Santa Fe Art Auction 2019

SATURDAY, NOVEMBER 9, 2019 12:30 PM MST 932 RAILFAN ROAD, SANTA FE NM

SATURDAY, NOVEMBER 9, 2019 12:30 PM MST 932 RAILFAN ROAD, SANTA FE NM

Live Auction Saturday, November 9, 2019 12:30 PM MST 932 Railfan Road, Santa Fe, NM 87505 Previews Friday, November 8, 2019 10 AM – 8 PM MST 932 Railfan Road, Santa Fe, NM 87505 Saturday, November 9, 2019 9 AM – 12 PM MST 932 Railfan Road, Santa Fe, NM 87505 Online Bidding santafeartauction.com invaluable.com bidsquare.com liveauctioneers.com

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Front Cover: Lot 270 Janet Lippincott (1918–2007) New Mexico Landscape, ca. 1969 Frontispiece A: Lot 77 Joseph Fleck (1892–1977) View from Fleck’s Talpa Residence, 1950 Frontispiece B: Lot 109 Joseph Henry Sharp (1859–1953) Untitled (New Mexico Portrait)

1 GENE KLOSS (1903–1996) Dancers Will Bring Rain, 1980 etching and drypoint, 21/25 8 7/8 x 11 7/8 in (22.5 x 30.2 cm) signed lower right: Gene Kloss editioned and titled lower left: 21/25 Dancers Will Bring Rain Provenance: Private Collection, Texas Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 174, No. 593. $1,000 – $1,500

2 GENE KLOSS (1903–1996) In Ranchos de Taos, 1973 etching, AP (edition of 75) 5 ½ x 7 ¾ in (14.0 x 19.7 cm) signed lower right: Gene Kloss editioned and titled lower left: Artist’s Proof - In Ranchos de Taos Provenance: Private Collection, Colorado Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 128, No. 546. $800 – $1,200

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3 GENE KLOSS (1903–1996) Indian Ovens, 1941 etching, 68/75 6 ¾ x 8 3/8 in (17.1 x 21.3 cm) signed lower right: Gene Kloss Imp editioned and titled lower left: 68/75 Indian Ovens Provenance: Private Collection, Montana Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 206, No. 379. $2,000 – $3,000

4 GENE KLOSS (1903–1996) Morning at the Pueblo, 1975 etching and aquatint, 39/75 8 7/8 x 11 7/8 in (22.5 x 30.2 cm) signed lower right: Gene Kloss N. A. editioned and titled lower left: 39/75 Morning at the Pueblo Provenance: Private Collection, Colorado Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 151, No. 568. $800 – $1,200

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5 GENE KLOSS (1903–1996) Ceremonial Day at Taos, 1953

6 GENE KLOSS (1903–1996) Song of Creation, 1949

drypoint, edition of 75 8 ¾ x 11 ¾ in (22.2 x 29.8 cm) signed lower right: Gene Kloss imp. titled and editioned lower left: Ceremonial Day at Taos Ed. 50

drypoint, AP (edition of 75) 11 7/8 x 14 7/8 in (30.2 x 37.8 cm) signed lower right: Gene KLOSS editioned and titled lower left: Artist’s Proof Song of Creation

Provenance: Private Collection, Colorado

Provenance: The Collection of Inge and Tex Davis, Rancho de Taos, by descent to Brian Davis

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 18, No. 447. $1,000 – $2,000

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 249, No. 435 $2,000 – $4,000

7 GENE KLOSS (1903–1996) To a Wedding in North House, 1973 etching, drypoint and aquatint, AP (edition of 50) 11 7/8 x 14 7/8 in (30.2 x 37.8 cm) editioned and titled lower left: Artist’s Proof To A Wedding in North House signed lower right: Gene KLOSS Provenance: The Collection of Inge and Tex Davis, Rancho de Taos, by descent to Brian Davis Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 133, No. 551. $1,000 – $2,000

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8 GENE KLOSS (1903–1996) Adobes in the Snow, 1944 etching, edition of 75 7 ¾ x 11 3/8 in (19.7 x 28.9 cm) signed lower right: Gene Kloss titled lower left: Adobes in the Snow Provenance: Private Collection, New Mexico Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 216, No. 393. $2,000 – $3,000

9 GENE KLOSS (1903–1996) Snowy Banks, 1943 etching, edition of 75 7 7/8 x 9 7/8 in (20.0 x 25.1 cm) signed lower right: Gene Kloss titled lower left: Snowy Banks Provenance: Private Collection, New Mexico Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 212, No. 387. $1,000 – $2,000

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10 GENE KLOSS (1903–1996) Rocky Mountain Valley, 1963

11 GENE KLOSS (1903–1996) Mesa Verde Cliff Dwelling, 1947

etching, AP (edition of 50) 11 7/8 x 17 7/8 in (30.2 x 45.4 cm) signed lower right: Gene Kloss NA editioned and titled lower left: Artist’s Proof - Rocky Mountain Valley

drypoint and aquatint, edition of 35 10 1/8 x 11 7/8 in (25.7 x 30.2 cm) signed lower right: Gene KLoss titled lower left: Mesa Verde Cliff Dwelling

Provenance: Private Collection, Colorado

Provenance: Private Collection, Colorado

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

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 234, No. 419.

$1,500 – $2,500

$1,500 – $2,500

12 GENE KLOSS (1903–1996) Pacific Cove, 1980 etching and aquatint, 37/75 14 7/8 x 8 7/8 in (37.8 x 22.5 cm) signed lower right: Gene KLoss editioned and titled lower left: 37/75 Pacific Cove Provenance: The Collection of Inge and Tex Davis, Rancho de Taos, by descent to Brian Davis Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 177, No. 596. $500 – $1,000

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13 GENE KLOSS (1903–1996) Jester’s Fun, 1984 etching, 49/75 7 3/8 x 8 ¾ in (18.7 x 22.2 cm) signed lower right: Gene KLoss editioned and titled lower left: 49/75 Jester’s Fun Provenance: Private Collection, New Mexico Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 201, No. 619. $500 – $700

14 GENE KLOSS (1903–1996) All Soul’s Day Pilgrimage, 1982 etching and drypoint, AP (edition of 50) 12 x 9 in (30.5 x 22.9 cm) signed lower right: Gene KLoss editioned and titled lower left: Artist’s Proof All Soul’s Day Pilgrimage Provenance: Private Collection, New Mexico Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 192, No. 609. $700 – $900

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15 GENE KLOSS (1903–1996) Chance Encounter, 1965 etching and drypoint, 40/50 11 7/8 x 15 in (30.2 x 38.1 cm) signed lower right: Gene KLoss NA editioned and titled lower left: 40/50 Chance Encounter Provenance: Private Collection, Texas Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 80, No. 502. $1,000 – $1,500

16 GENE KLOSS (1903–1996) Fiesta Parasol, 1969 etching, AP (edition of 75) 13 7/8 x 11 in (35.2 x 27.9 cm) signed lower right: Gene KLoss editioned and titled lower left: Artist’s Proof Fiesta Parasol Provenance: Private Collection, New Mexico Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 109, No. 530. $700 – $900

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17 GENE KLOSS (1903–1996) Song to the Sun Turning North, 1981 etching and drypoint, 1/35 12 x 8 in (30.5 x 20.3 cm) editioned and titled lower left: 1/35 Song to the Sun Turning North signed lower right: Gene KLOSS Provenance: The Collection of Inge and Tex Davis, Rancho de Taos, by descent to Brian Davis Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 190, No. 607. $600 – $1,200

18 GENE KLOSS (1903–1996) Keresan Dancers (A Winter Dance - San Felipe Pueblo, New Mexico), 1962 etching and drypoint, AP (edition of 50) 13 ¾ x 10 ¾ in (34.9 x 27.3 cm) signed lower right: Gene KLoss editioned and titled lower left: Artist’s Proof Keresan Dancers Provenance: The Collection of Inge and Tex Davis, Rancho de Taos, by descent to Brian Davis Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 67, No. 490. $500 – $700

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19 HOWARD COOK (1901–1980) Talpa and Taos, 1949

20 HOWARD COOK (1910–1980) Cumberland Girl, 1937

lithograph 16 5/8 x 13 1/8 in (42.2 x 33.3 cm) signed and dated lower right: Howard Cook 1949 inscribed lower left: for Frode and Katy - Talpa & Taos - Sept 1952

lithograph 18 ½ x 13 ¼ in (47.0 x 33.7 cm) signed lower right: Howard Cook

Provenance: Patricia Janis Broder Collection, New Jersey Literature: Patricia Janis Broder, The American West: The Modern Vision, Boston, 1984, p. 217.

Provenance: Rainone Galleries, Arlington, Texas Private Collection, Texas $800 – $1,200

$1,000 – $2,000

21 JOHN SLOAN (1871–1951) Indian Detour, 1927 etching, 100 proofs 5 ¾ x 7 1/8 in (14.6 x 18.1 cm) signed lower right: John Sloan editioned lower left: 100 proofs titled lower center: Indian Detour Provenance: Patricia Janis Broder Collection, New Jersey Literature: Peter Morse, John Sloan’s Print’s: A Catalogue Raisonné of the Etchings, Lithographs and Posters, Yale University Press, 1970, No. 231. $3,000 – $6,000

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22 JOHN SLOAN (1871–1951) Knees and Aborigines, 1927

23 JOHN SLOAN (1871–1951) Better Mouse Traps, 1937

etching, 100 proofs 6 7/8 x 5 7/8 in (17.5 x 14.9 cm) signed lower right: John Sloan editioned lower left: 100 proofs titled lower center: Knees and Aborigines

etching, 100 proofs 3 ¾ x 5 ¾ in (9.5 x 14.6 cm) signed lower right: John Sloan edititioned lower left: 100 proofs titled lower center: “Better Mouse Traps”

Provenance: Patricia Janis Broder Collection, New Jersey

Provenance: Patricia Janis Broder Collection, New Jersey

Literature: Peter Morse, John Sloan’s Print’s: A Catalogue Raisonné of the Etchings, Lithographs and Posters, Yale University Press, 1970, No. 320.

Literature: Peter Morse, John Sloan’s Print’s: A Catalogue Raisonné of the Etchings, Lithographs and Posters, Yale University Press, 1970, No. 298.

$800 – $1,200

$800 – $1,200

24 JOHN SLOAN (1871–1951) Santa Fe Family, 1937 etching, 100 proofs 3 1/8 x 3 1/8 in (7.9 x 7.9 cm) signed lower right: John Sloan editioned lower left: 100 proofs titled lower center: Santa Fe Family Provenance: Patricia Janis Broder Collection, New Jersey Literature: Peter Morse, John Sloan’s Print’s: A Catalogue Raisonné of the Etchings, Lithographs and Posters, Yale University Press, 1970, No. 302. $500 – $800

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25 ALFRED MORANG (1901–1958) Three New Mexico Scenes, 1947 ink on paper 13 ¾ x 24 1/8 in (34.9 x 61.3 cm) (framed) From left to right: signed and dated lower left: Alfred Morang 47 signed and dated lower right: Alfred Morang 47 signed and dated lower left: Alfred Morang 47 Provenance: Private Collection, New Mexico $800 – $1,200

26 BIRGER SANDZÉN (1871–1954) Rocks and Clouds, ca. 1935 etching and drypoint 7 x 11 in (17.8 x 27.8 cm) signed lower right: Birger Sandzén titled lower left: Rocks and Clouds initialed in plate lower right: B.S. Provenance: Private Collection, Texas $400 – $600

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27 ALBERT GROLL (1866–1952) Suite of Four Southwest Drawings, ca. 1910 graphite and pastel on paper Grand Canyon (Arizona) 11 3/8 x 14 ¼ in (28.9 x 36.2 cm) signed lower right: Groll Cactus (Arizona) 9 ½ x 12 5/8 in (24.1 x 32 cm) signed lower left: Groll Arizona - Landscape, West Clouds 9 ½ x 12 7/8 in (24.1 x 32.7 cm) signed, titled, and dated lower left: Groll Arizona 1910 Pueblo - New Mexico 5 3/8 x 8 in (13.6 x 20.3 cm) signed lower right: Groll Provenance: Private Collection, Massachusetts $1,500 – $2,500 (for the suite)

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28 GUSTAVE BAUMANN (1881–1971) Ranchos de Taos, 1930 woodblock print, 38/125 9 ¼ x 11 in (23.5 x 27.9 cm) signed and editioned lower right: Gustave Baumann / # 38 - 125 titled lower left: RANCHOS DE TAOS Feeling constrained by city life, Gustave Baumann headed west from Chicago in 1918 and never looked back. After spending his initial summer in Taos, with the vibrant art colony there, Baumann traveled to Santa Fe where he found the home he had been seeking. Baumann’s time in New Mexico and the surrounding region proved revolutionary for his style.

Abandoning the muted tones and rigid lines of his earlier prints, a brighter and bolder style burst forth as he found inspiration in his immediate surroundings, as seen here in Ranchos de Taos, and Rio Tesuque. His fascination with the distinct culture and ceremonies of the Southwest, such as Eagle Dance Ceremony – Tesuque Pueblo and El Velorio also endured throughout his career.

A 648 page catalogue raisonné of Baumann's color woodcuts, authored by Gala Chamberlain after 35 years of research has just been published by Rizzoli/Electra, and states: "Endowed with a deft hand and an eye for luminous color, Baumann (1881-1971) transformed American woodblock printing over his seventy-year career. An expressive carver, Baumann handled the entire printing process himself, making him a key figure in the American Arts and Crafts movement. German-born, Baumann settled in Santa Fe and became a central figure in the artistic community. His brilliantly colored landscapes of the Southwest and California coastline, celebrated in his day, are highly sought after by collectors today."

Provenance: Private Collection, New Mexico Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 133. $15,000 – $20,000

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29 GUSTAVE BAUMANN (1881–1971) Taos Patio, ca. 1925 woodblock print, 121/125 6 ¾ x 7 ¾ in (17.1 x 19.7 cm) signed lower right: Gustave Baumann editioned lower right: 121/125 titled lower left: TAOS PATIO Provenance: The Baumann Collection of Fred E. Fowler, Sr. Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 105. $4,000 – $6,000

30 GUSTAVE BAUMANN (1881–1971) Rio Tesuque, 1946 woodblock print, 70/125 9 3/8 x 11 in (23.8 x 27.9 cm) signed lower right: Gustave Baumann titled lower left: RIO TESUQUE editioned and dated lower right: 70 125 46 Provenance: Private Collection, New Mexico Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 159. $8,000 – $12,000

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31 GUSTAVE BAUMANN (1881–1971) Redwood, 1960 woodblock print, 53/50 13 x 12 7/8 in (32.9 x 32.7 cm) signed lower right: Gustave Baumann dated and editioned lower right: 1960 53 - 50 titled lower left: REDWOOD Provenance: Private Collection, New Mexico Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 144. $5,000 – $9,000

32 GUSTAVE BAUMANN (1881–1971) Tent Rock Trail, 1919 woodblock print 10 ¾ x 9 ¾ in (27.3 x 24.8 cm) signed lower right: Gustave Baumann titled lower left: Tent Rock Trail Provenance: Private Collection, New Mexico Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 66. $4,000 – $6,000

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33 GUSTAVE BAUMANN (1881–1971) Quiet Corner

34 GUSTAVE BAUMANN (1881–1971) An Eagle Dance Ceremony - Tesuque Pueblo, 1932

woodblock print, 51/125 7 ½ x 8 ½ in (19.1 x 21.6 cm) signed lower right: Gustave Baumann editioned lower right: II 51 125 titled lower left: QUIET CORNER

woodblock print, edition of 3000 6 3/8 x 6 ½ in (16.2 x 16.5 cm) initialed lower left: GB

Provenance: Private Collection, New Mexico Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 150.

Provenance: Private Collection, New Mexico Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 142. $800 – $1,200

$3,000 – $5,000

35 GUSTAVE BAUMANN (1881–1971) El Velorio woodblock print, 41/100 8 1/8 x 8 ¼ in (20.6 x 21.0 cm) signed lower right: Gustave Baumann titled lower left: EL VELORIO editioned lower right: 41-100 Provenance: Private Collection, New Mexico Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 118. $10,000 – $15,000

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36 THOMAS HART BENTON (1889–1975) The Benton Farm, 1972 lithograph 11 ¼ x 14 ¼ in (28.6 x 36.2 cm) signed lower right: Benton signed in the stone lower right: Bent Provenance: Private Collection, Texas $2,000 – $3,000

37 KENNETH ADAMS (1897–1966) The Brick Maker, 1931 lithograph 9 1/8 x 9 ¾ in (23.2 x 24.8 cm) signed lower right: Kenneth M. Adams Provenance: Patricia Janis Broder Collection, New Jersey $800 – $1,200

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38 DOEL REED (1894–1985) Penitente Cemetery, 1960 aquatint, AP 11 ½ x 19 5/8 in (29.2 x 49.8 cm) signed lower right: Doel Reed, n.a. editioned lower left: Artist’s Proof Provenance: Patricia Janis Broder Collection, New Jersey Literature: Sam Olkinetzky, Doel Reed - Aquatints and Drawings, Vol 7, No. 8 Museum of Art, University of Oklahoma, Norman, 1964, p. 2.

Harry B. Cohen and Ann L. Rogers, Doel Reed: The Graphic Works, Columbia, Missouri, 1998, No. 95, p. 70.

39 DOEL REED (1894–1985) Adobe and Wild Plum, 1965 aquatint, AP 12 5/8 x 18 5/8 in (32.1 x 47.3 cm) signed lower right: Doel Reed, n.a. editioned lower left: Artist’s Proof Provenance: Patricia Janis Broder Collection, New Jersey Literature: Harry B. Cohen and Ann L. Rogers, Doel Reed: The Graphic Works, Columbia, Missouri, 1998, No. 103, p. 74. $1,500 – $2,500

$1,500 – $2,500

40 DOEL REED (1894–1985) Mesa Montosa, 1969 ink and crayon on paper 13 ½ x 23 7/8 in (34.3 x 60.6 cm) signed and dated lower right: Doel Reed, n.a. / 1969 Provenance: Patricia Janis Broder Collection, New Jersey $2,000 – $4,000

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41 EARL STROH (1924–2005) Untitled (Taos, New Mexico), 1949 watercolor on paper 8 ½ x 12 ½ in (21.6 x 31.8 cm) signed and dated lower right: E. Stroh ‘49 Provenance: The Joseph Pytka Collection $2,000 – $5,000

42 WILLIAM LUMPKINS (1908–2000) Orange Trees, 1973 watercolor on paper 17 ½ x 23 1/3 in (44.5 x 59.3 cm) initialed, dated and signed lower right: WL 73. LUMPKINS Provenance: Addison Rowe Fine Art, Santa Fe, New Mexico Private Collection, New Mexico $6,000 – $8,000

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43 EMIL BISTTRAM (1895–1976) Untitled (Mountain) watercolor on paper 14 x 20 in (35.6 x 50.8 cm) signed lower right: BISTTRAM stamped verso: [artist cipher] BISTTRAM / ESTATE Provenance: The Estate of Emil Bisttram Private Collection, Colorado $2,000 – $3,000

44 EMIL BISTTRAM (1895–1976) Ranchos Church pastel on paper 15 x 21 in (38.1 x 53.3 cm) signed lower right: BISTTRAM Provenance: The Owings Gallery, Santa Fe, New Mexico Private Collection, Washington, D.C. $4,000 – $8,000

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45 FRANK APPLEGATE (1881–1931) Northern New Mexico Landscape, ca. 1925 watercolor on paper 6 ½ x 10 ½ in (16.5 x 26.7 cm) signed lower right: Frank Applegate Provenance: Owings-Dewey Fine Art, Santa Fe, New Mexico Private Collection, New Mexico $5,000 – $8,000

46 FRANK APPLEGATE (1881–1931) Untitled (Pueblo Dance Scene) watercolor on paper 8 ¾ x 11 ½ in (22.2 x 29.2 cm) signed lower right: Frank Applegate Provenance: Private Collection, Michigan $2,000 – $4,000

47 MARJORIE EATON (1901–1986) Study for “The Plasterers” watercolor on paper 8 5/8 x 18 5/8 in (21.9 x 47.3 cm) Provenance: Private Collection, Virginia $2,000 – $4,000

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48 WARD LOCKWOOD (1894–1963) Blossoming Tree pastel on paper 13 5/8 x 20 ¾ in (34.6 x 52.7 cm) signed lower right: LOCKWOOD Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico $2,500 – $3,500

49 JOZEF BAKOS (1891–1977) Untitled (Sloping Portal) watercolor on paper 19 ¾ x 27 in (50.2 x 68.6 cm) signed lower right: BAKOS Provenance: Nedra Matteucci Gallery, Santa Fe, New Mexico Private Collection, New Mexico $4,000 – $8,000

50 JOZEF BAKOS (1891–1977) Winter on the Homestead oil on masonite 21 ½ x 29 ½ in (54.6 x 74.9 cm) signed lower right: Bakos Provenance: A Private Family Foundation* $4,000 – $8,000 *All proceeds of sale from this artwork benefit a charitable foundation (501c3) whose mission is to improve the public’s understanding and access to the Arts, as well contributing to social programs designed to advance the general welfare of the Santa Fe community

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51 JOZEF BAKOS (1891–1977) Untitled (Forest Path) watercolor on paper 23 x 17 in (58.4 x 43.2 cm) signed lower right: BAKOS Provenance: Private Collection, New Mexico $3,000 – $5,000

52 JOZEF BAKOS (1891–1977) Adobe House, 1928 watercolor on paper 14 ½ x 19 ½ in (36.8 x 49.5 cm) signed upper left: BAKOS signed and titled lower right: BAKOS / Adobe House Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, Oklahoma $6,000 – $8,000

53 JOZEF BAKOS (1891–1977) Spring watercolor on paper 14 ¼ x 20 ¼ in (36.2 x 51.4 cm) signed lower left: BAKOS inscribed verso: Spring / Bakos Provenance: Private Collection, New Mexico $3,000 – $5,000

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54 CARL REDIN (1892–1944) Santa Fe Street Scene watercolor on paper 14 x 20 in (35.6 x 50.8 cm) signed lower right: Carl Redin Provenance: Private Collection, Texas $2,000 – $3,000

55 CARL REDIN (1982–1944) Aspen Trees oil on masonite 15 ¼ x 13 ½ in (38.7 x 34.3 cm) signed lower left: Carl Redin Provenance: Private Collection, Texas $2,000 – $4,000

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56 ALFRED MORANG (1901–1958) New Mexico Landscape

57 ALFRED MORANG (1901–1958) New Mexico Landscape

watercolor on paper 10 1/8 x 14 in (25.7 x 35.6 cm)

watercolor and gouache on paper 11 ½ x 15 5/8 in (29.2 x 39.7 cm) signed lower right: Alfred Morang

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

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

58 SANDOR BERNATH (1892–1984) Untitled, (New Mexico Adobes)

59 ADOLF ARTHUR DEHN (1895–1968) Mare and Colt, 1941

watercolor on paper 12 ¼ x 16 ½ in (31.1 x 41.9 cm) signed lower left: Sandor Bernath

watercolor on paper 19 3/8 x 27 ½ in (49.2 x 69.9 cm) signed and dated lower left: Adolf Dehn ‘41

Provenance: Private Collection, Virginia

Provenance: Associated American Artists, New York Private Collection, Texas

$1,500 – $2,500

Exhibited: The Art Institute of Chicago, 21st International Exhibition of Water Colors, 1942 $3,000 – $6,000

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60 THOMAS HART BENTON (1889–1975) Untitled (Western Landscape Study) gouache, watercolor and ink on masonite 12 x 14 in (30.5 x 35.6 cm) signed [partially obscured] lower right: Benton Thomas Hart Benton was a close friend of Leo Huberman and created over twenty full page illustrations for Mr. Huberman’s book, “We the People,” published in 1932. Mr. Huberman was used as a character sketch for a ‘soda jerk’ in Benton’s massive America Today mural, originally commissioned by the New School in New York City and in the current collection of the Metropolitan Museum of Art. In addition to works by Benton, Mr. Huberman owned a number of pieces by artists in Benton’s circle such as Reginald Marsh, Charles Pollock, and Boardman Robinson. The current work and several others in the Huberman Collection have been exhibited at the Newark Museum and Kean University, both in New Jersey.

