexico $7,000 - $9,000

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162 EMIL BISTTRAM (1895-1976) Untitled (Abstract Composition), 1961 graphite on paper  19 x 13 ½ inches signed and dated lower right: [artist’s cipher] / BISTTRAM / 61 Provenance: From the Estate of Bob and Martha Cress $2,000 - $4,000

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163 EMIL BISTTRAM (1895-1976) Golden Reverie, 1964 liquid plastic  48 x 30 inches signed and dated lower right: [artist’s cipher] / BISTTRAM / 64 Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, Arizona $25,000 - $35,000

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164 HOWARD COOK (1901-1980) Villanueva mixed media on panel  8 ¾ x 39 ¾ inches signed lower right: Howard Cook inscribed verso: Villanueva Provenance: From the Estate of Bob and Martha Cress $5,000 - $7,000

165 EMIL BISTTRAM (1895-1976) Dynamite, 1959 oil on panel  39 ½ x 31 ½ inches signed and dated lower right: [artist’s cipher] / BISTTRAM 59 Provenance: Owings Dewey Fine Art, Santa Fe, New Mexico Private Collection, New Mexico $4,000 - $6,000

166 HOWARD COOK (1901-1980) Sangre De Cristo fixed and varnished pastel on board  16 ½ x 39 ¼ inches signed lower right: HOWARD COOK inscribed verso: “SANGRE DE CRISTO” NEW MEXICO / PANEL #2 / PASTEL (FIXED AND VARNISHED) HOWARD COOK Provenance: From the Estate of Bob and Martha Cress $8,000 - $10,000

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167 ANDREW DASBURG (1887-1979) Red Lands Orchard, 1960 pastel on paper  17 x 22 inches signed and dated lower left: Dasburg ‘60 inscribed verso: “Red Lands Orchard” / 1960 / Andrew Dasburg Provenance: Private Collection, Massachusetts $15,000 - $25,000

168 ANDREW DASBURG (1887-1979) Untitled (Village Landscape), 1970 pastel on paper  17 ½ x 22 ¾ inches signed and dated lower right: Dasburg ‘70 Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, New Mexico $12,000 - $18,000

Andrew Dasburg was born in Paris in 1887, and spent his early childhood in Germany. He became acquainted with many figures of the French avant-garde when he returned to Paris in 1907. Through a friendship with Morgan Russell, one of Matisse’s American students, Dasburg gained entry to the master’s studio, where he discovered the expressive content of line by watching Matisse struggle to perfect a contour in a work in progress. He was enraptured with the work of Matisse, Renoir, the Cubists, and especially with Cézanne, who exerted the lasting effect upon Dasburg’s style evident here most notably in Untitled (Village Landscape). He once said that his life could be divided into two segments— the period before seeing Cézanne’s work and the period after. Dasburg returned to the United States in 1910; within the following decade, he had followed friends Mabel Dodge and Maurice Sterne to Taos. He returned every year thereafter, until establishing a permanent residence there in 1930. As was the case with so many of his contemporaries, Dasburg’s new home only served to stimulate and enrich his artistic endeavors, with the artist finding new inspiration for his art in the countryside and people of the area. In the 1930s, Dasburg stayed mostly in Santa Fe. His work was interrupted from 1935 to 1946 due to a debilitating illness. Yet many critics, including the late Henry McBride, and more recently, Sheldon Reich, feel that his late work— represented by each of the artworks offered in this sale— include some of his best pictures. Soft, spare, tonal landscapes suffused with poetic line and atmosphere abound in the final decades of Dasburg’s life. One of the most original and talented, and certainly one of the most cosmopolitan artists to live in New Mexico, Andrew Dasburg stands even today as one of the earliest and greatest of American Modernist painters. S A N TA F E A R T AU C T I O N

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169 ANDREW DASBURG (1887-1978) Untitled (Drawing), 1965 ink on paper  17 ¼ x 23 inches signed and dated lower right: Dasburg ‘65 Provenance: Private Collection, Massachusetts $1,000 - $1,500

170 NICOLAI FECHIN (1881-1955) Small Pilgrim, cast 1997

171 NICOLAI FECHIN (1881-1955) Large Pilgrim, cast 1997

bronze, 8/21 20 ½ x 5 ½ x 7 inches inscribed lower rear: N.F. 8/21 © GERALD PETERS GALLERY 1997 S

bronze, 8/21 26 ½ x 9 x 7 ½ inches inscribed lower rear: N.F. 8/21 © GERALD PETERS GALLERY 1997 S

Provenance: Private Collection, New Mexico

Provenance: Private Collection, New Mexico

$2,000 - $4,000

$3,000 - $5,000

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172 RUSSELL VERNON HUNTER (1900-1955) Cerrillos Boy oil on canvas  18 ⅜ x 20 ⅜ inches signed lower right: R VERNON HUNTER inscribed verso: Cerrillos Boy / Russell Vernon Hunter Provenance: From the Estate of Bob and Martha Cress $6,000 - $8,000

173 LLOYD MOYLAN (1893-1963) Sheep Dip at Sholo oil on board  16 x 20 ⅛ inches signed lower left: L. Moylan inscribed verso: Sheep Dip at Sholo / Nov. 1st to Dec. 1st / #19 Provenance: From the Estate of Bob and Martha Cress $6,000 - $10,000

174 LAURENCE SISSON (1928-2015) Ben Miller’s Santo, 1980 oil on board  29 ½ x 23 ½ inches signed lower left: L. SissoN Provenance: Private Collection, New Mexico $2,000 - $3,000 S A N TA F E A R T AU C T I O N

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175 THOMAS BENRIMO (1887-1958) The Red Ruin gouache on paper  12 ½ x 16 ½ inches signed lower right: TOM BENRIMO Provenance: Private Collection, New Mexico $4,000 - $6,000

176 OLIVE RUSH (1873-1966) Mountain Showers oil on canvas  24 x 30 inches inscribed verso: Mountain Showers / Olive Rush Provenance: Gerald Peters Gallery, Santa Fe, New Mexico From the Estate of Bob and Martha Cress $2,000 - $3,000

