Sale 791 | Western Paintings and Sculpture by Hindman Auctions

Western Paintings and Sculpture October 29, 2020

Western Paintings and Sculpture Sale 791 Thursday, October 29 | Denver 10AM MT | 11AM CT PREVIEW BY APPOINTMENT ONLY PLEASE CONTACT KATE HLAVIN TO SCHEDULE AN APPOINTMENT 303.825.1855 KATHERINEHLAVIN@HINDMANAUCTIONS.COM P RO P E R T Y P I C K U P H O U R S PICK UP IS MONDAY-FRIDAY BY APPOINTMENT ONLY 10-4PM ALEXANDRIADREAS@HINDMANAUCTIONS.COM 303-825-1855 LOTS MARKED WITH AN ASTERISK (*) ARE TAX EXEMPT AS PERMITTED BY LAW VIEW THE COMPLETE CATALOGUE AT HINDMANAUCTIONS.COM

Cover Lot 70 | Billy Schenck (American, b. 1947) Days of August Inside Back Cover Lot 112 | Joseph Henry Sharp (American, 1859-1953) Wind River Country Above Lot 58 | Harry Jackson (American, 1924-2011) The Flag Bearer

Photography: ZOË BARE ALEXANDRIA DREAS

hindmanauctions.com

Catalogue Consultant: JAMES D. BALESTRIERI

AUCTIONEERS LICENSE NUMBER 1057930

WESTERN PAINTINGS AND SCULPTURE

Contents SALE 791 | OCTOBER 29 | 10AM MT | 11AM CT WESTERN PAINTINGS AND SCULPTURE

Opposite Lot 188 | Louisa McElwain (American, 1953-2013) Autumn Storm

LOTS 1 – 337

AUCTION INQUIRIES

146

CONDITIONS OF SALE

148

TELEPHONE / ABSENTEE BID FORM

154

WESTERN PAINTINGS AND SCULPTURE

P RO P E R T Y F RO M T H E C O L L E C T I O N S O F MR. LEE SUCHARDA, RACINE, WISCONSIN MR. TED TAUB, TAMPA, FLORIDA A CORPORATE ART COLLECTION AN IMPORTANT COLORADO COLLECTION A PRIVATE COLLECTION MR. DON ALLISON, ARIZONA MR. MICHAEL COLE, MARYLAND MS. DOROTHY “BUNNY” WHITAKER, OHIO A WYOMING RANCH MR. R. RUSS LINDSAY, NEVADA A COLORADO COLLECTION A SUN VALLEY, IDAHO COLLECTOR MR. RICHARD ROSENBERG, ELMHURST, ILLINOIS MR. SCOTT HAAG, MILWAUKEE, WISCONSIN A PRIVATE COLLECTOR, WINNETKA, ILLINOIS MR. AND MRS. PETER IANELLO, WINNETKA, ILLINOIS

PROPERTY FROM THE ESTATES AND TRUSTS OF PROPERTY FROM THE ESTATE OF GARY P. GRUNAU, MILWAUKEE, WISCONSIN PROPERTY FROM THE ESTATE OF PETER BERGH, EDWARDS, COLORADO PROPERTY FROM THE ESTATE OF FRED GORMLEY, RENO, NEVADA PROPERTY FROM THE ESTATE OF DR. RICHARD WILLIAMS, ATLANTA, GEORGIA PROPERTY OF THE ESTATE OF ELLEN GRAYDON HILL, CINCINNATI, OHIO PROPERTY FROM THE ESTATE OF SPORTSCASTER CHRIS SCHENKEL, LAKE TIPPECANOE, INDIANA PROPERTY FROM THE ESTATE OF JOAN CONWAY CRANCER, ST. LOUIS, MISSOURI PROPERTY FROM THE ESTATE OF MARGERY HOLLEY UIHLEIN, MILWAUKEE, WISCONSIN PROPERTY FROM THE WILLIAM L. TAYLOR TRUST, OHIO

PROPERTY SOLD TO BENEFIT PROPERTY BEING SOLD TO SUPPORT THE MISSION AND VISION OF THE COUSE-SHARP HISTORIC SITE, TAOS, NEW MEXICO PROPERTY BEING SOLD TO BENEFIT THE A.R. MITCHELL MUSEUM OF WESTERN ART ARTWORK SOLD TO BENEFIT THE BOOTH WESTERN ART MUSEUM, CARTERSVILLE, GEORGIA PROPERTY BEING SOLD TO BENEFIT A SOUTHWESTERN MUSEUM PROPERTY SOLD TO BENEFIT THE ACQUISITIONS FUND OF THE BUFFALO BILL CENTER OF THE WEST PROPERTY BEING SOLD TO BENEFIT THE ART COLLECTIONS AT THE UNIVERSITY OF DENVER Opposite Lot 178 | Beatrice Mandelman (American, 1912-1998) Jazz III

PROPERTY FROM THE MANDELMAN - RIBAK COLLECTION, SOLD FOR THE BENEFIT OF THE UNIVERSITY OF NEW MEXICO

WESTERN PAINTINGS AND SCULPTURE

Western Paintings and Sculpture lots 1 – 337

Opposite Lot 94 | Joseph Henry Sharp (American, 1859-1953) Portrait of Indian with Drum and Pipe

1 Laurence Philip Sisson (American, 1928-2015)

*2 Richard Lorenz (German/American, 1858-1915)

*3 Richard Lorenz (German/American, 1858-1915)

Untitled Landscape oil on board signed L. Sisson (lower left) 9 x 12 inches $700-$900

Wyoming Landscape oil on board signed R. Lorenz (lower left) 9 1/2 x 12 1/2 inches Property from the Collection of Lee Sucharda, Racine, Wisconsin $700-$900

The Immigrant Trail oil on panel signed R. Lorenz (lower right) 10 x 14 inches Property from the Collection of Lee Sucharda, Racine, Wisconsin $800-$1,200

WESTERN PAINTINGS AND SCULPTURE

4 William Berra (American, b. 1952)

5 Tom Murray (American, b. 1953)

Passing Storm, 1989 oil on canvas signed Wm Berra (lower left) 40 x 58 inches $2,000-$3,000

San Pedro Clouds, 1993 oil on canvas signed Tom Murray and dated (lower right) 16 x 24 inches Property from the Collection of Ted Taub, Tampa, Florida $400-$600

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6 William Hook (American, b. 1948) Distant Sunlight acrylic on canvas signed W.C. Hook (lower left) 24 x 24 inches Provenance: Exhibited at The Colorado Heritage Center, Denver, Colorado $2,000-$3,000

7 Robert Knudson (American, 1929-1989) Evening Sky-Wyoming pastel on paper signed Robert Knudson (lower left) 6 x 9 inches $300-$500

8 Robert Knudson (American, 1929-1989) Summer Skies pastel on paper signed Robert Knudson (lower left) 6 x 9 inches $300-$500

WESTERN PAINTINGS AND SCULPTURE

*9 G. Russell Case (American, b. 1966) Cool Mesa, 2000 watercolor on paper signed G. Russell Case and dated (lower right) 7 x 11 inches Property from the Estate of Peter Bergh, Edwards, Colorado $600-$800

10 Merrill Mahaffey (American, b. 1937) Submerged Lake Powell, 1987 acrylic on canvas signed Merrill Mahaffey (lower right); dated and titled (verso) 73 x 47 inches Property from a Corporate Art Collection 9

Provenance: Elaine Horwitch Galleries, Santa Fe, New Mexico $2,000-$3,000

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11 Merrill Mahaffey (American, b. 1937) Hance Rapids watercolor on paper signed Merrill Mahaffey (lower left) 16 x 13 inches $800-$1,200

12 Merrill Mahaffey (American, b. 1937) Boulder Visitor (Grand Canyon Series), 1993 acrylic on canvas signed Merrill Mahaffey (lower right) 26 x 19 inches $2,000-$3,000

13 Merrill Mahaffey (American, b. 1937) Lighting Up the River (Marble Canyon), 1993 acrylic on canvas signed Merrill Mahaffey (lower left) 19 x 26 inches $2,000-$3,000

WESTERN PAINTINGS AND SCULPTURE

14 William Berra (American, b. 1952) Near Los Alamos, 1985 oil on canvas signed Wm Berra (lower right) 40 x 31 inches $1,500-$2,500

15 William Berra (American, b. 1952) Last Light, 1989-1992 oil on canvas signed Wm Berra (lower right) 42 x 52 inches $2,000-$4,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

WESTERN PAINTINGS AND SCULPTURE

16 Norman Akers (American, b. 1958)

*18 Darren Vigil Gray (American, b. 1959)

Enchanted Canyon oil on canvas 40 x 48 inches Property from a Corporate Art Collection $600-$800

Motherland of the Basketmakers oil on canvas signed Darren Vigil Gray (lower right) 72 x 72 inches Property from the Estate of Gary P. Grunau, Milwaukee, Wisconsin $3,000-$5,000

17 Norman Akers (American, b. 1958) New Mexico I oil on canvas 25 x 28 inches Property from a Corporate Art Collection $300-$500

19 Donna Clair (American, b. 1939) Thunderspirits of Taos, 1993 oil on canvas signed Clair and dated (lower right) 30 x 40 inches Property from a Corporate Art Collection $400-$600

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20 William Berra (American, b. 1952) View from Chimayo, New Mexico oil on canvas signed Wm. Berra (lower right) 48 x 132 inches $8,000-$12,000

WESTERN PAINTINGS AND SCULPTURE

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

21 John Fincher (American, b. 1941)

22 Rod Goebel (American, 1946-1993)

23 Rod Goebel (American, 1946-1993)

Three Views of Hondo Valley oil on canvas signed Fincher (lower right) 66 x 96 inches Property from a Corporate Art Collection $2,000-$4,000

September Chamisa oil on canvas signed Rod Goebel (lower right) 16 x 20 inches $1,500-$2,500

Forsythia at Velarde oil on canvas signed Rod Goebel (lower left) 30 x 28 inches $2,000-$3,000

WESTERN PAINTINGS AND SCULPTURE

24 William Berra (American, b. 1952) Pena Blanca, 1989 oil on canvas signed Wm Berra (lower right) 60 x 40 inches $2,000-$4,000

25 Virginia True (American, 1900-1989)

New Mexico Landscape #2 ink on paper signed True (lower left) 10 3/4 x 14 inches Property from an Important Colorado Collection $400-$600

26 Tom Perkinson (American, b. 1942) Summer Moon and Mountain Rain Shower, 2009 pastel and watercolor on paper each signed Perkinson and dated (lower right) 8 x 8 inches (each) Provenance: Manitou Galleries, Santa Fe, New Mexico $500-$700

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27 Joseph Imhof (American, 1871-1955) Cottonwoods oil on canvas signed JA Imhof (lower right) 30 x 36 inches Property Being Sold to Support the Mission and Vision of The Couse-Sharp Historic Site, Taos, New Mexico $3,000-$5,000

28 Alfred Wands (American, 1907-1998) Adobe Landscape oil on canvas signed Alfred Wands (lower right) 24 x 29 1/2 inches $2,000-$3,000

29 Carl Woolsey (American, 1902-1965) Among the Aspens oil on canvas signed Carl Woolsey (lower left) 30 x 24 inches $2,000-$4,000 27

WESTERN PAINTINGS AND SCULPTURE

30 Joseph Henry Sharp (American, 1859-1953) Wild Plum Blossoms (Spring in Taos) oil on canvas signed J.H. Sharp (lower right) 10 x 14 inches $8,000-$12,000 Wild Plum Blossoms (Spring in Taos) embodies the exuberance of spring following a long, cold Taos winter. Sage, chamisa, and plum blossoms flourish in the foreground against the distant snow-capped Sangre de Cristo mountains that rise from the verdant valley’s floor. To the right the iconic Lucero Peak peak pushes into the turbulent cumulus cloud filled sky, created by the updraft from the valley, the heart of Taos Pueblo traditional lands. This landscape exemplifies Sharp’s late spring color palette in Taos. -Davison Packard Koenig, Executive Director & Curator, The Couse-Sharp Historic Site and Marie Watkins, PhD, Professor Emerita of Art History, Furman University

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31 Beatrice Mandelman (American, 1912-1998) Taos Valley oil on canvas signed Mandelman (lower right) 20 x 24 inches $800-$1,200

32 Dane Clark (American, b. 1934) Adobe Landscape with Wildflowers oil on canvas signed Dane Clark (lower right) 21 x 24 inches $600-$800

33 Emil Bisttram (American, 1895-1976) 34

Taos Woman pencil on paper signed Emil Bisttram (lower right) 11 1/2 x 9 1/2 inches $400-$600

34 Lowell Ellsworth Smith (American, 1924-2008) Church at Lamy, New Mexico, 1984 watercolor on paper signed Lowell Ellsworth Smith (lower right) 7 x 10 inches $700-$900

WESTERN PAINTINGS AND SCULPTURE

35 36

35 Richard Tallant (American, 1853-1934)

36 Donna Clair (American, b. 1939)

37 Kim Wiggins (American, b. 1960)

New Mexico Village, 1890 oil on canvas signed Tallant and dated (lower right) 12 x 20 inches $800-$1,200

Rio Chiquito, from the El Pais Norte series, 1989 oil on canvas signed Clair and dated (lower right) 43 x 60 inches Property from a Corporate Art Collection $600-$800

Penitente Procession oil on canvas signed K.D. Wiggins (lower right) 24 x 30 inches $2,000-$3,000

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38 Ron A. Robles (American, 1937-2012) Adobe Interior oil on canvas signed Ron A. Robles (lower right) 72 x 84 inches Property from a Corporate Art Collection $1,000-$2,000

39 Dennis Downey (American, b. 1941) Sky City oil on canvas signed Downey (lower right) 58 x 70 inches $1,000-$2,000

WESTERN PAINTINGS AND SCULPTURE

40 Dennis Downey (American, b. 1941) Acoma oil on canvas signed Downey (lower right) 58 x 70 inches $1,000-$2,000

41 Dan Namingha (Hopi/Tewa, b. 1950) Hopi Village, 1986 acrylic on canvas signed Namingha and dated (lower left) 72 x 64 inches Property from a Corporate Art Collection $6,000-$8,000

42 Dan Namingha (Hopi/Tewa, b. 1950) Village Edge, 1984 acrylic on canvas signed Namingha and dated (lower left) 72 x 46 inches $3,000-$5,000

43 Dan Namingha (Hopi/Tewa, b. 1950)

Winter Morning oil on canvas signed Namingha (lower right) 48 x 66 inches Property from a Corporate Art Collection $4,000-$6,000

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44 Jaune Quick-to-See Smith (French-Cree/Shoshone/Salish, b. 1940) Cheyenne Series No. 5 mixed media signed Jaune S Smith (lower right) 30 x 22 inches Property from a Corporate Art Collection $800-$1,200

45 Jaune Quick-to-See Smith (French-Cree/Shoshone/Salish, b. 1940) Cheyenne Series No. 53 mixed media signed Jaune S Smith (lower right) 30 x 22 inches Property from a Corporate Art Collection $800-$1,200

46 Jaune Quick-to-See Smith (French-Cree/Shoshone/Salish, b. 1940) Cheyenne Series No. 54 mixed media signed Jaune S Smith (lower right) 30 x 22 inches Property from a Corporate Art Collection $800-$1,200

WESTERN PAINTINGS AND SCULPTURE

47 Fritz Scholder (American, 1937-2005) Happy Skies to You II, edition 79/100 serigraph signed Scholder (lower left) and numbered (lower right) 30 x 22 3/8 inches $800-$1,200

48 Frank Duchamp (American, 20th Century) The Shirt off Her Back carved and painted wood 30 1/2 x 19 inches; stand height 71 inches Property from a Corporate Art Collection $1,000-$2,000

49 Robert Brubacker (American, b. 1952) Trappings ceramic and wood signed Brubacker (verso) height 25 x width 15 x depth 17 inches Property from a Corporate Art Collection $400-$600

48 V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

50 Channing Peake (American, 1910-1989)

52 Greg Kelsey (American, b. 1971)

Studly oil on canvas signed Peake (lower right) 18 x 21 inches $800-$1,200

My Own Buckin Business, edition 12/25, 2002 bronze signed Gregory M. Kelsey, dated and numbered (base) overall height height 26 x width 17 x depth 24 inches $2,000-$4,000

51 Channing Peake (American, 1910-1989)

53 Edward Borein (American, 1872-1945)

Horse Chatter oil on canvas signed Peake (lower right) 37 3/4 x 50 3/4 inches $2,000-$3,000

Wishing Well drypoint etching signed Edward Borein (lower right) 7 1/2 x 9 3/4 inches $800-$1,200

52 28

WESTERN PAINTINGS AND SCULPTURE

54 Stanley Arthurs (American, 1877-1950) Lassoing Wild Horses charcoal, pen & gouache on paper signed Arthurs (lower right) 21 3/8 x 28 3/4 inches $500-$700

55 Stanley M. Long (American, 1892-1972) Roping watercolor on paper signed Stanley M. Long (lower right) 13 x 13 inches $600-$800

56 Kenneth Freeman (American, 1935-2008)

Driving the Herd oil on canvas signed K.M. Freeman (lower right) 12 x 24 inches Property from a Corporate Art Collection $300-$500