Provenance: The Artist Acquired from the above by Leo Huberman, New York By descent in the family to Jack Huberman $5,000 – $10,000

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61 PETER HURD (1904–1984) A Frosty Morning gouache on board 20 ¾ x 28 5/8 in (52.7 x 72.7 cm) signed lower left: Peter Hurd Born in Roswell, New Mexico, Peter Hurd spent 10 years living in Pennsylvania in order to study under acclaimed artist and illustrator N.C. Wyeth. Eventually marrying Wyeth’s daughter, Henriette – also an accomplished artist – he returned to New Mexico in 1934. He and Henriette bought a property they named Sentinel Ranch in San Patricio where they lived for the rest of their lives. A regionalist painter known for his landscape, figure and genre paintings of New Mexico, Peter Hurd was especially focused on capturing light and atmosphere with his watercolors, luminous egg temperas and lithographs. Many of his works depict the panoramic views he saw from his beloved ranch land.

Provenance: Associated American Artists, New York Private Collection, Texas $8,000 – $12,000

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62 PETER HURD (1904–1984) La Sierra Sacramento Vista de La Luz watercolor and gouache on paper 22 ½ x 28 ½ in (57.2 x 72.4 cm) signed and titled lower left: Peter Hurd / La Sierra Sacramento / Vista de La Luz Provenance: Private Collection, New Mexico $9,000 – $12,000

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63 PETER HURD (1904–1984) Adobe House with Clouds in Meadow watercolor on paper 6 x 10 in (15.2 x 25.4 cm) signed lower left: Peter Hurd Provenance: Private Collection, Texas $2,000 – $3,000

64 PETER HURD (1904–1984) Watertank Clouds / Mountain Shower watercolor and ink on paper 8 1/3 x 11 1/3 in (21.2 x 28.8 cm) signed lower right: Peter Hurd Provenance: Private Collection, Texas $2,000 – $3,000

65 PETER HURD (1904–1984) Home for Supper lithograph, AP 7 ½ x 10 ½ in (19.1 x 26.7 cm) inscribed and signed lower right: Intended for Walt Robinson by his friend, Peter Hurd titled and editioned lower left: Home for Supper (Artist’s proof) Provenance: Private Collection, Texas $800 – $1,200

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66 CHET RENESON (b. 1934) Untitled (Men by Canoes) watercolor on paper 23 ¼ x 30 ¼ in (59.1 x 76.8 cm) signed lower right: RENESON Provenance: Private Collection, Pennsylvania $5,000 – $7,000

67 CHET RENESON (b. 1934) Untitled (Campsite), 2003 watercolor on paper 17 ¾ x 28 in (45.1 x 71.1 cm) signed and dated lower right: RENESON 03 Provenance: Private Collection, Pennsylvania $4,000 – $6,000

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68 HELMUTH NAUMER (1907–1989) Untitled (New Mexico Farm) watercolor on paper 19 ¾ x 27 7/8 in (50.2 x 70.8 cm) signed lower right: Helmuth Naumer Provenance: Private Collection, Colorado $4,000 – $6,000

69 HELMUTH NAUMER (1907–1989) Untitled (Adobe in the Foothills) pastel on paper 20 x 28 in (50.8 x 71.1 cm) signed lower right: NAUMER / (artist cipher) Provenance: Nedra Matteucci Gallery, Santa Fe, New Mexico Private Collection, New Mexico Exhibited: Nedra Matteucci Gallery, Works on Paper: New Mexico The Early Years, March 16 - April 10, 2007 $4,000 – $6,000

70 EUGENE LUDINS (1904–1996) Desert Ranch, 1937 oil on board 9 3/8 x 12 ¾ in (23.8 x 32.4 cm) signed lower right: Eugene Ludins Provenance: Private Collection, Colorado $3,000 – $5,000

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71 SHELDON PARSONS (1866–1943) Autumn in New Mexico oil on board 12 x 16 in (30.5 x 40.6 cm) signed lower right: Sheldon Parsons Provenance: Private Collection, Maine $4,000 – $8,000

72 SHELDON PARSONS (1866–1943) September 30 oil on board 12 x 9 in (30.5 x 22.9 cm) signed lower left: Sheldon Parsons Provenance: Nedra Matteucci Gallery, Santa Fe, New Mexico Private Collection, New Mexico $3,000 – $6,000

73 SHELDON PARSONS (1886–1943) Foothills, Santa Fe oil on board 8 ¾ x 11 ½ in (22.2 x 29.2 cm) signed lower left: - Sheldon Parsons inscribed verso: FOOTHILLS SANTA FE. / AUG 12 Provenance: Private Collection, New Mexico $3,000 – $5,000

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74 FREMONT ELLIS (1897–1985) El Quique Church, ca. 1940 oil on board 10 x 8 in (25.4 x 20.3 cm) signed lower left: FREMONT F. ELLiS dedication inscription on verso The youngest member of Santa Fe’s modernist group, “Los Cinco Pintores,” Freemont Ellis was born in Virginia City, Montana in 1897. The son of a dentist and itinerant carnival performer, Ellis spent his childhood traveling from one mining town to the next, receiving little formal education.

It was during a brief visit to New York City where he first encountered the collection of the Metropolitan Museum of Art, and particularly the work of the Impressionists, an event that would change the course of his life. Ellis studied for three months at the famed Art Students League, and the training he received inspired him to move westward in 1919 and join the growing artistic community of Santa Fe. A series of financial hardships first led him to leave New Mexico, where he had married and attempted to settle, for California. There he worked as a photographer, a skill that led him back to Santa Fe where his knowledge and techniques lent themselves easily to painting and stylistic development. In 1921, he joined four young painters – Josef Bakos, Walter Mruk, Will Shuster, and William Nash – to form “Los Cinco Pintores.”

The short-lived group – “Los Cinco Pintores” disbanded in 1926 – was no less influential, bringing about a radical awareness of modern art which contributed to the success and foundation of the Santa Fe artist colony, though Ellis himself was never considered a truly ‘modern’ painter. His tackling of color and shape, as demonstrated in the small jewel that is El Quique Church, evoke his own photographic sensibilities and love for the New Mexican landscape through impressionistic strokes and a sensitivity towards light.

Ellis actively painted and exhibited in both Santa Fe and Los Angeles California until his death in 1985, his romantic and arresting southwestern landscapes enduring against the tide of modernism. His work is part of the permanent collections of the Museum of New Mexico, University of California, Los Angeles, the Thomas Gilcrease Institute of American History, and the El Paso Museum and the Art Institute.

Provenance: The Joseph Pytka Collection $6,000 – $8,000

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75 WILL SHUSTER (1893–1969) Pueblo Afternoon, San Ildefonso, 1958 pastel on paper 10 ¼ x 14 ¼ in (26.0 x 36.2 cm) signed and dated lower right: Will Shuster / 58 / San Ildefonso inscribed verso: “Pueblo Afternoon” / -San Ildefonso- / by / Will Shuster / 58 / Santa Fe-New Mexico Provenance: Private Collection, New Mexico $3,500 – $5,500

76 WILL SHUSTER (1893–1969) New Mexico Snow Country, 1921 oil on canvas 21 ¾ x 26 in (55.2 x 66.0 cm) signed and dated lower right: Will SHUSTER 21 / (artist cipher) Provenance: Peyton Wright Gallery, Santa Fe, New Mexico Private Collection, New Mexico $6,000 – $8,000

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77 JOSEPH FLECK (1892–1977) View from Fleck’s Talpa Residence, 1950 oil on board 20 x 24 in (50.8 x 61.0 cm) signed lower left: Joseph Fleck Born in Austria in 1892, Joseph Fleck studied at the Vienna Royal Academy of Fine Arts and served briefly in the Hungarian army during World War I, after which he established himself as a portrait painter. Immigrating to Kansas City, Missouri in 1932 where he worked as chief designer in a Tiffany stained-glass window workshop, Fleck first encountered the works of the Taos Society of Artists in a local gallery. So inspired was Fleck by the sun-drenched landscape and picturesque view of Indian culture, he moved to Taos permanently within a year.

Here in Taos, where he would spend the majority of his life, Fleck’s work evolved into two distinct eras, the first from 1924 to 1942, and the second dating from post-World War II when evocative, incandescent landscapes dominated his oeuvre, such as the three present works on offer. Combined with his academic training in Austria, Fleck would adapt his palette to the brightness of the Taos Society, emulating the expansive valleys and endless skies. His landscapes often verged on a spiritual expressionism; some show quiet regional structuralism derived from local mountain forms of adobe building shapes. The Indian people and the Taos landscape, like the one viewed from his residence on the Talpa Ridge, fascinated Fleck. From here “he surveyed the panorama of valley at his feet and Picuris Mountains in the distance. This was a place where he could create." (Joseph A. Fleck, Jr., A Fine Sense of Poetry: The Life & Art of Joseph Amadeus Fleck, p.151).

During his lifetime, Fleck became a respected member of the Taos colony and was widely exhibited outside the region, winning numerous awards. More than any other artist in the Taos group, Fleck lived to see the profound changes in that unique place of constant artistic interchange and intense accomplishment. Fleck died in California in 1977.

Provenance: The Artist, by descent in the family to the Collection of Joseph Fleck, III Literature: Joseph A. Fleck, Jr., A Fine Sense of Poetry: The Life and Art of Joseph Amadeus Fleck, Lafayette, California, 2006, No. 109, p. 228.

Exhibited: Nedra Matteucci Galleries, Artistic Crossroads: Historic New Mexico Painting, November 4 - 26, 2005. $6,000 – $12,000

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78 JOSEPH FLECK (1892–1977) Ranches of Taos, New Mexico oil on canvas 20 x 24 in (50.8 x 61.0 cm) signed lower left: Joseph Fleck Provenance: The Artist, by descent in the family to the Collection of Joseph Fleck, III Exhibited: Nedra Matteucci Galleries, Artistic Crossroads: Historic New Mexico Painting, November 4 - 26, 2005. $5,000 – $8,000

79 JOSEPH FLECK (1892–1977) Llano Quemado oil on board 16 x 34 in (40.6 x 86.4 cm) signed lower left: J. Fleck Provenance: The Artist, by descent in the family to the Collection of Joseph Fleck, III Literature: Joseph A. Fleck, Jr., A Fine Sense of Poetry: The Life and Art of Joseph Amadeus Fleck, Lafayette, California, 2006, No. 109, p. 228. $5,000 – $10,000

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80 KENNETH ADAMS (1897–1966) Untitled (Landscape), 1923 oil on canvas 19 x 25 in (48.3 x 63.5 cm) signed and dated lower right: KM Adams - 1923 PROVENANCE: The Collection of Mrs. Adams The Village Gallery, Taos, New Mexico Private Collection, Texas $30,000 – $60,000

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81 LAURENCE PHILIP SISSON (1928–2015) Untitled (Mesas at Twilight) oil on masonite 42 x 60 in (106.7 x 152.4 cm) signed lower left: L. Sisson Provenance: Private Collection, New Mexico $4,000 – $6,000

82 HENRY BALINK (1882–1963) Near Santa Fe, N.M. oil on canvas 10 x 12 in (25.4 x 30.5 cm) signed lower right: HENRY BALINK inscribed verso: Henry Balink / Near Santa Fe, N.M. Provenance: Nedra Matteucci Gallery, Santa Fe, New Mexico Private Collection, New Mexico $2,000 – $4,000

83 HEINIE HARTWIG (b. 1937) Untitled (River Encampment) oil on masonite 11 3/8 x 23 3/8 in (28.9 x 59.4 cm) signed lower right: HEINIE HARTWIG © Provenance: Private Collection, New Mexico $1,000 – $3,000

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84 CYRUS BALDRIDGE (1889–1977) Trampas oil on canvas 18 x 22 in (45.7 x 55.9 cm) signed lower right: Baldridge Provenance: The Estate of Cyrus Baldridge $3,000 – $5,000

85 CYRUS BALDRIDGE (1889–1977) Farm Valley oil on canvas 22 x 28 in (55.9 x 71.1 cm) signed lower right: Baldridge Provenance: The Estate of Cyrus Baldridge $3,000 – $5,000

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86 CYRUS BALDRIDGE (1889–1977) Cowboy in Arizona oil on canvas 14 x 18 in (35.6 x 45.7 cm) signed lower right: Baldridge Before visiting Santa Fe in 1926, Baldridge had seen much of the world. From his birthplace in Alton, New York, his family moved frequently, yet Baldridge received art training from age ten, first studying with the famous newspaper illustrator Frank Holme. He graduated from the University of Chicago with a degree in English Literature, took a job in commercial art, then worked as a field artist during World War I. After the war, he sketched in China, contributing drawings and articles to Scribner's Magazine. Baldridge and his wife traveled widely in the 1920s -- to the Far East, Afghanistan, Persia, Africa -- and the diverse and colorful cultures they encountered became inspiration for Baldridge's book illustrations. After 1932, Baldridge returned to the United States, where he continued to illustrate books and worked in film, designed stage sets, and wrote his autobiography. Frequent visits to the West in the 1920s, 30s, and 40s introduced southwestern themes to his art. In 1952, the Baldridges settled permanently in Santa Fe, where he worked two more decades, painting the desert and mountain country of New Mexico in watercolor and oil.

Provenance: The Estate of Cyrus Baldridge $3,000 – $5,000

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Albert Krehbiel was a well‑known and highly regarded artist in Santa Fe during the years surrounding 1920; so much so that the Museum of New Mexico provided him with a studio in the historic Palace of the Governors. His art works created during this time show the profound effect Santa Fe had upon his painting style. These works are fresh, joyous and spontaneous experiments in local sun‑drenched color and loose forms. It is not specific geographical details of Santa Fe that Krehbiel was interested in representing, but its dramatic atmospheric effects and its environmental moods. Color, more than any other pictorial element, was the key factor in Krehbiel's new‑found visual vocabulary and it formed the basis of every line, every passage, every moment he expressed in his Santa Fe scenes.

87 ALBERT KREHBIEL (1873–1945) Purple Mountain Majesty, 1920-1924 oil on canvas 18 1/5 x 21 1/8 in (46.2 x 53.7 cm) inscribed verso: PURPLE MOUNTAIN MAJESTY c.1920 - 1924 / OIL ON CANVAS / 18 X 21" / SFO182162 Provenance: The Estate of Albert Krehbiel $5,000 – $7,000

88 ALBERT KREHBIEL (1873–1945) Pack Mules at Green Door, 1922-1923 tempera on canvas 21 x 18 in (53.3 x 45.7 cm) inscribed verso: ALBERT H. KREHBIEL / R.F. KREHBIEL COLLECTION / SFO182118 / PACK MULES AT GREEN DOOR Provenance: The Estate of Albert Krehbiel $5,000 – $7,000

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89 ALBERT KREHBIEL (1873–1945) Saddled Up...and Waiting oil on canvas 18 x 21 in (45.7 x 53.3 cm) inscribed verso: ALBERT H. KREHBIEL / R. F. KREHBIEL COLLECTION / SFO1821.45 / SADDLED UP...AND WAITING Provenance: The Estate of Albert Krehbiel $5,000 – $7,000

90 PAUL LANTZ (1908–2000) Chamita (Verso Portrait of a Woman), ca. 1938 oil on canvas 30 ¼ x 36 ¼ in (76.8 x 92.1 cm) signed lower right: PAUL LANTZ Provenance: Owings-Dewey Fine Art, Santa Fe, New Mexico Wiggins Fine Art, Santa Fe, New Mexico LewAllen Galleries, Santa Fe, New Mexico Addison Rowe Gallery, Santa Fe, New Mexico Private Collection, New Mexico $8,000 – $12,000

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91 CHARLES BERNINGHAUS (1905–1988) Untitled (Winter Landscape), ca. 1983 oil on canvas 15 3/8 x 19 3/8 in (39.1 x 49.2 cm) signed lower right: CHARLES BERNINGHAUS Provenance: Private Collection, Colorado $3,000 – $5,000

92 CHARLES BERNINGHAUS (1905–1988) Untitled (Aspens in Autumn) oil on canvas 23 ½ x 29 ½ in (59.7 x 74.9 cm) signed lower left: Charles Berninghaus Provenance: Private Collection, Virginia $5,000 – $7,000

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93 CLYDE FORSYTHE (1885–1962) Furrowed Hills, 1944 oil on masonite 19 ½ x 27 ½ in (49.5 x 69.9 cm) signed and dated lower right: CLYDE FORSYTHE - 44 inscribed verso: FURROWED HILLS CLYDE FORSYTHE 1944 Provenance: Mitchell Brown Fine Art, Santa Fe, New Mexico Private Collection, Colorado $3,000 – $6,000

94 CLYDE FORSYTHE (1885–1962) Desolation Canyon - Death Valley, 1950 oil on canvas 25 x 34 in (63.5 x 86.4 cm) signed and dated lower left: - CLYDE FORSYTHE - 1950 inscribed verso: DESOLATION CANYON - Death Valley Provenance: William A. Karges Fine Art, Beverly Hills, California Private Collection, Colorado $4,000 – $8,000

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95 JOHN MOYERS (b. 1958) Passing by the Quarai Mission, N.M. oil on panel 16 x 20 in (40.6 x 50.8 cm) signed lower right: - JOHN MOYERS - / © inscribed verso: “PASSING BY THE / QUARAI MISSION” Provenance: Private Collection, Texas $5,000 – $7,000

96 JOHN MOYERS (b. 1958) The Moki Blanket, 2004 oil on canvas 40 x 30 in (101.6 x 76.2 cm) signed and dated lower right: JOHN MOYERS / © (Cowboy Artists cipher) 04 inscribed verso: “THE MOKI BLANKET” / JOHN MOYERS (Cowboy Artists cipher) © 2004 / 40” x 30” Provenance: Private Collection, Arizona $8,000 – $12,000

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97 OLAF WIEGHORST (1899–1988) Nomads oil on canvas 24 x 34 in (61.0 x 86.4 cm) signed lower left: O-Wieghorst (artist cipher) Provenance: Troy’s Cowboy Art Gallery, Scottsdale, Arizona From a Distinguished Private Collection, Texas $20,000 – $30,000

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98 BOB LEE (1933–1992) Bad to Buck oil on canvas 20 x 16 in (50.8 x 40.6 cm) signed lower right: Bob Lee (artist’s cipher) © Provenance: Private Collection, Pennsylvania $4,000 – $8,000

99 BENTON HENDERSON CLARK (1895–1964) Untitled (Wild Bronco), 1943 oil on canvas 16 7/8 x 13 7/8 in (42.9 x 35.2 cm) signed and dated lower right: Benton / Clark / 1943 Provenance: Private Collection, Texas $3,000 – $5,000

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100 ROBERT WESLEY ANIK (1879–1969) Wild Steer oil on canvas 28 ¼ x 42 ¼ in (71.8 x 107.3 cm) signed lower right: Robert / Wesley / Anik inscribed verso: WILD / STEER Provenance: Private Collection, Texas $3,000 – $5,000

101 PAL FRIED (1893–1976) Bucking Bronco oil on canvas 30 x 24 in (76.2 x 61.0 cm) signed lower right: FRIED PAL inscribed verso: #3 / A2656 Provenance: Western Masters Gallery, Kemp, Texas Private Collection, New Mexico $4,000 – $6,000

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102 FRED HARMAN (1902–1982) Untitled (Arroyo Rescue) oil on canvas 25 x 30 in (63.5 x 76.2 cm) signed lower right: Fred / Harman © Provenance: Private Collection, Texas $4,000 – $6,000

103 ROBERT FARRINGTON ELWELL (1874–1962) Gambler’s Luck, 1934

oil on board 21 3/8 x 15 ¼ in (54.3 x 38.7 cm) signed lower left: R. Farrington Elwell / (artist’s cipher) Arizona Cover design, All Western Magazine, November 1934, Vol. 11, #31 Provenance: Patricia Janis Broder Collection, New Jersey $6,000 – $8,000

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104 MAYNARD DIXON (1875–1946) Untitled (Cowboy on Horseback), 1945 watercolor on paper 9 ¾ x 9 ½ in (24.8 x 24.1 cm) signed and dated lower left: Maynard Dixon / 1945 “Almost everyone recognizes his superb artistic skill and honest vision. Some credit his deep understanding of the West. But maybe more than anything else, it is his uniquely modern style, one that gave the West a new language of expression that makes Maynard Dixon's work so exciting.”–– Paul Bingham, Chairman, Thunderbird Foundation for the Arts, Mt. Carmel, Utah Maynard Dixon began sketching at the age of ten and at eighteen, encouraged by his hero Frederic Remington, he enrolled in the San Francisco School of Design. Charles Lummis became a mentor and advised him early in his career to leave California, and "travel East to see the real West". Dixon did just that, traveling the many roads that crisscrossed the West: Montana, Utah, Nevada, Arizona, and New Mexico. Lasting weeks, even months, these trips provided Dixon with the inspiration to create. He was forever drawn to the vistas and peoples inhabiting these remote western lands. In 1919, Dixon met the photographer, Dorothea Lange, who had a new vision, and the simple compositions she made in black-and-white melded with Dixon’s increasingly modernist response to the power of low horizons and the lines of the landscape. The two married in 1920, and it was from this time forward that Dixon’s work became reductive, relying less on paint and more on powerful and simple compositions to deliver the strong messages he intuited from the land and people around him. The marriage to Lange ended in 1935, but in 1937 he married the artist Edith Hamlin and settled in Utah, re-connecting with the earth after the Great Depression years in San Francisco. Dixon spent the final years of his life in Southern Arizona, creating works with an increasingly spare use of paint, the land flattening and almost abstracted under the soaring western skies. He often used the human form to allude to more ethereal subjects, as evidenced in this image of a cowboy on horseback, painted the year before the artist died. Dixon suffered from emphysema and so it was with a full sense of his own mortality that he created this striking image.