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177 HAROLD JOE WALDRUM (1934-2003) Casa Ceruleo, 1980 acrylic on canvas  37 ¼ x 35 ¼ inches inscribed verso: HWaldrum 80 Provenance: Private Collection, New Mexico $5,000 - $7,000

178 HAROLD JOE WALDRUM (1934-2003) I Did This (from ‘The Window Series’) acrylic on paper mounted on paper  18 x 15 inches inscribed verso: I did this / JWaldrum Provenance: Private Collection, New Mexico $3,000 - $5,000

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179 ANDREW PETERS (b. 1954) Sunstruck oil on canvas  18 x 24 inches signed lower right: ANDREW PETERS Provenance: Private Collection, New Mexico $4,000 - $6,000

180 KEITH JACOBSHAGEN (b. 1941) Havelock Elevator, 1977 oil on canvas  9 x 18 inches inscribed verso: “HAVELOCK ELEVATOR” OCT 13, 1977 72° 3.00-6.15 P.M. / K JACOBSHAGEN  Provenance: Private Collection, New Mexico  $3,000 - $5,000

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181 WOODY GWYN (b. 1944) Guardrail / Median, 1983 oil on canvas  72 x 72 inches Provenance: Private Collection, New York $20,000 - $30,000

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182 THOMAS CROTTY (1934-2015) Chama River at Abiquiu (Triptych), 2011 oil on canvas  54 x 90 inches signed verso: THAS CROTTY inscribed verso: CHAMA RIVER AT ABIQUIU - RIGHT © 2011 THAS CROTTY Thomas Crotty’s prolific five-decade career was founded foremost in his remarkable ability to capture the hauntingly beautiful coastal landscape of Maine. The rare exception to the artist’s long concentration on Maine subjects can be seen in Chama River, Abuquiu, a panorama that made a deep impression on Crotty when he visited New Mexico, circa 1987. The painting, a triptych, required almost twenty years to complete, and remains his most ambitious and remarkable landscape. It has always remained in the collection of a close friend of the artist and has never been displayed publicly until this sale. Provenance: The Artist Private Collection, Maine $90,000 - $120,000

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183 G. RUSSELL CASE (b. 1966) Near Kanab, 2004 oil on canvas  16 x 20 inches signed lower right: G. Russell Case inscribed verso: “Near Kanab” / G. Russell Case / 2004 8AD Provenance: Private Collection, New Mexico $4,000 - $6,000

184 PETER HURD (1904-1984) El Arco Iris watercolor on paper  16 x 27 inches signed and titled lower right: Peter Hurd / El Arco Iris Provenance: Private Collection, Washington, D.C. $8,000 - $12,000

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185 LLOYD MOYLAN (1893-1963) The Bell Rang watercolor on paper  15 x 21 inches signed lower left: lloyd Moylan Provenance: Zaplin Lampert Gallery, Santa Fe, New Mexico Matthew Chase Ltd., Santa Fe, New Mexico Private Collection, Colorado $3,000 - $4,000 nr

186 ALFRED MORANG (1901-1958) Gormley Lane oil on canvas  16 x 18 inches signed verso (partially obstructed by cardboard backing): Morang Provenance: Private Collection, New Mexico $6,000 - $8,000

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187 FRANK VAVRA (1892-1967) Blue and Gold oil on board  16 x 16 inches signed lower left: Frank J. Vavra inscribed verso: To Pat / May you / live with this / Frank J. Vavra / Blue + Gold Provenance: From the Estate of Bob and Martha Cress $1,500 - $2,000

188 FRANK VAVRA (1892-1967) Winter Scene oil on board  16 x 16 inches signed lower right: Frank J. Vavra Provenance: From the Estate of Bob and Martha Cress $1,500 - $2,000

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189 DONALD BARTON (1903-1990) Snow Mass Mt., ca. 1930s oil on canvas  25 x 30 inches titled and signed lower left: Snow Mass Mt. / Donald Barton Provenance: Private Collection, New Mexico $3,000 - $5,000

190 SUBHANKAR BANERJEE (b. 1967) Kongakut River, 2005 ultrachrome print, 7/29 40 x 29 ¾ inches inscribed verso: Subhankar Banerjee / Kongakut River, 2002 / print 2005 / edition 7/29 Provenance: Gerald Peters Gallery, Dallas, Texas Private Collection, Texas $2,000 - $4,000

191 RON KINGSWOOD (b. 1959) Grouse, Winter, 1986 oil on canvas  51 x 36 inches signed and dated lower left: Ron Kingswood 1986 Provenance: Private Collection, Washington $10,000 - $15,000

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192 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 $800 - $1,200 nr

193 KEN BUNN (b. 1938) Sable Antelope bronze, AP 7 ¾ x 10 x 4 inches (with base) inscribed: Bunn / © / AP / 20   Provenance: Private Collection, Nevada $2,000 - $4,000

194 LUKE FRAZIER (b. 1970) Fall Salmon Run oil on canvas  16 x 20 inches signed upper left: -l. Frazier. inscribed lower left: © [artist›s cipher] inscribed verso: “FALL SALMON RUN” / -l. Frazier (artist’s cipher) © Provenance: Private Collection, New Mexico $5,000 - $7,000

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195 LUKE FRAZIER (b. 1970) Cat Nap, 2005 oil on panel  12 x 24 inches dated lower left: © 05 signed lower right: L. Frazier Provenance: Private Collection, Nevada $4,000 - $6,000

196 LUKE FRAZIER (b. 1970) Old Man of the Mountain oil on canvas  16 x 20 inches signed upper right: -l. Frazier. inscribed lower right: [artist’s cipher] / ©  inscribed verso: “OLD MAN OF THE MOUNTAIN” / -l. Frazier (artist’s cipher) © / ALL RIGHTS RESERVED Provenance: Private Collection, New Mexico $5,000 - $7,000