57 Kenneth Freeman (American, 1935-2008) Roping a Calf oil on canvas signed K.M. Freeman (lower right) 19 x 36 inches Property from a Corporate Art Collection $400-$600

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58 Harry Jackson (American, 1924-2011) The Flag Bearer, edition 26, 1983 bronze signed Harry Jackson, dated and numbered (base) overall height 29 1/2 x width 29 x depth 8 inches Property from the Estate of Fred Gormley, Reno, Nevada $8,000-$12,000

WESTERN PAINTINGS AND SCULPTURE

59 James Reynolds (American, 1926) Watching the Herd oil on board signed James Reynolds (lower left) 25 1/2 x 37 1/2 inches Provenance: O’Brien’s Art Emporium, Scottsdale, Arizona $10,000-$15,000

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60 Richard Thomas (American, 1939-2019) Saddlin’ Up in Alamosa, 1985 oil on canvas signed Richard D. Thomas and dated (lower right) 36 x 48 inches $3,000-$5,000

WESTERN PAINTINGS AND SCULPTURE

61 62

61 Bill Hill (American, 1922-2009) Untitled (Crossing a Stream) oil on canvas signed Bill Hill (lower right) 18 x 24 inches Property from a Private Collection $1,000-$1,500

62 William Matthews (American, b. 1949) Daily Pressure watercolor on paper signed William Matthews (lower left) 19 x 9 inches Provenance: William Matthews Gallery, Denver, Colorado $700-$900

63 William Matthews (American, b. 1949) Two Cowboys Branding watercolor on paper signed William Matthews (lower left) 31 x 31 inches Property from The Estate of Dr. Richard Williams, Atlanta, Georgia $2,000-$3,000

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64 Arthur Roy Mitchell (American, 1889-1977)

66 Arthur Roy Mitchell (American, 1889-1977)

Cowboy Stories graphite on paper 12 x 9 inches Property Being Sold to Benefit The A.R. Mitchell Museum of Western Art $200-$400

Stand Off graphite on paper signed Arthur Mitchell (lower right) 12 x 8 inches Property Being Sold to Benefit The A.R. Mitchell Museum of Western Art $200-$300

65 Arthur Roy Mitchell (American, 1889-1977) Cowboy and Cowgirl II graphite and watercolor on paper signed Arthur Mitchell (lower right) 12 x 9 inches Property Being Sold to Benefit The A.R. Mitchell Museum of Western Art $200-$400

WESTERN PAINTINGS AND SCULPTURE

67 Arthur Roy Mitchell (American, 1889-1977) Cowboy on Rearing Horse graphite on paper signed Arthur Mitchell (lower right) 8 x 7 inches Property Being Sold to Benefit The A.R. Mitchell Museum of Western Art $200-$300

68 Howard Post (American, b. 1948) Cowboys oil on canvas signed H Post (lower right) 36 x 44 inches $6,000-$8,000

69 Chris Navarro (American, b. 1956) Partners bronze height 48 x width 32 x depth 26 inches Property from the Collection of Don Allison, Arizona $3,000-$5,000

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70 Billy Schenck (American, b. 1947) Days of August, 1986 oil on canvas signed Schenck, titled and dated (verso) 60 x 85 1/2 inches Property from a Corporate Art Collection $8,000-$12,000

WESTERN PAINTINGS AND SCULPTURE

71 Billy Schenck (American, b. 1947)

72 Billy Schenck (American, b. 1947)

Coyote Canyon, 1986 oil on canvas signed Schenck, titled and dated (verso) 32 x 44 inches Property from a Corporate Art Collection $2,000-$4,000

Blue Streak, 1977 oil on canvas signed Schenck, titled and dated (verso) 31 1/2 x 45 3/4 inches $2,000-$4,000

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73 Ken Payne (American, 1938-2012) Days End at Sunrise, edition 20/50, 1995 bronze signed Ken Payne, dated and numbered (verso) height 16 x length 24 x depth 12 inches $2,000-$3,000

74 Grant Speed (American, 1930-2011) Ropin’ Out the Best Ones, edition 18/30, 1984 bronze signed UG Speed, dated and numbered (base) height 21 x width 23 inches $2,000-$4,000

75 Grant Speed (American, 1930-2011) Showin’ Off for the Boys, edition 26/30, 1974 bronze signed U.G. Speed, dated and numbered (base) overall height 21 1/2 x width 17 x depth 11 inches $2,000-$3,000

WESTERN PAINTINGS AND SCULPTURE

76 Arthur Roy Mitchell (American, 1889-1977) Shooters graphite on paper signed Arthur Mitchell (lower center) 8 x 8 inches Property Being Sold to Benefit The A.R. Mitchell Museum of Western Art $200-$400

77 Arthur Roy Mitchell (American, 1889-1977) Two Cowboys graphite and colored pencil on paper 10 1/2 x 8 inches Property Being Sold to Benefit The A.R. Mitchell Museum of Western Art $200-$400

78 Arthur Roy Mitchell (American, 1889-1977) Cowboy and Cowgirl graphite on paper signed Arthur Mitchell (lower right) 12 x 9 inches Property Being Sold to Benefit The A.R. Mitchell Museum of Western Art $200-$300

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79 Jim Rey (American, b. 1939) Calico Cantina oil on canvas signed Jim Rey (lower right) 40 x 60 inches $3,000-$5,000

WESTERN PAINTINGS AND SCULPTURE

80 Kenneth Freeman (American, 1935-2008)

81 Kenneth Freeman (American, 1935-2008)

82 Nick Eggenhofer (American, 1897-1985)

Mother to Them All oil on canvas signed KM Freeman (lower right) 20 x 36 inches Artwork Sold to Benefit The Booth Western Art Museum, Cartersville, Georgia $300-$500

The Outfit oil on canvas signed KM Freeman (lower center) 30 x 40 inches Artwork Sold to Benefit The Booth Western Art Museum, Cartersville, Georgia $300-$500

Thunder on the Trails charcoal and ink on paper signed Eggenhofer (lower right) 10 x 13 inches $300-$500

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83 Randy Lee White (American, b. 1951)

84 Randy Lee White (American, b. 1951)

One Who Seeks Peace, 1986 mixed media signed R. Lee White and dated (lower right) 40 x 60 inches Property from a Corporate Art Collection $800-$1,200

Says Hello mixed media on paper on paper signed R. Lee White (lower right) 30 x 40 inches Property from a Corporate Art Collection $600-$800

WESTERN PAINTINGS AND SCULPTURE

85 Mike Larsen (American, b. 1945) Sacred Dance oil on canvas signed Larsen (lower right) 72 x 48 inches Property from a Corporate Art Collection $2,000-$4,000

86 Channing Peake (American, 1910-1989) Portrait of an Indian Man pastel on paper signed Peake (lower right) 16 x 13 inches $300-$500

87 Channing Peake (American, 1910-1989) Chief One Arm oil on canvas signed Peake (lower right) 51 x 38 inches $2,000-$3,000

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88 Paul Pletka (American, b. 1946) Whirlwind Warrior, edition 47/100 lithograph signed Pletka (lower right) and numbered (lower left) 32 x 24 inches Artwork Sold to Benefit The Booth Western Art Museum, Cartersville, Georgia $400-$600

*89 Paul Pletka (American, b. 1946) Chief and Pipe oil on canvas signed Pletka (lower right) 24 x 30 inches Property from the Estate of Sportscaster Chris Schenkel, Lake Tippecanoe, Indiana $3,000-$4,000

WESTERN PAINTINGS AND SCULPTURE

90 Paul Pletka (American, b. 1946) Indian Woman with Pot oil on canvas signed Pletka (upper right) 48 x 48 inches Property from a Corporate Art Collection $6,000-$8,000

91 Frederic Kimball Mizen (American, 1888-1964) Portrait of an Indian Man gouache on board signed Frederic Mizen (lower right) 19 1/2 x 15 inches Property from the Collection of Michael Cole, Maryland $2,000-$3,000

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92 Joseph Imhof (American, 1871-1955) The Camoufleurs oil on canvas signed J Imhof (lower right) 30 x 46 inches Property Being Sold to Support the Mission and Vision of The Couse-Sharp Historic Site, Taos, New Mexico Provenance: Anschutz Collection. Denver, CO. (prior to 1982) Christies, New York. Dec. 4, 1992. Private Collection (acquired at the above).

WESTERN PAINTINGS AND SCULPTURE

Exhibitions: Mall Galleries. London. “Painters of the American West: the Anschutz Collection.” June 3-July 3, 1982. Literature: Elizabeth Cunningham. Painters of the American West: the Anschutz Collection. Denver, CO: A.B. Hirschfield Press, 1982, no. 62, illustrated. Nancy Hopkins Reily & Lucille Enix. Joseph Imhof, Artist of the Pueblos. Santa Fe, NM: Sunstone Press. 1998, pp. 173, 418, illustrated. Inventories of American Painting and Sculpture, Smithsonian American Art Museum. IAP 68040085 & IAP 8C260019 (online). $8,000-$12,000

Joseph Imhof, “the Grand Old Man of the Pueblos,” was born in New York City where he learned the lithographer’s art and craft, worked for Currier & Ives, and eventually saved enough money to purchase his passage to Europe and pursue his passion for art. In Antwerp, Imhof met Buffalo Bill, who turned the young artist’s thoughts to the American Southwest. Imhof made his first New Mexico home in Albuquerque, then settled in Taos in 1929, where he became fast friends with Mabel Dodge Luhan, the patron of the Taos art scene. Imhof’s paintings, drawings, and prints can be found in numerous museums and fine collections, including the New Mexico Museum of Art and the Harwood. The Camoufleurs captures the flow of the dancers in white, wearing magnificent antlers, who lead the Deer Dance procession and ceremony, often held in area pueblos on Christmas morning and on Three Kings’ Day. Though the precise meaning of this sacred ritual is guarded in oral tradition—and cannot be photographed—its outward kinship with numerous solstice rituals in the Northern Hemisphere, such as the Mummers of rural Britain, suggests a ceremony of gratitude to the things of the Earth and to their Creator. Imhof paints the dancers as they are transformed by the dance into graceful, elegant cervidmen, spirits enacting a liturgy in rhythms handed down from generation to generation. In the painting, the dancer at right looks back, the two central figures look up at identical angles, and the dancer at left looks over his shoulder, suggesting the past year and the year to come in a subtly circular movement, perhaps imitating the cycle of the seasons. With modernist restraint and economy Imhof employs strong, repeated shapes and a limited palette to link the dancers’ costumes and the shadows they cast with the snow and shadows on the ground and the clouds and sky above. At far right, the edge of an evergreen peeks in, pointing to the renewal and continuity of life. Imhof often drew, painted, and etched aspects of the Deer Dance, but The Camoufleurs must be accounted one of his most ambitious depictions of the ceremony, and one of his finest works. --James D. Balestrieri 92

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93 Joseph Henry Sharp (American, 1859-1953) Indian Man and Woman at Stream oil on Board signed JH Sharp (lower left) 6 x 8 1/2 inches From the Collection of Dorothy “Bunny” Whitaker Provenance: Rosequist Gallery Tuscon, Arizona $8,000-$12,000

Indian Man and Woman at Steam reveals Sharp’s mastery and how much he can convey in so few brush strokes - the movement of the cascading water, the light filtered through the cottonwood and aspen trees, and the intimacy of place. A Taos Pueblo man fishes beside a stream while his female partner braids her hair, perhaps having just bathed in the stream. Most likely Sharp painted this canvas on site up the Rio Fernando de Taos in Taos Canyon, one of Sharp’s favorite trout fishing holes. Sharp captures a stolen moment that nourishes the soul. -Davison Packard Koenig, Executive Director & Curator, The Couse-Sharp Historic Site and Marie Watkins, PhD, Professor Emerita of Art History, Furman University

WESTERN PAINTINGS AND SCULPTURE

94 Joseph Henry Sharp (American, 1859-1953) Portrait of Indian with Drum and Pipe oil on canvas signed JH Sharp (lower right) 20 x 24 inches From the Collection of Dorothy “Bunny” Whitaker $40,000-$60,000

Portrait of Indian with Drum and Pipe is a classic Sharp painting of a seated model in an interior that is quiet and still. All the objects, including the clothing are from Sharp’s personal collection of Native artifacts that he acquired in Montana and Taos, which he repeatedly used in his paintings. Hunting Son, from Taos Pueblo is most likely the model. As Taos Pueblo was an important trade center and had close ties with Kiowa and Comanche peoples it was, and is, not uncommon for members of Taos Pueblo to wear beaded Plains clothing. Also Taos Pueblo men, are the only Pueblo peoples who traditionally wear their hair in braids, similar to the Plains peoples. Sharp’s deftly painted image conveys a moment frozen in time and exudes nobility of purpose. -Davison Packard Koenig, Executive Director & Curator, The Couse-Sharp Historic Site and Marie Watkins, PhD, Professor Emerita of Art History, Furman University

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95 Frank Tenney Johnson (American, 1874-1939) Evening at Isleta oil on canvas signed Frank Tenney Johnson (lower left) 18 x 21 ½ inches Property from a Wyoming Ranch Exhibited: Western American Art South of the Sweet Tea Line, September 16 – December 31 , 2017, Booth Western Art Museum, Cartersville, Georgia $40,000-$60,000

Young Frank Tenney Johnson saw the last of the Westbound wagon trains move through his Iowa home. After moving to Milwaukee, Johnson would study with Richard Lorenz, whose tales of traveling and painting in the West would give shape to his ambition. Further schooling in New York came first, and Johnson’s Bronx Zoo sketches led to an offer from Field & Stream: in exchange for illustrations, the magazine would back a trip to the West. Johnson found work as a cowboy in Colorado and participated in some of the last great roundups, experiences that would provide immeasurable reference for his art. Johnson eventually made his home in Southern California, where he painted movie theater murals, sold his paintings to studio moguls and stars, and even acted in silent Westerns. --James D. Balestrieri

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96 Ross Stefan (American, 1934-1999) Enchanted Mesa, 1965 oil on canvas signed Ross Stefan (lower left) 26 x 40 inches $6,000-$8,000

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97 Kenneth Riley (American, 1919-2015) Indian Camp in Mountain Valley, 1985 oil on canvas signed Kenneth Riley and dated (lower right) 84 x 96 inches Property from a Private Collection $30,000-$50,000 Indian Camp in Mountain Valley finds modern master Ken Riley in a Hudson River School mode, thinking, perhaps, about Bierstadt and Moran, about Blakelock in his early days, and about Thomas Cole throughout his career. In this Fur Trade Era scene, a train of trappers enter a native camp, seeking a route through or around the mountains, or hoping to camp near this fresh water falls, or seeking to trade—needs for needs, wants for wants—before moving on. Riley’s composition seems to echo moments of contact with native peoples on Lewis and Clark’s journey with the Corps of Discovery, but refrains from quoting them directly. Beyond any narrative, Riley, like his Hudson River School antecedents,

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wants us to feel the terrible, sublime beauty of these mountains as a winter storm approaches, just now grazing and glazing the tops and top edges of the nearest peaks as it arrives from the snow-covered ridge in the distance. The last of the sun breaks, illuminating the pink cliffs, already dusted with snow. We’re moments before the storm snuffs out the sun and the world goes gray and white. The sheer scale of the mountains, beside which humanity seems insignificant, is a hallmark of the Hudson River School, and Riley deploys it masterfully in this painting. Ken Riley’s style begins with strong design and incorporates aspects of classical and Renaissance art such as bas-relief sculpture and fresco. His major works often conjure the vision of a painter working in the wet plaster of a vaulted ceiling. In truth, as a young man in Missouri, Ken Riley was painting with one hand and playing the drums with the other. Art emerged victorious. Riley studied with

Thomas Hart Benton in Kansas City as well as with George Bridgman and Harvey Dunn in New York. He served as a combat artist in the Pacific during World War II, then made a name illustrating paperbacks and periodicals such as National Geographic, and Life magazine. A commission from the National Park Service and a teaching post at Brigham Young University led him to a life painting the storyscapes of the American West: Yellowstone, the Tetons, the Badlands, and scores of others. Riley was inducted into the Cowboy Artists of America in 1982, received gold medals in 1984, 1988, 1989, 1993, and won the Prix de West in 1995. His paintings can be found in numerous collections, including the White House, the Smithsonian Institution, the Booth Western Art Museum, and the Phoenix Art Museum. The line connecting the early masters of the West, the Golden Age of American Illustration, and contemporary Western modernism runs through Riley’s easel. --James D. Balestrieri

98 Buck McCain (American, b. 1943) Requiem, edition 8/10, 1981 bronze signed McCain, dated and numbered (base) height 63 x width 56 x depth 26 inches Property from a Private Collection $8,000-$12,000

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99 Henry Francois Farny American, 1847-1916) Deer Hunting, 1901 gouache on paper, affixed to board signed Farny and dated (lower right) 10 1/2 x 5 1/2 inches Property of the Estate of Ellen Graydon Hill, Cincinnati, Ohio Provenance: Ellen Graydon Hill, Cincinnati, Ohio. By descent in the family to the present. Literature: Denny Carter. Henry Farny. New York: Watson Guptill Publications. 1978, p. 123, illustrated. Exhibitions: Indian Hill Historical Museum Association, 1975, Cincinnati, Ohio, number 49 $100,000-$150,000