The horse poised above a sun-drenched valley with a homestead and his beloved mesas brushed in the distance, the cowboy turned back in his saddle, his hand beckoning or waving to that which is behind him, exudes a powerful, elegiac sense of poignancy.

Provenance: Edith Hamlin Private Collection Mitchell, Brown & Co., Tucson, Arizona Private Collection, Pennsylvania $15,000 – $25,000

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105 LEON GASPARD (1882–1964) Portrait of a Girl (Agra India), 1934 oil on canvas 15 ½ x 10 5/8 in (39.4 x 27.0 cm) signed, titled and dated lower left: Leon Gaspard / [illegible] Agra India / 1934.

Provenance: Private Collection, Texas $30,000 – $50,000

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106 LEON GASPARD (1882–1964) Russian Street Scene oil on board 8 x 10 in (20.3 x 25.4 cm) signed lower left: Leon Gaspard verso: letter of authenticity from Maxwell Galleries, San Francisco Provenance: The Estate of Leon Gaspard Maxwell Galleries, San Francisco, California Private Collection, Texas $40,000 – $80,000

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107 LEON GASPARD (1882–1964) Taos Indians and Aspens mixed media on board 16 ¾ x 10 ¾ in (42.5 x 27.3 cm) signed lower left: Leon Gaspard Provenance: Biltmore Galleries, Scottsdale, Arizona Fenn Galleries, Santa Fe, New Mexico Moran Fine Art Gallery, Tulsa, Oklahoma Private Collection, Oklahoma $14,000 – $18,000

108 HENRY BALINK (1882–1963) Chief Juan Martinez (Taos) oil on canvas 14 x 12 in (35.6 x 30.5 cm) signed lower left: HENRY. BALINK. Provenance: Henry Bernard Balink Fine Art, Santa Fe, New Mexico Private Collection, Oklahoma $8,000 – $12,000

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109 JOSEPH HENRY SHARP (1859–1953) Untitled (New Mexico Portrait) oil on canvas 16 x 20 in (40.6 x 50.8 cm) signed lower right: JH SHARP Provenance: Private Collection, Texas $50,000 – $80,000

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110 JOSEPH HENRY SHARP (1859–1953) Chizchile, Navajo, 1905 oil on canvas 18 ¼ x 12 ¼ in (46.4 x 31.1 cm) signed and dated lower right: COPYRIGHT / BY / J.H SHARP. / 1905 titled along lower canvas edge: CHIZCHILE NAVAJO Provenance: Private Collection, New Mexico $40,000 – $60,000

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111 JOSEPH HENRY SHARP (1859–1953) The Artist’s Studio, Taos oil on canvas 13 ½ x 16 ½ in (34.3 x 41.9 cm) signed lower right: J H SHARP Provenance: Private Collection, New Mexico $20,000 – $30,000

112 JOSEPH HENRY SHARP (1859–1953) Jonquil, Narcissus and California Bowl oil on canvas 20 x 24 in (50.8 x 61.0 cm) signed lower right: JHSHARP inscribed verso: Jonquil, Narcissus and C/ Calf. Bowl, Chinese brocade table coverProvenance: The Artist, ca. 1950 Estate of Rose and Ben Harrelson Private Collection, Lawrence, Kansas $15,000 – $25,000

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113 BERT GEER PHILLIPS (1868–1956) After the Ceremony oil on board 24 3/8 x 75 ½ in (61.9 x 191.8 cm) signed lower right: PHillips Provenance: Gerald Peters Gallery, Santa Fe, 1982 Mr. and Mrs. John Marion 1985 Sotheby's, New York, 1999 Private Collection, New Mexico A Private Family Foundation* Literature: Julie Schimmel and Robert R. White, Bert Geer Phillips and the Taos Art Colony, Albuquerque: UNM Press, 1994, Illus. p. 111, p. 208 of of above: "Reference: Kennedy Quarterly 15 (June 1976), 32-33; [A Selection of Paintings from the Gerald Peters Collection (1983), pl. 84]” $100,000 – $150,000 *All proceeds of sale from this artwork benefit a charitable foundation (501c3) whose mission is to improve the public’s understanding and access to the Arts, as well contributing to social programs designed to advance the general welfare of the Santa Fe community

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114 BERT GEER PHILLIPS (1868–1956) Wild Iris and Taos oil on paper 8 x 10 ½ in (20.3 x 26.7 cm) signed lower left: PHillips Provenance: Zaplin Lampert Gallery, Santa Fe, New Mexico The Joseph Pytka Collection $5,000 – $10,000

115 EANGER IRVING COUSE (1866–1936) Taos Landscape oil on canvas 9 x 12 in (22.9 x 30.5 cm) signed lower right: E.I. COUSE. Provenance: Biltmore Galleries, Scottsdale, Arizona Rainone Galleries, Arlington, Texas Private Collection, Texas $5,000 – $7,000

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116 JOSEPH HENRY SHARP (1859–1953) Landscape oil on board 5 ½ x 5 ¼ in (14.0 x 13.3 cm) signed lower right: JH Sharp inscribed verso: Sep 5 / 50 / 5 ¼ x 5 ½ / 98 Provenance: The Estate of E. Maurice Bloch (Christie's New York, 1991) Private Collection, Texas $3,000 – $5,000

117 WARREN ELIPHALET ROLLINS (1861–1962) Adobe in Southwest Landscape

118 FRANK TENNEY JOHNSON (1874–1939) Untitled (Mountain)

oil on canvas mounted to board 15 5/8 x 7 in (39.7 x 17.8 cm) signed lower left: W.E. Rollins-

oil on board 11 ½ x 14 ¾ in (29.2 x 37.5 cm) signed lower left: F. Tenney Johnson

Provenance: Private Collection, Texas

Provenance: Private Collection, Texas

$1,500 – $3,000

$3,000 – $5,000

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119 ALBERT BIERSTADT (1830–1902) The Rocky Mountains, Lander’s Peak, 1866 hand-colored steel etching and engraving 16 ¾ x 27 ½ in (42.5 x 69.9 cm) lower center: THE ROCKY MOUNTAINS. lower right: ENGRAVED BY J. SMILIE lower left: PAINTED BY A. BIERSTADT lower center: ENTERED ACCORDING TO ACT OF CONGRESS IN THE YEAR 1866 BY EDWARD BIERSTADT IN THE CLERKS OFFICE OF THE U.S. DISTRICT COURT FOR THE SOUTHERN DISTRICT OF NEW YORK Provenance: Private Collection, New Mexico Literature: Nancy K. Anderson, Linda S. Ferber, Albert Bierstadt Art & Enterprise, Hudson Hills Press, 1990, pp. 272-3, No. 80. $15,000 – $20,000

120 FRANK PAUL SAUERWEIN (1871–1910) New Mexico Vista, 1904

121 FRANK PAUL SAUERWEIN (1870–1910) Grand Canyon

oil on paperboard 6 x 9 in (15.2 x 22.9 cm) signed and dated lower left: F. P. Sauerwein 1904

oil on canvas 20 x 29 ½ in (50.8 x 74.9 cm) signed lower left: F.P. Sauerwein titled lower left: GRAN CANYON

Provenance: Patricia Janis Broder Collection, New Jersey $2,000 – $4,000

Provenance: Private Collection, Germany $8,000 – $12,000

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122 ELBRIDGE AYER BURBANK (1858–1949) Chief Geronimo, Apache, 1898 oil on canvas 12 x 10 in (30.5 x 25.4 cm) signed and inscribed lower left: E.A. BURBANK. / F.T. SILL.O.T. titled and dated upper left: CHIEF GERONIMO. / APACHE. / 1898.

Provenance: Private Collection, Washington, D.C. $5,000 – $8,000

123 ELBRIDGE AYER BURBANK (1858–1949) Red Woman, Southern Cheyenne, 1899 oil on canvas 12 x 10 in (30.5 x 25.4 cm) signed and inscribed lower left: E.A. BURBANK. / OARLINGTON.O.T. titled and dated upper left: RED. WOMAN. / SOUTHERN CHEYENNE. / 1899.

Provenance: Private Collection, Washington, D.C. $5,000 – $8,000

124 ELBRIDGE AYER BURBANK (1858–1949) Untitled (Still Life with Peaches) oil on canvas 6 x 8 in (15.2 x 20.3 cm) signed lower left: E. A. BURBANK Provenance: Private Collection, Washington, D.C. $1,000 – $2,000

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125 WILLIAM HENRY JACKSON (1843–1942) Blackfoot Indian at Grand Teton, Wyoming, 1924 oil on canvas 20 x 28 in (50.8 x 71.1 cm) signed and dated lower right: W. H. Jackson / Cheyenne / 24 inscribed verso: Blackfoot Indian at Grand / Teton Wyoming Best known as a pioneering photographer of the American West, William Henry Jackson’s paintings evoke the virtues of an early America. Born in Keesville, New York in 1843, Jackson began working as a photographer in the years prior to the Civil War. After serving as a soldier in the Union’s Army of the Potomac, Jackson traveled west to California, sketching and shooting images along his way. His distinctive photographs reveal an affection for the land and a respect for the technological progress of man. After settling a photography studio in Omaha, Nebraska in the late 1860s, Jackson became the official photographer for the Hayden Survey of Territories from 1870 to 1878, and traveled extensively throughout the West. His images of Yellowstone from 1871 were instrumental in the federal government’s allocation of the region as a national park. While working as a photographer in Colorado in the later part of the 19th century, Jackson often reproduced his photographs in watercolor and oil, carefully preserving the beauty and detail he captured in his photographs. Having received no formal training, W. H. Jackson’s works are remarkable examples of a discerning artist’s eye.

Jackson first explored the Grand Tetons of upper Wyoming during the Hayden Survey of 1872, finding the region rich with subject matter for his lens and his mind’s eye. Blackfoot Indian at Grand Teton, WY from 1924 is an exceptionally rare painting, capturing a solitary, vigilant hunter abroad in the silent dawn.

Provenance: Private Collection, Wisconsin $10,000 – $20,000

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126 HOWARD HILL (d. 1870) Untitled (Indians in a Landscape) oil on canvas 9 ½ x 15 ½ in (24.1 x 39.4 cm) signed lower left: HOWARD Hill verso: letter of provenance, Gilbert H. Reynolds, Kansas City, Missouri, June 19, 1980 Provenance: Private Collection, New York Estate of Miss Xanthia Parker, Maysville, Missouri The Collection of Gilbert H. Reynolds, Kansas City, Missouri Peyton Wright, Santa Fe, New Mexico Private Collection, New Mexico $2,500 – $3,500

127 FREDERICK B. WILLIAMS (1871–1956) Untitled (Landscape), 1918 oil on canvas 12 x 16 in (30.5 x 40.6 cm) signed lower right: F. Ballard Williams NA Provenance: Private Collection, New Mexico $2,500 – $3,500

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128 WILLIAM T. TURMAN (1867–1960) Taos Pueblo (Pair), 1936 oil on canvas 6 ¼ x 11 ¾ in (15.9 x 29.8 cm) signed and dated lower right (each): TURMAN / 1936 titled lower center: TAOS N.M. titled lower center: TAOS PUEBLO N.M. Provenance: Private Collection, New Mexico $2,000 – $3,000 (for the pair)

129 HARVEY YOUNG (1840–1901) Spanish Peaks

130 HAMILTON HAMILTON (1847–1928) Untilted (Field with Haystacks)

oil on board 12 x 18 in (30.5 x 45.7 cm) signed lower right: HArVEY Young

oil on canvas 29 ½ x 36 in (74.9 x 91.4 cm) signed lower left: Hamilton Hamilton / n.a

Provenance: Patricia Janis Broder Collection, New Jersey

Provenance: Private Collection, Michigan

$1,000 – $2,000

$2,000 – $4,000

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131 ERIC GIBBERD (1897–1972) Homage to Cezanne (Mount St. Victoria), ca. 1955

132 KENNETH STEVEN MACINTIRE (1891–1979) Pauline Chapel, Pikes Peak, Colorado, 1938

oil on panel 20 x 28 in (50.8 x 71.1 cm) signed lower right: Gibberd

oil on canvas 20 x 15 1/6 in (50.8 x 38.5 cm) inscribed verso: PALINE / CHAPEL stamped verso: Original by / KENNETH STEVENS MacINTIRE / 1891 - 1979 / [illegible signature] Legatee

Provenance: Gallery A, Taos, New Mexico Private Collection, New Mexico $1,500 – $2,500

Provenance: Peyton Wright, Santa Fe, New Mexico Private Collection, New Mexico $3,000 – $5,000

133 ALFRED WANDS (1904–1998) Taos Church, 1934 oil on canvas 30 x 36 in (76.2 x 91.4 cm) signed lower right: ALFRED WANDS inscribed verso: 1987.407 Provenance: Private Collection, New Mexico $5,000 – $7,000

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134 ROBERT WOOD (1889–1979) California Desert, 1944 oil on canvas 25 x 30 in (63.5 x 76.2 cm) signed and dated lower right: Robert Wood / ‘44 Provenance: Private Collection, Wyoming $4,000 – $6,000

135 ROBERT WOOD (1889–1979) Sunset in the Texas Hill Country oil on canvas 28 x 38 in (71.1 x 96.5 cm) signed lower right: - Robert Wood Provenance: Rainone Galleries, Arlington, Texas Private Collection, Texas $9,000 – $12,000

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136 CLYDE ASPEVIG (b. 1951) The Deerfield River, 2009 oil on linen 30 x 40 in (76.2 x 101.6 cm) signed and dated lower left: C. Aspevig . 09 .

Provenance: Juniper Ridge Studios, Billings, Montana Private Collection $20,000 – $30,000

137 CLYDE ASPEVIG (b. 1951) Sitka Bay oil on canvas 20 x 24 in (50.8 x 61.0 cm) signed lower right: C. ASPEVIG Provenance: Private Collection, Alaska $7,000 – $10,000

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138 ROBERT ABBETT (1926–2015) Storm over Rancho de Taos oil on board 18 ½ x 30 in (47.0 x 76.2 cm) signed lower left: abbett Provenance: Private Collection, Texas $4,000 – $6,000

139 CURT WALTERS (b. 1950) Clouds of Change oil on canvas 40 x 40 in (101.6 x 101.6 cm) signed lower left: Curt Walters inscribed verso: “CLOUDS OF CHANGE” Provenance: The Artist Hoffman Fine Arts, Park City, Utah Private Collection, Pennsylvania $5,000 – $7,000

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140 WILSON HURLEY (1924–2008) Lone Pine Mesa, 1970 oil on board 23 ½ x 36 in (59.7 x 91.4 cm) signed and dated lower left: Wilson Hurley 1970 Provenance: Private Collection, Texas $10,000 – $15,000

141 WILSON HURLEY (1924–2008) Santa Fe Cottonwood oil on board 12 x 16 in (30.5 x 40.6 cm) signed lower right: Wilson Hurley inscribed verso: “SANTA FE COTTONWOOD” Provenance: Private Collection, Texas $6,000 – $8,000

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142 WILSON HURLEY (1924–2008) Sandias from Anipstara oil on board 12 x 18 in (30.5 x 45.7 cm) signed lower right: Wilson Hurley Provenance: Private Collection, Texas $4,000 – $6,000

143 JIM WOODSON (b. 1941) Simultaneous Undifferentiated Transaction #1 (Ghost Ranch), 2004-2005 oil on canvas 42 1/8 x 72 in (107.0 x 182.9 cm) signed verso: Woodson inscribed verso: “Simultaneous Undifferentiated Transaction #1” / Ghost Ranch 2004-5 / Woodson Provenance: Private Collection, New Mexico $4,000 – $8,000

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144 GEORGE CARLSON (b. 1940) The Sentinel, 2010 oil on linen 28 x 42 in (71.1 x 106.7 cm) signed and dated lower right: CARLSON 2010 Born in Illinois on July 3, 1940, George Carlson studied at the American Academy of Art in Chicago, the Art Institute of Chicago, and the University of Arizona, Tucson. Recognized as one of America’s greatest sculptors, Carlson is also a master at using pastels and oils. His art has been shown internationally, his works are in numerous prominent collections, and exhibitions include the Governor’s Invitational, Denver, Colorado; the Denver Museum of Natural History; the Indianapolis Museum of Fine Arts; the National Academy of Design; the Phoenix Art Museum; the Smithsonian Institution; and the Autry Museum. Carlson’s numerous awards and honors reach back through a long and distinguished artistic career. Most recently in 2018 he won the Thomas Moran Memorial Award for Painting and the Artists’ Choice Award at the Autry’s Masters of the American West, he participated in the American Masters Exhibition & Sale at the Salmagundi Club in 2018, and in 2017 he was one of eight artists showcased in Woolaroc Museum’s The Best of the Best Retrospective Exhibit and Sale.

Provenance: Autry National Center, Los Angeles, California Private Collection Exhibited: Autry National Center, Masters of the American West, Fine Art Exhibition and Sale, February 2010 $30,000 – $50,000

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145 GEORGE CARLSON (b. 1940) Stillness in Moonlight, 2012 oil on linen 42 x 40 in (106.7 x 101.6 cm) signed and dated lower left: CARLSON 2012 inscribed verso: STILLNESS IN MOONLIGHT / 2012 OIL ON LINEN 42 X 40 / ARTIST: GEORGE ARTHUR CARLSON / LOCATION: SOUTH OF DRY FALLS / IN CENTRAL WA. “When you live in nature, you are present to witness the subtle changes of light and weather conditions, and you experience a spiritual connection with the earth that’s difficult to put into words.” –– George Carlson, from an Interview in Southwest Art magazine, January 17, 2012 Provenance: National Cowboy & Western Heritage Museum, Prix de West Invitational, 2012 (Robert Lougheed Memorial Award) Private Collection $50,000 – $70,000

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146 ARTURO CHAVEZ (b. 1949) O’Keeffe Country Sunset, 2019 oil on panel 18 x 24 in (45.7 x 61.0 cm) signed lower right: Arturo Chavez Arturo Chavez was born in 1949 in Embudo, New Mexico. Raised amid the spectacular vistas of Northern New Mexico, Chavez is dedicated to preserving the landscape by painting it.

Chavez has received international recognition for his landscapes with exhibitions in the US Embassies in Russia, Croatia and Guyana.

His work is housed in the permanent collections of New Mexico State University, Bernalillo County Courthouse, The Santa Fe Capitol Collection, the Taos National Guard, the National Hispanic Cultural Center, and the Eiteljorg Museum of Western Art in Indianapolis, IN as well as many distinguished private and corporate collections.

Provenance: The Artist $4,000 – $6,000

147 RUSSELL CHATHAM (b. 1939) Evening Near Springdale, 1987 oil on canvas 19 5/8 x 23 ½ in (49.8 x 59.7 cm) signed and dated lower left: (artist’s cipher) / 1987 Provenance: Private Collection, Pennsylvania $8,000 – $12,000

148 CHARLES HENRY GIFFORD (1839–1904) Untitled (Sailboat at Sunset) oil on board 7 7/8 x 5 7/8 in (20 x 14.9 cm) label lower center of frame: GIFFORD Provenance: The Joseph Pytka Collection $3,000 – $5,000

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149 JOHN FELSING (b. 1954) Watcher in the Woods oil on canvas 28 7/8 x 20 7/8 in (73.3 x 53 cm) signed lower right: Felsing Provenance: Private Collection, Texas $9,000 – $15,000

150 ROD GOEBEL (1946–1993) Taos Afternoon oil on canvas 30 x 32 in (76.2 x 81.3 cm) signed lower right: Rod Goebel inscribed verso: “Taos Afternoon” Provenance: Private Collection, Nevada $4,000 – $8,000

151 ROD GOEBEL (1946–1993) Uncle Pacoma’s House, 1977 oil on canvas 13 ½ x 23 ½ in (34.3 x 59.7 cm) signed lower right: Rod Goebel inscribed verso: “Uncle Pacoma’s House” 1977 Rod Goebel Provenance: Private Collection, Colorado $1,500 – $2,500

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152 WALT GONSKE (b. 1942) Almost Spring on the Hondo oil on canvas 24 x 28 in (61 x 71.1 cm) signed lower right: Gonske inscribed verso: GONSKE © “ALMOST SPRING ON THE HONDO #3875” Provenance: Private Collection, New Mexico $8,000 – $12,000

153 WALT GONSKE (b. 1942) Williams Creek, Colorado oil on canvas 24 x 18 in (61 x 45.7 cm) signed lower right: Gonske / © / NAWA inscribed verso: Gonske / © / “Williams Creek - / Colorado Provenance: Private Collection, Colorado $5,000 – $7,000

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154 WALT GONSKE (b. 1942) Penasco Spring oil on canvas 18 x 24 in (45.7 x 61 cm) signed lower left: Gonske inscribed verso: Gonske / “PENASCO SPRING” / #659 Provenance: Private Collection, Texas $4,000 – $6,000

155 WALT GONSKE (b. 1942) Farm Yard oil on canvas 9 x 12 in (22.9 x 30.5 cm) signed lower right: Gonske inscribed verso: Gonske / © / “Farm Yard” H / #1506 Provenance: Private Collection, Colorado $1,000 – $2,000

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156 ROSS STEFAN (1934–1999) Navajos at Ghost Mesa, 1953 oil on canvas 40 x 50 in (101.6 x 127 cm) signed lower left: Ross Stefan inscribed verso: (53) / Ross Stefan “NAVAJOS AT GHOST MESA” Provenance: From a Distinguished Private Collection, Texas $15,000 – $20,000

157 G. RUSSELL CASE (b. 1966) Valley Showers, 2015 oil on linen mounted on board 18 x 24 in (45.7 x 61 cm) signed lower right: (artist’s cipher) G. Russell Case “I'm always inspired with the Autumn season in Northern New Mexico. The wonderful cottonwoods are a beautiful contrast against the blue mountain backdrops." - G. Russell Case, 2019 Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Coors Western Art Exhibit and Sale, 2016 $5,000 – $8,000

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158 TIM SOLLIDAY (b. 1952) Peaceful Interlude oil on canvas 24 x 18 in (61 x 45.7 cm) signed lower right: T. Solliday Provenance: Private Collection, New Mexico $10,000 – $15,000

159 DEAN CORNWELL (1982–1960) Androscoggin River Falls, Study, ca. 1960 pastel on paper 26 ¾ x 17 ¼ in (67.9 x 43.8 cm) verso: artist’s stamp Provenance: Patricia Janis Broder Collection, New Jersey Literature: Lewiston Evening Journal, April 2, 1960, p. 8., completed mural illustrated.