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197 EMIL BISTTRAM (1895-1976) Red Rain oil on board  24 x 30 inches signed lower left: BISTTRAM inscribed verso: (RED RAIN) by Emil Bisttram / TAOS NM 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, he served as president of the Taos Art Association and was appointed a member of the New Mexico Arts Commission. Provenance: Kennedy Galleries, Inc., New York, New York Caldwell Gallery Hudson, Hudson, New York Private Collection, New Mexico $40,000 - $60,000

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198 CARL REDIN (1892-1944) Historic Panorama, Albuquerque, New Mexico, ca. 1920 oil on board  17 ¾ x 39 inches signed lower right: Carl Redin Swedish-born landscape painter Carl Redin arrived in Albuquerque, New Mexico in 1916, seeking a sunny, dry, high-elevation climate to help reduce the symptoms of tuberculosis. This panoramic painting of Albuquerque, the Rio Grande Valley, and the volcano field to the west was completed shortly thereafter. The vantage point of the landscape appears to be from the present-day Spruce Park neighborhood, just west of the University of New Mexico campus. The buildings and smokestacks visible in the middle right-hand portion of the painting indicate the location of the St. Joseph’s Sanitarium, opened by the Sisters of Charity in 1902, and now the site of Lovelace Medical Center-Downtown. The east-west arroyo that appears in the painting’s center is the present-day site of Lomas Boulevard. The remnants of five cinder cone volcanoes, which are amongst Albuquerque’s most notable geological formations, are visible in the background. Albuquerque Panorama is unique for its representation of the city on the brink of major expansion, and also for its inclusion of historic buildings that speak to Albuquerque’s role as a center for the treatment of tuberculosis during the early decades of the 20th century. We can further narrow the dating of this painting by noting the absence of Albuquerque’s first “skyscraper,” the nine-story First National Bank Building, which was constructed in 1922, giving us a likely timeframe of 1916-1922 for Redin’s creation of the artwork. Provenance: Private Collection, New Mexico $10,000 - $15,000

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199 GEORGE BIDDLE (1885-1973) Desert Landscape, 1947 oil on masonite  12 x 18 inches signed and dated lower left: Biddle 1947 inscribed verso: Biddle / 605 / [indecipherable] Provenance: Private Collection, New Mexico $3,000 - $5,000 nr

200 PETER HURD (1904-1984) Untitled (Arizona Illustration) egg tempera on board  18 x 25 ¾ inches signed lower left: PETER HURD Provenance: Private Collection, Washington, D.C. $3,000 - $5,000 nr

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201 ALBERT BIERSTADT (1830-1902) White Mountains, New Hampshire oil on paper  8 ¼ x 13 inches signed lower right: Bierstadt. inscribed verso: White Mts. N.H. Provenance: {Lot 4, Sotheby Parke-Bernet, New York, May 13, 1966} Private Collection, Massachusetts $10,000 - $20,000

202 WILLIAM WEAVER (1825-1913) Sentinel Rock, Yosemite, 1894 oil on canvas  50 x 30 inches signed lower left: [indecipherable] Provenance: Private Collection, New Mexico $4,000 - $6,000

203 JOHN FERY (1859-1934) Untitled (Forest Landscape) oil on canvas  14 ¼ x 10 ¼ inches signed lower right: J. Ferry Provenance: Private Collection, New Mexico $4,000 - $6,000

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204 FRANK SCHOONOVER (1877-1972) Mountain Landscape with Horses oil on canvas  9 x 12 inches signed lower right: F.E. Schoonover Provenance: Private Collection, New York $6,000 - $8,000

205 SABATIER (20TH CENTURY) Dog and Donkey oil on canvas  27 ¾ x 39 ½ inches Provenance: Private Collection, Switzerland $2,000 - $4,000

206 ARTHUR FITZWILLIAM TAIT (1819-1905) Barn Scene oil on wood panel  13 x 10 inches signed lower left: A.F. Tait Provenance: Private Collection, Colorado $7,000 - $9,000 S A N TA F E A R T AU C T I O N

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207 WILLIAM ACHEFF (b. 1947) Pears, 2001 oil on canvas  11 x 16 inches signed and dated lower right: © Wm. Acheff 2001 Provenance: Private Collection, New Mexico $6,000 - $9,000

208 RAMON KELLEY (b. 1939) Green and Gold oil on canvas  14 x 18 inches signed lower left: © / Ramon K inscribed verso: 14 x 18 / Green + Gold / oil / Ramon Kelley / © Provenance: Private Collection, New Mexico $1,500 - $2,500 nr

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209 WAYMAN ADAMS (1883-1959) Sphinx oil on canvas  45 x 30 ½ inches signed upper left: Wayman Adams Provenance: Private Collection, Texas $5,000 - $7,000

210 RANDALL DAVEY (1887-1964) Nude Scene pastel on paper  29 x 23 ½ inches signed lower right: R. Davey Provenance: Private Collection, Switzerland $2,000 - $4,000

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115


211 ANNA KATHERINE SKEELE (1896-1963) Norma oil on canvas  30 x 25 inches signed lower right: K.S. DANN inscribed verso: Norma K.S. Dann 400. Provenance: Private Collection, California Exhibited: Women Painters of the West (label verso) Literature: Maurine St. Gaudens, Emerging from the Shadows: A Survey of Women Artists Working in California, 1860-1960, Volume IV: S-Z, Atglen, Pennsylvania: Schiffer Publishing Ltd., 2015, p. 1019 $8,000 - $12,000

212 LOUIS RIBAK (1902-1979) Untitled (Girl at Beach) oil on masonite  60 x 36 inches signed lower right: Ribak Provenance: The Artist Private Collection, Missouri, by descent Private Collection, Santa Fe, New Mexico $10,000 - $15,000

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213 AUGUST LUNDBERG (1878-1928) Florence in Pink oil on canvas  24 x 20 inches signed lower right: Aug. F. Lundberg inscribed verso: Florence in Pink / Aug. F. Lundberg Provenance: From the Estate of Bob and Martha Cress $1,500 - $2,500

214 BERT GEER PHILLIPS (1868-1956) Line of Children oil on canvas  7 ¼ x 18 inches signed lower right: PHiLLiPS Provenance: Private Collection, New Mexico $3,000 - $5,000

