Santa Fe Art Auction: Signature Live Sale 2023

SIGNATURE LIVE SALE NOVEMBER 10–11, 2023 | SANTA FE, NEW MEXICO

November 10 – 11, 2023

SIGNATURE LIVE AUCTION Friday + Saturday, November 10 – 11, 2023 932 Railfan Road, Santa Fe, NM 87505 Session I | (Lots 1 – 105) Works on Paper Native American Arts Friday, November 10, 3:00 PM MST Session II | (Lots 106 – 210) Native American Arts Western Sculpture Paintings: Land of Enchantment Saturday, November 11, 10:00 AM MST Break for Lunch | 12:00 PM MST Session III | (Lots 211 – 403) Native American Jewelry American Painting + Sculpture Photography Saturday, November 11, 1:00 PM MST

RECEPTIONS + PREVIEWS

932 Railfan Road, Santa Fe, NM 87505 Session I Preview Reception + Lecture Wednesday, November 8, 5:00 – 7:00 PM MST Session II + III Previews + Cocktail Reception Friday, November 10, 5:00 – 7:00 PM MST General Previews November 6 – November 10, 2023 10:00 AM – 7:00 PM MST and by appointment

BIDDING OPTIONS Online Bidding santafeartauction.com invaluable.com liveauctioneers.com In-Person Bidding Register to attend at santafeartauction.com or visit 932 Railfan Road, Santa Fe, NM 87505 Telephone + Absentee Bidding Arrangements must be made no later than; November 9, 5:00 PM MST for Session I November 10, 5:00 PM MST for Session II + III Telephone bidders are encouraged to leave absentee bids in the case of technical difficulties.

Please direct all inquiries to 505.954.5858 Register online at santafeartauction.com

SESSION I

LOTS 1 – 105

Friday, November 10 3:00 PM MST

1 John Sloan (1871–1951) Santa Fe Family

2 John Sloan (1871–1951) The Black Pot

etching, edition of 100 editioned lower left: 100 proofs titled lower center: Santa Fe Family signed lower right: John Sloan 3 ⅛ x 3 ⅛ in. (7.9 x 7.9 cm.)

etching, edition of 100 editioned lower left: 100 proofs signed lower right: John Sloan 6 x 4 in. (15.2 x 10.2 cm.)

Provenance: Private Collection, Arizona $600 — $900

Provenance: Private Collection, Arizona $800 — $1,200

3 Coy Avon Seward (1884–1939) Pueblo Corner, 1931

4 Gustave Baumann (1881–1971) An Eagle Dance Ceremony – Tesuque Pueblo, 1932

lithograph titled lower left: Pueblo Corner signed and dated lower right: CA SEWARD ‘31 6 x 4 in. (15.2 x 10.2 cm.)

woodcut, edition of 3000 carved in block lower left: G [heart in hand chop] B 7 x 7 in. (17.8 x 17.8 cm.)

Provenance: Private Collection, Arizona $800 — $1,200

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

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5 Gene Kloss (1903–1996) Prelude to the Gift Dance, 1984

6 Gene Kloss (1903–1996) Fiesta Parasol, 1969

etching, drypoint, edition 42 of 50 editioned and titled lower left: 42/50 Prelude To The Gift Dance signed lower right: Gene KLoss inscribed verso 11 x 13 ⅞ in. (27.9 x 35.2 cm.)

etching, edition 61 of 75 editioned and titled lower left: 61/75 Fiesta Parasol signed lower right: Gene KLoss 13 ⅞ x 11 in. (35.2 x 27.9 cm.)

Provenance: Owings-Dewey Fine Art, Santa Fe, New Mexico Private Collection, Arizona Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 203, No. 621.

Provenance: Private Collection, Arizona Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 109, No. 530. $400 — $600

$800 — $1,200

7 Gene Kloss (1903–1996) Corn Dance Maiden, 1973

8 Gene Kloss (1903–1996) Navajo Canyon Cliffs, 1974

etching, drypoint, edition 17 of 50 editioned and titled lower left: 17/50 Corn Dance Maiden signed lower right: Gene KLoss N.A. 5 ¾ x 4 ¼ in. (14.6 x 10.8 cm.)

etching, drypoint, edition 32 of 50 editioned and titled lower left: 32/50 Navajo Canyon Cliffs signed lower right: Gene KLoss 11 ⅞ x 15 in. (30.2 x 38.1 cm.)

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

Provenance: Baker Gallery of Fine Art, Lubbock, Texas Private Collection, Arizona

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 138, No. 555.

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 146, No. 563.

$400 — $600

$800 — $1,200

SANTA FE ART AUCTION

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9 Gene Kloss (1903–1996) Rabbit Hunters on the Way, 1973 drypoint, edition 24 of 35 editioned and titled lower left: 24/35 Rabbit Hunters on the Way signed lower right: Gene Kloss N.A. 10 x 18 in. (25.4 x 45.7 cm.)

Provenance: Private Collection, New Mexico *Property sold to benefit the mission and vision of the Couse-Sharp Historic Site, Taos, NM Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 127, No. 545. $800 — $1,200

10 Gene Kloss (1903–1996) Singers Over the Bridge, 1960 etching and drypoint, edition 36 of 50 editioned and titled lower left: 36/50 Singers over the Bridge signed lower right: Gene Kloss N.A. 10 ¾ x 13 ⅞ in. (27.3 x 35.2 cm.)

Provenance: Private Collection, New Mexico *Property sold to benefit the mission and vision of the Couse-Sharp Historic Site, Taos, NM Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 66, No. 489. $800 — $1,200

11 Gene Kloss (1903–1996) South House – Taos Pueblo, 1941

12 Gene Kloss (1903–1996) To a Wedding in North House, 1973

etching, edition of 75 titled lower left: South House - Taos Pueblo signed lower right: Gene Kloss 6 x 8 in. (15.2 x 20.3 cm.)

etching, drypoint, aquatint, Artist’s Proof editioned and titled lower left: Artist's Proof To A Wedding in North House signed lower right: Gene Kloss 11 ⅞ x 14 ⅞ in. (30.2 x 37.8 cm.)

Provenance: Private Collection, Arizona

Provenance: Private Collection, New Mexico *Property sold to benefit the mission and vision of the Couse-Sharp Historic Site, Taos, NM

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 207, No. 380. $1,500 — $2,500

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 133, No. 551. $1,500 — $2,500

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13 Gene Kloss (1903–1996) Processional – Taos, 1948

14 Doel Reed (1894–1985) Penitente Cemetery, 1960

aquatint, drypoint titled lower left: Processional - Taos signed lower right: Gene Kloss 9 ¾ x 13 ¾ in. (24.8 x 34.9 cm.)

aquatint, edition 16 of 25 editioned lower left: 16/25 signed lower right: Doel Reed, n.a.

12 x 20 ¼ in. (30.5 x 51.4 cm.)

Provenance: Private Collection, Arizona

Provenance: Private Collection, New Mexico

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 245, No. 431.

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.

$2,000 — $4,000

$2,000 — $4,000

15 Yasuo Kuniyoshi (1893–1953) Western Street, 1941

16 Earl Stroh (1924–2005) Suite of 15 Lithographs, 1971–1978

graphite on paper signed lower left: Kuniyoshi 11 x 15 ⅝ in. (27.9 x 39.7 cm.)

color lithographs (Tamarind Press) each signed, dated, editioned, inscribed

Provenance: Sidney & Jean Frauwirth Collection, Massachusetts Mathew & Meri Frauwirth Collection, New Mexico Exhibited: Kuniyoshi Memorial Exhibition for Japan, The Museum of Modern Art, New York, New York (label verso) $2,000 — $4,000

multiple editions + variations: Cedar, 1978; Edge of the Mesas I + II, 1975-1977; Symbiosis I + II, 1978; One Figure, 1971, Two Figures, 1971 dimensions vary smallest: 14 ¾ x 24 in. (37.5 x 60.9 cm.) largest: 22 x 29 in. (55.88 x 73.66 cm.)

Provenance: Private Collection, New Mexico $3,000 — $5,000

SANTA FE ART AUCTION

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17 Lon Megargee (1883–1960) Longhorns woodcut 12 x 14 ¼ in. (30.5 x 36.2 cm.)

Provenance: Collier Gallery, Scottsdale, Arizona Private Collection, New Mexico $900 — $1,200

18 Lon Megargee (1883–1960) Self Portrait woodcut titled lower left: Self Portrait signed lower right: Lon Megargee 16 ¾ x 13 in. (42.5 x 33 cm.)

Provenance: Collier Gallery, Scottsdale, Arizona Private Collection, New Mexico $900 — $1,200

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19 Howard Post (b. 1948) Desert Landscape, 1991 colored pencil on paper signed lower left: H E Post 4 ¾ x 7 ½ in. (12.1 x 19.1 cm.)

Provenance: Collection of Ronald & Jacquelyn Feller, Tucson, Arizona $800 — $1,200

20 Howard Post (b. 1948) The Sort, ca. 1985 graphite on paper signed lower left: H E Post 4 ¾ x 7 ¾ in. (12.1 x 19.7 cm.)

Provenance: Collection of Ronald & Jacquelyn Feller, Tucson, Arizona $800 — $1,200

SANTA FE ART AUCTION

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21 Arthur W. Hall (1889–1981) Rio Galisteo watercolor on paper signed lower left: Arthur W. Hall 14 x 19 ½ in. (35.6 x 49.5 cm.)

Provenance: Private Collection, New Mexico $800 — $1,200

22 Otto August Kuhler (1894–1977) Peaceful Afternoon in the High Country watercolor on paper signed lower right: O Kuhler 19 ¾ x 26 ½ in. (50.2 x 67.3 cm.)

Provenance: Private Collection, New Mexico $800 — $1,200

23 Lloyd Lózes Goff (1908–1982) New Mexico, 1942 watercolor, gouache on paper signed and titled lower left: Lloyd Lózes Goff New Mexico 19 x 13 ¼ in. (48.3 x 33.7 cm.)

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

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24 Carl Von Hassler (1887–1969) Fishing Time, 1935 watercolor on paper signed and dated lower left: Von Hassler ‘35 18 x 21 in. (45.7 x 53.3 cm.)

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

25 Carl Von Hassler (1887–1969) Indian Cowboy and His Horse watercolor on paper signed lower right: Von Hassler 10 x 8 ⅝ in. (25.4 x 21.9 cm.)

Provenance: Private Collection, New Mexico $1,200 — $1,800

26 Alfred Gwynne Morang (1901–1958) Lady of the Night pastel on paper signed lower center: Alfred / Morang 13 ½ x 8 ¼ in. (34.3 x 21 cm.)

Provenance: Broschofsky Galleries, Ketchum, Idaho $1,000 — $2,000

SANTA FE ART AUCTION

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27 Alfred Gwynne Morang (1901–1958) Pueblo Landscape watercolor on paper signed lower right: Alfred Morang 7 x 8 ¾ in. (17.8 x 22.2 cm.)

Provenance: Private Collection, Idaho $1,000 — $2,000

28 William Howard Shuster Jr. (1893–1969) Untitled (Ceremony) gouache on paper signed lower right: Will Shuster 15 ¾ x 11 ¾ in. (40 x 29.8 cm.)

Provenance: Private Collection, Oklahoma $3,000 — $5,000

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29 Quincy Tahoma (Diné [Navajo], 1920–1956) Buffalo, Bull, and Bear, 1945

30 Terry Saul (Choctaw, 1921–1976) Untitled (Crossing Over)

tempera on paper signed lower right: [artist’s cipher] / TAHOMA / ‘45 23 ¾ x 18 in. (60.3 x 45.7 cm.)

watercolor on paper signed lower right: C. TERRY SAUL OU-ASL 24 ¾ x 37 ⅝ in. (62.9 x 95.6 cm.)

Provenance: Private Collection, Texas

Provenance: Private Collection, Texas

$1,500 — $2,500

$2,000 — $4,000

31 Wilfred Langdon Kihn (1898–1957) Indian Maiden, Laguna Pueblo, 1931

32 Anna Katherine Skeele (1896–1963) Untitled (Native American Dance)

pastel on paper signed and dated lower right: W. LANGDON KIHN 1931 19 ½ x 14 in. (49.5 x 35.6 cm.)

watercolor on paper initialed lower right: KSD 22 x 29 in. (55.9 x 73.7 cm.)

Provenance: Private Collection, Arizona

Provenance: Private Collection, Arizona

$1,500 — $2,500

$2,000 — $4,000

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33 Pablita Velarde [Tse Tsan] (Santa Clara, 1918–2006) Race in the Forest casein watercolor on paper signed lower right: PAblitA VElARdE accompanied by artist’s original correspondence 14 x 19 in. (35.6 x 48.3 cm.)

Provenance: The Artist Private Collection, New York $4,000 — $8,000

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34 Pablita Velarde [Tse Tsan] (Santa Clara, 1918–2006) Untitled (The Pottery Market at Santa Clara) gouache on paper signed lower right: PAblitA VELARdE 10 x 16 ¾ in. (25.4 x 42.5 cm.)

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

35 Norma Howard (Choctaw-Chickasaw, b. 1958) Untitled (Two Figures with Horse Drawn Wagon), 2003 watercolor on paper signed and dated lower left: Norma Howard / 2003 16 ⅜ x 20 ½ in. (41.6 x 52.1 cm.)

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

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36 Norma Howard (Choctaw-Chickasaw, b. 1958) Untitled (Gathering), 1997 watercolor on paper signed and dated lower left: Norma Howard / 1997 14 ⅞ x 21 in. (37.8 x 53.3 cm.)

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

37 Genni Powers (Cherokee, b. 1939) Round Up For The Trail, 1992 acrylic on paper signed and dated lower right: GENNi 92 18 ¾ x 35 ¾ in. (47.6 x 90.8 cm.)

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

38 Norma Bassett Hall (1889–1957) Aspen and Spruce, ca. 1940 silkscreen titled lower left: Aspen and Spruce signed lower right: Norma Bassett Hall 11 x 13 in. (27.9 x 33 cm.)

Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, New Jersey $3,000 — $5,000

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39 Gustave Baumann (1881–1971) Taos Placita, 1947 color woodcut, edition 73 of 125 titled lower left: TAOS PLACITA editioned lower right: 73 125 signed lower right: Gustave [hand-in-heart chop] Baumann 9 ½ x 11 ⅛ in. (24.1 x 28.3 cm.)

Provenance: Private Collection, New Mexico Literature: Baumann Inventory No. 132 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. 170. $8,000 — $12,000

SANTA FE ART AUCTION

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40 Gustave Baumann (1881–1971) Beginning of the Fiesta, 1931–32 color woodcut, edition 49 of 125 titled lower left: BEGINNING OF THE FIESTA editioned lower right: 49 125 signed lower right: Gustave [hand-in-heart chop] Baumann 7 ⅜ x 6 ⅛ in. (18.7 x 15.6 cm.)

Provenance: Private Collection, California Literature: Baumann Inventory No. 53 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. 97.

Martin F. Krause, Madeline Carol Yurtseven and David Acton, Gustave Baumann: Nearer to Art, Museum of New Mexico Press, Santa Fe, 1993, p. 104, No. 80. $10,000 — $15,000

41 Gustave Baumann (1881–1971) San Geronimo Taos, 1924 color woodcut, edition 106 of 125 titled lower left: SAN GERONIMO - TAOS editioned lower right: 106 125 signed lower right: Gustave [hand in heart chop] Baumann 8 ⅛ x 6 ½ in. (20.6 x 16.5 cm.)

The annual festival at Taos Pueblo is held on September 30, the feast day of San Geronimo, and was a must see for the artists of Taos and Santa Fe. The green boughs featured in the print were carried during the dance at sundown the day before the fiesta and again during the daylong festivities celebrating the harvest.

Provenance: Sotheby’s, NY, 1995 Private Collection, Indiana Literature: Baumann Inventory No. 52 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. 96.

Martin F. Krause, Madeline Carol Yurtseven and David Acton, Gustave Baumann: Nearer to Art, Museum of New Mexico Press, Santa Fe, 1993, p. 105, No. 81.

Exhibited: Denver Art Museum, April 20 - June 9, 1991: Woodblock prints from the Holme Roberts & Owen Collection $12,000 — $18,000

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42 Gustave Baumann (1881–1971) Night of the Fiesta – Taos, 1920 color woodcut, edition 75 of 125 titled lower left: NIGHT OF THE FIESTA - TAOS editioned lower right: 75 125 signed lower right: Gustave [heart-in-hand chop] Baumann 6 x 7 ½ in. (15.2 x 19.1 cm.)

Provenance: Private Collection, New Mexico Literature: Baumann Inventory No. 48 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. 92. $10,000 — $15,000

43 Gustave Baumann (1881–1971) Rio Tesuque, 1946 color woodcut, edition 40 of 125 titled lower left: RIO TESUQUE editioned lower right: 40 125 I signed lower right: Gustave [hand-in-heart chop] Baumann 16 x 16 ¾ in.

Provenance: Private Collection, California 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. $10,000 — $15,000

44 Gustave Baumann (1881–1971) Ranchos de Taos, 1930 color woodcut, edition 32 of 125 titled lower left: RANCHOS DE TAOS editioned lower right: #32-125 signed lower right: Gustave [hand-in-heart chop] Baumann 9 ½ x 11 ⅛ in. (24.1 x 28.3 cm.)

Provenance: JMW Gallery, Boston, Massachusetts Literature: Baumann Inventory No. 99 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. $12,000 — $18,000

SANTA FE ART AUCTION

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45 Gustave Baumann (1881–1971) Aspen Red River, 1925 color woodcut, edition 20 of 100 titled lower left: Aspen Red River editioned lower center: No 20 of 100 signed lower right: Gustave [hand-in-heart chop] Baumann 9 ¼ x 11 ⅛ in. (23.5 x 28.3 cm.)

Provenance: Private Collection, New Mexico Literature: Baumann Inventory No. 38 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. 104. $10,000 — $15,000

46 Gustave Baumann (1881–1971) Apple Blossoms, 1917 color woodcut titled lower left: Apple Blossoms signed lower right: Gustave [Swanli chop] Baumann 11 ¾ x 13 ¼ in.

Provenance: Private Collection, Colorado Literature: Gala Chamberlain, In a Modern Rendering: The Color Woodcuts of Gustave Baumann, New York, Rizzoli Electa, 2019, p. 194, No. 45. $10,000 — $15,000

47 Gustave Baumann (1881–1971) Rainy Day Promenade, 1918 color woodcut, edition 42 of 100 titled lower left: Rainy day Promenade editioned lower center: no 42/100 signed and dated lower right: Gustave [Swanli chop] Baumann 1918 image: 9 ⅝ x 11 ¼ in. (24.4 x 28.6 cm.) sheet: 13 ½ x 16 ¾ in. (34.3 x 42.5 cm.)

Provenance: Private Collection, New Mexico Literature: Baumann Inventory No. 22 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. 48. $7,000 — $9,000

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48 Maynard Dixon (1875–1946) Canyon del Muerto, 1923 conte crayon on paper signed, titled and dated lower left: M.D. / Canyon del Muerto / Oct 1923 13 x 15 ½ in. (33 x 39.4 cm.)

Provenance: Zaplin Lampert Gallery, Santa Fe, New Mexico Medicine Man Gallery, Tucson, Arizona Collection of Ronald & Jacquelyn Feller, Tucson, Arizona Exhibited: Longmont, Colorado, Longmont Museum, American Visionaries: Dorothea Lange & Maynard Dixon, March 2 - May 26, 2013 Wickenburg, Arizona, Desert Caballeros Western Museum, Maynard Dixon: Beyond the Clouds, December 9, 2016 - March 5, 2017 $10,000 — $15,000

49 Gustave Nordenskiold (Swedish, 1868–1895) The Cliff Dwellers of Mesa Verde, Southwestern Colorado, Their Pottery and Implements First Edition, P.A. Norstedt & Soner, Stockholm, 1893 inscribed by author, frontispiece: Herr General Counsel W. Schonlank / mit größter Hochachtung / erge´benst / G. Nordenskiold (translated: Mr. General Counsel W. Schonlank / with the utmost respect / sincerely / G. Nordenskiold) stamped frontispiece: Richard M. Howard 14 ½ x 11 ⅜ x 1 ⅞ in. (36.8 x 28.9 x 4.8 cm.)

First edition of the first serious archaeological study of the Mesa Verde and the Pueblo Indian cliff dwellings in the American Southwest, published by P.A. Norstedt & Soner, Stockholm, 1893. Translated into English by D. Lloyd Morgan. 61 plates / 12 of which are double-page (25 photographs, 9 photogravures, 6 tinted lithographs, 11 sepia-tone photographs, 10 line drawings, map + 94 text figures).

Provenance: The Richard M. Howard Collection, California $2,000 — $4,000

SANTA FE ART AUCTION

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50 Jozef Bakós (1891–1977) Spring Blossoms watercolor on paper signed lower right: BAKÓS 13 ⅜ x 19 ⅜ in. (34 x 49.2 cm.)

Provenance: The Owings Gallery, Santa Fe, New Mexico Addison Rowe Fine Art, Santa Fe, New Mexico Private Collection, Kansas $2,000 — $4,000

51 Jozef Bakós (1891–1977) Colorado Stream, 1945 watercolor on paper signed and dated lower right: BAKÓS / COLORADO / 45’ 14 ⅛ x 19 ⅛ in. (35.9 x 48.6 cm.)

Provenance: Private Collection, Arizona $1,200 — $1,800

52 Ward Lockwood (1894–1963) Southwest #11, ca. 1950 tempera on paper signed center right: LOCKWOOD 21 ½ x 30 ½ in. (54.6 x 77.5 cm.)

Provenance: The Ward Lockwood Estate Private Collection, New Mexico Canfield Gallery, Santa Fe, New Mexico Private Collection, New York, New York Coral Gables, Florida, 2002 Larsen Gallery, Scottsdale, Arizona, 2016 Private Collection, Kansas $1,500 — $2,500

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53 Howard Behling Schleeter (1903–1976) Grey Phantom, 1947 mixed media on paper signed upper right: HB Schleeter inscribed verso: 4 / MIXED / MEDIUM / SERIES / “GREY PHANTOM” / by: / HOWARD B SCHLEEtER. / ALBUQUERQUE NEW MEXICO. / DATE: APRIL 11 1947. / 7-77 47/15 {MIXED / MEDIA} 7 ¾ x 11 in. (19.7 x 27.9 cm.)

Provenance: Private Collection, Arizona $1,000 — $2,000

54 Louis Leon Ribak (1902–1979) Looking Outward watercolor, ink on paper signed lower right: Ribak 19 ⅞ x 37 ⅞ in. (50.5 x 96.2 cm.)

Provenance: Owings-Dewey Fine Art, Santa Fe, New Mexico Private Collection, Arizona $1,500 — $2,500

55 John Alfred Begg (1903–1974) Church at Ranchos de Taos, 1951 pastel on paper signed and dated lower right: JOHN / BEGG / 7/51 9 ½ x 12 ¾ in. (24.1 x 32.4 cm.)

Provenance: Private Collection, New Mexico $600 — $900

SANTA FE ART AUCTION

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56 Emil James Bisttram (1895–1976) Along the Rio Grande Gorge, Northern NM, 1973 pastel on paper signed lower right: BISTTRAM inscribed verso: Christmas 1973 21 x 29 ½ in. (53.3 x 74.9 cm.)

Provenance: Private Collection, Arizona $4,000 — $8,000

57 Emil James Bisttram (1895–1976) Koshare Dancers (Domingo Koshare), 1933 watercolor, graphite on paper signed lower right: BISTTRAM TAOS 23 ¼ x 17 ⅛ in. (59.1 x 43.5 cm.)