Henry Farny was born in 1847 in the AlsaceLorraine, a region of France on the German border with roots in both cultures and a long history as the locus of Franco-German conflict. Farny’s father’s participation in the failed 1848 revolution in France forced the family to emigrate, first to Pennsylvania and then, finally, to Cincinnati, a rapidly growing city with a reputation for producing important American artists. From his early years in Pennsylvania, Farny was fascinated by Native Americans but noted the disparity between their portrayals in art and fiction as grandly tragic warriors, and their reality as mistreated and misunderstood casualties of American expansion. His interest in drawing Native Americans led to an ambition to make his life and living as an artist and he apprenticed with a lithographer, drawing Civil War scenes and figures that came to the attention of Harper’s Weekly. After the war, he moved to New York, where he met the American ambassador to Rome—a fellow Cincinnatian—who arranged for the artist’s passage and studies in Europe. Farny studied and lived the bohemian life in Rome, Dusseldorf, Munich, and Paris, returning to Cincinnati in 1870, just before the FrancoPrussian War (for control of the Alsace-Lorraine) broke out. Farny struggled to find his feet until 1878, when the call to paint Native Americans returned and he took the first of many trips West, a thousand-mile trip down the Missouri River. Farny visited, lived among, and painted the Blackfeet, Crow, Sioux, and Zuni Indians, observing their cultures and learning their languages. Farny became an ardent advocate for the beleaguered peoples he befriended and often pled their case where he could. The many famous friends he made as his career and reputation flourished are a who’s who of the late 19th century: Robert Louis Stevenson, Mark Twain, Oscar Wilde, Ulysses S. Grant. Geronimo, Sitting Bull, and Theodore Roosevelt, who was especially fond of the artist and his work. Roosevelt, who became President in 1901, would have his hunter-conservationist instincts aroused by Farny’s Deer Hunting. He would have inquired about the snowshoes and he would have admired the hunter’s wisdom for keeping his gun at ease while the young deer at left pass by unharmed. -James D. Balestrieri

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100 Henry Francois Farny (American, 1847-1916) Moving Camp, 1905 oil on board signed Farny and dated (lower right) 12 x 9 inches Property of the Estate of Ellen Graydon Hill, Cincinnati, Ohio Provenance: Ellen Graydon Hill, Cincinnati, OH. By descent in the family to the present. Literature: Denny Carter. Henry Farny. New York: Watson Guptill Publications. 1978, p. 162, illustrated. Exhibitions: Indian Hill Historical Museum Association, 1975, Cincinnati, Ohio, number 41 $200,000-$300,000

Glance at Moving Camp. Two things become crystal clear. One: this is a painting by Henry Farny, at the peak of his powers as an artist. And two: no one painted Native Americans and the American West like Farny. Now look. Really look. A passageway through a forest where the last leaves of autumn cling to the branches; a clay bank to navigate; a shallow river to ford. The family, father in front, testing the depths, peering into their future; mother and child trailing, bundled together in front of their pack horse. Behind them, two others, just emerging from the shadow of the thick woods, framed by an oval of shimmering, shivering, translucent leaves. Between them, connecting them pictorially, the two family dogs, sniffing out something, a squirrel trail perhaps, in the brush. You can hear the silence, save for the murmur of the stream and the breeze tugging at the fading leaves. And you wonder, given Farny’s sympathy for and empathy with the native peoples he met, are these people moving to a winter camp, moving nomadically as they have done for generations? Or are they being moved? Have they lost their homeland? Farny leaves the story to us, though the idea of a vanishing race, so prevalent among painters of Native Americans, is countered here by a sense of resilience. These people are on the move; they’re not going away. Yet the whole treatment of the scene, its simple beauty, hearkens back to Farny’s French origins. You can feel the influence of the Barbizon painters. These are Corot leaves on Corot trees. In a letter to his brother Theo dated October 15, 1882, Vincent Van Gogh recalls a remark regarding Corot: ‘There are paintings in which there is nothing and yet everything is there.’ Look again at Moving Camp. It all seems so simple, and yet it is so profound, so moving. Could Farny have met Corot in Europe? Could Farny have met Van Gogh? -James D. Balestrieri

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101 Harry Jackson (American, 1924-2011) Indian, 1961 bronze signed H. Jackson and dated and inscribed overall height 22 x width 16 x depth 4 inches $1,000-$2,000

*102 Clyde Forsythe (American, 1885-1962) Golden Canyon, Death Valley, 1950 oil on board signed Clyde Forsythe and dated (lower right) 20 x 28 inches Property from the Estate of Peter Bergh, Edwards, Colorado $3,000-$5,000

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103 Ralph Lytle (American, 1882-1959)

104 A. Harding

105 David Flitner (American, b. 1949)

Desert Landscape oil on canvas signed Ralph Arthur Lytle (lower right) 25 x 30 inches $300-$500

Southwestern Landscape with Catcus oil on canvas signed A. Harding (lower right) 24 x 20 inches $300-$500

Untitled (Red Canyons), 1995 oil on canvas signed Flitner and dated (lower right) 34 x 60 inches $800-$1,200

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106 James Swinnerton (American, 1875-1974) Mittens in Monument Valley oil on canvas signed Swinnerton (lower right) 30 x 40 inches Property from the Collection of R. Russ Lindsay $5,000-$7,000

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107 Kenneth Riley (American, 1919-2015) Study for Canyon Morning oil on board signed Kenneth Riley (lower right) 10 x 16 inches Property from a Private Collection $1,500-$2,500 Ken Riley’s process was old school. Drawings led to studies; studies led to fully realized paintings. Take the rare opportunity to look at a study for a major painting and the painting itself in the same catalogue. Flip from this Study for Canyon Morning to Canyon Morning itself. The composition is already there. Strong, contrasting shapes overlap and balance one another. But he’s still working out the colors and their values. Observe how the brighter Study gives way to the brooding shadows and dramatic masses in Canyon Morning. -James D. Balestrieri

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108 Kenneth Riley (American, 1919-2015) Canyon Morning oil on canvas signed Kenneth Riley (lower left) 60 x 90 inches Property from a Private Collection $20,000-$30,000

Ken Riley paints the looming sweep of rock wall in Canyon Morning with a deliberate regularity that lends the work an otherworldly air, as if this might be a place described in the stories of Edgar Rice Burroughs or H.P. Lovecraft. Cyclopean blocks flanked by massive towers seem like the remnants of a citadel built by gods so old that the inhabitants have forgotten them. Riders moving in and out of the canyon give a sense that this sanctuary is well guarded by the living and watched over by the ancestors and their spirits. Though his resume as an illustrator—unlike, say, his contemporary Stanley Meltzoff, is not filled with flying saucers and alien landscapes—there is often a nod to the imagery of speculative fiction in Riley’s scenes of the historic American West. This, perhaps, is Riley’s way of reminding us that while his paintings recreate a past built on his travels and studies, ultimately they are visions of the past—historic and geological—erected in the architecture of his personal style. -James D. Balestrieri

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109 Marjorie Reed (American, 1915-1996) Old Arizona Prospector oil on canvas signed Marjorie Reed (lower left) 7 1/2 x 9 1/2 inches Provenance: Elizabeth Schlosser Fine Art, Denver, Colorado Thoeny Collection $700-$900

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*110 Oscar Berninghaus (American, 1874-1952) Mural Sketch for Phoenix Post Office watercolor on paper signed O.E. Berninghaus (verso) 5 x 19 inches Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Zaplin-Lampert Gallery, New Mexico Joan Conway Crancer, Missouri By descent in the family to the present. $3,000-$5,000

We’re in Arizona in 1937 in Oscar Berninghaus’s Mural Sketch for the Downtown Phoenix Federal Building and Post Office. Murals in public spaces were offered to painters as part of President Roosevelt’s WPA project, which was designed to provide work and relief for artists during the Great Depression. Berninghaus painted two panels, including the one depicted in this sketch, entitled Pioneer Communication, which has a fun meta moment, with the Post Office as a key element in a Post Office mural. Like most artists, Berninghaus’s market dried up after the crash in 1929. The Taos Society had disbanded. Couse, Ufer, and Dunton had passed away in 1936. It might be Phoenix, but Berninghaus seems to be is thinking about Taos and his friends, thinking back to that first, fateful, mythologized, unscheduled stop in 1898 when the wagon broke down on a narrow mountain road like this one and forced him to stay for eight days, days that would forever alter the course of his life and career. -James D. Balestrieri

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111 Oscar Berninghaus (American, 1874-1952) Back from the Hills, 1907 oil on canvas signed O Berninghaus and dated (lower left) 28 1/2 x 23 inches Provenance: Mrs. Theodore Fischer, Santa Fe, New Mexico Dorothea Fischer, San Diego, California Henrietta Fischer Gummels Ivey-Selkirk Auctions, St. Louis, Missouri, Sept. 18, 1999. Private Collection (acquired at the above). $20,000-$30,000

By 1907, the year that Back from the Hills was painted, St. Louis native Oscar Berninghaus had already achieved success as a commercial artist, in particular with his work for the Anheuser-Busch Brewery. But for the previous several years, Berninghaus has spent his summers in Taos, working alongside artists such as Bert Phillips and painting the people of the pueblos and the magnificent landscape of the area. Works from this period, Back from the Hills among them, signal the artist’s transition from the harder lines and highly wrought compositions characteristic of illustration and advertising. In Back from the Hills Berninghaus is instead mastering the dappled light and breeze on the horse and rider, the crevices of the cliff, and the negative space of sky and river valley with impressionistic economy. The warrior on the promontory is reminiscent of Remington and of Maynard Dixon’s canvases from the early 1900’s. Two warriors who approach impart a sense of movement to the work, suggesting that this moment of respite will be brief. -James D. Balestrieri

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112 Joseph Henry Sharp (American, 1859-1953) Wind River Country oil on canvas signed J.H. Sharp (lower right) 20 x 27 inches Property from the William L. Taylor Trust Provenance: The artist A.B. Closson Jr. Co (Closson’s Gallery), Cincinnati, Ohio Private Collection, Ohio By descent in the family to the present. $100,000-$150,000 A group of Native Americans passing through on their way to Washington enthralled Joseph Henry Sharp as a boy; the vision would stick with him for the rest of his life. After a swimming accident cost him his hearing, young Sharp is said, perhaps apocryphally, to have communicated through drawing. At any rate, by the time he was 14, he was in the big city, Cincinnati, studying art. Perhaps reliance on sight heightened the artist’s insight. Perhaps the loss of his hearing instilled a restless yearning for new sights for his eyes to feast on and for him to paint. Whatever the reason, Sharp would soon begin to see the world as his canvas. In 1881, he studied in Antwerp, then returned home and promptly headed West, painting Native Americans in New Mexico, Arizona, California, and Wyoming. 1885 found Sharp studying in Europe once more. Back in Cincinnati, Sharp married and began to teach. But in 1893 he went West again, making his first visit to Taos. Two years later, he was studying, this time at the Académie Julian in Paris, where he met Blumenschein, Phillips, and Couse. Sharp enthused about Taos, believing that a true American art might grow there and inspiring the migration that would result in the formation of the Taos Society and help make Taos central to American arts and letters. Home to Cincinnati then, to trips West, to Montana this time, where Sharp camped near the site of the Battle of Little Big Horn. President Theodore Roosevelt saw and admired the artist’s work and in 1902, he helped arrange for a cabin to be built for Sharp on the Crow Agency. While there, Sharp painted hundreds of portraits and landscapes depicting Native American life. Sharp would settle permanently in Taos in 1910, but his peripatetic nature often got the best of him and he circled the globe in search of paintings waiting to be painted. Sharp’s major visit to the Shoshone on the Wind River Reservation in Wyoming’s came in 1907 when he ventured there from his home base in Montana. In Wind River Country, the snow-blanketed Wind River Mountains bisect the painting, rolling from right to left, near to far, beneath a winter sky that the sun seems to be trying to break up. Patches of green near the tipis and hints of pink and purple here and there give some promise of spring, a promise hinted at in the people emerging from their tipis, bending down to look at something revealed in the thaw, tending cattle near the trees, and just standing, taking in the air of a new year. -James D. Balestrieri

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*113 Henry Raschen (American, 1854-1937) Geronimo oil on canvas signed H Raschen (lower left) 30 x 40 inches Property from the Estate of Margery Holley Uihlein, Milwaukee, Wisconsin $6,000-$8,000

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*114 Howard Chandler Christy (American, 1872-1952) Pocahontas, 1926 oil on canvas signed Howard Chandler Christy and dated (lower right) 32 x 40 inches Property from the Estate of Sportscaster Chris Schenkel, Lake Tippecanoe, Indiana Provenance: Childs Gallery, Boston, Massachusetts Literature: Cover illustration for the February, 1927, issue of the American Legion Monthly $12,000-$18,000

Howard Chandler Christy Papers, Special Collections & College Archives, Lafayette College. V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

115 Stanley Arthurs (American, 1877-1950) Frontier Lawyer oil on canvas signed Arthurs (lower right) 36 x 24 inches $6,000-$8,000

116 Stanley Arthurs (American, 1877-1950) The Getaway oil on canvas signed Arthurs (lower left) 20 x 26 inches $4,000-$6,000

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117 Stanley Arthurs (American, 1877-1950) Frontier Christmas oil on canvas signed Arthurs (lower right) 27 1/2 x 38 1/2 inches $6,000-$8,000

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118 Gayle Hoskins (American, 1887-1962) Ski Scene gouache on paper signed Gayle Hoskins (lower right) 15 x 25 inches $400-$600

119 Churchill Ettinger (American, 1903-1984) Fresh Powder oil on canvas signed Churchill Ettinger (lower right) 36 x 56 inches $2,000-$4,000

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120 Rod Goebel (American, 1946-1993) Winter at Tres Ritos oil on canvas signed Rod Goebel (lower right) 18 x 20 inches $1,500-$2,500

121 Clyde Aspevig (American, b. 1951) Clouds (Forbes Trinchera Ranch- Colorado) oil on board signed C. Aspevig (lower left) 10 x 12 inches Provenance: Trailside Galleries, Jackson, Wyoming $1,000-$2,000

122 Louis Escobedo (American, b. 1952) Green Pastures, 1992 oil on paper signed Escobedo and dated (lower left) 6 1/2 x 9 inches Property From a Colorado Collection $300-$500

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123 J. Chester “Skip” Armstrong (American, b. 1948) Thunder Equus carved wood overall height 33 x width 63 x depth 18 inches Property from a Corporate Art Collection $800-$1,200

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124 Ethel Magafan (American, 1913-1993)

125 Lani Vlaanderen (American, 20th Century)

Two Horses gouache on board signed Ethel Magafan (lower left) 2 1/2 x 7 3/4 inches Property From a Colorado Collection $200-$300

Horse oil on canvas signed Lani (lower right) 9 x 12 inches $300-$500

*126 Richard Lorenz (German/American, 1858-1915) Horses at Pasture oil on board signed R. Lorenz (lower right) 9 3/4 x 13 inches Property from the Collection of Lee Sucharda, Racine, Wisconsin $800-$1,200

127 Bob Scriver (American, 1914-1999) South Fork Spring, edition 17/200, 1998 bronze signed Bob Scriver, dated, titled and numbered (base) overall height 9 x length 10 x depth 7 inches Artwork Sold to Benefit The Booth Western Art Museum, Cartersville, Georgia $400-$600 126

128 Gary Michael (American, b. 1937) Quiet Pond oil on board 5 3/4 x 6 1/2 inches Property From a Colorado Collection $200-$300

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129 Jurgen Wilms (American, b. 1951)

132 Lorenzo Chavez (American, b. 1949)

Afternoon Calm oil on canvas signed J. Wilms (lower left) 48 x 36 inches $1,000-$2,000

Field Study oil on board signed Chavez (lower right) 8 x 10 inches Property From a Colorado Collection $300-$500

130 Gerald Balciar (American, b. 1942) Spring Bunnies, edition 8/45, 2007 bronze signed G. Balciar, dated and numbered (verso) 10 3/4 x 11 inches $600-$800

131 Bruce Newell (American, 20th Century)

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Bronze Cattle Table bronze overall height 21 x width 22 x depth 22 inches Property of a Sun Valley, Idaho Collector $3,000-$5,000

133 Jurgen Wilms (American, b. 1951) Landscape gouache on board signed J. Wilms (lower right) 18 x 24 inches $700-$900

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134 Dan Howard (American, b. 1931)

135 Max Gundlach (American, 1863-1958)

136 Charles Partridge Adams (American, 1858-1942)

Emergent Rock oil on canvas 61 1/2 x 69 inches Property from a Corporate Art Collection $1,000-$2,000

Road to Montezuma oil on board signed M. Gundlach (lower right) 14 x 20 inches $300-$500

Mountain Landscape oil on canvas signed Charles Partridge Adams (lower left) 8 1/4 x 13 1/4 inches $2,000-$3,000

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137 William Hart (American, 1823-1894)

138 Charles Partridge Adams (American, 1858-1942)

139 Harvey Otis Young (American, 1840-1901)

Landscape oil on canvas signed Wm. Hart (lower left) 30 x 50 inches $7,000-$9,000