215 HENRIETTE WYETH (1907-1997) Untitled (Floral) oil on canvas  11 ⅜ x 9 ¾ inches signed lower right: H. Wyeth Provenance: From the Estate of Bob and Martha Cress $6,000 - $8,000

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216 ALFRED MORANG (1901-1958) Dancers at Midnight, 1947 oil on canvas  18 ⅛ x 24 ⅛ inches signed and dated lower left: ALFRED / MORANG / 47 inscribed verso (covered by cardboard backing): ALFRED MORANG Provenance: Private Collection, New Mexico Exhibited:  Colorado State University, Fort Collins, Colorado, September 22 - October 14, 1973  Colorado Springs Fine Arts Center, Colorado Springs, Colorado, October 6 - November 6, 1972 The Museum, Texas Tech University, Lubbock, Texas, January - March 1976 $8,000 - $12,000

217 FRANK TENNEY JOHNSON (1874-1939) The Matador ink on paper  21 x 13 inches initialed lower right: F.T.J. Provenance: Private Collection, Tennessee  Note: Notarized letter of authenticity affixed verso. $2,000 - $3,000 118

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218 JAMES KRAMER (b. 1927) Mexican Gothic: La Cata watercolor on paper  21 x 31 inches signed lower right: James KRAMER NAWA / © inscribed verso: “Mexican Gothic: La Cata” / (Templo De La Cata y Villa Manchega, Guanajuato, Gto, Mexico) Provenance: Private Collection, Wyoming $2,000 - $4,000

219 OSCAR E. BERNINGHAUS (1874-1952) Courtyard, Mexico watercolor on paper  12 ½ x 9 ¼ inches Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, Colorado $5,000 - $10,000

220 CARL OSCAR BORG (1879-1947) San Luis Rey watercolor on paper  19 ½ x 14 ½ inches signed and titled lower right: CARL OSCAR BORG. / SAN LUIS REY Provenance: Private Collection, Indiana $600 - $1,000 nr

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221 LYONEL FEININGER (1871-1956) Brooding Sky, 1946 watercolor and ink on paper  17 x 12 ¾ inches signed lower left: Feininger Provenance: Private Collection, Colorado $30,000 - $50,000

222 THOMAS MORAN (1837-1926) Untitled (Venetian Harbor), 1897 watercolor and gouache on paper  6 x 12 ¼ inches signed and dated lower right: MORAN / 1897 Provenance: Private Collection, New York $10,000 - $15,000

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223 CARL OSCAR BORG (1879-1947) Luxor watercolor on paper  10 x 7 ¼ inches signed and titled lower right: CARL OSCAR BORG / LUXOR Provenance: Private Collection, Indiana $500 - $700 nr

224 ANNA KATHERINE SKEELE (1896-1963) Untitled (North African Scene) watercolor on paper  21 x 17 inches initialed lower right: K.S.D Provenance: Private Collection, California $2,000 - $3,000

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225 JANET LIPPINCOTT (1918-2007) Landscape V, 1967 oil on canvas  25 x 23 inches inscribed verso: LANDSCAPE V / Lippincott 1967 Provenance: From the Estate of Bob and Martha Cress $1,000 - $1,200

226 LOUIS RIBAK (1902-1979) Untitled oil on canvas  90 x 60 inches signed lower right: Ribak Provenance: The Artist Private Collection, Missouri, by descent Private Collection, Santa Fe, New Mexico $30,000 - $50,000 122

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227 LOUIS RIBAK (1902-1979) Untitled (Portrait of Two Women), 1968 pen and ink on paper  16 ¾ x 21 ½ inches signed and dated lower right: Ribak ‘68 Provenance: The Artist Private Collection, Missouri, by descent Private Collection, Santa Fe, New Mexico $1,500 - $2,500

228 LOUIS RIBAK (1902-1979) Untitled (Birds in Boats), 1965 pen and ink on paper  11 x 20 inches inscribed lower left: To Ida + Dick friends + creators 11-65 signed and dated lower right: Ribak / 3-65 San Blas Provenance: The Artist Private Collection, Missouri, by descent Private Collection, Santa Fe, New Mexico $1,500 - $2,500

229 PAUL PLETKA (b. 1946) Portrait of a Priest graphite and watercolor on paper  13 ½ x 17 ½ inches signed lower right: Pletka Provenance: Private Collection, Texas $800 - $1,200 nr S A N TA F E A R T AU C T I O N

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230 HOWARD COOK (1901-1980) Sad Sack (Self-Portrait), 1969 charcoal on board  19 x 15 inches signed and dated lower right: Howard Cook. Roswell- 1969 inscribed verso: SAD SACK Provenance: From the Estate of Bob and Martha Cress $1,000 - $1,500

231 HOWARD COOK (1901-1980) Circus Scene, 1948 lithograph  17 x 13 ⅜ inches editioned lower left: [indecipherable]  signed and dated lower right: Howard Cook 1948 Provenance: From the Estate of Bob and Martha Cress $1,000 - $1,500

232 WARD LOCKWOOD (1894-1963) Untitled (Floral) charcoal on paper  14 ⅛ x 17 ⅞ inches inscribed lower left: To Gina and Ernie signed lower right: LOCKWOOD Provenance: From the Estate of Bob and Martha Cress $800 - $1,000 nr 124

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233 IGOR MELNIKOV (b. 1956) Winter Field oil on canvas  25 x 29 inches signed lower right: MELNIKOV Provenance: Private Collection, Colorado $20,000 - $30,000

234 DEBORAH REMINGTON (1930-2010) Abstract Composition in Gray, 1951-1952 oil on canvas  26 ¼ x 30 inches signed and dated lower left: D. REMINGTON - ‘52 inscribed verso: D. REMINGTON / ‘51 Provenance: Private Collection, New Mexico $8,000 - $10,000

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235 ERIC GIBBERD (1897-1972) Untitled