Provenance: Fenn Galleries, Santa Fe, New Mexico Private Collection, Texas $12,000 — $18,000

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58 Charles Sheeler (1883–1965) Untitled (Man at Work), 1927 watercolor on paper signed and dated lower center: Sheeler 1927 12 ⅞ x 13 ⅞ in. (32.7 x 35.2 cm.)

Charles Sheeler was an influential American artist who used both photography and painting, which he referred to as his 'separate eyes,' to capture the function, abstraction, and the human element of the American industrial and urban age.

He studied at the Philadelphia School of Industrial Art from 1900-1902, and from there went on to study at the Pennsylvania Academy of Fine Arts from 1903 to 1906. He became a leading figure in the Precisionist movement, which celebrated the new American landscape of skyscrapers, bridges, and factories. Subjects were reduced to their essential geometric shapes, eliminating detail, and as this untitled watercolor shows, with its upward perspective, introducing planes of light to focus on the grandeur of the worker and the steel.

Provenance: Private Collection, New Mexico $20,000 — $40,000

SANTA FE ART AUCTION

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59 Ben Shahn (1898–1969) Prohibition Repeal March gouache on board signed lower left: Ben Shahn 9 ¼ x 18 ¼ in. (23.5 x 46.4 cm.)

Provenance: The Artist Sidney & Jean Frauwirth Collection, Massachusetts Mathew & Meri Frauwirth Collection, New Mexico $3,000 — $6,000

60 Ben Shahn (1898–1969) Untitled (Boxers) watercolor on paper signed lower center: Ben Shahn 15 x 13 ½ in. (38.1 x 34.3 cm.)

Provenance: The Artist Sidney & Jean Frauwirth Collection, Massachusetts Mathew & Meri Frauwirth Collection, New Mexico $2,000 — $4,000

61 Ben Shahn (1898–1969) Untitled (Depression Era Man)

62 Louis Leon Ribak (1902–1979) Social Realism: Riot!

watercolor on paper signed lower right: Ben Shahn 15 x 17 ¾ in. (38.1 x 45.1 cm.)

oil on canvas signed lower left: L. RIBAK 8 ⅝ x 13 ¼ in. (21.91 x 33.66 cm.)

Provenance: The Artist Sidney & Jean Frauwirth Collection, Massachusetts Mathew & Meri Frauwirth Collection, New Mexico

Provenance: Private Collection, Arizona

$1,500 — $2,500

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$1,200 — $1,800

63 Reginald Marsh (1898–1954) Street Walking

64 Abraham Walkowitz (1878–1965) Isadora Duncan

oil on board initialed lower right: M 13 ¾ x 5 ¾ in. (34.9 x 14.6 cm.)

watercolor, ink on paper signed lower left: A. Walkowitz 13 ¾ x 8 in. (34.9 x 20.3 cm.)

Provenance: The Artist Sidney & Jean Frauwirth Collection, Massachusetts Mathew & Meri Frauwirth Collection, New Mexico

Provenance: The Artist Sidney & Jean Frauwirth Collection, Massachusetts Mathew & Meri Frauwirth Collection, New Mexico

$2,000 — $4,000

$600 — $1,200

65 John Whorf (1903–1959) Paris Scene (Arc de Triomphe) watercolor on paper signed lower right: John Whorf 14 ½ x 21 in. (36.8 x 53.3 cm.)

Provenance: E.A. Milch Incorporated, 1962 Sidney & Jean Frauwirth Collection, Massachusetts Mathew & Meri Frauwirth Collection, New Mexico $3,000 — $6,000

SANTA FE ART AUCTION

29

66 Fran Larsen (1937–2018) Crossing the Pass, 2000 watercolor on board with artist's unique frame signed lower right: LARSEN 29 ½ x 19 ½ in. (74.9 x 49.5 cm.)

Provenance: Private Collection, Florida $4,000 — $6,000

67 Fran Larsen (1937–2018) Pueblo Tribute watercolor on paper with artist's unique frame inscribed verso: F930/-003 / Pueblo Tribute 23 ½ x 19 ⅝ in. (59.7 x 49.8 cm.)

Provenance: Private Collection, Texas $1,000 — $2,000

68 Gisella Loeffler (1902–1977) Untitled (Peasant Girl) gouache on paper signed upper left: Gisella 10 ⅛ x 8 in. (25.7 x 20.3 cm.)

Provenance: Private Collection, Arizona $1,000 — $2,000

30

SANTA FE ART AUCTION

69 Dallin Maybee (Seneca/Northern Arapaho, 20th/21st Century) Bobcat Bonnet

70 Apache Pair of Dolls: Female + Male, ca. 1900–20

cloth, lace, glass beads, bobcat fur, ribbon, metal bell + buttons 7 x 8 x 4 ½ in. (17.8 x 20.3 x 11.4 cm.)

hide, glass beads, trade cloth female: 13 ¾ x 5 x 1 ½ in. (34.9 x 12.7 x 3.8 cm.) male: 14 ½ x 6 ½ x 2 in. (36.8 x 16.5 x 5.1 cm.) base: 9 ½ x 3 x ¼ in. (24.1 x 7.6 x 0.6 cm.)

Provenance: Private Collection, New Mexico $3,000 — $5,000

Provenance: Private Collection, New Mexico $3,000 — $5,000

71 Diné [Navajo] Beaded Leather Shoulder Bag, ca. 1910–20 white glass seed beads on commercial leather with cross and arrow designs, silver buttons hanging length: 31 in. (78.7 cm.) strap: 64 x 2 ½ x ¼ in. (162.6 x 6.4 x 0.6 cm.) purse: 7 ½ x 5 ½ x 1 ⅛ in. (19.1 x 14 x 2.9 cm.)

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

SANTA FE ART AUCTION

31

72 Hopi Wedding Cape with Suitcase, ca. 1930 solid cream, handspun yarn, tassels, reeds cape: 75 x 52 ½ in. (190.5 x 133.4 cm.) sash: 112 x 3 ¾ in. (284.5 x 9.5 cm.) carry case: 58 x 25 ⅜ in. (147.3 x 64.5 cm.)

Provenance: Private Collection, Arizona $1,200 — $1,800

73 Zuni/Hopi Manta, ca. 1900 wool, indigo, aniline and natural dyes 38 x 54 in. (96.5 x 137.2 cm.)

Provenance: Private Collection, Arizona $1,500 — $2,500

32

SANTA FE ART AUCTION

74 Eastern Plains Puzzle Pipe with Catlinite (Pipestone) Bowl, ca. 1885

75 Plains Puzzle Pipe, ca. 1885

carved wood, paint, catlinite pipe: 40 ½ x 2 ⅛ x 3 ⅛ in. (102.9 x 5.4 x 7.9 cm.) stand: 11 x 23 x 2 ½ in. (27.9 x 58.4 x 6.4 cm.)

carved wood, paint pipe: 31 x 2 x 4 ¼ in. (78.7 x 5.1 x 10.8 cm.) base: 9 ½ x 20 x 2 ½ in. (24.1 x 50.8 x 6.4 cm.)

Provenance: Western Reserve Historical Society, Cleveland, Ohio Richard Pohrt, Jr., Ann Arbor, Michigan Private Collection, New Mexico

Provenance: Private Collection, New Mexico $4,500 — $6,500

$6,000 — $9,000

76 Plains Pipe Tomahawk, ca. 1880 wood, brass, pewter inlay (deer and floral designs) on catlinite head, brain-tanned leather strap 23 x 6 ⅝ x 1 ⅛ in. (58.4 x 16.8 x 2.9 cm.) base: 13 ¾ x 14 ¾ x 2 ½ in. (34.9 x 37.5 x 6.4 cm.)

Provenance: Private Collection, New Mexico $3,000 — $5,000

SANTA FE ART AUCTION

33

77 Prehistoric/Ancestral Pueblo Duck Effigy Pitcher with Handle, ca. 1250

78 Prehistoric/Ancestral Pueblo Bird Effigy Pot, ca. 1250

fired clay, pigments 7 x 8 ¼ x 6 ½ in. (17.8 x 21 x 16.5 cm.)

fired clay, pigments 4 ¼ x 8 ¾ x 7 ¾ in. (10.8 x 22.2 x 19.7 cm.)

Provenance: The Paul Rhetts Collection, New Mexico

Provenance: The Paul Rhetts Collection, New Mexico

$1,200 — $1,800

$1,500 — $2,500

79 Hopi Polychrome Pottery Jar, ca. 1880

80 Hopi Group of Four Polychrome Pottery Items, ca. 1875

natural clay, pigments height: 7 ¼ in. x diameter: 9 ¾ in. (18.4 x 24.8 cm.)

natural clay, pigments largest: 4 x 6 ½ x 4 ⅛ in. (10.2 x 16.5 x 10.5 cm.) smallest: 1 ⅜ x 3 x 2 ⅛ in. (3.5 x 7.6 x 5.4 cm.)

Provenance: Private Collection, Arizona $2,500 — $4,500

34

SANTA FE ART AUCTION

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

81 Yuman/Hopi Lot of Two Polychrome Canteens, ca. 1880 natural clay, pigments 4 ⅝ x 4 ¼ x 3 in. (11.7 x 10.8 x 7.6 cm.)

4 ½ x 4 ⅛ x 2 in. (11.4 x 10.5 x 5.1 cm.)

Provenance: Private Collection, Arizona $1,500 — $2,500

82 Laguna Polychrome Bottle, ca. 1875 natural clay, pigments inscribed near neck: inscribed near neck: 92115 / Acoma Mindeleff 4 ¾ x 5 x 4 ¼ in. (12.1 x 12.7 x 10.8 cm.)

This bottle is signed on its shoulder “Acoma Mindeleff” indicating it was collected by Victor and Cosmos Mindeleff during their fieldwork for the Bureau of American Ethnology between 1881 and 1888.

Lanmon and Harlow, in The Pottery of Acoma Pueblo, indicate the Mindeleffs collected items at Acoma in 1883. Bottles do not have the flat backs seen on canteens and were intended to stand upright.

This example is decorated on both sides and is believed to have been manufactured a decade or more before its collection. The Mindeleffs published a study of Tusayan and Cibola Pueblo architecture in 1891 and Cosmos is best known for his early 1890s work at Casa Grande and Verde Valley in Arizona.

83 Acoma Polychrome Vase with Handles and Fluted Rim, ca. 1890 fired clay, pigments height: 13 ½ in. (34.3 cm.) x diameter: 10 ½ in. (26.7 cm.)

Provenance: Private Collection, Arizona $3,000 — $5,000

Provenance: Victor + Cosmos Mindeleff Private Collection, Arizona $2,000—$4,000

SANTA FE ART AUCTION

35

84 Maria Martinez (San Ildefonso, 1887–1980) + Popovi Da (San Ildefonso, 1923–1971) Polychrome Vase with Avanyu Design, ca. 1960 fired clay, pigments inscribed: Maria / Popovi height: 7 ½ x diameter: 9 ⅜ in. (19.1 x 23.8 cm.)

Provenance: Private Collection, Arizona $20,000 — $30,000

36

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85 Margaret Tafoya (Santa Clara, 1904–2001) Carved Blackware Shoulder Vase, ca. 1975 fired clay inscribed: Margaret / Tafoya height: 14 ⅛ x diameter: 11 ¼ in. (35.9 x 28.6 cm.)

Provenance: Private Collection, Arizona $7,000 — $10,000

86 Linda Tafoya-Sanchez (Santa Clara, b. 1962) Carved Redware Shoulder Jar with Avanyu Design fired clay inscribed: LINDA / TAFOYA-SANCHEZ / SANTA CLARA / PUEBLO 7 ½ x 9 ½ x 8 ½ in. (19.1 x 24.1 x 21.6 cm.)

Provenance: Private Collection, Utah $4,000 — $6,000

SANTA FE ART AUCTION

37

87 Linda Tafoya-Sanchez (Santa Clara, b. 1962) Carved Blackware Feather Vase with Avanyu Design fired clay inscribed: LINDA / TAFOYA-SANCHEZ / SANTA CLARA / PUEBLO height: 6 ¾ x diameter: 8 ¼ in. (17.1 x 21 cm.)

Provenance: Private Collection, Utah $3,000 — $5,000

88 Tammy Garcia (Santa Clara, b. 1969) Carved Blackware Vase with Turquoise Heishi, 2011 fired clay, turquoise inscribed: Tammy / Garcia / 8-2011 height: 8 ½ (21.6 cm.) x diameter: 7 ¾ in. (19.7 cm.)

Provenance: Private Collection, Maine $5,000 — $7,500

38

SANTA FE ART AUCTION

89 Steve Lucas (Hopi, b. 1955) Polychrome Jar with Geometric Design fired clay, pigments inscribed: S. Lucas / [artist’s cipher] height: 5 ½ x diameter: 10 in. (14 x 25.4 cm.)

Provenance: Private Collection, Utah $2,500 — $3,500

90 Lisa Holt (Cochiti, b. 1980) + Harlan Reano (Santo Domingo/Kewa, b. 1978) Large Singing Frog fired clay, natural pigments inscribed: Lisa Holt / Harlan Reano / Cochiti N.M. 20 ½ x 15 ⅜ x 10 ¼ in. (52.1 x 39.1 x 26 cm.)

Provenance: Private Collection, Utah $2,000 — $4,000

SANTA FE ART AUCTION

39

91 Zuni Pottery Owl, ca. 1881

92 Cochiti Pottery Owl, ca. 1885

natural clay, pigments 10 ⅜ x 6 ¼ x 6 ½ in. (26.4 x 15.9 x 16.5 cm.)

natural clay, pigments height: 8 ½ in. x diameter: 8 in. (21.6 x 20.3 cm.)

Provenance: The Collection of General Geo. P. Buell, 1881 Private Collection, Arizona

Provenance: Private Collection, Arizona

$2,000—$3,000

$1,200—$1,800

93 Otto Pentewa (Hopi, 1886–1961) Antelope Katsina

94 Charlie Willeto (1897–1964) Tall Figure

carved cottonwood, natural pigments, hide, feathers 20 ½ x 4 ¾ x 8 in. (52.1 x 12.1 x 20.3 cm.)

carved wood, natural pigments 49 ⅜ x 5 ¼ x 4 ¾ in. (125.4 x 13.3 x 12.1 cm.) with base: 49 ⅝ x 7 ⅜ x 6 in. (126 x 18.7 x 15.2 cm.)

Provenance: Collection of Frank Harlow Private Collection, New Mexico

Provenance: Private Collection, New Mexico

$6,000 — $8,000

$3,000 — $5,000

40

SANTA FE ART AUCTION

95 Apache Coiled Basket Tray featuring Human and Anthropomorphic Figures, ca. 1900 natural reeds height: 4 ¾ x diameter: 22 in. (12.1 x 55.9 cm.)

Provenance: The Paul Rhetts Collection, New Mexico $5,000 — $7,500

96 Apache Polychrome Basketry Jar, ca. 1920

97 Yavapai Basketry Olla featuring Human and Animal Figures, ca. 1925

willow, devils claw, yucca root height: 20 x diameter: 16 in. (50.8 x 40.6 cm.)

willow, devils claw height: 11 ⅞ x diameter: 11 ½ in. (30.2 x 29.2 cm.)

Provenance: Private Collection, Arizona

Provenance: Private Collection, Arizona

$4,000 — $6,000

$3,000 — $5,000

SANTA FE ART AUCTION

41

98 Yokuts Gambling Tray, ca. 1900 marsh grass, bracken fern root height: 1 ⅝ x diameter: 23 in. (4.1 x 58.4 cm.)

Provenance: Private Collection, Arizona $7,000 — $10,000

99 Maidu Coiled Flare Basket, ca. 1890–1910 sedge root, briar root, willow shoots height: 13 ¼ (33.7 cm.) x diameter: 22 in. (55.9 cm.)

Provenance: Private Collection, New Mexico $4,500 — $6,500

42

SANTA FE ART AUCTION

100 Pomo Large Twined Utility Basket, 1900 natural reeds, natural dyes height: 12 ½ x diameter: 15 ¼ in. (31.75 x 38.735 cm.)

Provenance: Private Collection, New Mexico $5,000 — $8,000

101 Attributed to Mary Knight Benson (Pomo, 1878 - 1930) Coiled Basketry Bowl, ca. 1900 willow, natural reeds, natural dyes, feathers height: 1 ½ x diameter: 3 ¼ in. (3.8 x 8.3 cm.)

Provenance: Private Collection, Arizona $1,500 — $2,500

SANTA FE ART AUCTION

43

102 Pima Basketry Jar, ca. 1920 devils claw, willow, bear grass height: 13 ¾ x diameter: 16 in. (34.9 x 40.6 cm.)

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

103 Pima Basketry Jar, ca. 1920 devils claw, willow, bear grass height: 12 x diameter: 17 in. (30.5 x 43.2 cm.)

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

44

SANTA FE ART AUCTION

104 Tlingit Tall Basketry Bowl with Imbricated Design, ca. 1890 natural reeds, natural dyes height: 8 ½ x diameter: 10 ½ in. (21.6 x 26.7 cm.)

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

105 Attributed to Elizabeth Hickox (Wiyot-Karuk, 1875–1947) Polychrome Basketry Bowl + Cup, ca. 1940 natural reeds, natural dyes bowl: 2 ⅛ x 5 ⅛ in. (5.4 x 13 cm.) cup: 2 ⅝ x 3 ⅜ in. (6.7 x 8.4 cm.)

Provenance: Private Collection, Arizona $1,200 — $1,800

SANTA FE ART AUCTION

45

SESSION II

LOTS 106 – 210

Saturday, November 11 10:00 AM MST

106 Mexico - Saltillo Blanket, ca. 1890 handspun wool, aniline dyes 82 x 38 in. (208.3 x 96.5 cm.)

Provenance: Private Collection, Colorado $1,200 — $1,800

107 Diné [Navajo] Germantown Rug, ca. 1885 handspun wool, natural and aniline dyes 54 ½ x 35 in. (138.4 x 88.9 cm.)

Provenance: Private Collection, Colorado $1,500 — $2,500

48

SANTA FE ART AUCTION

108 Diné [Navajo] Rug, ca. 1900 handspun wool, natural and aniline dyes 73 ½ x 68 ½ in. (186.7 x 174 cm.)

Provenance: Private Collection, Colorado $1,500 — $2,500

109 Diné [Navajo] Moki Blanket, ca. 1900 handspun wool, natural and aniline dyes 75 x 51 ¾ in. (190.5 x 131.4 cm.)

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

SANTA FE ART AUCTION

49

110 Diné [Navajo] Teec Nos Pos Rug, ca. 1940 handspun wool, natural and aniline dyes 63 x 44 in. (160 x 111.8 cm.)

Provenance: Private Collection, Arizona $2,500 — $3,500

111 Diné [Navajo] Man’s Wearing Blanket, ca. 1885 handspun wool, natural and aniline dyes 72 x 51 in. (182.9 x 129.5 cm.)

Provenance: Private Collection, Colorado $3,500 — $5,500

50

SANTA FE ART AUCTION

112 Diné [Navajo] Bisti Rug, ca. 1930 handspun wool, natural and aniline dyes 86 x 63 ¾ in. (218.4 x 161.9 cm.)

Provenance: Private Collection, New Mexico $2,500 — $4,500

113 Diné [Navajo] Large Teec Nos Pos Rug, ca. 1955 handspun wool, natural and aniline dyes 99 ½ x 54 ½ in. (252.7 x 138.4 cm.)

Provenance: Private Collection, Arizona $4,000 — $6,000

SANTA FE ART AUCTION

51

114 Diné [Navajo] Blanket, ca. 1880 handspun wool, indigo, green and aniline red dyes 63 x 50 ½ in. (160 x 128.3 cm.)

Provenance: Private Collection, Arizona $12,000 — $18,000

52

SANTA FE ART AUCTION

115 Mexico - Saltillo Early Blanket, ca. 1820 handspun wool, natural dyes 90 x 50 in. (228.6 x 127 cm.)

Provenance: Private Collection, New Mexico $25,000 — $35,000

SANTA FE ART AUCTION

53

116 Thomas Molesworth (1890–1977) Jack Rabbit Ashstand, ca. 1938 patinated iron 37 ½ x 8 ¾ x 8 ¾ in. (95.3 x 22.2 x 22.2 cm.)

Provenance: Private Collection, New Mexico Literature: Wally Reber and Paul Fees, Interior West: The Craft & Style of Thomas Molesworth, Cody, Wyoming, 1989, p. 52 (for a related model) Elizabeth Clair Flood, Cowboy High Style: Thomas Molesworth to the New West, Salt Lake City, Utah, 1992, p. 102 Terry Winchell, Molesworth: The Pioneer of Western Design, Layton, Utah, 2005, p. 169 (for a related model) $5,000 — $7,000

117 Mexican Long Single Plank Portal Bench, ca. 1890 carved pine 44 x 176 x 27 in. (111.8 x 447 x 68.6 cm.)

Provenance: Private Collection, New Mexico $3,000 — $5,000

118 Mexican Blanket Chest, 19th Century walnut 23 ½ x 24 x 45 ¾ in. (59.7 x 61 x 116.2 cm.)

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

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SANTA FE ART AUCTION

119 Luis Mora (20th Century) Nuestra Señora de la Inmaculada Concepción Bulto, ca. 1940

120 Charles M. Carrillo (b. 1956) Nuestra Señora de la Inmaculada Concepción Retablo, 1993

wood, gesso, pigments, gold paint inscribed verso: L Mora 25 ¼ x 17 x 10 in. (64.1 x 43.2 x 25.4 cm.)

wood, gesso, pigments signed and dated lower right: C.M. CARILLO 93 33 ½ x 16 x 2 ¾ in. (85.1 x 40.6 x 7 cm.)

Provenance: The Paul Rhetts Collection, New Mexico

Provenance: The Paul Rhetts Collection, New Mexico

$2,500 — $4,500

Literature: Barbe Awalt and Paul Rhetts: Our Saints Among Us: 400 Years of New Mexican Devotional Art, LPD Press/Rio Grande Books, 1998 Exhibited: “Our Saints Among Us: 400 Years of New Mexican Devotional Art,” from 1997-2000; Center for Southwest Research, New Mexico DeSaisset Museum, California Donnelly Arts Center, NMHU, New Mexico Fuller Lodge Arts Center, New Mexico Grace Museum, Texas San Juan College Arts Center, New Mexico Sangre de Cristo Arts Center, Colorado Silver City Museum, New Mexico UTEP Museum, Texas $3,000 — $5,000

121 Charles M. Carrillo (b. 1956) Nuestra Señora del Pueblito de Querétaro Hollowframe Bulto, 1994 carved wood, gesso, pigments, rosary beads signed and dated verso: Charles M. Carrillo / Santa Fe N.M. / © 1994 53 x 30 x 14 in. (134.6 x 76.2 x 35.6 cm.)

Winner of the E Boyd Memorial Award, 1994, Spanish Market Provenance: The Paul Rhetts Collection, New Mexico Literature: Barbe Awalt and Paul Rhetts: Our Saints Among Us: 400 Years of New Mexican Devotional Art, LPD Press/Rio Grande Books, 1998 Exhibited: “Crafting Devotions,” Autry Museum of Western Art, California, 1994 “North American Sculpture Exhibition,” Colorado, 1995 “Our Saints Among Us: 400 Years of New Mexican Devotional Art,” from 19972002; Center for Southwest Research, New Mexico DeSaisset Museum, California Donnelly Arts Center, NMHU, New Mexico Fuller Lodge Arts Center, New Mexico Grace Museum, Texas San Juan College Arts Center, New Mexico Sangre de Cristo Arts Center, Colorado Silver City Museum, New Mexico UTEP Museum, Texas $6,000 — $9,000

SANTA FE ART AUCTION

55

122 Alcario Otero (b. 1951) Nuestra Señora del Rosario Bulto with Silver Crown by Juan López, 1999 wood, gesso, pigments, silver inscribed underside base: Lady of the / Rosario / Alcario / Otero / “99” 36 ¼ x 22 ½ x 9 in. (92.1 x 57.2 x 22.9 cm.)