Patricia Janis Broder and Dean Cornwell, Dean Cornwell: Dean of Illustrators, New York, 1978, p. 131, completed mural illustrated. $5,000 – $8,000

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160 BILL ANTON (b. 1957) Late Night Remnants, 2005 oil on board 40 x 32 in (101.6 x 81.3 cm) signed lower left: Bill Anton inscribed verso: “LATE NIGHT REMNANTS” / 40 x 32 OIL / Bill Anton © ‘05 Provenance: Trailside Galleries, Jackson Hole, Wyoming Acosta Strong Fine Art, Santa Fe, New Mexio Private Collection, New Mexico $15,000 – $20,000

161 LAJOS MARKOS (1917–1993) Vamanos oil on canvas 16 x 20 in (40.6 x 50.8 cm) signed lower left: L. Markos Provenance: Private Collection, Texas $5,000 – $10,000

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162 DAN MEIDUCH (b. 1947) Almost Quittin’ Time, 2000 oil on board 17 ¼ x 26 ½ in (43.8 x 67.3 cm) signed and dated lower right: DAN MIEDUCH / (artist’s cipher) / 2000 Provenance: Private Collection, Texas $6,000 – $12,000

163 ROBERT PUMMILL (b. 1936) Riding Shotgun, 1988 oil on canvas 16 x 20 in (40.6 x 50.8 cm) signed lower right: pummill [Cowboy Artists cipher] / © ‘88 inscribed verso: “RIDING SHOTGUN” Provenance: Private Collection, Texas $6,000 – $9,000

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164 ROBERT DAUGHTERS (1929–2013) Untitled (New Mexico Landscape) oil on canvas 22 x 28 in (55.9 x 71.1 cm) signed lower right: R. Daughters Provenance: Private Collection, New Mexico $15,000 – $20,000

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165 KIM D. WIGGINS (b. 1959) Convergence at Ranchos, 1990 oil on canvas 30 x 40 in (76.2 x 101.6 cm) signed and dated lower right: KD Wiggins 90 inscribed verso: K. Douglas Wiggins / “CONVERGENCE AT RANCHOS” / oil, 30 x 40, 1990 Provenance: From a Distinguished Private Collection, New Mexico $6,000 – $8,000

166 KIM D. WIGGINS (b. 1959) Untitled (New Mexico Church), 1991 oil on canvas 20 ¼ x 24 in (51.4 x 61 cm) signed and dated lower right: KD Wiggins 91 Provenance: From a Distinguished Private Collection, New Mexico $4,000 – $6,000

167 HAROLD JOE WALDRUM (1934–2003) Contrafuerte Grande - Ranchos de Taos, 1981 acrylic on paper 18 7/8 x 19 in (47.9 x 48.3 cm) titled, signed and dated on verso: “Contrafuerte Grande” / Ranchos de Taos / H. Waldrum / 81 Provenance: Tally Richards Gallery of Contemporary Art, Taos, New Mexico Patricia Janis Broder Collection, New Jersey $4,000 – $6,000

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168 HOWARD COOK (1901–1980) Good Friday, Procession #5 oil on canvas 39 3/8 x 47 ¼ in (100 x 120 cm) signed lower left: Howard Cook Provenance: A Private Family Foundation* $30,000 – $50,000 *All proceeds of sale from this artwork benefit a charitable foundation (501c3) whose mission is to improve the public’s understanding and access to the Arts, as well contributing to social programs designed to advance the general welfare of the Santa Fe community

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169 HOWARD B. SCHLEETER (1903–1976) Gentle Intruder, 1958 oil on paper 17 ½ x 13 3/8 in (44.5 x 34 cm) dated and signed lower left: 58 / HB. SCHLEETER inscribed verso: #MIXED MEDIA: new series; 300 lb. paper / “GENTLE INTRUDER” / Howard B. Schleeter. / OLDC Albuquerque, New Mexico. / DATE: JANUARY 6 1958. / 14” x 18” 58/1 TRI-TEC* OIL / on / 300 lb. watercolor paper Provenance: The Estate of Bob Langell, Oakland, California Private Collection, New Mexico $2,000 – $4,000

170 CHARLES STEWART (1922–2011) The Warrior and the Star Precedes the Sun oil on canvas 20 x 36 in (50.8 x 91.4 cm) signed lower left: C. STEWART inscribed verso: #1113 ORIBE CEREMONY 20 X 36 “THE WARRIOR AND THE STAR PRECEDES THE SUN” Provenance: Private Collection, New Mexico $2,500 – $3,500

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171 THOMAS BENRIMO (1887–1958) Venetian Fantasy oil on masonite 35 5/8 x 47 5/8 in (90.5 x 121 cm) signed lower right: TOM BENRIMO inscribed verso: #11 / Venetian Fantasy Provenance: Private Collection, Texas $4,000 – $6,000

172 CADY WELLS (1904–1954) Taos, 1947 ink and watercolor on paper 13 ¾ x 19 ½ in (34.9 x 49.5 cm) titled and dated verso: “Taos 1947” inscribed verso: MB Wells Inv. #115 / UofNM Collection Apr. 7, 1970 Provenance: M. B. Wells Collection University of New Mexico Collection Peyton Wright, Santa Fe, New Mexico Private Collection, New Mexico $5,000 – $7,000

173 EMIL BISTTRAM (1895–1976) Dance of the Sea Urchins, 1958 watercolor on paper 22 x 30 in (55.9 x 76.2 cm) signed and dated lower right: BISTTRAM 58 inscribed verso: Dance of / the sea urchins gallery label verso: Bisttram, Emil - Taos, N.M. / Dance of the Sea Urchin / 1958 - Box 22 $300.00 / Inventory May 1976 / #10 Provenance: Private Collection, Washington, D.C. $6,000 – $10,000

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174 WILLIAM LUMPKINS (1908–2000) Desert Series, 1968 watercolor on paper 17 ½ x 23 ½ in (44.5 x 59.7 cm) initialed, dated and signed lower left: WL 68 / LUMPKINS Provenance: Munson Gallery, Santa Fe, New Mexico Addison Rowe Gallery, Santa Fe, New Mexico Private Collection, New Mexico $4,000 – $6,000

175 WILLIAM LUMPKINS (1909–2000) Untitled, 1986 watercolor on paper 44 ½ x 44 1/8 in (113 x 112.1 cm) signed and dated lower right: Lumpkins 86 Provenance: Private Collection, New Mexico $6,000 – $8,000

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176 RAYMOND JONSON (1891–1982) Polymer No. 9, 1959 polymer on canvas 54 x 48 in (137.2 x 121.9 cm) signed and titled verso: (on stretcher) POLYMER NO. 9 - 1959 / JONSON inscribed verso on stretcher top right: “3 COATS LIQUITEX GESSO 9-59 / 2 COATS - RESTRETCHED TIGHT / 1 COATS [SIC] AFTERWARDS” Provenance: A Private Family Foundation* $10,000 – $15,000 *All proceeds of sale from this artwork benefit a charitable foundation (501c3) whose mission is to improve the public’s understanding and access to the Arts, as well contributing to social programs designed to advance the general welfare of the Santa Fe community

177 RAYMOND JONSON (1891–1982) Oil No. 9, 1952 oil on canvas 34 x 34 in (86.4 x 86.4 cm) titled, dated and signed verso: “OIL NO. 9 - 1952 / Jonson” Provenance: A Private Family Foundation* $8,000 – $12,000 *All proceeds of sale from this artwork benefit a charitable foundation (501c3) whose mission is to improve the public’s understanding and access to the Arts, as well contributing to social programs designed to advance the general welfare of the Santa Fe community

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178 RAYMOND JONSON (1891–1982) Composition, 1965 oil on canvasboard 18 x 22 in (45.7 x 55.9 cm) signed and dated lower center: Jonson / 65 Provenance: Private Collection, New Mexico $3,000 – $5,000

179 RICHARD KURMAN (b. 1927) Hall 827 Room Two, 2013 oil on canvas 23 3/8 x 35 3/8 in (59.4 x 89.9 cm) signed and dated lower right: Kurman 2013 inscribed verso: Richard Kurman, 2013. “Hall 827 Room Two.” Richard Kurman was a student, protégé, and long-time friend of Raymond Jonson in New Mexico.

His work was exhibited throughout the 1950s and 1960s in solo shows at The Jonson Gallery (UNM). Kurman states, “There is an implicit acceptance, indeed a celebration, in my paintings, of the language of technology. Not to forget: the classical Greek word for Art was ‘techne’.”

Provenance: The Artist $3,000 – $5,000

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180 LOUIS CATUSCO (1927–1995) March 1980, 1980 acrylic on canvas 72 x 50 in (182.9 x 127 cm) signed lower right: Catusco inscribed verso: LOUIS CATUSCO / TAOS, N.M. “MARCH 1980” ACRYLIC $3,000.00 50 X 72 Provenance: Bareiss Gallery, Taos, New Mexico Private Collection, New Mexico

181 PAUL SHAPIRO (b. 1939) Mesa with Red Sky oil on canvas 30 ½ x 35 ½ in (77.5 x 90.2 cm) signed lower right: P. Shapiro Provenance: From a Distinguished Private Collection, New Mexico $5,000 – $10,000

$8,000 – $12,000

182 PAUL SHAPIRO (b. 1939) Rising Cloud oil on canvas 24 x 30 in (61 x 76.2 cm) signed lower right: P. Shapiro Provenance: From a Distinguished Private Collection, New Mexico $4,000 – $8,000

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183 EMIL BISTTRAM (1895–1976) Combat, 1933 oil on canvas 63 x 60 in (160 x 152.4 cm) signed and dated upper right: Bisttram 33 Provenance: A Private Family Foundation* $80,000 – $120,000 *All proceeds of sale from this artwork benefit a charitable foundation (501c3) whose mission is to improve the public’s understanding and access to the Arts, as well contributing to social programs designed to advance the general welfare of the Santa Fe community

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PATRICIA JANIS BRODER COLLECTION

Pat Broder (1935-2002) was an avid horsewoman who stabled her horses in the hills of New Jersey, but became a passionate aficionado of the west, and most particularly the art and culture of the indigenous people of the region. Her first book was the groundbreaking classic, Bronzes of the American West (Harry N. Abrams, Inc., NY, 1974), which won the prestigious Herbert Adams Memorial Medal for “Service to American Sculpture” and Best Art Book by the National Academy of Western Art. Over the next 25 years she constantly toured and revisited the west, writing eight more art books. As she traveled and explored, she became familiar with local artists, their histories, beliefs and ceremonies, as well as museums, gallery professionals, and collectors. She also accumulated and collected the artworks that held her under their spell. Some Western ‘moderns’ – Doel Reed, John Sloan, Kenneth Adams among them - found their way into her home, but the great preponderance of her collection is in the work of the multitude of pueblo and indigenous artists she learned about, sought out, befriended and championed in her writings. Her last book, Earth Songs, Moon Dreams: Paintings by American Indian Women (St. Martin’s Press, NY, 1999) was a radical early focus on the contributions of Native American women from tribes across the United States, Alaska, and Canada. In 1984 Broder was awarded the National Academy of Western Art Trustees Gold Medal for Outstanding Contribution to the West through her books and lectures. Pat’s sons, Cliff and Peter have been the custodians of The Broder Collection for nearly 20 years; here and throughout the 2019 auction it is our honor to offer for the first time some of the highlights of this remarkable Collection.

184 SAINT CLAIR HOMER (1925–1987) The Star Shooter, 1970 bronze, VII 29 x 14 ¾ in (73.7 x 37.5 cm) inscribed: (artist’s cipher) © HOMMA stamped: Tulsa OKLA. / Saint Clair Homma stamped: VII Provenance: Patricia Janis Broder Collection, New Jersey Literature: Patricia Janis Broder, Bronzes of the American West, New York, 1975, No. 398, p. 323. $4,000 – $8,000

casein on paper 15 ¾ x 11 ¾ in (40 x 29.8 cm) signed lower right: Oscar Howe Born in South Dakota in 1915 on the Crow Creek Sioux Reservation, Oscar Howe studied at the Studio of the Santa Fe Indian School from 1933-1938. After serving in World War II, Howe went to college on the G.I Bill and received his M.F.A at the University of Oklahoma. Developing a unique style which took inspiration from traditional ‘straight line’ and Tohokmu (spiderweb) painting, Howe’s later works, such as the current lot, Medicine Man, would be compared to Cubism, a genre he rejected over his desire to illustrate the lives of his American Indian community and his refusal to accept that art of the American Indians could not evolve stylistically over time. Howe is credited with blazing a trail for contemporary Native American artists, and has been exhibited both stateside and internationally in over fifty solo exhibitions.

Provenance: Patricia Janis Broder Collection, New Jersey Literature: Patricia Janis Broder, The American West: The Modern Vision, Boston, 1984, p. 250.

Patricia Janis Broder, American Indian Painting & Sculpture, New York, 1981, p. 118-119.

Exhibited: Montclair Art Museum, Summer Rains / Winter Winds: Native American Paintings from a Private New Jersey Collection, September 22 - November 10, 1985. $25,000 – $35,000

PATRICIA JANIS BRODER COLLECTION

185 OSCAR HOWE (Yanktonai Sioux, 1915–1983) Medicine Man

PATRICIA JANIS BRODER COLLECTION

186 MILLAND LOMAKEMA (Dawakema) (Hopi, b. 1941) Corn Maidens, 1975 acrylic on canvas 40 x 34 in (101.6 x 86.4 cm) signed and dated lower right: © (artist’s cipher) DAWAKEMA ‘75 Founded in May of 1973, The Artist Hopid was conceived by Mike Kabotie, Terrance Talaswaima, and Neil David, Sr., who were joined by Delbert Honanie and Milland Lomakema. The basic objectives of the group were to educate the public to the aesthetic and cultural values of the Hopi, to experiment with new ideas and techniques using traditional Hopi designs, to control their own market, and to research and document Hopi history through visual art. All members of The Artist Hopid lived on the mesas and the first annual exhibition took place in 1974 in conjunction with the Hopi Arts & Crafts Cooperative Guild on Second Mesa. The Artist Hopid received a grant in 1976 provided by both The National Endowment for the Arts and the Arizona Commission of the Arts & Humanities to send thirty-one paintings on a national tour. The exhibitions included traditional Hopi craft arts and petroglyphs alongside the contemporary works in order to give the viewers greater context and understanding. Members of The Artist Hopid also gave demonstrations and participated in readings to audiences across the country. The artists of this group are best known however for paintings using vibrant colors inspired by murals from Hopi prehistoric sites. The following lots from Broder’s very personal collection and unique access to the Hopi exemplify the continuous visual vocabulary of Hopi art and traditional culture, blended with distinct contemporary techniques that underscored this remarkable artistic movement in the latter part of the 20th century.

Provenance: Hopi Cooperative Arts and Crafts Guild Patricia Janis Broder Collection, New Jersey Literature: Patricia Janis Broder, Hopi Painting: The World of the Hopis, New York, 1979, p.73. $5,000 – $10,000

187 MILLAND LOMAKEMA (Dawakema) (Hopi, b. 1941) Untitled, 1975

188 MILLAND LOMAKEMA (Dawakema) (Hopi, b. 1941) Abstract of Whipper Kachina, 1975

acrylic on canvas 47 ½ x 27 5/8 in (120.7 x 70.2 cm) inscribed and dated lower right: (artist’s cipher) 75

acrylic on board 30 3/5 x 24 3/5 in (77.7 x 62.5 cm) signed and dated lower left: Dawakema 75 inscribed verso top right: TITLE: Abstract of Whipper / Kachina / ARTIST: Dawakema / SIZE: 33” x 38” Acrylic

Provenance: Patricia Janis Broder Collection, New Jersey $2,000 – $4,000

Literature: Patricia Janis Broder, Hopi Painting: The World of the Hopis, NY, 1979, Fig. 8-4. $5,000 – $7,000

189 MILLAND LOMAKEMA (Dawakema) (Hopi, b. 1941) Symbols of Home Dance, 1974 acrylic on mat board 24 x 30 in (61 x 76.2 cm) signed and dated lower right: (artist’s cipher) (Dawakema) 74 Provenance: Patricia Janis Broder Collection, New Jersey Literature: Patricia Janis Broder, The American West: The Modern Vision, Boston, 1984, p. 254.

Patricia Janis Broder, Hopi Painting: The World of the Hopis, New York, 1979, p. 109. $5,000 – $10,000

PATRICIA JANIS BRODER COLLECTION

Provenance: Hopi Cooperative Arts and Crafts Guild Patricia Janis Broder Collection, New Jersey

PATRICIA JANIS BRODER COLLECTION

190 DELBRIDGE HONANIE (Coochsiwukioma) (Hopi, b. 1946) Hopi Ceremony, 1975 acrylic on mat board 30 ½ x 38 ¾ in (77.5 x 98.4 cm) signed and dated lower right: DH Coochsiwukioma -75Provenance: Hopi Cooperative Arts and Crafts Guild Patricia Janis Broder Collection, New Jersey Literature: Patricia Janis Broder, The American West: The Modern Vision, Boston, 1984, p. 252.

Patricia Janis Broder, Hopi Painting: The World of the Hopis, New York, 1979, p. 20. $5,000 – $10,000

191 NEIL DAVID, SR. (Hopi, b. 1944) Chief Kachina of Walpi Village, 1973 mixed media on panel 19 ½ x 15 ½ in (49.5 x 39.4 cm) signed and dated lower right: - NDAVID. 73 Provenance: Patricia Janis Broder Collection, New Jersey Literature: Patricia Janis Broder, The American West: The Modern Vision, Boston, 1984, p. 255.

Patricia Janis Broder, Hopi Painting: The World of the Hopis, New York, 1979, p. 128. $650 – $900

192 NEIL DAVID, SR. (Hopi, b. 1944) Awatovi Snake Society, 1974 acrylic on canvas 23 ¾ x 29 ¾ in (60.3 x 75.6 cm) signed and dated lower right: NDAVID .74’ / © 1974 Provenance: Hopi Cooperative Arts and Crafts Guild Patricia Janis Broder Collection, New Jersey

$3,500 – $5,000

193 NEIL DAVID, SR. (Hopi, b. 1944) Spider Woman and Muingwa, 1973 acrylic on canvasboard 19 3/8 x 15 ½ in (49.2 x 39.4 cm) signed and dated lower right: NDAVID.73 Provenance: Patricia Janis Broder Collection, New Jersey Literature: Patricia Janis Broder, Hopi Painting: The World of the Hopis, New York, 1979, No. 5-2, p. 40. $1,000 – $2,000

PATRICIA JANIS BRODER COLLECTION

Literature: Patricia Janis Broder, Hopi Painting: The World of the Hopis, New York, 1979, No. 7-7, p. 147.

Patricia Janis Broder, American Indian: Painting & Sculpture, New York, 1981, p. 58-59.

PATRICIA JANIS BRODER COLLECTION

194 MICHAEL KABOTIE (Lomawywesa) (Hopi, 1942-2009) Ceremonial Priest, 1974 mixed media on paperboard 17 5/8 x 12 ¾ in (44.8 x 32.4 cm) signed and dated lower right: LOMAWYWESA 74 Provenance: Patricia Janis Broder Collection, New Jersey Literature: Patricia Janis Broder, Hopi Painting: The World of the Hopis, New York, 1979, No. 12-4, p. 254. $500 – $1,000

195 MICHAEL KABOTIE (Lomawywesa) (Hopi, 1942-2009) Signatures from the Past, 1975 acrylic and mixed media on paper 18 5/8 x 30 ¼ in (47.3 x 76.8 cm) signed and dated lower right: M K. LOMAWYWESA 75 Provenance: Patricia Janis Broder Collection, New Jersey Literature: Patricia Janis Broder, American Indian: Painting & Sculpture, NY 1981, p. 54-55. $3,000 – $5,000

196 TERRANCE TALASWAIMA (Honvantewa) (Hopi, 1939-1988) Spotted Corn Germination, 1975 acrylic on mat board 18 ½ x 22 ¼ in (47 x 56.5 cm) signed and dated lower left: (artist’s cipher) HONVANTEWA 75 Provenance: Hopi Cooperative Arts and Crafts Guild Patricia Janis Broder Collection, New Jersey

$1,000 – $2,000

197 JOE HERRERA (See Ru) (Cochiti, 1923-2001) Bear Hunt, 1983 mixed media on paperboard 20 3/8 x 14 ½ in (51.8 x 36.8 cm) signed lower right: JOE HERRERA Provenance: Patricia Janis Broder Collection, New Jersey Literature: Patricia Janis Broder, The American West: The Modern Vision, Boston, 1984, p. 251. $2,000 – $4,000

PATRICIA JANIS BRODER COLLECTION

Literature: Patricia Janis Broder, Hopi Painting: The World of the Hopis, New York, 1979, p. 95.

Patricia Janis Broder, American Indian: Painting & Sculpture, New York, 1981, p. 60-61.