Long’s Peak from Estes Park, Summer Afternoon watercolor on paper signed Charles Partridge Adams (lower left) 8 1/2 x 12 1/2 inches $700-$900

Colorado River, 1891 oil on board signed Harvey Young and dated (lower right) 18 x 30 inches $1,500-$2,500

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140 Wolfang Pogzeba (American, 1936-1982) Mountain Valley Landscape oil on board signed W. Pogzeba (lower left) 14 1/2 x 11 inches $300-$500

141 Helen Henderson Chain (American, 1849-1892) Old Miner’s Cabin oil on canvas signed Chain (lower left) 40 1/2 x 19 inches $1,500-$2,500

142 Frederick Shafer (American, 1839-1927) Colorado Landscape oil on canvas signed Schafer (lower left) 20 x 36 inches $800-$1,200

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143 George Beardsley (American, 1867-1938) Pike’s Peak with Indian Camp gouache on paper 12 x 31 inches $400-$600

144 George Beardsley (American, 1867-1938) Pike’s Peak from Foundation Creek, Near Colorado Springs gouache on paper signed George Beardsley (lower right) 11 x 15 inches $200-$400

145 Francis Scott Bradford (American, 1898-1961) Near Pikes Peak oil on board signed Bradford (lower left) 8 x 15 1/2 inches Property From a Colorado Collection $300-$500

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146 Charles Partridge Adams (American, 1858-1942) Colorado Landscape, 1892 oil on canvas signed C. Partridge Adams and dated (lower right) 14 1/2 x 22 inches $3,000-$5,000

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147 Marion Phillips (American, Late 19th Century) The Pool oil on board signed Marion Phillips (lower left) 12 x 15 inches Property From a Colorado Collection Provenance: Elizabeth Schlosser Fine Art, Denver, Colorado $300-$500

148 Virginia True (American, 1900-1989) Homestead Landscape charcoal on paper signed V True (lower left) 10 x 13 inches Property from an Important Colorado Collection $400-$600

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149 Robert Larum (American, 20th Century) Porkey, edition 21/25, 1993 bronze signed RLarum, titled, dated and numbered (base) overall height 16 1/2 x width 15 x depth 12 inches $800-$1,200

*150 G. Russell Case (American, b. 1966) Deep Creek, 2000 watercolor on paper signed G. Russell Case (lower right) 6 x 9 inches Property from the Estate of Peter Bergh, Edwards, Colorado $600-$800

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151 Keith Jacobshagen (American, b. 1941)

153 Anita Stahlgren (American, 1937-1995)

Havelock Elevator, 1977 oil on board signed K Jacobshagen (verso) 9 x 18 inches

Winter House oil on board signed Stahlgren (lower left) 7 x 10 inches Property From a Colorado Collection $200-$300

Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Santa Fe Art Auction, November 11, 2011, Santa Fe, New Mexico $2,000-$3,000

152 Elizabeth Yates (American, 20th Century) Landscape oil on board signed E. Yates and dated (lower right) 14 x 11 inches Property From a Colorado Collection $300-$500

154 Lowell Ellsworth Smith (American, 1924-2008)

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An Ohio Farm, 1984 watercolor on paper signed Lowell Ellsworth Smith (lower right) 10 x 14 inches $700-$900

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155 Carl Clemens Moritz Rungius (German/American, 1869-1959)

157 Carl Clemens Moritz Rungius (German/American, 1869-1959)

Answer from the Barren etching and drypoint on paper signed C Rungius (lower right) 6 1/4 x 8 1/2 inches $800-$1,200

A Woodland Stag etching and drypoint on paper 6 1/4 x 8 1/2 inches authentication letter from Donald E. Crouch to accompany this lot $700-$900

156 Carl Clemens Moritz Rungius (German/American, 1869-1959) Antelope etching and drypoint on paper 6 1/4 x 8 1/2 inches authentication letter from Donald E. Crouch to accompany this lot $800-$1,200

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*158 C.M. Chip Jones (American, 20th Century) Guardian of the Past, edition 3/60, 1998 bronze signed CM Jones, dated and numbered (verso) overall height 12 x width 11 x depth 6 1/2 inches Property from the Collection of Mr. Richard Rosenberg, Elmhurst, IL. $700-$900

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159 Bob Scriver (American, 1914-1999) Paul’s Bull, edition 68/100, 1983 bronze signed Bob Scriver, titled, dated and numbered (base) overall height 3 1/2 x length 6 x depth 4 1/4 inches Artwork Sold to Benefit The Booth Western Art Museum, Cartersville, Georgia $300-$500

160 Bob Scriver (American, 1914-1999) Middle Fork Grizzly, edition 17/200, 1998 bronze signed Bob Scriver, dated, titled and numbered (base) overall height 8 1/2 x length 9 x depth 6 inches Artwork Sold to Benefit The Booth Western Art Museum, Cartersville, Georgia $300-$500

161 Carl Clemens Moritz Rungius (German/American, 1869-1959) An Old Prospector etching and drypoint on paper signed C Rungius (lower right of sheet) 6 1/4 x 8 1/2 inches authentication letter from Donald E. Crouch to accompany this lot $700-$900

162 Carl Clemens Moritz Rungius (German/American, 1869-1959) Alarmed etching and drypoint on paper 6 1/4 x 8 1/2 inches authentication letter from Donald E. Crouch to accompany this lot $700-$900

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163 Carl Clemens Moritz Rungius (German/American, 1869-1959) Friends Again etching and drypoint on paper unsigned 6 1/2 x 8 1/2 inches authentication letter from Donald E. Crouch to accompany this lot $700-$900

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164 Earl Biss (Apsaalooke, 1947-1998) Untitled oil on canvas signed Biss (upper right) 42 x 30 inches Property from a Corporate Art Collection $3,000-$5,000

165 Earl Biss (Apsaalooke, 1947-1998) Ritual Dance of the Moon Hunters, 1986 oil on canvas signed Biss (upper right) 72 x 96 inches Property from a Corporate Art Collection $15,000-$25,000

166 Earl Biss (Apsaalooke, 1947-1998) Warriors in the Late Day Sun oil on canvas signed Biss (upper right) 30 x 40 inches Property from a Corporate Art Collection $3,000-$5,000

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167 Fritz Scholder (American, 1937-2005) Indian Messiah, 1975 oil on canvas signed Scholder (lower right) 80 x 68 inches Property from a Corporate Art Collection Provenance: Jack O’Grady Galleries, Inc, Chicago, Illinois, 1975 Exhibitions: Everson Museum of Art, 1976, Syracuse, New York, lent by Michael McCormick, Chicago, Illinois $20,000-$40,000

168 Dan Namingha (Hopi/Tewa, b. 1950) Kachina Blessing Chant acrylic on canvas signed Namingha (lower right) 43 x 98 inches Property from a Corporate Art Collection Provenance: Niman Fine Art, Santa Fe, New Mexico $7,000-$9,000

169 Kevin Redstar (American, b. 1943) Crow Camp at Turtle Creek, 1981, oil on canvas, signed (lower right); signed, titled and dated (verso) 44 x 40 inches Property from a Corporate Art Collection $2,000-$3,000

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170 David Bradley (American, b. 1954) Indian Country Revisited, 1990, oil on canvas, signed and dated (lower right) 49 x 61 inches Property from a Corporate Art Collection Provenance: Elaine Horwich Galleries, Scottsdale, Arizona $3,000-$5,000

171 Dan Namingha (Hopi, b. 1950) Kachina, edition 17/18 bronze signed Namingha and numbered (lower right) overall height 17 1/2 x width 5 1/4 x depth 4 inches $2,000-$4,000

*172 Gregory Lomayesva (American, b. 1971) We are Not Seeking, 2000 oil on canvas signed Lomayesva and dated (lower center) 84 x 64 inches Property from the Estate of Gary P. Grunau, Milwaukee, Wisconsin $1,000-$2,000

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*173 Gregory Lomayesva (American, b. 1971) Chanel oil on canvas signed Lomayesva (lower center) 45 3/4 x 45 3/4 inches Property from the Estate of Gary P. Grunau, Milwaukee, Wisconsin $800-$1,200

174 Charles Bunnell (American, 1897-1968) Abstract (Blue, White and Tan), 1963 oil on canvasette signed Bunnell and dated (lower right) 16 x 20 inches $800-$1,200

175 Charles Bunnell (American, 1897-1968)

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Abstract Floral Still Life oil on canvasette 16 x 12 inches $700-$900

176 Charles Bunnell (American, 1897-1968) Abstract Landscape oil on canvasette signed Bunnell (lower right) 16 x 12 inches $700-$900

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Beatrice Mandelman If Beatrice Mandelman (1912-1998) had remained in New York City, she would long since have joined the art historical canon alongside Lee Krasner, Helen Frankenthaler, Joan Mitchell and other famous female New York School painters, not to mention their male contemporaries. This would likely also be true for Bea’s husband, fellow artist Louis Ribak (1902-1979.) Mandelman was born across the Hudson in New Jersey, and was an active participant in the city’s bubbling modernist ferment. She studied in Paris with Fernand Léger, hung out with Willem de Kooning and Arshile Gorky, and she even vacationed with Jackson Pollock. But in 1944, just as the New York scene was emerging into international consciousness, making household names of many of their friends and essentially giving birth to the artworld as we now know it, Mandelman and Ribak decamped to New Mexico, where they became seminal members of the intense, vibrant milieu known as the Taos art colony. Rough, ready, and remote, Taos had been discovered a few decades earlier by a handful of artists from Chicago, New York, and Europe who utilized their classical academic training to heroically depict “cowboys and Indians” for a national, populist audience. The Taos Society painters didn’t necessarily let cultural or historical accuracy stand in the way of a good picture, and few of them had much sympathy for the modernist revolution that had already utterly transformed art in Berlin, Vienna, and Paris. But they nevertheless paved the way for subsequent waves of artists who not only employed the new modern aesthetics, but also included women – like Georgia O’Keeffe, and later, Bea Mandelman. By 1947, she and Ribak founded the influential Taos Valley Art School, which not only became a hub for the modern art community there, but drew avant-garde artists from both coasts. When the school was forced to close after funding dried up in 1953, the couple briefly moved back to New York, and while they continued to travel extensively throughout their lives, Mandelman mostly lived in and took inspiration from the majestic, high-altitude light and space of her adopted Taos homeland, working there steadily and exuberantly until her death from cancer in 1998. Like fellow émigrés O’Keeffe and her good friend Agnes Martin, Bea realized herself in this region, becoming a quintessentially New Mexican artist. It’s high time that more people outside of that state were familiar with her work. Her impressive artistic development and prolific output tracks the trajectory of many of her contemporaries. Fundamental classical training evolved by incorporating the roiling stylistic and technical innovations that poured forth first from Europe, then took flight stateside. In earlier examples, you can see her pictures go from Ashcan School to Social Realist to Expressionist to Post-Cubist, then settle steadily into the so-called Abstract Expressionism that most aptly encompasses her mature style. However, even then strains of Color Field Painting, New Mexican Transcendentalism, Minimalism, Hard Edge, Op and even Pop Art can be discerned. She clearly kept tabs on what was going on around her, while defiantly going her own way. Thankfully, Bea had little use for conceptual Post-Modernism, and her mature work is distinguished by a confident ebullience and bold, musical lyricism that are all her own. Mandelman remained a dedicated high modernist, holding fast to rigorous non-objective formalism, ambitiously exploring its endless possibilities for decades. While any artwork necessitates facility or at least an awareness of both, painters can often be loosely classified as colorists (emphasizing hue and chroma, á la Mark Rothko) or structuralists (composition the primary concern, like Franz Kline.) Bea is harder to pigeonhole. Her concerns appear to drift steadily back and forth between these polar emphases, and her hundreds of documented paintings, prints, and collages reveal a restless freedom to pursue whatever impulse drifted through her studio window, down from the perpetually breathtaking Sangre de Christo peaks that loom over Taos. Yet the work, often produced in tight series, still always demonstrates a quality of focused investigation. She paid for this kind of liberty by remaining lesser known and physically isolated from major urban art centers, taking advantage of the literal and metaphoric distances to elude certain inevitable pressures to conform to expectations – of peers, or the market. Mandelman was a modern artist to the bone, independent and committed to art for its own sake.

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177 Beatrice Mandelman (American, 1912-1998) 50-Col-2-20/Sunshine gouache and collage on paper signed Beatrice Mandelman (lower right) 18 3/4 x 24 1/2 inches Property from the Mandelman - Ribak Collection, Sold for the Benefit of the University of New Mexico $1,000-$2,000

178 Beatrice Mandelman (American, 1912-1998) Jazz II- Spring (1725) acrylic on canvas signed Mandleman (low center) 20 x 22 inches Property from the Mandelman - Ribak Collection, Sold for the Benefit of the University of New Mexico $2,000-$4,000

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179 Beatrice Mandelman (American, 1912-1998) Sun Series B-21 acrylic on canvas signed Mandleman (lower right) 47 x 31 1/2 inches Property from the Mandelman - Ribak Collection, Sold for the Benefit of the University of New Mexico $5,000-$7,000

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180 Beatrice Mandelman (American, 1912-1998) New York No. 66 1/2 acrylic on canvas signed Mandleman (lower right) 40 x 60 inches Property from the Mandelman - Ribak Collection, Sold for the Benefit of the University of New Mexico $7,000-$9,000

181 Beatrice Mandelman (American, 1912-1998) Experimental Reflections casein and enamel with collage signed Mandleman (lower right) 48 x 36 inches Property from the Mandelman - Ribak Collection, Sold for the Benefit of the University of New Mexico $1,500-$2,500

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182 Beatrice Mandelman (American, 1912-1998) Untitled (50-P07) oil on canvas signed Mandleman (lower left) 18 x 22 inches Property from the Mandelman - Ribak Collection, Sold for the Benefit of the University of New Mexico $1,500-$2,500

183 Beatrice Mandelman (American, 1912-1998) Banana, Pear, Apple oil on canvas signed Mandleman (lower right) 18 x 24 inches Property from the Mandelman - Ribak Collection, Sold for the Benefit of the University of New Mexico $1,000-$2,000

184 Beatrice Mandelman (American, 1912-1998) 80-AC-1-17 acrylic on arches paper 25 3/4 x 19 3/4 inches Property from the Mandelman - Ribak Collection, Sold for the Benefit of the University of New Mexico $1,000-$2,000

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185 Emil Bisttram (American, 1895-1976) Cosmic Orb, 1940 encaustic on paper signed Bisttram and dated (lower right) 16 x 11 inches Property from an Important Colorado Collection $2,000-$3,000

186 Emil Bisttram (American, 1895-1976) Mountain Landscape watercolor on paper signed Bisttram (lower right) 7 x 8 inches $800-$1,200

187 Louisa McElwain (American, 1953-2013) Espera oil on canvas signed Louisa McElwain and titled (verso) 24 x 20 inches $7,000-$9,000

188 Louisa McElwain (American, 1953-2013) Autumn Storm oil on canvas signed Louisa McElwain and titled (verso) 22 x 28 inches Property from an Important Colorado Collection $4,000-$6,000

189 Louisa McElwain (American, 1953-2013) Cloud Spirit oil on canvas signed Louisa McElwain and titled (verso) 24 x 24 inches $4,000-$6,000

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190 Ed Mell (American, b. 1942) Open Range Rain oil on canvas signed Ed Mell (lower right) 9 x 26 inches $3,000-$5,000

191 Ed Mell (American, b. 1942) Desert Rain, Artist’s Proof lithograph signed Ed Mell and numbered (lower right) 25 x 28 inches $300-$500

192 Ed Mell (American, b. 1942) Desert Sunset, PP lithograph signed Ed Mell (lower right) 20 x 32 inches $700-$900

193 Tom Palmore (American, b. 1945) Northern Sunset oil on canvas signed Palmore (lower left) 16 x 20 inches Provenance: Elaine Horwitch Galleries, Scottsdale, Arizona $2,000-$3,000

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194 John Fincher (American, b. 1941) Cacti oil on canvas signed Fincher (lower right) 54 x 84 inches Property from a Corporate Art Collection $2,000-$4,000

*195 Linda Lee Kinman (American, 1950-2014) Granite Pass Aglow oil on canvas signed Linda Lee (lower left); signed and titled (verso) 40 x 30 inches Property from the Collection of Scott Haag, Milwaukee, Wisconsin $600-$800

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196 Hal Larsen (American, b. 1934) Pinnacles Triptych watercolor and collage signed Hal Larsen (lower right, rightmost panel) each frame 28 x 23 inches Property from a Corporate Art Collection $700-$900

197 Russell Hamilton (American, b. 1950) New Mexico Landscape, 1980 pastel on paper signed Russell Hamilton and dated (lower right) 22 x 28 inches $300-$500

198 Grant Speed (American, 1930-2011) The Half Breed, edition 1/30, 1976 bronze signed UG Speed, dated and numbered (base) overall height 12 x width 11 x depth 10 inches Property from a Private Collection $12,000-$18,000

199 Grant Speed (American, 1930-2011) A Narrow Escape from the Hostiles, edition 20/40, 1980 bronze signed UG Speed, dated and numbered (base) overall height 12 x width 11 x depth 11 inches Property from a Private Collection $1,500-$2,500