236 ERIC GIBBERD (1897-1972) Untitled (Mountain in Winter)

oil on canvas board 24 x 12 inches signed lower left: Gibberd

oil on board 30 x 40 inches signed lower left: Gibberd

Provenance: From the Estate of Bob and Martha Cress

Provenance: From the Estate of Bob and Martha Cress

$800 - $1,200 nr

$2,000 - $3,000

237 CHARLOTTE FOUST (1928-2000) Beacon acrylic on canvas  60 x 48 inches inscribed verso: © Charlotte Foust Beacon 60 x 48 signed verso: Foust Provenance: Private Collection, New Mexico $4,000 - $6,000 126

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238 TONY ABEYTA (b. 1965) Three Deities, 1995 mixed media on paper  31 x 39 ½ inches dated lower left: 1995 signed lower right: Tony Abeyta Provenance: Private Collection, Colorado $1,000 - $2,000 nr

239 DOUG HYDE (b. 1946) Nes Perce Head Dress

240 AGNES SIMS (1910-1990) Jemez Deities

alabaster 12 x 5 ½ x 7 ¼ inches (with base)

painted textile 76 x 72 inches signed lower left: AGNES SIMS

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

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

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241 IRA YEAGER (b. 1938) Native Man with Fish oil on canvas  48 x 48 inches signed lower left: Ira Yeager Provenance: Private Collection, Colorado Literature: Ira Yeager, Indian Paintings, Forty Years of Indians, San Francisco, CA: Prepress Assembly, Inc, 1997, p. 80-81 $7,000 - $10,000

242 AB STAN NATCHEZ (b. 1954) Pair of Figures mixed media  40 x 12 inches (each) signed lower right: Natchez Provenance: Private Collection, New Mexico $1,500 - $2,500

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243 FELIPE ARCHULETA (1910-1991) Jackrabbit, 1979 mixed media  27 ½ x 25 ½ x 8 ¼ inches inscribed underside: 12-31-1979- JACK / RABBIT- BY- F.B.A. Provenance: From the Estate of Bob and Martha Cress $2,000 - $3,000

244 BEATIEN YAZZ (1828-2012) Untitled, 1956 gouache on paper  14 ½ x 16 inches signed and dated lower right: BEATIEN YAZZ 56’ / © Provenance: From the Estate of Bob and Martha Cress $400 - $600 nr

245 CHARLES PRATT (b. 1937) Stealing Sugar polychrome metal  12 ½ x 6 ⅜ x 3 ⅞ inches (with base) signed on plate affixed to base: Charlie / [feather cipher] Provenance: Private Collection, Colorado $800 - $1,200 nr

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246 CRAIG VARJABEDIAN (b. 1957) Sunset and Evening Storm, Canoncito at Apache Canyon, New Mexico, 1985

247 PAUL SHELDON (1947-2012) Tres Hombres

gelatin silver print, 90/100 11 x 14 inches editioned lower left: 90/100 signed lower right: Craig Varjabedian

acrylic on canvas 33 x 58 inches signed lower right: Paul Sheldon

Provenance: Private Collection, Arizona $1,000 - $1,500 nr

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

248 CHARLES PRATT (b. 1937) Corn Ristra, Chiles

249 CHARLES PRATT (b. 1937) Cattails with Butterfly

welded brass with lapis, coral, blue and green turquoise, reconstituted serpentine 22 ½ x 12 ¼ x 2 ½ inches

welded brass 68 ¾ x 20 ¼ x 9 ⅝ inches (with base) signed on plate: Charlie / [feather cipher]

Provenance: Private Collection, Colorado $2,000 - $4,000 nr 13 0

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


250 TIM KENNEY (b. 1955) Aspen Valley, 2017 oil on canvas  48 x 36 inches signed lower right: Tim Kenney inscribed verso: 130607 / 48 x 36 / “ASPEN VALLEY” Tim KENNEY Provenance: The Artist $3,000 - $5,000

251 WILLIAM WHITAKER (b. 1943) Colorado June oil on canvas  36 x 48 inches signed lower right: W. Whitaker. inscribed verso: 24701 / Colorado June / by / William Whitaker © Provenance: Private Collection, Minnesota $3,000 - $5,000

252 STAN NATCHEZ (b. 1954) Untitled mixed media  46 x 82 inches signed lower right: NATCHEZ Provenance: Private Collection, New Mexico $2,500 - $4,500

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THANK YOU FOR PARTICIPATING IN THE 2017 SANTA FE ART AUCTION WE ARE CURRENTLY SEEKING CONSIGNMENTS FOR THE NOVEMBER 2018 AUCTION

FOLLOW US ON FACEBOOK AND INSTAGRAM FOR UPDATES, ANNOUNCEMENTS, AND UPCOMING ONLINE AUCTIONS. FOR FU RTHER INFORMATION PLE A SE CONTACT JENNA KLOEPPEL , ACTING DIRECTOR CALL : 505 95 4 -57 80 | EMAIL : CUR ATOR@SANTAFE ARTAUCTION.COM VISIT: SANTAFE ARTAUCTION.COM

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INDEX ABEYTA, TONY Three Deities, 238 ACHEFF, WILLIAM Pears, 207 ADAMS, KENNETH Canyon Bridge, 155 ADAMS, WAYMAN Sphinx, 209 ARCHULETA, FELIPE Jackrabbit, 243 BAKER, SUZANNE Karen’s Colt, 79 BAKOS, JOZEF Untitled (Landscape), 7 Artist Sketching in Santa Fe, 41 (Southwest) Gloria, 138 BALDRIDGE, CYRUS Adobe in Snow, 144 BALINK, HENRY Hyde Park, N.M., 126 BANERJEE, SUBHANKAR Kongakut River, 190 BARKDULL, PHILLIP H. Desert Sunset, 147

Black Mesa, New Mexico, 103 Robes and Meat, 104 Cutting Out a Bull, No 1, 105 Roping a Steer, 107 Pals, 108 BOREN, NELSON Cowboy, 75 Untitled, 76 BORG, CARL OSCAR Navajo Herding Wild Horses, 82 San Luis Rey, 220 Luxor, 223 BRETT, DOROTHY The Deer Hunters, 115 BUNN, KEN Sable Antelope, 193 CARLSON, GEORGE Old Navajo, 92 CARSON, JIM Sioux Splendor, 67 CASE, G. RUSSELL Near Kanab, 183 CASSIDY, MICHAEL