PATRICIA JANIS BRODER COLLECTION 198 JULIAN MARTINEZ (Pocano) (San Ildefonso, 1897-1943) Two Snake Dancers gouache and watercolor on paper 13 ¾ x 23 7/8 in (34.9 x 60.6 cm) signed lower right: JuLian Martinez Born in San Ildefonso Pueblo, Julian Martinez was a highly skilled painter with no formal training who excelled in geometrically stylized forms on paper. He became best known for his collaborations with his wife, the potter Maria Martinez, first discovering in 1918 the techniques to create the matte and glossy finishes of the black-on-black ware which would make them famous. The national appeal of these pottery works was in part thanks to the art deco stylings of the 1930s and 1940s and the thoroughly fresh look of decorative art on a black ground. Julian Martinez also received several commissions for murals, which are exhibited at the Santa Fe Indian School, the School of American Research in Santa Fe, and in Mesa Verde National Park, Colorado. The current lot, Two Snake Dancers, is an exceptional and rare example of the artist’s modernist compositions and skills as a draughtsman.

Provenance: Patricia Janis Broder Collection, New Jersey $5,000 – $10,000

199 CHARLES F. LOVATO (Santo Domingo, 1937-1988) Footsteps of the Past, 1970 acrylic on board 18 ¾ x 30 ½ in (47.6 x 77.5 cm) signed and dated lower right: CF LOVATO / 70 Provenance: Patricia Janis Broder Collection, New Jersey Literature: Patricia Janis Broder, The American West: The Modern Vision, Boston, 1984, p. 256. $7,000 – $8,000

ABEL SANCHEZ (Oqwa Pi) (San Ildefonso, 1900-1971)

watercolor on paper 19 x 25 in (48.3 x 63.5 cm) signed lower right: Oqwa Pi Provenance: Patricia Janis Broder Collection, New Jersey Exhibited: Montclair Art Museum, Summer Rains / Winter Winds: Native American Paintings from a Private New Jersey Collection, September 22 - November 10, 1985. $4,000 – $6,000

PATRICIA JANIS BRODER COLLECTION

200

PATRICIA JANIS BRODER COLLECTION

201 WILLIAM MOYERS (1916–2010) Winter, 1970

202 OLAF WIEGHORST (1899–1988) Indian by the Campfire, ca. 1964

bronze, 25/30 19 ½ x 12 ¼ x 6 1/2 in (49.5 x 31.1 x 16.5 cm) (with base) stamped: A & S / U.S.A. (Artists & Sculptors Foundry) 1970 25/30 inscribed: © 1970 / WM. / MOYERS 25 /30

bronze 3 x 6 ½ x 6 in (7.6 x 16.5 x 15.2 cm) inscribed: (artist’s cipher), “O. Wieghorst [cipher],” stamped: R.B.W. [Roman Bronze Works N.Y.]

Provenance: Patricia Janis Broder Collection, New Jersey

Provenance: Patricia Janis Broder Collection, New Jersey

Literature: Patricia Janis Broder, Bronzes of the American West. New York, 1973, No. 424-425, p. 342.

Literature: Patricia Janis Broder, Bronzes of the American West.

New York, 1973, No. 413, p. 335.

$1,500 – $2,500

$1,000 – $1,500

203 BILL CHAPPELL (1919–2010) Apache Warrior (Geronimo), 1968 bronze, 17/30 7 3/4 x 6 1/4 x 4 7/8 in (19.7 x 15.9 x 12.4 cm) (with base) stamped: 17/30 Nambe Mills Foundry Stamp inscribed: 1968 / Bill Chappell © Provenance: Patricia Janis Broder Collection, New Jersey Literature: Patricia Janis Broder, Bronzes of the American West, New York, 1975, No. 444, p. 353. $2,000 – $4,000

204 SOLON BORGLUM (1868–1922) Horse Tamed, ca. 1910-16 bronze 7 ½ x 11 ¾ x 3 7/8 in (19 x 29.8 x 9.8 cm) inscribed: Solon H. Borglum inscribed: Roman Bronze Works N.Y. Provenance: Patricia Janis Broder Collection, New Jersey Literature: Patricia Janis Broder, Bronzes of the American West. New York, 1973, No. 77, p. 83. $6,000 – $10,000

bronze 24 x 40 ½ in (61 x 102.9 cm) inscribed: Solon H Borglum © inscribed: Young Fine Art Casting SLC Provenance: Private Collection, California $15,000 – $20,000

PATRICIA JANIS BRODER COLLECTION

205 SOLON BORGLUM (1868–1922) Sioux Buffalo Dancer

206 BRUCE BRADY (1934–2000) Tatanka, 1987 bronze, 24/30 16 ½ x 19 ½ x 7 ½ in (41.9 x 49.5 x 19 cm) (with base) inscribed: BRUCE BRADY / © / 1987 24/30 Provenance: Private Collection, New Mexico $2,000 – $4,000

207 CHARLES MARION RUSSELL (1864–1926) The Snake Priest bronze 4 x 8 ½ x 4 in (10.2 x 21.6 x 10.2 cm) inscribed: ‘CMR’ with skull insignia stamped: NELLI ART BRONZE WORKS L.A. Provenance: Private Collection, Texas Literature: Rick Stewart, Charles M. Russell: Sculptor, Fort Worth, Texas, 1944, pp. 208-11, no. R-14, other examples illustrated. $5,000 – $10,000

208 JERRY ANDERSON (b. 1935) Quicksand, 1987 bronze, 15/40 21 x 16 x 19 ½ in (53.3 x 40.6 x 49.5 cm) (with base) inscribed: “Quick Sand” / Jerry Anderson / 1987 # 15 - 40 Provenance: Private Collection, California $1,000 – $2,000

106

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209 JAMES P. REGIMBAL (b. 1949) Trail Company polychrome bronze, 22/75 14 ¼ x 22 x 8 ½ in (36.2 x 55.9 x 21.6 cm) (with base) inscribed: Trail Company / 22/75 Provenance: Private Collection, California $2,000 – $4,000

210 JOE BEELER (1931–2006) Chief Joseph polychrome bronze, 5/20 10 x 4 ¼ x 4 ¼ in (25.4 x 10.8 x 10.8 cm) (with base) inscribed: JOE BEELER (artist cipher) / 5/20 Provenance: Private Collection, Illinois $1,000 – $2,000

211 JOE BEELER (1931–2006) Night’s Song bronze, 20/30 19 ½ x 11 ¾ x 14 ¾ in (49.5 x 29.8 x 37.5 cm) (without base) inscribed: JOE BEELER (Cowboy Artists cipher) 20/30 Provenance: Private Collection, California $10,000 – $15,000

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212 ALLAN HOUSER (1914–1994) Peaceful Serenity, 1980 bronze, 19/20 11 5/8 x 6 x 3 3/8 in (29.5 x 15.2 x 8.6 cm) (with base) inscribed: © ALLAN / HOUSER 80 / 19/20 Provenance: Private Collection, Illinois $3,000 – $6,000

213 ALLAN HOUSER (1914–1994) Plains Drummer, 1977 bronze, 6/24 10 7/8 x 4 ¾ x 8 ¼ in (27.6 x 12 x 20.9 cm) (with base) inscribed: Allan / Houser / 6/24 / S Provenance: Private Collection, Colorado $4,000 – $6,000

214 DOUG HYDE (b. 1946) Corn Harvest, 1987 bronze, 4/15 29 ½ x 23 ¼ x 15 in (74.9 x 59 x 38.1 cm) inscribed: D. HYDE (artist’s cipher) © [foundry mark] / 4/15 Provenance: Private Collection, Colorado $6,000 – $9,000

108

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215 R. C. GORMAN (1932–2005) Natoma, 1984 bronze 62 x 41 x 22 ½ in (157.5 x 104.1 x 57.1 cm) (with base) inscribed: RC Gorman / 84 E.P.I. Provenance: Private Collection, New Mexico $10,000 – $15,000

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216 R. C. GORMAN (1932–2005) Magenta Skirt

217 R. C. GORMAN (1932–2005) Canyon Harvest, 1984

oil crayon on paper 30 x 40 in (76.2 x 101.6 cm) signed lower left: R.C. Gorman ©

serigraph in colors, 20/175 38 ½ x 58 ½ in (97.8 x 148.6 cm) signed lower left: R C Gorman editioned lower right: 20/175

Provenance: Private Collection, California $2,000 – $4,000

Provenance: Private Collection, California $1,000 – $2,000

218 R. C. GORMAN (1932–2005) Trilogy, 1986

219 R. C. GORMAN (1932–2005) Lady Anne

serigraph in colors, 119/150 37 x 27 in (93.9 x 68.6 cm) (each) signed lower left of left panel: R. C. Gorman titled lower center of center panel: “Trilogy” editioned lower right of right panel: 119/150

oil crayon on paper 30 x 40 in (76.2 x 101.6 cm) signed lower left: R.C. Gorman ©

Provenance: Private Collection, California $1,000 – $2,000

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Provenance: Private Collection, California $1,500 – $2,500

220 MIGUEL MARTINEZ (b. 1951) Figures with Rancho Church, 1982

221 MIGUEL MARTINEZ (b. 1951) Portrait of Two Women

pastel on paper 29 ½ x 39 ¼ in (74.9 x 99.7 cm) signed and dated lower right: © M Martinez / 82

pastel on paper 29 ½ x 39 ¼ in (74.9 x 99.7 cm) signed lower right: © M Martinez

Provenance: The Collection of Inge and Tex Davis, Rancho de Taos, by descent to Brian Davis

Provenance: The Collection of Inge and Tex Davis, Rancho de Taos, by descent to Brian Davis

$6,000 – $8,000

$4,000 – $6,000

222 MIGUEL MARTINEZ (b. 1951) Portrait of a Woman, 1981

223 MIGUEL MARTINEZ (b. 1951) Two Nudes, 1982

charcoal on rose paper 26 ¼ x 19 1/8 in (66.7 x 48.6 cm) signed and dated lower right: M Martinez / © / 81

charcoal on paper left: 20 x 9 5/8 in (50.8 x 24.4 cm) right: 20 1/8 x 9 ½ in (51.1 x 24.1 cm) signed and dated lower left: M Martinez / © / 82

Provenance: The Collection of Inge and Tex Davis, Rancho de Taos, by descent to Brian Davis $1,500 – $2,500

Provenance: The Collection of Inge and Tex Davis, Rancho de Taos, by descent to Brian Davis $1,500 – $2,500

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224 FRITZ SCHOLDER (1937–2005) New Mexico Revisited #2 oil on canvas 50 x 40 in (127 x 101.6 cm) signed lower right: Scholder inscribed verso: New Mexico Revisited #2 / Fritz Scholder Provenance: A Private Family Foundation* $15,000 – $25,000 *All proceeds of sale from this artwork benefit a charitable foundation (501c3) whose mission is to improve the public’s understanding and access to the Arts, as well contributing to social programs designed to advance the general welfare of the Santa Fe community

225 FRITZ SCHOLDER (1937–2005) Buffalo in Grass, 1974

226 FRITZ SCHOLDER (1937–2005) Wooden Nickel, 1973

oil on canvas 10 x 12 in (25.4 x 30.5 cm) signed lower right: Scholder inscribed verso: BUFFALO IN GRASS 1974

bronze 7 3/8 x 7 3/8 in (18.7 x 18.7 cm) (without base) inscribed: Scholder

Provenance: The Joseph Pytka Collection $3,000 – $5,000

Provenance: Patricia Janis Broder Collection, New Jersey Literature: Patricia Janis Broder, American Indian: Painting & Sculpture, New York, 1981, p.154-155. $2,000 – $4,000

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227 FRITZ SCHOLDER (1937–2005) Untitled (Buffalo Spirit) acrylic on canvas 80 x 70 in (203.2 x 177.8 cm) signed upper right: Scholder Provenance: From a Distinguished Private Collection, New Mexico $80,000 – $120,000

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228 PAUL PLETKA (b. 1946) Untitled (Group Indian Scene) acrylic on canvas 29 7/8 x 39 1/8 in (75.9 x 99.4 cm) signed lower left: Pletka.

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

229 PAUL PLETKA (b. 1946) Untitled (American Indian Portrait)

230 PAUL PLETKA (b. 1946) Untitled (Bishop Portrait)

mixed media and paper collage 39 ½ x 29 ½ in (100.3 x 74.9 cm) signed lower right: Pletka

watercolor and ink on paper 28 ¾ x 20 ¾ in (73.0 x 52.7 cm) signed lower left: Pletka

Provenance: Private Collection, New Mexico

Provenance: Private Collection, New Mexico

$6,000 – $9,000

$1,200 – $1,800

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231 PAUL PLETKA (b. 1946) Untitled (American Indian Portrait) acrylic on board 72 ½ x 47 ½ in (184.2 x 120.7 cm) signed lower left: Pletka Provenance: Private Collection, New Mexico $30,000 – $50,000

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232 DAN NAMINGHA (b. 1950) Triple Clouds, 2008 acrylic on canvas 30 x 37 7/8 in (76.2 x 96.2 cm) signed lower left: Namingha inscribed verso: Triple Clouds © 2008 Dan Namingha Provenance: Private Collection, New Mexico $4,000 – $6,000

233 DAN NAMINGHA (b. 1950) Kachina Symbolism II, 1994 bronze, 5/12 20 1/8 x 13 ¾ x 4 3/5 in (51.1 x 34.9 x 11 cm) inscribed: Dan Namingha 5/12 S Provenance: Private Collection, New Mexico $2,500 – $4,500

234 DAN NAMINGHA (b. 1950) Studio View, 1978 acrylic on canvas 50 x 38 in (127 x 96.5 cm) signed and dated lower right: Namingha / 78 inscribed verso: B74 STUDIO VIEW Provenance: Private Collection, Washington, D.C. $4,000 – $8,000

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235 DAN NAMINGHA (b. 1950) Pahlik Mana, 1991 bronze, 1/8 62 x 6 ½ x 7 ¾ in (157.5 x 16.5 x 19.7 cm) (with base) inscribed: Namingha / © 1991 1/8 (artist’s cipher) Provenance: Private Collection, Minnesota $20,000 – $30,000

236 DAN NAMINGHA (b. 1950) Spirits Emerging, 1987 watercolor and gouache on paper 21 5/8 x 29 ¼ in (54.9 x 74.3 cm) signed and dated lower left: Namingha / 1987 inscribed verso: © 1987 Dan Namingha Provenance: Private Collection, Colorado $2,500 – $3,500

237 DAN NAMINGHA (b. 1950) Kachinas Dancing, 1987 watercolor and gouache on paper 21 ¾ x 29 ½ in (55.2 x 74.9 cm) signed and dated lower right: Namingha / 1987 inscribed verso: © 1987 / Dan Namingha Provenance: Private Collection, Colorado $2,500 – $3,500

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238 JAMES HAVARD (b. 1937) Shot in the Hand-Apsaroke, 1975 acrylic on canvas 52 x 48 x 2 in (132.1 x 121.9 x 5.1 cm) signed and dated verso: Havard 75. inscribed verso: "Title: Shot in the Hand-APSAROKE / Med: acrylic on canvas / size: 48" x 52" Provenance: Matthews Gallery, Santa Fe, New Mexico Private Collection, New Mexico $4,000 – $6,000

239 JAMES HAVARD (b. 1937) Untitled, 1975 mixed media on paper 39 ½ x 29 5/8 in (100.3 x 75.2 cm) signed & dated lower left: Havard 75 Provenance: Private Collection, Texas $3,000 – $5,000

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240 JOHN NIETO (1936–2018) Short Bull, 1979 oil on canvas 30 x 24 in (76.2 x 61 cm) signed lower right: Nieto inscribed verso: John Nieto © 1979 / “SHORT BULL” Provenance: Private Collection, Texas

241 VELOY VIGIL (1931–1997) Coral

$2,000 – $4,000

acrylic on canvas 64 x 45 in (162.6 x 114.3 cm) signed lower right: V. Vigil inscribed verso: 2275T CORAL Provenance: Suzanne Brown Gallery, Scottsdale, Arizona From a Distinguished Private Collection, Texas $5,000 – $10,000

242 DARREN VIGIL GRAY (b. 1959) Untitled acrylic on paper 29 ¾ x 22 3/8 in (75.6 x 56.8 cm) signed lower right: Darren Vigil Provenance: Private Collection, Washington, D.C. $2,000 – $4,000

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243 T. C. CANNON (1946–1978) Grandmother Gestating Father

244 T. C. CANNON (1946–1978) Untitled (Indian with Sunglasses), 1973

woodblock print, 229/200 15 5/8 x 11 5/8 in (39.7 x 29.5 cm) editioned and signed lower left: 229 / 200 Walter Cannon stamp signed lower right: T.C. Cannon

graphite on paper 9 ¾ x 7 in (24.8 x 17.8 cm) signed and dated lower left: Cannon ‘73

Provenance: Private Collection, New Mexico

Provenance: Zaplin Lampert Gallery, Santa Fe, New Mexico The Joseph Pytka Collection

$2,000 – $4,000

$2,500 – $5,000

245 RANDY LEE WHITE (b. 1951) Red Hawk’s Portrait acrylic on board 23 ½ x 19 ½ in (59.7 x 49.5 cm) signed lower right: R Lee White Provenance: Private Collection, New Mexico $1,000 – $2,000

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246 DAVE MCGARY (1958–2013) Touch the Clouds (MAHPIYA ICAHTAGYA), 1996 polychrome bronze 30 x 19 x 11 ½ in (76.2 x 48.3 x 29.2 cm) (with base) inscribed: DAVE McGARY - AC III \ 50 / 1996 Provenance: Private Collection, Missouri $15,000 – $25,000

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WOMEN IN THE WEST

There are no records of who the artists of the prehistoric eras were, but studies of many early ethnographers and cultural anthropologists indicate that women often were the principal artisans in Neolithic cultures, in which they created pottery, textiles, baskets, painted surfaces and jewelry. Extrapolation to the artwork and skills of the Paleolithic era suggests that these cultures followed similar patterns.

Cave paintings of this era often have human hand prints, 75% of which are identifiable as women's. 1 Virginia Scharff, in her introduction to Independent Spirits: Women Painters of the American West, 1890-1945 pointed out that, “Women artists have worked in what would come to be called the American West as long as humans have inhabited the terrain between the ninety-eighth meridian and the Pacific Ocean. Navajo women wove. Pueblo women made pottery. Pomo women shaped baskets. Between 1890 and 1945 women artists of all kinds worked in the West in great numbers, creating objects so abundant and diverse as to defy facile generalization.” 2 The West's dynamic growth certainly altered the role of women, often allowing new avenues of opportunity within the prevailing Anglo culture. At the same time, boundaries of femininity were pushed earlier and further than in other parts of the country. While American women as a whole did not win the right to vote until 1920, women in most westerns states had the vote before 1915, Montana had sent the first woman to the U.S. Congress, and Wyoming and Texas had each elected the first women governors! Sometimes women artists have struggled with the claims of marriage, family, motherhood – Georgia O’Keeffe famously left Stieglitz to seek solitude in New Mexico, as did Janet Lippincott (see Lots 269-272) – but for others painting was a family tradition: pueblo artist Tonita Pena taught her son, Joe Herrera (see Lot 197) the fundamentals of painting, and influenced Santa Clara painter Pablita Velarde (see Lot 248), who in turn was the mother of Helen Hardin (see Lot 249). Despite the cultural revolution that arose from the Depression and World War Two, these obstacles endured into the social and political turbulence of modern times. Nevertheless, Mary Gabriel, in her groundbreaking book, Ninth Street Women writes, “It’s instructive as well as comforting to know how other women have managed and what other women have dared.” 3 The 2019 Santa Fe Art Auction has an exemplary selection of those who have dared and managed on offer this year, paying tribute not only to artists, but also to those women who have championed art as gallery owners, collectors, critics, educators and curators.

247 TERRI KELLY MOYERS (b. 1953) She Rode Like She Carried the Mail, 2006 oil on board 36 x 24 in (91.4 x 61 cm) signed and dated lower right: Terri Kelly Moyers © / 2006 stamped verso: ALL REPRODUCTION / RIGHTS RESERVED / BY THE ARTIST Provenance: Claggett-Rey Gallery, Vail, Colorado From a Distinguished Private Collection, Texas $8,000 – $12,000

1 2 3

Were the First Artists Mostly Women? National Geographic, October 9, 2013 Independent Spirits: Women Painters of the American West, 1890-1945, Autry Museum of Western Heritage in association with the University of California Press. 1995 Ninth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell and Helen Frankenthaler: Five Painters and the Movement that Changed Modern Art, Little, Brown & Company, New York. 2018

248 PABLITA VELARDE (Tse Tsan) (Santa Clara, 1918-2006) Song of the Corn Dance tempera gouache on masonite board 24 x 16 in (61 x 40.6 cm) signed lower right: PAblitA VElARdE Provenance: Patricia Janis Broder Collection, New Jersey Literature: Patricia Janis Broder, The American West: The Modern Vision, Boston, 1984, p. 253.

Patricia Janis Broder, American Indian Painting & Sculpture, NY, 1981, p. 40.

Exhibited: Montclair Art Museum, Summer Rains / Winter Winds: Native American Paintings from a Private New Jersey Collection, New Jersey, 1985. $5,000 – $10,000

acrylic on paper board 15 5/8 x 11 3/8 in (39.7 x 28.9 cm) signed lower right: TSA.Sah.WEE.Eh (artist’s cipher) Provenance: Patricia Janis Broder Collection, New Jersey Literature: Patricia Janis Broder, The American West: The Modern Vision, Boston, 1984, p. 257. $6,000 – $8,000

WOMEN IN THE WEST

249 HELEN HARDIN (Tse Sah Wee Eh) (Santa Clara, 1943-1984) Mimbres Snake Rabbit

WOMEN IN THE WEST

250 OLIVE RUSH (1873–1966) Untitled (Landscape with Antelope) watercolor on paper 17 x 21 in (43.2 x 53.3 cm) signed lower right: Olive Rush Provenance: Patricia Janis Broder Collection, New Jersey $1,500 – $2,500

251 MERINA LUJAN (Pop Chalee) (Taos, 1906-1993) The Forest, 1936 tempera gouache on paper 14 ¼ x 22 ½ in (36.2 x 57.2 cm) signed and dated lower right: Pop-Chalee 36” Known for her mystical horses and enchanted forests, Pop Chalee was a memorable character who studied under Dorothy Dunn, and transformed a traditional style of painting to create magical, idyllic images of wide-eyed animals, ceremonial figures, and woodland settings. In an article published in the November, 1997 edition of Southwest Art magazine, Sally Euclaire describes Chalee, “Standing tall at well under 5 feet, she sported full bangs and a waist-length braid, body-hugging Capri pants, high-tech sneakers, and New Age crystal jewelry. She was clearly a woman with an image." Chalee's forest compositions often featured frolicking deer as can be seen here in Pat Broder’s classic The Forest, painted in 1936. It has been proposed that Pop Chalee's work might well have served as inspiration for the 1942 American animated drama film by Walt Disney, Bambi. Her magical forest fantasies were in fact exhibited at Stanford University in 1936 before the sketches for Bambi commenced in 1937!