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200 Miguel Martinez (American, b. 1951) Saint Elena, 2011 oil on board signed M Martinez and dated (upper right) 10 x 8 inches Provenance: Manitou Galleries, Santa Fe, New Mexico $700-$900

201 Miguel Martinez (American, b. 1951) Two Senoritas, 1983 pastel on paper signed M. Martinez and dated (lower right) 30 x 40 inches $3,000-$5,000

202 Miguel Martinez (American, 1951) Portrait of Woman oil on canvas signed M Martinez (lower right) 20 x 16 inches $1,500-$2,500

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203 Dolona Roberts (American, b. 1936) Basket Dance oil on canvas signed Dolona Roberts (verso) 58 x 60 inches Property from a Corporate Art Collection $1,500-$2,500

204 R.C. Gorman (Dine, 1932-2005) Nancy Ann, 1981 pastel on paper signed R.C. Gorman and dated (lower left) 29 x 23 inches Property from a Corporate Art Collection $1,000-$2,000

205 Veloy Vigil (American, 1931-1997) Abstract Indian acrylic on canvas signed V. Vigil (lower left) 72 x 60 inches $4,000-$6,000

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206 Redwing Nez (Navajo, b. 1960) Gathering of Sacred Yei Dancers acrylic on canvas signed Redwing Nez (lower right) 48 x 60 inches Property from a Corporate Art Collection $700-$900

207 Star Liana York (American, b. 1952) Story Teller-A Time Before Talking Leaves, edition 19/30 bronze signed Star York (base) 17 x 14 x 8 1/2 inches Property Being Sold to Benefit a Southwestern Museum $1,500-$2,500

208 Veloy Vigil (American, 1931-1997) Two Indians acrylic on paper signed Veloy Vigil (lower right) 45 1/2 x 31 1/2 inches $800-$1,200

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209 Veloy Vigil (American, 1931-1997) Grapevine and Crimson monotype signed Veloy Vigil (lower right) 27 1/2 x 40 inches $700-$900

210 Louis de Mayo (American, 1926-2016) Standing Indian acrylic on canvas signed de Mayo (lower left) 60 x 60 inches $1,000-$1,500

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211 Clifford Beck (Navajo, 1946-1995) A Gathering At Ganado oil on canvas signed C. Beck (lower left) 32 x 40 inches Property from a Corporate Art Collection $600-$800

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212 Clifford Beck (Navajo, 1946-1995) Deer Dance oil on canvas signed C. Beck (lower right) 36 x 48 inches Property from a Corporate Art Collection $600-$800

213 Virginia Stroud (Cherokee, b. 1951) Chief’s Daughter, 1981 acrylic on canvas signed Virginia Stroud and dated (lower left) 40 x 50 inches Property from a Corporate Art Collection Provenance: Toh-Atin Gallery, Durango, Colorado $700-$900

214 Carol Whitney (American, b. 1936) Flute Player, 1884 ceramic signed Whitney and dated (lower right) height 18 x width 34 x depth 5 1/2 inches Property from a Corporate Art Collection $700-$900

215 Carol Whitney (American, b. 1936) Storm out of the North triptych ceramic and fabric each signed Whitney (lower left) two sides overall height 52 x width 14 inches; central Chief overall height 57 3/4 x width 16 inches Property from a Corporate Art Collection $800-$1,200 214

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*216 Marianne Millar (American, 20th/21st century) Medicine Bear, 2000 acrylic on canvas signed Marianne L. Millar (lower right); signed, titled, and dated (verso) 60 x 40 inches Property from the Collection of Scott Haag, Milwaukee, Wisconsin $800-$1,200

217 Kathryn Woodman Leighton (American, 1875-1954)

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Young Warrior oil on canvas board signed Kathryn W. Leighton (lower left) 18 x 14 1/2 inches Artwork Sold to Benefit The Booth Western Art Museum, Cartersville, Georgia $800-$1,200

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218 Kathryn Woodman Leighton (American, 1875-1952) Young American oil on canvas signed Kathryn W. Leighton (lower left) 18 x 15 inches Artwork Sold to Benefit The Booth Western Art Museum, Cartersville, Georgia $800-$1,200

219 John Jarvis (American, b. 1946) Autumn Encampment gouache on paper signed John Jarvis (lower left) 14 x 19 inches $1,000-$2,000

220 Noel Daggett (American, 1925-2005) Twilight Stillness, 1988 gouache on paper signed Daggett and dated (lower right) 10 x 17 inches Property from a Private Collection $800-$1,200

221 Steven Lang (American, b. 1960) Inyan Sapa Black Rock oil on canvas signed Lang (lower right) 14 x 11 inches $1,500-$2,500

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*222 Marianne Millar (American, 20th/21st century) Sits-in-the-Saddle, 2001 acrylic on canvas signed Marianne Millar (lower right); signed, titled, and dated (verso) 60 x 40 inches Property from the Collection of Scott Haag, Milwaukee, Wisconsin $800-$1,200

223 Robert Winter (American, b. 1953) Coming Out of Canyon Walls oil on canvas signed Robert A. Winter (lower right) 48 x 36 inches $3,000-$5,000

224 Steven Lang (American, b. 1960) Thru Shallow Water oil on canvas signed Lang (lower right) 14 x 11 inches $1,500-$2,500 224

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225 Noel Daggett (American, 1925-2005)

227 Craig Tennant (American, b. 1946)

A Talk with Hands, 1983 gouache signed Daggett and dated (lower right) 8 x 13 1/2 inches Property from a Private Collection $500-$700

Down River oil on canvas signed Craig Tennant (lower right) 20 x 30 inches $2,000-$4,000

226 Gregory Perillo (American, b. 1929) The Big Sleep oil on canvas signed Perillo (lower left) 20 x 25 inches 227

Provenance: Wally Findlay Galleries, Palm Beach, Florida $300-$500

*228 Heinie Hartwig (American, b. 1937) Cheyenne Mountain Camp oil on canvas signed Heine Hartwig (lower left) 14 x 28 1/2 inches Property from the Estate of Sportscaster Chris Schenkel, Lake Tippecanoe, Indiana $1,000-$2,000

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229 Heinie Hartwig (American, b. 1937) The Rockies oil on board signed Heinie Hartwig (lower left) 12 x 24 inches Provenance: Sierra Galleries, Tahoe City, California $700-$900

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230 Heinie Hartwig (American, b. 1937) Rocky Mountain Enchantment oil on board signed Heinie Hartwig (lower right) 24 x 36 inches Provenance: Sierra Galleries, Tahoe City, California $800-$1,200

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231 Adrien Alexandre Voisin (American, 1890-1979) Nez Perce Squaw, edition 9/15, 1936 bronze signed Voisin, numbered and dated (base) height 14 x 13 3/4 x 9 1/4 inches $300-$500

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232 David Edward Kucera (American, b. 1961) Ribbons for Fringe oil on board signed D.E. Kucera (lower right) 28 x 24 inches Property from a Private Collection $1,000-$2,000

233 David Edward Kucera (American, b. 1961) Eyes That Whisper, 1995 oil on board signed D.E. Kucera and dated (lower right) 20 x 16 inches Property from a Private Estate, Scottsdale, Arizona $800-$1,200

234 David Flitner (American, b. 1949) Untitled (Native Camp), 1994 oil on canvas signed Flitner and dated (lower right) 16 x 20 inches $400-$600

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235 John Paul Strain (American, b. 1955) Morning Light gouache on board signed John Paul Strain (lower right) 15 x 8 inches $800-$1,200

236 Thomas DeDecker (American, b. 1951) Conversation Around the Campfire oil on canvas signed Thomas DeDecker (lower left) 20 x 24 inches $1,000-$2,000

237 Thomas DeDecker (American, b. 1951) Settled in for the Day oil on board signed Thomas DeDecker (lower left) 16 x 20 inches $800-$1,200

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238 Steven Lang (American, b. 1960) Last of Dogmen oil on canvas signed Lang (lower right) 25 x 18 inches $3,000-$5,000

239 Steven Lang (American, b. 1960) Cheyenne War Lance oil on canvas signed Lang (lower right) 30 x 24 inches $3,000-$5,000

240 Ned Jacob (American, b. 1938) Sioux Chief, 1962 cassein and watercolor on paper signed Jacob (lower right) 24 x 12 inches $2,000-$3,000

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241 Larry Fodor (American, b. 1951) Shaman Dream No. 7, 1987 gouache on paper signed Larry Fodor and dated (lower right) 44 x 30 inches Property from a Corporate Art Collection $600-$800

242 Ramon Kelley (American, b. 1939) Woman From Tepzlon oil on canvas signed Ramon Kelley (lower right) 16 x 12 inches $700-$900

243 Robert Abbett (American, 1926-2015) Good Memories oil on board signed Abbett (lower right) 24 x 36 Provenance: Troy’s Cowboy Art Gallery, Scottsdale, Arizona $2,000-$4,000

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244 George Molnar (American, b. 1953)

245 Hubert Wackermann (American, b. 1945)

246 Kathleen Henderson (American, b. 1954)

Backyard Gossip oil on canvas signed George Molnar (lower left) 20 x 30 inches $2,000-$3,000

Hopi Maiden, 1981 gouache on paper signed H Wackermann and dated (lower right) 20 x 15 inches Property from a Private Collection $800-$1,200

Crystal Talisman oil on canvas signed K. Henderson (lower left) 10 x 8 inches $300-$500

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247 R. Lutrell (American, b. 1923)

249 Kenneth Freeman (American, 1935-2008)

Mama’s Red Shawl pastel on paper signed R Lutrell (lower right) 19 x 15 inches Property from a Private Collection $300-$500

Playing with Tradition, together with matching decorative plate oil on canvass signed KM Freeman (lower right) 20 x 24 inches; plate diameter 8 1/2 inches Artwork Sold to Benefit The Booth Western Art Museum, Cartersville, Georgia $300-$500

248 R. Brownell McGrew (American, 1916-1994) Jay, Jay oil on canvas signed R. Brownell McGrew (lower left) 17 x 13 1/2 inches Property from a Private Collection $1,500-$2,500

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250 Alfredo Rodriguez (Mexican/American, b. 1954) Making Her Chongo, 2003 oil on canvas signed A. Rodriguez and dated (lower right) 18 x 24 inches $800-$1,200

251 Parker Boyiddle (Kiowa/Wichita/ Delaware/Chicksaw, b. 1947) Buffalo Dream oil on canvas signed Boyiddle (low center) 48 x 30 inches Property from a Corporate Art Collection $400-$600

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252 Ken Rowe (American, 20th Century) Desert Ghosts, edition 3/12, 1994 bronze signed Rowe and dated (base) each length 40 inches x width 16 inches; first height 26 1/2 inches; second height 35 1/4 inches $6,000-$8,000

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253 Nicholas Wilson (American, b. 1947)

255 Bob Scriver (American, 1914-1999)

Distant Thunder oil on board signed Nicholas Wilson (lower right) 12 x 15 inches $400-$600

The Herd Bull, 1959 cast plaster signed Bob Scriver and dated (base) overall height 21 x length 27 x depth 10 inches Property Sold to Benefit the Acquisitions Fund of the Buffalo Bill Center of the West $1,000-$2,000

254 David A. Merrill (American, b. 1964) Sitting Bull oil on canvas signed Merrill (lower right) 24 x 30 inches $2,000-$3,000

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256 Doughtry Last Night on the Okavango oil on board signed Doughtry 21 1/4 x 35 1/4 inches $800-$1,200

*257 Krystii Melanie (Australian/American, b. 1963) Mule Deer, 2005 oil on board signed Krystii Melanie (lower left) 16 x 22 inches Property from the Collection of B.C. Herrick, Jackson, Wyoming $1,000-$2,000

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*258 Mark Rossi (American, b. 1951) Tortoise, edition 17/25 bronze signed M. Rossi and numbered (base) height 6 x length 12 1/2 x width 8 3/4 inches Property from the Estate of Joan Conway Crancer, St. Louis, Missouri

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Provenance: Zaplin-Lampert Gallery, Santa Fe, New Mexico $3,000-$5,000

*259 Sherry Salari Sander (American, b. 1941) Wolves, edition 7/35, 1978 bronze signed S Sander, dated and numbered (base) overall height 9 1/2 x width 9 x depth 10 inches Property from the Estate of Peter Bergh, Edwards, Colorado $600-$800

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*260 Richard Greeves (American, b. 1935) Antelope, edition 1, 1990 bronze signed RV Greeves and dated (base) overall height 11 x width 20 x depth 8 inches Property from the Collection of Mr. Richard Rosenberg, Elmhurst, Illinois $1,000-$2,000

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261 Stephen C. Elliott (American, b. 1943) Big Horn Sheep watercolor on paper signed Stephen Elliott (lower left) 10 x 14 inches $500-$700

262 Jerry Thrasher (American, b. 1940) Wild Geese oil on canvas signed Thrasher (lower right) 25 x 35 inches $1,500-$2,500

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263 Roy Grinnell (American, b. 1933)

265 Roy Grinnell (American, b. 1933)

After the Raid oil on canvas signed R. Grinnell (lower left) 17 x 29 inches Property from a Private Collection $600-$800

Visions of the Hunt oil on canvas signed R. Grinnell (lower right) 16 x 12 inches Property from a Private Collection $800-$1,200

264 John Paul Strain (American, b. 1955)

266 Gerry Metz (American, b. 1943)

The Trapper, 1986 gouache on paper signed John Paul Strain (lower right) 15 x 9 inches $800-$1,200

Takin’ a Break, 1988 opaque watercolor on board signed Gerry Metz (lower right) 20 x 10 inches

266

Provenance: Sierra Galleries, Tahoe City, California $700-$900

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 123

267

268

269 270

267 Gerry Metz (American, b. 1943)

269 Dan Bodelson (American, b. 1949)

Almost to Dinner, 1989 opaque watercolor on board signed Gerry Metz (lower right) 11 x 15 inches

Spain oil on canvas signed Bodelson (lower left) 11 x 14 inches $600-$800

Provenance: Sierra Galleries, Tahoe City, California $800-$1,200

268 Jess Dubois (American, b. 1934) Rot Gut acrylic on canvas signed Jess Dubois (lower left) 11 x 14 inches $300-$500

124 W E S T E R N PA I N T I N G S A N D S C U L P T U R E

270 Don F. Smith (American, b. 1923) Landscape oil on canvas signed Don F. Smith (lower right) 19 x 23 inches $600-$800

271

272

271 Harry Pattison (American, b. 1952) Sandia Mountains oil on canvas signed H. Pattison (lower right) 44 x 52 inches $400-$600

272 Gene and Rebecca Tobey (American, 1945-2006 and American b. 1948) Echos of the Past, edition 24/25, 1995 bronze signed Tobey and dated (base) height 36 x width 15 x depth 12 inches $2,000-$4,000

273 Frances Gottlieb and Patti Cramer (20th Century) Red Rocks and Iowa Last August oil on canvas each signed Gottlieb (lower left) and Cramer (lower right) 10 x 12 inches and 8 x 10 inches $300-$500 273

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 125

274 275

276

274 Bill Freeman (American, 1926-2012) Tetons in Fall oil on canvas signed Bill Freeman (lower left) 22 x 28 inches Artwork Sold to Benefit The Booth Western Art Museum, Cartersville, Georgia $800-$1,200

275 Don Sahli (American, b. 1962) Sky Aglow oil on board signed Don Sahli (lower left) 30 x 40 inches Artwork Sold to Benefit The Booth Western Art Museum, Cartersville, Georgia $600-$800

276 Pam Furumo (American, b. 1949) March Cottonwoods colored pencil on paper signed P. Furumo (lower left) 9 1/4 x 9 1/4 inches Property From a Colorado Collection $200-$400

277 Clark Mitchell (American, 20th Century) Forest Hill pastel on paper signed Clark G. Mitchell (lower left) 31 x 23 inches $200-$400

126 W E S T E R N PA I N T I N G S A N D S C U L P T U R E

277

278

279

281

280

278 Thomas Berg (American, 1943)

280 Samuel Hyde Harris (American, 1889-1977)

South Sheep Mountain, July ‘76 oil on board signed Berg (lower right) 12 x 16 inches $300-$500

Smoke Tree Design oil on canvas signed Sam Hyde Harris (lower right) 16 x 20 inches $1,500-$2,500

279 Paul Lauritz (American, 1889-1975)

281 Marion Kavanaugh Wachtel (American, 1876-1954)

Mountain Landscape oil on board signed Paul Laurtiz (lower left) 20 x 24 inches $800-$1,200

Untitled Landscape oil on canvas signed Marion Kavanaugh Wachtel (lower right) 14 x 18 inches Property from a Private Collection $2,000-$4,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 127

283

282

282 Charles Partridge Adams (American, 1858-1942) Santa Barbara Mountains oil on canvas signed Charles Partridge Adams (lower right) 12 x 16 inches $1,500-$2,500

283 Curtis Chamberlin (American, 1852-1925) Laguna Seascape oil on board signed Curtis Chamberlin (lower right) 14 x 10 inches $600-$800

285

284 Sheldon C. Schoneberg (American, 1926-2012) The Mariner and the Albatross pastel on paper signed SC Schoneberg and dated in roman numerals (upper right) 39 x 29 inches Property from a Private Collection $200-$400