DOUGLASS, RALPH Portrait of Tony Mirabal, 62 DYE, CHARLIE The Rustler, 74 EATON, MARJORIE Man in Cloak, 36 ELLIS, FREMONT Breath of Spring, 33 The Pink Roof, 142 EMIL , EMIL The Morning After the Blizzard, 28 FECHIN, NICOLAI Small Pilgrim, 170 Large Pilgrim, 171 FEININGER, LYONEL Brooding Sky, 221 FERY, JOHN Untitled (Forest Landscape), 203 FISCHER, IDA Santa Fe, New Mexico, 156 FORD, DALE Butterfield Overland Stage, 87 FOUST, CHARLOTTE

BARTON, DONALD

Taos Pueblo, 49

Beacon, 237

Snow Mass Mt., 189

El Vaquero, 50

FRAZIER, LUKE

BAUMANN, GUSTAVE The Ridge Road, 20 BENRIMO, THOMAS The Red Ruin, 175 BERNINGHAUS, OSCAR E. Courtyard, Mexico, 219 BIDDLE, GEORGE Desert Landscape, 199 BIERSTADT, ALBERT Source of the Snake River, 129 White Mountains, New Hampshire, 201 BISTTRAM, EMIL The Morning After the Blizzard , 28 Ranchos Chruch, 123 Untitled (Abstract Composition), 162 Golden Reverie, 163 Dynamite, 165 Red Rain, 197

The Drummer, 57 CASSIDY, GERALD Study for Dawn of the West (pair), 121 COOK, HOWARD Taos Pueblo, 19 Villanueva, 164

Fall Salmon Run, 194 Cat Nap, 195 Old Man of the Mountain, 196 FRIBERG, ARNOLD Silver and Gold, 118 GIBBERD, ERIC

Sangre De Cristo, 166

Untitled, 235

Sad Sack (Self-Portrait), 230

Untitled (Mountain in Winter), 236

Circus Scene, 231 CORDERO, HELEN Storyteller, 59 CROTTY, THOMAS Chama River at Abiquiu (Triptych), 182 CURTIS, ROSA Navajos, 91 DASBURG, ANDREW Valley Fields from Llano Quemado, 43

GILL, MARIQUITA Pueblo, 137 GILLEON, R. TOM Red Horses, 66 GWYN, WOODY Guardrail / Median, 181 HALL, CARLOS Untitled, 145 HARTMANN, JUD

Two Lithographs, 44ab

Ongue-Onwhe, 68

Horse Studies, 80

Red Lands Orchard, 167

Akwesasne, 69

Preparing to Charge, 96

Untitled (Village Landscape), 168

Tonto Apaches, 97

Untitled (Drawing), 169

BOREIN, EDWARD

The Antelope Kiva, 98 Hopi Boys, 99

DAVEY, RANDALL Nude Scene, 210

HAYAKAWA, MIKI Roof Tops, 42 HENDERSON, WILLIAM PENHALLOW Mt. Talaya Pale Noon, 9


INDEX

HENNINGS, E. MARTIN In Taos Canyon, 140 HOLDEN, HAROLD Ranger, 106 HOLM, JULIUS Horses in Pasture, 120 HOUSER, ALLAN Taos Observance, 54

Apaches A-Visiting, 16

Cow Country, 85

Pine and Peak, 17

At Little Big Horn, 89

Old Pinon Tree, 18 KRAMER, JAMES Mexican Gothic: La Cata, 218 KREHBIEL, ALBERT Wagon Inspection, 32 KURMAN, RICHARD

Quiet, 55

Endgame Purple, 45

Abstract Family, 56

El Nevado del Toluca, 46

HUNTER, RUSSELL VERNON Cerrillos Boy, 172 HURD, PETER El Alamito, 10 El Arco Iris, 184 Untitled (Arizona Illustration), 200 HYDE, DOUG Quiet Moment, 61 Nes Perce Head Dress, 239 IMHOFF, JOSEPH Taos, NM, 124 JACOBSHAGEN, KEITH Havelock Elevator, 180 JOHNSON, THOMAS BERGER Untitled (Water Scene), 24 JOHNSON, FRANK TENNEY The Matador, 217 JONSON, RAYMOND

LEGGETT, LUCILLE Bosque Farms Barn, 146 LEIGH, WILLIAM R. Untitled (Pastoral Drawing), 83 LILLYWHITE, RAPHAEL Untitled (Grazing), 84 LIPPINCOTT, JANET Landscape V, 225 LOCKWOOD, WARD Untitled (Floral), 232 LUMPKINS, WILLIAM Untitled (Blue Sphere), 157 Untitled, 158 LUNDBERG, AUGUST Florence in Pink, 213 MCAFEE, ILA Dinner, 23 The Passing Parade, 112

Untitled (New Mexico Vista), 48

Evening at Taos Pueblo, 113

The Night, Chicago, 159

Ready to Ride, 114

Oil and Tempera No. 2, 160 Watercolor No. 36 Improvisation, 161 KELLEY, RAMON Green and Gold, 208 KENNEY, TIM Aspen Valley, 250 KINGSWOOD, RON Grouse, Winter, 191 KLOSS, GENE Snowy Banks, 1 Dancers Will Bring Rain, 2 Wintertime Dance - Cochiti, 3 Ceremonial Day at Taos, 4

MCCARTHY, FRANK Cheyenne, 93 MELNIKOV, IGOR Winter Field, 233 MEYERS, RALPH Indian Scouting Plains, 64 MICHAELS, ERIC Wagons West, 88 MIGNERY, HERB Deep Catch, 95 MORAN, THOMAS Untitled (Venetian Harbor), 222 MORANG, ALFRED