Provenance: Patricia Janis Broder Collection, New Jersey Literature: Patricia Janis Broder, American Indian: Painting & Sculpture, New York, 1981, p. 36.

Patricia Janis Broder, Earth Songs, Moon Dreams, New York, 1999, p. 28-29, No. 13. $10,000 – $15,000

252 JAUNE QUICK-TO-SEE SMITH (b. 1940) Camus Series, #8, 1980

253 JAUNE QUICK-TO-SEE SMITH (b. 1940) Camus Series

pastel on paper 30 ¼ x 22 ¼ in (76.8 x 56.5 cm) signed lower center: Jaune Smith

pastel on paper 29 ¾ x 21 7/8 in (75.6 x 55.6 cm) signed lower right: Jaune Smith

Provenance: Patricia Janis Broder Collection, New Jersey

Provenance: Patricia Janis Broder Collection, New Jersey

Literature: Patricia Janis Broder, The American West: The Modern Vision, Boston, 1984, p. 273

$2,500 – $5,000

$2,500 – $5,000

gouache and ink on paper 9 3/8 x 12 ¾ in (23.8 x 32.4 cm) signed lower right: Gina Knee inscribed lower left: “Lots of Things for Cynthia / from Gina” Provenance: Matthews Gallery, Santa Fe Private Collection, Texas $1,500 – $2,500

WOMEN IN THE WEST

254 GINA KNEE (1898–1982) Lots of Things for Cynthia

WOMEN IN THE WEST 255 BEULAH STEVENSON (1890–1965)

By Shrine on Cerro Gordo, 1948

256 BEULAH STEVENSON (1890–1965) San Acacio by Door Step, 1950

oil on board 16 x 20 in (40.6 x 50.8 cm) inscribed verso: By Shrine on Cerro Gordo / by Mail box 1542 / 1948

oil on board 16 ¼ x 20 in (41.3 x 50.8 cm) inscribed verso: San Acacio by Door Step - / August 1950

Provenance: Private Collection, New Mexico

Provenance: Private Collection, New Mexico

$5,000 – $10,000

$5,000 – $10,000

257 CLARA WALSH LELAND (1869–1949) Santa Fe Scene

258 AGNES TAIT (1894–1981) Untitled (New Mexico Adobe)

oil on board 12 x 16 in (30.5 x 40.6 cm) signed lower left: Clara LEland.

watercolor on paper 8 ½ x 11 ½ in (21.6 x 29.2 cm) signed lower left: Agnes Tait

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

Provenance: Private Collection, New Mexico

$1,000 – $2,000

$1,000 – $3,000

259 DOROTHY ALDEN MORANG (1861–1994) Untitled

260 DOROTHY ALDEN MORGAN (1861–1994) Untitled

oil on board 7 ¾ x 9 ¼ in (19.7 x 23.5 cm) signed lower right: D. MORANG

oil on board 8 ¼ x 9 ¼ in (21 x 23.5 cm) signed lower left: D. MORANG

Provenance: Craig Flinner Gallery, Baltimore, Maryland The Collection of Mr. and Mrs. Charles A. Brown, Jr., Louisville, KY Private Collection, New Mexico

Provenance: Craig Flinner Gallery, Baltimore, Maryland The Collection of Mr. and Mrs. Charles A. Brown, Jr., Louisville, KY Private Collection, New Mexico

$2,500 – $4,500

$2,500 – $4,500

262 AGNES SIMS (1910–1990) Dance Rattles

Terracotta, pigment, leather and feathers 23 1/4 x 8 x 7 ½ in (59 x 20.3 x 19 cm) (with base) signed lower right: A. Sims

watercolor and gouache on paper 16 ¼ x 21 ½ in (41.3 x 54.6 cm) signed lower right: Agi

Provenance: Private Collection, New Mexico

Provenance: Zaplin Lampert Gallery, Santa Fe, New Mexico Peyton Wright, Santa Fe, New Mexico Private Collection, New Mexico

$2,000 – $3,000

$3,000 – $5,000

WOMEN IN THE WEST

261 AGNES SIMS (1910–1990) Untitled (Ram Kachina)

WOMEN IN THE WEST

263 GENE KLOSS (1903–1996) Windy Day Frolic watercolor on paper 14 x 20 5/8 in (35.6 x 52.4 cm) signed lower right: Gene Kloss, N.A. Provenance: Private Collection, Colorado $6,000 – $9,000

264 ILA MCAFEE (1897–1995) October (New Mexico Landscape) oil on board 15 ¾ x 20 in (40 x 50.8 cm) signed lower left: Ila McAfee inscribed verso: OCTOBER Provenance: Private Collection $2,000 – $4,000

265 DORIS ROSENTHAL (1896–1971) Tin Roofs at Huautla de Jimenez, 1937 oil on canvas 21 x 27 in (53.3 x 68.6 cm) signed lower right: Doris Rosenthal inscribed verso: Tin Roofs / Huautla de Jimenez / 21 x 27 / Doris Rosenthal Provenance: Midtown Galleries, New York, New York Peyton Wright, Santa Fe, New Mexico Private Collection, New Mexico $5,000 – $7,000

266 LAURA GILPIN (1891–1979) Navajo Summer, 1934 (negative), 1970s

267 LAURA GILPIN (1891–1979) Irene Yazzie Weaving, 1951 (negative)

silver gelatin print 15 ½ x 19 ½ in (39.4 x 49.5 cm) signed and dated lower right: Laura Gilpin, 1934 (Negative Date) inscribed lower left on mat: “For Father Roy Barton with the best of wishes”

silver gelatin print 13 x 10 in (33 x 25.4 cm) signed and dated on mat lower right: Laura Gilpin, 1951 inscribed on mat lower left: “For Father Roy Barton, with Birthday Greetings”

Provenance: The Collection of Mrs. Harold Charles Price, Jr., Bartlesville, Oklahoma

Provenance: The Collection of Mrs. Harold Charles Price, Jr., Bartlesville, Oklahoma

$5,000 – $10,000

Literature: Laura Gilpin, The Enduring Navajo, University of Texas Press, 1968. $3,000 – $5,000

268 LAURA GILPIN (1891–1979) Setah Begay, Navaho Medicine Man, 1933

Provenance: The Collection of Mrs. Harold Charles Price, Jr., Bartlesville, Oklahoma $2,000 – $3,000

WOMEN IN THE WEST

silver gelatin print 13 x 10 in (33 x 25.4 cm)

WOMEN IN THE WEST JANET LIPPINCOTT

Janet Lippincott was born in New York City into a life of privilege and was exposed to the cultural life of the city at young age. She lived in Paris for a while when she was young and there she saw her first artwork by European modern artists. Back in New York at age fifteen she took a life drawing class at the Art Students League and later enrolled there full time to continue her art education.

She was a member of the Women’s Army Corp during World War II where she served on General Eisenhower's administrative staff. Lippincott had a strong personality, as evidenced by a story she liked to tell of the day General George Patton came into the office demanding to see Eisenhower right away. Lippincott told him to sit down and be quiet until it was his turn. A loner, she was married once for ten days, “That was 10 days too long,” she is reported to have remarked.

In 1949, after the war, she enrolled in Emil Bisttram's School of Art located in Taos on the G.I. Bill, and moved to Santa Fe in 1957 where she built an adobe home and studio on Canyon Road. She was one of the few Southwestern artists at that time who was working exclusively in the modern tradition. "After the war, I came out here, and no one was doing any modern painting. Here I came with my screwball ideas and shook everybody up.” In a Southwest Art article in 1980 she stated, “Abstract painting is an intellectual process. To be a modern painter and to make a truthful statement is the sum total of all I am and what I am continually striving to create. I am a painter and my feelings are all I can contribute to this world.”

Throughout her career Lippincott explored multiple media. She continued for most of her life to maintain the discipline of drawing through figure classes in Santa Fe, was one of the first artists to create lithographs at the Tamarind Institute, and in the 1970s embarked on sculpture, when the Shidoni Foundry opened in Tesuque. The Santa Fean Magazine wrote upon her death in 2007, “Compositionally akin to Matisse and Picasso… Lippincott ended up an artist’s artist, and created lasting images of the female form and abstract arrangements of emotionally rich and inviting shapes. She, like Georgia O'Keeffe and other women working in the modernist vein had to often fight for the opportunities afforded male artists of the period. But whatever obstacles she faced she never wavered from her strong and committed artistic vision. The best of her work stands equally alongside noted artists of the period.”

Her work is held in distinguished public and private collections throughout the United States. There are currently both a biography being written about the artist and a documentary film project.

269 JANET LIPPINCOTT (1918–2007) Summer, 1985 acrylic on canvas 84 x 30 in (213.4 x 76.2 cm) signed lower left: Lippincott Provenance: Private Collection, New Mexico $8,000 – $12,000

oil on canvas 48 x 48 in (121.9 x 121.9 cm) signed lower right: Lippincott Provenance: Private Collection, New Mexico $15,000 – $25,000

WOMEN IN THE WEST JANET LIPPINCOTT

270 JANET LIPPINCOTT (1918–2007) New Mexico Landscape, ca. 1969

WOMEN IN THE WEST JANET LIPPINCOTT

271 JANET LIPPINCOTT (1918–2007) Green Landscape, 1963 oil on canvas 48 x 51 ¼ in (121.9 x 130.2 cm) signed lower right: Lippincott Provenance: Private Collection, New Mexico $12,000 – $18,000

272 JANET LIPPINCOTT (1918–2007) Homage to Rembrandt, 1961 oil on canvas 38 x 58 in (96.5 x 147.3 cm) signed upper right: Lippincott Provenance: Private Collection, New Mexico $10,000 – $15,000

273 DOROTHY BRETT (1883–1976) Jet and Moon, 1959 oil, seashell and crystal on masonite 36 x 12 ½ in (91.4 x 31.8 cm) signed and dated lower right: DEBrett / 1959 inscribed verso: $300 DE. BRETT Provenance: Private Collection, New Mexico Exhibited: Dallas Museum of Fine Arts, Southwestern Art: A Sampling of Contemporary Painting and Sculpture, April 10-May 22, 1960, No. 27. $10,000 – $15,000

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274 WILLARD NASH (1898–1943) Untitled (Woman with Violin), 1930

275 BJO NORDFELDT (1878–1955) Portrait of a Man

watercolor on paper 19 ¾ x 13 ¾ in (50.2 x 34.9 cm) signed and dated lower right: Nash ‘30

oil on board 18 1/8 x 12 1/8 in (46 x 30.8 cm) signed lower right: Nordfeldt

Provenance: Aaron Payne Fine Art, Santa Fe, New Mexico Private Collection, New Mexico

Provenance: Private Collection, Colorado

$3,000 – $6,000

$2,000 – $4,000

276 RANDALL DAVEY (1887–1964) Portrait of a Young Girl, ca. 1930s oil on canvas 21 ½ x 17 ½ in (54.6 x 44.5 cm) signed lower right: Randall Davey Provenance: Private Collection, Texas $2,500 – $3,500

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277 ALFRED MORANG (1901–1958) Flower of the Evening oil on board 24 ½ x 18 5/8 in (62.2 x 47.3 cm) signed lower right: A. MORANG Provenance: Private Collection, New Mexico $1,500 – $2,500

278 ALFRED MORANG (1901–1958) Untitled (Two-Sided Bar Scene/Portrait), 1944, 1945 oil on canvas 19 ¼ x 16 3/8 in (48.9 x 41.6 cm) signed and dated lower right (portrait side): ALFRED / MORANG 1944 signed and dated lower right (bar scene side): ALFRED / MORANG 45 Provenance: Private Collection, Texas $4,000 – $8,000

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MRS. HAROLD C. PRICE JR. COLLECTION

Mrs. Harold C. Price, Jr. (1927-2018) was a member of the visionary Price family of Bartlesville, Oklahoma. H.C. Price famously commissioned Frank Lloyd Wright to build the Price Tower in Bartlesville as a modern corporate headquarters for the H.C. Price Pipeline Company. Completed in 1956, the 19-story building was based on a design originally conceived for St. Mark's-in-the-Bouwerie in New York City, but once built on the prairie, Wright called this skyscraper “the tree that escaped the crowded forest.” Lavish in its materials and detailing, the Price Tower is Wright’s tallest built project. The 221-foot-tall Price Tower is listed on the National Register of Historic Places and is one of the American Institute of Architects’ seventeen most significant examples of Frank Lloyd Wright’s architecture. Wright became a close friend of the Price family and in 1954 was commissioned to design the Price family’s landmark residence, “Hillside”, also in Bartlesville, Oklahoma. Carolyn had a deep affinity for the Southwest and spent a great deal of time in Santa Fe, New Mexico. She enjoyed close friendships with many of the artists represented in her collection, including longtime friends Laura Gilpin and Richard Schmid. We are privileged to offer an intimate selection of treasured artworks from Mrs. Price’s collection including paintings by Susan Hertel, Richard Schmid and Nancy Guzik as well as early Navajo photographs by Laura Gilpin.

279 RICHARD SCHMID (b. 1934) Sandcastles, 1972 oil on panel 20 ¾ x 27 ½ in (52.7 x 69.9 cm) signed lower right: Richard Schmid inscribed verso: #796 Sandcastles / Richard Schmid / 1972 Provenance: The Collection of Mrs. Harold Charles Price, Jr., Bartlesville, Oklahoma $5,000 – $10,000

oil on canvas 24 x 18 in (61 x 45.7 cm) signed and dated lower right: © Schmid 1969 inscribed verso: #543 “Nude” / Richard Schmid / Jan. 1969 printed verso: Copyright Richard Schmid 1969 All Rights Reserved / PRWL368 Provenance: The Collection of Mrs. Harold Charles Price, Jr., Bartlesville, Oklahoma $15,000 – $20,000

MRS. HAROLD C. PRICE JR. COLLECTION

280 RICHARD SCHMID (b. 1934) Nude, 1969

MRS. HAROLD C. PRICE JR. COLLECTION

281 RICHARD SCHMID (b. 1934) Portrait of Alison

282 RICHARD SCHMID (b. 1934) Head Study

conte crayon on paper 16 x 11 in (40.6 x 27.9 cm) signed lower right: Schmid

conte crayon on paper 9 ½ x 6 ¾ in (24.1 x 17.1 cm) signed lower right: Schmid

Provenance: The Collection of Mrs. Harold Charles Price, Jr., Bartlesville, Oklahoma

Provenance: The Collection of Mrs. Harold Charles Price, Jr., Bartlesville, Oklahoma

$3,000 – $5,000

$2,000 – $4,000

283 RICHARD SCHMID (b. 1934) Rose Sketching, 1987

284 RICHARD SCHMID (b. 1934) Untitled (Nude)

oil on panel 15 x 21 in (38.1 x 53.3 cm) signed lower right: Schmid inscribed verso: #2217 “Rose Sketching” / Richard Schmid 1987 / $3000

conte crayon on paper 19 x 9 in (48.3 x 22.9 cm) signed lower right: Schmid

Provenance: The Collection of Mrs. Harold Charles Price, Jr., Bartlesville, Oklahoma

Provenance: The Collection of Mrs. Harold Charles Price, Jr., Bartlesville, Oklahoma

$5,000 – $10,000

$4,000 – $8,000

285 RICHARD SCHMID (b. 1934) Kathy in the Garden, 1978 oil on canvas 16 x 12 in (40.6 x 30.5 cm) signed lower left: Schmid inscribed verso: #1076 “Kathy in the Garden” 1978 / copyright Richard Schmid Provenance: The Collection of Mrs. Harold Charles Price, Jr., Bartlesville, Oklahoma $8,000 – $12,000

oil on canvas 48 x 59 ½ in (121.9 x 151.1 cm) signed lower right: G. Fischer Provenance: Talisman Gallery, Bartlesville, OK The Collection of Mrs. Harold Charles Price, Jr., Bartlesville, Oklahoma $8,000 – $12,000

MRS. HAROLD C. PRICE JR. COLLECTION

286 GEORGE FISCHER (b. 1956) Winter’s Shadows

MRS. HAROLD C. PRICE JR. COLLECTION

287 SUSAN HERTEL (1930–1992) Red Hitching Post acrylic on board 4 ½ x 7 in (11.4 x 17.8 cm) signed lower right: (partially obscured) H. Hertel Provenance: Elaine Horwitch Galleries The Collection of Mrs. Harold Charles Price, Jr., Bartlesville, Oklahoma $2,000 – $4,000

288 SUSAN HERTEL (1930–1992) Two Women Talking oil on paper 6 x 8 in (15.2 x 20.3 cm) signed upper left: H. Hertel Provenance: Elaine Horwitch Galleries The Collection of Mrs. Harold Charles Price, Jr., Bartlesville, Oklahoma $3,000 – $5,000

oil on canvas 48 x 59 ½ in (121.9 x 151.1 cm) Susan Bright Lautmann Hertel was born in Evanston, Illinois in 1930 and grew up in Highland Park outside of Chicago. Childhood summers in Wisconsin and Arizona led Hertel to become fascinated by the natural world, particularly animals, and Native American culture. She studied drawing, design, sculpture, and painting at Scripps College in California and also spent time at the Kann Institute in Los Angeles.

She assisted and collaborated with Millard Sheets on a number of projects in various media, but painting came to dominate Hertel’s own oeuvre. Establishing Barking Dogs Ranch with her then-husband, Carl, in 1958, her work was influenced by the company she kept during that period: horses, goats, cats, chickens, and dogs. The couple relocated to New Mexico in 1980 and, after surviving breast cancer and divorcing her husband, Hertel struck out on her own in 1987, and began to write poetry and produce work inspired by the culture and landscape that surrounded her. The paintings offered here from Carolyn Price’s collection demonstrate Hertel’s deep commitment to and celebration of the joy of quotidian routines, and her unique capacity to reveal beauty in the most unexpected corners of domesticity. She died near Cerrillos, New Mexico, in 1993

“These days as I move from room to room Go outside here and there The dogs all move with me.

It is almost as if we have no hides Or boundaries And move together like a cloud of life Liking itself.

If you said, what do you raise up there I’d have to say – horses and dust.

The early sun haloes the horses And shines like alabaster Through their streaming tails There are rainbows in the air When I spray down the dust

Provenance: Elaine Horwitch Galleries The Collection of Mrs. Harold Charles Price, Jr., Bartlesville, Oklahoma

Lately, friends have moved , an old horse dead, Bull dozers in the hills, All this change and losing…

Emptiness is just a space for light To rush in to, Incandescent.

Let me be Shined through Like a mare’s tail in the morning.”

$20,000 – $25,000

–– Susan Hertel

MRS. HAROLD C. PRICE JR. COLLECTION

289 SUSAN HERTEL (1930–1992) Untitled (Interior with Dogs)

290 NANCY GUZIK (b. 1954) Trumpet Lilies

291 WILLIAM ACHEFF (b. 1947) Still Life with Daisies

oil on canvas 35 x 36 in (88.9 x 91.4 cm) signed upper right: Guzik inscribed verso: #164 Trumpet Lilies, Nancy Guzik / Kirk Rush

oil on canvas 24 x 18 in (61.0 x 45.7 cm) signed lower right: Wm. Acheff

Provenance: The Collection of Mrs. Harold Charles Price, Jr., Bartlesville, Oklahoma

Provenance: The Artist Private Collection, Arizona

$3,000 – $5,000

$4,000 – $6,000

292 CARY ENNIS (b. 1951) The Chinese Vase, 1997 oil on canvas 18 x 24 in (45.7 x 61 cm) signed lower right: Ennis Provenance: Private Collection, Florida $1,000 – $2,000

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293 ELEANORA KISSEL (1891–1966) Untitled (Bouquet of Flowers) oil on canvas 20 x 24 in (50.8 x 61 cm) signed lower right: Eleanora KisseL Provenance: Private Collection, New Mexico $1,000 – $3,000

294 ELEANORA KISSEL (1891–1966) White Flowers oil on canvas 18 x 22 in (45.7 x 55.9 cm) signed lower right: KisseL inscribed verso: WHITE FLOWERS Provenance: Private Collection, New Mexico $1,000 – $3,000

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295 RANDALL DAVEY (1887–1964) Flowers in a Vase, 1950 oil on masonite 32 ¼ x 26 1/8 in (81.9 x 66.4 cm) signed lower right: Randall Davey Provenance: A Private Family Foundation* $10,000 – $15,000 *All proceeds of sale from this artwork benefit a charitable foundation (501c3) whose mission is to improve the public’s understanding and access to the Arts, as well contributing to social programs designed to advance the general welfare of the Santa Fe community

296 CLINTON BLAIR KING (1901–1979) Untitled (Bouquet of Flowers), 1955

297 GUSTAVE BAUMANN (1881–1971) Oval Floral (Marigolds), 1916

oil on canvas 24 1/8 x 15 in (61.3 x 38.1 cm) signed and dated lower left: CLINTON KING / PARIS 55

woodblock print 21 5/8 x 17 ¾ in (54.9 x 45.1 cm) signed lower right: Gustave Baumann

Provenance: Private Collection, New Mexico

Provenance: Private Collection, New Mexico

$2,000 – $4,000

Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 43. $5,000 – $7,000

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298 PHYLLIS SLOANE (1921–2009) Tulips, 1987

299 PHYLLIS SLOANE (1921–2009) Homage to Lautrec and Matisse, 1983

silkscreen, Color Trial Proof 17 ¼ x 21 ¾ in (43.8 x 55.2 cm) signed and dated lower right: Sloane ‘87 titled and editioned lower left: Tulips C.T.P.

silkscreen, 12/20 19 x 25 in (48.3 x 63.5 cm) signed lower right: Sloane titled, editioned and dated lower left: Homage to Lautrec and Matisse 12/20 1983