*285 Ogden Pleissner (American, 1905-1983) Fishing Boat watercolor on paper signed Pleisner (lower left) 7 x 10 inches Property from the Estate of Peter Bergh, Edwards, Colorado $2,000-$3,000

*286 Ogden Pleissner (American, 1905-1983)

286

128 W E S T E R N PA I N T I N G S A N D S C U L P T U R E

Camping by the Cliffs watercolor signed Pleissner (lower right) 7 x 10 inches Property from the Estate of Peter Bergh, Edwards, Colorado $2,000-$3,000

287 288

*287 Walton Blodgett (American, 1908-1963)

288 Wen Zin Zhang (American, b. 1928)

River Warehouse, 1935 watercolor on paper signed W. Blodgett and dated (lower right) 18 x 22 inches Property from the Estate of Peter Bergh, Edwards, Colorado

Palm Trees oil on board signed illegibly (upper right) 14 x 8 inches Property From a Colorado Collection $300-$500

289 Roger Hayden Johnson (American, 20th Century) Rowboats oil on canvas signed RH Johnson (lower right) 10 x 10 inches $700-$900

Provenance: Lapham and Dibble Gallery, Inc., Shoreham, Vermont $1,000-$2,000

289

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 129

290

291

290 William Berra (American, b. 1952) Colors of Capri oil on canvas signed Wm Berra (lower right) 39 x 39 inches $2,000-$4,000

291 William Berra (American, b. 1952) Bigsur Overlook, 1992 oil on canvas signed Wm Berra (lower right) 40 x 30 inches $2,000-$3,000

292 William Berra (American, b. 1952) Sandy Beach, 1992 oil on canvas signed Wm Berra (lower right) 57 x 39 inches $2,000-$4,000

292

130 W E S T E R N PA I N T I N G S A N D S C U L P T U R E

293 Ramon Kelley (American, b. 1939) El Mar, 1974 pastel on paper signed Ramon Kelley and dated (lower left) 5 x 7 inches $200-$300

294 Felipe Castañeda (Mexican, b. 1933) Gracia, 1986 marble signed Felipe Castañeda and dated (base) overall height 26 x width 14 x depth 12 inches Property from a Private Collection $4,000-$6,000

295 Felipe Castañeda (Mexican, b. 1933) Desnuda, 1982 marble signed F. Castañeda and dated (base) overall height 17 1/4 x width 10 x depth 13 inches Property from a Private Collector, Winnetka, Illinois Provenance: Artistic Gallery, Scottsdale, Arizona, January 27, 1983 (with original invoice and certificate of authenticity from the artist) $3,000-$5,000

294

295

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 131

296

*296 Alan Wolton (American, b. 1934) Summer Game oil on canvas signed Alan Wolton (lower right) 50 x 84 inches Property from the Collection of Mr. and Mrs. Peter Ianello, Winnetka, Illinois $4,000-$6,000

132 W E S T E R N PA I N T I N G S A N D S C U L P T U R E

297

298

299

300

*297 Ogden Pleissner (American, 1905-1983)

299 John Encinas (American, b. 1949)

Still Life with Zinnias oil on board signed Pleissner (lower right) 10 x 8 inches Property from the Estate of Peter Bergh, Edwards, Colorado

Onions and Mushrooms oil on canvas signed J Encinas (lower right) 9 x 12 inches $300-$500

Provenance: Lapham and Dibble Gallery, Inc., Shoreham, Vermont $1,500-$2,500

298 Joe Arnett (American, b. 1950) Rainbow Irises, 1995 oil on canvas signed JA Arnett (lower left) 27 x 20 inches $300-$500

300 Artist Unknown (American, 20th Century) Flowers oil on canvas signed illegibly (lower right) 9 x 13 inches Provenance: Carol Siple Gallery, Denver, Colorado $200-$400

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 133

301

302

301 Kim Resor (American, 20th Century) Confluence Billboard oil on board signed Resor (lower left) 6 x 9 inches Property From a Colorado Collection $200-$400

302 Kim Reasor (American, 20th Century) Late Afternoon El Chaputtepec oil on board signed Reasor (lower right) 6 1/2 x 8 1/2 inches $200-$300

303 Ron Hicks (American, b. 1965) 303

Neighborhood Restaurant oil on canvas signed Hicks (lower left) 9 x 12 inches Property From a Colorado Collection $400-$600

304 Jay Moore (American, b. 1964) Back Alley oil on canvas signed Jay Moore (lower right) 9 x 12 inches Property From a Colorado Collection $300-$500

304

134 W E S T E R N PA I N T I N G S A N D S C U L P T U R E

305 Muriel Wolle Sibell (American, 1898-1977) Curtain and Wings, Opera House, Telluride, CO, 1962 watercolor and gouache on paper signed Sibell Wolle and dated (lower right) 12 x 16 inches $200-$400

306 Muriel Sibell Wolle (American, 1898-1977) Waldorf Mine, Near Argentine Pass, Colorado, 1942 watercolor and pencil on paper signed Sibell (lower right) $200-$400

307 Edgar Britton (American, 1901-1982) Ghost of Panhandle Texas pastel on paper signed EB (lower right) 20 x 16 inches $300-$500

305

308 Pawel Kontny (Polish/American, 1923-2002) Zuni Rain Birds mixed media on board signed PA Kontny (lower left) 23 x 36 inches $300-$500

309 Pawel Kontny (Polish/American, 1923-2002) Zuni Thunderbird, 1991 mixed media on board signed P.A. Kontny (lower right); signed, titled and dated (verso) 10 x 14 inches $200-$400 306

308

307

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 135

310

311

310 Emil Bisttram (American, 1895-1976) Church pastel on paper signed Emil Bisttram (lower center) 12 x 16 inches $1,000-$2,000

311 Ann Dettmer (American, 20th Century) Passage, Mexican Church oil on canvas signed Dettmer (lower right) 30 x 20 1/2 inches Property From a Colorado Collection $600-$800

*312 Francisco Zuniga (Mexican, 1912-1998) Yucateca en Cuclillas con Naranja, edition 18/25, 1973 bronze signed Zuniga, dated and numbered (base) overall height 8 x width 8 x depth 8 inches Property from the Estate of Peter Bergh, Edwards, Colorado $2,000-$4,000

136 W E S T E R N PA I N T I N G S A N D S C U L P T U R E

312

313

313 Earl Biss (Apsaalooke, 1947-1998) El Porko Grande oil on canvas signed Biss (upper right) 82 x 70 inches Property from a Corporate Art Collection $5,000-$7,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 137

315

314

317 316

*314 Fredrick William Becker (American, 1888 - 1974)

316 John Jarvis (American, b. 1946)

Portrait of an Indian Woman oil on canvas signed Fredrick W. Becker (lower right) 24 x 18 inches Property from the Estate of Peter Bergh, Edwards, Colorado

Indian with Tipis, 1981 gouache on paper signed John Jarvis and dated (lower right) 20 x 28 inches $1,000-$2,000

Provenance: Santa Fe Art Auction, November 11, 2000, Santa Fe, New Mexico $800-$1,200

315 Mark Ogle (American, b. 1952) Good Company, 1985 oil on board signed Mark Ogle (lower right), titled and dated (verso) 15 x 29 1/2 inches $2,000-$3,000

138 W E S T E R N PA I N T I N G S A N D S C U L P T U R E

317 Thomas DeDecker (American, b. 1951) Winter Encampment oil on canvas signed Thomas DeDecker (lower left) 8 x 10 inches $600-$800

319

318

318 Roger Cooke (American, 1941-2012) Indian Girl with Feather oil on board signed Roger Cooke (lower left) 21 x 11 inches $800-$1,200

319 Stanley Long (American, 1892-1972) Evening at Home watercolor on paper signed Stanley Long (lower left) 30 x 37 inches $800-$1,200

320 Allen Eckman (American, 20th Century) Geronimo cast paper signed Allen Eckman (right center) overall height 82 x 48 x 15 inches $2,000-$4,000

320

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 139

321 Doug Hyde (Nez Perce, b. 1946) Night Hawk African wonder stone signed D Hyde (base) height 18 1/2 x width 10 3/4 x depth 3 1/2 inches Property from a Corporate Art Collection $500-$700

321

322

323

322 Laton Alton Huffman (American, 1854-1931)

323 William Clift (American, b. 1944)

Young “Plenty Bird” Cheyenne In Dance Costume gelatin silver print signed L.A. Huffman (lower right) and titled (lower left) 8 x 10 inches

Factory Butte, Utah, 1975 photograph signed William Clift on mat (lower right) 16 x 20 inches

Provenance: Coffrin’s Old West Gallery, Miles City, Montana $800-$1,200

140 W E S T E R N PA I N T I N G S A N D S C U L P T U R E

Provenance: Douglas Kenyon Inc., Chicago, Illinois $1,500-$2,500

324 Grant Speed (American, 1930-2011) Watchin’ the Posse Close In, edition 9/30, 1970 bronze signed UG Speed, dated and numbered (base) overall height 13 x width 10 x depth 7 inches $1,500-$3,000

324

325 Grant Speed (American, 1930-2011) Layin in the Winter Meat, edition 22/30, 1983 bronze signed U.G. Speed, dated and numbered (verso) overall height 18 x width 16 x depth 8 inches $2,000-$4,000

325

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 141

326 327

326 Arthur Roy Mitchell (American, 1889-1977) Galloping Riders graphite on paper 8 x 8 1/2 inches Property Being Sold to Benefit The A.R. Mitchell Museum of Western Art $200-$300

327 Arthur Roy Mitchell (American, 1889-1977) Cowboys Riding graphite on paper signed Arthur Mitchell (lower right) 11 x 8 1/2 inches Property Being Sold to Benefit The A.R. Mitchell Museum of Western Art $200-$300

328 Arthur Roy Mitchell (American, 1889-1977) Cowboy graphite on paper signed Arthur Mitchell (lower right) 9 x 7 inches Property Being Sold to Benefit The A.R. Mitchell Museum of Western Art $200-$300

142 W E S T E R N PA I N T I N G S A N D S C U L P T U R E

328

329 Gib Singleton (American, 1936-2014) Saint George and the Dragon, edition 23/25, 1996 bronze signed Singleton and dated (front) overall height 29 x width 26 3/4 x depth 16 inches Property Being Sold to Benefit the Art Collections at the University of Denver $3,000-$5,000

330 Arthur Roy Mitchell (American, 1889-1977) 4th of July graphite on paper 10 1/2 x 7 1/2 inches Property Being Sold to Benefit The A.R. Mitchell Museum of Western Art $200-$300

331 Arthur Roy Mitchell (American, 1889-1977) Cowboy on Horse in the Woods graphite and watercolor on paper signed Arthur Mitchell (lower right) 8 x 7 1/2 inches Property Being Sold to Benefit The A.R. Mitchell Museum of Western Art $200-$400

329

330

331

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 143

332

333

332 Peter Hurd (American, 1904-1984) Cowboy and Mule watercolor on paper signed Peter Hurd (lower left) 9 x 12 inches $700-$900

333 Lynn Rowan Myers (American, 20th Century)

334

Rinconda oil on canvas signed Lynn Rowan Myers (lower left) 9 x 12 inches Property From a Colorado Collection $300-$500

334 Ray Tidd (American, 1918-1990) Ole Blue, edition 14/16 bronze signed R Tidd, titled and numbered (base) overall height 8 x length 12 x width 7 3/4 inches $300-$500

335 Bob Scriver (American, 1914–1999) Bobcat, 1951 bronze signed Bob Scriver and dated (base) height 3 3/4 x length 11 x depth 4 inches $600-$800

335

144 W E S T E R N PA I N T I N G S A N D S C U L P T U R E

336 Avard Fairbanks (American, 1897-1987) Indian Legend, edition 6/26, 1977 bronze signed Arvard Fairbanks, dated and numbered (base) overall height 23 1/2 x width 13 x depth 13 inches $800-$1,200

336

337 Richard Greeves (American, b. 1935) The Unknown bronze signed RV Greeves, dated and numbered (verso) overall height 20 x width 11 x depth 13 inches Property from the Collection of Mr. Richard Rosenberg, Elmhurst, Illinois $2,000-$3,000

337

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 145

AUCTION INQUIRIES | ARTS OF THE AMERICAN WEST DEPARTMENT

Maron Hindman VP West/Southwest maron@hindmanauctions.com 303.825.1855

Kate Hlavin Director, Specialist Western Art katherinehlavin@hindmanauctions.com 303.825.1855

Alexandria Dreas Consignment Manager alexandriadreas@hindmanauctions.com 303.825.1855

Logan Browning Business Development, Southwest loganbrowning@hindmanauctions.com 480.490.3175

FINANCE

Fine Art

Asian Works of Art

Atlanta

Zack Wirsum Senior Specialist zacharywirsum@hindmanauctions.com

Flora Zhang Cataloguer florazhang@hindmanauctions.com

Cincinnati

Monica Brown Senior Specialist monicabrown@hindmanauctions.com

Megan Sadler Associate Cataloguer megansadler@hindmanauctions.com

Nate Brady Associate Specialist nathanbrady@hindmanauctions.com

Fine Jewelry and Timepieces

Marco Gusella Controller marcogusella@hindmanauctions.com 312.280.1212

CLIENT SERVICES

Rita Swanberg Client Experience Manager ritaswanberg@hindmanauctions.com 312.280.1212

ESTATES, APPRAISALS AND BUSINESS DEVELOPMENT

Alyssa Quinlan Senior Vice President, Business Development alyssaquinlan@hindmanauctions.com 312.447.3272 Molly E. Gron, J.D. National Director, Trusts & Estates Senior Director, Chicago mollygron@hindmanauctions.com 312.334.4235 Katie Matusik Director, Appraisals and Valuations katelynmatusik@hindmanauctions.com 312.334.4224 Susan Mackenzie Business Development Director, Midwest susanmackenzie@hindmanauctions.com 312.447.3267 Vaughn Smith Business Development Manager vaughnsmith@hindmanauctions.com 312.334.4238 Briar Koehl Business Development Senior Associate briarkoehl@hindmanauctions.com 312.600.6075 Miranda Maxfield Business Development Associate mirandaluce@hindmanauctions.com 312.334.4208 Samantha Schwartz Business Development Associate samanthaschwartz@hindmanauctions.com 312.447.3297

MUSEUM SERVICES

Joseph Stanfield Director, Senior Specialist josephstanfield@hindmanauctions.com

Julianna Tancredi Cataloguer juliannatancredi@hindmanauctions.com Mary Grace Bilby Account Executive marygracebilby@hindmanauctions.com 312.334.4216

Fine Furniture, Decorative Arts and Silver

Corbin Horn Director, Senior Specialist corbinhorn@hindmanauctions.com 312.334.4214 Mike Intihar Senior Specialist mikeintihar@hindmanauctions.com

Katie Hammond Guilbault, G.G. Business Development Director, San Diego Senior Specialist, Jewelry and Timepieces katieguilbault@hindmanauctions.com Sally Klarr, G.G. Senior Specialist sallyklarr@hindmanauctions.com Marisa Ackerman, G.G. Specialist marisaackerman@hindmanauctions.com Hana Thomson Cataloguer hanathomson@hindmanauctions.com Madeline Schroeder Associate Cataloguer madelineschroeder@hindmanauctions.com 312.334.4223

668 Miami Circle NE Atlanta, Georgia 30324 atlanta@hindmanauctions.com 404.800.0192 6270 Este Avenue Cincinnati, Ohio 45232 Tel: 513.871.1670 cincinnati@hindmanauctions.com

Cleveland

2515 Jay Avenue 1st Floor Cleveland, Ohio 44113 Tel: 216.292.8300 cleveland@hindmanauctions.com

Denver

2737 Larimer Street, Suite C Denver, Colorado 80205 denver@hindmanauctions.com 303.825.1855

Milwaukee

414 East Mason Street Milwaukee, Wisconsin 53202 milwaukee@hindmanauctions.com 414.220.9200

Naples

Couture and Luxury Accessories

850 6th Avenue South Naples, Florida 34102 naples@hindmanauctions.com 239.643.4448

Nick Coombs Specialist nickcoombs@hindmanauctions.com

Michael Hall Cataloguer michaelhall@hindmanauctions.com

West Palm Beach

Genevieve King Associate Specialist genevieveking@hindmanauctions.com

Sports Memorabilia

Benjamin Fisher Senior Specialist benjaminfisher@hindmanauctions.com

Modern Design

Hudson Berry Director, Specialist hudsonberry@hindmanauctions.com Sabrina Granados Associate Cataloguer sabrinagranados@hindmanauctions.com

Michael Shapiro Senior Advisor, Museums and Private Collections michaelshapiro@hindmanauctions.com 312.334.4210

Arts of the American West

CONSIGNMENT DEPARTMENT

Books and Manuscripts

Jim Sharp Chief Operating Officer jimsharp@hindmanauctions.com

Annie Wu Director, Senior Specialist anniewu@hindmanauctions.com

Alexandria Dreas Consignment Manager alexandriadreas@hindmanauctions.com 303.825.1855 Gretchen Hause Director, Senior Specialist gretchenhause@hindmanauctions.com

Maggie Porter VP Sales Strategy maggieporteri@hindmanauctions.com

Francis Wahlgren Senior Consultant franciswahlgren@hindmanauctions.com

Kimberly Burt VP, Marketing and Luxury Goods kimberlyburt@hindmanauctions.com

Maria Fernandez Cataloguer mariafernandez@hindmanauctions.com 312.334.4236

146 W E S T E R N PA I N T I N G S A N D S C U L P T U R E

Timothy Long Director, Senior Specialist timothylong@hindmanauctions.com

James Smith Specialist jamessmith@hindmanauctions.com

Hindman Interiors

hindmanauctions.com 312.280.1212

1608 South Dixie Highway West Palm Beach, Florida 33401 westpalmbeach@hindmanauctions.com 561.833.8053

San Diego

8910 University Center Lane, Suite 400 San Diego, California 92122 sandiego@hindmanauctions.com 858.442.6104

Scottsdale

REGIONAL OFFICES

15475 North Greenway Hayden Loop Suite B17 Scottsdale, Arizona 85260 scottsdale@hindmanauctions.com 480.490.3175

Arrington Caison Account Executive arringtoncaison@hindmanauctions.com 312.447.3282

St. Louis

Abby Chambers Account Executive abbychambers@hindmanauctions.com 312.334.4234

32 North Brentwood Boulevard Clayton, Missouri 63105 stlouis@hindmanauctions.com 314.833.0833

Washington, D.C.