Open Range, 5

Capilla, 8

Noonday Shadows, 6

Bridge Street, Las Vegas, 40

Corn Dancers Coming, 12

Gormley Lane, 186

Young Navajo Mother, 13

Dancers at Midnight, 216

San Felipe Buffalo Dancers, 14 Corn Dance Maiden, 15

MOYERS, WILLIAM One of the Rough String, 70

Reckless Breed, 90 MOYLAN, LLOYD Sheep Dip at Sholo, 173 The Bell Rang, 185 NASH, WILLARD Adobe House, 34 Self Portrait with Pipe, 35 NATCHEZ, STAN Pair of Figures, 242ab Untitled, 252 NAUMER, HELMUTH Evening, 37 Adobe and Chamisa, Mountains, 38 New Mexico Landscape, 39 NIBLETT, GARY Enemy Encampment, 94 NORDFELDT, B.J.O. Brook in Winter, 30 Four Trees, 125 Double Tulips, 127 O’KEEFFE, GEORGIA No. 36 - Special (Nicotine Flower), 154 OWEN, BILL Spring Green, 73 PALIOTTO, GEORGE River Crossing, 72 Noble Creatures, 78 PARSONS, SHELDON Taos Road, 25 Adobe with Poplars, 26 Camino del Rio, Santa Fe, 27 Untitled (New Mexico Landscape), 131 Springtime, Santa Fe, 132 Indian Spring, 133 PETERS, ANDREW Sunstruck, 179 PHILLIPS, BERT GEER Corn Dance, Santo Domingo, NM (triptych), 60 Meadow with Trees, 130 October Aspens - Twining, 139 Line of Children, 214 PLETKA, PAUL Ghost Dancer, Arapahoe, 51 Portrait of a Priest, 229 PRATT, CHARLES Stealing Sugar, 245 Corn Ristra, Chiles, 248 Cattails with Butterfly, 249


INDEX

PUMMILL, ROBERT Longhorns North, 71 RASCHEN, HENRY Hunter’s Yarn, 63 REDIN, CARL Historic Panorama, Albuquerque, New Mexico, 198 REED, DOEL Cottonwoods and Morada, 47 REEDY, LEONARD Four Watercolors, 81a-d REMINGTON, FREDERIC Two Chromolithographs, 119ab REMINGTON, DEBORAH Abstract Composition in Gray, 234 RIBAK, LOUIS Untitled (Girl at Beach), 212 Untitled, 226 Untitled (Portrait of Two Women), 227 Untitled (Birds in Boats), 228 RODELL, DON Autumn’s Splendor, 192 ROGERS, HOWARD The Advance Party, 86 RUSH, OLIVE November Snow, 29 Mountain Showers, 176 SABATIER

SHELDON, PAUL Tres Hombres, 247 SIMS, AGNES Jemez Deities, 240 SISSON, LAURENCE Ben Miller’s Santo, 174 SKEELE, ANNA KATHERINE Untitled (Two Pueblo Figures), 58ab Norma, 211 Untitled (North African Scene), 224 SLOAN, JOHN East at Sunset, Camino Monte Sol, 128 SLOANE, ERIC Adobe Pueblo Morning, 148 Pueblo Church, 149 SWINNERTON, JAMES Three Desert Landscape Sketches, 11abc TAIT, ARTHUR FITZWILLIAM Barn Scene, 206 TERPNING, HOWARD Eyes of Winter, 65 UNKNOWN San Antonio de Padua, 150 VALDEZ, HORACIO La Muerte Death Cart, 151 VAN SOELEN, THEODORE Heeled, 109

Dog and Donkey, 205

Branding, 110

SAUERWEIN, FRANK

Morning, 111

Mesa III Oraibi, 100 Hopi Mesa I, 101 Hopi Mesa III, Snake Dance, Oraibi, 102 SCHMIDT, ALBERT

VARJABEDIAN, CRAIG Sunset and Evening Storm, Canoncito at Apache Canyon, New Mexico, 1985, 246 VAVRA, FRANK

Pastel Mountains, 31

Blue and Gold, 187

Pojoaque Mill - Autumn, 136

Winter Scene, 188

SCHMIDT, BARBARA DIANE

VON HASSLER, CARL

April Run Off, 134

Tesuque, 141

Morning Strut, 135

Sage and Snow, Sunset, 143

SCHOLDER, FRITZ Indian Dancer, 52 Native Man in Profile, 53 SCHOONOVER, FRANK Mountain Landscape with Horses, 204 SHAFFER, MARTIN Fall Landscape, Taos, 21 Taos Mountain Landscape, 22 SHARP, JOSEPH HENRY Lorenzo Martinez - Taos (“Bull Breath”), 122

WALDRUM, HAROLD JOE Casa Ceruleo, 177 I Did This (from ‘The Window Series’), 178 WEAVER, WILLIAM Sentinel Rock, Yosemite, 202 WELLS, CADY Fragments and Landscape, 152 New Mexico Landscape, 153 WHITAKER, WILLIAM Colorado June, 251

WIEGHORST, OLAF Ranch Horse in Corral, 77 Untitled (Indian on Horseback), 116 Nighthawk, 117 WYETH, HENRIETTE Untitled (Floral), 215 YAZZ, BEATIEN Untitled, 244 YEAGER, IRA Native Man with Fish, 241