Provenance: The Paul Rhetts Collection, New Mexico Literature: Barbe Awalt and Paul Rhetts: Our Saints Among Us: 400 Years of New Mexican Devotional Art, LPD Press/Rio Grande Books, 1998 Exhibited: “Our Saints Among Us: 400 Years of New Mexican Devotional Art,” from 1997-2002; Center for Southwest Research, New Mexico DeSaisset Museum, California Donnelly Arts Center, NMHU, New Mexico Fuller Lodge Arts Center, New Mexico Grace Museum, Texas San Juan College Arts Center, New Mexico Sangre de Cristo Arts Center, Colorado Silver City Museum, New Mexico UTEP Museum, Texas $7,000 — $10,000

123 Jose Benito Ortega (1858–1941) San Cristobal con Niño, ca. 1890 wood, gesso, pigments 25 ½ x 9 x 7 in. (64.8 x 22.9 x 17.8 cm.)

Provenance: The Paul Rhetts Collection, New Mexico Literature: Barbe Awalt and Paul Rhetts: Our Saints Among Us: 400 Years of New Mexican Devotional Art, LPD Press/Rio Grande Books, 1998 Exhibited: “Our Saints Among Us: 400 Years of New Mexican Devotional Art,” from 1997-2002; Center for Southwest Research, New Mexico DeSaisset Museum, California Donnelly Arts Center, NMHU, New Mexico Fuller Lodge Arts Center, New Mexico Grace Museum, Texas San Juan College Arts Center, New Mexico Sangre de Cristo Arts Center, Colorado Silver City Museum, New Mexico UTEP Museum, Texas $5,000 — $7,500

124 Felix A. Lopez (b. 1942) Nuestra Señora de Guadalupe Bulto, 1996 wood, gesso, pigments inscribed underside base: FELIX A. LOPEZ / LA MESILLA, N.M. / TERMINÈ ESTA OBRA EL / 7 DE DIC. DE 1996 32 ¼ x 13 ½ x 11 in. (81.9 x 34.3 x 27.9 cm.)

Provenance: The Paul Rhetts Collection, New Mexico Literature: Barbe Awalt and Paul Rhetts: Our Saints Among Us: 400 Years of New Mexican Devotional Art, LPD Press/Rio Grande Books, 1998 Exhibited: “Nuestra Señora II: Traditional Visions,” Governor’s Gallery, New Mexico, 1996 “Masters of New Mexico”, New Mexico, 1997 “Our Saints Among Us: 400 Years of New Mexican Devotional Art,” from 1997-2002; Center for Southwest Research, NM DeSaisset Museum, California Donnelly Arts Center, NMHU, New Mexico Fuller Lodge Arts Center, New Mexico Grace Museum, Texas San Juan College Arts Center, New Mexico Sangre de Cristo Arts Center, Colorado Silver City Museum, New Mexico UTEP Museum, Texas $5,000 — $7,500

56

SANTA FE ART AUCTION

125 Nicholas Herrera (b. 1964) Los Alamos Death Truck, 1995 painted wood, metal inscribed: © NichoLAs Herrera 20 x 24 ½ x 43 in. (50.8 x 62.2 x 109.2 cm.)

Provenance: The Paul Rhetts Collection, New Mexico Exhibited: “Excellence in Arts Exhibit,” 1995, Governor’s Gallery, New Mexico “Our Saints Among Us: 400 Years of New Mexican Devotional Art,” from 1997-2002; Center for Southwest Research, New Mexico DeSaisset Museum, California Donnelly Arts Center, NMHU, New Mexico Fuller Lodge Arts Center, New Mexico Grace Museum, Texas San Juan College Arts Center, New Mexico Sangre de Cristo Arts Center, Colorado Silver City Museum, New Mexico UTEP Museum, Texas $3,000 — $6,000

SANTA FE ART AUCTION

57

126 Dave McGary (1958–2013) Stronghearts, (Native American Women’s Series), ca. 1997 polychrome bronze, edition 26 of 30 inscribed: [thumbprint] Dave McGary 26/30 39 x 27 x 12 in. (99.06 x 68.58 x 30.48 cm.) with base: 41 x 27 x 15 in. (104.14 x 68.58 x 38.10 cm.)

Provenance: Meyer Gallery, Santa Fe, New Mexico Private Collection, California $20,000 — $30,000

58

SANTA FE ART AUCTION

127 Ken Payne (1938–2012) Against All Odds, 1994

128 Ed Natiya Saxon (Diné [Navajo], b. 1972) Shadow Hunter

polychrome bronze, edition 29 of 50 inscribed: © 94 / KEN PAYNE / 29/50 20 x 24 x 12 in. (50.8 x 61 x 30.5 cm.) with base: 20 x 14 x 1 ⅞ in. (50.8 x 35.6 x 4.8 cm.)

bronze, edition 24 of 25 inscribed: Natiya © 24/25 with base: 15 ⅝ in. (39.7 cm.)

Provenance: Private Collection, Colorado $3,000 — $5,000

Provenance: Private Collection, Virginia $2,000 — $4,000

129 Martha Pettigrew (b. 1950) Two Ravens, 1994

130 Jason M. “Briggs” Stone (1945–2021) Great Blue Heron, 1980

bronze, edition 4 of 25 inscribed: “Two Ravens” / 4/25 Martha Pettigrew © 1994 13 ¾ x 13 x 16 in. (34.9 x 33 x 40.6 cm.) height with base: 15 ¾ in. (40 cm.)

bronze, edition 2 of 12 inscribed: “GREAT / BLUE HERON” / SJONE ‘80 / 2/12 35 x 5 ½ x 6 in. (88.9 x 14 x 15.2 cm.)

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

Provenance: Private Collection, Ohio $1,000 — $2,000

SANTA FE ART AUCTION

59

131 Allan Capron Houser (Haouzous) (Chiricahua Apache, 1914–1994) I Think He’s Watching Me, ca. 1979 Vermont marble inscribed: ALLAN HOUSER 30 ¼ x 21 x 13 ¼ in. (76.8 x 53.3 x 33.7 cm.)

“Houser found his monumental, classical capabilities well adapted to works in marble such as “I Think He’s Watching Me” (1980), dignified by an Old Kingdom frontality embodying unshakable balance on a base echoing the original slab. The expressed subject is romantic, but the style is controlled, unemotional, with as much interest shown by the sculptor in the folded, fringed shawls as in the woman’s attractive but hieratic and asexual face. Rather than emerging as a portrayal of a real person, this ordered image is above all a formal work of sculpture, cut, we are firmly reminded, from stone.”

(B.H. Perlman:Allan Houser, 1992) Provenance: Private Collection, Oregon Literature: Barbara H. Perlman: ALLAN HOUSER (HA-O-ZOUS), Smithsonian Institution Press / Glenn Green Galleries, Washington / Santa Fe, 1992, illustrated p. 215 $20,000 — $30,000

60

SANTA FE ART AUCTION

132 Allan Capron Houser (Haouzous) (Chiricahua Apache, 1914–1994) Camp Talk, 1979 bronze, edition 7 of 8 inscribed: ALLAN HOUSER ⅞ 23 ¼ x 23 ⅛ x 20 ½ in. (59.1 x 58.7 x 52.1 cm.)

Provenance: Private Collection, Oregon $10,000 — $15,000

133 Allan Capron Houser (Haouzous) (Chiricahua Apache, 1914–1994) Shepherd of the Desert bronze, edition 24 of 24 inscribed: ALLAN HOUSER / 24/24 Santa Fe / Bronze 15 ½ x 8 x 7 in. (39.4 x 20.3 x 17.8 cm.)

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

134 Star Liana York (b. 1952) Mare of the Renaissance bronze, edition 11 of 35 inscribed: S.L. York 11/35 23 x 21 ¼ x 10 ½ in. (58.4 x 54 x 26.7 cm.) with base: 25 ⅞ x 21 ¼ x 13 ½ in. (65.7 x 54 x 34.3 cm.)

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

SANTA FE ART AUCTION

61

135 Howard Post (b. 1948) Untitled (Horses) mixed media on board signed lower left: HEPOST © 15 ¼ x 19 ¼ in. (38.7 x 48.9 cm.)

Provenance: Private Collection, New Mexico $3,000 — $5,000

136 Howard Post (b. 1948) Fall Weather, ca. 2011 oil on canvas board signed lower left: H POST 12 x 9 in. (30.5 x 22.9 cm.)

Provenance: Collection of Ronald & Jacquelyn Feller, Tucson, Arizona $3,000 — $6,000

137 Dan Stovall (20th/21st Century) The Flanker, 2023 oil on linen signed lower right: Dan Stovall 20 x 16 in. (50.8 x 40.6 cm.)

Provenance: The Artist $3,000 — $4,000

62

SANTA FE ART AUCTION

138 Diné [Navajo] Silver and Turquoise Sandcast Buckle on Vintage Belt, ca. 1930

139 Diné [Navajo] Stamped Sterling Concha Buckle on Vintage Belt, ca. 1920

sterling silver, turquoise, vintage leather belt: 35 x 1 ¾ in. (88.9 x 4.4 cm.) buckle: 2 x 3 ⅞ in. (5.1 x 9.8 cm.)

sterling silver, vintage leather belt: 38 x 1 ½ in. (96.5 x 3.8 cm.) buckle: 3 ⅛ x 4 in. (7.9 x 10.2 cm.)

Provenance: Private Collection, California

Provenance: Private Collection, California

$1,200 — $1,800

$1,200 — $1,800

140 Diné [Navajo] Thunderbird Buckle on Vintage Belt, ca. 1920

141 Diné [Navajo] Hand Stamped Silver Ingot Buckle on Vintage Belt, ca. 1920

sterling and coin silver, turquoise, vintage leather belt: 36 x 1 ½ in. (91.4 x 3.8 cm.) buckle: 2 ¼ x 3 ¼ in. (5.7 x 8.3 cm.)

silver, vintage leather belt: 36 x 1 in. (91.4 x 2.5 cm.) buckle: 2 ⅜ x 2 ⅞ in. (6 x 7.3 cm.)

Provenance: Private Collection, California

Provenance: Private Collection, California

$1,200 — $1,800

$1,200 — $1,800

SANTA FE ART AUCTION

63

142 Roseta Santiago (b. 1946) Waiting oil on linen on board signed lower left: Santiago inscribed verso: “WAITING” 30x24 OIL ON LINEN ON BOARD / A PAINTING BY ROSETA SANTIAGO / OF AN IROQUOIS MAN CONTEMPLATING HIS LIFE 29 ½ x 23 ½ in. (74.9 x 59.7 cm.)

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

143 Jim Carson (b. 1942) Through Winter Woodlands, 2023 oil on canvas signed and dated lower left: © Carson 2023 30 x 62 in. (76.2 x 157.5 cm.)

Provenance: The Artist $6,000 — $9,000

144 Dan Bodelson (b. 1949) Fall oil on canvas signed lower left: Dan Bodelson / © inscribed verso: “Fall” / Daniel F. Bodelson / Santa Fe, New Mexico / oil 30 x 48 87501 / © All Rights Reserved 30 x 48 in. (76.2 x 121.9 cm.)

Provenance: Private Collection, New Mexico $6,000 — $8,000

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145 R. Brownell McGrew (1916–1994) In Jemez Canyon oil on board signed lower right: R. Brownell McGrew inscribed verso: “IN JEMEZ CANYON” 20 x 16 in. (50.8 x 40.6 cm.)

Provenance: Private Collection, Arizona $3,000 — $5,000

146 G. Russell Case (b. 1966) Bell Springs, 2014 oil on canvas signed lower right: G. Russell Case inscribed verso: Bell Springs / G. Russell Case / 2014 © 50 AR 11 ½ x 15 ½ in. (29.2 x 39.4 cm.)

Provenance: Private Collection, California $2,500 — $4,500

147 Rod Goebel (1946–1993) Salt Cedars oil on linen signed lower left: ROD GOEBEL 20 x 24 in. (50.8 x 61 cm.)

Provenance: Private Collection, Oklahoma $2,000 — $4,000

SANTA FE ART AUCTION

65

148 Nathanael Volckening (b. 1988) Awakening Heart, 2023 oil on panel initialed lower right: N/V inscribed verso: AWAKENING / HEART / NATHANAEL / VOLCKENING / MMXXIII 16 x 20 in. (40.6 x 50.8 cm.)

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

149 Katelyn Betsill Del Vecchio (b. 1994) Uplift, 2023

150 Michael Ome Untiedt (b. 1953) Church at Lamy NM, 2001

oil on canvas signed lower right: KB DEL VECCHIO inscribed verso: ‘UPLIFT” / Katelyn Betsill Del Vecchio 24 x 20 in. (61 x 50.8 cm.)

oil on canvas inscribed verso: MT / ©2001 / Mike Untiedt 30 x 24 in. (76.2 x 61 cm.)

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

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Provenance: Private Collection, Colorado $3,000 — $5,000

151 Fremont F. Ellis (1897–1985) Tesuque Mission oil on canvas signed lower right: FREMONT F. ELLIS inscribed verso: TESUQUE MISSION / FREMONT F. ELLIS / EL RANCHO DE SAN SEBASTIAN / Santa Fe N. M. 22 x 30 in. (55.9 x 76.2 cm.)

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

152 Ben Turner (1912–1966) Mission Church, Zia Pueblo oil on panel signed lower right: TURNER 20 ½ x 25 in. (52.1 x 63.5 cm.)

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

153 William Cather Hook (b. 1948) Trampas Tourista acrylic on canvas signed lower right: W.C. Hook.

24 x 30 x ½ in. (61 x 76.2 x 1.3 cm.)

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

SANTA FE ART AUCTION

67

154 Fremont F. Ellis (1897–1985) Adobe Village

155 Fremont F. Ellis (1897–1985) Old Road, ca. 1970

oil on canvas signed lower left: FREMONT F. ELLIS 27 x 32 in. (68.6 x 81.3 cm.)

oil on canvas signed lower right: FREMONT F. ELLiS 30 x 25 ⅛ in. (76.2 x 63.8 cm.)

Provenance: Private Collection, Arizona

Provenance: Private Collection, New Mexico

$12,000 — $18,000

$6,000 — $8,000

157 Joseph Adam Imhof (1871–1955) Indian Pueblo (Taos), 1955

156 Charles A. Wilimovsky (1885–1974) New Mexico Village, 1925

oil on panel signed lower right: Imhof 13 ⅜ x 17 ⅜ in. (34 x 44.1 cm.)

oil on canvas signed lower right: Wilimovsky inscribed verso: NEW MEXICO VILLAGE 25 ¼ x 30 ¼ in. (64.1 x 76.8 cm.)

Provenance: Fenn Galleries, Santa Fe, New Mexico Altermann Galleries, Santa Fe, New Mexico Private Collection, New Mexico

Provenance: Private Collection, New Mexico

Exhibited: Artistic Crossroads, Historic New Mexico Paintings, Nedra Matteucci Galleries, November 4-26, 2005

$2,000 — $3,000

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$2,000 — $4,000

158 Alice Sloane Anderson (1888–1961) La Luz Farm/New Mexico, 1939

159 Helen Farr Sloan (1911–2005) Sangre De Cristo Foothills, ca. 1946

oil on canvas initialed lower right: ASA inscribed verso: Alice Sloane Anderson 21 x 30 ¼ in. (53.3 x 76.8 cm.)

oil on board signed lower left: HELEN FARR 10 x 14 in. (25.4 x 35.6 cm.)

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

Provenance: Private Collection, New Mexico $600 — $1,200

160 Helen Farr Sloan (1911–2005) Dry Arroyo Near Santa Fe, ca. 1946

161 Agnes Tait (1894–1981) A Private Conversation

oil on board signed lower left: HELEN FARR 10 x 14 in. (25.4 x 35.6 cm.)

watercolor on paper signed lower left: Tait 8 ½ x 9 ½ in. (21.6 x 24.1 cm.)

Provenance: Private Collection, New Mexico

Provenance: Private Collection, New Mexico

$600 — $1,200

$800 — $1,200

SANTA FE ART AUCTION

69

162 Walt Gonske (b. 1942) The Hondo Church

163 Walt Gonske (b. 1942) Morning

oil on canvas signed lower right: Gonske / NAWA inscribed verso: Gonske / NAWA / H “The HONDO CHURCH” / T #735 20 x 16 in. (50.8 x 40.6 cm.)

oil on canvas signed lower right: Gonske © / NAWA inscribed verso: Gonske / © / “MORNING” / #1026 24 x 20 in. (61 x 50.8 cm.)

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

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

164 Kent R. Wallis (b. 1945) Santa Fe Hideaway oil on linen signed lower center: Kent R. Wallis 24 x 36 in. (61 x 91.4 cm.)

Provenance: Private Collection, Arizona $3,500 — $5,500

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165 Rod Goebel (1946–1993) Garden Roses, 1986 oil on canvas signed lower right: ROD GOEBEL inscribed verso: GARDEN ROSES © 1986 ROD GOEBEL NAWA 27 ½ x 28 ½ in. (69.9 x 72.4 cm.)

Provenance: Private Collection, Oklahoma $1,500 — $2,500

166 Thomas Silvestre Macaione (1907–1992) Landscape, 1966 oil on canvas on panel signed and dated lower right: ©Tom. S. Macaione. 6620 x 34 in. (50.8 x 86.4 cm.)

Provenance: Private Collection, New Jersey $2,000 — $4,000

167 Sheldon Parsons (1866–1943) Red Hot Pokers oil on board signed lower left: Sheldon Parsons 36 ¼ x 24 in. (92.1 x 61 cm.)

Provenance: Private Collection, Arizona $3,000 — $5,000

SANTA FE ART AUCTION

71

168 Bill Gallen (b. 1958) Twilight of Summer, Taos, 2007 oil on mounted linen signed lower left: Gallen inscribed verso: “TWILIGHT OF SUMMER” / (TAOS) / 18x30 © 2007 / oil on mounted linen / Bill Gallen 18 x 30 in. (45.7 x 76.2 cm.)

Provenance: Private Collection, Colorado $1,500 — $2,500

169 Rod Goebel (1946–1993) Western Pines, 1977 oil on linen signed lower right: Rod Goebel inscribed verso: “WESTERN PINES” 1977 Rod Goebel 30 x 40 in. (76.2 x 101.6 cm.)

Provenance: Private Collection, Oklahoma $2,500 — $5,000

170 Gary Ernest Smith (b. 1942) Alpine Mountain oil on linen signed lower left: GARY / ERNEST / SMITH inscribed verso: “ALPINE” MOUNTAINS / 12X16 OIL ON LINEN / GARY ERNEST SMITH / © COPYRIGHT / RESERVED 12 x 16 in. (30.5 x 40.6 cm.)

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

171 Rod Goebel (1946–1993) Quiet Evening oil on linen signed lower left: ROD GOEBEL 25 ¼ x 29 ¼ in. (64.1 x 74.3 cm.)

Provenance: Private Collection, Oklahoma $2,000 — $4,000

72

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172 Ben Turner (1912–1966) Avalanche Lake & Capital Peak, Colorado oil on canvas signed lower left: BEN TURNER inscribed verso: AVALANCHE LAKE / CAPITAL PEAK / COLO. 24 x 36 in. (61 x 91.4 cm.)

Provenance: Private Collection, New Mexico $3,000 — $5,000

173 Churchill Ettinger (1903–1984) Skiing

174 William Harnden Foster (1886–1941) Packing In, 1929

watercolor on paper signed lower left: Churchill Ettinger 13 ½ x 20 ⅛ in. (34.3 x 51.1 cm.)

oil on canvas signed and dated lower left: William Harnden Foster / 1929 26 x 20 in. (66 x 50.8 cm.)

Provenance: The Lapham and Dibble Gallery, Shoreham, VT Private Collection, Kansas

Provenance: Private Collection, Arizona

$1,500 — $2,500

$3,000 — $5,000

SANTA FE ART AUCTION

73

175 Fremont F. Ellis (1897–1985) Landscape at Aspen Ranch – El Rancho de San Sebastian oil on board signed lower left: FREMONT F ELLIS inscribed verso: LANDSCAPE AT ASPEN RANCH / FREMONT F. ELLIS / EL RANCHO DE SAN SEBASTIAN 22 x 30 in. (55.9 x 76.2 cm.)

Provenance: Robert L Parsons Fine Art, Taos, New Mexico Private Collection, Connecticut $12,000 — $16,000

176 Fremont F. Ellis (1897–1985) Untitled (Landscape) oil on canvas signed lower right: FREMONT F ELLIS 22 x 30 in. (55.9 x 76.2 cm.)

Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, Oklahoma $8,000 — $12,000

177 Ben Turner (1912–1966) Colorado Aspens oil on canvas signed lower left: BEN TURNER 15 ⅞ x 19 ⅞ in. (40.3 x 50.5 cm.)

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

74

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178 Nils Hogner (1887–1970) Colorado, 1935–1938

179 Ila Mae McAfee (1897–1995) White Tail Deer

oil on board signed lower right: NILS HOGNER inscribed verso: Colorado / 1935-38 / BY NILS HOGNER 25 ¾ x 30 ¾ in. (65.4 x 78.1 cm.)

oil on canvas signed lower right: Ila McAfee 19 ¼ x 25 ¼ in. (48.9 x 64.1 cm.)

Provenance: Private Collection, Arizona

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

$2,000 — $4,000

$3,000 — $5,000

180 Leon Shulman Gaspard (1882–1964) Landscape with Pines

181 William Howard Shuster (1893–1969) Wild Turkeys, 1949

oil on board stamped verso: THE ESTATE OF / LEON GASPARD 12 ½ x 10 ⅝ in. (31.75 x 26.99 cm.)

oil on panel signed lower left: Will Shuster / 49 inscribed verso: “WILD TURKEYS” / by Will Shuster / 49 / SANTA FE’ - N.M. 20 x 16 in. (50.8 x 40.6 cm.)

Provenance: Kennedy Galleries, New York, New York Matthews Gallery, Santa Fe, New Mexico Santa Fe East, Santa Fe, New Mexico Private Collection, Texas $3,000 — $5,000

Provenance: Private Collection, New Mexico $4,000 — $8,000

SANTA FE ART AUCTION

75

182 Earl Stroh (1924–2005) Le Loire Brune, ca. 1957 oil on canvas signed lower left: E. STROH 20 x 24 ⅛ in. (50.80 x 61.28 cm.)

Provenance: Private Collection, New Mexico $3,000 — $5,000

183 Glenn Dean (b. 1976) Untitled (Storm Clouds) oil on paper signed lower right: GDean 4 ½ x 7 ¼ in. (11.4 x 18.4 cm.)

Provenance: Private Collection, Arizona $800 — $1,200

76

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184 Thomas de Decker (b. 1951) New Mexico Landscape, 2023 oil on panel signed lower right: THOMAS deDECKER inscribed verso: “New Mexico Landscape” 2023 / by / Thomas de Decker 24 x 30 in. (61 x 76.2 cm.)

Provenance: Private Collection, Arizona $2,500 — $3,500

185 Ronnie Hedge (1954–2010) View from Point Imperial, 1992 oil on canvas signed and dated lower right: Ronnie Hedge / © 1992 48 x 36 in. (121.9 x 91.4 cm.)

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

186 Enoch Kelly Haney (Seminole/Muscogee, 1940–2022) Untitled (Owl), 1984 oil on canvas signed and dated lower right: ENOch Kelly HANEy © 1984 28 ¾ x 38 ¾ in. (73 x 98.4 cm.)