700 12th Street, NW Suite 700 Washington, D.C. 20005 washingtondc@hindman.com 202.853.1638

GUIDE FOR PROSPECTIVE SELLERS

Evaluation of Property If you have property you wish to sell, please call our Consignment Department at 312.280.1212 to arrange for a consultation. At that time, you may make an appointment to bring your property or photographs, along with any other pertinent information, to Hindman LLC and we will be happy to provide you with complimentary estimates and advice. If you have a large collection, an appointment may be made to evaluate the property on-site. Fees for on-site visits may vary. Standard Commission Rates Our standard rate of commission is equal to ten percent (10%) of the hammer price on each lot sold for $5,001 or more; and twenty-five percent (25%) of the hammer price on each lot sold for less than $5,001, with a minimum commission of $75 per lot sold. If your property fails to reach the reserve price agreed upon between you and Hindman LLC, you may be obligated to pay a reduced commission rate of five percent (5%) of the reserve price. Shipping Arrangements Hindman LLC can advise you as to how to have your property delivered to our galleries. Packing, shipping and insurance are payable by the seller. In certain instances, packing and shipping costs may be paid by Hindman LLC and deducted from the proceeds of the sale. We may recommend packers and shippers, but we are not responsible for their acts or omissions. Appraisals Appraisals can be arranged for insurance, donation, estate tax, family division or other purposes. Appraisal fees vary according to circumstances. Please contact our Estates and Appraisals Department at 312.280.1212 for further information.

GUIDE FOR PROSPECTIVE BUYERS Conditions of Sale Hindman LLC encourages all prospective buyers to read the Conditions of Sale printed in this catalogue. Exhibitions Hindman LLC recommends that all prospective buyers attend the pre-sale exhibition prior to the auction. Staff members are available at our pre-sale exhibitions to advise prospective buyers on particular objects or on any aspect of the bidding process. Estimates Hindman LLC provides catalogue descriptions and pre-auction estimates for each lot included in the sale. These estimates are a guide for prospective bidders. They are not definitive. All pre-sale estimates are subject to revision. Condition Reports We are happy to provide a condition report for lots with a low estimate of $300 and above. Nevertheless, intending buyers are reminded that condition reports are statements of our opinion only, and that each lot is sold “AS IS,” per our Conditions of Sale, as outlined in the back of this catalogue. All lots should be viewed personally by prospective buyers or their agents to evaluate the condition of the property offered for sale due to the highly subjective nature of condition reports. Bidding at Auction The highest bidder acknowledged by the auctioneer will be the purchaser. In addition to the hammer price, the buyer agrees to pay Hindman LLC a buyer’s premium as well as any applicable taxes.

Bidding Increments Bidding generally opens at half the low estimate and advances in the following order, although the auctioneer may vary the bidding increments during the course of the auction. The normal bidding increments are: $0 - $200 ........................................ $10 $200 - $500 ........................................ $25 $500 - $1,000 ..................................... $50 $1,000 - $2,000 ................................... $100 $2,000 - $5,000 ................................... $200 $5,000 - $10,000 ................................. $500 $10,000 - $20,000 .............................. $1,000 $20,000 - $50,000 .............................. $2,000 $50,000 - $100,000 ............................ $5,000 $100,000 - $200,000 .......................... $10,000 Over > $200,000 ...... Auctioneer’s Discretion

In-House Bidding Live bidding at Hindman LLC is by paddle only. Please register for a paddle at the entrance of the sales room. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer. Online Bidding Hindman LLC allows absentee and live bidding through our website at hindmanauctions.com as well as absentee and live bidding through third party online bidding providers which vary by sale. For more information regarding online bidding please visit our website at hindmanauctions.com. Absentee Bidding If you are unable to attend an auction, you may use the absentee bid form provided at the back of this catalogue. Hindman LLC will exercise written order bids and telephone bids at no additional charge. Lots will always be sold as inexpensively as is allowed other bids and reserves as are on our books or bids executed in competition from the audience. Tax Exempt Notice Lots marked with an asterisk (*) are tax exempt as permitted by law.

DRIVING DIRECTIONS/PARKING From the WEST: Take I-290 east. Take the Paulina Street/Ashland Boulevard exit 28B. Stay straight to go onto West Congress Parkway. Turn left onto South Paulina Street. Take a slight right onto West Ogden Avenue. Turn right onto West Lake Street. Building will be on the left side at 1338 West Lake Street. From the NORTH/NORTHWEST: Take I-90/I-94 east toward Chicago. Take the Ogden Avenue exit 50A. Stay straight to go onto North Racine Avenue. Turn right onto West Lake Street. Building will be on the right side at 1338 West Lake Street. From the SOUTHWEST: Take I-55 north. Exit 292A I-90/I-94 W Wisconsin Follow I-90/I-94 W Wisconsin to the Lake Street exit 51A. Turn left onto West Lake Street. Building will be on the right side at 1338 West Lake Street. From the SOUTH/SOUTHEAST: Take I-90/I-94 west Follow I-90/I-94 W via the exit on the left toward Chicago Loop. Take the Lake Street exit 51A and turn left onto West Lake Street. Building will be on the right side at 1338 West Lake Street.

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 147

CONDITIONS OF SALE These Conditions of Sale set out the terms upon which Hindman LLC (“we,” “us,” or “our”) sells property by lot in this catalogue. You agree to be bound by these terms by registering to bid and/or by bidding in our auction. A glossary at the end defines the words in bold type.

A. BEFORE THE AUCTION

1. LOT DESCRIPTIONS AND WARRANTIES Our description of a lot, any statement of a lot’s condition, and any other oral or written statement about a lot—such as its nature, condition, artist, period, materials, dimensions, weight, exhibition or publication history, or provenance—are our opinion and shall not to be relied upon by you as a statement of fact. Except for the limited authenticity warranty contained in paragraphs E and F below, we do not provide any guarantee of our description or the nature of a lot. 2. CONDITION The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold “AS IS,” in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot’s condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition and may not include all faults, inherent defects, restoration, alteration, or adaptation. Likewise, images in our catalogue may not depict a lot accurately, as colors and shades may appear different in print or on screen than on physical inspection. We are not responsible for providing you with a description of a lot’s condition in the catalogue or in a condition report. 3. VIEWING LOTS We offer pre-auction viewings, either scheduled or by appointment, that are free of charge. If you believe that the catalogue description or condition reports are not sufficient, we suggest you inspect a lot personally or through a knowledgeable representative before you bid on a lot to make sure that you accept the description and its condition. We recommend you hire a professional adviser if you are not familiar with how to address the nature or condition of an object. 4. ESTIMATES Estimates of a lot account for the condition, rarity, quality, and provenance of the object and are based upon prices realized for similar objects in past auctions. Neither you nor anyone else may rely on our estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium, any applicable taxes, and any other applicable charges. 5. WITHDRAWAL We may, in our sole discretion, withdraw a lot from auction at any time prior to or during the sale and shall have no liability to you for our decision to withdraw.

B. REGISTERING TO BID

1. NEW BIDDERS New bidders must register at least twenty-four (24) hours before an auction and must provide us with documentation of their identity. (a) Individuals must provide photo identification (driver’s license, non-driver ID card, or passport) and, if not shown on the photo identification, proof of current address (a current utility bill or bank statement). (b) Corporate clients must provide a Certificate of Incorporation or its equivalent bearing the company’s name and registered address, together with documentary proof of directors and beneficial owners. (c) Trusts, partnerships, offshore companies, and other business entities must contact us in advance of the auction to discuss our requirements. If we are not satisfied with the information you provide us in our bidder identification and other registration procedures, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller. New bidders may be required to provide us with a financial reference and/or a deposit before we allow them to bid. 2. RETURNING BIDDERS If you have not bought anything from us recently, then we may require you to register as a new bidder, as described in the paragraph above. Please contact us at least twenty-four (24) hours prior to the auction. 3. BIDDING FOR ANOTHER PERSON If you are bidding as an agent on behalf of another person, your principal must be a registered bidder and must provide us with written authorization

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allowing you to bid. You, as the agent, shall accept personal liability to pay the purchase price and all other sums due unless we have agreed in writing before the auction that you are acting as an agent on behalf of your principal and that we will only seek payment from your principal. 4. BIDDING IN THE SALEROOM If you wish to bid in the saleroom, you must first acquire a bidding paddle at least thirty (30) minutes before the auction. 5. OUR BIDDING SERVICES We offer the following bidding services as a convenience to our clients, subject to these Conditions of Sale. We shall not be responsible for any error, omission, or failure, human or otherwise, in providing these services. (a) Phone Bids: You must contact us at least twenty-four (24) hours prior to the auction to arrange a phone bid. We will accept bids by telephone for lots only if our staff is available to take the bids. We agree that we may record telephone bids. (b) Internet Bids: You can bid in our live sales via our bidding platform or through third-party bidding sites. (c) Written Bids: You can find a Written Bid Form in the back of our catalogues, at the auction location, or online at www.hindmanauctions.com. We must receive your completed Written Bid Form at least twenty-four (24) hours before the auction. We will endeavor to execute written bids at the lowest possible price consistent with the reserve. If you make a written bid on a lot that does not have a reserve and there is no higher bid than yours, we will bid on your behalf at approximately fifty percent (50%) of the low estimate or, if lower, the amount of your bid. The first written bid we receive of those for identical amounts will be given priority over other bids. 6. CREDIT CARD AUTHORIZATION HOLD When you register to bid you may be asked to provide us with a valid credit card number. You authorize us to verify the validity of the credit card by placing a $100 authorization hold on the card that will remain until it falls off, usually within 48 hours.

C. DURING THE AUCTION

1. BIDDING IN THE AUCTION (a) Live Auctions. We will appoint an individual auctioneer to administer a live auction. The auctioneer may accept bids from (a) written bids left with us by bidders before the auction; (b) bidders in the saleroom; (c) telephone bidders; and (d) Internet bidders. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/ her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding. (b) Online-only Auctions. Bids may only be submitted on our website or through third-party bidding sites between the dates and times specified in the lot’s description. Your bid is submitted once you place and confirm your bid amount. You agree that a bid is final once it is placed and that you may never amend or revoke your bid. You are fully responsible for any errors you make in bidding. Bidding generally opens at or below the low estimate and increases in steps (bidding increments) to be determined in Hindman’s sole discretion. 2. AUCTIONEER’S DISCRETION The auctioneer shall have absolute discretion to (a) admit a bidder into or remove a bidder from the saleroom or online auction; (b) accept or refuse any bid; (c) change the order of the lots in the auction; (d) move the bidding backward or forward; (e) withdraw any lot from the auction; (f) divide any lot or combine any two or more lots; (g) reopen or continue the bidding even after the hammer has fallen; and (h) continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot in the event that there is an error or dispute related to bidding or the application of the reserve, whether during or after the auction. You must provide us with written notice within three (3) business days of the date of the auction if you believe that the auctioneer has accepted the successful bid in error. The auctioneer will consider the claim and decide in good faith if the sale of the lot is final, whether he/she will cancel the sale of the lot, or whether he/she will reoffer and resell the lot. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way affect our ability to cancel the sale of a lot under other applicable provisions of these Conditions of Sale, including the rights of cancellation set forth in sections B(1), D(6), E(2), and G(1). 3. BIDDING ON BEHALF OF THE SELLER The auctioneer may, at his/her sole option, bid on behalf of the seller up to one bidding increment before the reserve by making either consecutive or responsive bids. The auctioneer will not identify these as bids made on behalf of the seller. If a lot is offered without reserve, the auctioneer will open the bidding at approximately fifty percent (50%) of the lot’s low estimate; where

necessary, will lower the asking bid until a bid is received; and will solicit higher bids from that amount. If there are no bids on a lot, the auctioneer may deem the lot unsold. 4. SUCCESSFUL BIDS AND INVOICES Subject to paragraph C(2), the contract of sale between the seller and the successful bidder is formed when the final bid is accepted and the auctioneer’s hammer strikes. The successful bid price is the hammer price, and we will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by mail and/or email after the auction, we shall not be responsible for telling you whether your bid was successful. You should contact us immediately after the auction to find out the success of your bid in order to avoid having to pay storage charges.

D. AFTER THE AUCTION

1. THE BUYER’S PREMIUM In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots, we charge twenty-five percent (25%) of the hammer price up to and including $250,000; twenty percent (20%) of any amount in excess of $250,000 up to and including $3,000,000; and twelve percent (12%) of any amount in excess of $3,000,000. If the bidder bids through a third-party platform the bidder agrees to pay us a surcharge equal to the fee levied by the third-party platform. The third-party platform fee is in addition to the buyer’s premium. 2. TAXES The successful bidder is responsible for any applicable taxes, including any sales or use tax or equivalent tax wherever such taxes may arise on the hammer price, the buyer’s premium, and/or any other charges related to the lot. A sales or use tax is dependent upon a number of factors, including, but not limited to, our volume of sale and the place of delivery of the lot, regardless of the nationality or citizenship of the successful bidder. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped or where it is picked-up in person. We collect sales tax in states where legally required. 3. MAKING PAYMENT (a) Immediately following the auction, you must pay the purchase price, consisting of the hammer price, plus the buyer’s premium, plus any applicable duties and sales, use, or other applicable taxes. Payment is due no later than by the end of the seventh (7th) calendar day following the date of the auction, which we refer to as the due date. (b) We will only accept payment from the registered successful bidder. Once issued, we cannot change the buyer’s name on an invoice or reissue the invoice in a different name. (c) You must pay for lots in US dollars in one of the following ways: (i) Wire transfer. (ii) Bank checks: You must make these payable to Hindman LLC, and we may impose other conditions. Once we have deposited your check, property cannot be released until five (5) business days have passed. (iii) Personal checks: You must make these payable to Hindman LLC, and they must be drawn from US dollar accounts from a US bank. The property will not be released until the check has cleared and the funds are received by us. (iv) Cash: We accept cash payments (including money orders and traveler’s checks) subject to a maximum aggregate of US $10,000 per buyer, per sale. (d) You must quote your invoice number when making a payment. All payments sent by post must be sent to Hindman LLC, 1338 West Lake Street, Chicago, IL 60607, ATTN: Client Accounting Department. 4. TRANSFERRING OWNERSHIP TO YOU You will not own the lot and title will not pass to you until we have received full payment in good funds of the purchase price, even in circumstances where we have released the lot to you. 5. TRANSFERRING RISK TO YOU Unless we have agreed otherwise with you, the risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following: (a) when you collect the lot; or (b) the end of the thirtieth (30th) day following the date of the auction or, if earlier, the date the lot is taken into care by a third-party warehouse. 6. YOUR FAILURE TO PAY If you fail to pay us the purchase price in full in good funds by the due date, we will be entitled to do one or more of the following (as well as enforce any other rights and remedies we have by law) at our sole discretion: (a) We can charge interest from the due date at a rate of up to one and onehalf percent (1.5%) per month on the unpaid amount due. (b) We can cancel the sale of the lot and sell the lot again, publicly or privately, on such terms as we believe appropriate, in which case you must pay us any shortfall between the amount you owe us and the resale price, plus all costs, expenses, losses, damages, and legal fees we incur due to the cancellation. (c) We can pay the seller the amount due to them, in which case you acknowledge and understand that we will have all the seller’s rights to pursue you for such amount.