Provenance: The Estate of Phyllis Sloane $800 – $1,200

Provenance: The Estate of Phyllis Sloane $800 – $1,200

300 FORD RUTHLING (1933–2015) Black Olla, 1978

301 GLADA AVANELLE TRENCHARD (1892–1992) Indian Harvest

oil on canvas 30 x 36 in (76.2 x 91.4 cm) signed and dated lower right: Ford Ruthling / ‘78

oil on canvas 22 ¼ x 24 ¼ in (56.5 x 61.6 cm) signed lower right: - Avanelle Trenchard -

Provenance: Private Collection, New Mexico

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

$2,000 – $4,000

$1,000 – $2,000

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302 ALYCE FRANK (b. 1932) Realm of Arroyo Hondo oil on canvas 41 x 93 in (104.1 x 236.2 cm) (total three panels) signed lower right of right panel: Alyce Frank inscribed verso, each panel: Realm of / Arroyo Hondo / by Alyce Frank Provenance: From a Distinguished Private Collection, New Mexico $8,000 – $12,000

303 ALYCE FRANK (b. 1932) Mesa at Ghost Ranch oil on canvas 47 3/8 x 51 ½ in (120.3 x 130.8 cm) signed lower right: Alyce Frank inscribed verso: #166 Mesa at Ghost / Ranch / by Alyce Frank Provenance: From a Distinguished Private Collection, New Mexico $4,000 – $8,000

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304 INGER JIRBY (b. 1942) Spring Comes to La Cienega, 1988 oil on canvas 36 x 48 in (91.4 x 121.9 cm) signed lower right: Inger Jirby inscribed verso: “SPRING COMES TO LA CIENEGA” / © Inger Jirby 36 x 48” / Santa Fe, N.M. / April 12, 1988 Provenance: From a Distinguished Private Collection, New Mexico $2,000 – $4,000

305 INGER JIRBY (b. 1942) Ranchos de Taos, 1982 oil on canvas 28 x 36 in (71.1 x 91.4 cm) signed lower right: © Inger Jirby inscribed verso: “Ranchos de Taos” / © Inger Jirby 28 x 36” / Sept 1982 OIL ON CANVAS / Santa Fe, N.M. Provenance: From a Distinguished Private Collection, New Mexico $2,000 – $4,000

306 GAIL FACTOR (1942–2013) Mesita I, 1997 oil on panel 12 x 18 in (30.5 x 45.7 cm) initialed lower right: gxF inscribed verso: Mesita I by Gail Factor 1997 / 13 x 19” o/p Provenance: The Munson Gallery, Chatham, Massachusetts Private Collection, New Mexico $800 – $1,200

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307 DOLONA ROBERTS (b.1936) Blankets oil on canvas 38 x 68 in (96.5 x 172.7 cm) signed lower left: ROBERTS © (artist’s cipher) Provenance: Private Collection, California $2,000 – $3,000

308 TOM DARRO (b. 1946) Weaving in the Pine Country oil on canvas 16 x 20 in (40.6 x 50.8 cm) signed lower left: (c) / TOM DARRO Provenance: Private Collection, Texas $2,000 – $3,000

309 C. J. WELLS (b. 1952) To the Council, 1979 oil on canvas 23 5/8 x 23 5/8 in (60 x 60 cm) signed lower right: Ciaran John Wells inscribed on verso: “To the Council / 12-01-79 / Ciaran John Wells / A-13 Provenance: Private Collection, Colorado $1,500 – $3,000

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310 BURT PROCTER (1901–1980) Marketplace oil on board 30 x 24 in (76.2 x 61 cm) signed lower left: Burt Procter inscribed verso: MARKETPLACE Provenance: Private Collection, Texas $2,000 – $4,000

311 CARL HANTMAN (b. 1933) Max Brand, 1976 oil on masonite 24 x 18 in (60.9 x 45.7 cm) signed lower right: HANTMAN Provenance: Private Collection, Illinois $1,500 – $2,500

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312 WILLIAM MATTHEWS (b. 1949) Forest from Spain, 2003 watercolor on paper 29 ½ x 28 ¾ in (74.9 x 73 cm) signed lower left: [artist’s stamp] William Matthews (illegible) Provenance: Spanierman Gallery, New York, New York Private Collection, Texas $6,000 – $12,000

313 WILLIAM MATTHEWS (b. 1949) Spring Hobbles, ca. 2008 watercolor on paper 18 ½ x 19 ¼ in (47 x 48.9 cm) signed lower left: [artist’s stamp] William Matthews (illegible) Provenance: William Matthews Gallery Private Collection, Texas $5,000 – $10,000

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314 WAYNE BAIZE (b. 1943) Around the Water Wagon, 1990 oil on canvas 24 x 30 in (61 x 76.2 cm) signed and dated lower left: WAYNE BAIZE / 1990 © Provenance: Private Collection, Texas $4,000 – $6,000

315 DAN BODELSON (b. 1949) Indian Hunter oil on canvas 13 ½ x 10 ½ in (34.3 x 26.7 cm) signed lower left: Dan Bodelson Provenance: Simpson Galleries, Houston, TX Western Masters Gallery, Kemp, TX Private Collection, Illinois $800 – $1,200

316 FREDERICK DELLENBAUGH (1853–1935) Untitled (Seated Indian) watercolor on paper 21 ¾ x 17 ¾ in (55.2 x 45.1 cm) signed lower left: F. S. Dellenbaugh Provenance: Patricia Janis Broder Collection, New Jersey $3,000 – $5,000

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317 ROBERT SHUFELT (b. 1935) Where th’ Hell’s Bob?, 2004 graphite on paper 18 ¾ x 22 ¾ in (47.6 x 57.8 cm) titled, signed and dated lower left: “WHERE TH’ HELL’S BOB?” / Shoofly / 2004 ST Provenance: Private Collection, Arizona $2,000 – $4,000

318 OLAF WIEGHORST (1889–1988) Cowboy with Lasso ink, gouache and watercolor on paper 10 ½ x 10 1/8 in (26.7 x 25.7 cm) signed lower left: O. Wieghorst (artist's cipher) Provenance: Private Collection, Illinois $3,000 – $4,000

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319 NICK EGGENHOFFER (1897–1985) Fur Trapper, 1963 watercolor on paper 10 1/8 x 7 5/8 in (25.7 x 19.4 cm) signed and dated lower right: NICK EGGENHOFFER / CODY / Christmas 1963 Provenance: Private Collection, Illinois $2,000 – $3,000

320 NICK EGGENHOFFER (1897–1985) Untitled (Study of Horses) watercolor on paper 8 ¼ x 10 7/8 in (21 x 27.6 cm) signed lower right: N. EGGENHOFFER Provenance: Private Collection, Illinois $1,500 – $2,500

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321 WILLIAM ROBINSON LEIGH (1866 – 1995) Foul Rope Left (Bronco Buster), ca. 1910

322 WILLIAM ROBINSON LEIGH (1866 – 1995) Foul Rope Right (Bronco Buster), ca. 1910

etching 14 7/8 x 11 7/8 in (37.8 x 30.2 cm) signed lower right: W. R. Leigh. signed in the plate lower right: W, R, LEiGH.

etching 10 x 8 in (25.2 x 20.3 cm) signed lower right: W. R. Leigh. signed in the plate lower left: W, R, LEiGH.

Provenance: Private Collection, Florida

Provenance: Private Collection, Florida

$2,000 – $3,000

$2,000 – $3,000

323 WILLIAM ROBINSON LEIGH (1866 – 1995) Dust Storm, ca. 1910

324 WILLIAM ROBINSON LEIGH (1866 – 1995) Three Burros (Portrait of Pack Donkeys), ca. 1910

etching 9 7/8 x 12 in (25.1 x 30.5 cm) signed lower right: W. R. Leigh. signed in the plate lower right W R LEiGH.

etching 8 ½ x 10 7/8 in (21.6 x 27.6 cm) signed lower right: W. R. Leigh. signed in the plate lower right: W, R, LEiGH.

Provenance: Private Collection, Florida

Provenance: Private Collection, Florida

$1,500 – $2,500

$1,500 – $2,500

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325 WILLIAM ROBINSON LEIGH (1866 – 1995) Foul Rope Left (Bronco Buster), ca. 1910 etching in sepia 14 7/8 x 11 7/8 in (37.8 x 30.2 cm) signed lower right: W. R. Leigh. signed in the plate lower left: W, R, LEiGH. Provenance: Private Collection, Florida $2,000 – $3,000

326 EDWARD BOREIN (1872–1945) The Bell Mare etching and drypoint 10 x 11 4/5 in (25.2 x 30 cm) signed lower right: Edward Borein signed in the plate lower right: Edward Borein Provenance: Private Collection, New Mexico Literature: John Galvin, The Etchings of Edward Borein, San Francisco, 1971, No. 50. $1,500 – $2,500

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327 LEONARD H. REEDY (1899–1956) Pair of Watercolors watercolor on paper 8 1/8 x 11 1/8 in (20.6 x 28.3 cm) (each) signed lower right (each): LEONARD H. REEDY Provenance: Private Collection, Illinois $800 – $1,200 (for the pair)

328 LEONARD H. REEDY (1899–1956) Pair of Watercolors watercolor on paper 8 1/8 x 11 1/8 in (20.6 x 28.3 cm) (each) signed lower left (each): LEONARD H. REEDY Provenance: Private Collection, Illinois $800 – $1,200 (for the pair)

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329 LEONARD H. REEDY (1899–1956) Untitled (Cowboys with Lassoed Bear) watercolor on paper 13 ¾ x 20 ¼ in (34.9 x 51.4 cm) signed lower right: LEONARD H. REEDY Provenance: Nedra Matteucci Gallery, Santa Fe, New Mexico Private Collection, New Mexico $1,500 – $2,500

330 GEORGE BOURKE (1858–1930) Pair of Watercolors, 1905 watercolor on paper 9 ¾ x 5 7/8 in (24.8 x 14.9 cm) dated and signed lower right (each): Copyright / 1905 by / George Bourke titled lower center: A Californian / “Single Footer” titled lower center: A Californian / “Two Step” Provenance: Private Collection, Texas $700 – $900 (for the pair)

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157

331 CHARLES CRAIG (1846–1931) Untitled (Indians on Horseback in a Storm), 1892 watercolor on paper 14 ¼ x 10 ½ in (36.2 x 26.7 cm) signed and dated lower right: CHAS. CRAIG / 1892 Provenance: Smith Gallery, New York, New York Rainone Galleries, Arlington, Texas Private Collection, Texas $1,500 – $2,500

332 EDWIN DEMING (1860–1942) After the Comanches oil on board 18 x 22 in (45.7 x 55.9 cm) signed lower left: [artist's cipher] E. Deming Provenance: Private Collection, Texas $1,000 – $2,000

333 J. CLINTON SHEPHERD (1888–1975) Untitled (Roundup) oil on board 19 7/8 x 29 7/8 in (50.5 x 75.9 cm) signed lower right: J. CLINTON / SHEPHERD inscribed verso: J. SHEPHERD (CLINTON) / 1888 - 1963 Provenance: Private Collection, Texas $2,000 – $3,000

158

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334 OLAF WIEGHORST (1889–1988) Untitled (American Indian Studies)

335 OLAF WIEGHORST (1899–1988) Indian Chief

colored pencil and ink on paper 9 7/8 x 8 in (25.1 x 20.3 cm) signed lower left: O. Wieghorst [artist's cipher]

ink and watercolor on paper 4 3/8 x 4 3/8 in (11.1 x 11.1 cm) initialed lower left: O-W / 2C

Provenance: Private Collection, Illinois

Provenance: Private Collection, New Mexico

$800 – $1,200

$1,000 – $2,000

336 OLAF WIEGHORST (1889–1988) Dancing Boy, Sioux oil on board 7 ¾ x 5 7/8 in (19.7 x 14.9 cm) signed lower left: O. Wieghorst Provenance: Private Collection, Illinois $3,000 – $6,000

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159

337 HARLEY BROWN (b. 1939) Dull Knife, 2005

338 ALLEN F. BAHE The Old Hunter

pastel on paper 18 1/8 x 14 in (46 x 35.6 cm) titled, signed and dated lower right: “DULL / KNIFE” / HARLEY / BROWN / © 2005 [Cowboy Artists cipher]

acrylic on canvas 46 x 34 ¼ in (116.8 x 87 cm) signed lower right: BAHE [artist cipher] inscribed verso upper center: ‘The old Hunter’ / A/C 46” x 34” / Allen F. Bahe [artist's cipher]

Provenance: Private Collection, Arizona $2,000 – $4,000

339 JOE BEELER (1931–2006) Fur Trapper painted bronze, 3/10 9 x 4 1/2 x 4 in (22.8 x 11.4 x 10.1 cm) (with base) inscribed: [artist's cipher] JOE BEELER / 3/10 Provenance: Private Collection, Illinois $800 – $1,200

160

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

340 GEORGE MOLNAR (b. 1953) Navajo Sage oil on board 16 ½ x 30 ½ in (41.9 x 77.5 cm) signed lower right: George Molnar inscribed verso: “Navajo Sage” / George Molnar Provenance: Private Collection, Arizona $3,000 – $5,000

341 DR. ATL (GERARDO MURILLO) (1875–1964) Untitled (Landscape), ca. 1900 charcoal on paper 12 ½ x 17 ½ in (31.8 x 44.5 cm) signed lower center: Dr. Atl Provenance: Peyton Wright, Santa Fe, New Mexico Private Collection, New Mexico $3,000 – $5,000

342 MERRITT MAUZEY (1898–1973) Trip to Gin hand-colored lithograph 12 ¼ x 16 ¼ in (31.1 x 41.3 cm) signed lower right: Merritt Mauzey titled lower left: Trip to Gin editioned lower center: (Ed 20) Provenance: Private Collection, Texas $2,000 – $3,000

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161

343 ANDREW DASBURG (1887–1979) Joseph Bakos, 1925 graphite on paper 19 5/8 x 12 5/8 in (49.8 x 32.1 cm) signed lower right: Dasburg titled and dated lower left: Joseph Bakos - / 1925}

344 ANDREW DASBURG (1887–1979) Nancy Lane, 1929

Provenance: Gerald Peters Gallery, Santa Fe Private Collection, Oklahoma

graphite on paper 19 ¾ x 15 7/8 in (50.2 x 40.3 cm) signed and dated lower right: Dasburg ‘29

$1,500 – $2,500

Provenance: Private Collection, Oklahoma $2,000 – $3,000

345 ERNEST L. BLUMENSCHEIN (1874–1960) Margaret Berg charcoal on paper 11 ½ x 9 ½ in (29.2 x 24.1 cm) signed lower right: E. L. BLUMENSCHEIN Provenance: Private Collection, Texas $800 – $1,200

162

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346 HORACIO RENTERÍA ROCHA (Mexican, 1912–1972) Untitled (Niño y Niña), 1937 oil on canvas 23 1/8 x 17 ½ in (58.7 x 44.5 cm) (each) signed lower right: Horacio Provenance: Peyton Wright, Santa Fe, New Mexico Private Collection, New Mexico $8,000 – $10,000 (for the pair)

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163

347 BOB WADE (b. 1943) Untitled (Group of American Indians), 1986 color photograph 16 ¼ x 35 ¼ in (41.3 x 89.5 cm) signed and dated lower right: © BOB WADE '86 Provenance: Private Collection, New Mexico $2,000 – $4,000

348 BOB WADE (b. 1943) 13 Cowgirls, 1985 color photograph 15 ½ x 33 5/8 in (39.4 x 85.4 cm) signed and dated lower right: BOB WADE © 85 Provenance: Private Collection, New Mexico $2,000 – $4,000

349 BOB WADE (b. 1943) Pancho Villa, 1988 c print color photograph, 50/50 26 ½ x 47 ¼ in (67.3 x 120 cm) signed and dated lower right: BOB WADE ‘88 titled lower center: “PANCHO VILLA” editioned lower left: 50/50 Provenance: From a Distinguished Private Collection, New Mexico $500 – $1,000

164

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350 DOUGLAS KENT HALL (1938–2008) Untitled (Ceremonial Dancers) photograph 21 ½ x 14 ¼ in (54.6 x 36.2 cm) (each) signed lower right (each): Douglas K Hall Provenance: The Artist Private Collection, New Mexico $2,000 – $3,000 (for the set)

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165

351 CRAIG VARJABEDIAN (b. 1957) Sunset and Evening Storm, 1985 gelatin silver print 8 7/8 x 10 7/8 in (22.5 x 27.6 cm) signed lower right: Craig Varjabedian This lot also includes: Varjabedian, Craig. Places of Power. Santa Fe, 1986. 8vo. First Edition, No. 116 / 150.

Hand bound portfolio of photographs.

Provenance: Private Collection, Arizona $1,000 – $1,500

352 CRAIG VARJABEDIAN (b. 1957) Crosses gelatin silver print 8 ½ x 10 1/8 in (21.6 x 25.7 cm) signed lower right: Craig Varjabedian Provenance: Private Collection, Arizona $1,000 – $1,500

166

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353 THOMAS L. LEWIS (1907–1978) Arizona Desert at Sunset oil on canvas 25 x 30 in (63.5 x 76.2 cm) signed lower left: Thos. L. Lewis inscribed verso: “Arizona Desert at Sunset” / By Thos. L. Lewis / Taos, N.M. Provenance: Private Collection, Texas $1,000 – $2,000

354 FLORENCIO MOLINA CAMPOS (1891-1959) Serenidad, 1959 watercolor and gouache on paper 6 ½ x 9 ¾ in (16.5 x 24.8 cm) signed upper left: F. Molina / Campos inscribed verso: Serenidad / F.Molina / Campos / 1959 Provenance: Private Collection, Texas $3,000 – $5,000

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167

355 SAM SCOTT (b. 1940) Untitled (triptych), 1984 oil on canvas 48 ¼ x 60 in (122.6 x 152.4 cm) signed and dated lower right: Scott - ‘84 Provenance: The Artist Private Collection, Pennsylvania $20,000 – $30,000

356 SAM SCOTT (b. 1940) Still Life with Paint Brushes, 1978 oil on canvas 20 x 24 in (50.8 x 61 cm) signed and dated lower right: Scott 78 Provenance: The Artist Private Collection, Pennsylvania $1,000 – $3,000

168

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358 WALTER ALEXANDER BAILEY (1894–1989) Untitled (Landscape) oil on canvas 30 x 36 in (76.2 x 91.4 cm) signed lower left: WALTER A BAILEY Provenance: Private Collection, Pennsylvania $800 – $1,200

359 ERIC AHO (b. 1966) Untilted (Yellow Ground with Clouds), 1997 oil on board 10 x 11 ¾ in (25.4 x 29.8 cm) signed lower center: Eric Aho inscribed verso: I 97 Provenance: The Munson Gallery, Chatham, Massachusetts Private Collection, New Mexico $1,500 – $2,500

360 ERIC AHO (b. 1966) Untitled (Yellow Sky with Clouds), 1996 oil on canvas 7 7/8 x 9 7/8 in (20 x 25.1 cm) signed and dated upper center: Eric Aho 1996 Provenance: The Munson Gallery, Chatham, Massachusetts Private Collection, New Mexico $1,000 – $2,000

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169

361 EARL STROH (1924–2005) View of Taos Valley, ca. 1975-76 lithograph in colors, 35/50 16 ¼ x 25 ¼ in (41.3 x 64.1 cm) signed lower left 1st panel: Earl W Stroh editioned lower right 4th panel: 35/50 inscribed sequent verso: #1-4 Provenance: Private Collection, New Mexico $3,000 – $5,000

362 JORGE FICK (1932–2004) Cezanne in La Cienega, 1980 acrylic on paper 13 ¾ x 16 ¾ in (34.9 x 42.5 cm) signed lower center: J. Fick dated lower left: 3.X.80 inscribed verso: CEZANNE IN LA CIENEGA Provenance: Private Collection, New Mexico $600 – $900

170

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363 LEAL MACK (1892–1962) Untilted (Autumn Harvest) oil on canvas 40 x 50 in (101.6 x 127 cm) signed lower right: Leal Mack Provenance: Private Collection, New Mexico $2,000 – $4,000

364 MICHAEL STACK (b. 1947) Summer Morning Cloud, 2004 oil on canvas 18 x 15 in (45.7 x 38.1 cm) signed lower left: MichAel StAck inscribed verso: Varnished 2004 Summer Morning Cloud © 2004 stamped verso: ARTIST RETAINS / ALL REPRODUCTION RIGHTS Provenance: Private Collection, Arizona $1,500 – $2,500

365 THOMAS DE DECKER (b. 1951) Evening Encampment, 2019 oil on canvas 24 x 30 in (61 x 76.2 cm) signed lower right: Thomas de Decker inscribed verso: “Evening Encampment” by Thomas de Decker Provenance: The Artist $3,000 – $4,500

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171

366 PETER HAGEN (b. 1944) Tracks in the Arroyo oil on canvas 24 1/8 x 30 in (61.3 x 76.2 cm) signed lower left: Peter Hagen inscribed verso center left: “Tracks in the / Arroyo” /

by Peter Hagen / oil 24 x 30 / © Provenance: Private Collection, New Mexico $2,000 – $4,000

367 RICHARD FRANZ KOLLORSZ (German, 1900–1983) Untitled (Mountains and Lake) oil on canvas 23 ½ x 35 ½ in (59.7 x 90.2 cm) signed lower right: Kollorsz Provenance: Private Collection, Michigan $2,000 – $3,000

368 HUGO HERBECK (1923–2009) Spring Valley in Bandera, Texas oil on canvas 24 x 36 in (61 x 91.4 cm) signed lower left: Hugo Herbeck Provenance: Rainone Gallery, Arlington, Texas Private Collection, Texas $4,000 – $5,000

172

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369 CHRISTOPHER GERLACH (b. 1952) Untitled (Sunrise Landscape), 1982

370 DWIGHT C. HOLMES (1900–1986) Pecos Mountains, New Mexico

oil on canvas 22 x 28 in (55.9 x 71.1 cm) signed and dated lower right: GERLACH ‘82

oil on panel 16 x 20 in (40.6 x 50.8 cm) signed lower left: Dwight C. Holmes inscribed verso: “Pecos Mts” / #1 / No. on hwy 25 out of Albuquerque N. Mex. / By. Dwight C. Holmes / by daughter Jean Redditt / 2-11-95 / executor estate

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

Provenance: Private Collection, Texas $1,000 – $3,000

371 PAUL ABRAM (1933–2005) Canal Road

372 PAUL STRISIK (1918–1998) Sunlight and Shadow

oil on canvas 20 x 24 in (50.8 x 61 cm) signed lower left: Paul Abram

oil on canvas 20 x 30 in (50.8 x 76.2 cm) signed lower right: P. Strisik N.A.