Provenance: Private Collection, Texas $4,000 — $6,000

SANTA FE ART AUCTION

77

187 Brian Grimm (b. 1968) Summer Romance, 2006 oil on panel signed lower left: Brian / Grimm inscribed verso: “SUMMER ROMANCE” / © BRIAN A. GRIMM 2006 / #48-06 / 11X14 OIL 11 x 14 in. (27.9 x 35.6 cm.)

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

188 Rock Newcomb (b. 1945) Hopi Gold acrylic on panel signed lower left: ROCK NEWCOMB © inscribed verso: [description of painting subject matter] / “HOPI GOLD” / ACRYLIC ORIGINAL / Rock Newcomb © 30 x 20 in. (76.2 x 50.8 cm.)

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

189 Robert Wood (1889–1979) Texas Grey Brush, 1955

190 William Merritt Post (1856–1935) Untitled (River in Autumn)

oil on canvas signed and dated lower right: Robert Wood / 55 20 x 24 in. (50.8 x 61 cm.)

oil on linen signed lower right: W. MERRITT POST. 24 ¼ x 36 ¼ in. (61.6 x 92.1 cm.)

Provenance: Private Collection, New Mexico

Provenance: Private Collection, New Mexico

$2,000 — $4,000

$1,500 — $2,500

78

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191 Gregory Frank Harris (b. 1953) Cerrillos Landscape N.M. 2, 2014 acrylic on canvas signed lower right: GFH inscribed verso: (FLUiD / ACRYLiCS) CERRILLOS LANDSCAPE / N.M. 2 / G F Harris / NM MODERN / #25 / ©2014 / SFNM 30 x 36 in. (76.2 x 91.4 cm.)

Provenance: Private Collection, Colorado $3,000 — $5,000

192 Alyce Frank (b. 1932) The Canon of The Rio Grande in Arroyo Hondo oil on linen signed lower left: Alyce Frank inscribed verso: #754 / The Canon of The Rio Grande / in Arroyo Hondo / Alyce Frank 30 x 40 in. (76.2 x 101.6 cm.)

Provenance: Private Collection, New Mexico $6,000 — $9,000

193 Alyce Frank (b. 1932) Irrigating the Fields in Ranchos oil on linen signed lower right: Alyce Frank inscribed verso: #565 / Irrigating the Fields / in Ranchos / Alyce Frank 30 x 40 in. (76.2 x 101.6 cm.)

Provenance: Private Collection, New Mexico $6,000 — $9,000

SANTA FE ART AUCTION

79

194 Darren Vigil Gray (b. 1959) Something in the Valley, 1992 acrylic on paper signed lower left: Darren Vigil Gray 44 ¼ x 60 in. (112.4 x 152.4 cm.)

Provenance: Friesen Gallery, Seattle, Washington Private Collection, Idaho $2,000 — $4,000

195 Chloe Marie Burk (21st Century) High Desert Stroll, 2023 oil on linen signed lower right: [horse cipher] CMBURK inscribed verso: “HIGH DESERT STROLL” / 16”x20” oil on linen / C.M.BURK ‘23 / [horse cipher] C.M.BURK 16 x 20 in. (40.6 x 50.8 cm.)

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

80

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196 Barbara Latham (1896–1989) Moonlight Chant, 1942 oil on board signed lower right: LATHAM 10 x 11 ¼ in. (25.4 x 28.6 cm.)

Provenance: Private Collection, New Mexico $3,000 — $5,000

197 Earl Eder (Sioux, b. 1944) Taos Singers acrylic on canvas signed lower right: EDER 17 ⅝ x 25 ⅝ in. (44.8 x 65.1 cm.)

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

SANTA FE ART AUCTION

81

198 Rod Goebel (1946–1993) Santa Barbara Hisbiscus

199 Alfredo Zalce (Mexican, 1908–2003) Margarita con Flores, 1986

oil on linen signed lower right: ROD GOEBEL 30 x 24 in. (76.2 x 61 cm.)

acrylic on canvas signed and dated lower right: ALFREDO / ZALCHE, 86 22 x 20 in. (55.9 x 50.8 cm.)

Provenance: Private Collection, Oklahoma

Provenance: Private Collection, Oklahoma

$2,000 — $4,000

$2,000 — $4,000

200 Miguel Martinez (Mexican-American, b. 1951) Last Days of Winter, Taos, New Mexico 1989

201 Carlos Hall (1928–1997) Untitled (Adobe at Dawn)

oil on canvas dated and signed lower left: 89 M. Martinez 12 x 14 in. (30.5 x 35.6 cm.)

oil on canvas signed lower left: CaRlos 6 x 8 in. (15.2 x 20.3 cm.)

Provenance: Private Collection, California

Provenance: Private Collection, New Mexico

$800 — $1,200

$800 — $1,200

82

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202 Sean Michael Chavez (b. 1971) Ranchos de Taos Church, 2019

203 Joel Greene (b. 1953) Taos Mountain Landscape (Sangre de Cristos), Oil #259, 1997

oil on canvas panel signed lower left: smchavez inscribed verso: [Artist studio stamp] S.M. Chavez / #1903 10 x 10 in. (25.4 x 25.4 cm.)

oil on board signed lower right: JOEL GREENE 97 8 x 10 in. (20.3 x 25.4 cm.)

Provenance: Private Collection, Colorado $800 — $1,000

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

204 Joel Greene (b. 1953) Piñon Tree, Oil #236, 1997

205 Charles Henry Reynolds (1902–1963) The Blue Door, 1957

oil on masonite signed and dated lower left: JOEL GREENE 97 7 ½ x 10 ¼ in. (19.1 x 26 cm.)

oil on board signed and dated lower right: ChasHReynolds / 1957 / TAOS 8 ⅝ x 11 ½ in. (21.9 x 29.2 cm.)

Provenance: Private Collection, New Mexico

Provenance: Private Collection, Texas

$1,000 — $2,000

$1,000 — $2,000

SANTA FE ART AUCTION

83

206 Rod Goebel (1946–1993) Silver and Red, 1986 oil on canvas signed lower right: ROD GOEBEL inscribed verso: “SILVER & RED” © 1986 ROD GOEBEL NAWA 36 x 24 in. (91.4 x 61 cm.)

Provenance: Private Collection, Oklahoma $1,200 — $1,500

207 Eli Levin (b. 1938) Empty Chair, 1979

208 William Whitaker (1943–2018) Silver Pitcher

oil on board signed lower right: Eli Levin inscribed verso: EMPTY CHAIR / ELI LEVIN 1979 23 ⅞ x 18 in. (60.6 x 45.7 cm.)

oil on linen signed upper left: W. Whitaker 36 x 30 in. (91.4 x 76.2 cm.)

Provenance: Private Collection, New Jersey $1,000 — $2,000

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Provenance: Private Collection, Oklahoma $3,000 — $5,000

209 Ernest Baber (b. 1949) Rice Basket, Oranges & Pear oil on canvas signed lower right: E BABER inscribed verso: Rice Basket, Oranges + Pear 24 x 20 in. (61 x 50.8 cm.)

Provenance: Private Collection, Texas $800 — $1,200

210 Joshua Fallik (20th Century) The Cranberry Glass, 1991 oil on canvas signed and dated lower left: Fallik / 91 inscribed verso: “The Cranberry Glass” / 12” x 14” / OIL ON CANVAS 12 x 14 in. (30.48 x 35.56 cm.)

Provenance: Private Collection, Texas $600 — $900

SANTA FE ART AUCTION

85

SESSION III

LOTS 211 – 403

Saturday, November 11 1:00 PM MST

211 Charles Loloma (Hopi, 1921–1991) Group of Three Drawings ink on paper one inscribed verso: TO GREET THE MORNING SUN ORIGINAL #65 two others each inscribed verso: UNTITLED ORIGINAL to greet the morning sun original #65: 10 ¼ x 14 ¼ in. (26 x 36.2 cm.) untitled originals each: 10 ¼ x 7 in. (26 x 17.8 cm.)

Provenance: The Georgia and Charles Loloma Collection $1,500 — $2,500

212 Charles Loloma (Hopi, 1921–1991) Untitled (Pueblo) pen, ink on paper signed lower right: loloma 7 x 11 ¼ in. (17.78 x 28.58 cm.) framed: 12 ⅝ x 16 ⅞ x ¾ in. (32.07 x 42.86 x 1.91 cm.)

Provenance: The Georgia and Charles Loloma collection $1,000 — $2,000

213 Hopi Dream Mesa Pictorial Weaving handspun yarns, indigo, natural dyes 36 ½ x 44 ¾ in. (92.71 x 113.67 cm.)

The nuanced gradations in the multiple dark hues of this very finely woven textile are entirely intentional. They are subtle, and barely visible to the naked eye, but perceptible in the mind's eye.

They illustrate the dark Hopi Mesas of the night, and in our dreams.

Provenance: The Georgia and Charles Loloma Collection $3,000 — $5,000

88

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214 Charles Loloma (Hopi, 1921–1991) Old Man (Mask), ca. 1961 oil on canvas signed lower left: loloma inscribed verso: CHARLES LOLOMA / HOPI / INSTUTUTE OF AMERICAN INDIAN ARTS / SANTA Fe, NEW MEXICO / OLD MAN/(MASK) 71 ¾ x 17 ½ in. (182.2 x 44.5 cm.) framed: 72 ⅜ x 18 ¼ x 1 ½ in. (183.8 x 46.4 x 3.8 cm.)

Provenance: The Georgia and Charles Loloma Collection $3,000 — $6,000

SANTA FE ART AUCTION

89

215 Baume & Mercier Charles Loloma’s 18K Gold Tiffany Dial Watch 18K gold, quartz movement, sapphire crystal, lapis (crown) dial signed: Tiffany & Co case back stamped: 1020097 / 47218 clasp stamped: 750 30mm wide 32mm lug to lug, 6mm thick Charles Loloma’s personal watch Provenance: The Georgia and Charles Loloma Collection $1,500 — $2,500

216 Charles Loloma (Hopi, 1921–1991) Silver and Multi-Stone Inlay Belt Buckle silver, ironwood, ebony, turquoise, coral, lapis stamped verso: loloma 1 ⅜ x 4 in. (3.5 x 10.2 cm.)

This belt buckle was Charles’ personal buckle and was given by Georgia Loloma to her brother after Charles died.

Provenance: The Artist’s Estate Private Collection, Texas $3,000 — $5,000

217 Charles Loloma (Hopi, 1921–1991) + Fritzon Toledo (Diné [Navajo], 20th Century) Silver, Wood and Multi-Stone Inlay Buckle ironwood, turquoise, coral, bone stamped verso: FRITZON TOLEDO, STERLING 2 x 2 ½ in. (5.08 x 6.35 cm.)

The wood and inlay buckle by Charles Loloma came unfinished directly from his studio in Hotevilla.

Contemporary silver work completed by Fritzon Toledo.

Provenance: The Georgia and Charles Loloma Collection $1,000 — $2,000

90

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218 Charles Loloma (Hopi, 1921–1991) Sterling Silver and Multi-Stone Inlay Cuff

219 Charles Loloma (Hopi, 1921–1991) Sterling Silver and Multi-Stone Inlay Bracelet

silver, wood, turquoise, coral, malachite, lapis stamped verso: loloma internal circumference including gap: 6 in. (15.2 cm.) height: 1 ¼ in. (3.2 cm.)

silver, iron wood, coral, fossilized bone, lapis, turquoise and abalone stamped verso: loloma internal circumference including gap: 6 in. (15.2 cm.) height: 1 ½ in. (3.8 cm.)

Provenance: Private Collection, Texas

Provenance: Galeria Capistrano, San Juan Capistrano, California Private Collection, California

$20,000 — $30,000

$20,000 — $25,000

220 Charles Loloma (Hopi, 1921–1991) Silver and Multi-Stone Cuff sterling silver, 14K gold, turquoise, iron wood, lapis, shell and coral stamped verso: loloma internal circumference including gap: 6 ⅜ in. (16.2 cm.) height: 1 in. (2.5 cm.)

Provenance: Private Collection, Colorado $25,000 — $35,000

SANTA FE ART AUCTION

91

221 Charles Loloma (Hopi, 1921–1991) Sterling Silver and Multi-Stone Inlay RIng sterling silver, iron wood, coral, lapis, turquoise and abalone stamped verso: loloma ring size: 7, height: 1 ¾ in. (4.4 cm.)

Provenance: Galeria Capistrano, San Juan Capistrano, California Private Collection, California $2,500 — $4,500

222 Charles Loloma (Hopi, 1921–1991) + Svetozar [Toza] Radakovich (Yugoslavia, 1918–1998) Silver and Multistone Inlay Cuff, ca. 1985 silver, turquoise, wood, lapis, coral, ebony, multiple mixed stones stamped verso: loloma + toza internal circumference including gap: 6 ¾ in. (17.1 cm.)

Provenance: Private Collection, Arizona $18,000 — $25,000

223 Charles Loloma (Hopi, 1921–1991) 14k Gold and Turquoise Lost Wax Cast Ring, ca. 1960 - 1970 14k gold, hand-cut turquoise ring size: 5 ½; height: 2 in. (5.1 cm.)

Accompanied by a letter of authenticity from Verma Nequatewa (Sonwai) Provenance: Private Collection, Ohio $4,000 — $8,000

92

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224 Max Frölich (Swiss, 1908–1997) 18K Gold Handmade Pin

225 Charles Loloma (Hopi, 1921–1991) Two Silver and Gold Multi-Stone Inlay Pendants

18K gold stamped verso: MF / 760 2 ½ x 1 ½ in. (6.4 x 3.8 cm.)

18K gold, 14K gold, silver, coral, lapis lazuli each stamped verso: loloma gold pendant: ½ x ⅜ in. (1.3 x 1 cm.) silver pendant: ¾ x ½ in. (1.9 x 1.3 cm.)

Provenance: The Georgia and Charles Loloma Collection $2,000 — $3,000

Provenance: The Georgia and Charles Loloma Collection $2,000 — $4,000

226 Charles Loloma (Hopi, 1921–1991) Asymmetrical Pair of Gold and Mixed Inlay Stud Earrings

227 Charles Loloma (Hopi, 1921–1991) Group of Four Earrings

18K gold, silver, shell, sugilite, coral, gold, lapis, turquoise each stamped verso: loloma earring #1: 7/16 x ½ in. (1.1 x 1.3 cm.) earring #2: 7/16 x 7/16 in. (1.1 x 1.1 cm.)

18K gold, silver, coral and turquoise hoop, two inlay studs, one tufa cast gold stud stamped verso: loloma silver earring: ½ x 7/16 in. (1.3 x 1.1 cm.) gold earring: 7/16 x 7/16 in. (1.1 x 1.1 cm.) hoop: 1 ¼ x 1 in. (3.2 x 2.5 cm.) tufa cast earring: ¼ x ¼ in. (0.6 x 0.6 cm.)

Provenance: The Georgia and Charles Loloma Collection $1,500 — $2,500

Provenance: The Georgia and Charles Loloma Collection $1,500 — $2,500

SANTA FE ART AUCTION

93

228 Kewa [Santo Domingo] Two Micro Heishi with Turquoise and Coral Jaclas Necklaces, ca. 1970 - 1980

229 Kewa [Santo Domingo] Micro-Olive Heishi with Double Turquoise and Coral Jaclas, ca. 1970 - 1980

thirty strands each, melon shell, olive shell, turquoise, coral hanging length of melon shell: 22 in. (55.9 cm.) jaclas: 6 in. (15.2 cm.) hanging length of olive shell: 23 in. (58.4 cm.) jaclas: 6 ½ in. (16.5 cm.)

thirty strands micro olive heishi, turquoise, coral total hanging length: 23 in. (58.4 cm.)

Provenance: The Georgia and Charles Loloma Collection

$1,200 — $1,800

Provenance: The Georgia and Charles Loloma Collection

$1,500 — $2,500

230 Sonwai, Verma Nequatewa (Hopi, b. 1946) Silver and Gold Multi-Stone Inlay Cuff

231 Sonwai, Verma Nequatewa (Hopi, b. 1946) Gold and Multi-Stone Inlay Clip-On Earrings

silver, 14K gold, turquoise, lapis, coral, sugilite, onyx, wood stamped verso: Sonwai [floral glyph] STERLING internal circumference including gap: 6 ¼ in. (15.9 cm.) height: 1.3 in. (3.3 cm.)

18K gold, coral, turquoise, white shell stamped verso: SONWAI 18K each: 1 x ¾ in. (2.5 x 1.9 cm.)

Provenance: The Jeanne and David Milton Collection $4,000 — $6,000

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Provenance: The Jeanne and David Milton Collection $1,500 — $2,500

232 Al Nez (Diné [Navajo], b. 1959) Tufa Cast 14K Gold and Sugilite Yei Bracelet 14K gold, sugilite stamped verso: Al Nez, 14K internal circumference including gap: 6 ¼ in. (15.9 cm.) height: 1 in. (2.5 cm.)

Provenance: Indian River Gallery, Las Vegas, Nevada Private Collection, California $1,500 — $2,500

233 Al Nez (Diné [Navajo], b. 1959) Tufa Cast 14K Gold and Lone Mountain Turquoise Pendant on a Braided Leather Necklace 14K gold, Lone Mountain turquoise stamped verso: Al Nez, 14K hanging length: 15 in. (38.1 cm.) pendant (including bale): 2 ¼ x 1 in. (5.7 x 2.5 cm.)

Provenance: Indian River Gallery, Las Vegas, Nevada Private Collection, California $1,200 — $1,800

234 Leonard Platero (Diné [Navajo], 20th Century) Rolex 14K Gold, Diamond and Denali Turquoise Inlay Watch, ca. 1970 3.5 carats diamonds, 14K gold, Denali turquoise diameter: 34 mm bracelet: 184 mm Provenance: Private Collection, Utah $12,000 — $18,000

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235 Raymond Coriz (Kewa [Santo Domingo], 20th Century) 14K Gold and Turquoise Cuff Watch Band on Seiko Solar Watch

236 Andy Lee Kirk (Diné [Navajo]/Isleta, 1947–2001) 14K Gold and Sugilite Ring and Pendant

14K gold, turquoise stamped verso: \ R CORIZ internal circumference including gap: 6 ⅝ in. (16.8 cm.)

14K gold, sugilite pendant engraved verso: Andy Kirk ring stamped verso: KIRK, 14K pendant: 2 ¾ x 1 in. (7 x 2.5 cm.) ring size: 7.5, height: 2 ¼ in. (5.7 cm.)

Provenance: Private Collection, Utah $5,000 — $10,000

Provenance: Private Collection, Utah $2,000 — $3,000

237 Bryon Yellowhorse (Diné [Navajo), b. 1972) 14K Gold and Multi-Stone Flower Pendant

238 Lee Epperson (Cherokee, 20th Century) 14K Gold and Fire Agate Ring

14K gold, coral, turquoise, lapis, sugilite and shell 2 ⅝ x 1 ¾ in. (6.7 x 4.4 cm.)

14K gold, fire agate stamped verso: LEE / 14K ring size: 10, height: 2 in. (5.1 cm.)

Provenance: Private Collection, Utah $2,500 — $3,500

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Provenance: Private Collection, Utah $2,500 — $3,500

239 Georg Arthur Jensen (Danish, 1866–1935) Silver Tulip Flower Necklace and Earrings

240 William Spratling (1900–1967) Handmade Silver Chain, ca. 1945

sterling silver necklace stamped verso: GEORG JENSEN / STERLING / DENMARK / 66 earrings stamped verso: GEORG JENSEN / 106 / STERLING / DENMARK

sterling silver stamped on clasp: WS Spratling / Made in Mexico length: 22 in. (55.9 cm.) hanging length: 10 in. (25.4 cm.)

earrings: ⅞ in x ⅝ in. (2.2 x 1.6 cm.) length: 16 in. (40.6 cm) hanging length: 8 in. (20.3 cm.)

Provenance: Private Collection, New Mexico

Provenance: The Gene Russell Estate $1,500 — $2,500

$1,500 — $2,500

241 William Spratling (1900–1967) Frog Link Bracelet, ca. 1950

242 William Spratling (1900–1967) Articulated Fish Pill Box, ca. 1945-1950

sterling silver, jade, turquoise stamped verso: Spratling / [pictograph] / made in [Mexico] / sterling internal circumference: 7 in. (17.8 cm.)

sterling silver stamped on base: WS William Spratling / Eagle 63 6 ⅛ x 2 ⅜ in. (15.6 x 6 cm.)

Provenance: The Gene Russell Estate

Provenance: The Gene Russell Estate

$2,000 — $3,000

$1,000 — $2,000

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243 Federico Jimenez (Mexican, b. 1941) Sterling Silver, Spiny Oyster and Pearl Necklace and Earring Set

244 Esther Wood (Diné [Navajo], b. 1946) Silver and Turquoise Link Belt

sterling silver, orange spiny oyster, freshwater pearls each stamped verso: JF / STERLING hanging length: 12 in. (30.5 cm.) centerpiece: 4 ¼ x 1 ¾ in. (10.8 x 4.4 cm.) earrings: 3 ⅝ x 1 ¼ in. (9.2 x 3.2 cm.)

sterling silver, turquoise buckle inscribed: Esther Wood 41 ½ x 2 in. (105.4 x 5.1 cm.)

Provenance: Private Collection, Utah

Provenance: The Gene Russell Estate $1,500 — $2,500

$3,000 — $4,500

245 Esther Wood (Diné [Navajo], b. 1946) 14K Gold and Lander Blue Turquoise Bracelet ca. 1970

246 Esther Wood (Diné [Navajo], b. 1946) Rainbow Man Silver and Turquoise Necklace + Earring Set, ca. 1975

14K gold, Lander turquoise etched verso: E. Wood / 14K internal circumference including gap: 5 ⅝ in. (14.3 cm.)

sterling silver, saucer bench beads, turquoise etched verso: Esther Wood hanging length: 13 ¼ in. (33.7 cm.) centerpiece: 3 x 3 ¼ in. (7.6 x 8.3 cm.) each earring: 1 ⅜ x 1 ½ in. (3.5 x 3.8 cm.)

Provenance: The Gene Russell Estate $1,200 — $1,800

Provenance: The Gene Russell Estate $1,800 — $2,800

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247 Alice Quam (Zuni, 1929–2003) Sterling Silver and Mediterranean Coral Necklace and Earring Set

248 Leon Kirke (Diné [Navajo], 20th Century) Five Piece Shadow Box Jewelry Set

sterling silver, Mediterranean coral each stamped verso: A Q. hanging length: 14 in. (35.6 cm.) centerpiece: 3 ¼ x 2 ¼ in. (8.3 x 5.7 cm.) earrings: 3 x 1 in. (7.6 x 2.5 cm.)

sterling silver, spider web turquoise featuring necklace, bracelet, ring, pin, and earrings necklace stamped verso: LK, Sterling ring size: 5 ¾ largest: hanging length 17 ½ in. (44.5 cm.) smallest: height 1 ¼ in. (3.2 cm.)

Provenance: The Gene Russell Estate $2,000 — $3,000

Provenance: The Gene Russell Estate $3,000 — $5,000

249 Juan Calavaza (Zuni, 20th Century) Silver and Multi-Stone Inlay Knifewing Bracelet and Ring Set

250 Aldrich Arts Sterling Silver and Multi-Stone Butterfly Necklace + Earrings

silver, turquoise, mother of pearl, spiny oyster, jet bracelet etched verso: possible trader’s marks internal circumference including gap: 6 ¼ in. (15.9 cm.) ring size: 5

sterling silver, turquoise (Fox, Sleeping Beauty and Candelaria), sugilite, opal, jasper, chrome diopside, spiny oyster stamped verso: Aldrich hanging length: 11 in. (27.9 cm.) centerpiece: 2 ¾ x 3 in. (7 x 7.6 cm.) earrings: 2 ½ x 1 in. (6.4 x 2.5 cm.)