NOTES

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NOTES

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TERMS & CONDITIONS OF SALE The following Terms and Conditions of Sale are the Santa Fe Art Auction Limited Co.’s (“Santa Fe Art Auction”) and its agents’ and consignors’ entire agreement with the prospective bidders, bidders and buyers relative to the lots listed in this catalogue. The lots will be offered by the Santa Fe Art Auction as agent for the consignors, unless the catalogue indicates otherwise.   1. The Santa Fe Art Auction operates as an agent of the seller only. It is not responsible in the event any buyer or seller at the auction fails to live up to their respective agreements, including failure of the seller to deliver any property to buyers. The Santa Fe Art Auction assumes no risk, liability, or responsibility beyond the limited warranty contained herein.     (a) All property is sold “AS IS.” There are no representations or warranties that extend beyond these Terms and Conditions of Sale. All works shall be available for examination prior to the sale. The Santa Fe Art Auction, and its agents and consignors, make no representations or warranties as to merchantability, fitness for a particular purpose, correctness of the catalogue or description, including, but not limited to, the authenticity, the physical condition, size, quality, rarity, importance, medium, provenance, dates, exhibitions, literary or historical relevance of any property, and, no statement anywhere, whether oral or written, whether made in the catalogue, an advertisement, a bill of sale, a salesroom posting or announcement, or elsewhere shall be deemed such a warranty, representation or assumption of liability. Nor are there any representations and warranties, express or implied, as to whether the purchaser acquires any copyrights, including, but not limited to, any reproduction rights in any property. Contents of this catalogue are subject to change or supplementation before or during the sale, including the sale of any lot.   2. Prospective bidders should inspect the lots before bidding to determine condition, size and whether or not the lot has been repaired or restored and to investigate all other matters relating to the lot that is of material importance to the prospective bidder.    3. A buyer’s premium will be added to the successful bid price and is payable by the purchaser as part of the total purchase price. If paying by cash or check, the purchase price will be the sum of the final bid price plus a buyer’s premium of 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. 

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7. The Santa Fe Art Auction reserves the right to reject any bid. The highest bidder acknowledged by the auctioneer will be the Buyer, subject to reserves. In the event of any dispute between bidders, or in the event of doubt as to the validity of any bid, the auctioneer will have the final discretion to determine the successful bidder, cancel the sale, or reoffer and resell the lot in dispute. If any dispute arises after the sale, the Santa Fe Art Auction’s sale record shall be final and conclusive. The Santa Fe Art Auction, in its discretion, may execute orders or absentee bids as a convenience to clients who are not present at the auction; however, the Santa Fe Art Auction is not responsible for any errors or omissions in connection therewith.   8. If the auctioneer, in his or her discretion, determines that any bid is below the reserve of the lot, he or she may reject the same and withdraw the lot from sale, and, if having acknowledged an opening or other bid, the auctioneer decides that any advance thereafter is insufficient, he or she may reject the advance.   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

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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. 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.

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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 November 10, 2017, 5:00pm MST. 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 November 10, 2017, 5:00pm MST. 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

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TELEPHONE/ABSENTEE BIDDING REGISTRATION PLEASE PRINT, COMPLETE, AND MAIL OR FAX BY NOVEMBER 10TH AT 5PM MST Santa Fe Art Auction, 927 Paseo de Peralta, Santa Fe, NM 87501 Fax: (505) 954-5785 | Email: curator@santafeartauction.com Please review the Terms and Conditions of Sale established by the Santa Fe Art Auction.

 TELEPHONE BIDDING

 ABSENTEE BIDDING

NAME _________________________________________________________________________________ STREET ADDRESS (NO P.O. BOXES) _______________________________________________________ ___________________________________________________________________________________________ CITY _______________________________________________ STATE __________ ZIP _________________ PHONE (

)____________________________ ALT. PHONE (

)_____________________________

EMAIL ________________________________________________________________________________

 ART TO BE SHIPPED  ART TO BE PICKED UP BANK REFERENCE: ______________________________________________________________________ I have received either in print or electronically and read and agree to SFAA’s Terms and Conditions and acknowledge I am bound by them. The Terms and Conditions are published on SFAA’s website and in its catalogues. ALSO, by signing below I authorize SFAA to send me emails regarding auction consignments and events and I understand I can unsubscribe at anytime.

Signature: ___________________________________________________________________________________

Lot Number

Artist & Title

Top Limit of Absentee Bid not including Buyers Premium (Bid is per lot as listed in catalog)

___________ _____________________________________ $_________________________ ___________ _____________________________________ $_________________________ ___________ _____________________________________ $_________________________ ___________ _____________________________________ $_________________________ ___________ _____________________________________ $_________________________ ___________ _____________________________________ $_________________________ ___________ _____________________________________ $_________________________ ___________ _____________________________________ $_________________________ ___________ _____________________________________ $_________________________ ___________ _____________________________________ $_________________________ ___________ _____________________________________ $_________________________ ___________ _____________________________________ $_________________________ ___________ _____________________________________ $_________________________ ___________ _____________________________________ $_________________________ ___________ _____________________________________ $_________________________ ___________ _____________________________________ $_________________________ ___________ _____________________________________ $_________________________ ___________ _____________________________________ $_________________________

TELEPHONE BIDDING REGISTRATION Please see Guide for Telephone Bidding in the back of this catalogue. I wish to place the following bids for this sale to be held on November 11, 2017. These bids are to be executed by the Santa Fe Art Auction up to but not exceeding the amount or amounts specified below. I understand that in order to place telephone bids I must complete and return this form, but that I need not specify the top limit of bid below. I further understand that each bid is per lot, as indicated, and all bids will be executed and accepted subject to the Terms and Conditions of Sale printed in this catalogue. I understand that a buyer’s premium in the amount stated in paragraph 3 of the Terms and Conditions of Sale, together with all applicable taxes, will be added to the gavel price as part of the total purchase price. ABSENTEE BIDDING REGISTRATION Absentee Bids are executed alternately in competition with the bidders in attendance. It is possible, due to variations in bidding patterns that a lot may be won by the audience for the same amount authorized by an absentee bidder. A ( + ) sign to the right of the bid amount will authorize the absentee bidder to bid one additional bid. In the event of identical bids, the first bid received will take precedence. ARRANGING PAYMENT In order to avoid delays in receiving purchases, buyers are requested to make payment arrangements or supply credit references in advance of the sale date. Purchases cannot leave our premises until checks have been cleared. All payment will be cash, check, Visa, MasterCard or wire transfer. NOTE Please note that the execution of written and telephone bids is offered as an additional service for no extra charge, and at the bidder’s risk. It is undertaken subject to Santa Fe Art Auction’s other commitments at the time of the auction. Santa Fe Art Auction therefore cannot accept liability for failure to place such bids, whether through negligence or otherwise.


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Santa Fe Art Auction 2017  

November 11, 2017 www.santafeartauction.com

Santa Fe Art Auction 2017  

November 11, 2017 www.santafeartauction.com