(d) We can hold you legally responsible for the amount you owe us and bring legal proceedings against you to recover the amount owed by you, plus other losses, interest, legal fees, and costs as allowed by law. (e) We can reveal your identity and contact details to the seller. (f) We can reject any bids made by or on behalf of you in future auctions or require you to provide us with a deposit before accepting any bids. (g) We can exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest, or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us. (h) We can take any other action we deem necessary or appropriate. 7. SHIPPING, COLLECTION, AND STORAGE (a) You must collect purchased lots within thirty (30) days of the auction. We can assist in making shipping arrangements by suggesting art handlers, packers, transporters, or experts, but you must arrange all transport and shipping with them, and we are not responsible for their acts, failure to act, or neglect. (b) If you do not collect any purchased lot within thirty (30) days following the auction, we may, at our sole option, (i) charge you storage and insurance costs; (ii) move the lot to another Hindman location or to a third-party warehouse, whereupon we will charge you transport costs, insurance costs, and administration fees for doing so, and you will be subject to the third-party storage warehouse’s standard terms and responsible for paying its standard fees and costs; or (iii) sell the lot in any commercially reasonable way we think appropriate. (c) In accordance with applicable state law, if you have paid for the lot in full but you do not collect the lot within the time specified by the law of the state where the auction takes place, we may charge you state sales tax for the lot. (d) Nothing in this paragraph is intended to limit our rights under paragraph D(6). 8. EXPORTING, IMPORTING, AND ENDANGERED SPECIES (a) The shipping of a lot is affected by United States export laws or the import laws of other countries. If you are outside the United States, then local laws may prevent you from importing a lot. You alone are responsible for seeking advice prior to bidding and meeting the requirements of any law or regulation applying to the export or import of a lot. (b) Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife—such as, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood—may be subject to export controls in the US and import controls in other countries. You should check the relevant wildlife laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the United States, import the lot into another country, or ship the lot between states. Your purchase of a lot containing endangered and other protected species of wildlife is at your own risk, and you shall be responsible for any scientific test or other reports required for export from the United States or for shipment between states. We will not cancel your purchase and refund the purchase price if your lot may not be exported, imported, or shipped between states, or if it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to import, export, and/or interstate shipping of a lot containing endangered and other protected species of wildlife.

E. WARRANTIES

1. SELLER’S WARRANTIES For each lot, the seller gives a warranty that the seller (a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot or the right to do so by law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else. If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph D(3) above) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages, or expenses. The seller gives no warranty other than as set out above, and as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller that may be added to this agreement by law, are excluded. No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the seller’s warranties or creates an additional warranty on behalf of the seller with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

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2. OUR LIMITED AUTHENTICITY WARRANTY Our limited authenticity warranty, which lasts for one (1) year from the date of a live auction or three (3) months from an online only auction, is that the lots in our sales are authentic as defined in paragraph H, below. You must notify Hindman regarding concerns of authenticity in writing within one (1) year of the date of a live auction or within three (3) months of the date of an online only auction. Following receipt of that written notification, subject to the terms below, Hindman will refund the purchase price paid by the client. The terms of this limited authenticity warranty are as follows: (a) It will be honored for claims notified in writing within a period of one (1) year from the date of a live auction or three (3) months from an online only auction. After such time, we will not be obligated to honor the limited authenticity warranty. (b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the Heading). It does not apply to any information other than that in the Heading, even if it is shown in UPPERCASE type. (c) It does not apply to any Heading or part of a Heading that is qualified. “Qualified” means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the definition of “qualified” provided in paragraph H, below. Qualified Headings are not covered at all by this limited authenticity warranty. (d) It applies to the Heading as amended by any saleroom notice. (e) It does not apply where scholarship has developed since the auction, leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the auction or drew attention to any conflict of opinion. (f) It does not apply if the lot can only be shown not to be authentic by a scientific process that, on the date we published the catalogue, was not available or generally accepted for use, was unreasonably expensive or impractical, or was likely to have damaged the lot. (g) Its benefit is only available to the original buyer shown on the invoice for the lot, issued at the time of the sale, and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest, or restriction by anyone else. The benefit of this limited authenticity warranty may not be transferred by the original buyer to anyone else. (h) In order to make a claim under the limited authenticity warranty, you must (i) give us written notice of your claim within one (1) year of the date of a live auction or three (3) months from an online only auction ; (ii) at our option, pay for and provide us with the written opinions of two recognized experts in the field, mutually agreed upon by you and us, confirming that the lot is not authentic (we reserve the right to obtain additional opinions at our expense); and (iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale. (i) Your only right under this limited authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, under any circumstances, be required to pay you more than the purchase price, nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages, or expenses. (j) No employee or agent of Hindman is authorized to make a representation or provide additional information, whether orally or in writing, that amends the limited authenticity warranty or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void. 3. ADDITIONAL WARRANTY FOR BOOKS If the lot is a book, then we give an additional warranty to the original buyer shown on the invoice for the lot issued at the time of the sale in the following circumstances: (a) We will refund the purchase price to the original buyer if we, in our sole discretion, are convinced that the book is defective in text or illustration, subject to the following terms: (i) This additional warranty does not apply to (A) the absence of blanks, half titles, tissue guards, or advertisements; or damage in respect of bindings, stains, spotting, marginal tears, or other defects not affecting the completeness of the text or illustration; (B) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps, or periodicals; (C) books not identified by title; (D) lots sold without a printed estimate; (E) books that are described in the catalog as sold not subject to return; or (F) defects stated in any condition report or announced at the time of sale. (ii) To make a claim under this additional warranty, you must give written details of the defect within twenty-one (21) days of the date of the sale and return the lot within twenty-one (21) days of the date of the sale to the saleroom at which you bought it in the same condition as at the time of sale. (iii) Paragraphs E(2)(b), (c), (d), (e), (h), and (i) also apply to a claim under this additional warranty. (c) No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the additional warranty for books or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

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4. JEWELRY (a) Colored gemstones (such as rubies, sapphires, and emeralds) may have been treated to improve their appearance through methods such as heating and/or various clarity enhancements. These methods are considered common by the international jewelry trade but may make a gemstone more fragile and/or cause the gemstone to require special care over time. (b) All types of gemstones may have been improved by some method. You may request a gemological report for any item that does not have a report if the request is made to us at least three (3) weeks before the date of the auction and you pay the fee for the report. (c) We do not obtain a gemological report for every gemstone sold in our auctions. When we do get gemological reports from internationally accepted gemological laboratories, such reports are described in the catalogue. Reports from American gemological laboratories describe any improvement or treatment to the gemstone. Reports from European gemological laboratories describe any improvement or treatment only if we request that they do so, but they do confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree on whether a gemstone has been treated, the amount of treatment, or whether that treatment is permanent. The gemological laboratories only report on the improvements or treatments known to them at the date they make the report. (d) For jewelry sales, estimates are based on the information in any gemological report. If no report is available, assume that the gemstones may have been treated or enhanced. 5. WATCHES AND CLOCKS (a) Almost all clocks and watches are repaired in their lifetime and may include parts that are not original. We do not give a warranty that any individual component part of any watch is authentic. Watchbands described as “associated” are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights, or keys. (b) As collectors’ watches often have very fine and complex mechanisms, you are responsible for any general service, change of battery, or further repair work that may be necessary. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue. (c) Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water-resistant cases may not be waterproof, and we recommend you have them checked by a competent watchmaker before use. (d) Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile skin. When straps are shown for display purposes only and are not for sale. We may remove and retain the strap prior to shipment from the sale site. Please check with the department for details on a lot with such a strap. 6. YOUR WARRANTIES You warrant to us and the seller that (a) the funds you use for payment are not connected with any criminal activity, including tax evasion, and neither are you under investigation, nor have you been charged with or convicted of money laundering, terrorist activities, or other crimes; (b) where you are bidding on behalf of another person, (i) you have conducted appropriate customer due diligence on the ultimate buyer(s) of the lot(s) in accordance with all applicable anti-money laundering and sanctions laws, you consent to us relying on this due diligence, you will retain for a period of not less than five (5) years the documentation evidencing the due diligence, and you will make such documentation promptly available for immediate inspection by an independent third-party auditor upon our written request to do so; (ii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes; (iii) you do not know, and have no reason to suspect, that the funds used for payment are connected with or the proceeds of any criminal activity, including tax evasion, or that the ultimate buyer(s) are under investigation for, or have been charged with or convicted of, money laundering, terrorist activities, or other crimes.

F. OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees about any lot other than as set out in the limited authenticity warranty or in the additional warranty for books, and as far as we are allowed by law, all warranties and other terms that may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E(1) are their own, and we do not have any liability to you in relation to those warranties. (b) We are not responsible to you for any reason (whether for breaking this agreement or for any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us, or other than as expressly set out in these Conditions of Sale. (c) WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE

OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE. EXCEPT AS REQUIRED BY LOCAL LAW, ANY WARRANTY OF ANY KIND IS EXCLUDED BY THIS PARAGRAPH. (d) Our written and telephone bidding services, online bidding services, and condition reports are free services, and we are not responsible to you for any error, omission, or failure of these services. (e) We have no responsibility to any person other than a buyer in connection with the purchase of any lot. (f) If, despite the terms in paragraphs F(a)–(e) or E(2)–(3) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.

G. OTHER TERMS

1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained herein, we can cancel a sale of a lot if (i) any of your warranties in paragraph E(4) are not correct; (ii) we reasonably believe that completing the transaction is, or may be, unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation. 2. RECORDINGS We may videotape and/or audio record proceedings at any auction. We will keep any personal information confidential, except to the extent that disclosure is required by law. If you do not want to be videotaped, you may decide to make a telephone or written bid or bid online instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction. 3. COPYRIGHT We own the copyright in all images, illustrations, and written material produced by or for us relating to a lot, including the contents of our catalogues, unless otherwise noted therein. You cannot use them without our prior written permission. We make no representation and offer no guarantee that the buyer of a lot will gain any copyright or other reproduction rights. 4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is invalid, illegal, or impossible to enforce, that part of the agreement will be treated as being deleted, and the rest of this agreement will not be affected. 5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer your rights or responsibilities under these terms unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities. 6. PERSONAL INFORMATION We will hold and process your personal information in line with our privacy policy at www.hindmanauctions.com. 7. WAIVER No failure or delay to exercise any right or remedy contained herein shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy. 8. LAW AND DISPUTES This agreement, and any noncontractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot will be governed by the laws of Illinois. Before we or you start any court proceedings (except in the limited circumstances where the dispute, controversy, or claim is related to proceedings brought by someone else and this dispute could be joined to those proceedings), you and we agree to try to settle the dispute by mediation submitted to JAMS, or its successor, for mediation in Illinois. If the dispute is not settled by mediation within sixty (60) days from the date when mediation is initiated, then the dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules and Procedures or, if the dispute involves a non-US party, the JAMS International Arbitration Rules. The seat of the arbitration shall be Illinois, and the arbitration shall be conducted by one arbitrator, who shall be appointed within thirty (30) days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English. The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the dispute. The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved. Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This

arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958.

H. GLOSSARY

authentic: a genuine example, rather than a copy or forgery of (a) the work of a particular artist, author, or manufacturer, if the lot is described in the Heading as the work of that artist, author, or manufacturer; (b) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture; (c) a work of a particular origin or source, if the lot is described in the Heading as being of that origin or source; or (d) in the case of gems, a work that is made of a particular material, if the lot is described in the Heading as being made of that material. buyer’s premium: the charge the buyer pays us along with the hammer price. catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice. due date: has the meaning given to it in paragraph D(3)(a). estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range, and high estimate means the higher figure. The mid estimate is the midpoint between the two. hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot. Heading: has the meaning given to it in paragraph E(2). limited authenticity warranty: the guarantee we give in paragraph E(2) that a lot is authentic. other damages: any special, consequential, incidental, or indirect damages of any kind or any damages that fall within the meaning of “special,” “incidental,” or “consequential” under local law. purchase price: has the meaning given to it in paragraph D(3)(a). provenance: the ownership history of a lot. qualified: has the meaning given to it in paragraph E(2), subject to the following terms: (a) “Cast from a model by” means, in our opinion, a work from the artist’s model, originating in his circle and cast during his lifetime or shortly thereafter. (b) “Attributed to” means, in our opinion, a work probably by the artist. (c) “In the style of” means, in our opinion, a work of the period of the artist and closely related to his style. (d) “Ascribed to” means, in our opinion, a work traditionally regarded as by the artist. (e) “In the manner of” means, in our opinion, a later imitation of the period, of the style, or of the artist’s work. (f) “After” means, in our opinion, a copy or after-cast of a work of the artist. reserve: the confidential amount below which we will not sell a lot. saleroom notice: a written notice posted next to the lot in the saleroom and on www.hindmanauctions.com, which is also read to prospective telephone bidders and provided to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale or before a particular lot is auctioned. UPPERCASE type: type having all capital letters. warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct. Updated 9/20

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 151

U P C O M I N G AU C T I ON S C H E D U L E 819 | FINE FURNITURE, DECORATIVE ARTS AND SILVER NOVEMBER 4 | CHICAGO

808 | HOLIDAY ESSENTIAL JEWELRY DECEMBER 3 | CHICAGO

800 | FINE BOOKS AND MANUSCRIPTS NOVEMBER 12 | CHICAGO

812 | IMPORTANT JEWELRY DECEMBER 7 | CHICAGO

802 | MODERN DESIGN NOVEMBER 17 | CHICAGO

809 | POST WAR AND CONTEMPORARY ART DECEMBER 9 | CHICAGO

803 | EARLY 20TH CENTURY DESIGN NOVEMBER 17 | CHICAGO

810 | PRINTS AND MULTIPLES DECEMBER 9 | CHICAGO

820 | JAPANESE WORKS OF ART NOVEMBER 20 | CHICAGO

811 | AMERICAN AND EUROPEAN ART DECEMBER 10 | CHICAGO

818 | ANTIQUITIES AND ISLAMIC ART NOVEMBER 23 | CHICAGO

770 | LUXE HOLIDAY COUTURE AND LUXURY ACCESSORIES DECEMBER 11 | CHICAGO

814 | DECEMBER PALM BEACH COLLECTIONS DECEMBER 1 | PALM BEACH

804 | FINE ART + DESIGN SELECTIONS DECEMBER 15 | CHICAGO

ALBERS, Josef (1888-1976) Formulation: Articulation [I & II] New York and New Haven: Harry N. Abrams and Ives-Sillman, 1972 The complete suite of 127 color screenprints on 66 sheets on Mohawk Superfine Bristol paper LIMITED EDITION, number 224 of 1000 copies, SIGNED BY ALBERS Estimate: $10,000 - $15,000 TO BE OFFERED AT AUCTION NOVEMBER 12, 2020

We Invite You to Consign

Bill Anton (American, b. 1957) Montana Monarchs Sold for $47,500

Western Paintings and Sculpture May 6, 2021 Denver | Live + Online We invite you to receive a complimentary auction estimate of historic and contemporary Western paintings and bronzes Contact Katherine Hlavin Director and Specialist of Western Art 303.825.1855 | katherinehlavin@hindmanauctions.com

HindmanAuctions.com

BID FORM

FX 312.280.1211 EM BID@HINDMANAUCTIONS.COM

Online registration/bid requests must be received at least 24 hours before the auction begins. Hindman LLC will confirm all bids received by fax or by return email. Phone bids will not be accepted on lots with a low estimate below $300. Hindman LLC allows absentee and telephone bidding registration through our website at www.hindmanauctions.com

Bidding generally opens at half the low estimate and advances in the following order, although the auctioneer may vary the bidding increments during the course of the auction. The normal bidding increments are:

NAME

SALE No./NAME

791 - Western Paintings and Sculpture BUSINESS NAME

BILLING ADDRESS

CITY

STATE

COUNTRY/ZIP

CONTACT NAME

PRIMARY PHONE

$0 – 200 $200 – 500 $500 – 1,000 $1,000 – 2,000 $2,000 – 5,000 $5,000 – 10,000 $10,000 – 20,000 $20,000 – 50,000 $50,000 – 100,000 $100,000 – 200,000 $200,000 +

$10 $25 $50 $100 $200 $500 $1,000 $2,000 $5,000 $10,000 AUCTIONEER’S DISCRETION

SECONDARY PHONE

For absentee bids, indicate your limit for each lot. Your bids will be executed at the lowest prices allowed by reserves and competing bids. If we receive more than one bid of the same value, the first one received will take precedence.

FAX

I authorize Hindman LLC to bid on my behalf up to the amount stated below. By bidding at auction you agree to be bound to the Conditions of Sale as stated in the sale catalogue and on our website. SIG N ATURE

DAT E

( FO R H INDM AN L CC)

DAT E

A per lot buyer’s premium is added to the final hammer price as per the following: $0 – 250,000 $250,001 – 3,000,000 $3,000,001 +

25% 20% 12%

Hindman LLC is not responsible for failure or other inadvertent errors relating to the execution of your bids.

First time bidders please provide a valid Credit Card and one of the following: Passport/Driver’s License/National Identity Card LOT No.

LOT DESCRIPTION

ABSENTEE BID

PHONE BID

BACK-UP BID

USD ($) L IM IT EX C L . BUY E R’S P R EM I U M

PL EAS E C H EC K

F O R T EL EPH O N E B I D D ER S O N LY

2737 LARIMER STREET, SUITE C DENVER, CO 80205 PH 303.825.1855 FX 303.825.0450 EM BID@HINDMANAUCTIONS.COM DENVER@HINDMANAUCTIONS.COM

How did you hear about Hindman?

2737 Larimer Street, Suite C Denver, Colorado 80204 l ph 303.825.1855 l fx 303.825.0450 l hindmanauctions.com

Sale 791 | Western Paintings and Sculpture

Articles inside

CONDITIONS OF SALE