Provenance: The C. G. Wallace Collection Private Collection, New Mexico Exhibited: The C. G. Wallace Collection of American Indian Art, The Adams Hotel, Phoenix, Arizona, November 12 - 14, 1975

Provenance: Private Collection, Utah $3,000 — $4,500

Literature: The C. G. Wallace Collection of American Indian Art, Sotheby Parke Bernet Inc, New York, 1975, p. 180. $2,000 — $3,000

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251 Unknown (Southwest Style) Southwest Turquoise Nugget Necklace, ca. 1960 approximately 1200 carats high quality mixed North American turquoise, native heishi hanging length: 16 in (40.6 cm.)

Provenance: Private Collection, Texas $6,000 — $9,000

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252 Don Juan Johnson (Diné [Navajo], 20th Century) 14K Gold + Turquoise Mountain Turquoise Inlay Four Piece Set, ca. 1975 14K gold, Turquoise Mountain turquoise featuring choker-style necklace, bracelet, ring, and earrings necklace, bracelet, and ring stamped verso: Don Juan of New Mexico / 14K ring size 5 ¾ largest: hanging length 8 in. (20.3 cm), total length 16 in. (40.6 cm.) smallest: 1 ½ x ½ in. (3.8 x 1.3 cm.)

Provenance: Private Collection, Utah $10,000 — $15,000

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253 Dean Sandoval, Jr. (Diné [Navajo], 20th/21st Century) Stamped Silver and Natural Turquoise Box

254 Diné [Navajo] SIlver and Turquoise Cuff

turquoise, silver features a twist top turquoise setting to lock/unlock stamped on base: S /, STERLING 5 x 6 x 4 in. (12.7 x 15.2 x 10.2 cm.)

stamped verso: [pictomark] / STERLING internal circumference including gap: 6 ¼ in. (15.9 cm.) height: 4 in. (10.2 cm.)

Provenance: Private Collection, Utah $2,000 — $3,000

Provenance: Private Collection, Utah $2,000 — $3,000

255 Sam Haloo (Zuni, 20th Century) Silver and Sleeping Beauty Turquoise Snake Eye Bolo and Buckle Set sterling silver, Sleeping Beauty turquoise each stamped verso: S. HALOO buckle: 2 ⅜ x 3 in. (6 x 7.6 cm.) bolo: 2 ½ x 2 ¼ in. (6.4 x 5.7 cm.) hanging length: 20 in. (50.8 cm.)

Provenance: Private Collection, Utah $1,200 — $1,800

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256 Bryon Yellowhorse (Diné [Navajo), b. 1972) Silver and Candelaria Turquoise Inlay Squash Blossom and Earring Set silver, Candelaria turquoise necklace stamped verso: Bryon Yellowhorse [arrowhead pictograph] hanging length: 15 ¼ in. (38.7 cm.) naja: 3 ½ x 2 ½ in. (8.9 x 6.4 cm.) earrings: 2 ¼ x ⅝ in. (5.7 x 1.6 cm.)

Provenance: Private Collection, Utah $2,000 — $3,000

257 M Edaakie (Zuni, 20th Century) Silver and Multi-Stone Koshare Inlay Concho Belt silver, turquoise, jet, coral stamped verso: M. Edaakie length: 38 ¼ in. (97.2 cm.) conchos: 2 ½ x 2 ⅞ in. (6.4 x 7.3 cm.)

Provenance: Private Collection, Utah $2,500 — $3,500

258 Clarence (Diné [Navajo], 1952-2011) + Russell Lee (Diné [Navajo], b. 1976) Silver Truck with Hitched Trailer sterling silver, turquoise, rubber inscribed: © / Clarence Lee / STERLING [artist’s cipher] inscribed: MADE IN NAVAJO LAND / FROM THE / TOY FACTORY OF / CLarence Lee / and / RuSSELL Lee truck: 3 ⅜ x 2 ¼ x 5 ¼ in. (8.6 x 5.7 x 13.3 cm.) trailer: 2 ¼ x 2 x 5 ¼ in. (5.7 x 5.1 x 13.3 cm.) base: 3 x 6 ½ x 15 ⅜ in. (7.6 x 16.5 x 39.1 cm.)

Provenance: Private Collection, Utah $2,500 — $4,500

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259 Zuni Silver and Morenci Turquoise Butterfly Concho Belt, Ca. 1930-1940’s

260 Diné [Navajo] Stamped Sterling Silver + Turquoise Concho Belt, ca. 1940

261 Susie Lee (Diné [Navajo], 20th Century) Stamped Silver Concho Belt, ca 1970

262 Susie Lee (Diné [Navajo], 20th Century) Stamped SIlver Concho Belt, ca 1970

silver, Morenci turquoise length: 33 in. (83.8 cm.) smallest concho: 2 ½ x 2 in. (6.4 x 5.1 cm.) largest concho: 3 ⅜ x 2 ⅜ in. (8.6 x 6 cm.)

sterling silver, turquoise 39 ½ x 3 in. (100.3 x 7.6 cm.) belt: 39 1/2 x 3 in. (100.3 x 7.6 cm.) concho: 3x 3 5/8 in. (7.6 x 9.2 cm.)

sterling silver inscribed: S.L. / sterling belt: 42 ½ x 2 ⅛ in. (108 x 5.4 cm.) concho: 2 ⅞ x 3 ¾ in. (7.3 x 9.5 cm.)

sterling silver stamped verso: S. L. / HANDMADE / STERLING / STERLING belt: 45 ½ x 1 in. (115.6 x 2.5 cm.) concho: 3 ⅛ x 3 ¾ in. (7.9 x 9.5 cm.)

Provenance: Collection of Charlene Penrod, Arizona Kachina House, Santa Fe, New Mexico The Barbara Rogers Stinson Collection

Provenance: The Gene Russell Estate

Provenance: The Gene Russell Estate

$3,000 — $5,000

$2,500 — $3,500

$6,000 — $9,000

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Provenance: The Gene Russell Estate $2,000 — $4,000

263 Joe H. Quintana (Cochiti, 1915–1991) Silver Stamped Concho Belt, ca. 1970 silver accompanied by: Joe H. Quintana Master in Metal Catalogue belt: 36 x 1 in. (91.4 x 2.5 cm.) concho: 3 ¼ x 4 ⅛ in. (8.3 x 10.5 cm.)

Provenance: Private Collection, Arizona Literature: Irma Bailey, Joe H Quintana: Master in Metal Selections from the Irma Bailey Collection, Santa Fe, 2004, p. 21.

264 Diné [Navajo] Sterling Silver and Turquoise Concho Belt sterling silver, turquoise buckle stamped: UI [arrowhead cypher] TA21 STERLING belt: 43 ⅝ x 2 ½ in. (110.8 x 6.4 cm.) concho: 3 x 3 ¾ in. (7.6 x 9.5 cm.)

Provenance: The Gene Russell Estate $2,000 — $4,000

265 Roger Skeet, Jr. (Diné [Navajo], b. 1933) Stamped Sterling Silver and Turquoise Concho Belt ca. 1960 silver, copper, and turquoise Buckle stamped verso: R. Skeet JR. belt: 50 ½ x 1 in. (128.3 x 2.5 cm.) concho: 3 x 3 ¾ in. (7.6 x 9.5 cm.)

Provenance: The Gene Russell Estate

266 Diné [Navajo] Sterling Silver Concho Belt with Turquoise, ca. 1940 sterling silver, turqouise belt: 38 x ⅞ in. (96.5 x 2.2 cm.) concho: 2 ¾ x 3 ½ in. (7 x 8.9 cm.)

Provenance: The Gene Russell Estate $2,000 — $3,000

$2,000 — $4,000

$3,000 — $5,000

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267 Diné [Navajo] Pair of Sterling Silver and Turquoise Cluster Bracelets, ca. 1950 and 1960 silver, turquoise features individually bezel-set turquoise cabochons bracelet ca. 1950: internal circumference including gap 7 in. (17.8 cm.) bracelet ca. 1960: internal circumference including gap: 6 ½ in. (16.5 cm.)

Provenance: The Gene Russell Estate $2,000 — $3,000

268 Diné [Navajo] Sterling Silver and Turquoise Box and Bow Squash Blossom Necklace, ca. 1940 sterling silver, turquoise hanging length: 18 in. (45.7 cm.) naja: 4 ½ x 4 in. (11.4 x 10.2 cm.)

Provenance: The Gene Russell Estate $4,000 — $6,000

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269 Pueblo Twenty-One Strand Coral Necklace, ca. 1960 coral beads grandmother wrap hanging length: 16 in. (40.6 cm.)

Provenance: The Gene Russell Estate $2,000 — $3,000

270 Pueblo Coral Necklace with Turquoise and Shell Jacla, ca. 1940-1950 coral, 4mm bench-made silver beads, turquoise, shell grandmother wrap hanging length: 22 in.(55.9 cm.)

Provenance: The Gene Russell Estate $2,000 — $3,000

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107

271 Zuni Hand Stamped Fleur-De-Lis Silver + Turquoise Squash Blossom Necklace, ca. 1930-1940 bezel set turquoise stones, silver etched verso on naja: IV, SIHI (x2) etched verso on “squashes”: IV hanging length: 15 in. (38.1 cm.) naja: 2 ½ x 3 in. (6.4 x 7.6 cm.)

Provenance: The Gene Russell Estate $3,000 — $4,500

272 Diné [Navajo] Sterling Silver and Turquoise Squash Blossom Necklace, ca. 1930 sterling silver, turquoise hanging length: 17 ½ in. (44.5 cm.) naja: 2 x 2 ½ in. (5.1 x 6.4 cm.)

Provenance: The Gene Russell Estate $2,000 — $4,000

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273 Diné [Navajo] Mercury Dime and Liberty Quarter Squash Blossom Necklace, ca. 1920 hanging length: 14 ¼ in. (36.2 cm.) naja: 1 ¾ x 1 ¾ in. (4.4 x 4.4 cm.)

Provenance: The Gene Russell Estate $2,000 — $3,000

274 Diné [Navajo] Silver + Turquoise Sandcast Naja and Fluted Bench Bead Squash Blossom Necklace ca.1960 silver, turquoise hanging length: 16 in. (40.6 cm.) naja: 3 ¾ x 2 ¼ in. (9.5 x 5.7 cm.)

Provenance: The Gene Russell Estate $2,000 — $3,000

275 Dan Simplicio (Zuni, 1917–1969) Sterling Silver, Coral + Turquoise Squash Blossom ca. 1950 sterling silver, coral, turquoise stamped verso: DS hanging length: 16 in. (40.6 cm.) naja: 3 x 3 ⅜ in. (7.6 x 8.6 cm.)

Provenance: The Gene Russell Estate $1,200 — $1,800

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276 David P. Bradley (Chippewa, b. 1954) Dancer Resting, 1984

277 David P. Bradley (Chippewa, b. 1954) Tammy Garcia, 2010 - 2012

acrylic on canvas signed and dated lower right: DAVID P. BRADLEY / © ‘84 inscribed verso: “DANCER RESTING © 84 a/c 36 x 30 36 x 30 x 1 ⅜ in. (91.4 x 76.2 x 3.5 cm.)

acrylic on board signed lower right: DAVID BRADLEY © inscribed verso: “Tammy Garcia” / David Bradley / © 2010-12 / acrylic on board / 22 x 24 / I tried to show Santa Clara artist Tammy / Garcia / creating in her imaginary studio, out the window / is a symbolic Indian Pueblo blending into an / idyllic New Mexico landscape. The anasazi vessel / represents the beautiful ancient artistic traditions of / pueblo people. It has a beautiful flower growing / from it. This represents the continuing tradition / of pueblo artistic expression. David Bradley 22 x 24 x 1 ⅛ in. (55.9 x 61 x 2.9 cm.)

Provenance: Private Collection, Pennsylvania $5,000 — $7,000

Provenance: Private Collection, Arizona $3,000 — $5,000

278 T. C. Cannon (Kiowa, 1946–1978) Self Portrait in The Studio color woodblock, edition 81 of 200 editioned lower left: 81/200 signed lower left: Joyce Cannon Yi stamped lower right: T.C. Cannon 21 ¾ x 16 ⅛ in. (55.2 x 41 cm.)

Provenance: Private Collection, Arizona $5,000 — $7,500

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279 Patrick Dean Hubbell (b. 1986) Moni Chaka with Yellow Shades

280 Kevin Red Star (Crow, b. 1943) Tipi Village at Arrow Creek, 2011

acrylic on canvas signed lower right: Hubbell inscribed verso: “Moni Chaka with Yellow Shades” / (Moni Chaka, Ponca, 1898) / Acrylic on Canvas / 36 inches x 48 inches / [artist’s signature] 48 x 36 in. (121.9 x 91.4 cm.)

acrylic on canvas inscribed verso: 1 / “Tipi VillAGE AT ARROW CREEK” / -ABSAROKA county, MT.- / Kevin Red Star / 2011 © / Acrylic o/CAnvAS 30 ⅛ x 36 ⅛ x 1 ⅜ in. (76.5 x 91.8 x 3.5 cm.)

Provenance: Private Collection, Virginia

Provenance: Private Collection, Arizona $3,000 — $5,000

$4,000 — $6,000

281 Shonto Begay (Diné [Navajo], b. 1954) Abandoned, 1990 acrylic on canvas signed and dated lower right: -ShBegay ‘90inscribed verso: Shonto Begay, 1990 / “ABANDONED” Acrylic 34 x 46 in. (86.4 x 116.8 cm.)

Provenance: Private Collection, Texas $4,000 — $8,000

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282 Helen Hardin [Tsa-Sah-Wee-Eh] (Santa Clara, 1943–1984) Corn Pollen Gatherer, 1972 acrylic on watercolor board signed lower right: TSA-SAH-WEE-EH [artist’s cipher] 18 ½ x 8 ¾ in. (47 x 22.2 cm.)

Provenance: Private Collection, New Mexico $12,000 — $15,000

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283 Helen Hardin [Tsa-Sah-Wee-Eh] (Santa Clara, 1943–1984) Mimbres Fish, 1979 acrylic on board signed lower right: TsA-sAh-wEE-Eh [artist’s cipher] / © 1979 inscribed verso: contemporary Indian Painting / by / Helen Hardin / TsA-sAh-wEE-Eh [artist’s cipher] / Santa Clara ARTiST 11 ½ x 9 ½ in. (29.2 x 24.1 cm.)

Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico $3,000 — $5,000

284 Helen Hardin [Tsa-Sah-Wee-Eh] (Santa Clara, 1943–1984) Deer at Sunrise

285 Margarete Bagshaw (Santa Clara, 1964–2015) Untitled (Abstraction), 1995

oil on board signed lower right: TSA-SAh-WEE-Eh [artist’s cipher] inscribed verso: “Deer at Sunrise” / a / contemporary Indian Painting / by / Helen Hardin / TSA-SAh-WEE-Eh [artist’s cipher] / Santa Clara Pueblo Painter 9 ⅝ x 7 ⅝ in. (24.4 x 19.4 cm.)

pastel on paper inscribed lower right: Margarete Bagshaw-Tindel 95 © / O-je-gi-Povi 21 ⅞ x 7 ⅞ in. (55.2 x 20 cm.)

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

Provenance: The Artist Private Collection, New Mexico $1,000 — $2,000

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286 Pablita Velarde [Tse Tsan] (Santa Clara, 1918–2006) Pair of Yei Dancers: Female + Male earth pigments on canvas each signed: PAblitA VElARdE Female (Left): 18 ⅞ x 8 ¾ in. (47.9 x 22.2 cm.)

Male (Right): 18 x 8 ¼ in. (45.7 x 21 cm.)

Provenance: The Artist Private Collection, New York $5,000—$10,000

287 Pablita Velarde [Tse Tsan] (Santa Clara, 1918–2006) Mimbres Turtles earth minerals on board signed lower right: PAblitA VElARdE inscribed verso: MIMBRES TURTLES 11 ¼ x 13 ¼ x 2 in. (28.6 x 33.7 x 5.1 cm.)

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

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288 Tony Abeyta (Diné [Navajo], b. 1965) Untitled - Red Abstraction, 2021 oil on canvas signed lower right: Tony Abeyta 54 x 30 in. (137.2 x 76.2 cm.)

Tony Abeyta is a Diné [Navajo] contemporary artist celebrated for his versatility, with work that includes neo-modernist landscapes, sculpture, and jewelry with subject matter sourced in the New Mexico landscape, ancestral Navajo iconography and American Modernism. “I create from a Native American vocabulary, but I am inspired by the knowledge I have acquired from other parts of the world, and from other periods of art history…”

Of Lot 288, this rare red abstraction, the artist says, “unique works like this painting are important as they offer those breakthrough moments that inform new directions that have always been pertinent to my progress as a painter.

I see much of my work in its totality, so each period still belongs to the whole.”

In particular, he states, “This painting comes transitionally from a period of works highly influenced by music and indigenous ritual. The idea was to create compositions with rhythmic vibrations tied to my own ancestral memory.

Spatially integrating ideas of man and animal dynamics, while working in a very modernist style and with a limited color palette. I chose to work in this palette of red and black, creating contrasts that add musical elements, so that essentially my paintings might emanate sound.”

In September, 2023, Tony became the first Native American honored as a U.S. Department of State Medal of Arts recipient. He is also a previous recipient of the New Mexico Governor’s Excellence in the Arts award and has been recognized as a Native Treasure by the Museum of Indian Arts & Culture. He was awarded an Honorary Doctorate in the Arts from the Institute of American Indian Arts, and holds degrees in Fine Arts from the Maryland Institute College of Art and New York University . His work is included in the Smithsonian’s National Museum of the American Indian, Boston Fine Arts Museum, the Heard Museum in Phoenix, AZ, New Mexico Fine Arts Museum, the Autry Museum in Los Angeles, CA, and the Eiteljorg Museum in Indianapolis, as well as in many other public & private collections and U.S. Embassies around the world.

Provenance: Private Collection, California $25,000 — $35,000

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289 Dan Namingha (Hopi-Tewa, b. 1950) Crescent Moon and Venus, 2021 acrylic on canvas signed lower right: Namingha inscribed verso: Crescent Moon / and Venus / Dan Namingha / © 2021 30 x 30 ¼ x 1 ½ in. (76.2 x 76.8 x 3.8 cm.)

Provenance: Niman Gallery, Santa Fe, New Mexico Private Collection, New Mexico $9,000 — $12,000

290 Dan Namingha (Hopi-Tewa, b. 1950) Pronghorn Antelope Head, 2009 bronze, edition 1 of 1 inscribed: Dan Namingha © ‘09 1/1 [artist’s cipher] 37 ¾ x 17 ¼ x 15 ⅝ in. (95.9 x 43.8 x 39.7 cm.)

Provenance: Private Collection, Maine $12,000 — $18,000

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291 Frank Howell (1937–1997) Blue River Sunset, 1996 oil on canvas signed and dated lower right: Frank Howell 1996 50 x 40 in. (127 x 101.6 cm.)

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

292 Luis Jimenez (1940–2006) Study of a Classical Horse and a Modern Horse, 1994 lithograph on Rives BFK, white paper, edition 16 of 40 editioned lower left: 16/40 printers chop lower left: [The Lawrence Lithography Workshop] signed and dated lower right: © Luis Jimenez ‘94 37 x 22 ¾ in. (94 x 57.8 cm.)

Provenance: Private Collection, New Mexico $800 — $1,200

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293 Luis Jimenez (1940–2006) El Filo from the 'Cycle' Series cast fiberglass and automotive paint with epoxy coating, edition 3 of 5 inscribed: Luis Jimenez [artist's cipher] - 3/5 modeled 1969, cast 1977 28 x 47 x 84 in. (71.12 x 119.38 x 213.36 cm.)

As a child, Luis Jiménez apprenticed at his father's neon-sign studio and learned to work with industrial materials and paints. He went on to study art and architecture at the University of Texas followed by a year in Mexico. He moved permanently to New Mexico in the early 1970s where he found patronage and numerous public large-scale commissions: including the Hirshhorn Museum; the Smithsonian American Art Museum; public parks in Fargo, ND, Houston, El Paso, Albuquerque, etc. as well as his final work for the Denver Airport. His highly colored fiberglass sculptures- whether monumental in scale or more personal in size are fun, insightful, and often controversial realizations of Jimenez’s roots, his social awareness, and his own vision of life in the West.

In an interview (1977) with Richard Wickstrom, Jiménez said: “I realized a long time ago I was never going to be subtle.

So I try to use those things out of my culture and my background that maybe weren’t considered in a fine art setting. I think that becomes a strength. Growing up on the border is really different from the general American experience. It’s kind of obvious Mexican American connections in the work. The attitude toward color, toward form, and the approach in general is Mexican-American.” 1 Jimenez first approached the motorcycle as a subject in 1968, eventually associating the vehicle with a male rider (drawing, Yale University Art Gallery). The artist’s self-proclaimed interest in the relationship of man and machine is here a distinctly masculine and sexual image. A similar large-scale version was exhibited in Jimenez’s second Graham Gallery exhibition (1970) and the catalogue discusses the “male cyclist dissolved into his machine, becoming one with it”. That example (Leonard-Litz Foundation, CT) is a dark hued duo – with man and machine without delineation in muted shades of dark blue and black. For the example he made for Donald B. Anderson, the work is ablaze with color – reflecting the custom paint job of many low rider cars. The present example is more subtly painted and allows the paint to define the figure and the machine. The artist personalizes this version with the words El Filo on the cyclist’s jacket as well as a meticulous application of sparkles in the application of the varnish.

1

Richard Wickstrom, (catalogue and interview), Luis Jiménez: Sculpture, Drawings, and Prints. NMSU Art Museum: Las Cruces, 1977

Provenance: Adeliza McHugh, Candy Store Gallery, Folsom, CA, 1983 Private Collection, Illinois $100,000 — $150,000

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294 Ed Mell (b. 1942) Storm behind The Sun, 2017 oil on canvas signed lower right: ED MELL inscribed verso: © ED MELL, 2017 ED MELL / STORM BEHIND THE SUN. 40 x 50 in. (101.6 x 127 cm.)

Provenance: The Owings Gallery, Santa Fe, New Mexico Private Collection, Maine $40,000 — $60,000 Ed Mell was born in Phoenix, Arizona in 1942, and was educated at Phoenix College and Art Center College of Design, Los Angeles, California. After five years of commercial advertising in New York City, he moved back to Phoenix to pursue an inner desire to paint the great American West.

Unique and graphic views of the Southwest landscape became the focus of Ed Mell's work.

“I deal with those lasting impressions you have after driving through an area like Monument Valley. You remember basic forms, color and mood. The details are lost, but the image remains. The landscape is too dynamic to interpret realistically; therefore you must resort to exaggeration to capture its immediate power.” — Ed Mell

295 Ed Mell (b. 1942) Diggin In bronze, edition of 18 inscribed: Ed Mell 14 x 18 x 4 ¾ in. (35.6 x 45.7 x 12.1 cm.)

Provenance: Collection of Ronald & Jacquelyn Feller, Tucson, Arizona $8,000 — $12,000

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296 Billy Schenck (b. 1947) Diablo Canyon, 2016 oil on canvas signed lower right: SCHENCK 16 inscribed verso: SCHENCK / AUG 2016 / DIABLO CANYON 40 x 40 in. (101.6 x 101.6 cm.)