Provenance: Private Collection, Texas

Provenance: Private Collection, Texas

$1,500 – $2,500

$2,000 – $3,000

SANTA FE ART AUCTION

173

373 HOWARD RUSSELL BUTLER (1856–1934) Southwestern Landscape pastel on paper 6 x 9 in (15.2 x 22.9 cm) signed lower right: H.R. Butler Provenance: Private Collection, Texas $600 – $1,200

374 HOWARD RUSSELL BUTLER (1856–1934) Landscape with Riders pastel on paper 6 x 9 in (15.2 x 22.9 cm) initialed lower left: H.R.B. Provenance: Private Collection, Texas $600 – $1,200

174

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375 CHARLES HENRY REYNOLDS (1902–1963) Home in Taos oil on canvas 16 x 20 in (40.6 x 50.8 cm) signed lower right: Chas H. Reynolds Provenance: Private Collection, Texas $2,000 – $4,000

376 WALT WOOTEN (b. 1939) Untitled (Adobe Scene with Mother and Child) oil on canvas 63 x 64 in (160 x 162.5 cm) signed upper right: Walt Wooten Provenance: Private Collection, Illinois $3,000 – $5,000

SANTA FE ART AUCTION

175

377 BILL FREEMAN (b. 1926) Big Horn Sheep oil on canvas 18 x 24 in (45.7 x 61 cm) signed lower left: Bill Freeman Provenance: Private Collection, Texas $1,000 – $2,000

378 DANIEL SMITH (b. 1954) Boys in the Band acrylic on board 15 x 25 in (38.1 x 63.5 cm) signed lower right: Smith © Provenance: Daniel Smith Wildlife, Bozeman, Montana Private Collection, Arizona $6,000 – $10,000

176

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379 BOB KUHN (1920–2007) Lynx conte crayon on paper 6 ½ x 9 ¼ in (16.5 x 23.5 cm) signed lower right: Kuhn Provenance: Private Collection, Colorado $1,500 – $2,500

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177

INDEX ABRAM, PAUL, JR. Canal Road, 371 ACHEFF, WILLIAM Still Life with Daisies, 291 ADAMS, KENNETH The Brick Maker, 37 Untitled (Landscape), 80 AHO, ERIC Untilted (Yellow Ground with Clouds), 359 Untitled (Yellow Sky with Clouds), 360 ANDERSON, JERRY Quicksand, 208 ANIK, ROBERT WESLEY Wild Steer, 100 ANTON, BILL Late Night Remnants, 160 APPLEGATE, FRANK Northern New Mexico Landscape, 45 APPLEGATE, FRANK Untitled (Pueblo Dance Scene), 46 ASPEVIG, CLYDE The Deerfield River, 136 Sitka Bay, 137 BAHE, ALLEN F. The Old Hunter, 338 BAILEY, WALTER ALEXANDER Untitled (Landscape), 358 BAIZE, WAYNE Around the Water Wagon, 314 BAKOS, JOZEF Untitled (Sloping Portal), 49 Winter on the Homestead, 50 Untitled (Forest Path), 51 Adobe House, 52 Spring, 53 BALDRIDGE, CYRUS Trampas, 84 Farm Valley, 85 Cowboy in Arizona, 86 BALINK, HENRY Near Santa Fe, N.M., 82 Chief Juan Martinez (Taos), 108 BAUMANN, GUSTAVE Ranchos de Taos, 28 Taos Patio, 29 Rio Tesuque, 30 Redwood, 31 Tent Rock Trail, 32 Quiet Corner, 33 An Eagle Dance Ceremony - Tesuque Pueblo, 34 El Velorio, 35 Oval Floral (Marigolds), 297 BEELER, JOE Chief Joseph, 210 Night’s Song, 211 Fur Trapper, 339 BENRIMO, THOMAS Venetian Fantasy, 171 BENTON, THOMAS HART The Benton Farm, 36 Untitled (Western Landscape Study), 60 BERNATH, SANDOR Untitled, (New Mexico Adobes), 58 BERNINGHAUS, CHARLES Untitled (Winter Landscape), 91 Untitled (Aspens in Autumn), 92 BIERSTADT, ALBERT The Rocky Mountains, Lander’s Peak, 119

178

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BISTTRAM, EMIL Untitled (Mountain), 43 Ranchos Church, 44 Dance of the Sea Urchins, 173 Combat, 183 BLUMENSCHEIN, ERNEST L. Margaret Berg, 345 BODELSON, DAN Indian Hunter, 315 BOREIN, EDWARD The Bell Mare, 326 BORGLUM, SOLON Sioux Buffalo Dancer, 205 Horse Tamed, 204 BOURKE, GEORGE Pair of Watercolors, 330 BRADY, BRUCE Tatanka, 206 BRETT, DOROTHY Jet and Moon, 273 BROWN, HARLEY Dull Knife, 337 BURBANK, ELBRIDGE AYER Chief Geronimo, Apache, 122 Red Woman, Southern Cheyenne, 123 Untitled (Still Life with Peaches), 124 BUTLER, HOWARD RUSSELL Southwestern Landscape, 373 Landscape with Riders, 374 CAMPOS, FLORENCIO MOLINA Serenidad, 354 CANNON, T. C. Grandmother Gestating Father, 243 Untitled (Indian with Sunglasses), 244 CARLSON, GEORGE The Sentinel, 144 Stillness in Moonlight, 145 CASE, G. RUSSELL Valley Showers, 157 CATUSCO, LOUIS March 1980, 180 CHAPPELL, BILL Apache Warrior (Geronimo), 203 CHATHAM, RUSSELL Evening Near Springdale, 147 CHAVEZ, ARTURO O’Keeffe Country Sunset, 146 CLARK, BENTON HENDERSON Untitled (Wild Bronco), 99 COOK, HOWARD Talpa and Taos, 19 Cumberland Girl, 20 Good Friday, Procession #5, 168 CORNWELL, DEAN Androscoggin River Falls, Study, 159 COUSE, EANGER IRVING Taos Landscape, 115 CRAIG, CHARLES Untitled (Indians on Horseback in a Storm), 331 DARRO, TOM Weaving in the Pine Country, 308 DASBURG, ANDREW Joseph Bakos, 343 Nancy Lane, 344 DAUGHTERS, ROBERT Untitled (New Mexico Landscape), 164 DAVEY, RANDALL Portrait of a Young Girl, 276 Flowers in a Vase, 295

DAVID, NEIL, SR. Chief Kachina of Walpi Village, 191 Awatovi Snake Society, 192 Spider Woman and Muingwa, 193 DE DECKER, THOMAS Evening Encampment, 365 DEHN, ADOLF ARTHUR Mare and Colt, 59 DELLENBAUGH, FREDERICK Untitled (Seated Indian), 316 DEMING, EDWIN After the Comanches, 332 DIXON, MAYNARD Untitled (Cowboy on Horseback), 104 DR. ATL (GERARDO MURILLO) Untitled (Landscape), 341 EATON, MARJORIE Study for “The Plasterers”, 47 EGGENHOFFER, NICK Fur Trapper, 319 Untitled (Study of Horses), 320 ELLIS, FREMONT El Quique Church, 74 ELWELL, ROBERT FARRINGTON Gambler’s Luck, 103 ENNIS, CARY The Chinese Vase, 292 FACTOR, GAIL Mesita I, 306 FELSING, JOHN Watcher in the Woods, 149 FICK, JORGE Cezanne in La Cienega, 362 FISCHER, GEORGE Winter’s Shadows, 286 FLECK, JOSEPH View from Fleck’s Talpa Residence, 77 Ranches of Taos, New Mexico, 78 Llano Quemado, 79 FORSYTHE, CLYDE Furrowed Hills, 93 Desolation Canyon - Death Valley, 94 FRANK, ALYCE Realm of Arroyo Hondo, 302 Mesa at Ghost Ranch, 303 FREEMAN, BILL Big Horn Sheep, 377 FRIED, PAL Bucking Bronco, 101 GASPARD, LEON Portrait of a Girl (Agra India), 105 Russian Street Scene, 106 Taos Indians and Aspens, 107 GERLACH, CHRISTOPHER Untitled (Sunrise Landscape), 369 GIBBERD, ERIC Homage to Cezanne (Mount St. Victoria), 131 GIFFORD, CHARLES HENRY Untitled (Sailboat at Sunset), 148 GILPIN, LAURA Navajo Summer, 266 Irene Yazzie Weaving, 267 Setah Begay, Navaho Medicine Man, 268 GOEBEL, ROD Taos Afternoon, 150 Uncle Pacoma’s House, 151

INDEX GONSKE, WALT Almost Spring on the Hondo, 152 Williams Creek, Colorado, 153 Penasco Spring, 154 Farm Yard, 155 GORMAN, R. C. Natoma, 215 Magenta Skirt, 216 Canyon Harvest, 217 Trilogy, 218 Lady Anne, 219 GRAY, DARREN VIGIL Untitled, 242 GROLL, ALBERT Suite of Four Southwest Drawings, 27 GUZIK, NANCY Trumpet Lilies, 290 HAGEN, PETER Tracks in the Arroyo, 366 HALL, DOUGLAS KENT Untitled (Ceremonial Dancers), 350 HAMILTON, HAMILTON Untilted (Field with Haystacks), 130 HANTMAN, CARL Max Brand, 311 HARDIN, HELEN Mimbres Snake Rabbit, 249 HARMAN, FRED Untitled (Arroyo Rescue), 102 HARTWIG, HEINIE Untitled (River Encampment), 83 HAVARD, JAMES Shot in the Hand-Apsaroke, 238 Untitled, 239 HERBECK, HUGO Spring Valley in Bandera, Texas, 368 HERRERA, JOE Bear Hunt, 197 HERTEL, SUSAN Red Hitching Post, 287 Two Women Talking, 288 Untitled (Interior with Dogs), 289 HILL, HOWARD Untitled (Indians in a Landscape), 126 HOLMES, DWIGHT C. Pecos Mountains, New Mexico, 370 HOMER, SAINT CLAIR, II The Star Shooter, 184 HONANIE, DELBRIDGE Hopi Ceremony, 190 HOUSER, ALLAN Peaceful Serenity, 212 Plains Drummer, 213 HOWE, OSCAR Medicine Man, 185 HURD, PETER A Frosty Morning, 61 La Sierra Sacramento Vista de La Luz, 62 Adobe House with Clouds in Meadow, 63 Watertank Clouds / Mountain Shower, 64 Home for Supper, 65 HURLEY, WILSON Lone Pine Mesa, 140 Santa Fe Cottonwood, 141 Sandias from Anipstara, 142 HYDE, DOUG Corn Harvest, 214 JACKSON, WILLIAM HENRY Blackfoot Indian at Grand Teton, Wyoming, 125

JIRBY, INGER Spring Comes to La Cienega, 304 Ranchos de Taos, 305 JOHNSON, FRANK TENNEY Untitled (Mountain), 118 JONSON, RAYMOND Polymer No. 9, 176 Oil No. 9, 177 Composition, 178 KABOTIE, MICHAEL Signatures from the Past, 195 Ceremonial Priest, 194 KING, CLINTON BLAIR Untitled (Bouquet of Flowers), 296 KISSEL, ELEANORA Untitled (Bouquet of Flowers), 293 White Flowers, 294 KLOSS, GENE Dancers Will Bring Rain, 1 In Ranchos de Taos, 2 Indian Ovens, 3 Morning at the Pueblo, 4 Ceremonial Day at Taos, 5 Song of Creation, 6 To a Wedding in North House, 7 Adobes in the Snow, 8 Snowy Banks, 9 Rocky Mountain Valley, 10 Mesa Verde Cliff Dwelling, 11 Pacific Cove, 12 Jester’s Fun, 13 All Soul’s Day Pilgrimage, 14 Chance Encounter, 15 Fiesta Parasol, 16 Song to the Sun Turning North, 17 Keresan Dancers (A Winter Dance San Felipe Pueblo, New Mexico), 18 Windy Day Frolic, 263 KNEE, GINA Lots of Things for Cynthia, 254 KOLLORSZ, RICHARD FRANZ Untitled (Mountains and Lake), 367 KREHBIEL, ALBERT Purple Mountain Majesty, 87 Pack Mules at Green Door, 88 Saddled Up...and Waiting, 89 KUHN, BOB Lynx, 379 KURMAN, RICHARD Hall 827 Room Two, 179 LANTZ, PAUL Chamita (Verso Portrait of a Woman), 90 LEE, BOB Bad to Buck, 98 LEIGH, WILLIAM ROBINSON Foul Rope Left (Bronco Buster), 321 Foul Rope Right (Bronco Buster), 322 Dust Storm, 323 Three Burros (Portrait of Pack Donkeys), 324 Foul Rope Left (Bronco Buster), 325 LELAND, CLARA WALSH Santa Fe Scene, 257 LEWIS, THOMAS L. Arizona Desert at Sunset, 353 LIPPINCOTT, JANET Summer, 269 New Mexico Landscape, 270 Green Landscape, 271 Homage to Rembrandt, 272

LOCKWOOD, WARD Blossoming Tree, 48 LOMAKEMA, MILLAND Corn Maidens, 186 Untitled, 187 Abstract of Whipper Kachina, 188 Symbols of Home Dance, 189 LOVATO, CHARLES F. Footsteps of the Past, 199 LUDINS, EUGENE Desert Ranch, 70 LUJAN, MERINA The Forest, 251 LUMPKINS, WILLIAM Orange Trees, 42 Desert Series, 174 Untitled, 175 MACINTIRE, KENNETH STEVEN Pauline Chapel, Pikes Peak, Colorado, 132 MACK, LEAL Untilted (Autumn Harvest), 363 MARKOS, LAJOS Vamanos, 161 MARTINEZ, JULIAN (POCANO) Two Snake Dancers, 198 MARTINEZ, MIGUEL Figures with Rancho Church, 220 Portrait of Two Women, 221 Portrait of a Woman, 222 Two Nudes, 223 MATTHEWS, WILLIAM Forest from Spain, 312 Spring Hobbles, 313 MAUZEY, MERRITT Trip to Gin, 342 MCAFEE, ILA October (New Mexico Landscape), 264 MCGARY, DAVE Touch the Clouds (MAHPIYA ICAHTAGYA), 246 MEIDUCH, DAN Almost Quittin’ Time, 162 MOLNAR, GEORGE Navajo Sage, 340 MORANG, ALFRED Three New Mexico Scenes, 25 New Mexico Landscape, 56 New Mexico Landscape, 57 Flower of the Evening, 277 Untitled (Two-Sided Bar Scene/Portrait), 278 MORANG, DOROTHY ALDEN Untitled, 259 Untitled, 260 MOYERS, JOHN Passing by the Quarai Mission, N.M., 95 The Moki Blanket, 96 MOYERS, TERRI KELLY She Rode Like She Carried the Mail, 247 MOYERS, WILLIAM Winter, 201 NAMINGHA, DAN Triple Clouds, 232 Kachina Symbolism II, 233 Studio View, 234 Pahlik Mana, 235 Spirits Emerging, 236 Kachinas Dancing, 237 NASH, WILLARD Untitled (Woman with Violin), 274

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179

INDEX NAUMER, HELMUTH Untitled (New Mexico Farm), 68 Untitled (Adobe in the Foothills), 69 NIETO, JOHN Short Bull, 240 NORDFELDT, BJO Portrait of a Man, 275 PARSONS, SHELDON Autumn in New Mexico, 71 September 30, 72 Foothills, Santa Fe, 73 PHILLIPS, BERT GEER After the Ceremony, 113 Wild Iris and Taos, 114 PLETKA, PAUL Untitled (Group Indian Scene), 228 Untitled (American Indian Portrait), 229 Untitled (Bishop Portrait), 230 Untitled (American Indian Portrait), 231 PROCTER, BURT Marketplace, 310 PUMMILL, ROBERT Riding Shotgun, 163 QUICK-TO-SEE SMITH, JAUNE Camus Series, #8, 252 Camus Series, 253 REDIN, CARL Santa Fe Street Scene, 54 Aspen Trees, 55 REED, DOEL Penitente Cemetery, 38 Adobe and Wild Plum, 39 Mesa Montosa, 40 REEDY, LEONARD H. Pair of Watercolors, 328 Pair of Watercolors, 327 Untitled (Cowboys with Lassoed Bear), 329 REGIMBAL, JAMES P. Trail Company, 209 RENESON, CHET Untitled (Men by Canoes), 66 Untitled (Campsite), 67 REYNOLDS, CHARLES HENRY Home in Taos, 375 ROBERTS, DOLONA Blankets, 307 ROCHA, HORACIO RENTERÍA Untitled (Niño y Niña), 346 ROLLINS, WARREN ELIPHALET Adobe in Southwest Landscape, 117 ROSENTHAL, DORIS Tin Roofs at Huautla de Jimenez, 265 RUSH, OLIVE Untitled (Landscape with Antelope), 250 RUSSELL, CHARLES MARION The Snake Priest, 207 RUTHLING, FORD Black Olla, 300 SANCHEZ, ABEL 200 SANDZÉN, BIRGER Rocks and Clouds, 26 SAUERWEIN, FRANK PAUL New Mexico Vista, 120 Grand Canyon, 121 SCHLEETER, HOWARD B. Gentle Intruder, 169

180

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SCHMID, RICHARD Sandcastles, 279 Nude, 280 Portrait of Alison, 281 Head Study, 282 Rose Sketching, 283 Untitled (Nude), 284 Kathy in the Garden, 285 SCHOLDER, FRITZ New Mexico Revisited #2, 224 Buffalo in Grass, 225 Wooden Nickel, 226 Untitled (Buffalo Spirit), 227 SCOTT, SAM Untitled (Diptych), 355 Still Life with Paint Brushes, 356 SHAPIRO, PAUL Mesa with Red Sky, 181 Rising Cloud, 182 SHARP, JOSEPH HENRY Untitled (New Mexico Portrait), 109 Chizchile, Navajo, 110 The Artist’s Studio, Taos, 111 Jonquil, Narcissus, & California Bowl, 112 Landscape, 116 SHEPHERD, J. CLINTON Untitled (Roundup), 333 SHUFELT, ROBERT Where th’ Hell’s Bob?, 317 SHUSTER, WILL Pueblo Afternoon, San Ildefonso, 75 New Mexico Snow Country, 76 SIMS, AGNES Untitled (Ram Kachina), 261 Dance Rattles, 262 SISSON, LAURENCE PHILIP Untitled (Mesas at Twilight), 81 SLOAN, JOHN Indian Detour, 21 Knees and Aborigines, 22 Better Mouse Traps, 23 Santa Fe Family, 24 SLOANE, PHYLLIS Tulips, 298 Homage to Lautrec and Matisse, 299 SMITH, DANIEL Boys in the Band, 378 SOLLIDAY, TIM Peaceful Interlude, 158 STACK, MICHAEL Summer Morning Cloud, 364 STEFAN, ROSS Navajos at Ghost Mesa, 156 STEVENSON, BEULAH

By Shrine on Cerro Gordo, 255 San Acacio by Door Step, 256 STEWART, CHARLES The Warrior and the Star Precedes the Sun, 170 STRISIK, PAUL Sunlight and Shadow, 372 STROH, EARL Untitled (Taos, New Mexico), 41 View of Taos Valley, 361

TAIT, AGNES Untitled (New Mexico Adobe), 258 TALASWAIMA, TERRANCE Spotted Corn Germination, 196 TRENCHARD, GLADA AVANELLE Indian Harvest, 301 TURMAN, WILLIAM T. Taos Pueblo (Pair), 128 VARJABEDIAN, CRAIG Sunset and Evening Storm, 351 Crosses, 352 VELARDE, PABLITA Song of the Corn Dance, 248 VIGIL, VELOY Coral, 241 WADE, BOB Untitled (Group of American Indians), 347 13 Cowgirls, 348 Pancho Villa, 349 WALDRUM, HAROLD JOE Contrafuerte Grande - Ranchos de Taos, 167 WALTERS, CURT Clouds of Change, 139 WANDS, ALFRED Taos Church, 133 WELLS, C. J. To the Council, 309 WELLS, CADY Taos, 172 WHITE, RANDY LEE Red Hawk’s Portrait, 245 WIEGHORST, OLAF Nomads, 97 Indian by the Campfire, 202 Cowboy with Lasso, 318 Untitled (American Indian Studies), 334 Indian Chief, 335 Dancing Boy, Sioux, 336 WIGGINS, KIM D. Untitled (New Mexico Church), 166 Convergence at Ranchos, 165 WILLIAMS, FREDERICK B. Untitled (Landscape), 127 WOOD, ROBERT California Desert, 134 Sunset in the Texas Hill Country, 135 WOODSON, JIM Simultaneous Undifferentiated Transaction #1 (Ghost Ranch), 143 WOOTEN, WALT Untitled (Adobe Scene with Mother and Child), 376 YOUNG, HARVEY Spanish Peaks, 129

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.

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).

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

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

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

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

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

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

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

14. The Santa Fe Art Auction is pleased to present to art purchasers shipping options which are explained in the shipping form enclosed in this catalogue. If you misplace this form, call or send an email and another form will be provided.

15. Results are posted on the Santa Fe Art Auction web site and, upon request, may be sent to Buyers, catalogue subscribers, absentee and phone bidders, and other registered bidders.

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

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

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

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

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

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

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

PLACING ABSENTEE BIDS Absentee bids are accepted only if you have returned a signed Absentee Bid Form by mail or fax which authorizes the Santa Fe Art Auction to place bids on your behalf. The Absentee Bid Form appears in the back of this catalogue. Please complete and return to the Santa Fe Art Auction by November 8, 2019, 5 PM 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 8, 2019, 5 PM MST. Telephone bidders are encouraged to leave back up bids in case of technical difficulties. A Top Limit bid need not be specified.

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

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

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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Š 2019 Santa Fe Art Auction, LLC President: Gillian M. Blitch Director: Sarah M. Hassan Senior Auction Coordinator: Rachel E. Daley Photography: Krysta Jabczenski, Kristin Schillaci, Molly Wagoner Graphic Design: Shane Mieske Printing: O’Neil Printing, Arizona Binding: Roswell Book Binding, Arizona

932 Railfan Road

Saturday, November 9, 2019 12:30 PM MST 932 Railfan Road, Santa Fe NM 87505 © 2019 Santa Fe Art Auction Limited Co. 505.954.5858 santafeartauction.com