Provenance: Collection of Ronald & Jacquelyn Feller, Tucson, Arizona $15,000 — $20,000

297 Ali MacGraw (b. 1939) Karuna (from The Trail of Painted Ponies) fiberglass, acrylic, shells, mirror pieces, buttons signed on hoof: Ali MacGraw 57 1/2 x 27 x 82 1/2 in. (146.1 x 68.6 x 209.6 cm.)

The Trail of Painted Ponies was an exhibition that included over 100 artists’ unique designs sold to benefit charitable organizations throughout New Mexico. The blank fiberglass horse molds were designed by Star Liana York. Noted actress and artist McGraw chose the Humane Society as beneficiary and named her creation “Karuna” which is Sanskrit for Compassion. “Compassion for all sentient beings, great and small, all over the world.”

Provenance: Private Collection, Texas Literature: The Trail of Painted Ponies: New Mexico Public Art Project, Santa Fe, 2001, p. 81 $6,000 — $9,000

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298 Kim Douglas Wiggins (b. 1960) Full Moon Over Ranchos oil on canvas signed lower right: KIM WiggiNS 29 ½ x 39 ½ in. (74.9 x 100.3 cm.)

Provenance: Altermann Galleries, Santa Fe, New Mexico, 2003 Private Collection, Arizona Exhibited: Prescott, Arizona, Phippen Art Museum, By The Light of The Moon, March 4, 2017 - July 23, 2017 $20,000 — $30,000

299 David Barbero (1938–1999) Grande Canyon acrylic on canvas initialed lower left: DB inscribed verso: ACRYLIC “GRANDE CANYON” David Barbero 48x60 48 x 60 in. (121.9 x 152.4 cm.)

Provenance: Private Collection, Idaho $10,000 — $20,000

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300 John Andolsek (b. 1961) Western Landscape, 1985 oil on linen signed and dated lower left: ANDOLSEK-8568 x 54 in. (172.7 x 137.2 cm.)

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

John Andolsek was born in Nuremberg, Germany, in 1961, and graduated from the School of Visual Arts in New York City in 1983. He has exhibited widely throughout the United States and currently lives and works in Santa Fe, New Mexico. Andolsek creates deeply contemplative spaces through his dynamic brushwork and portrays subjects and scenes that echo themes of typical American life. His paintings are powerful and nuanced contemplations on contemporary life and collective memory, and subtly evoke themes of nostalgia and a search for truth through formal interactions.

Through his sophisticated approaches to abstraction and figuration, color and form, Andolsek paints familiar forms and spaces as emblems of greater themes, such as consumerism, escape, wealth, and power.

301 John Andolsek (b. 1961) All Yesterday’s Parties, 2010 oil on linen inscribed verso: ANDOLSEK - 10.

40 x 30 in. (101.6 x 76.2 cm.)

Provenance: Private Collection, New Mexico $4,000 — $8,000

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302 Charles Arnoldi (b. 1946) Marilyn, 1990 cast aluminum signed verso suite number: ARN8906A 92 x 72 x 3 in. (233.68 x 182.88 x 7.62 cm.)

Charles Arnoldi is an American abstract painter, sculptor, and printmaker. A versatile, ever evolving artist, known for working with non-traditional materials, Arnoldi has produced a hugely varied body of work. Lot 302 is one of his series of aluminum paintings, said by Benjamin Weissmann to “inhabit the space between painting and sculpture…” while exhibiting “a mixture of the cruel and the dainty”. His work is in the collections of many major museums, including the Metropolitan Museum, the Museum of Modern Art in New York, The Whitney Museum of American Art in New York, Guggenheim Museum in Bilbao, The National Gallery of Art in Washington D.C., the Los Angeles County Museum of Art, The Fine Arts Museum of San Francisco, The Hammer Museum in Los Angeles, The Museum of Contemporary Art Chicago, and the Norton Simon Museum in Pasadena, California.

Provenance: Dwight Hackett Projects, Santa Fe, New Mexico Private Collection, New Mexico A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $20,000 — $30,000

303 Wolfgang & Anna Maria Kubach-Wilmsen (20th/21st Century) Open Book black Norwegian marble inscribed: Y-33 25 x 37 ½ x 1 ½ in. (63.5 x 95.3 x 3.8 cm.)

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

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304 Daniel Sprick (b. 1953) The Skeleton Table, 2007 oil on panel signed and dated lower center: Daniel Sprick 2007 48 x 59 ¾ in. (121.92 x 151.77 cm.)

Considered one of America’s leading contemporary realists, Daniel Sprick was born in Little Rock, Arkansas, and studied at the Ramon Froman School of Art, the National Academy of Design in New York City, and the University of Northern Colorado. His lifelong love of drawing began at the age of four.

Sprick comments: “The human skeleton is quite irresistible to me. I can’t help but see my own life there, and it’s a compelling and beautiful subject, outwardly beautiful and sculpturally. And it has a haunting presence that can’t really be ignored…. It’s hard for me to retrace my steps when I painted the Skeleton Table, but I do remember that I had a lot of preliminary drawings for it before I started and some drawings that I had been accumulating for almost a year that kind of led to this. I was thinking of an obscure Japanese composition – I don’t remember the piece – but it was a kind of a still life subject placed at that height. That painting morphed in my mind to the subject of the sky burial, which is a type of disposal of human remains by putting them up on high so that scavenging birds would pick and take away the remains. Although, that occurs outdoors where the birds can get to it, not indoors, but somehow that elevation made me think of a sky burial. I found the whole notion of it quite poignant.”

— Interview with Rose Frederick, Incurable Optimist, 2008 Provenance: Private Collection, New Mexico $20,000 — $30,000

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305 Janet Lippincott (1918–2007) Ditch Machine, 1985 oil on canvas inscribed center right: Lippincott inscribed verso: Ditch Machine / 1985 / Lippincott 71 ⅝ x 67.62 in. (181.93 x 171.77 cm.)

Provenance: Private Collection, Texas $9,000 — $12,000

306 Clay Edgar Spohn (1898–1977) Spirit of the Kiva oil on canvas initialed lower right: C.S. 32 ¼ x 39 ¾ in. (81.9 x 101 cm.)

Provenance: Private Collection, Arizona $4,000 — $6,000

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307 Emil James Bisttram (1895–1976) Space Abstraction, 1951 oil on canvas signed lower right: BISTTRAM 88 ¼ x 78 ¼ in. (224.2 x 198.8 cm.)

Provenance: Fenn Galleries, Santa Fe, New Mexico Hollis Taggart Gallery, New York, New York Richard York Gallery, New York, New York Private Collection, Idaho Exhibited: "Enchanted Modernities: Mysticism, Landscape, and the American West", 2014, Nora Eccles Harrison Museum of Art, Utah $40,000 — $60,000

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308 Emil James Bisttram (1895–1976) White Noise, 1960 acrylic lacquer on board signed and dated lower right: [artist’s cipher] / BISTTRAM 60 64 ⅜ x 48 ⅜ in. (163.5 x 122.9 cm.)

Provenance: Private Collection, New Mexico $25,000 — $35,000

309 Emil James Bisttram (1895–1976) Lucite Construction, 1962 mixed media, jeweled light box initialed and dated lower left: E. B. 62 15 ½ x 23 ½ in. (39.4 x 59.7 cm.)

Provenance: Private Collection, Arizona $5,000 — $7,000

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310 Raymond Jonson (1891–1982) Oil No. 11 (Chromatic Contrasts No. 20), 1945 oil on canvas signed and dated lower right: R Jonson / 45 inscribed verso: CHROMATIC CONTRASTS NO.20 / JONSON OIL NO 11 1945 9/14 24 x 32 in. (61 x 81.3 cm.)

Provenance: Thomas Colville Fine Art, New York, New York Berry Hill Galleries, New York, New York Peyton Wright Gallery, Santa Fe, New Mexico Private Collection, New Mexico $25,000 — $35,000

311 Louis Catusco (1927–1995) Sounds, 1980 acrylic on canvas signed lower right: Catusco inscribed verso: LOUiS CATUSCO - TAOS N.M. ACRYLIC - $2,000.00 - “SOUNDS” 52 x 45 in. (132.1 x 114.3 cm.)

Provenance: Bareiss Gallery, Taos, New Mexico Private Collection, New Mexico $6,000 — $8,000

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312 Loran A. D. Montgomery (1904–1999) Bicentennial Figure, 1976 oil on canvas signed and dated lower left: LAD Montgomery July 4th 1976 60 x 48 in. (152.4 x 121.9 cm.)

Provenance: Private Collection, New Mexico $5,000 — $7,000

313 Ed Garman (1914–2004) Untitled, Catalogue No. 987, 1975 acrylic on board signed lower right: Ed Garman inscribed verso: CAT. NO. 987 / Ed Garman / 1975 12 x 16 in. (30.5 x 40.6 cm.)

Provenance: Private Collection, New Mexico $3,000 — $5,000

314 Rebecca Bluestone (b. 1953) Chakra Diptych hand-dyed, handwoven silk, wool, gold thread accompanied by Gerald Peters Gallery catalogue Each: 51 ¾ x 9 ⅝ in. (131.4 x 24.4 cm.)

Provenance: Private Collection, New Mexico $5,000 — $7,000

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315 Beatrice Mandelman (1912–1998) Still Life with Fruit, ca. 1940

316 Joseph Stella (1877–1946) Squash

oil on canvas signed lower right: B. MANDELMAN inscribed verso: STILL LIFE WITH FRUIT BEATRICE MANDELMAN / TAOS, N.M 28 x 22 in. (71.1 x 55.9 cm.)

pastel on paper artist estate stamped verso 27 ⅞ x 22 in. (70.8 x 55.9 cm.)

Provenance: Heinley Fine Arts, Taos, New Mexico Private Collection, New Mexico $4,000 — $6,000

Provenance: Owings-Dewey Fine Art, Santa Fe, New Mexico Private Collection, New Mexico $4,000 — $8,000

317 Louis Leon Ribak (1902–1979) The Way Back, ca. 1940 - 1950

318 Louis Leon Ribak (1902–1979) Flight Series #3

oil on canvas signed lower left: RIBAK inscribed verso: Ribak / “THE WAY BACK” 27 ½ x 35 ½ in. (69.9 x 90.2 cm.)

oil on panel signed lower right: Ribak inscribed verso: RIBAK FLIGHT SERIES #3 / TAOS N.M. 10 ¾ x 11 ⅝ in. (27.3 x 29.5 cm.)

Provenance: Private Collection, New Mexico

Provenance: Private Collection, Kansas

$7,000 — $10,000

$1,000 — $2,000

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319 Elmer Schooley (1916–2007) Snakeweed Pasture oil on canvas signed lower right: Schooley 44 x 58 in. (111.8 x 147.3 cm.)

Provenance: Private Collection, Colorado $1,500 — $2,500

320 Elmer Schooley (1916–2007) Mirage oil on canvas signed lower right: ELMER SCHOOLEY 50 x 56 in. (127 x 142.2 cm.)

Provenance: Private Collection, Colorado $1,500 — $2,500

321 Dorothy Morang (1906–1994) Cathedral #4, 1963 acrylic resin on board signed and dated lower right: DOROTHY MORANG 1963 31 ¾ x 23 ½ in. (80.6 x 59.7 cm.)

Provenance: Private Collection, New Mexico Exhibited: New Mexico Artists Biennial, Fine Arts Museum of New Mexico, Santa Fe, New Mexico, 1963. $1,500 — $2,500

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322 Dorothy Brett (1883–1976) Untitled (Wintertime March to the Pueblo), 1967 oil on board signed right of lower center: DoBREtt / 1967 17 ⅝ x 11 ⅛ in. (44.8 x 28.3 cm.)

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

323 Ila Mae McAfee (1900–1995) Land of Enchantment oil on panel signed lower left: Ila / McAfee inscribed verso: LAND OF ENCHANTMENT / ILA MCAFEE 15 ¾ x 20 in. (40 x 50.8 cm.)

Provenance: Private Collection, California Anna E Keener Award, 1961 for The New Mexico Federation of Women’s Clubs $8,000 — $12,000

324 Eric Sloane (1905–1985) Clouds Gathering

325 Eric Sloane (1905–1985) Amish Barn Door

oil on board titled lower left: CLOUDS / GATHERING signed lower right: SLOANE 30 x 24 in. (76.2 x 61 cm.)

oil on board signed lower left: Eric SLOANE 18 ¼ x 21 ¼ in. (46.4 x 54 cm.)

Provenance: Private Collection, Florida $8,000 — $12,000

Provenance: Private Collection, Florida $6,000 — $9,000

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326 Leon Shulman Gaspard (1882–1964) Pines, New Mexico oil on board estate stamp on verso marked: C.2624 11 x 14 in. (27.9 x 35.6 cm.)

Provenance: Kennedy Galleries, Inc., New York, New York Santa Fe East Galleries, Santa Fe, New Mexico Zaplin-Lampert Gallery, Santa Fe, New Mexico Private Collection, Oklahoma $3,000 — $5,000

327 Ralph Waldo Emerson Meyers (1885–1948) Untitled (Wheeler Peak), ca. 1925

328 Ralph Waldo Emerson Meyers (1885–1948) Evening in Lucero Canyon New Mexico, 1914

oil on board signed lower left: R.W. MEYERS TAOS 16 x 12 in. (40.6 x 30.5 cm.)

oil on canvas signed and dated lower right: Ralph. W. Meyers. 1914 12 x 10 in. (30.5 x 25.4 cm.)

Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Donabe Art Gallery, Taos, New Mexico Private Collection, New Mexico

Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Zaplin Lampert Gallery, Santa Fe, New Mexico Private Collection, New Mexico

Exhibited: Ralph Meyers, A Taos Original, Taos Art Museum, Taos, New Mexico, May 21 - Oct. 4, 2015

Exhibited: Ralph Meyers, A Taos Original, Taos Art Museum, Taos, New Mexico, May 21 - Oct. 4, 2015

$3,000 — $5,000

$2,500 — $3,500

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329 Albert Bierstadt (1830–1902) Untitled (Mountain Landscape) oil on paper mounted on canvas initialed lower right: AB 11 ¼ x 15 ⅛ in. (28.6 x 38.4 cm.)

Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, Vermont Exhibited: Pastoral Impressions: Landscapes from the Hudson River School Tradition, Orlando Museum of Art, Orlando, Florida, December 11, 1993 - February 20, 1994 (label verso) Orlando Museum of Art, long term loan from Mary Hawkins Turner, (9.1984.4), Orlando, Florida, December 1984 - 2020 $30,000 — $50,000

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330 Frederic Remington (1861–1909) The Track in the Winter Forest (Huntsmen in the Snow), ca. 1889 - 1890 oil on canvas en grisaille signed lower right: FREDERIC REMINGTON / Canada 30 ⅞ x 19 ½ in. (78.4 x 49.5 cm.)

Provenance: Private Collection, Longwood, Florida Private Collection, by descent, Venice, California Exhibited: Orlando Museum of Art, long term loan from Mary Hawkins Turner, (9.1984.2), Orlando, Florida, December 1984 - 2020.

Literature: Peter Hassrick and Melissa Webster, Frederic Remington, A Catalogue Raisonné, Cody, Wyoming: Buffalo Bill Historical Center, 1996, vol. I, no. 975, p. 311.

Original Use: “Antoine’s Moose-Yard,” Harper’s Monthly, New York: Harper & Brothers, vol. LXXXI, October 1890, no. 485, illustrated p. 659, wood engraving. $60,000 — $90,000

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331 Frederic Remington (1861–1909) A Moose Bull Fight (The Fighting Moose), 1890 Literature: Peter Hassrick and Melissa Webster, Frederic Remington, A Catalogue Raisonné, Cody, Wyoming: Buffalo Bill Historical Center, 1996, vol. i, no. 1077, p. 335.

oil on canvas en grisaille signed lower right: Frederic Remington 18 x 27 ⅞ in. (45.7 x 70.8 cm.)

Provenance: Private Collection, Longwood, Florida Private Collection, by descent, Venice, California Exhibited: Orlando Museum of Art, long term loan from Mary Hawkins Turner, (9.1984.3), Orlando, Florida, December 1984 - 2020.

Original Use: Julian Ralph, “Antoine’s Moose-Yard,” Harper’s Monthly, New York: Harper & Brothers, vol LXXXI, no. 485, October 1890, frontispiece, wood engraving, p. 650-666. $40,000 — $80,000

332 Frederic Remington (1861–1909) A Voyageur or Canoe-Man of Great Slave Lake (Indian Guide), ca. 1892 pen and ink on paper signed and inscribed lower right: Frederic Remington / after photograph inscribed verso: A Voyager or Canoeman of the Slave Lake from photo of one of Comm. Wrigley’s crew- Ralph’s Hudson Bay articles - / ¼/92 12 ⅞ x 6 ¾ in. (32.7 x 17.1 cm.)

Provenance: Private Collection, Longwood, Florida Private Collection, by descent, Venice, California Exhibited: Orlando Museum of Art, long term loan from Mary Hawkins Turner, (9.1984.1), Orlando, Florida, December 1984 - 2020.

Literature: Peter Hassrick and Melissa Webster, Frederic Remington, A Catalogue Raisonné, Cody, Wyoming: Buffalo Bill Historical Center, 1996, vol. I, no. 1487, p. 431.

Comparative Literature: Harper’s Monthly, New York: Harper & Brothers, vol. LXXXV, March 1892, p. 500, line engraving. $6,000 — $9,000

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333 Eanger Irving Couse (1866–1936) Moonlight Campfire, 1914 oil on canvas signed lower right: E-I-COUSE 24 x 29 in. (61 x 73.7 cm.)

Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico Literature: Virginia Couse Leavitt, E. I. Couse Catalogue Raisonné, No. 1285, Id. 1287. $100,000 — $150,000

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334 Eldridge Ayer Burbank (1858–1949) Quen-Chow-A-Moqui, 1897

335 Henry Francois Farny (1847–1916) Indian Woman in a Blanket, 1891

oil on beveled wood panel titled upper left: QUEN-CHOW-A. / MOQUI signed lower left: E. A. BURBANK dated lower right: 1897 8 x 6 in. (20.3 x 15.2 cm.)

watercolor on paper signed and dated lower right: Farny 91 10 ½ x 9 in. (26.7 x 22.9 cm.)

Provenance: Zaplin Lampert Gallery, Santa Fe, New Mexico Collection of Ronald & Jacquelyn Feller, Tucson, AZ

Provenance: Private Collection, New Mexico $6,000 — $9,000

$7,000 — $10,000

336 Lucien Whiting Powell (1846–1930) Grand Canyon of the Yellowstone watercolor on paper signed lower right: Lucien W Powell 24 x 29 in. (61 x 73.7 cm.)

Provenance: Private Collection, Arizona $1,000 — $2,000

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337 Edward S. Curtis (1868–1952) The North American Indian Portfolio XI, 1916 36 photogravures on Japanese Gampi tissue signed in plate lower center: E. S. Curtis Featuring the Nootka and Haida tribes of the Pacific Northwest.

LIMITED EDITION: This Portfolio is from set #120, printed on handmade Japanese gampi tissue paper, quarto, original ¾ brown crushed levant by H. Blackwell of Boston, over beige linen-covered boards, original gilt lettered, with photogravure plates by John Andrew & Son of Boston after photographs by Edward S. Curtis, edited by Frederick Webb Hodge, Chief of the Bureau of American Ethnology, field research conducted under the patronage of J. Pierpont Morgan.

PORTFOLIO: 36 large format photogravures, including a List of Plates reference that is hand letterpress printed on hand-made paper.

Loose bound in a hand-made, 3-flap portfolio.

Folio: 23 x 19 in. (58.4 x 48.3 cm.)

Photogravures: 18 x 22 in. (45.7 x 55.9 cm.)

Provenance: Edward S. Curtis Studio Charles E. Lauriat Co. Bangor Public Library, 1941 Private Collection(s) The Christopher G. Cardozo Collection, 1997 Literature: The North American Indian (1907-1930), Portfolio 11 $8,000 — $12,000

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338 Edward S. Curtis (1868–1952) President Theodore Roosevelt, ca. 1904 orotone on glass (goldtone) signed lower right: Curtis negative date: 1904 print date: ca. 1904 10 x 8 in. (25.4 x 20.3 cm.)

Rendered here in goldtone, this Curtis portrait of President Theodore Roosevelt is an excellent example of the photographic process that Curtis popularized. The gold backing is completely intact, which is somewhat unusual in Curtis’ goldtones and the period frame is in fantastic condition with the original backing still intact. Early in Curtis’ photographic career he gained considerable respect as a portrait photographer. So much so, that his work was recognized

by President Theodore Roosevelt, who subsequently invited Curtis to take some family photographs on the East coast. Curtis and Roosevelt shared a vision and passion for preservation, and when Curtis started The North American Indian project Roosevelt became a champion of the work, eventually introducing him to J.P. Morgan, who provided considerable financing for the project. Of Curtis Roosevelt said, “Mr. Curtis, because of the singular combination of qualities with which he has been blessed and because of his extraordinary success in making and using his opportunities, has been able to do what no other man ever has done; what, as for we can see, no other man could do.”

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection 2003 $6,000 — $9,000

339 Edward S. Curtis (1868–1952) Edward S. Curtis Self Portrait - Field Attire, ca. 1899 photogravure on Holland van Gelder etching stock inscribed in plate lower left: Photogravure inscribed in plate lower right: John Andrew & Son, Boston negative date: ca. 1899 print date: ca. 1899 10 ⅛ x 7 in. (25.7 x 17.8 cm.)

Taken when he was in his early 30’s, this image of Curtis in field dress is the most well known of his self-portraits. This example is rendered in photogravure, which is the most common form of this image.

Provenance: Edward S. Curtis Studio, Seattle Private Collection (s) The Christopher G. Cardozo Collection 2009 Publication History - Image: Native Nations, Bulfinch Press, 1993, Page 18 Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, Page 18 Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, Page 9 $4,000 — $6,000

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340 Edward S. Curtis (1868–1952) E. H. Harriman, ca. 1900 platinum print negative date: ca. 1900 print date: ca. 1900 16 ¾ x 12 ¾ in. (42.5 x 32.4 cm.)

This is a portrait of railroad magnate Edward Henry Harriman.

Curtis was the official photographer on the Harriman expedition to Alaska in 1899, taking thousands of photographs during the trip.

This large platinum print is unique in that the sheet has not been trimmed on two sides, showing the original deckle of the paper.

Provenance: Edward Curtis Studio, Seattle Beth Curtis Magnuson Collection Iris Forrest Collection Four Winds Gallery, Pittsburgh, Pennsylvania The Christopher G. Cardozo Collection 2005 $3,000 — $5,000

341 Edward S. Curtis (1868–1952) Bear’s Belly - Arikara, 1908 photogravure on Holland Van Gelder printed upper left: Plate 150 printed lower left: BEAR’S BELLY - ARIKARA printed lower center: From Copyright Photograph 1908 by E.S. Curtis printed lower right: Photogravure John Andrew & Son 15 ½ x 11 ¾ in. (39.4 x 29.8 cm.)

One of the great iconic images from The North American Indian, Bear’s Belly was born in 1847 at Fort Clark, in the present North Dakota. He joined Custer’s scouts at Fort Abraham Lincoln, at the age of nineteen. He became a member of the Bears in the medicine fraternity and Curtis recounts the story of how seeking a bear-skin for his medicine, he killed three bears at one time.

Provenance: W Graham Arader III Gallery, New York, NY Private Collection, New Mexico Publication History - Image: The North American Indian (1907-1930), Portfolio 5, Plate 150 $30,000 — $50,000

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342 Edward S. Curtis (1868–1952) Mosa Mohave photogravure on Holland Van Gelder etching stock titled lower left: MOSA - MOHAVE printed lower center: From Copyright Photograph 1903 by E. S. Curtis printed lower right: Photogravure John Andrew & Son 20 x 16 in. (50.8 x 40.6 cm.)

Provenance: The Christopher G. Cardozo Collection Literature: The North American Indian (1907-1930), Portfolio 2, Plate 61. $9,000 — $12,000

343 Edward S. Curtis (1868–1952) Waiting in the Forest - Cheyenne photogravure on Holland Van Gelder etching stock titled lower left: WAITING IN THE FOREST - CHEYENNE printed lower center: From Copyright Photograph 1910 by E. S. Curtis printed lower right: Photogravure John Andrew & Son 20 x 16 in. (50.8 x 40.6 cm.)

Provenance: The Christopher G. Cardozo Collection Literature: The North American Indian (1907-1930), Portfolio 6, Plate 218. $8,000 — $12,000

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344 Edward S. Curtis (1868–1952) Yan Tsire (“Willow Bird”) - San Ildefonso, 1905 platinum print copyright blind stamp lower left: COPYRIGHTED 1905 BY E.S. CURTIS signed lower right: Curtis negative date: 1905, print date: 1905 15 11/16 x 11 7/16 in. (39.85 x 29.05 cm.)

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 1999 Literature: The North American Indian (1907-1930), Volume 17, Facing Page 130.

Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 111.

Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 82.

Exhibited: Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000 Edward S. Curtis: 100 Masterworks, 2016 Edward Curtis: Beauty, Heart and Spirit (64 print exhibit), Schumacher Gallery, Columbus, Ohio, 2017, Trout Museum of Art, Appleton, Wisconsin, 2018 $8,000 — $10,000

345 Edward S. Curtis (1868–1952) Untitled (Young Male Portrait), 1906 platinum print signed lower right: Curtis copyright blind stamp lower left: COPY RIGHTED 1906 / BY E.S. CURTIS inscribed in negative lower left: X2053-06 negative date: 1906 print date: 1906 7 ½ x 5 ¼ in. (19.1 x 13.3 cm.)

Unknown tribe, Southwest Unpublished Provenance: Edward Curtis Studio, Seattle Mary Vincent* *Vincent was the grandaughter (through marriage) of a couple who owned a trading post in Washington state. This print was gifted to them as Curtis was a frequent guest and close friend.

Gifted by the grandparents to their son, and by descent to Mary and her husband.

The Christoper G. Cardozo Collection, 2006 Private Collection, New Mexico Exhibited: Edward S. Curtis: 100 Masterworks, 2016 Edward Curtis: Beauty, Heart and Spirit (64 print exhibit), Schumacher Gallery, Columbus, OH, 2017, Trout Museum of Art, Appleton, WI, 2018 Publication History Print: Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, Page 59 Image: Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, Page 108 $2,500 — $3,500

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346 Edward S. Curtis (1868–1952) Koskimo Woman, ca. 1914 platinum print signed lower right: Curtis negative date: 1914 print date: ca. 1914 16 x 12 in. (40.6 x 30.5 cm.)

Koskimo, Northwest This portrait shows a woman from the Koskimo tribe cloaked in a cedar-bark cape, which is worn for protection from the rain. This platinum print has a very pleasing sepia hue and a full tonal range, which the platinum process is known for. In addition, the original paper mount and strong ink signature make this an excellent example of Curtis’ exhibition quality platinum prints.

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection 2000 Publication History - Image: Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, Page 179 The North American Indian (1907-1930), Portfolio 10, Plate 354 The North American Indian Republication Custom Edition, Christopher Cardozo Fine Art, 2014, Portfolio Volume 3, Plate 354 $7,000 — $10,000

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347 Edward S. Curtis (1868–1952) The Maid of Dreams, ca. 1909 orotone on glass (goldtone) dated in negative lower left: R8-09 signed in negative lower right: Curtis / L.A. © negative date: 1909 print date: ca. 1909 9 ½ x 7 ½ in. (24.1 x 19.1 cm.)

Provenance: Private Collection, Portland, Oregon Private Collection, Kansas Literature: Marah Ellis Ryan, The Flute of the Gods, Frederick A. Stokes, New York, 1909, p. 130. $7,000 — $10,000

348 Edward S. Curtis (1868–1952) Coming for the Bride - Qagyuhl, 1914 platinum print signed lower right: CURTIS 10 ¾ x 15 ½ in. (27.3 x 39.4 cm.)

Provenance: Private Collection, New Mexico Publication History - Image: The North American Indian (1907-1930), Portfolio 10, Plate 337 $5,000 — $7,500

SANTA FE ART AUCTION

147

349 Edward S. Curtis (1868–1952) The Vanishing Race, 1904 platinum print copyright blind stamp lower left: COPYRIGHTED 1904 / by E. S. Curtis inscribed lower left: 501-04 signed lower right: CURTIS 12 x 16 in. (30.5 x 40.6 cm.)

Provenance: Private Collection, New Mexico Publication History - Image: The North American Indian (1907-1930), Portfolio 1, Plate 1 Native Nations, Bulfinch Press publisher, 1993, Page 123 Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster publisher, 2000, Page 188 Edward S. Curtis: The Great Warriors, Bulfinch Press publisher, 2004, Page 7 The North American Indian Republication Custom Edition, Christopher Cardozo Fine Art, 2014, Portfolio Volume 1, Plate 1 Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, Page 91, 166 $5,000 — $7,500

350 Edward S. Curtis (1868–1952) The Storm (Before the Storm) - Apache silver gelatin border print studio blind stamp on mount lower left: E. S. CURTIS / SEATTLE 5 ½ x 7 ½ in. (14 x 19.1 cm.)

Provenance: Private Collection, New Mexico Literature: The North American Indian (1907-1930), Portfolio 1, Plate 9.

Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 122-123. $3,000 — $5,000

148

SANTA FE ART AUCTION

351 Edward S. Curtis (1868–1952) Untitled/Unpublished (Two Navajo Riders), 1904 silver gelatin print - toned copyright blind stamp lower left: COPYRIGHTED 1904 BY E.S. CURTIS signed lower right: Curtis copyright in the negative: Copyright 1904 affixed verso: Edward Curtis Studio copyright sticker negative date: 1904 print date: 1904 14 ⅝ x 11 ⅞ in. (37.1 x 30.2 cm.)

Navajo, Southwest This dramatic, silhouetted peopled landscape is rendered in silver gelatin.

Most likely this print has been sepia-toned, but given the saturation of the hue it’s also possible it was hand-colored. The print is on double-weight, lightly-textured, luster surface silver gelatin paper on an original mount that has been trimmed. This is an unpublished/untitled image, meaning that it was not published in The North American Indian set of books. It is in excellent condition overall and presents a unique opportunity for the discerning collector.

Provenance: Edward Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection 2008 Publication History: Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, Page 87 $3,500 — $5,500

352 Edward S. Curtis (1868–1952) Acoma Water Girls, 1904 platinum print in negative at lower left: 324-04 negative date: 1904 print date: 1904 11 ¼ x 15 ⅛ in. (28.6 x 38.4 cm.)

Acoma, Southwest Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection 2002 Publication History - Image: The North American Indian (1907-1930), Portfolio 16, Plate 573 The North American Indian Republication Custom Edition, Christopher Cardozo Fine Art, 2014, Portfolio Volume 4, Plate 573 $3,000 — $5,000

SANTA FE ART AUCTION

149

353 Edward S. Curtis (1868–1952) Unpublished (Variant of “The Prayer”), 1906 platinum print signed lower right: Curtis copyright blind stamp lower left: COPYRIGHTED 1906 BY E.S. CURTIS in negative lower left: 403-06 negative date: 1906 print date: 1906 16 x 12 in. (40.6 x 30.5 cm.)

Hopi, Southwest This is a variant of the image known as ‘The Prayer’ that was published in Volume XII of The North American Indian. Prints of variant images are unique in that they can offer a more detailed view into the working process of Curtis in the field and are generally sought-after by collectors of Curtis’ work, especially in the platinum photographic process. This image shows a group of 3 individuals, whereas the published image shows only two.

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection 2004 $3,000 — $5,000

354 Edward S. Curtis (1868–1952) Untitled (Hopi Snake Priest) silver gelatin border print - toned signed lower right: CURTIS copyright lower left: © 7 9/16 x 5 ½ in. (19.21 x 13.97 cm.)

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Hopi Collection, 1999 Literature: Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 106.

Exhibited: Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000 $4,000 — $6,000

150

SANTA FE ART AUCTION

355 Edward S. Curtis (1868–1952) The Piki Maker - Walpi, 1906 silver gelatin border print signed lower right: CURTIS / L.A. © negative date: 1906 print date: ca. 1906 7 ½ x 5 ½ in. (19.1 x 14 cm.)

Walpi, Southwest Provenance: Private Collection, New Mexico Publication History - Image: The North American Indian (1907-1930), Portfolio 12, Plate #432 Native Nations, Bulfinch Press, 1993, Page 117 Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, Page 86 Edward S. Curtis: The Women, Bulfinch Press, 2005, Page 9, 88 Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, Page 89 $2,500 — $3,500

356 Edward S. Curtis (1868–1952) Untitled/Unpublished (Variant of Waiting for the Canoe - Clayoquot), ca. 1920 silver gelatin border print signed lower right: Curtis / L.A. © negative date: 1915 print date: ca. 1920 9 ¾ x 7 ⅞ in. (24.8 x 20 cm.)

Clayoquot, Northwest This sepia-toned print on double-weight, matte surface silver gelatin paper is unique in that the two-toned border around the image was created in the darkroom, using printing masks and exposure to light, so that the border is part of the final printed presentation. In addition, this is an unpublished variant of the image that was published in The North American Indian, making this print an excellent collecting opportunity.

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection 2007 $3,000 — $5,000

SANTA FE ART AUCTION

151

357 Edward S. Curtis (1868–1952) On the Shores at Nootka, 1915 silver gelatin border print signed lower right: CURTIS / L.A. © 5 ½ x 7 ½ in. (14 x 19.1 cm.)

Provenance: Private Collection, New Mexico Publication History - Image: The North American Indian (1907-1930), Portfolio 11, Plate 336 $1,500 — $2,500

358 Edward S. Curtis (1868–1952) Still Life - Puget Sound, 1900 platinum print studio blind stamp on mount lower left: THE CURTIS STUDIO SEATTLE copyright blind stamp lower left: COPYRIGHTED 1900 BY E.S. CURTIS signed lower right: Curtis in negative at lower left: X830 negative date: 1900 print date: 1900 5 ⅞ x 7 ⅞ in. (14.9 x 20 cm.)

Puget Sound, Northwest In addition to photographing individuals and landscapes, Curtis also did many still-life compositions showing the tribe’s material creations.

Masks, pottery, pipes, baskets and textiles are some of the items featured in his many still-life photographs. This image shows two key items used by tribes in the vicinity of Puget Sound, cedar baskets and a dug-out canoe. The canoe is carved from a single cedar log and the baskets are made from strips of cedar bark. The Cedar tree was called ‘Great Life Giver’ in the Salish language because if provided many of their daily necessities. This is a beautiful platinum print with a full tonal range, a strong signature and is on its original paper mount.

Provenance: Edward Curtis Studio, Seattle Beth Curtis Magnuson Collection Iris Forrest Collection Four Winds Gallery, Pittsburgh, Pennsylvania The Christopher G. Cardozo Collection 2005 Publication History - Image: The North American Indian (1907-1930), Volume 9, Facing page 118 Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, Page 163 The North American Indian Republication Custom Edition, Christopher Cardozo Fine Art, 2014, Volume 9, Facing page 118 $2,000 — $4,000

152

SANTA FE ART AUCTION

359 Edward S. Curtis (1868–1952) Apache Still Life, 1903 platinum print signed lower right: Curtis in negative at lower left: COPYRIGHT / 1903 / BY E.S. CURTIS / X1882 negative date: 1903 print date: 1903 6 x 8 ⅛ in. (15.2 x 20.6 cm.)

Apache, Southwest Provenance: Edward Curtis Studio Private Collection(s) The Christopher G. Cardozo Collection 2001 Publication History - Image: The North American Indian (1907-1930), Volume 1, Facing page 24 The North American Indian Republication Custom Edition, Christopher Cardozo Fine Art, 2014, Volume 1, Facing page 24 $1,000 — $2,000

360 Edward S. Curtis (1868–1952) Untitled/Unpublished (Umatilla Maid), ca. 1905 platinum print negative date: ca. 1905 print date: ca. 1905 15 ⅝ x 11 ¾ in. (39.7 x 29.8 cm.)

Umatilla, Northwest This photograph is of an Umatilla woman by a pool of water. Curtis frequently used water as a lyrical and compositional element in his photographs. It is estimated that as few as 1 in 500 Curtis prints are in platinum. In addition, this is an unpublished and untitled image making this vintage platinum print all the more desirable and rare.

This print was created by hand in Curtis’ Seattle studio.

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection 2013 $2,000 — $4,000

SANTA FE ART AUCTION

153

361 Edward S. Curtis (1868–1952) Kaviu - Pima, 1907 platinum print copyright blind stamp lower left: ......BY E.S. CURTIS in negative at lower left: 482-07 negative date: 1907 print date: 1907 16 ⅛ x 11 ⅝ in. (41 x 29.5 cm.)

Pima, Southwest Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection 2013 Publication History - Image: The North American Indian (1907-1930), Portfolio 2, Plate 42 The North American Indian Republication Custom Edition, Christopher Cardozo Fine Art, 2014, Portfolio Volume 1, Plate 42 $1,000 — $2,000

362 Edward S. Curtis (1868–1952) Untitled (Northwest Coast Man with Bird Headwear), ca. 1914 silver gelatin print negative date: ca. 1914 print date: ca. 1914 7 ⅞ x 5 ¾ in. (20 x 14.61 cm.)

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 1998 Exhibited: Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000 $800 — $1,200

154

SANTA FE ART AUCTION

363 Edward S. Curtis (1868–1952) Red Plume - Piegan (Variant) cyanotype inscribed verso: Piegan 7 ¾ x 5 ¾ in. (19.69 x 14.61 cm.)

A profile view of Red Plume is the frontispiece, featured image, in Volume VI. Curtis wrote that when Red Plume was a boy, about 1850, the Piegan Sun Dance camp formed a circle fully a mile in diameter, with the lodges placed close together, many deep, and children as well as horses frequently became lost in the maze of lodges.

Provenance: Edward S. Curtis Private Collection(s) The Christopher G. Cardozo Collection, 1999 Literature: Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 187. $1,000 — $2,000

364 Edward S. Curtis (1868–1952) The Singer (Untitled/Unpublished - Southwest Male Portrait), 1904 experimental hand-colored print, possibly gum-bichromate signed lower right: Curtis copyright blind stamp lower left: COPYRIGHTED 1904 BY E.S. CURTIS negative date: 1904 print date: 1904 16 ½ x 11 ¼ in. (41.9 x 28.6 cm.)

Southwest Curtis occasionally employed hand-coloring in his prints. The photographic process he used for his hand-colored prints varied, typically being platinum or silver gelatin. But sometimes the process used can be ambiguous as is the case with this print. Not only is the photographic process unknown, but the image is unusual in that it was not published in The North American Indian, but instead in Scribner’s Magazine in 1906. Overall this is an excellent example of Curtis’ use of an experimental photographic process.

Provenance: Edward Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection 1999 Publication History - Image: Vanishing Indian Types; The Tribes of the Southwest, Scribner’s Magazine V. XXXIX, May 1906, No.5, Pg. 52. $800 — $1,200

SANTA FE ART AUCTION

155

365 Edward S. Curtis (1868–1952) Yeibichai Hogan - Navajo, 1904 platinum print signed lower right: CURTIS 11 ½ x 15 ½ in. (29.2 x 39.4 cm.)

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

366 Edward S. Curtis (1868–1952) Loitering at the Spring - Hopi, 1906 platinum print copyright blind stamp lower left: COPYRIGHTED 1906 BY E.S. CURTIS in negative at lower left: X2009-06 negative date: 1906 print date: 1906 5 ⅞ x 7 ⅞ in. (14.9 x 20 cm.)

Hopi, Southwest This print depicts young Hopi women at a watering-hole. They are in traditional garb of heavy wool garments and multiple neck adornments and wear their hair in the squash blossom style. Curtis frequently used water as a lyrical and compositional element in his photographs. This is a very early photograph, having been created in 1906. Curtis lived with and photographed the Hopi extensively throughout The North American Indian project.

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection 2019 Publication History - Image: The North American Indian (1907-1930), Portfolio 12, Plate 400 The North American Indian Republication Custom Edition, Christopher Cardozo Fine Art, 2014, Portfolio Volume 3, Plate 400 $600 — $900

156

SANTA FE ART AUCTION

367 Edward S. Curtis (1868–1952) Palo Verde, 1907 platinum print copyright blind stamp lower left: COPYRIGHTED 1907 BY E.S. CURTIS studio blind stamp on mount lower left: THE CURTIS STUDIO SEATTLE in negative at lower left: X2410-07 affixed to verso: Curtis Studio copyright sticker negative date: 1907 print date: 1907 8 x 5 ⅞ in. (20.3 x 14.9 cm.)

Pima, Southwest Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection 2000 Publication History - Image: The North American Indian (1907-1930), Volume 2, Facing page XII The North American Indian Republication Custom Edition, Christopher Cardozo Fine Art, 2014, Volume 2, Facing page XII $800 — $1,200

368 Edward S. Curtis (1868–1952) Shaman and Patient, ca. 1915 silver gelatin print negative date: ca. 1915 print date: ca. 1915 8 x 5 ½ in. (20.3 x 14 cm.)

Clayoquot, Northwest Provenance: Edward Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection 1999 Publication History - Image: The North American Indian (1907-1930), Volume 11, Facing page 56 The North American Indian Republication Custom Edition, Christopher Cardozo Fine Art, 2014, Volume 11, Facing page 56 $700 — $1,200

SANTA FE ART AUCTION

157

369 Edward S. Curtis (1868–1952) Unpublished Variant “Dancing to Restore an Eclipsed Moon - Qa’Gyuhl”, ca. 1914 silver gelatin print negative date: 1914 print date: ca. 1914 10 ½ x 14 in. (26.7 x 35.6 cm.)

Qa’Gyuhl, Northwest After Curtis returned from the field, his staff would make silver gelatin ‘reference prints’ from the new negatives.

He primarily used these prints as a simple record of the negatives. In some cases however, larger silver gelatin prints were made of images Curtis thought had possibilities for further consideration. In this case, a different image of this scene was chosen for publication in The North American Indian, making this print a potential window into Curtis’ editing process. This is an untoned print, on single-weight, glossy surface silver gelatin paper.

Provenance: Edward Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection 1999

IN THE LAND OF THE HEAD HUNTERS

$600 — $900

In 1914, famed photographer Edward S. Curtis (1868-1952) produced a melodramatic, silent film entitled In the Land of the Head Hunters. This was the first feature-length film to exclusively star Native North Americans. An epic story of love and war set before European contact, it featured non-professional actors from Kwakwaka’wakw (Kwakiutl) communities in British Columbia. (https://www.curtisfilm.rutgers.edu/)

370 Edward S. Curtis (1868–1952) Film Still of “In The Land of The Head Hunters” (Masked Dancers - Qa’Gyuhl), ca. 1914 silver gelatin print negative date: ca. 1914 print date: ca. 1914 6 x 8 in. (15.2 x 20.3 cm.)

Qa’Gyuhl, Northwest Provenance: Edward Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection 1997 $1,200 — $1,800

371 Edward S. Curtis (1868–1952) Three Film Stills from “In The Land of The Head Hunters”, ca. 1914 silver gelatin prints negative dates: ca. 1914 print dates: ca. 1914 5 ⅞ x 8 in. (14.9 x 20.3 cm.) and 7 ¼ x 5 ⅝ in. (18.4 x 14.3 cm.)

Qa’Gyuhl, Northwest Provenance: Edward Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection 1997 $800 — $1,200

158

SANTA FE ART AUCTION

372 Edward S. Curtis (1868–1952) Two Film Stills from “In The Land of The Head Hunters” (Motana), ca. 1914 silver gelatin prints - toned negative dates: ca. 1914 print dates: ca. 1914 8 x 5 ½ in. (20.3 x 14 cm.) and 7 ¾ x 5 ½ in. (19.7 x 14 cm.)

Qa’Gyuhl, Northwest Provenance: Edward Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection 1997 $1,000 — $1,500

373 Edward S. Curtis (1868–1952) Two Film Stills from “In The Land of The Head Hunters” (Motana, the Young Chief’s Whale Hunt), 1914 silver gelatin print negative date: ca. 1914 print date: ca. 1914 7 ½ x 6 in. (19.1 x 15.2 cm.)

Qa’Gyuhl, Northwest Provenance: The Christopher G. Cardozo Collection $1,000 — $1,500

374 Edward S. Curtis (1868–1952) Film Still of “In The Land of The Head Hunters” (Motana), ca. 1914 silver gelatin print negative date: ca. 1914 print date: ca. 1914 7 ⅞ x 4 ⅞ in. (20 x 12.4 cm.)

Qa’Gyuhl, Northwest Provenance: Edward Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection 1997 $500 — $700

SANTA FE ART AUCTION

159

375 Edward S. Curtis (1868–1952) Theodore Kosloff, ca. 1920 orotone on glass (goldtone) signed lower right: Curtis / L.A. / © negative date: ca. 1920 print date: ca. 1920 14 x 11 in. (35.6 x 27.9 cm.)

In vintage frame.

This is a fine example of a portrait in the goldtone photographic process, which Curtis popularized. Most likely taken on a film set, the unique characteristics of the goldstone process, glowing highlights and deep shadows, are rendered in great detail. Theodore Kosloff was a Russianborn ballet dancer, choreographer and film and stage actor.

During the 1920’s Kosloff appeared in many Cecil B. De Mille productions, including The Ten Commandments, which Curtis worked on also.

Provenance: Edward Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection 1997 $1,000 — $2,000

376 Edward S. Curtis (1868–1952) Aphrodite blue toned silver gelatin signed in negative lower right: CURTIS / L.A. © 9 ½ x 12 ½ in. (24.1 x 31.8 cm.)

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

160

SANTA FE ART AUCTION

377 Luis Gonzalez Palma (b. 1957) La Bandera, ca. 1990 silver gelatin, fiber-based with varnish inscribed verso: “LA BANDERA” / [artist’s signature] Each: 19 ¾ x 19 ⅞ in. (50.2 x 50.5 cm.)

Provenance: The Christopher G. Cardozo Collection 1995 $1,500 — $2,500

378 Luis Gonzalez Palma (b. 1957) Solas...Calladamente (Alone... In Silence) 1 + 2, ca. 1990 Assemblages with silver emulsion on watercolor paper, wood, stamped tin and colored glass Each: 13 ½ x 13 ¾ in. (34.3 x 34.9 cm.)

Provenance: The Christopher G. Cardozo Collection, 1995 $6,000 — $12,000

SANTA FE ART AUCTION

161

379 Luis Gonzalez Palma (b. 1957) Bodyguards Unique Museum Set of 8, 2008 platinum/palladium on Japanese gampi tissue paper, unique edition 3 of 5 each editioned lower left: Unique Edition #3 each signed lower right: Luis Gonzalez Palma each titled lower right images (each): 17 x 21 in. (43.2 x 53.3 cm.)

Bodyguards is an integrated series comprised of eight photographs created by Luis Gonzalez Palma in 2008 and realized in print form throughout 2009, as a result of a unique collaboration between Christopher Cardozo Fine Art and the artist.

“First and foremost, these photographs are objects of great beauty, which embody a palpable physical presence.

The series is also a meditation on several important themes and ideas. The most fundamental ideas concern identity (personal and cultural), strength and vulnerability, and paradox. The artist’s vision and intent has been realized through a ten-month, highly collaborative process with two master printers. Between them, these master printers have decades of experience in alternative and historic photographic processes. This collaboration has resulted in the creation of prints in two rare and demanding processes, each of unsurpassed beauty and power.”

Christopher Cardozo, 2009 Palma worked with several experts in printing and a variety of other fields to fully realize these pieces, among them master printers Peter Bernardy and Brad Miller. These pieces were printed utilizing Goldtone and platinum printing methods, two radically different, proprietary print processes that offer two very different forms of expression for these images. Depicting powerful bodyguards adorned in delicate 16th century collars, this series is an exploration of values and preconceptions, and is a powerful contemplation of several important themes such as cultural values, vulnerability, and time.

Provenance: The Christopher G. Cardozo Collection $10,000 — $15,000

162

SANTA FE ART AUCTION

SANTA FE ART AUCTION

163

380 Luis Gonzalez Palma (b. 1957) Bodyguard No. 1, 2008

381 Luis Gonzalez Palma (b. 1957) Bodyguard No. 2, 2008

goldtone, vintage tooled leather daguerrotype case, edition 1 of 6 4 ¼ x 3 ¼ in. (10.8 x 8.3 cm.)

goldtone, vintage thermoplastic daguerrotype case, edition 3 of 6 4 ¼ x 3 ¼ in. (10.8 x 8.3 cm.)

Provenance: The Christopher G. Cardozo Collection

Provenance: The Christopher G. Cardozo Collection

$2,000 — $3,000

$2,000 — $3,000

382 Luis Gonzalez Palma (b. 1957) Bodyguard No. 3, 2008

383 Luis Gonzalez Palma (b. 1957) Bodyguard No. 4, 2008

goldtone, vintage tooled leather daguerrotype case, edition 3 of 6 4 ¼ x 3 ¼ in. (10.8 x 8.3 cm.)

goldtone, vintage tooled leather daguerrotype case, edition 3 of 6 4 ¼ x 3 ¼ in. (10.8 x 8.3 cm.)

Provenance: The Christopher G. Cardozo Collection

Provenance: The Christopher G. Cardozo Collection

$2,000 — $3,000

$2,000 — $3,000

164

SANTA FE ART AUCTION

384 Luis Gonzalez Palma (b. 1957) Bodyguard No. 5, 2008

385 Luis Gonzalez Palma (b. 1957) Bodyguard No. 6, 2008

goldtone, vintage tooled leather daguerrotype case, edition 1 of 6 4 ¼ x 3 ¼ in. (10.8 x 8.3 cm.)

goldtone, vintage thermoplastic daguerrotype case, edition 3 of 6 4 ¼ x 3 ¼ in. (10.8 x 8.3 cm.)

Provenance: The Christopher G. Cardozo Collection

Provenance: The Christopher G. Cardozo Collection

$2,000 — $3,000

$2,000 — $3,000

386 Luis Gonzalez Palma (b. 1957) Bodyguard No. 7, 2008

387 Luis Gonzalez Palma (b. 1957) Bodyguard No. 8, 2008

goldtone, vintage thermoplastic daguerrotype case, edition 3 of 6 4 ¼ x 3 ¼ in. (10.8 x 8.3 cm.)

goldtone, vintage thermoplastic daguerrotype case, edition 3 of 6 4 ¼ x 3 ¼ in. (10.8 x 8.3 cm.)

Provenance: The Christopher G. Cardozo Collection

Provenance: The Christopher G. Cardozo Collection

$2,000 — $3,000

$2,000 — $3,000

SANTA FE ART AUCTION

165

388 Luis Gonzalez Palma (b. 1957) Bodyguard No. 1, 2008

389 Luis Gonzalez Palma (b. 1957) Bodyguard No. 2, 2008

goldtone, vintage tooled leather daguerrotype case, edition 7 of 8 3 ¼ x 2 ¾ in. (8.3 x 7 cm.)

goldtone, vintage tooled leather daguerrotype case, edition 7 of 8 3 ¼ x 2 ¾ in. (8.3 x 7 cm.)

Provenance: The Christopher G. Cardozo Collection

Provenance: The Christopher G. Cardozo Collection

$1,500 — $2,500

$1,500 — $2,500

390 Luis Gonzalez Palma (b. 1957) Bodyguard No. 3, 2008

391 Luis Gonzalez Palma (b. 1957) Bodyguard No. 4, 2008

goldtone, vintage thermoplastic daguerrotype case, edition 7 of 8 3 ¼ x 2 ¾ in. (8.3 x 7 cm.)

goldtone, vintage thermoplastic daguerrotype case, edition 7 of 8 3 ¼ x 2 ¾ in. (8.3 x 7 cm.)

Provenance: The Christopher G. Cardozo Collection

Provenance: The Christopher G. Cardozo Collection

$1,500 — $2,500

$1,500 — $2,500

166

SANTA FE ART AUCTION

392 Luis Gonzalez Palma (b. 1957) Bodyguard No. 5, 2008

393 Luis Gonzalez Palma (b. 1957) Bodyguard No. 6, 2008

goldtone, vintage tooled leather daguerrotype case, edition 7 of 8 3 ¼ x 2 ¾ in. (8.3 x 7 cm.)

goldtone, vintage tooled leather daguerrotype case, edition 7 of 8 3 ¼ x 2 ¾ in. (8.3 x 7 cm.)

Provenance: The Christopher G. Cardozo Collection

Provenance: The Christopher G. Cardozo Collection

$1,500 — $2,500

$1,500 — $2,500

394 Luis Gonzalez Palma (b. 1957) Bodyguard No. 7, 2008

395 Luis Gonzalez Palma (b. 1957) Bodyguard No. 8, 2008

goldtone, vintage thermoplastic daguerrotype case, edition 7 of 8 3 ¼ x 2 ¾ in. (8.3 x 7 cm.)

goldtone, vintage tooled leather daguerrotype case, edition 1 of 8 3 ¼ x 2 ¾ in. (8.3 x 7 cm.)

Provenance: The Christopher G. Cardozo Collection

Provenance: The Christopher G. Cardozo Collection

$1,500 — $2,500

$1,500 — $2,500

SANTA FE ART AUCTION

167

396 Luis Gonzalez Palma (b. 1957) Bodyguard No. 1, 2008

397 Luis Gonzalez Palma (b. 1957) Bodyguard No. 2, 2008

platinum/palladium on Japanese gampi tissue paper, edition 3 of 12 inscribed lower left: 7.01.12.916.512.5 signed lower right: Gonzalez 17 x 21 in. (43.2 x 53.3 cm.)

platinum/palladium on Japanese gampi tissue paper, edition 5 of 12 signed lower right: Gonzalez 17 x 21 in. (43.2 x 53.3 cm.)

Provenance: The Christopher G. Cardozo Collection

Provenance: The Christopher G. Cardozo Collection $1,000 — $2,000

$1,000 — $2,000

398 Luis Gonzalez Palma (b. 1957) Bodyguard No. 3, 2008

399 Luis Gonzalez Palma (b. 1957) Bodyguard No. 4, 2008

platinum/palladium on Japanese gampi tissue paper, edition 3 of 12 signed lower right: Gonzalez 17 x 21 in. (43.2 x 53.3 cm.)

platinum/palladium on Japanese gampi tissue paper, edition 5 of 12 signed lower right: Gonzalez 17 x 21 in. (43.2 x 53.3 cm.)

Provenance: The Christopher G. Cardozo Collection

Provenance: The Christopher G. Cardozo Collection

$1,000 — $2,000

$1,000 — $2,000

168

SANTA FE ART AUCTION

400 Luis Gonzalez Palma (b. 1957) Bodyguard No. 5, 2008

401 Luis Gonzalez Palma (b. 1957) Bodyguard No. 6, 2008

platinum/palladium on Japanese gampi tissue paper, edition 7 of 12 signed lower right: Gonzalez 17 x 21 in. (43.2 x 53.3 cm.)

platinum/palladium on Japanese gampi tissue paper, edition 5 of 12 signed lower right: Gonzalez 17 x 21 in. (43.2 x 53.3 cm.)

Provenance: The Christopher G. Cardozo Collection

Provenance: The Christopher G. Cardozo Collection

$1,000 — $2,000

$1,000 — $2,000

402 Luis Gonzalez Palma (b. 1957) Bodyguard No. 7, 2008

403 Luis Gonzalez Palma (b. 1957) Bodyguard No. 8, 2008

platinum/palladium on Japanese gampi tissue paper, edition 5 of 12 signed lower right: Gonzalez 17 x 21 in. (43.2 x 53.3 cm.)

platinum/palladium on Japanese gampi tissue paper, edition 3 of 12 signed lower right: Gonzalez 17 x 21 in. (43.2 x 53.3 cm.)

Provenance: The Christopher G. Cardozo Collection

Provenance: The Christopher G. Cardozo Collection

$1,000 — $2,000

$1,000 — $2,000

SANTA FE ART AUCTION

169

INVITING FINE CONSIGNMENTS FOR 2024

2024 Auction Calendar + Consignment Deadlines February March May June July August September November

Native Art Submission Deadline: January 5 Prints, Multiples + Works on Paper Submission Deadline: February 16 Art of the West Submission Deadline: April 12 Signature Summer Sale Submission Deadline: April 19 New Mexico Now: Spanish Colonial to Spanish Market Submission Deadline: June 14 American Indian: Classic to Contemporary Submission Deadline: July 5 Contemporary Art, Design + Photography Submission Deadline: August 9 Signature Annual Live Sale Submission Deadline: September 6

Consignments of individual items to large single owner collections invited year round. Contact us for your courtesy evaluation.

932 Railfan Road, Santa Fe, NM 87505 info@santafeartauction.com 505.954.5858 santafeartauction.com @santafeartauction

INDEX BY ARTIST

Abeyta, Tony

288

Garcia, Tammy

88

Acoma

83

Garman, Ed

313

Aldrich Arts

250

Gaspard, Leon Shulman

180, 326

Anderson, Alice Sloane

158

Goebel, Rod

147, 165, 169, 171, 198, 206

Andolsek, John

300-301

Goff, Lloyd Lózes

23

Apache

70, 95-96

Gonske, Walt

162-163

Arnoldi, Charles

302

Greene, Joel

203-204

Baber, Ernest

209

Grimm, Brian

187

Bagshaw, Margarete

285

Hall, Arthur W.

21

Bakós, Jozef

50-51

Hall, Carlos

201

Barbero, David

299

Haloo, Sam

255

Bassett Hall, Norma

38

Haney, Enoch Kelly

186

Baumann, Gustave

4, 39-47

Hardin [Tsa-Sah-Wee-Eh], Helen

282-284

Baume & Mercier

215

Harris, Gregory Frank

191

Begay, Shonto

281

Hedge, Ronnie

185

Begg, John Alfred

55

Herrera, Nicholas

125

Benson, Attributed to Mary Knight

101

Hickox, Attributed to Elizabeth

105

Betsill Del Vecchio, Katelyn

149

Hogner, Nils

178

Bierstadt, Albert

329

Holt + Harlan Reano, Lisa

90

Bisttram, Emil James

56-57, 307-309

Hook, William Cather

153

Bluestone, Rebecca

314

Hopi

72, 79-80, 213

Bodelson, Dan

144

Houser (Haouzous), Allan Capron

131-133

Bradley, David P.

276-277

Howard, Norma

35-36

Brett, Dorothy

322

Howell, Frank

291

Burbank, Eldridge Ayer

334

Hubbell, Patrick Dean

279

Burk, Chloe Marie

195

Imhof, Joseph Adam

157

Calavaza, Juan

249

Jensen, Georg Arthur

239

Cannon, T. C.

278

Jimenez, Federico

243

Carrillo, Charles M.

120-121

Jimenez, Luis

292-293

Carson, Jim

143

Johnson, Don Juan

252

Case, G. Russell

146

Jonson, Raymond

310

Catusco, Louis

311

Kewa [Santo Domingo]

228-229

Chavez, Sean Michael

202

Kihn, Wilfred Langdon

31

Cochiti

92

Kirk, Andy Lee

236

Coriz, Raymond

235

Kirke, Leon

248

Couse, Eanger Irving

333

Kloss, Gene

5-13

Curtis, Edward S.

337-376

Kubach-Wilmsen, Wolfgang + Anna Maria

303

de Decker, Thomas

184

Kuhler, Otto August

22

Dean, Glenn

183

Kuniyoshi, Yasuo

15

Diné [Navajo]

71, 107-114, 138-141, 254,

Laguna

82

260, 264, 266-268, 272-274

Larsen, Fran

66-67

Dixon, Maynard

48

Latham, Barbara

196

Eastern Plains

74

Lee, Clarence + Russell

258

Edaakie, M

257

Lee, Susie

261-262

Eder, Earl

197

Levin, Eli

207

Ellis, Fremont F.

151, 154-155, 175-176

Lippincott, Janet

305

Epperson, Lee

238

Lockwood, Ward

52

Ettinger, Churchill

173

Loeffler, Gisella

68

Fallik, Joshua

210

Loloma, Charles

211-212, 214, 216,

Farny, Henry Francois

335

Foster, William Harnden

174

Loloma, Charles + Fritzon Toledo

217

Frank, Alyce

192-193

Loloma, Charles + Svetozar [Toza] Radakovich

222

Frölich, Max

224

Lopez, Felix A

124

Gallen, Bill

168

Lucas, Steve

89

172

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218-221, 223, 225-227

INDEX BY ARTIST

Macaione, Thomas

166

Saul, Terry

30

MacGraw, Ali

297

Schenck, Billy

296

Maidu

99

Schleeter, Howard Behling

53

Mandelman, Beatrice

315

Schooley, Elmer

319-320

Marsh, Reginald

63

Seward, Coy Avon

3

Martinez, Miguel

200

Shahn, Ben

59-61

Martinez + Popovi Da, Maria

84

Sheeler, Charles

58

Maybee, Dallin

69

Shuster, William Howard

181

McAfee, Ila Mae

179, 323

Shuster Jr., William Howard

28

McGary, Dave

126

Simplicio, Dan

275

McGrew, R. Brownell

145

Skeele, Anna Katherine

32

Megargee, Lon

17, 18

Skeet, Jr., Roger

265

Mell, Ed

294-295

Sloan, John

1-2

Mexico

106, 115, 117-118

Sloan, Helen Farr

159-160

Meyers, Ralph Waldo Emerson

327-328

Sloane, Eric

324-325

Molesworth, Thomas

116

Smith, Gary Ernest

170

Montgomery, Loran A. D.

312

Spohn, Clay Edgar

306

Mora, Luis

119

Spratling, William

240-242

Morang, Alfred Gwynne

26-27

Sprick, Daniel

304

Morang, Dorothy

321

Stella, Joseph

316

Namingha, Dan

289, 290

Stone, Jason M. "Briggs"

130

Natiya Saxon, Ed

128

Stovall, Dan

137

Nequatewa, Sonwai, Verma

230-231

Stroh, Earl

16, 182

Newcomb, Rock

188

Tafoya, Margaret

85

Nez, Al

232-233

Tafoya-Sanchez, Linda

86-87

Nordenskiold, Gustave

49

Tahoma, Quincy

29

Ortega, Jose Benito

123

Tait, Agnes

161

Otero, Alcario

122

Tlingit

104

Palma, Luis Gonzalez

377-403

Turner, Ben

152, 172, 177

Parsons, Sheldon

167

Unknown

251

Payne, Ken

127

Untiedt, Michael Ome

150

Pentewa, Otto

93

Velarde [Tse Tsan], Pablita

33-34, 286-287

Pettigrew, Martha

129

Vigil Gray, Darren

194

Pima

102-103

Volckening, Nathanael

148

Plains

75-76

Von Hassler, Carl

24-25

Pomo

100

Walkowitz, Abraham

64

Post, Howard

19-20, 135-136

Wallis, Kent R.

164

Post, William Merritt

190

Whitaker, William

208

Powell, Lucien Whiting

336

Whorf, John

65

Powers, Genni

37

Wiggins, Kim Douglas

298

Prehistoric/Ancestral Pueblo

77-78

Wilimovsky, Charles A.

156

Pueblo

269-270

Willeto, Charlie

94

Quam, Alice

247

Wood, Robert

189

Quintana, Joe H.

263

Wood, Esther

244-246

Red Star, Kevin

280

Yavapai

97

Reed, Doel

14

Yellowhorse, Bryon

237, 256

Remington, Frederic

330-332

Yokuts

98

Reynolds, Charles Henry

205

York, Star Liana

134

Ribak, Louis Leon

54, 62, 317-318

Yuman/Hopi

81

Rolex

234

Zalce, Alfredo

199

Sandoval, Jr., Dean

253

Zuni

91, 259, 271

Santiago, Roseta

142

Zuni/Hopi

73

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

1. The Santa Fe Art Auction operates as an agent of the seller only. It is not responsible in the event any buyer or seller at the auction fails to live up to their respective agreements, including failure of the seller to deliver any property to buyers. The Santa Fe Art Auction assumes no risk, liability, or responsibility beyond the limited warranty contained herein. (a) All property is sold “AS IS.” There are no representations or warranties that extend beyond these Terms and Conditions of Sale. All works shall be available for examination prior to the sale. The Santa Fe Art Auction, and its agents and consignors, make no representations or warranties as to merchantability, fitness for a particular purpose, correctness of the catalogue or description, including, but not limited to, the authenticity, the physical condition, size, quality, rarity, importance, medium, provenance, dates, exhibitions, literary or historical relevance of any property, and, no statement anywhere, whether oral or written, whether made in the catalogue, an advertisement, a bill of sale, a salesroom posting or announcement, or elsewhere shall be deemed such a warranty, representation or assumption of liability. Nor are there any representations and warranties, express or implied, as to whether the purchaser acquires any copyrights, including, but not limited to, any reproduction rights in any property. Contents of this catalogue are subject to change or supplementation before or during the sale, including the sale of any lot.

2. Prospective bidders should inspect the lots before bidding to determine condition, size and whether or not the lot has been repaired or restored and to investigate all other matters relating to the lot that is of material importance to the prospective bidder.

3. A buyer’s premium will be added to the successful bid price and is payable by the purchaser as part of the total purchase price. If paying by cash or check, the purchase price will be the sum of the final bid price plus a buyer’s premium of 22% of the final bid price of each lot up to and including $1,000,000 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 25% of the final bid price for each lot up to and including $1,000,000, and 15% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges. Successful Online bidders with LiveAuctioneers.com or Bidsquare.com will be subject to a 25% buyer’s premium of the final bid price of each lot up to and including $1,000,000 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.

• 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.

• Since the 2018 South Dakota v. Wayfair, Inc. ruling, most US states have implemented legislation requiring remote sellers to collect sales tax when the total dollar value of purchases sent to that state exceeds a set threshold, known as an economic nexus. Each state sets its own threshold or nexus.

Like all other remote sellers, Santa Fe Art Auction is now required to collect Sales/Use Tax from buyers in any state when the total dollar value of purchases sent to that state creates a nexus. When this occurs, you will see sales tax included on your invoice. The sales tax rate is determined by the state, county, and city where purchases are shipped. As of October 1, 2022, SFAA has met the nexus in the following states: Arizona, California, Colorado, Florida, Illinois, Massachusetts, Michigan, Missouri, New York, Oklahoma, Pennsylvania, Texas, Utah, Washington, Wyoming. However, any purchases made in person and/or picked up in person, are subject to applicable New Mexico sales tax instead.

• The following states do not currently have sales tax and/or applicable economic nexus laws, and as a result the Santa Fe Art Auction is not required to collect sales tax from Alaska, Delaware, Montana, New Hampshire, or Oregon.

• 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.

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

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

In addition to other remedies available to Santa Fe Art Auction by law, we reserve the right to impose, from the date of sale, a late charge of 1.5% per month (18% per annum) of the total purchase price, if payment is not made in accordance with the conditions set forth herein. (a) All lots must be removed by the Buyer at his or her expense not later than ten (10) business days following the sale, and, if it is not so removed, (i) a handling charge of 1% of the total purchase price per month, or a portion thereof from the tenth day after the sale (until its removal) will be payable to us by the Buyer, with a minimum of 5% of the total purchase price due for any lot not so removed within 60 days after the sale, and (ii) Santa Fe Art Auction may send the purchased lot to a public warehouse for the account of and at the risk and expense of the Buyer. (b) If any applicable conditions herein are not complied with by the Buyer, the Buyer will be in default, and in addition to any and all other remedies available to the Santa Fe Art Auction and its agents and consignors by law, including, without limitation, the right to hold the Buyer liable for the total purchase price, together with all fees, charges and expenses set forth in these Terms and Conditions of Sale, the Santa Fe Art Auction, at its sole option, may (i) cancel the sale of that, or any other lot or lots sold to the defaulting Buyer, or (ii) resell the purchased lot or lots, whether at auction or by private sale, or (iii) effect any combination thereof. The Buyer will be liable for any deficiency, any and all costs, handling charges, late charges, expenses and commissions of both sales, legal fees and expenses, collection fees and incidental damages. The Santa Fe Art Auction and its agents and consignors shall have all of the rights accorded to a secured party under the New Mexico Uniform Commercial Code. The Buyer of each lot agrees that each lot is unique and that Santa Fe Art Auction, in its sole discretion, shall not be required to sell or otherwise seek to mitigate damages should such Buyer fail to pay the total purchase price. Payment will not be deemed to have been made in full until the Santa Fe Art Auction shall have collected good funds. The Santa Fe Art Auction reserves the right to hold all purchases pending collection of the total purchase price, together with all additional fees, charges and expenses incurred pursuant to these Terms and Conditions of Sale.

10. All lots (unless otherwise indicated by the letters “nr”) are subject to a reserve, which is the confidential minimum price acceptable to the consignor.

The Santa Fe Art Auction, or its agents or consignors, may implement such reserve by opening the bidding or they or either of them may bid up to the amount of the reserve by placing successive or consecutive bids for a lot or may bid in response to other bidders. In instances where the Santa Fe Art Auction has an interest in the lot, it may bid up to the reserve to protect such interest.

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

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

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

The award of the arbitrator shall be final, and may be entered into any court having jurisdiction thereof. Each party shall bear that party’s own costs of arbitration and attorney’s fees.

14. The Santa Fe Art Auction 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.

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

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

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

PLACING ABSENTEE BIDS Absentee bids are accepted only if you have returned a signed Absentee Bid Form which authorizes the Santa Fe Art Auction to place bids on your behalf. To place bids, please use the Bidding Form provided on our website at www.santafeartauction.com/buy. Please complete and submit to Santa Fe Art Auction one day prior to sale. 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 which authorizes the Santa Fe Art Auction to place bids on your behalf. To place bids, please use the Bidding Form provided on our website at www.santafeartauction.com/buy. Please complete and submit to Santa Fe Art Auction one day prior to sale. 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.

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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932 Railfan Road

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177

Front Cover Lot 288 Tony Abeyta (Diné [Navajo], b. 1965) Untitled - Red Abstraction, 2021 Frontispiece A Lot 33 Pablita Velarde [Tse Tsan] (Santa Clara, 1918–2006) Race in the Forest Frontispiece B Lot 294 Ed Mell (b. 1942) Storm behind The Sun, 2017 Back Cover Lot 378 Luis Gonzalez Palma (b. 1957) Solas...Calladamente (Alone... In Silence) 1 + 2, ca. 1990

© 2023 Santa Fe Art Auction, LLC Director of Photography: Molly Wagoner Graphic Design: Shane Mieske Printing: O’Neil Printing, Arizona

Signature Live Sale: November 10–11, 2023 932 Railfan Road, Santa Fe NM 87505 505.954.5858 santafeartauction.com © 2023 Santa Fe Art Auction Limited Co.